Skope Magazine

sk pe New Books: JOHN SINCLAIR, NIKKI SIXX, AC/DC, MARTIN ATKINS

January/February 2008 $3.99

for the love of music

www.skopemagazine.com

Henry Rollins HE SPEAKS, YOU LISTEN

Shop Boyz

PARTYING LIKE HOOD ROCK STARS

Crowded House DON’T STOP NOW

foo fighters ARE THEY GOING SOFT?

January/February 2008

$3.99

THE AMAZING RETURN OF

Roky Erickson

REVIEWS:

Silverstein Dresden Dolls Fabolous + DOZENS MORE!

Eugene Foley

ATTENTION!!!

Musicians Recording Artists Songwriters Artist Managers Indie Label Owners

Are You Serious About A Career In The Music Industry?

Here’s a Book That Can Help You! Topics Include: Artist Development Techniques Improving Your Songwriting Press Kit Design Choosing Advisors Publicity Radio Promotion Music Videos Touring Record Companies Distribution Music Publishing Alternative Career Options

For more information or to purchase a copy please visit:

www.FoleyEntertainment.com

The new CD

Great Escape

www.stevedunnmusic.com

Available at itunes.com and www.stevedunnmusic.com “A true artist uses his passion, thoughts and inspirations to move, reach or inspire others. Steve Dunn is an artist in every sense of the word.”

Kristina Mondo • Viking Press

“Local Music Now digs Steve Dunn!”

Bob Mckee • www.localmusicnow.net

“We love Steve Dunn’s music. He’s a wonderful performer and a great guy” Thia • Q Morning show Co-host, WQQQ-Q103.3 FM

“Steve Dunn’s Great Escape is brilliantly captivating, it is a remarkable poetic journey.”

Ameen-Storm Abo-Hamzy • Poet/Founder and Director of Evolution Ink www.evolutionink.org

“Strong vocals and songwriting, Lyrics ring true and honest, solid songs” TAXI

Business/Promotional Inquiries: Foley Entertainment, Inc. 908 684-9400

This album is a collection of material that was created to satisfy a desire to hear musicians play and the audience to rock.

Written in a studio, designed for the stage.

The kind of composition which when taken in will move your feet, bang your head and pump your fist.

The cycle of the moon is fast approaching it’s zenith, manufactured culture pop, psuedo-rock bands beware...

has arrived On Tour 2008 visit the Web sites for updates: lyken21.com or www.myspace.com/lyken21band contact Lyken 21: Sales@lyken21.com Available at CDbaby.com, indierhythm.com, Vintage Vinyl and Jack’s music

features

ontent

36 Ozma

California rockers return sharper, more jaded

37 Secret Stealth

Disco hipsters spin all sorts of craziness

38 Melee

The devils you know

65 Plan B

39 Diona Devin

Singer/songwriter on writing in country’s capital

40 Crowded House

History never repeats, but it does continue

42 Keith Murray

He’s still the most beautifullest

42 Evelyn “Champagne” King

A disco diva steps back under the lights

43 Miss Derringer

The other kind of “dark arts”

44 The Cribs

Getting bloodied and battered

46 They Might Be Giants

Sometimes the nice guys do win

48 Nikki Sixx

Revisiting his heroin addiction

50 Shop Boyz

53 Operator

A Southern rap salute to hood rock

51 Paramore

Adjusting To Success

52 Median

Little Brother’s little brother

39

Diona Devin

53 Operator

Back to the roots of rock

58 The Last Goodnight

Coffee would be appreciated

60 Henry Rollins

Riffing on war and life’s trials and tribulations

62 Global Drum Project

Drum soundscapes for the 21st century

65 Plan B

Words from the UK’s freshest controversial rapper

66 Porcupine Tree

The concept album lives!

68 Sean Kingston

He says it’s an open market

66 Porcupine Tree

Foo Fighters

54 2

contents

Balladry and alt-rock roots solidify their evolution

Facedown Records succeeds in niche

14 BlastMyMusic

A remedy for the ailing music industry

16 You’re Gonna Miss Me

New biopic goes in search of Roky Erickson

17 This Ain’t No Piano Recital The Willie Mae Rock Camp for Girls

18 Surviving Genius

The Still Life explores an artist’s quandary

20 Giving High Voltage Band Its Due The “definitive” tome on rockers AC/DC

22 On the Edge of Revolution Catching up with John Sinclair

23 Martin Atkins’ Tour Smart Learn the business of touring

24 The Heart of the Music Industry Sub City label rocks out to save the world

26 Clif GreenNotes

Partnerships with emerging artists help the planet

27 Good-bye, June Cleaver

American Women in Radio and Television

28 It’s Not Easy Being Green Russell Simmons’ new jewelry venture

n e 28 e r G

Collection

9 Sweet Tooth

Multicultural sensation Notch breaks down the rise and fall of celebrity power to the tune of his favorite candy

10 Blast from the Past

What’s old is new again, and better than ever

30 Pea Nizzle 32 Bootleg Bin

Sometimes “unauthorized” releases do it better

69 Scratch Pad

DJ Cocoa Chanelle remembers when she first fell in love with hip-hop.

71 Music Industry Tips

Author of Artist Development on the importance of touring for today’s recording artist

72 The Crossover

Musing, platitudes and contemplations from an outsider

74 Don’t Read This Die, MySpace, die!

77 CD & DVD Reviews Akron/Family Blue Jar Castanets Cherry Suede Cinematic Orchestra DBR Drug Rug Fabolous Jen Murdza Kush Arora Letters Burning Maritime Prince Ali Rob Schrab Rooney Saving Jane Much, much more...

95 SonicBids

Artists To Watch

4

contents

ontent

13 Christian Hardcore Finds a Home

7 Letter from the Publisher

in every issue

human interest

President/Publisher: Michael H. Friedman mfriedman@skopemagazine.com Chairman: Irwin Friedman Editor In Chief: Bill Kopp editor@skopemagazine.com Creative Director & Ad Designer: Fran Sherman: fran@shermanstudios.com Circulation Executive: David Abramowitz magbook@frontiernet.net Media Sales Executives: Michael H. Friedman, Eugene Foley Phd Illustrators: Don Mathias: dmathias@peanizles.com Contributing Writers: Adam Bernard, Joe Cappuccilli, Celena Carr, Amanda Cuda, Carl Cunningham, Matt Fink, Shaun Flagg, Eugene Foley, Janie Franz, Bear Frazer, Mike Friedman, Kathy Iandoli, Bill Kopp, Evie Nagy, Jeff O’Neill, Jake Paine, Lauren Proctor, Bill Reese, Eric Saeger, Todd Sikorski, Len Sousa, Matt Stern, Claudia Ward-de León, Leah Wellbaum, James Wright, Nick Zaino Contributing Photographers: Jamie and Gavin of Helios Photographic, Kate Milford, Roger Kisby, Philip Morris, Arnaud Durieux, Martin Atkins, Quang Le, Johnny Nunez, Joshua Kessler, Maura Lanahan, Anne Fitten Glenn, Ben Watts, Laura Kleinhenz, Thomas Rabsch, Michael Singleton, Jeremy Cowart, Tobias Rose, Epic Records, Kevin Yatarola, Guy Clark, Lawrence Lauterborn.

Webmasters: Michael Friedman Brendon Aaskov webmaster@skopemagazine.com Shaun Flagg sflagg@skopemagazine.com Co-Executive Producer Skope Live!: Shizz Strothers shizz@skopemagazine.com Chief Accountant: Krista Murphy CPA kmurphy@skopemagazine.com Printing: Cummings Printing www.cummingsprinting.com Advertising Inquiries: All advertising inquiries should be directed to Michael Friedman

Skope Magazine: P.O. Box 231179 Boston, MA 02123 All content herein © 2007 Skope Entertainment, Inc. (SEI). All Rights Reserved The opinions expressed on the pages of Skope are those of the authors and do not necessarily reflect the views of the advertisers, editors, board members or publisher. Although Skope strives to present only current and actual opinion, readers should not consider the information herein as professional advice. Although great care has been taken in compiling and checking the information given in this publication to assure accuracy, the author (Skope Entertainment Inc.) and its servants or agents shall not be responsible or in any way liable for the continued currency of information nor for any errors, omissions or inaccuracies in this magazine, whether arising from negligence or otherwise or for any consequences arising therefrom.

note

publisher’s

T

o those of you joining us for the first time, let me welcome you to Skope Magazine. If you are a returning habitual reader, thank you! This issue is packed with a touch of everything going on in music today.

Before we get into the issue I want to talk about the magazine. Skope Magazine began over seven years ago in the wonderful city of Boston, MA. When we began drawing up the first Skope storyboard we were looking to produce a publication that would inform, educate, and entertain music enthusiasts all over the world. We were a bunch of college students that were tired of the mainstream, boy-band, packaged music that was so dominant in 2000.

Seven years later here we are still staying true to our initial mission statement. Publications and websites like Skope are crucial for various reasons. First off all, music is truly a universal medium. By that I mean that there are so many genres, bands, and musicians out there. We have always felt that all music should be covered equally. Record sales or downloads should not be the only determinant to whether the music is good or not. Everyone that loves music knows that what I may like, you may not.

And that is fine. There is more than enough music to go around for everyone.

With technology these days it has become easier than ever to produce music. No longer do you have to pay upwards of $1,000 per hour for studio time. This has caused an amazing musical explosion. It has opened up the floodgates so that anyone with a passion to be the next Dropkick Murphys or Chris Cornell can give it a try and not go broke doing it. The rock ‘n roll dream is alive and thriving!

Skope is a fan of every single band, MC, and musician out there. We do not care if you can sell 10 million or 10 CDs. The sole fact that you are participating in the music scene is what will keep music strong throughout the world. We are all enthusiasts in this huge musical community.

Email us at skopemail@skopemagazine.com Go to www.skopemagazine.com to learn about submitting materials for review

sk pe

staff

Speaking on behalf of the whole staff at Skope, I promise to stay true to our word and continue to cover music in a fashion that is independent and free of outside influence. Skope is in a perfect position to cover the music scene in its most exciting era yet. The power has shifted from the executives to the people. And that is what Skope is all about!

Enjoy the issue, Michael Friedman

s w e e t Artist:

Erika Rose

Tooth The Rose

Label:

Infinity Le Monde

High fructose corn syrup of choice: Take Five candy bar

W

A Mark Of True Melody

by Kathy Iandoli things with no regrets, Erika birthed Rosegarden, a culmination of every influence and sound she had ever experienced.

Rosegarden incorporates aspects of jazz, rock, and soul mixed with the flavors of the 60s, 70s and 80s. While her work is both heartfelt and fun, it’s the underlying spirit that motivates Erika.

“They say music is the language of the gods. That’s the place where I come from,” she says. “To me, in my quest to create music, it is to serve as some vessel and voice for the higher good of all people.” That mantra also applies to her outlook on fame. With friends like Alicia Keys, it’s reassuring to know that not everyone in the limelight goes AWOL. “For years I was afraid to be in this position because it might lead to fame. That whole scene really freaks me out,” Erika explains. “I remember going to Alicia – she and I would just look at each other and promise each other to stay close, because they suck your soul.”

While fame may very well greet her soon, the pursuit of the major label isn’t Erika’s mark of success. Following along the lines of Ani DiFranco and the Righteous Babe movement, Erika Rose hopes to build upon her own business where she remains in control. So will she ever fall victim to the so-called “good life?” It’s highly unlikely. “I already know the story; I already know the deal,” she laughs. “And I’m not gonna walk that road.”

Singer/songwriter Erika Rose is on the brink of superstardom, so hear about the many elements

of her sound….and favorite candy bar.

Photography by Jamie and Gavin of Helios Photographic

hen asked about her favorite candy, soul siren Erika Rose chooses a Take Five candy bar. “[Take Five] has everything in it; how can you not love that?” she states. That explanation doubles as the reason why most people immediately fall in love with her sound. Born to a Jewish mother and Jamaican father, the New York native was raised on diversity.

Not long after her Bat Mitzvah, Erika was at the temple with her family. There, an angry Rabbi spoke against interracial and inter-religious unions in his sermon.

“I just looked at my mom and said, ‘Mom, I need to leave now,’” she recalls.

And she never went back. From that point on, Erika Rose developed her own personal sense of spirituality that would later evolve into the creation of music.

A semester at Boston College led to a free ride at the University of Miami’s School of Music, where Erika’s singer/ songwriter self began to take form. She returned to New York City and began a career in her longtime friend Alicia Keys’ camp. The experience produced both positive and negative effects for Erika, who helped pen Keys’ smash hit “A Woman’s Worth.” “In the beginning, I was just so excited to go on the road.

It was supposed to be a short-term thing,” she explains. “When it turned into a more long-term permanent situation, that’s when I started to question things, because I felt I was supposed to be there with [Alicia] in that role.”

Choosing to leave the business side of

From Concrete:

To me, in my quest to create music, it is to serve as some vessel and voice for the higher good of all people.

– Erika Rose

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blast from the

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January/February 2008

by Bill Kopp

Wattstax: The Living Word (Stax) With apologies to Sir Walter Scott, “oh, what a tangled web we weave, when again we practice to re-release.” The 1972 Wattstax festival was black R&B’s excellent (if belated) answer to Woodstock and other festivals of the era. Concerts in and around the Watts district of Los Angeles put the spotlight on Stax Records’ best artists, in a dazzling show of the best the label (and genre) had to offer. In addition to estimable performances by Isaac Hayes (“Theme from Shaft”), Eddie Floyd (“Knock on Wood”), Albert King (“Killing Floor”), the Staple Singers, the Bar-Kays and Carla and Rufus Thomas, Wattstax included spoken-word pieces by Rev. Jesse Jackson and stand-up by a young Richard Pryor. The contents of the festival have been released, repackaged, spread out among multiple releases and recombined so many times that it’s all but impossible to sort out what’s what. But this new 3CD set seems to be—more than anything else—a rethinking of the most recent repackaging, 2003’s Music from the Wattstax Festival & Film. This set wisely adds in great performances that were left off that set. For the completist, it’s anybody’s guess which or how many out of print CDs and LPs you’d have to track down, but for anyone who wants a good overview of what the Wattstax festival sounded like—and for anyone who would enjoy an excellent live compilation of the era’s best R&B—Wattstax: The Living Word is the one to buy.

Past Each issue, Editor in Chief Bill Kopp takes a quick look at notable reissues from notable recording artists—some you’ll recognize; some you probably missed. All are worth a closer look.

The Grip Weeds - House of Vibes Revisited (Ground Up) The 1980s and 90s saw the rise of a rock subgenre/ movement dubbed the “paisley underground.” Populated by groups who bowed at the altar of mid-period Beatles and the other finer psych-rock of that era, many of these groups were called to task by critics for their (some said) too-slavish devotion to the sounds of old. As the argument went, they didn’t offer anything new. But some of the best (The Bangles, Rain Parade, Plasticland) had moments where their original tunes held their own against the older stuff. Eventually the paisley underground era faded, as did many of its leading groups. But in 1994 The Grip Weeds came on the scene, offering a newer twist. They captured the vibe of the early pop/rock/psych, but they didn’t attempt to ape the sound, and—most importantly—their songs were top notch. The Grip Weeds continue today, turning out excellent albums every few years. Now their first album House of Vibes gets the reissue treatment, with a fresh remix and a sampling of live-on-the-radio and acoustic bonus tracks. Not merely for genre fans, this is a disc that belongs in the collection of any fan of melodic, driving rock.

Robyn Hitchcock – I Wanna Go Backwards (Yep Roc) Quirky Cambridge England singer/ songwriter Robyn Hitchcock has always followed his own twisted muse.

Like some bastard son of Bob Dylan and Syd Barrett, Hitchcock has made a career of memorable albums on his own, with the Egyptians and (before all that) with The Soft Boys. This new box set contains expanded versions of three of his finest solo outings, Black Snake Diamond Röle (1981), I Often Dream of Trains (1984) and Eye (1990). The set also includes two discs of demos and rarities (I’d say “oddities,” but that label applies to most of Robyn’s work). Look for my feature on Robyn Hitchcock in the March/April 2008 issue of Skope.

nterest

human timely topics

of interest to all humans

In this issue Skope takes a closer look at some books by and about legendary figures in music. We survey new movies; one documentary and a dramatic film, both exploring the downside of excess.

We check in on two record labels, each making a difference in their own way.

And we learn about some innovative efforts to make the world a better place.

And still more...

human interest

s

ometimes business just comes naturally. For Jason Dunn, owner of Facedown Records, handling the business end of a band was where he fine tuned his entrepreneurial skills. The band was No Innocent Victim, a Christian hardcore five-piece, out of southern California. “I was still in high school,” Dunn recalls. “I’d played in a couple of bands before them.” When he graduated, he had no plans.

So the band grabbed him for non-stop touring.

That’s when Dunn took over the band’s business. “Back then, we didn’t have an email for the band,” he says. But they did get fan mail, asking for t-shirts. “I put together photocopied mail order catalogues and made a database of all of our fans.

As I booked the tours, we’d send them all postcards with ads on them for the new shirts.”

Then Dunn branched out into distribution for other hardcore and Christian hardcore bands that he met on tour. “When people came to our shows, they knew that if they liked our music, they’d find all of these underground bands that they really couldn’t find before. There was really no MySpace or anything like that to find out about this music then,” Dunn says.

That led to making CDs on his own. “If bands weren’t on a record label and I liked them, I could be their record label,” Dunn says. “It was very DIY and underground. No distribution and mostly mail orders and at shows. That was how we sold all of our stuff.”

At that time, No Innocent Victim was on Rescue Records, a small Christian label in San Diego. The label had given the multi-platinum band P.O.D. its start before it was signed by Atlantic Records and eventually with Columbia. Rescue Records, however, only marketed to Christian bookstores. Dunn and his band then moved to Victory Records, which had general distribution to hardcore markets, but had no Christian outlets.

“I soaked that in and saw what I liked and didn’t like about both labels,” Dunn recalls. He used all of that information when he started Facedown Records in 1997.

Dunn’s label was unique because it focused on hardcore Christian bands, offering general distribution. Ten years ago, few labels were available for these bands. Tooth and Nail, though Christian, had everything from punk to country. Victory was strictly hardcore, but not Christian. “I saw that there really wasn’t anything out there for people who wanted hardcore Christian bands. Likewise, Christian bands were having a hard time getting on general hardcore labels. There really wasn’t anything just focusing on this kind of music.”

Currently, Facedown Records has seventeen bands signed to its label, including xDEATHSTARx, Seventh Star, and A Plea for Purging. They also licensed the new album by Finnish band, The Immortal Souls, for North American release.

Facedown does full support for their bands. “We do all the behind the scenes stuff, and also have

Christian Hardcore Finds a Home Facedown Records Welcomes Them In

“I saw that there really wasn’t anything out there for people who wanted hardcore

Christian bands.”

jason dunn

by Janie Franz

our hand in the touring side as well,” Dunn says.

“We don’t actually have a house booking agent, but we have relationships with quite a few.

Usually, until a band is at that level where they can get the interest from an agent, they will end up booking their own tours.” Facedown also has an imprint, Strike First Records, that serves bands just starting out.

Facedown’s staff includes a talented graphic artist, Dave Quiggle, who designs all of the album covers. “That always has been a big priority,” Dunn says. “If we can grab someone’s eyes, hopefully we’ll get the album to their ears, and they will like that as well.”

Facedown recently signed a deal with RED to increase their distribution so all of these bands should expect to see their work in more hands. “We were with some independent, smaller distributors before,” Dunn explains.

“Having the muscle of RED, which is owned

by Sony, comes in handy when it comes to getting your albums into stores.”

Though RED handles a variety of genres, they do have an urban department and are known for hardcore music.

In addition, Dunn’s label produces Facedown Fest on the West Coast every spring. At a 1,000 person, all-ages venue, fourteen bands play over two evenings, drawing fans from all over the US and Europe. Last fall, the label also sponsored a Facedown Fest in Maryland to celebrate their 10th anniversary.

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www.skopemagazine.com

blastmym

by Janie Franz

Helping Artists Make More Money

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January/February 2008

c

hris Fellure thinks he’s found the remedy for today’s ailing music industry. As founder and CEO of BlastMyMusic, he sought a way to help artists get their music into the hands of more people and to profit from it. Fellure began with a concept in January 2006. “We spent months developing it, started building the site that summer, and launched officially October of 2006,” he says.

A concert promoter and manager for eight years, Fellure understood the hardships of touring bands, hearing tales from veteran musicians who had seen a stark change in the industry. Thirty years ago, bands toured to sell records.

That made money for labels and well as for artists. But early in the 21st century, it was evident that something had changed. Artists were now touring to make a living, and sales from records went into the label’s bank accounts (if they had a strong marketing department that pushed a band’s work). “I just realized that artists weren’t going to see any money from their record sales,” Fellure says. “Even if you do sell those records, it’s six months to a year before you see any of that money.” Then there are audits and paying back advances to the label, and what Arlo Guthrie calls “the creative accounting of the music industry.”

Instead of creating a label as Arlo Guthrie did, Fellure decided to create a vehicle to sell recording artists’ work. The idea is simple. For no charge, a band can create a BlastMyMusic account, set up a MusicBlaster music player on its website, and sell music immediately.

Fans can go to the band’s website or to BlastMyMusic.com and download an MP3 version that can be played on any digital player.

“The majority of our artists are independent artists and labels looking for methods for distributing their music,” Fellure says. “We also have accounts for distributors for the labels they represent.”

BlastMyMusic allows the individual artist, the label, or the distributor to sell music in several different ways. They can sell singles or albums. “We also have variable pricing that artists can use if they want to do a special,” Fellure explains. One of their bands, The Working Title, featured an album for $5.44 as a promotion.

Fellure works other deals into a music special. “We’re also bundling a ringtone with that album,” he says. “If you buy that record, we’ll send you a free ringtone.” This is a unique feature. “There are a lot of people talking about how much money there is in the ringtones.

Most of that money is with the carrier.

If you give away a ringtone, there are no fees involved. So, we use a free ringtone as a ‘value add.’”

Because fans can buy only the tracks they love (or if a band offers a full album at a discounted price), bands make more money. “Instead of charging $20 for a ten-song CD at the store, if they use our services, artists can do special pricing or promotional rates and distribute their music that way. With the lower dollar amount, fans are more likely to spend more,” Fellure says.

The music site is also testing a new customer affiliate program. Here, fans become music distributors, promoting their favorite bands on their websites and garnering a small profit. For example, if you were a fan of Trapt, a multi-platinum band that exclusively released their new single, “Stay Alive,”

human interest

music.com “The majority of our artists are independent artists and labels looking for methods for distributing their music.”

last summer through BlastMyMusic, you could create a customer account and put a MusicBlaster on your fan site. “We’ll pay the fan a 5% commission for any music that is sold through their website,” says Fellure. “It’s a good way to motivate the street teams and fan base to help their artist and make a profit.”

With the speed the site has been growing, musicians can only benefit.

Getting the music into people’s hands is the way to increase sales. Fellure asserts that “it exponentially increases the potential audience.”

The new users are online, and Fellure has found a way for them to download legally. And that should benefit everyone.

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You’re Gonna Miss Me The Strange Odyssey of Roky Erickson

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January/February 2008

t

he history of rock ‘n’ roll is replete with all manner of tragic stories. In a few rare cases, the stories turn around into something more positive. Roky Erickson’s is one of those stories.

Erickson was the founder of the first psychedelic rock group, the Thirteenth Floor Elevators. The group was renowned for its 1966 psych-punk classic “You’re Gonna Miss Me,” and for attracting unwanted attention from the local authorities for blatant use—and celebration—of illegal drugs. Roky was erratic even without the introduction of psychoactive substances. As producer Stu Cook* told me, “Roky just always got turned on by people who didn’t always have Roky’s best interests at heart. There were a lot of people hanging around with chemicals, and Roky just tried ‘em all.” Arrested in 1969 for possession of one joint—no kidding—Erickson plead not guilty by reason of insanity. Diagnosed as a paranoid schizophrenic, he thus began a decades-long odyssey in and out of what Cook calls “the One Flew Over the Cuckoo’s Nest era of institutional care for the mentally ill.”

Fans, admirers and friends tried to help him.

Cook produced Roky’s first post-Elevators album, 1981’s The Evil One (aka TEO). Cook recalls, “I flew from California to Austin. And then I had to go out to [Rusk] Texas State Mental Hospital to get Roky out. I remember having to put on a tie—you had to wear one—all the patients thought I was a doctor!

We took Roky to the studio, and then at the end of each day we had to take him back to the hospital!”

Stu says, “you never knew which Roky was going to show up at the session. Sometimes we’d just have to send him ‘home.’ Often he was too much under the control of… something else…to really make it work.” But Cook carefully pieced an album together, and says that Roky “loved it.”

Cook believes that “Roky and Syd [Barrett, founder of Pink

Floyd] have a lot of similar characteristics.

Both gifted people who lived with demons.”

Speaking of demons, grotesque horrormovie imagery was Roky’s lyrical stockin-trade in his post-Elevators days. Cook remembers an especially memorable track off The Evil One. “One of my favorite songs was ‘I Think of Demons’—Cook pauses mid-title for effect—’For You.’” He laughs. “It’s almost like a love song!” Stu makes sure to point out that Roky was no puppet in these sessions.

“The thing was, all these ideas were Roky’s.

But they had to go through me as a filter.”

Roky’s tale is the subject of a new film by Texas native and director Keven McAlester, who refers to Roky as Texas’ own “Loch Ness Monster.” You’re Gonna Miss Me examines Roky’s mental health system saga, and his relationship with his mother. “What white male doesn’t have mother issues?” asks Stu Cook rhetorically, while noting that Roky comes from “a very eccentric family…I’m choosing my

“We want to focus really heavily on the independent players in fashion”

also suggests these artists: Iggy & The Stooges, Neil Young, The Mountain Goats Photography by Kevin Yatarola, Guy Clark

by Bill Kopp

words carefully here.” With similar understatement, McAlester calls Roky’s relationship with his mother “complicated.”

The documentary—shot between 1999 and 2002—traces the efforts of Roky’s youngest brother Sumner to emancipate Roky from his mother’s “care.” When McAlester began the project, Sumner hadn’t started proceedings; Keven jokes that “not only did I not know what was going to happen, but I didn’t know how to make a movie!” McAlester admits that the original idea for the film was “what happened to [Roky], and where he is now,” and that the rest “unfolded as we were filming, which is arguably more interesting.”

McAlester insists that Roky’s “music itself makes great records,” but for a film, “you need a story to tell. And the story of who Roky [is]—and how he got to where he was—makes it interesting to somebody who might not care about the Elevators.” The movie “certainly [has] a happy ending, but I wanted to raise the question of what a happy ending could mean in this situation.” He hopes that at the film’s end, viewers will be left “curious” about Erickson.

At risk of giving away the film’s denouement, there’s plenty of Roky-related activity in 2008. British journalist Paul Drummond (seen in the film) recently published Eye Mind, a Roky bio. McAlester’s film is out on DVD. Roky performed a set at last year’s SXSW. And Roky’s publicist tells me that a new album (reportedly featuring ZZ Top’s Billy Gibbons) is “hoped for” later this year. * Stu Cook is best known as bassist for Creedence Clearwater Revival. Look for my feature on Cook’s current band in the Mar/Apr issue of Skope.—ed.

human interest

This Ain’t No Piano Recital Willie Mae Rock and Roll Camp Shows Girls How to Bring the Rock and Take It Anywhere They Want

nnika Scilipote, the lead guitarist of Atomic Feedback, is shredding. When the band’s song hits its climactic end, she and Atomic Feedback’s other guitarist knock guitar necks in triumph while screams of adulation fill Manhattan’s Highline Ballroom. In tribute to her fans, Scilipote spontaneously hurls her guitar pick into the crowd. There aren’t many other little girls who can say they’ve had a day like this before they hit middle school.

Even more unusual is that the members of Atomic Feedback met only a week earlier, at the first day of the second session of Willie Mae Rock and Roll Camp for Girls in Brooklyn. Some of them had never even picked up an instrument, but by the end of the week they were two guitarists, a bassist, a drummer and a vocalist. And they had written an original rock song, practicing it until it was ready for the ballroom stage. And they were only the opening act, followed by Electric Dreams, Stick It to the Band, Spicy Tuna Rolls, Disturbed Disney, The Abominable Snow Girls, and ten other bands made up of girls ages eight to 18.

Coming up on its fourth summer in 2008, the Willie Mae Rock Camp was inspired by the Rock and Roll Camp for Girls in Portland OR, where New York musician Karla Schickele had volunteered for several summers. Convinced that New York’s girls needed a counterpart, she pulled in several other women including lawyer/drummer Hanna Fox and bookkeeper/ bassist Rose Thompson, and the group established a non-profit music camp designed to foster self-confidence, self-esteem, creativity, tolerance, and collaboration for young girls through the power of rock and roll.

“We ask a lot of them, and it never ceases to amaze me how wholeheartedly they jump in to respond,” says deputy director Ruth Keating about the campers, a majority of whom have never played and instrument. “Within the first few hours of camp, they’re forming bands.” In addition to accounting for instrument preference, staff members group the girls in a process that Keating says is like “modified speed dating,” in which they survey other campers on favorite music, snack, animal, or anything else that will help them find good bandmates. “Even then, we try to stress that just by virtue of everyone having made this choice to be at camp, they’re all awesome, and any random combination of girls would make a great band,” says Keating. “The whole week is really about working together.”

Like rock at its purest, rock camp is not reserved for the privileged. By design, Willie Mae campers are demographically representative of New York’s five boroughs, and more than half receive scholarships for all or part of the $500 tuition. All staff, from instrument instructors to grantwriters are volunteers, including counselors who come fulltime for two weeks.

Seeing the girls rock out together, it’s easy to see why adults would give their time for free. Take one of the bands in 2007’s second session, the Dangerous Mz. Pac Man. “I asked them how they came up with the name, and they said ‘some of us wanted to be Ms. Pac Man, and some of us wanted to be the Dangerous Flamethrowers, so we just compromised,’” Keating recounts. “So they’re not only working together, you also get really awesome band names.”

Amy Leon, 15, of East Harlem, picked up the bass for the first time as a member of the Exploding Amps, and plans unequivocally to continue with the instrument. “You’re so nervous until after you’re done,” she says. “Then it’s a relief, and it’s awesome.”

“Everyone’s really nice,” says Megan Penny, 13, Roadkill Rewind’s first-time bassist who traveled from Pennsylvania to attend camp. “And if you mess up, they’re still really nice.”

While some girls form gigging bands post-camp or decide to pursue music seriously, Keating says that Willie Mae Rock Camp is really about how they carry the experience into their lives throughout the year.

“After every session we hear from parents saying ‘this was just the most amazing week for my daughter,’” says Keating. “‘She really came out of her shell, she’s holding her head high and she’s ready to go back to school in a way she wasn’t ready last summer.’ And that’s more rewarding than anything else. It really makes us feel like we’re doing the right thing.”

For more info, visit www.williemaerockcamp.org.

s e i d a l

ca mp

rock

by Evie Nagy

Photography by Kate Milford, Roger Kisby

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Survivin

The Still Life Explores Universal Themes hen Joel Miller started writing The Still Life, his independent film that’s currently out on DVD, he set out to tell the story of a tortured artist who was being pushed in the wrong direction by a number of influences.

These influences would cause such internal strife within the artist that it would lead to continual self-destructive behavior. Miller, a former roadie for a number of high profile bands, including Guns N Roses, Stone Temple Pilots and Poison, says that despite the plotline, “the film is not based on Scott Weiland, and it’s not based on Axl Rose. But with certain bands that I traveled with, it was interesting to see [that] some of these guys who I was so impressed by—and in a lot of respects wanted to be—are not happy with what they’ve accomplished. And you wonder why.”

Although the film isn’t based on any actual person, Dean Dinning, lead singer of Toad The Wet Sprocket, notes that when it comes to the main character, Julian Lamont, “I have known people who are like that. I have certainly seen people who have destroyed themselves.”

Dinning, who produced some of the music for The Still Life and also has a bit part in the film, continued, adding that even although Lamont is a painter there are distinct parallels between his downfall and the downfalls of a lot of musicians. “The fact that he had lost control of this thing he was celebrated for before it even became celebrated…this happens in the music industry all the time.

You’re celebrated for something that is not the thing you got into it for.

Then people flame out real fast because they are involved in something that they don’t feel invested in anymore.”

The reason Miller chose art rather than music to be Lamont’s skill was twofold. First, he remembered a conversation he had in his youth with his father at a museum; they discussed how important it really is to be remembered once one is dead. Also, Miller is a huge fan of Vincent van Gogh. “A lot of people know van Gogh as the artist who cut his ear off. But people just don’t cut their ears off; there’s something behind it.”

All of the characters in The Still Life are based on Miller’s fears.

Lamont is a man who is unhappy with what has become of his work despite its popularity. Lamont’s girlfriend Robin, who is played by Rachel Miner, is an example of the women Miller has seen far too many times. He explains, “I was meeting a lot of girls who just didn’t know who they were. And they always tell us [that] women

ng Genius

human interest

by Adam Bernard

get older so much faster and they know so much more than us. But I wasn’t finding that. I was finding ‘girls,’ I wasn’t finding women.” There’s also an art dealer who only cares about money, and a lonely elderly woman who can’t fix up her own house.

During the creation of The Still Life something even deeper than those fears happened to Miller: he ended up turning into a living, breathing example of the point he wanted to get across with the film. “I want people to realize that they are artists,” he explains, “and I don’t care how busy their schedule is. They should be working on creating artistic endeavors for themselves and being more individual in their wants, not doing things because society will appreciate what [they’ve] done.

What you need is to be happy for you, not happy for the masses.” Miller ended up needing to live by this ideology during filming, as he notes “I wasn’t doing well for a while.” Not doing well included having family members, including his father, pass away, an old roommate committing suicide, another friend

overdosing, a coyote eating his dog, and even one of his actors, Yolanda King, daughter of Martin Luther King, passing away. Miller feels the movie is what kept him going, saying “I was really glad to have the film to focus on.”

After filming was completed, Miller became so sick he was bedridden and even went temporarily blind for a few days.

Now that his eyes and body have healed, all that’s left is for his artistic vision to start seeing the fruits of his labor and inspire others to find the artists that lie within themselves.

“I want people to realize that they are artists.”

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Giving High Volta AC/DC M R &R

January/February 2008

by Amanda Cuda

a

aximum

“AC/DC are an institution—not a novelty act— and are deserving of a book that

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properly reflects

their standing.”

Photography by Philip Morris, Arnaud Durieux

ock

oll

ny self-respecting popular music fan knows the basic story of Australian rock gods AC/DC: the school boy uniform worn by guitarist Angus Young; the seemingly endless catalogue of hits; the talented but troubled lead singer who died too soon; the Phoenix-like resurgence in the 80s with a new singer and a new arsenal of blockbuster songs.

But that outline just scratches the surface of a sprawling rock and roll saga. At least, that was the feeling of music journalists Murray Engleheart and Arnaud Durieux. The two felt that, while The Rolling Stones, The Who and other acts had inspired serious books based on their stories, there had been no definitive work on the band behind such classics as “Highway to Hell” and “You Shook Me All Night Long.”

“There is so much more to the band than Angus Young’s school boy uniform and selling container loads of albums,” said Engleheart, who lives in Sydney, Australia. “AC/DC are an institution—not a novelty act—and are deserving of a book that properly reflects their standing.

We felt we were uniquely placed to deliver such a book.”

The two penned AC/DC Maximum Rock & Roll, an exhaustive examination of the band, from its early years with original lead singer Dave Evans, to its breakthrough success with lead singer Bon Scott, to Scott’s 1980 death, and the band’s subsequent resurrection under new lead singer Brian Johnson. The book was first published in Australia in November 2006, and became a bestseller there. It was released in the United States in January 2007, and comes out in paperback here this year.

Both Engleheart and Durieux had an interest in AC/DC that predated their work on the book. Engleheart has written liner notes for a number of AC/DC albums, and Durieux has followed the band’s career for 25 years, and worked as a consultant on many of the band’s projects for Warner Music and Sony Music. Durieux, who lives in New York, said books had been written on the band before, but “no one ever went in-depth about their beginnings in Australia, and most of the books had their stories wrong.”

Determined to get the story right, Engleheart and Durieux did painstaking research, tracking down anyone who had known the band members between 1969 and the present. The writers also culled the best information from the past interviews they had done with band members. Engleheart said getting in-depth information from the musicians is difficult, because they are private people by nature.

human interest

“They don’t court the spotlight and don’t like to sing their own praises,” Engleheart said. “We simply have been lucky enough to interview members of the band on many occasions over the years and asked some questions that got some great answers. We were also blessed to secure exceptional interviews with some people close to the band.”

The book mainly centers on guitar-playing brothers Malcolm and Angus Young, and how AC/DC grew out of their determination. In fact, as revealed in Maximum Rock & Roll, Angus Young was so focused on his guitarplaying that, while growing up in suburban Australia, he would run upstairs to practice as soon as he came home from school – without changing out of his uniform. That early quirk was the inspiration for Angus’ onstage costume, which he began wearing even in the band’s early years.

That’s just one of the anecdotes revealed in the pages of Engleheart and Durieux’s book. Engleheart said there a number of stories that will stun even the most hardcore AC/DC fans. For instance, the Young brothers were offered (and declined) seats on Lynyrd Skynyrd’s plane in August 1977 – two months before that band’s fateful plane crash.

So far, the book is a best-seller not just in Australia, but also in Germany and Finland, and Durieux said it has garnered a positive response in the United States as well.

But the authors said that success is secondary to the fact that they managed to put together a tome that they feel adequately tells the AC/DC story. “It’s a story that needs to be told,” Durieux said. “Because it’s just an incredible rock and roll story.”

sydney masters

age Band Its Due

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On the Edge of Revolution

Rapping with John Sinclair

“It was this window on the world you didn’t

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know nothin’ about.”

by Claudia Ward-de León

ohn Sinclair is back in Detroit.

“Highest greetings from Firenze, Italy,” his last e-mail to me read. He was spending all of September premiering his film, Twenty to Life: The Life and Times of John Sinclair, and then planned to return to the States for its debut in his home state of Michigan. And following Michigan, on to New Orleans.

There are many milestones these days for Sinclair. He just turned 66. The 35th anniversary reprint of his 1972 book, Guitar Army was just released. The book is a good crash course for anyone new to Sinclair’s life. The first half is dedicated to an autobiography of sorts: “I was born in Flint, Michigan on October 2, 1941…I just turned the radio dial one day sitting in my little bedroom…and BOOM! there it was—the music that would turn my whole life around.” The remainder is filled with pictures, quotes, and Sinclair’s writings spanning the period of 1968-1971 for the underground press. Guitar Army reads more like a scrapbook compiled from periods of someone’s life than your classic autobiography.

His list of associations, achievements and accomplishments reads more like those of six people, rather than merely one person.

Jazz Poet. Editor of The Sun, an underground hippie revolution newspaper. Leader of the White Panther Party. Socialist. Manager for the Motor City 5 aka the MC5. Founder of the Detroit Artists Workshop. High Priest of the 1998 Amsterdam Cannabis Cup. Producer of the Ann Arbor Blues & Jazz Festival, once famed DJ of WWOZ in New Orleans, former editor of the Detroit Sun. Oh yes, and did I mention John Lennon wrote a song about him?

In 1971, Sinclair had been set up and hauled off to Jackson Prison for giving away two joints to an undercover cop, resigned an almost a ten-year sentence for the crime. At a freedom rally in his honor, John Lennon, Yoko Ono, Stevie Wonder, Allen Ginsberg, and other notable artists performed during the eight-hour event. There were 15,000 people present and John Lennon performed the song “John Sinclair” in his honor. A few days later, Sinclair was a free man, his conviction overturned by the Michigan Supreme Court.

“They were my contemporaries.” Sirens howl in the background and we pause from our conversation.

“Lots of crime around here,” he mumbles when the racket dies down. “Janis Joplin,” he continues, “Big Brother & the Holding Company, The Grateful Dead.” Sinclair knew and hung with them all.

But how did this life of dissent and revolution begin?

“It came to me on the radio,” Sinclair recalls. “There were really good records on the radio back then. Bo Diddley and Little Richard and Chuck Berry. They were hip beauty and full of hope. The greatest stuff I ever heard in my life. It was this window on the world you didn’t know nothin’ about.”

Sinclair made the myths of his generation. The group he managed, the MC5 was known for igniting the crowds and rallying the youth culture.

“It was people doing interesting things because they couldn’t stand the way it was,” he says, speaking to the conformity and gauze of complacency covering the country. But though he made his mark, Sinclair’s utopian world view of “rock ‘n roll, dope and fucking in the streets,” has not exactly come to fruition.

His heavy sigh tells me he’s tired of talking about the powers that be. “It’s a mess. The government is a wholly-owned subsidiary of the corporate world,” he sighs again.

And apart from the government, there are those kids who have never heard a Chuck Berry record.

“Today’s black culture is degenerative. Most black people have never heard a good record unless they are my age. It doesn’t swing, it doesn’t have soul.” And hip-hop, he says, is “all ‘bout getting money.”

Sinclair—who splits his time between Michigan and The Netherlands these days— continues to push the envelope and create and collaborate. His movie was released to DVD in October. Though getting high all day and fucking in the streets is still not allowed by law in any parts of this country that I know, he giggles as if just given a toke from a spliff. “I wouldn’t mind living that way,” he says. “What’s so bad about that?”

human interest

tour smart martin atkins School of Rock

t

he 2003 motion picture comedy School of Rock featured Jack Black playing a washed up rocker who steals his roommate’s identity, becoming a substitute teacher at a prestigious prep school in order to pay the rent. After a couple failed attempts to dupe the children into believing he really is a teacher, Black decides to make rock ‘n roll the focus of class curriculum and turn the snooty prep school snobs into rock gods. While the film poked fun at rock ‘n roll clichés, it offered little insight into the shark infested waters of the music business.

In 2005 when Pigface drummer Martin Atkins was putting together a four-band tour, he found himself swimming in paperwork for three tour buses, dealing with booking agents and burdened with 20,000 CDs and 60,000plus promotional postcards that needed to be mailed out. Faced with an impending deadline and not enough time to complete the tasks at hand, Atkins turned to nearby Columbia College to come to the rescue.

“We just went up there to do a presentation to the faculty, with

the idea to bring twenty interns down to the office to fold posters and mail out samplers and just get some free help,” Atkins remembers. “When I finished this presentation, one of the faculty members said, ‘That’s fantastic!

When can you start?’ I told them when the tour was happening, and they said, ‘no, we need someone to teach the business of touring. And we’d like you to do it.’ My initial reaction was, ‘You’ve got to be fucking kidding me.’”

Atkins, a veteran of the music business, has been actively touring and recording since 1979, when he joined Public Image Ltd., the post-Sex Pistols band fronted

by John Lydon (neé Rotten).

Since then, Atkins has performed and toured with many bands, including Ministry, Nine Inch Nails (where he was featured in the “Head Like a Hole” video and is credited for performing drums on “Wish”) and created the industrial rock powerhouse Pigface.

The offer from Columbia was no joke, and three days later Martin found himself in front of a classroom of young, budding musicians who enrolled in Atkins’ own School of Rock.

“I just went in and said, ‘the difference between me and a lot of teachers is that I still do this.

And I’m in the middle of doing this right now.’ I went into this wanting to understand what had been taught; I grabbed one of the books that the students were using—it was written in 1964,” he says, horrified at the lack of teaching materials. “I looked at that and told the students, ‘Look. I own my own label, my own studio and I’ve been doing this since I was fucking nine years old. I’m telling you that things are changing each week. And while this book—written in 1964—might have a few timeless gems in there, it isn’t really what we want to be doing.’ That was the beginning of it all for me.”

Always inspired by “do it yourself” punk movement during the late 1970s, Atkins decided to collect his class teaching lessons into a book form and create the first real textbook of touring, Tour: Smart.

“I think I saw an opportunity because I’m a performer—or because I was in a band with Johnny Rotten—that I had this window where I could talk to people about

“Because I was in a band with Johnny Rotten, I could talk to people about geography or a

geography or a spreadsheet and keep their attention for 10 or 15 minutes,” says Atkins. “I feel like if I had this book twenty years ago, as a label owner, I wouldn’t have signed a band unless they were prepared to sit in a room, read it and were prepared to answer questions about it to prove they digested it. The interesting thing for me was that it wasn’t until I started teaching that I learned a lot of the lessons in this book.”

Compiling over his own 30 years of experience, along with knowledge of high profile contributors like Henry Rollins, Zim Zum (Marilyn Manson), Kevin Lyman (Vans Warped Tour) and other industry professionals, Tour: Smart covers everything a touring band needs to know from booking, contracts and riders to dealing with the pitfalls of drugs and groupies out on the road. The book has a slick graphical design that compliments the material and makes it so easy even a member of Spinal Tap could understand it.

by James Wright

spreadsheet and keep their attention for or

10

15 minutes.” also suggests these artists: Public Image Ltd., Pigrace, KMFDM

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by Leah Wellbaum

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the

Sub City: Giving back one record at a time

ouis Posen was nineteen and in film school

here’s what

when he was diagnosed with retinal pigmento-

sets this

sa. The rare retinal disease gradually deterio-

home-grown

rated his eyesight until Posen went totally blind.

label apart—as

Despite his struggle, he continued assistant

of this year,

directing until he felt working with film was no

Hopeless/Sub

longer effective. Although devastated, he wasn’t

City Records has

going to give up his passions that easily.

donated over one

So Posen decided to target his skills elsewhere. “I’ve always been a huge fan of music, and music has meant so much to my life,” he

million dollars to charity.

Sub City, the

says. Creating Hopeless Records started out

division of Hopeless

as a hobby for Posen. The name of the label

Records that donates a

was ironic in light of Posen’s ever-ambitious

portion of its profits to charity,

attitude. “I started the label with one thousand

was first started in 1999. According to

dollars,” Posen recalls. “I borrowed the money

Posen, it evolved naturally through the gener-

from my brother, and got a book called How to

osity and determination of the Hopeless staff.

Maintain an Independent Record Label.”

“Before 1998, myself and others at the label

As the label started to grow, Posen realized

were volunteering and still working a 60-hour

how much potential his hobby had. He tried to

work week,” explains Posen. “We decided to

convince everyone he knew to help him with

combine the two, and that’s when we came up

his new project. He even had his mom stuffing

with the concept of Sub City. We wanted to do

7” records into paper sleeves. “At the time

something that goes beyond music.” And they

there wasn’t a business plan,” he explains. “Our

have. With a full stack of staff applications and

philosophy has always been, ‘first crawl, then

a load of charities on the roster, the nonprofit

walk, then run.’” Several signed bands later,

label continues to soar above and beyond

Posen found himself running full-speed ahead,

expectations.

with payoffs not just for the label, but for many of charitable organizations as well. And

“We’ve have bands like Thrice and The Weakerthans who put all their records out on

human interest

of the music industry Sub City. The difference [is that] if they pick Sub City, five percent will be donated to a charity. Artists get to pick and choose,” says Posen. The bands even get to select the charities their work will benefit.

What makes a band right for Hopeless/Sub City?

“There’s so many things that we look for,” says Posen.

“I like to compare it to looking for a significant other.

We go on some dates and find out about each others’ principles and values and goals.” Although Hopeless/ Sub City is host primarily to bands in the hard alt-rock genre, Posen insists that the label tries not to discriminate.

“We also look for great people who want to take their music and do something positive with it.”

One of Sub City’s most impressive initiatives is the Take Action Tour, a music festival devoted to suicide prevention and awareness. Take Action attracts millions of show-goers all over the country and brings them together for a love of the mosh pit and a common cause. Bands like Thrice, Hot Water Music, and Jimmy Eat World have participated in the past. Posen, who attends dates every year, insists it’s always a fun time. “There are lots of good stories, some of which I can’t share

Photography by Quang Le

publicly,” he laughs. “It really does show that people can have a good time and do something positive and learn about something all in one event.”

Hopeless/Sub City does not plan on slowing down anytime soon, and Posen is honored and appreciative that the media is interested and acknowledg ing the label’s accomplishments. He believes that raising awareness through the music scene promotes a strong generation of passionate and devoted people who, through the love of music and social action, can be united. “You don’t have to have tons of money and tons of time,” says Posen. “Each of us can make a difference.” Trust him. He knows.

“Our philosophy has always been,

‘first crawl, then walk, then run.’”

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Clif GreenNotes Strikes A Sweet Chord Greening Tours Through Music Partnerships

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by Janie Franz

hen Gary Erickson introduced his first Clif Bar, he wanted to combine his loves of the environment, cycling, food, and good music. The company, based in Berkeley CA, focuses on organic energy bars that are made sustainably. Erickson created a company that not only produced a healthy product but fostered a healthy workplace and raised awareness of what the ordinary person could do to keep the planet healthy.

Erickson, a jazz trumpet player, reached out to music festivals across the country to help them create a lighter footprint. Since 2005, they have worked with major festivals such as the Telluride Bluegrass Festival, South by Southwest, Harmony Festival, Bonnaroo, High Sierra, and the 10,000 Lakes Festival.

In 2006, Clif GreenNotes was launched. “The GreenNotes program is primarily designed around helping emerging artists green their tours,” says Jeff Johnson, Director of Brand Experience at Clif Bar. Currently, the program is working with seven touring bands, including soul singer Martin Sexton, roots musician Xavier Rudd, and the multi-genre John Butler Trio.

“I think the whole GreenNotes roster are artists who have been interested and engaged in the environment and have been wanting to do more,” Johnson says. “At that early stage in a musician’s career, it’s hard financially to invest in those things.”

Musicians who participate in the Clif GreenNotes program aren’t just given a grant and left to figure out how to use it. Each artist’s circumstances are carefully analyzed, and practical solutions are offered.

“The program starts with an actual audit of the touring musicians’ carbon footprint,” says Johnson. “We go in and work with their tour mangers to look at the transportation, to look at the food backstage, to look at the all of the materials that are associated with a large touring staff eating along the route of a tour. We help them source everything from compostable utensils and paperware backstage to biodiesel for the touring vehicle to organic cotton t-shirts to recycled papers for all of the collateral that’s associated with a tour.”

For the Australia-based John Butler Trio, the partnership with Clif GreenNotes has been most successful in America. “We decided it was about time we started dealing with the energy issue with the buses that we were driving,” says Butler. “We got together with Clif Bar to find a way to hook up our buses with biodiesel and start liaising with our venues to reduce the amount of waste we were creating and the energy we were using. Clif Bar is really proactive with that.” Butler’s bus driver owned the buses they use and was eager to see if they could be retrofitted for sustainable fuels. “Both our buses on the last tour were mainly running on 100% biodiesel,” Butler says.

Clif Bar worked with Butler’s venues to bring in organic food for tour personnel. “They provided big bottles of water rather than many little bottles of water,” Butler adds. Little solutions like that helped reduce waste on the tour.

The GreenNotes program encouraged Butler to continue his own environmental work and human rights work. “It’s not really about any one ‘ism,’” he says. “It’s about common sense as human beings, living together on this planet. Sometimes that’s political. Sometimes it’s social. Sometimes it’s humanitarian. Sometimes it’s environmental.

Essentially, it’s all under the guise of living in a way that is sustainable and harmonious with each other.”

In the first year, the Clif GreenNotes program has offset more than 18 million pounds of CO2, eliminated over 600 pounds of pesticides through the use of organic cotton t-shirts, reduced about 25 percent of the carbon monoxide emissions from tour buses, eliminated nearly 500 pounds of virgin timber by printing on recycled paper, and saved water, energy, and waste by housing musicians at eco-friendly hotels.

“Really, the power of the program comes from partnering with these artists to take the message out to their fan base,” says Johnson.

“As much as Clif as a company and the artists themselves can do in minimizing our own footprint, getting that education and knowledge out amongst a larger group of people through fans is really where the big impact is going to come from.”

Clif GreenNotes will be expanding this year, adding several new artists.

human interest

Good-bye,

June Cleaver Association of Women in Television and Radio

m

aria Brennan might have been a fan of the classic 1950s sitcom Leave it to Beaver, but she—like many other women in the television and radio industry—didn’t exactly see June Cleaver as an ideal female role model. “To think that women ever vacuumed in pumps and pearls is a bit astray from reality,” said Brennan, president of American Women in Radio and Television.

It’s unlikely that you’d see such an image on today’s television screens, and American Women in Radio and Television is probably part of the reason for that transformation. The group was founded in 1951 with the aim of making sure that women were represented in every job level in the television and radio industries, and that depictions of women in these media were realistic. Translation: good-bye June Cleaver; hello Mary Richards and Murphy Brown.

“If you think about how women were depicted on TV and radio before you had women in positions to affect programming and content, the public’s view of women was pigeon-holed into a June Cleaver mentality,” Brennan said. “AWRT is here to make sure that women have representation across the broader employment sector, to ensure we are in position to provide input and leadership about issues that help create a realistic public perception of how we are portrayed.”

AWRT originally began as an offshoot of the National Association of Broadcasters. That group had just disbanded its women’s division, the Association of Women Directors, and voted to create a new organization. Today, the AWRT has thousands of members internationally, representing women in all levels and divisions of the electronic media, from communications students to radio and television station owners and on-air talent.

Its goals are the same as they’ve always been—to work for the advancement of women through education, advocacy and by acting as resource for women in these professions. The organization has its own education foundation, founded in 1960, which supports educational programs, charitable activities, public service campaigns and scholarships. AWRT also has its own awards ceremony, the Gracie Awards, celebrating the best in women-centered programming and those who produce it. Recent honorees include Tina Fey, star and creator of the NBC sitcom 30 Rock, CNN anchor Soledad O’Brien and ABC Radio Network’s “Satellite Sisters.”

Brennan said the attitude toward women in the television and radio industries has come a long way since the AWRT first began,

but there’s still a lot of territory to cover. “I wouldn’t say it’s hard for women to be taken seriously, because there’s just too much evidence to the contrary,” Brennan said.

“Instead I would say that our challenge is to make sure that we continue to fight for better percentages when it comes to issues of ownership and high clout titles.”

According to a 2003 report from the Annenberg Public Policy Center of the University of Pennsylvania, women comprised only 15 percent of executive leaders and only 12 percent of board members in top communication companies. The report also stated that those numbers were unchanged from the previous years. It’s statistics like those that AWRT is working to change, Brennan said.

“The glass ceiling still exists for women in the media—more so than other industries,” she said.

“Our challenge is to keep the public informed so that we can continue to promote progress and create positive change.”

AWRT members and leadership continue to look for ways to promote, educate and support women in the communications industries. Brennan said she’d like to see the organization do more internationally, perhaps using the AWRT’s education foundation to “give back in meaningful ways.”

She said she’d also like to see more visibility for the Gracie Awards. Since the event began more than thirty years ago, it has grown from a luncheon attended by roughly 100 people, to a major event drawing nearly a thousand leaders from throughout the fields of radio, television and electronic media. Brennan said the next step is to get the event televised. “We want the public to experience the same pride we have for the great work of our members each and every day,” she said.

by Amanda Cuda

It’s Not Easy Being

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t

by Len Sousa

Erasing The Blood Diamond Stigma

Gr

he Simmons Jewelry Company, co-owned by hip-hop entrepreneur Russell Simmons and his ex-wife Kimora Lee Simmons, has announced what it has dubbed the Green Initiative Collection. Thanks to a popular Hollywood movie and recent campaigns geared at spreading the word, the idea of buying “conflict” or “blood” diamonds from Africa has rightly sent a chill down the spines of many jewelry lovers. In an effort to combat this negative view—and, not coincidentally make people feel better about buying pretty things—Simmons has rather deftly exploited the angle for charity.

Co-founder of Def Jam Records and producer of shows like Def Comedy Jam and Def Poetry Jam, Russell Simmons has thus added yet another “Def” to his repertoire with the establishment of the Diamond Empowerment Fund (DEF)—a non-profit group that accepts donations made from sales of the Green Initiative Collection.

Customers who wish to look good and make a charitable donation at the same time may choose form among a variety of necklace and bracelet designs. One such item—the Green Bracelet—is made of malachite beads and a conflict-free rough diamond encased in a gold pendant for $125. Fifty percent of the net profits made from the Green Bracelet will be donated to the DEF (only twentyfive percent of net profits from all other items in the Green Initiative Collection will go to the DEF).

DEF Executive Director Ellen Haddigan says the group’s mission is to help support “education initiatives that develop and empower those most disadvantaged” in countries where diamonds are mined. She adds that the DEF “will choose a small number of projects at a time as the focus of its granting efforts. We are starting with CIDA City Campus in South Africa. And [we] are very interested in Botswana, as it is really a model for how diamonds can be used effectively for the benefit of an entire nation.”

Certainly a worthy cause, but what’s surprising about the DEF’s choice to aid South Africa and Botswana is that most conflict diamonds (that is, diamonds sold expressly to finance war and violence) actually come from other areas of Africa. Countries like Angola, Liberia, and Sierra Leone have all been the most hard-hit by the sale of blood diamonds.

Today, thanks to the diamond industry’s 2003 adoption of the Kimberly Process Certification Scheme, blood diamonds make up less than one percent of the diamonds sold in the world. The instances of violence depicted in the 2006 film Blood Diamond and in Kanye West’s Grammy®-winning song “Diamonds From Sierra Leone” have since been dramatically reduced.

Though the DEF would not release figures on how much money they’ve raised, Executive Director Haddigan did

human interest

reen discuss just how far the DEF’s goals extend. “The vision for DEF is to engage the entire diamond and jewelry industry in raising funds to benefit educational initiatives in African nations where diamonds are a natural resource.

The Simmons Jewelry Company has been incredibly helpful to DEF in helping build awareness for our mission, and the Diamond Trading Company and DeBeers [cartel] are founding supporters of DEF.” Participating in what they call “cause marketing” in their open invitation to the international diamond jewelry industry, the DEF has asked companies to join in simply because it makes good business sense. As the invitation reads, “according to the Cone Millennial Cause Study in 2006, 89% of Americans age 13 to 25 would switch from one brand to another of comparable product and price if one were associated with a good cause.”

This brand thinking is what likely caused Simmons Jewelry to name their collection the “Green Initiative” in the first place. The “green” in this sense has nothing to do with being environmentally friendly but instead refers to diamonds simply being a “natural” resource in Africa. Of course, oil is also a natural resource, but one would be hardpressed to call it “green.”

In the end, it seems the Simmons Jewelry Company has found a clever way to convince those not generally interested in donating money to purchase something pretty knowing that at least some of the money will go to a good cause. Though it’s only fair to remember that the same $125 could be donated in its entirety to a non-profit like UNICEF or Amnesty International and thus perhaps do even more good. But then one wouldn’t have the chance to wear the same bracelet as Beyoncé. And we couldn’t have that, now could we?

Today, thanks to the diamond industry’s adoption of the Kimberly Process, blood diamonds make up less than one percent of the diamonds sold in the world.

Photography by Johnny Nunez

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The Jon Klein Combine

Michael James

Father-son band The Jon Klein Combine (named after guitarist Matt’s daddy) is a hard-driving blues/rock group that incorporates elements of soul and funk into their music. From the fertile music grounds of NYC/New Jersey, the Combine manages to sound traditional, fresh and new all at once.

On their web site (www.jonkleincombine.com) they tell us their music is for those “tired of the same old shuffle blues, jam-bandish self-indulgence or angst-driven teeny bopper rock.” In other words, nearly everybody. Hooks and foot-stomping melodies are given a rock-solid backing; Jon’s strong vocals and Matt’s searing leads are the icing on the cake.

Equally well-suited for close listening and as background music for an evening of romance, Michael James’ Everything We Used to Be is a wistful collection of acoustic-guitar-led songs that suggests a less idiosyncratic Dave Matthews. With his Jeff Beck good looks and distinctive voice, the Denver native’s approach has won him fans and praise across the country. James has earned significant college radio play and high-profile gigs at the Hyperactive Music Festival (Albuquerque NM), Diversafest (Tulsa OK), NXNE (Toronto), 2007’s Virgin College Mega Tour and many others.

The JKC’s self-titled album (available from CDbaby) features thirteen songs in the Allman Brothers vein, but with definitive and distinctive modern influences mixed in to good effect. An album highlight is “USB,” which answers the question (in case you asked), “what would Beck, Bogert & Appice have sounded like with SRV on vocals?”

Everything We Used to Be and his first solo effort, the 2005 Loft Sessions EP are currently available from www.michaeljamesmusic.com, and Michael is already working on his next album, due soon. “I really feel like I’ve grown as a writer and as a singer since my last album. I want that evolution to shine through on the next one.”

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human interest

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by Bill Kopp

h

Yes

YesSessions

ere’s one for the prog fans. Yes was among the best groups to hybridize progressive and popular styles. With Jon Anderson’s pliant upper-register vocal juxtaposed against Chris Squire’s assertive bass playing, the group made complex music for the masses.

The group boasted classicallyinfluenced guitar from Steve Howe (or Peter Banks on the early tracks), inventive and nimble drumming from Bill Bruford (and later, Alan White) and powerful keyboard work from Tony Kaye (and later, Rick Wakeman). YesSessions is a relatively careful compilation of Yes and Yes-related rarities from the period 1967-1973. The three-disc set brings together various tracks (both live and studio) that fans of the art/pop group should enjoy. And there are gems for non-Yes fans as well.

Disc One kicks off with some pre-Yes material. First up are the A- and B-sides of 1967 singles

by The Syn (featuring future Yes bassist Chris Squire). “Created

by Clive” is a fruity, twee, veddy English pop single that could only have come from ‘67. In fact, other groups (including The Attack) recorded it as well. Clever but forgettable. The B-side “Grounded” is an excellent raveup in the freakbeat style. Both sides of The Syn’s 1967 hit single are included.

“Flowerman” is, again, disposable.

But “Fourteen Hour Technicolour Dream” (a tribute to a London

musical “happening” of the era) is a classic. These four tracks represent the entire recorded output of The Syn in the 60s (the group reunited in 2005).

The next three tracks are something of a Holy Grail for Yes fans: three BBC performance tracks by Mabel Greer’s Toyshop (basically Yes before they wised up and got a clever name). These tracks date from March 1968; audio quality is only good, but their historical importance means that we don’t quibble. The middle section of the unreleased track “For Everyone” eventually resurfaced as part of “Starship Trooper” on The Yes Album. The extended arrangement of “America” is a hint at where they’d soon head musically. Conversely, the standout “Jeanetta” teasingly suggests another direction Yes could have pursued. The remainder of Disc One includes other early radio broadcasts, primarily from 1970-71, and three tracks from a Swedish concert (also ’71).

Disc Two kicks off with another oddity: a long onstage jam (the next day, still at the festival in Sweden) featuring Yes augmenting Iron Butterfly. Most of the remainder of the disc features the audio tracks of Yes TV performances from 1971, doing well-known numbers from The Yes Album on German and UK television. In the middle of solo spotlight “The Clap,” Steve

Difficulty to Locate: 7 out of 10 General Listenability: 6 out of 10

Howe inserts an ace rendition of Mason Williams’ monster hit “Classical Gas.” The third disc starts off with a rare 1971 demo recording of “Roundabout.” But the highlight of the final disc is a 1971 BBC concert recording, including six songs. The disc is finished off with some promo/alternate versions of later-era (Tormato) Yes. Put together in 1999, the set comes packaged in one of the older-fashioned CD cases (like The Beatles’ Anthology volumes) and the artwork is an unauthorized (natch!) Photoshop amalgam of Roger Dean’s work for Yes. The set could have included some of Jon Anderson’s pre-Yes work (with various short-lived acts) and Steve Howe’s excellent playing with Tomorrow, but since it’s a bootleg/pirate there’s no one to whom to address such complaints.

Some of this material has seen official release (the Syn singles, some of the BBC sessions) but overall it’s a worthwhile addition to the extensive Yes canon.

eature

highlights

the hottest of the hot

ad or otther article Once again Skope brings you the news on today’s hottest musical acts. From Australasia there’s Crowded House. The world music of Global Drum Project taps on styles from Africa and South America.

And Porcupine Tree brings the latest from the UK. Genre-wise, we’re eclectic as ever. From the spoken word of Henry Rollins to the skewed, intelligent pop of They Might Be giants to the ATLers Shop Boyz, Skope is committed to shining a light on the most interesting goings-on in today’s music.

And those are just a sampling. Dig in!

ozma the road to Pasadena Ozma’s Return Is No Rose Parade

by Bill Reese

o “I hate it when people come up to me and say

‘Oh, you’re just a white guy in an

That really hurts.”

to return to Pasadena and reclaim the music that held them together. In early 2006, Slegr, Galvez, Brummel and Wick announced their intentions to reform Ozma. Drummer Patrick Edwards— whose relationship with Brummel was among the deteriorating relationships that caused the breakup—was the only former member not part of the reunion. In place of Edwards, Ozma added drummer Kenn Shane, formerly of Addison.

“The years off were necessary,” said Brummel. “We needed some time apart to absorb different things outside of our little bubble.”

The reunion’s resulting sessions produced Pasadena, a record whose title was chosen unanimously by the band.

According to Brummel, coming back home and reuniting with the support system he had missed while going solo in New York heavily influenced the writing of the record. “It allowed us to get back to our roots,” he said.

Pasadena also saw the transition of keyboardist Star Wick to part-time lead singer. Wick sings backup on several Pasadena tracks and at liveperformances, she sings the lead vocals to “Heartache vs. Heartbreak.” The Rentals’ Rachel Haden duets with Slegr on the album cut.

Compared to Ozma’s earlier unpredictable, unorthodox records, Pasadena is the band’s most consistent and uniform effort. In Brummel’s eyes, the band’s wide range of musical influences had taken Ozma’s sound and stretched it too wide.

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emo band.’

nce considered rising stars of emo rock’s breakthrough days, Ozma now stand alone in a musical landscape that differs greatly from the ground upon which they stood years ago. They split up, scattered across the country and pursued new sounds and scenes; but now—with a re-shuffled lineup, a more focused and precise sound and an emotional new album named for their hometown—the wizards of Ozma know that there’s no place like home.

Founded in 1995, Ozma’s big break came in 2001 when the group was offered a slot on tour with a reunited Weezer. The group—fronted by singer/ guitarist Ryen Slegr with guitarist Jose Galvez, singer/bassist Daniel Brummel and singer/keyboardist Star Wick—suddenly found themselves at the forefront of a paradigm shift in the popular music scene. The exposure helped them land a deal with Kung Fu Records, which rereleased Rock and Roll Part Three and The Doubble [sic] Donkey Disc—featuring the band’s punk take on Tetris theme and Russian folk favorite “Korobeiniki.”

Despite another release on Kung Fu and extensive touring with Nada Surf, Superdrag and Rilo Kiley, tensions began to strain the relationships of the band members, particularly between Brummel and drummer Patrick Edwards. In July 2004, Slegr issued a post-mortem on Ozma’s official website citing internal strife that had impeded the band to the point that “no one felt like continuing.”

Great distance separated the members of Ozma, both physically and musically. After a series of mediocre side projects, the band felt compelled

also suggests these artists: Brendan Benson, Pedro The Lion, Hot Hot Heat

[2003] we went crazy. We got jazzy, a little country. On this one, we wanted to get back in touch with our sound,” said the bassist. “We’ve always been open to experimentation; this record was more about pinning down what we’re good at.” He went on to say the band had been a little more “closed to experimentation” on Pasadena, as the group attempted to perfect their sonic quality and production values. “Our first records should have sounded like this,” he later joked.

When the band first went on tour with Weezer in 2002, emo rock was still a relatively underground subgenre that had begun to peek its head into the mainstream. For Brummel, watching the ascension of the scene from the sidelines—only to find his band labeled a copycat—has left him quite jaded.

“I hate it when people come up to me and say ‘oh, you’re just a white guy in an emo band.’ That really hurts,” said the bassist. “All I want to do is write songs that are melodic and are meaningful to people. There are a lot of bands out there that all sound the same.

I don’t want to name names, but they’re killing it.”

In the end, Brummel knows the band is now older, and—he believes—a little wiser. He thinks their breakup and reformation brought everyone closer together. Now, their sound is more focused, polished and accessible than ever. The band is ready to dash headlong back into the unpredictable jungle that is popular music—remembering always what has brought and kept them together.

secret Shhh, Don’t Tell Anyone!

feature

stealth

by Jeff O’Neill

hat do you get when you fuse a studio producer, a multi-instrumentalist and a shitload of fun studio equipment? Come on…not anything lascivious, people.

Certainly a mash-up of noise and eclecticism would be expected. And, that’s exactly what you get with Secret Stealth, the latest incarnation of collaboration between Brits Bill Sadler (producer extraordinaire) and Jim Barron (plays it to the bone).

Initially working on other projects and having met serendipitously in the studio, the Bill and Jim show started as two guys who enjoyed similar funk and dance and disco – and liked making sounds that resembled funk and dance and disco.

Sadler explains their chance encounter. “Jim moved to Nottingham to work with his band Crazy P, and I was doing stuff with Fug at the time. We had a great time, and spent a few days laughing. And we were really happy with the results, so we decided to spin an album.”

And spin they did. Secret’s Hooked on You is a collection of disco and dance beats fused with a taste of acid jazz. Sound weird?

It is. Something you’d hear in a disco from a movie set in 2023, Hooked is bizarrely catchy, and—sometimes— annoyingly disjointed.

“We didn’t set out to make anything planned,” Sadler says. Well, that shows. Explaining that he and Barron would come into the studio with “a couple ideas in the morning that we’d try to work out throughout the day,” they eventually laid down twelve tripped-out tracks that have very little cohesion.

The listener takes a trip to disco nation, a right at funk railroad and a long detour into dance town. All in all, it’s one crazy-ass ride.

And that’s much to the delight of its creators.

“The whole point of what we were doing is that we would do whatever we felt like,” Sadler tellingly admits. “Never did we say, ‘oh, that’s not Secret Stealth.’ It’s really a fusion of everything we came into contact with over the years; it’s supposed to mimic all these styles.”

“Gwaan’ In” is a hard driving, reggae-infused dance number that slaps you in da’ face – you’re kind of relieved when it ends. On the complete flip side, “Going Back to Denver” is a waaay mellow, arpeggiated guitar ditty that’s breezy and easy – not typical Stealth, but orway is a real what the hell is?

Asked to pinpoint their style, Sadler is reluctant. “We aren’t anything, really,” he argues. One day it hotbed of will be a fast beat and then a mid tempo groove like ‘Denver,’” he says. “Music is about conveying emotion to the listener. And dependent on what type of mood we’re in, that’s what we write and play.” cosmic disco Working with Aussie lyricist Holly Backler, Stealth was even able to venture into the pop milieu. Calling the music “a very legitimate yet overplayed genre” Sadler mentions that as a producer, he loves cutting poppy hooks that blend beautifully within a four-minute space.

“Good pop music is a real art, and applying those elements [is] fantastic,” he says. “Specifically, the vocal production is the pop. Holly is a great singer and she really was able to expand what Jim and I were doing. She’ll be part of the next album as well.”

Hopefully, Holly will qualify for another visa, since she had to return to Australia as a result of hers running out. We’ll keep you posted.

Sadler asks this writer a question. “Is the time right for a new British invasion of dance hop a la the Scissor Sisters?” [Yes, they are American but were and are HUGE in the UK] . Well, since he asks, I’m skeptical. While dance and techno still rages internationally and sporadically in urban pockets of the U.S., mainstream acceptance is essentially nil. Pop really rules the day.

“Norway is a real hotbed of cosmic disco, and it’s kind of taking over England in some regard. And that seems to be making its way westward,” Sadler says while recounting a recent trip to La La. So there you have it. Norwegians are leading the dance charge, from Scandinavia all the way to an MP3 near you.

“N

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.”

www.skopemagazine.com also suggests these artists: Scissor Sisters, LCD Soundsystem

by Todd Sikorski

California Band Fights For More Melodic Rock Part of the success of Devils and Angels is due to the lyrics. Cron says the album is “about being in your 20s in America today.” Along with the universal themes of relationships both good (“Built to Last”) and bad (“Frequently Baby”), there are a few tracks featuring some heavier subjects, like dealing with death (“Can’t Hold On”) and mental illness (“Imitation”). Some credit should also go to the slick production of Howard Benson (My Chemical Romance, All-American Rejects).

Cron says Benson did not change the songs much, but the producer gave the album a more filled out effect. “We were initially thinking of stripping the songs down more and just make them groove a bit more.

But Howard came in, and made the songs bigger and more rocking,” he explains.

While the band is more than happy with the results, Cron and the rest of Melee are already thinking about the future and what they would like to do next. Not surprisingly, they want to mix it up a bit. The next release might be more R&B based. “I’m getting tired of the generic rock ‘n’ roll thing, and I’ve always been into soulful music,” the singer declares.

“I want to do something in that direction, maybe something even more experimental, like the Gorillaz’ Demon Days.”

Would that include a possible hip-hop element? Not really, Cron says.

But he would like to explore the vibe that hip-hop gives off today. “I feel like hip-hop and the R&B world is more like rock was in the 70s—more community based, where artists would play with each other all the time— it was more like a family back then,” he says.

Of course, even the best families can be dysfunctional at times. The lead singer is not afraid to admit he and Sans have had disagreements on songwriting. However, those disputes never end in fisticuffs or a melee (the more well-known definition). “It goes without saying that we clash sometimes on that aspect,” he confesses, “but the songs end up being better that way. Because we end up compromising.”

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hen you look up the word melee (pronounced MAY-lay) in Webster’s Dictionary, you will learn that the normal use for the word is “a confused struggle, especially a hand-to-hand fight among several people.” So, melee would be a perfect name for a thrash-metal band, right? Not so fast.

There is another definition for melee, one less known, and that is why in 1999 the four then-teenagers (singer Chris Cron, guitarist Ricky Sans, bassist Ryan Malloy, and drummer Mike Nader) picked the word for their group’s name.

Cron explains the California band’s unique name. “Melee stuck with us because it meant…a mix-up, which pretty much is the translation in French,” he says. “It just felt right because we employed a couple of types of music…and especially because all four of us had different backgrounds, despite most of us coming from Orange County.”

Of course, the more aggressive definition is good for public relations purposes, but Melee has never been an in-your-face band even when it was playing on the Vans Warped Tour a few years ago. The band’s first release, Everyday Behavior, possessed a guitar-based punk vibe which fit well for that alternative festival. But the songs also had a melodic pop sound that was not as edgy.

This pop-rock sound was something the band’s songwriting duo of Cron and Sans wanted to explore more, and their results can be heard on Melee’s major label debut Devils and Angels which was released this past April. Cron reveals the new CD’s direction is a result of the band wanting to put an emphasis on the songs. “I feel this record is more of where we wanted to be in songwriting,” he says. “We’ve always admired really good pop songs.”

Cron admits the direction has surprised some people, but the results have resonated with many. The catchy, piano-based single “Built to Last” even reached No. 1 on the charts in Japan. American audiences also have caught on to Devils and Angels’ charms; Melee has toured extensively this past year, winning over crowds wherever the band has played.

“We“I ’vedon always admired really good pop songs ’t plan on failure , so why even.”think about it?” also suggests these artists: Amberlin, The Verve Pipe, Maroon 5

feature

diona devin always digging deep

by Janie Franz

Pushing Nashville’s Boundaries

w

hen San Francisco native Diona Devin moved to Nashville in 1995, she says it wasn’t for the view. Like many other singer/songwriters, it was for the music.

She made the move at a time when mortality became very personal. “A lot of people started dying around me. My father, my two grandfathers, and my mom got cancer,” she says. “Life became very short, and it was really a dream of mine to focus on music.”

However, Devin didn’t start writing during the day and hitting the Bluebird Café at night to show off what she’d composed. “I actually worked on the other side of the desk,” she admits. With a sales and marketing background, Devin took a desk at Curb Records in Nashville, handling music publishing and royalties. She was in the music business, but not doing the thing she came to Nashville to do. “I came here to write,” she says. “The opportunity arose where I could do that in 2002.”

Though Devin is now writing and has just released her debut album, Anything But Numb, she finds that pitching her songs in a country music town has been a challenge. “I couldn’t possibly try to write an Alan Jackson song or a George Strait song. I just don’t come from that stock,” Devin says. “There’s so much I want to write about that content-wise really would not fit into country.”

Much of what Devin is writing is sensitive and intelligent, dealing with relationships. “I’m responsible as a writer to say what I see around me,” she says. “Writers can sound the warning bells. That’s what they’re here to do. I’ve always seen that as my role as a writer is to see from a different eye and write from that.”

Her song, “Bend,” for example, is a poignant look at a couple that has stopped communicating. “I just stare in space; You stare at your coffee/Sitting here with our closed minds/filled with stubbornness and pride. Why can’t we/ Bend.” It’s not what you’d expect coming out of Nashville, and it’s one that has been a problem to get someone else to record. “I’ve been trying to pitch that one around town,” Devin admits. “A publisher actually said to me recently, ‘I think it’s too good for country.’ What am I supposed to do with that?”

Devin senses that there has been a change in what is commercially profitable in Nashville. No one seems to want to take risks on social commentary. “From a content standpoint, the things that really touch people are deep issues, which always appeal to me to write about or to hear,” says Devin. “It used to be that way. Kris Kristofferson wrote ‘Sunday Morning Comin’ Down,’ and people could really get into it. Maybe it’s the climate of the country or the country market, but nobody wants to go there.” Only big names, once they became established, have been able to write and sing about difficult issues like spouse abuse or AIDS. As an independent musician, Devin recognizes that it’s the independents that are driving the freshness in the music right now in every genre. “The record companies are all eating each other up, basically, to stay alive. Nobody really wants to look at it and say, ‘we need to change the model here.’ They all recognize that they may need to, but nobody does it,” she says. “That means that independent labels are coming up, and the people who want to make music can get the music to the people more directly.”

Devin, who is in her forties, is also writing for young independent artists who come to Nashville. “They happen to be 16 years old, unbelievably young, and they are looking for songs and looking for ways to express themselves, but they don’t really have the skills yet. That’s when they look for someone like me who can take their idea and shape it into something that they can put out,” Devin says. Though she enjoys the opportunity to write for other artists, she does see an irony. “We have very young people who are getting songs from older, more experienced, more mature people, and then as artists are singing them to the demographic I actually represent in country. Isn’t that strange?”

Still, Diona Devin continues listen to the world around her, shaping her craft, and producing new material. “As a writer, I’m always digging,” she says.

“Writers can sound the warning bells.”

also suggests these artists: Neko Case, Cat Power, New Pornographers

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crowde t back in the

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he date was June 1, 1981. Riding high on the success of their latest hit single “History Never Repeats,” New Zealand art-pop group Split Enz was in the midst of a North American tour. Fake I.D. in hand, this writer was in line outside Atlanta’s Agora Ballroom, waiting to see the quirky pop group and their newest member, guitarist/songwriter Neil Finn. I got in, and enjoyed a fantastic show.

I saw the group again a year later, touring in promotion of their Time + Tide album and its MTV hit “Six Months in a Leaky Boat.” That was their last North American tour. By the end of the Enz era, Neil Finn had become the de facto leader of what was once his older brother Tim’s group. Out of the remnants of Split Enz, he and drummer Paul Hester added Nick Seymour, and Crowded House was born.

From the mid 1980s to the late 90s, Crowded House was a major concert draw and a topselling act in most of the world, but enjoyed only middling success in the US market. Looking back, Neil tells me, “I don’t think we set out to be obscure, but perhaps we didn’t want mega-stardom as much as you have to in order to actually get to the very top.”

I was fortunate enough to see Crowded House perform on two separate tours; I recall thinking at the time that I had never witnessed a band having so much fun onstage, all the while engaging their audiences. “In some ways, [playing live] becomes more precious as time goes on,” Neil says today. “We’re acutely aware that no matter how much we travel, or however weary we might be, we know that people have paid and waited and anticipated the concert. We want to get to know them; we want to give them the best show we can. It’s an old-fashioned concept, yeah.”

Aside from the chemistry of the core trio (they briefly added Tim Finn in 1991, replacing him with Mark Hart in 1994), Crowded House’s main asset has always been Neil’s songwriting. His music conveys emotion in a manner both personal and universal, again making that connection with fans. “If somebody tells me that a song of mine moves them to tears, or helps them feel better about their day, or gives them comfort,” Finn says, “then I’d take that as a huge blessing.”

By 1996 Finn was keen to do solo work, and he disbanded Crowded House. He released four solo albums, and reunited with Tim for two well-received albums. The rest of the group went their own ways.

Though in many ways the most outwardly jovial of the group, drummer Paul Hester battled depression for years. He took his life in 2005.

Last year, Neil began recording again. “I started with Nick—

“We’re not doing a nostalgia trip and

by Bill Kopp also suggests these artists: U2, The Wallflowers, Gin Blossoms

ed house

feature

Photography by Bill Kopp

just the two of us—and for all intents and purposes [started to make] another solo record.” But then he realized he hadn’t really finished with Crowded House, after all. “We brought Matt [Sherrod on drums] and Mark, and the last four songs were done as a band. Time on Earth is a very cohesive record. It’s about the things that were going on the last two years; there’s a degree of sadness involved, on account of what happened with Paul.”

So the first new Crowded House album in fourteen years was released in July, and a world tour began shortly thereafter. For the fifth time in 26 years I had the opportunity to see Neil Finn in concert. I attended the show in Atlanta, on the final date of the US leg of their world tour. As Neil told me, “Atlanta’s actually been a fairly memorable place for us.

It’s the city where Paul did his last show.”

As on most dates this tour, they played theatre-sized venues, ideal for interacting with the audience. But the connection still holds, even with large audiences. “We did the Live Earth concert in Sydney, with 60,000 people singing at the tops of their voices and waving their hands,” Finn says. “That is a feeling that is hard to beat, too.”

Finn makes it clear that the new Crowded House (the Time on Earth studio lineup plus Neil’s son Liam) is “not doing a nostalgia trip and trying to recreate something. That would be impossible, y’know?” He continues. “It was such a shock to lose Paul in the way we did. [While] nothing good can be made of that…there’s a Neil Finn onstage with Split Enz lot of good will we created with Crowded House, and we’re just trying to [build upon] that.”

trying to recreate something.

That would be impossible, y’know?”

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Raise a glass

by Evie Nagy

Evelyn “Champagne” King is Back

I

t would be hard to find a disco compilation or cover band set that didn’t include “Shame,” Evelyn “Champagne” King’s 1978 floor-burning anthem to rule-breakin’ love.

The single hit #7 on the Billboard 100 pop charts and launched King into dance and R&B stardom that held strong well into the 80s. Her last studio album was 1995’s I’ll Keep a Light On, and since then, the general public has been most likely to hear her music on classic dance radio or during the soundtrack of Grand Theft Auto: Vice City. But that will change in early 2008, when RNB Entertainment Group releases Open Book, King’s first album of new music in almost 13 years.

Open Book was co-written by King, lyricist Tony Haynes, and King’s husband of almost 17 years, smooth jazz artist and songwriter Freddie Fox. The album blends King’s classic sound with more modern R&B rhythms. “I

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also suggests these artists: A Taste Of Honey, S.O.S. Band, Rene & Angela

A Real MC, Plain and Simple Re-introducting Keith Murray

by Joe Cappuccilli

wanted to make sure that I stay R&B, dance, basically what people know from me,” she says. At the same time, she plays around with newer lingo in tracks like “Skillz,” “True to My Boo” and “Creepin’,” explaining that “you gotta keep the lyrics where the kids understand.”

King says that the last thirteen years have been anything but a hiatus, and that an active performance schedule has kept her from devoting time to the studio. However, her live performances often don’t reach a broad audience because many of them are private events or benefit shows. Her work often supports research for breast cancer and diabetes, which respectively claimed the lives of her mom and dad.

“I haven’t put down the mic in 30 years; I’ve been out doing shows, and the fans have been so wonderful, so loving,” says King. “But people have to hear you on the radio or they’ll think you’ve died or something,” she says. “I want to be more in the limelight again, let people know that I have not given up.”

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hen discussing the career of rapper Keith Murray, the first word that immediately comes to mind is “badonkadonk.” But true hip-hop fans need to realize Keith Murray’s significance to the game is worth more then the weight of just one “word.” Through his use of intricate wordplay and an extensive vocabulary, Keith Murray was, at one point in his career, considered to be one of the most creative and lyrical rappers on the planet. His career has been orchestrated by the timeless production of Erick Sermon, and through his relationship with the Def Squad (Murray, Sermon and Redman), Keith has achieved international success.

Now with his latest LP Rapmurr-phobia currently rejuvenating his career, Keith is anxious to step back into the limelight and prove his worth to hip-hop audiences. In an interview with AktainTV, Keith said, “I knew I had to come back with something substantial, something meaningful. Something the world will listen to and be like, ‘That’s vintage Keith Murray.

I don’t know what that other shit was, but that…that’s Keith Murray.’”

Raised in Long Island NY, Keith was subjected to the typical hardships of growing up in an impoverished community.

His parents and sister all passed away while Keith was still a young man, so he was forced to fend for himself on the tough streets of New York. With nowhere to turn, Keith resorted

also suggests these artists: The Roots, The Notorious B.I.G., Nas

to life on the streets, surviving by any means necessary. Luckily for Keith, rap music was his calling; it inspired him to look beyond the endless poverty and street mentality. He focused on the positive and constructive things in his life.

From the beginning, Murray faced—and triumphed over— many obstacles on his way to rap celebrity. After facing godfather MC, Big Daddy Kane in a rap battle, Murray gained local support and recognition for going toe to toe with a legend in the game. Although Murray lost the battle, he gained the respect of Kane. This event would help jumpstart Keith’s rap career.

Fast-forward to 1994.

Hip-hop was at the height of its commercial success, and Keith Murray was eager to get his voice heard. Through a mutual relationship with fellow hit squad rapper, K-Solo, Keith was introduced to Erick Sermon. The two soon began

pocket pistols and misfit toys

feature Merry musings on the macabre with Miss Derringer’s Liz McGrath

M

aybe it’s the dramatic air of Hollywood combined with those infamous Santa Ana winds. Miss Derringer front-woman Liz McGrath hasn’t given much thought to why L.A. was the early 80s birthplace of US goth culture. But the region that unleashed horror-tinged hybrids like Christian Death and 45 Grave has definitely had an impact on her art, musical and otherwise.

Miss Derringer doesn’t draw directly from the L.A. deathrock tradition.

The sonic and aesthetic antecedents in which the Black Tears EP finds its inspiration are a few decades older than that. Right down to Liz’s vocal flourishes, Miss Derringer performs an amped-up interpretation of the familiar girl group sound. Amidst those early-’60s singles, there are several in which teen romantics are delivered also suggests these artists: to the Grim Reaper, replete with The Detroit Cobras, Mazzy Star, The Shangri-Las the sounds of screeching tires.

This trend is what Liz’s husband, guitarist Morgan Slade had in mind when he

by Matt Stern penned the EP, weaving the grisly theme into the dusty, Southern gothic inspired, country-tinged punk they’ve been playing since 2004. “It’s dark without having to be in your face, like, ‘oh my god, they’re dressed like skeletons on stage!’” says Liz of the band’s adopted aesthetic.

Black Tears isn’t Liz’s first foray into art that exists at that strange intersection of pop and grotesquerie. Throughout her earlier tenure in L.A. punk band Tongue, she was also doing gigs as a video set decorator. Her work designing elaborate sets that were only shown for a few seconds inspired her to create less ephemeral works; macabre miniature scenes occupied by twisted, half-human bodies. These dioramas garnered Liz enough notoriety to let her live as a career artist and a career musician.

There’s no hint of an over-the-top demented death diva to be found in Liz’s mellow conversational tone.

Down-to-earth as she sounds offstage, though, she’s aware of that there’s room for this fare to slide into camp. “I think if we were totally dressed with beehives and, like, mini dresses or something it might be more like that,” she says.

“You can do whatever you wanna do; it just takes time.”

a creative collaboration. Keith’s debut solo album, The Most Beautifullest Thing in the World was released in November of 1994 to critical acclaim (4 mics in The Source Magazine). Keith was immediately praised for his exuberance and charisma on the mic.

With Sermon’s top-notch production and a noteworthy guest appearance by Redman, Murray’s career was catapulted from street corner MC to rap luminary.

Keith’s relationship with Erick Sermon has allowed for him to grow and mature from a battle rapper into an all around MC and songwriter. As Erick’s production sound evolved, Keith’s rapping adapted along with it. From The Most Beautifullest… to Def Squad’s El Nino—both of which were certified Gold in album sales—the two have been able to maintain relevance in a cutthroat industry. During a behind the scenes interview on the set of Murray’s “Nobody Do it Better” music video, Erick Sermon commented on Murray’s integrity for his craft. “If you keep it real and speak

the truth, people will recognize it. And that’s what Keith continues to do.”

Now, in 2008, Keith Murray is put to the test. By not having released a solo album in four years, Keith is forced to adhere to the new consumers’ demands, all while staying true to himself, and to his core fans. In a recent interview with recent thesmokingsection.com interview, Keith discussed the current climate within the hip-hop industry.

“Fuck what they say about how hip hop is down, and Middle America isn’t buying albums. Fuck that. I do this for motherfuckers that love it, need it, and get through their life with it.” By staying true to his words and maintaining a consistent work ethic (even while incarcerated), Keith Murray has been able to carve out his own niche in hip-hop. So while younger fans consider Keith to be old school, true hiphop heads see him for what he really is: a real MC, plain and simple.

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Raucous and Riotous Punk Swagger

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by Shaun Flagg

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he Cribs hail from Westfield, England in the county of Yorkshire. The trio consists of brothers Ryan, Gary and Ross Jarman. They are well known for their outof-hand and over-the-top performances. They’ve had their shows shut down by the police as the mêlée devolves into chaos and becomes a threat to public safety. The incidents of audience injury are a common occurrence at their riotous performances.

With their fanatical following of over-energized and anarchic teens, the live shows can approach those dangerous levels of rapturous delight that may lead to the shedding of blood, broken bones, or the fainting spells of teenage girls.

But don’t misunderstand the circumstances—this is positive energy—and although someone might get hurt in the process, the crowd is always there to lend its collective helping hand.

It is this energetic and refreshing approach to music and live performance that makes The Cribs a delight to see and hear. They enthusiastically approach the role of rock star with a full running start. The fans inspire them and drive them to do what they do. Bassist and singer Gary Jarman describes the spirit of their shows: “we like to keep the spontaneity [where] you don’t know what is going to happen. We like to keep things interesting for the crowd and ourselves. If everything is accounted for, then there is not any fun in it any more. That’s why I like shows that have the potential of falling apart; I find that exciting.”

The band’s antics continue offstage. Like the time at an awards ceremony when Ryan Jarman accepted an award and proceeded to jump into the Kaiser Chiefs’ table. Ryan ended up with deep cuts on his arms and back from the broken glass shards. This reckless abandon is carried over into their music. Their latest album Men’s Needs, Women’s Needs, Whatever is a energetic punk romp rife with edgy, spastic guitar and swaggering vocals. Fellow indie rocker Alex Kapranos of

also suggests these artists: The Strokes, The Futureheads, Phoenix

feature

Franz Ferdinand fame produced the album. Gary relates the decision to work with him, saying “he’s a friend of ours. He’s a good guy, and we have a lot in common with him.

We move in similar circles. And we knew we could trust…that he wouldn’t try to push us around. Because he [knows] what kind of band we are.”

This is The Cribs’ third album, and they have gathered a strong following to support it. Recently they made the jump to mainstream label Warner Records. But this success does not interfere with their creative intentions. Gary is adamant about staying true to his roots, even in the light of their recent success. Even on a big label they are able to retain control over their work.

Gary credits their experience and maturity; he says it acts as a shield against any negative outside influence. He is aware of the incongruence of creativity and success, but he points out they have been largely able to deflect any ill effects. “So far we’ve been able to do what we want. I think in general there is a conflict. But we’ve been around for two records and been able to do things on our own terms.”

The brothers are able to continue untainted by the industry because of their honest and unflappable approach to music. “It was never about being this big success. Being rich and famous has never been on the agenda.

If someone was telling me what to do or interfering, I would be bummed out. And I wouldn’t want to be in a band anymore, no matter how well we were doing.”

They remain steadfastly focused on the fans, and enjoy playing small venues to maintain a strong connection. “We like that kind of interaction with people. We like to get back to what we were doing in the first place. That’s the reason we started the band. We always try to give back. We have a connection with the kids; that’s why we do this.” This humility keeps them grounded. “I just feel lucky. I never considered myself a rock star. I just feel lucky being able to be creative each day. And that is what I am grateful for.”

“We have a connection with the kids; that’s why we do this.”

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i

n August, Sonic Youth’s Thurston Moore told Spin magazine that his band, formed in New York in 1981, made its greatest career faux pas by not breaking up 15 years ago—his logic being that the band’s contemporaries such as Pixies and Dinosaur Jr. have recently made a killing from reunion tours. It’s a question of momentum, and most bands with any kind of longevity can benefit from a fresh start that exploits nostalgia and/or creative rebooting.

But some bands manage to keep momentum going, maybe with luck, or money, or sometimes through the gift of an extraordinary well of creativity. A year after Sonic Youth formed, in the same city, two guys named John hit the streets with a guitar, an accordion and a couple of drum tracks, and started telling weird stories set to delightfully melodic rock tunes. Twenty-five years later, They Might Be Giants has the kind of diverse and devoted fan base that most bands dream about, and their music can be heard everywhere from rock clubs to TV credits to nursery school classrooms.

And as they enter 2008, the bouncing rubber ball of TMBG’s output shows no signs of slowing down. In July they released their twelfth studio album, The Else, and will follow it in February with Here Come the 1-2-3s, a CD/DVD set that is the third project in the band’s hugely successful foray into children’s music. All the while they are maintaining a fierce touring schedule and attracting a new generation of young rock lovers.

“A lot of times bands

gian

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by Evie Nagy

also suggests these artists: Cake, Oingo Boingo, Ok Go

they might be

Celebrating 25 Years as Our Wackiest National Treasure

Phhotography by Joshua Kessler

feature kind of get pegged by their success in a way that dates them, and I think we’re in a sort of sweet position in the culture in that we’re not just of one moment,” says John Flansburgh. He primarily plays guitar for the duo in addition to sharing songwriting duties with co-John Linnell. “We’re obviously intensely old to be doing this, but the audiences do tend to stay the same age.

“I’m always thinking about how to get our music to people who haven’t heard us before,” continues Flansburgh.

“Maybe the fact that there are a lot of young people at our shows is a testament to our continued efforts to find those people. But I think another thing is going on, that people who like rock music but feel the limitations of stuff within set genres are kind of attracted to our freewheelin’ style.”

Indeed, TMBG’s music is instantly recognizable while relentlessly creative; songs like “Bird-

house in Your Soul” and “Particle Man” from 1990’s Flood established the band’s dominance of the delectably bizarre. However, “we’ve always felt that our secret weapon is that we actually have melody and harmony in a simple way infused in everything we do,” says Flansburgh. “And in some ways that’s a very old fashioned notion.” He continues. “The way we get described, you would think we were some kind of transgressive performance art group. People will say those guys have some crazy ideas about putting songs together, but that’s like saying, ‘yeah, that Cole Porter, man, he’s a fucking nut.’”

The Johns’ unique anti-rock-star appeal also deserves a lot of the credit for TMBG’s continued draw. They’re hailed as kings of “nerd rock,” but that’s an oversimplified way of describing the band’s “be yourself, everyone’s cool here” vibe.

But even with their aura of acceptance, TMBG constantly raises the bar for themselves musically, as they did for two years while recording The Else, a tight, almost aggressive twist on the band’s signature sound. For that project they brought in veteran production team the Dust Brothers (Beck, Beastie Boys).

As for the band’s longevity, Flansburgh credits the friendship that he and Linnell have maintained even through the inevitable drama of 25 years as a touring band. And while the musical niche they’ve carved is undeniably their own, it’s one that lends itself film and television contributions, including instantly-recognizable theme songs for The Daily Show and Malcolm in the Middle as well as music for the upcoming film based on Neil Gaiman’s novel Coraline. TMBG also creates a monthly podcast that perhaps embodies the band’s true secret for not falling into typical music industry pitfalls.

“A lot of [the podcast material] is extremely indefensible.

The goofball factor is like code orange,” says Flansburgh.

“I’d be the first person to admit that it’s not important at all. But sometimes being important is not that important.”

“People will say those guys have some crazy ideas about putting songs together, but that’s like saying, ‘yeah, that Cole Porter, man, he’s a fucking nut.’”

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by James Wright

nikki the heroin diaries

Documenting a Decade of Decadence

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t’s Christmas 1986, and while just about everyone on the planet has surrounded themselves with loved ones and the spirit of the holiday season, Nikki Sixx—bass player extraordinaire for Mötley Crüe—is sitting naked underneath his tree cooking up a hit of heroin. Welcome to the enslavement that is heroin addiction. Very few can escape the havoc that the drug wreaks, but after a life-long battle and an overdose that nearly cost him his life, Nikki Sixx has survived and is still breathing to tell his story.

“I have to tell you that I had to hit bottom a few different times,” says Sixx during a teleconference call from Los Angeles. “I fell off the wagon and then I got back on. Then I fell off the wagon and it took—in 2000, I really saw myself starting to go back in a direction that I just didn’t want to go. And I really saw that I cannot control this thing in me personally. And I checked myself into rehab. I’ve got to tell you that to me, that was the bottom. I was able to completely give up, live in humility and clear away the bull crap of my past.”

“If I knew what was going to happen to me right before I took the first hit, would I do it? No,” he continues. “Do I regret anything that happened to me because I’m where I’m at now and hopefully can just share my experience with someone else out there that it might help? No, I don’t regret that.”

While Sixx has just returned from the recent three-year world tour with the poster boys for sex, drugs and rock n’ roll, Mötley Crüe, his encore is not of the musical kind. Sixx has picked up a pen to document his battle with addiction in a new tell-all book, Heroin Diaries: A Year in the Life of a Shattered Rock Star. The book compiles journal entries that were written at the height of his drug addiction, along with photographs, illustrations and commentary by the people that lived alongside him during his drug-fueled roller coaster ride.

“You know, I don’t know why I’m still around. To

also suggests these artists: Mötley Crüe, Skid Row, Scorpions

sixx be honest with you, if you would’ve bet on me to survive, I probably would’ve said, ‘don’t do it,’” says Sixx. “There is a beautiful and horrible saying in Alcoholics Anonymous and Narcotics Anonymous: ‘some people have to die, so the rest of us can live.’ And I guess I always believed I was one of those that was going to die, so that other people would see how not to live. And it’s a bit ironic that I’m the one who lived, [and] can hopefully pass that battle on.”

The book is accompanied by the simultaneous release of the debut album from Sixx:AM, Nikki’s new side-project. The groups’ debut album, entitled The Heroin Diaries, serves as a soundtrack to the book. It takes listeners on a sonic journey through the depravity of Sixx’s addition.

“This record deals with a subject matter that is very dear to my heart, which is the downward spiral and the recovery of a human being,” he says. “I think a lot of people can relate to that—whether it’s love, drugs, alcohol, anything else—that we all take two steps forward and one step back in life. And for those people that are really inspired by the book, the album is a great companion to that, even though they both do stand on their own.”

A portion of the proceeds from the book will go to Covenant House California’s Running Wild in the Night, a creative program that which helps keep youth off the streets by introducing them to the power of music.

“I’ve said—and I stick to this—whatever it takes for you to buy the book and read it, I endorse that. The end result for me is to give money to a charity to help like-minded kids [who are] where I was at as a teenager,” says Sixx, closing sales pitch. “It’s a fly-on-theome people wall view of one of the members of Mötley Crüe, one human have to die being. You can read the book and say, ‘oh yes, that’s when so the rest of he was on tour with Mötley Crüe. That’s when us can live they were making the Girls Girls Girls record.’

But it is very personal, personal story on top of that.”

“S

,

.”

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i

t’s the week following the supposedly improved MTV VMAs, and the Shop Boyz are wired. Having attended the ceremony in the hopes of winning Monster Single of the Year for their colossal hit “Party Like a Rockstar,” Sheed, Fat, and Meanie still had a great time despite their loss. While the world is still buzzing off the Britney Spears performance, Sheed was focused on her other assets. “I just liked the way she looked in them shorts,” he says jokingly, admitting that he doesn’t listen to her brand of “R&B.” The summer that brought us the Shop Boyz’ brand of hip-hop is now approaching its second cycle, and the Boyz are still here – much to their own surprise. Starting out as a trio of pals that fixed cars—or at least that’s what their label told them to say—the Shop Boyz’ story begins the same as that of most of the artists that inhabit South movement. But while most of the other artists act like they’ve been here before, the Shop Boyz have no qualms about admitting the newness of the whole fame experience. “It’s kind of hard to get adjusted to it,” Sheed admits.

“I know a couple of artists [that] changed when they got in this position,” he states. “We all made a deal that when we got to this point, we would try to stay level-headed and stay focused and remain humble.” It’s tough to maintain humility when the world is bouncing to your dance. Perhaps that’s the reason why the Shop Boyz aren’t arrogant – they have no real gimmick attached to their hit single; you can dance if you wanna.

When the Shop Boyz released Rockstar Mentality, it was not only an ode to that party lifestyle, but also to that swagger. Sheed cites Jim Jones as the fashion swag icon who fathered the fancy belts, shades, and Ed Hardy shirts that would later become the trademark of a hip-hop rockstar. Still, while Jim Jones had the style, the Shop Boyz had the soundtrack. However, somewhere deep within Rockstar Mentality are lyrics of substance that discuss love, life, and growing up in the streets. Although the lines are there, Sheed is convinced the point was lost in translation. “Sometimes I feel like people are caught up in the whole ‘Party Like a Rockstar’ and miss the whole message we were trying to make in our album,” he says.

shop boyz

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January/February 2008

Party With a Purpose

“We were so used to being broke and struggling. From trying to make ends meet to having a whole big ol’ plate of meat is a wonderful feeling, but it’s kinda hard.” Demetrius “Meanie” Hardin, Richard “Fat” Stevens, and Rasheed “Sheed” Hightower were just your average ATLiens before this all began. Like most rap stars that feast on Georgia peaches, the Pool Palace – a club in Atlanta – was their breeding ground, where they would show and prove for local celebrity. To the rest of the country, the new generation of Southern rappers sprung up by spontaneous combustion, but it’s actually like a fraternity in Atlanta. Groups know each other and reminisce about their Pool Palace days, crafting the next dance move that would evolve into a song…that would evolve into a Billboard chart topper.

And while these days their reunions involve high-fives and pats on the back, Sheed isn’t at all impressed by the attitude changes of his brethren.

Regardless, everyone from your next-door neighbor to femme fatale Eve has embraced what’s now coined as “hood rock.” Copycat rappers have already sprouted, and Sheed is only partially ticked off. He openly expresses his animosity for Soulja Boy’s jacking of their signature “yull” slang on “Crank Dat,” but remembers the struggle from which they all came. “I’m not mad at him ‘cause [Soulja Boy’s] young. I had to realize that people are trying to eat and put food in their family’s mouths.”

With the teetering life expectancy of Southern rap groups surviving their first hits, the Shop Boyz aren’t pressed. Whether they’re benchmarked or benched, they’ve earned their spot on hip-hop’s family tree.

“If we never make another song, at least we started something,” Sheed proudly says. “We’ve got our own branch.”

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by Kathy Iandoli also suggests these artists: Dem Franchize Boyz, D$L, Lil Scrappy Photography by Jeremy Cowart

paramore h

feature

by Adam Bernard

Under Age but Wise ayley Williams doesn’t want to be your prom queen. The eighteen year old lead singer of Paramore explains that although she’s of the right age, she’s never really been of that mindset. “I’ve never really wanted that whole thing like a lot of young girls do,” she says. “That’s what they look forward to, to going to prom and having the hottest date and having the coolest dress. That stuff just never really appealed to me growing up.”

Speaking from her tour bus, she continued, “this is where I want to be.”

Backstage there are plenty of guys lined up looking for Williams. But she feels a little strange about being considered sexy.

“I’m generally pretty modest as a girl,” she explains, “so it’s weird to me that people can still look at that and be like, ‘oh, she’s sexy.’”

Most pickup artists just make her laugh, though. “Dudes say some of the dumbest stuff,” she says with a laugh. “Some of it doesn’t even make sense, and it can be pretty embarrassing.”

The fiery lead singer isn’t the only member of Paramore fending off post show come-ons. Brothers Josh and Zac Farro and Jeremy Davis are all constantly being approached by girls. This sickens Williams.

“They show up wearing next to nothing—or the hottest thing that H&M just put out in their front window—and there’s an air about them that you can kind of feel when you walk off the stage,” she says

with disdain. “I wish I could choke some of those girls and just be like ‘what are you doing to yourself ?’”

Off the stage, all members of Paramore except Davis have to deal with being underage and constantly confronted with the musical trinity of sex, drugs and rock and roll. According to Williams, “I actually kind of like being surrounded by it, just because it’s everything that I heard about growing up…about rock and roll and alcohol and all this stuff. I’m just not interested in having it for myself. If we wanted to live that lifestyle, it doesn’t matter what age we are. It’s available to us.”

Such indulgences have been available to the group since their first Warped Tour three years ago. They traveled in a van, sold their own merchandise, had no crew and played the smallest stage. But for the 2007 edition of Warped Tour, Paramore were headliners.

And rather than just admiring their musical influences, they were hanging out with them.

“I was just talking with Chad from New Found Glory about that,” Williams says excitedly. “He was hanging out with us on the bus, and I was like, ‘I don’t want to creep you out, but I was listening to you in the parking lot of Home Depot three years ago screaming the lyrics so loud that you’d be embarrassed to talk to me right now!’”

Not every

band has been so kind to the young quartet from Tennessee, however. A few years ago while on tour with The Receiving End of Sirens, Williams and her Paramore bandmates wanted to get food, but the place had an minimum-age limit. “We all waited outside for people to bring us wings,” she remembers, “and when we pulled up Casey (Crescenzo of TREoS) was like ‘what are these kids doing here!?!’ He got all pissed that we were hanging out with him.” Despite this incident she says she’s still a “big fan of everything those guys do.”

The band’s age also sometimes gets them a tag they don’t necessarily want – emo.

“Is that even a genre anymore?” Williams scoffs. “It’s more of a fashion statement and a MySpace picture.” Williams says she has much bigger goals for the music of Paramore. “I want it to mean something to people. I want people to get out of our music the same thing that I wanted out of music growing up. I wanted to find an escape and something I could relate to.”

It was only a few years ago when Williams was escaping to the music of New Found Glory in the parking lot of her local Home Depot. Now the only things she’s looking to escape are bad pick up lines, overzealous females going after the other members of her band, and anyone looking to put her in a prom dress.

If we wanted to live that lifestyle, it doesn’t matter what age we are. It’s available to us. also suggests these artists: Boys Like Girls, Cute Is What We Aim For, Flyleaf

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median Little Brother’s Little Brother

January/February 2008

0

ne of hip-hop’s last feel-good stories was the 2003 arrival of Raleigh, North Carolina trio Little Brother. With their ABB Records debut The Listening, Phonte, Big Pooh and producer 9th Wonder impressed Pete Rock, Jazzy Jeff, ?uestlove and a host of legends, along with nearly 100,000 fans from scratch.

Whether it’s AZ on Nas’ Illmatic or Warren G on Snoop’s Doggystyle, whenever a classic album introduces a new artist, big things tend to follow. Four years removed from appearing on Little Brother’s “Shorty on the Lookout,” does the same hold true for Median?

“I’m really just getting my feet wet [now]. [In 2003], I didn’t really consider myself a professional musician to that extent.

That wasn’t how I was paying my bills. Even now, I have a business,” says Median, on the phone at his Wilmington, North Carolina dry-cleaning business. While fellow Justus League (a collective including Little Brother) affiliates like Kaze, Cesar Comanche and L.E.G.A.C.Y. all released albums, Median has waited. “If you actually take a listen and take the time, you’ll see the differences within; I think it’s all about exposure,” adds the MC. Median’s debut LP Median’s Relief is the byproduct of years of recording and releasing music directly to the internet. “Message boards played a big part in my success,” claims the rapper, who references The Roots’ okayplayer.com as his biggest outlet. New York’s Halftooth Records—the home of Wordsworth and

“I was trying to create a dream scenario where

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I’m dozing off while listening to 2Pac in the headphones, but at the same time watching Photography

by Tobias Rose

by Matt Stern

TV.”

by Jake Paine

Oddisee—is releasing Median’s material now. Despite having the backing of an established imprint in the independent hiphop market, Median still pushes a grassroots line to potential fans. “First and foremost then, I want people to hear it and enjoy it…even if they don’t go to the store and buy it,” he says, addressing the likelihood of some potential illegal downloading.

This four year journey is more about art than commerce.

That attitude bleeds into the music. Take “Brenda’s Baby,” an album cut from Median’s Relief. The familiar ring to the song title is quite intentional. “I was trying to create a dream scenario where I’m dozing off while listening to 2Pac’s joint [“Brenda’s Got a Baby”] in the headphones, but at the same time watching a movie on TV [Academy Award Nominated] Maria Full of Grace.” This is the sort of concept that’s not often heard, whether from Young Jeezy or Common. The thematic effort is a creative challenge to artists failing to think beyond the norm.

“With hip-hop, the way it can continue to grow is by offering newness. It doesn’t move as fast as it used to, as far as originality, but it still moves. People always consider the next thing; people are so futuristic,” says the rapper, who was actually born not far from 50 Cent, in Queens NY. If guns and girls are tired subject matter, Median certainly offers relief.

The album gets more personal than that, though. “How Big is Your World” explores society as a whole, dealing with the problems. While it might sound to some like a brand-new track from Arrested Development, it was actually written and first recorded in the days following 9/11. “It was just everything that was on my mind at the time. The whole essence of what was going on in the country. That was 2001, that year, what was going on. The world was shocked for a second. Those were my feelings,” recalls Median, thought the song makes no explicit mention of the tragedy. This is not unlike the singer/ songwriters of the 60s and 70s, average people with extraordinary artistic visions.

Hip-hop purists will also be attracted to the fact that 9th Wonder, the one who helped Median get his initial shot, produced the opus. This is the same producer who won a Grammy® with Mary J. Blige, and made acclaimed music for Destiny’s Child and Jay-Z. In mathematics, “median” is the middle. As Kanye West tipped the scale that art equates to charts, Median hopes to slide into success. “Since the very beginning, hip-hop has been about something else,” he states. Though his story might be ordinary, the insight that guides this 27 year-old may make Median the center of attention by age thirty.

operator

feature

Rise of the Renaissance Man

t “Soulcrusher is one of the five best rock albums to come out in the last twenty-five years.”

here’s a good chance that you’ve never heard of Johnny Strong, but that’s no reason not to be jealous of the guy. He lives in a scenic valley a mere fifteen minutes from the Pacific coast. He enjoys VIP status at The Penthouse Club in St. Louis. His résumé reads like a listing of dream jobs: actor, multiinstrumentalist, martial artist. Add charismatic front man to L.A.’s rock-reborn outfit Operator and it naturally leaves you with one question: “Gee, Johnny. Is there anything you can’t do?”

“I can’t do anything architectural,” he said. “I took a mechanical drawing class, and I was terrible at it. I couldn’t build a structurally sound house. I mean, it would look cool, but it wouldn’t stand.”

Luckily, Johnny isn’t building houses these days. Instead he’s concentrating on building his empire of expression through any (and every) medium that will have him. He is an alpha dog who refuses to run with the pack. And in true existentialist spirit, he is blazing a trail all his own—one movie, one concert and one fight at a time.

“I think I just determined not to get stuck in one thing in life,” Johnny said. “I just realize that it is such a short space in between birth and death, so I just push myself to do everything I want.”

It was back in 2005 when

Johnny solidified the line up of Operator (an homage to a character he played in Ridley Scott’s film Black Hawk Down), recruiting guitarist Rikki Lixx and bassist Wade Carpenter. Former Puddle of Mudd guitarist Paul Phillips lends not only his swirling guitar work but also a bit of industry tenure to the fledgling band.

“I’ve been in and out of bands since I was a kid and I’ve worked with a ton of artists,” Strong said.

“I’m pretty demanding about who I work with, and in the past there was no cohesion. I have finally found the guys that belong in this band.”

Most recently Johnny and company are celebrating—and promoting the hell out of—their debut album Soulcrusher, released in July on Atlantic Records.

The record is eleven tracks of stiff-lipped lyrics, L.A. infused rock with Johnny’s influences as bookends. “Start to finish, pound for pound, it’s the one of the five best rock albums to come out in the last twenty-five years,” he said. “It’s a collection of all of my influences, but we didn’t want to make an album like anyone else.

There are no trends or fads here.”

The title track sets the album tone to urgent, with heavy riffs and a brutish rhythm section.

“Nothing to Lose” is a bawdy rock tune that sounds like the

by Chris West

collaboration-that-never-was between vintage Soundgarden and Guns N’ Roses. Johnny does in fact sound a lot like Chris Cornell, with his high-pitched and nasally drone, while the guitar work sounds conjured from the spirit of Slash. “Delicate” slows the pace with melodic guitar strums over contemplative lyrics, but don’t chalk it up as a ballad. Rounding out the album is “Burn Up the Road” complete with its countryfried slide acoustic guitar.

The “Soulcrusher” video is garnering much online popularity with its fantasy-meets-goth theme, its surprise action sequence and “To be continued…” ending.

“The first video was actually based on a film concept I have, what you see is a segment of that film,” Johnny said. “The concept will continue with the next release ‘Nothing to Lose.’”

Operator will continue to support Soulcrusher with an upcoming “top secret tour” (Johnny was not at liberty to reveal details), and then a headline tour to follow.

“Besides selling out arenas, making more great records and great live performances, we’re just going to take it one day at a time,” he concluded. “Just try to stay out of jail and to not hurt too many people’s feelings.”

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foo

by Carl Cunningham

“We’re doing these mellower songs to give

Dave’s

talent a venue.”

Photography by Ben Watts, Laura Kleinhenz, Thomas Rabsch

fighters Are They Going Soft?

l

ife and death. Joy and pain. Silly and serious. Distortion-drenched and hauntingly pretty. From their one-man-band beginnings to stadium rock stars of today, Foo Fighters have always wallowed gleefully in those opposing lyrical, image and musical extremes.

After thirteen years and seven albums, Foo Fighters founder Dave Grohl, original bassist Nate Mendel, former Alanis Morrisette drummer Taylor Hawkins, and guitarist Chris Shiflett have matured from their frenzied earlier records and hilarious parody videos into thoughtful, accomplished songwriters and musicians.

“The music we love and listen to is all over the map.”

Even before the street date of their latest Roswell/RCA release Echoes, Silence, Patience & Grace, rock critics and some fans were proclaiming “new direction” and crying “Foo Fighters going soft.”

Neither of these assertions is entirely true.

“It’s more of a natural progression and an evolution,” says bassist Nate Mendel. “The first album was really Dave on his own, and the second album was us figuring out how to be a band. It was still primarily Dave writing the songs, but it turned into more of a group thing with all of us finishing them off and working on the arrangements, the tempo and instrumentation. We evolved into more of a collaboration from that album over the next couple of records.”

Mendel completely dismisses labels of “new direction” by saying Foo Fighters has always had those acoustic and melodic elements within the band.

“What’s happening to our band,” says Mendel, “is that we’re in our mid-to late thirties now. We started doing this when we were basically kids and were closer to a punk rock band. We’ve evolved as people and gotten better as a band.”

Mendel explains that the “evolution” within the group represents a slow turn to a more musical direction, allowing the band to expand from just bass, drums, distorted guitar and vocals to bringing in other instruments and mellowing out a little bit.

“It’s just us grabbing onto songs that are a little more complex and have a subtler dynamic,” Mendel says. “We’re following the evolution and getting a little better and more melodic— not any ‘radical’ change.”

With an album cover that harkens back to their self-titled 1995 debut, Echoes, Silence, Patience & Grace opens with “The Pretender.”

The song is disguised as a ballad for 32 seconds; then, Taylor’s muscular drumming jumps in to reveal it as one of those punky, alt-rock sing-along Foo songs like “Monkey Wrench” and “Breakout.”

“Pretender” spills over into the acoustic finger-picking and soulful voice of Dave Grohl on “Let it Die.” That song provides proof that Grohl has greatly improved as a real singer, much like Metallica’s James Hetfield did between the Kill ‘Em All days and the band’s St. Anger album.

The lyrics “in too deep and lost in time/why’d you have to go and let it die,” show Grohl exorcising past musical and personal demons. With the oh-so-soft acoustic opening and breathy vocals to its fouron-the-floor screaming final

seconds, “Let it Die” shows the Zeppelin-like vocal and musical balance the band has always possessed—the ability to swing expertly from all-out grungy distortion to heartwarmingly soft and beautiful, often times within the confines of one fourminute song.

“The music we love and listen to is all over the map,” says Mendel, commenting on the wide-ranging spectrum evident on the new album. “It seems weird to us to pick one certain style—one dynamic—and just play that all the time. It makes sense for us to take all our passions as musicians and put it on one album.”

“Erase/Replace” reads like a rock ‘n roll haiku with its mostly non-rhyming lyrics and arena rock chorus. “Long Road to Ruin” offers itself up as a prime candidate for the album’s second single and could have been the theme song for any number of those late 70s teen rebellion movies.

“Come Alive” is a swirling, brooding acoustic-electric ballad that finds Grohl alluding to his punk rock younger years, past drinking and self-pity: such a simple animal sterilized with alcohol I could hardly feel me anymore desperate, meaningless all filled up with emptiness Priorities change for everyone as they get older, even for rock stars like the drummer for one of the iconic rock bands of the 20th Century. In the words to “Come Alive,” Grohl professes his love for his new daughter, Violet Maye, and suggests that becoming a father was the saving grace in his life: I lay there in the dark and opened my eyes you saved me the day you came alive Grohl and the band conjure up a poppy, almost jazzy feel on “Stranger Things Have Happened.” At just the right point in the album, the energy returns full blast with the curiously titled rocker “Cheer Up, Boys (Your Make-Up is Running).” The roots rock country twang of “Summer’s End” features a Cross Canadian Ragweed-like swagger that melts into “The Ballad of the Beaconsfield Miners,” an instrumental Mendel says Grohl “wrote the night before he met one of the guys in the mine disaster.”

That disaster occurred in Australia in April 2006. Two miners were trapped for two weeks a mile below the surface. Rescuers were able to shuttle supplies to the miners after one week, with

one of them asking for MP3 players loaded with Foo Fighters music. Grohl heard of the request, and sent a telegram to the miners, promising them both tickets to any Foo Fighters show of their choice, and an offer of an ice-cold beer.

“Statues” lumbers along sadly with a blues-heavy guitar lead and Grohl’s thoughts on the passage of time and the fate that awaits us all in the end: our bones forever in stone a monumental life to dust as everything must we’ll fade away in time “With Dave writing ‘Statues’ and the closing song, ‘Home’ on piano, that was totally new for us,” says Mendel.

“But, Honestly” hides between the two piano ballads like a loud, hyperactive child, and it is a fitting hard rock segue into “Home,” a lovely, lilting song about the crushing loneliness experienced with life on the road.

“Home” is such a melancholy song,” says Mendel. “It can be a hard one for me to listen to, but Dave says it’s the song he’s most proud of lyrically... the most honest and most direct. I like it because it’s

so raw, and so real.”

As the closing line “all I want is to be home” fades away, perhaps a bit of the “Foo’s going soft” critical whining is true. But Mendel cautions listeners and critics not to count out the band as a rock ‘n roll force that will always find a way to throw down the heavy tunes.

“We are mellowing out as we get older, sure, I think so. Having said that, a big part of the band is always going to revolve around some completely in-your-face, fucked-up rock songs. We just have to. It’s part of the DNA of this band.

also suggests these artists: Red Hot Chili Peppers, Soundgarden, Incubus

the last g

k

Greeting the World With A Poison Kiss

urtis John needs to snap out of his daze. In six hours, the 27 year-old vocalist will hit the stage with his band The Last Goodnight at the WorkPlay Theatre in Birmingham AL. In the meantime, he needs to stay alert. He abandons his comfortable chair in the hotel lobby and walks towards the complimentary coffee machine. Then, he grabs a styrofoam cup, lifts the pot and slowly pours himself a mandatory fix of java. But there seems to be a problem. “The coffee machine is empty,” he says, despondently.

It looks like he’ll take a trip to Starbucks shortly, but while he waits on line, he can tell the other customers about The Last Goodnight’s debut Poison Kiss. The collection features sweet rock melodies with lyrical content pertaining to John’s personal experiences.

But fortune isn’t the objective for The Last Goodnight. They’d rather make a connection with the listener. “It’s not about how many records we sell. We just want people to feel it.

That’s what success is for me,” John explains. “I live my life through music. It’s [always] been that way. I channel my emotions and whole life through music.”

While most kids in Enfield CT would bond with their father by throwing around a baseball, John didn’t have that luxury. His dad was blind, so instead they listened to records ranging from the jazzy sounds of Ella Fitzgerald to cartoon themes like the theme from Mighty Mouse and edgier offerings from Guns ‘N Roses. Despite being blind, his father had a good ear, and taught his eccentric son how to play guitar and piano.

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January/February 2008

by Bear Frazer

also suggests these artists: Five for Fighting, Dashboard Confessional, Colbie Caillat

feature

goodnight Those skills would come in handy. While attending a house party in 1998, John saw an out-of-tune, five-stringed guitar. He retuned the busted instrument and strummed it to impress a few of the ladies.

But once he put it down, Mike Nadeau picked it up and began playing songs from the Counting Crows and Steely Dan catalogs. Then, a battle ensued. “We started having a ‘guitar off,’” John laughs. “People were requesting songs. And then [Mike] was playing some Metallica.

Some really fast shit. So he actually won the guitar-off.”

There could’ve been hard feelings, but the two admired each other’s talent. Together, they wrote a couple of songs, subsequently performing together at small venues. After receiving positive reactions, they formed Renata with rhythm guitarist Anton Yurack and bassist Leif Christensen. By 2000, they released their indie debut She Walked With Kings and scored gigs in nearby Boston and New York City.

In 2003, they dropped their sophomore set The Other Side of Earth and toured alongside Avril Lavigne and Lifehouse. But the guys still weren’t making a lot of money. In fact, whenever they were on the road, they spent most of their nights either sleeping inside their van or crashing at their MySpace fans’ sleazy apartments. “It was ridiculous,” John chuckles.

That wouldn’t last long. The morning after a 2004 show at The Whiskey in Los Angeles, A&R executive/producer Jeff Blue called them up and said he wanted to work with them.

For the next few years, Renata recorded demos while Blue shopped them around. In the process, they rounded out the lineup with keyboardist Ely Rise and drummer Ravi. In 2006, they officially signed with Virgin Records/Capitol Music Group. They also wanted to make their name more accessible, so they changed it from Renata to The Last Goodnight.

Now, they demonstrate their veteran expertise with Poison Kiss. The album is packed with a beautiful assortment of symphonic melodies.

These compliment John’s vocal range as he sings passionately about romance on stellar offerings like “Pictures of You” and “Stay Beautiful.”

Another theme that makes its presence felt is heartbreak (see “Push Me Away”). These are situations that hit close to home for John.

“There is that relationship shock that comes out,” he explains. “I’ve been in every one of those [kinds of] relationships. I’ve been inspired to write about different moods and different people in my life I’ve come across, [people who] are just estranged and wild.”

As long as Kurtis John has some coffee, he’ll continue sharing his life with the rest of the world.

“It’s not about how many records we sell.”

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Punk legend fuses anger, humor and literature

s

Since the early 1980s, H enry Rollins has both inspired

and

enraged

millions with punk rock ’ s

Flag, T he Rollins Band,

Black

his nu -

merous books and touring the world with his unscripted spoken word performances .

A mong Rol-

lins ’ jack - of - all - trades titles are writer ,

activist ,

singer ,

actor ,

television and radio show host ,

poet , spoken word artist and all around badass .

“’You’re doing good?

That’s great. Now do better.’

That is how I live my life... always trying to do better.”

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January/February 2008

henry rollins

still raging afte

Henry Rollins working in an ice cream shop as a teenager before joining punk band Black Flag.

60

by Carl Cunningham

also suggests these artists: Johnny Cash, Fugazi, Townes Van Zandt Photography by Maura Lanahan

er all these years He’s at his office working by 6 a.m. every day, managing and planning— and, as he says, “I wake up and go, ‘ok, I’m gonna kick this day’s ass.’”

You’ll never see Henry Rollins stumbling drunk on the celubu-wreck show TMZ, and you’ll also never see him doing something—anything— half-assed. He’s clearly the hardest-working, most focused man working in alternative Hollywood. Unlike most of his Thirty-Mile-Zone neighbors whose goals are fame and wealth at any cost, his main fuel and motivation to kick each day’s ass is born of anger.

“I’m mad. I’m not mad at any one person. I don’t kick dogs or throw rocks at cars,” says Rollins. “It’s kind of a healthy level of rage that courses through me at all times. Just a rage to live, to get up there and do it, to effect change in my country. I love America and I want to make it better, and you have to get in there and get your hands dirty to do it.”

One of the main “levels of rage” that courses through Rollins focuses on the drawn out war being waged in Iraq and Afghanistan. While Rollins pulls no punches in his opposition to the war, he does bear a special affection for the soldiers that are just following orders. He was recently invited by the USO for an Iraq visit; an invitation Rollins says he “ran to volunteer” for because he was honored and grateful for the soldiers’ individual sacrifices.

“How can I fault them for taking their orders? That’s what they do.

They’d invade Pittsburgh if they’re so instructed,” gulps Rollins. “Love the troops, hate the war. People ask me how I reconcile that, and it’s easy: Policy is one thing, and in this case, this foreign policy is dictated by people that never set one foot in a boot in harm’s way. As a conscientious American, I don’t have a stomach for war. I think it’s abhorrent. Look at what it does. I’m supposed to have a stomach for that? Once I—or you or anybody—get a stomach for that, then start worrying.”

At nearly 47 years old, Rollins can look back on his turbulent teenage years with the wisdom of a man that’s been through all the shit life dishes out at a person.

“Kids should know their teenage years are the hardest years for anybody. When I was growing up, there was no AIDS, and I didn’t fear some depressed tenth grader with a gun. I can’t imagine how teenagers now are getting through it all,” Rollins says. “Kids these days are like ‘old’ young people. They’re hard and painful years, but it dictates how you’re going to live the rest of your life. Take all that negative energy of teenager-hood and pick up a guitar, or a paintbrush, or a mountain bike or a basketball or typewriter instead of grinding your own guts and wallowing in self-pity.

Find a path in life and do something positive.”

Rollins learned long ago to channel his energy into a host of talents.

He says the most challenging of his projects are his spoken word tours.

January 14 marks the beginning of the European-leg of Rollins’ “Provoked” tour.

“The talking show is the hardest stuff I do,” says Rollins. “It’s gratifying but very challenging in that there’s no script. It’s just me, and my intellect (or lack thereof). And if I don’t have any good ideas, I’m screwed.

There’s no backbeat to hide behind. I have to be prepared and really ready to do it, and that’s the challenge. There’s a lot of preparation and discipline and exactitude there. It’s fun—like being on a roller coaster for an hour and a half.”

The “discipline and exactitude” of Rollins’ spoken word skills are evident in everything he does, from singing to TV talk show host to writing.

What motivates Rollins—besides anger—has been developing within him since his teenage punk rock beginnings.

“When I was younger, my words and thoughts were through this prism of expression. I’ve gotten better at getting what I want out of my head and onto the page or into the microphone, but the ethic is still the same—be exact, be real, be honest.”

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deep d

by Janie Franz

Mickey Hart’s Global Drum Project

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January/February 2008

p

lanet Drum was the beginning. That album was the 1991 drum experiment of Grateful Dead drummer Mickey Hart and percussionists from around the world. It created such a stir, ranking #1 on Billboard for 26 weeks, that the Recording Academy had to create a new Grammy ® category to honor the percussionists’ efforts, the Best World Music Album.

In 2006, Mickey Hart and some of his drum friends reunited for the Planet Drum Reunion Tour. That sparked the idea of creating something equally as new and startling in last fall’s Global Drum Project release and tour. Recorded at Hart’s Sonoma County Studio X, the album features Indian tabla virtuoso Zakir Hussain, Puerto Rican conga giant Giovanni Hidalgo, Nigerian talking drum master Sikiru Adepoju, and Hart. Other percussionists assisted, including Taufiq Qureshi on percussion and vocals, Niladari Kumar on sitar, and Dilshad Khan on sarange, an Indian stringed instrument. As a tribute, Hart sampled vocals by the late Nigerian drummer Babatunde Olatunji, who was

also suggests these artists: Grateful Dead, Sandy Nelson, Zakir Hussain Photography by John Werner; inset photography on p.64 by Anne Fitten Glenn

feature

drumming showcased on the original Planet Drum recording.

Studio X was the ideal space to record this project. “The room is a huge barn,” says Hart. “This is where my collection also resides. You can’t call for these kinds of drums; some of them are one of a kind.”

Though Hart and his comrades explored different drums and auxiliary percussion instruments, Hart insists that the Global Drum Project is uniquely different from Planet Drum.

“That was more in the acoustic world,” he explains. “This is more reflective electronically of the world we live in. These are the sounds around us.”

Amid the drums and percussion, sitar and sarange, as well as the human voice, provide melody. “And I’m DJing stuff from AM radio,” says Hart.

Freshness also comes from what Hart calls “found sounds.

Some of it is metal junk from a junk yard,” he admits. “Some of the instruments don’t even have names.” On the cut, “Dances With Wood,” Hart and his fellow drummers experiment with forest downfall, redwood stumps and roots. “You play mallets on it. You play sticks on it. You play fingertips,” he says.

Though the sounds are unique, there is a cohesiveness to the work that elevates it beyond drummers grooving on just about anything. “There are different ways of making sounds. That’s what this CD is all about,” Hart explains. “Zakir and I set out to push the envelope, to go beyond where we normally go or where we’ve been before. This was a really exciting experiment for us.” But there is always risk. “You never can tell when you push the envelope where you’re going to wind up, because you

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“You never can tell when you push the envelope where you’re going to wind up, because you don’t know where the end is.”

64

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don’t know where the end is. You just know it’s something different...There was a lot of work put into this, but it was totally joyful. The composition came from deep down. What we set out to do was to say something exciting, new, and different, something that would resonate with each one of us, and hopefully with other people.”

One thing that listeners to the CD or concertgoers hear is the lack of flashy drum solos. “We did that on purpose,” Hart says. “The trick was to have everybody agree to just do soundscapes as opposed to soloing. We just wanted to get

into the zone and take people on a trip.

When you play with percussionists of this caliber, there are two ways it can go.

It can turn into a giant drum challenge with everybody trying to out-drum each other. But the egos have been put aside here. Everyone was very committed to the groove.”

The Global Drum Project is definitely an experience for both listeners and for the musicians themselves. The combination of electronics, found sounds, and traditional instruments produces an exciting, rich texture that conjures emotion. “If you can stir somebody’s emotion using

the instruments you love the most, then it’s successful,” Hart says. “I think of all the CDs that Zakir and Zikidu and Giovanni and I have done over the years, I think I’m most proud of this.”

Perhaps Hart and the other drummers have discovered a truth that they profess in “I Can Tell You More,” the last cut on the CD. A haunting voice says, “The sound is us.” The Global Drum Project just might be the heartbeat of a new century.

exposing the horror

“i

feature

by Lauren Proctor

Plan B’s Sophisticated Acoustic Rap ’m kind of like a town crier,” says East London rapper Plan B. “I’m looking at shit in my life and writing about all the fucking bastards I’ve seen.” Armed with an acoustic guitar and the desire to expose a horrific side of life even American rappers wouldn’t dare address, Plan B’s music illustrates scenes of murder, drug addiction, rape, and stealing.

“I started off doing Justin Timberlake shit, but it never worked out,” says the 23-year-old Ben Drew. “Then I started doing this and called myself Plan B, but the type of rap like everyone else does just bores me.”

So at age 14 Plan B picked up a guitar and never stopped plucking.

Now his live performances are acoustic solo acts, each song another profanity-laced shocking story that illuminates a problematic society.

Rather than glorify big rims and women as sex objects, Plan B paints painful pictures that reject the thug lifestyle.

Poetic and sophisticated, his Who Needs Actions When You’ve Got Words reflects a gift for conveying harsh truths in an innovative and intelligent way. One track tells the story of a prostitute named “Suzanne” who is sliced to pieces by a client. “I Don’t Hate You” finds the rapper referring to religious preaching as “verbal syphilis.”

“I’m kind of an outsider, but for now I find my life satisfactory,” he says in his thick British accent. Plan B doesn’t see success such a great thing. He blogged recently that “[h]alf of the motivation you use to be creative stems from not having achieved anything and wanting to prove yourself.”

But Plan B doesn’t lack motivation himself. He still lives at home and plans to do so until he can support his mother the way she did for him.

In the meantime he’s writing an album of purely folk songs, telling the stories of what he sees in life, and pursuing what he sees as part of his destiny: a career in film.

also suggests these artists: Luny Tunes, Romeo, Ariel & Hector

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porcupine

by Bill Kopp

Ever Changing, Nil Recurring

p “An entertainer can make music to please his fans; an artist has to make music

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January/February 2008

to please himself.”

orcupine Tree is a tough group to label. Progressive? Certainly. As leader and songwriter Steven Wilson says, “there is certainly a sense that Porcupine Tree are taking a tradition or a legacy from certain bands of the 70s, and taking it forward.” Pop? Undeniably; Wilson’s songs are melodic, hookladen affairs. Metal? Absolutely. Listen to any of the six songs on their latest full-length, Fear of a Blank Planet. Wilson says that “it would be very hard for me to force the band to go in a direction if they didn’t feel an affinity with it too. Particularly with the metal thing. I’m very curious, and I’m always looking for new music that will inspire me as a musician as well as a listener.”

Nominally an EP, last October’s release Nil Recurring is essentially another brand-new full-length album; it continues in the band’s many-directions-atonce approach. “Around the time of Stupid Dream (1999), the band really went from being an instrumentally orientated band—more about improvisation, soloing, texture—to a more song-orientated one. The big influence at that time was Brian Wilson (The Beach Boys), particularly the idea of multi-part harmonies. And then around the time of In Absentia (2002), I got really into Swedish and Scandinavian death metal. Each of those things has changed the direction of the band in a natural, organic way.”

While there’s definitely an identifiable Porcupine Tree “sound,” Wilson never seems to stay in one place very long. “The artists I’ve always admired are the ones who not only reinvented themselves from album to album, but kind of confronted their own audiences’ expectations: artists like David Bowie and Frank Zappa, in love with the possibilities of music. I would love our audience to think, ‘we don’t know what the next album’s going to sound like, but we know it’s going to be interesting. We may not like it the first time we hear it, but there will be something in there that will make us go back and listen to it.’”

Does such an approach work against a band that has to answer (to some degree) to its record label? Wilson doesn’t think so. “I think as an artist if you’re willful enough—and you believe in yourself enough—you actually get to the point where you don’t care what record companies want.” He laughs, “and I think I reached that point a long time ago.” He goes on to say that “an entertainer can make music to please his fans; an artist has to make music to please himself. That distinction applies to music, film, novels…any medium.”

also suggests these artists: Opeth, Dream Theater, Tool

tree Early Porcupine Tree efforts were really Wilson solo projects with bits of outside help. By ’95 they were a “real” band. In 2002 Porcupine Tree added the powerful-yet-subtle drumming of Gavin Harrison. Richard Barbieri (from legendary 80s group Japan) provides atmospheric keyboard, and the perpetually bemusedlooking Colin Edwin lays down the ultra-heavy, precise-yet-surprisingly-funky bass. Wilson says that auxiliary member John Wesley—the sole American in the group—has become an integral part of the band. “I suppose he’s closer to the sort of David Gilmour/Jimmy Page thing,” Wilson says, “while I’m more inclined to the Robert Fripp [style of] quirky playing. But we both meet somewhere in the middle.”

feature

In the face of download culture, Steven Wilson remains steadfast and true in his love for the album format. He sees his group as part of “the 70s tradition [of caring] very much about carrying aesthetic vision through to the packaging.” And he believes it’s a commercially viable approach. “If you take the extremes of the industry—where it’s all about making a couple of really big hit records, and then [padding] the album with a load of filler—those kind of artists are the ones who are really suffering right now.

Because, who needs to spend fifteen bucks on an album, when you can just go and download the two big hits for 99¢ off iTunes? No one. But at the same time, there are artists who have a reputation for elaborate packaging, sequencing, and the idea that the album can be a musical journey, a flow, a complete piece of music to be listened to.”

Steven believes that “it’s the distinction between a piece of software and a piece of art. For many years, the industry has been trying to make us believe that music is just software. And it’s not. It’s much more than that.”

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www.skopemagazine.com

the modesty of

sean kingston

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January/February 2008

ean Kingston tells most of his story in the opening track to his debut album: “I go by the name Kisean Anderson. Born on 2-3-90. And I must say in my life I’ve been through a lot. It hasn’t been an easy road for me. But one day MySpace made history.”

These days, 17 year-old Kisean goes by the stage name Sean Kingston and likes to punch up his Jamaican roots (he was born in Miami) by slipping into a Bob Marley impression on a few songs.

He does have some cred, though: Kingston’s grandfather is legendary Marley producer Lawrence “Jack Ruby” Lindo, and Buju Banton is a close family friend he calls uncle.

“No matter how long it would take me to record the album, I did not want to sound like nobody else,” Kingston insists. “There’s not another young reggae pop icon out there right now, so it was an open market.”

Kingston kick-started his career through the dedicated use of some guerilla marketing. After flooding the MySpace inboxes of Dr. Dre, Swizz Beatz, Polow Da Don, and others in the hip-hop industry, only J.R. Rotem finally replied. “He flew me out from Miami to L.A.” Kingston says.

“It was crazy, man. Craaazy.

He just told me, ‘You made it this far, now let’s work.’”

Kingston explains that Rotem would spend about twenty minutes working out

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by Len Sousa also suggests these artists: Akon, T-Pain, Plies Photography courtesy Epic Records

Self-proclaimed Reggae Pop Icon

a beat on a computer. Meanwhile the young singer would start writing ideas for verses.

Their chemistry led to Kingston’s breakout hit “Beautiful Girls,” a song about love gone wrong sung to a beat based on Ben E. King’s classic “Stand By Me.” In one verse, the teenaged Kingston sings, “It was back in ’99, watching movies all the time, when I went away for doing my first crime.”

Dude, seriously? “The first time I went to jail I was really young…but not that young,” Kingston admits. “But I felt like it rhymed so I thought I’d just throw it in there.”

Well, at least he’s honest about that much.

h c t a r c

Where is the Love?

Songs To Make Your Heart Beat With the season of love in the air, the only thing that could accentuate the mood is the right kind of soundtrack. New York radio veteran, producer, and turntable assassin DJ Cocoa Chanelle has the right song recipe to cook it all up. Raised by the loving hand of hip-hop, Cocoa is known for delivering throughout many of hip-hop’s elements – from her early days as an MC, to DJing, and now as a well-respected producer on the rise. Cocoa pioneered Hot 97’s Ladies Night–an all female show in New York discussing everything from music to womanhood–alongside Angie Martinez and Jazzy Joyce. As BET’s first resident DJ, Cocoa Chanelle made leaps and bounds on behalf of women in hip-hop. Her production went to the next level with Saigon’s “Pain In My Life,” and now MCs turn to a lady when it comes to crafting street beats.

With a résumé as long as Cocoa Chanelle’s, it would be hard not to be completely in love with life and everything it has to offer. Cocoa expresses love on many levels, and lists her top ten songs that answer the question, “where is the love?”

1. Method Man featuring Mary J. Blige – “All I Need” I love the way Meth appreciates the fact that he has a good woman who stays by his side no matter what.

by Kathy Iandoli

That’s the type of female I am.

I can relate!

2. Ma$e – “Tell Me What You Want” Ma$e says if he’s doing good in life, that means his girl will be doing good too. He’s saying that he’s got her back and he’s not gonna leave her to struggle.

I like that.

3. LL Cool J – “Love You Better” I like how LL is apologizing to his girl. He’s saying how he knows he hasn’t been the type of man that he should be, and he needs to love her better.

I have been in that situation before. LL is saying all of the things myself and other women wish would have been said to us!

4. Jill Scott – “He Loves Me” I really love the way Jill expresses how her man loves her for who she is from head to toe. That’s the kind of unconditional love we all want..

5. Isley Brothers – “For the Love of You” I like this because it’s one of those feel good love songs.

s

6. Lauryn Hill featuring D’Angelo – “Nothing Even Matters” This song reminds me of that feeling you get when you first get involved with somebody, and you’re on Cloud Nine and there’s nothing you would rather do than be with them.

7. Ghostface Killah featuring Mary J. Blige – “All That I Got is You” This is a nice song that reminds me of how important it is to have family love when you are going through those hard times.

8. Tupac Shakur – “Keep Ya Head Up” I like this song because it’s about having love for black women. Tupac is showing us he appreciates [women] and understands our struggle.

9. Jay-Z featuring Pharrell – “Excuse Me Miss” I like the way Jay is talking about changing his ways to make a new life with the person he loves.

10. Common – “I Used To Love H.E.R” This is a hot love song about Common being in love with hip-hop. All of us true hip-hop fans can relate to this one!

Photography by Michael Singleton

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www.skopemagazine.com

Blurred Vision

With a lush, midtempo sound reminiscent of a cross between Ambrosia and the David Gilmour-led Pink Floyd, Toronto/SF/Vancouver/NYC-based Blurred Vision is led by brothers Soheil and Sepehr. The pair are émigrés from Iran, and their sound incorporates some Eastern influences and instrumentation into the progressive mix. And the live clips shown on their MySpace page (myspace.com/blurredvisionmusic) show that the group’s musical “vision” translates well onstage.

The progressive tag applies to their world view as well, as the group is involved in human rights advocacy and has done some work with Amnesty International. In 2006 they started the Open Eyes Movement, a weekly newsletter that shares their concerns about world affairs and more. As Sepehr says, a world-based perspective “could very well be the most important way to fight back against the injustices committed by governments on both sides of the spectrum.” Under a Pale and Faded Sun is available from CDbaby. Learn more about the group by visiting their web site at www.blurredvisionmusic.com

Mitch Linker

Connecticut-based Mitch Linker sports a streamlined pop-rock sound that will be pleasing to fans of Owsley and Ben Folds. Although he’s American, there’s a faint British inflection to his vocals, possibly a result of growing up listening to his influences. Like many pop greats, Linker writes his songs on piano, and it shows; he ventures beyond the I-IV-V structure favored by many guitar-based writers. Linker was a runner-up in the John Lennon Songwriting Contest in both 2002 and 2003, and has fared well in other competitions as well.

A highlight on his latest Learn How to Love is the 70s-styled “Bright Side,” featuring upbeat horn charts for added interest. Once you’ve fallen in love with the new disc, you can work backward through his catalog (a 2005 solo debut plus one album as part of The Day Traders, and three albums with The Dent). Visit his web site at www.mitchlinker.com and pick up Learn How to Love from CDbaby.

Visit Skopemagazine.com to read new full-length features on these artists: • Art Brut • Jah Cure • Buckcherry • Revolution Mother • Cary Brothers • Mae • Nitti • Emanuel • Colbie Caillat • Cevin Soling • Circus Devils ...and many, many more!

And look to skopemagazine.com for late-breaking CD and DVD reviews.

skopemagazine.com

Tips

Music Industry

by Eugene Foley

Industry Insider Lets You In On Proven Techniques for Success

Music Publishing

M

This article is an edited excerpt from Eugene Foley’s book, Artist Development – A Distinctive Guide To The Music Industry’s Lost Art.

usic catalog through their own efforts. I’ve seen very publishing few people succeed in this manner. Most writers he main goal of is a very who want to get their material placed choose to important work with an established music publisher. Alignmusic publishing is topic for ing with someone who works as a publisher on songwriters and recording a full time basis is a wise move. The top music simply to find ways artists. It’s also a complex publishers have a vast network of tips, leads and subject that seems to be opportunities that most people simply don’t have misunderstood, and it access to. to earn money causes a great deal of unThe larger publishers have an administracertainty for many people. tive staff to handle all paperwork, licenses, from a song The main goal of music copyrights and financial transactions. Creative publishing is simply to find executives are on staff to help develop writers, ways to earn money from improve songwriting skills and to arrange coa song. A music publisher writing opportunities. They also have a manager, owns song copyrights and controls the mansometimes referred to as the “song-plugger” who utilizes their industry ner in which a song is used. The publisher contacts to find out who needs songs and sends packages out to those collects income earned by the songs they leads promptly. control and forwards a share of that money I’d like to define a few common publishing-related terms that you to the writer. should be aware of. A “mechanical license” gives someone the permission to More and more television shows and moreproduce and distribute songs. “Mechanical royalties” are paid to the owner tion pictures are using music created by indeof a copyright from the sales of those songs. Most mechanical licenses pendent and unsigned artists these days. It’s a are negotiated through The Harry Fox Agency. Mechanical license fees great source of income and exposure for the are paid to HFA and after taking a small fee for administration services, writers and performers of those songs. With the remaining monies are sent to the copyright owner, which is generally the music industry changing over the last few a music publisher. years, publishing opportunities abound for If a person wishes to record a song written and controlled by someone the savvy indie artist. else, they must file the correct paperwork and pay a predetermined fee Holding the copyright in a song gives per record or download sold. This fee is known as the “statutory rate.” someone the right to record, reproduce, disThe statutory rate slightly increases every few years and is determined by tribute, perform, publish and eventually sell Copyright Royalty Tribunal. the end result to consumers. Generally, the When a song is performed publicly, including on television and radio, owner of the copyright is the writer of the in restaurants, hotels and bars, the performing rights organizations monisong, or a company that the writer assigned tor these events. They make license arrangements and money is collected the copyright to at some point. Copyrights from the user. A portion is later paid to the publisher from one of the can be bought or sold, therefore transferthree performing rights societies, which are BMI (Broadcast Music, Inc.), ring ownership of a song to a new person or ASCAP (American Society of Composers, Authors and Publishers), and company.

SESAC (Society of European Stage Authors and Composers). This is The copyright owner attempts to earn known as “performance royalties.” money from this intellectual property by “Samples” are common in rap music. If you plan to sample from a granting other people the right to record the recording that already exists, you have to license both the publishing song. This written permission is also known rights and the performance rights from the originating record company as a “license.” The license grants the recipiand publisher. There is no established, set fee. Therefore, you or your ent the right to record and sell the song to representation must negotiate the terms on a case-by-case basis. consumers.

A “synchronization license” is commonly found when a song is used in a If a publisher makes an offer, they would movie and the song is synchronized with the motion that the viewer can want the writer to assign the song’s copyright. see on screen. Television commercials are another area where this type of In return, the publisher would find ways to license can be found. They key here is the use of music with images that place the song, issue licenses, keep track of are visual. Again, like with samples, fixed fees are not established with royalties owed and then split the income sync licenses. Good luck as you explore new ways to exploit your catalog 50/50 with the writer. of songs. Don’t be afraid to think out of the box, as music is used in Some writers prefer to keep all of their countless ways these days. publishing and attempt to “exploit” the

T

.

Eugene Foley is the Founder & President of Foley Entertainment, Inc., a full service music industry consulting firm and licensed Entertainment Agency.

Foley represents artists, labels, managers, producers, songwriters and other industry participants. Clients have earned nearly 40 Gold & Platinum Records & three GRAMMY® Awards for their overall career accomplishments. Foley is the author of two acclaimed music industry educational books and lectures extensively on topics including artist development, marketing and intellectual property.

Foley offers a free CD evaluation to all unsigned artists. For more information, visit his Web site at www.FoleyEntertainment.com

the crossover

Y

Musings, Platitudes and Contemplations From an Outsider

sk pe 72

ou remember, back in the day when you used to get a 30 of Natty Ice and head down to your local concert venue to take in one of the myriad music festivals going on that summer?

Don’t give me any Bonnaroo shit. And the VANS Warped Tour absolutely does not count. Rampant commercialism doesn’t do much to harbor that communal spirit.

I’m talking about the roots of the thing – all the way back to a large farm in upstate New York that bore witness to the single most important weekend of music in the last 50 years. No, the last Phish tour doesn’t qualify.

Woodstock my friends.

I’m not old enough to have been there – not even close.

And, I’m not one to lament the downfall of music since its tipping point in the late 1960s. On the other hand, I don’t believe that to be the case at all.

Woodstock, popularized an idea – actually originated two years earlier by the Monterey Pop Festival – that a day of music among acts that fit the bill appropriately could take an event from the ordinary to soul-lifting.

Ironically, it took until the early 1990s for people to realize the potential of such a gathering. Lollapalooza broke new ground (thanks, Perry Farrell) and introduced the mainstream to a smattering of acts that were nothing if not eclectic. Pearl Jam, Stone Temple Pilots, Ministry, etc. rounded out an other-worldly bill that has not since been equaled.

Not even close.

Other, smaller festivals began to take root, but without the fusing of so many disparate elements that catalyzed a bizarre détente among the musical elite that lasted (if only for a few days).

The spirit of unfettered indie sound reached its zenith in the mid 1990s with the Horde Festival. A collection of trip rock acts, reggae and funk toured the country at old, minor league baseball stadiums in Podunk, U.S.A. Founded by Blues Traveler’s lead man, John Popper, Horde collected the Black Crowes, Ziggy Marley, G. Love and Special Sauce among others to act as minstrels for the masses.

The result was days of hemp and holistic healing, lovingly bereft of all the trappings of a Budweiser, T Mobile and the like.

Regional vendors flocked to showcase their wares to the mostly tripped out masses – like a county fair on mushrooms.

The involvement of local citizens infused a sense of community that’s been completely lost in today’s maelstrom of corporatewhore promoters.

And, get this: people partied inside the venue. Crazy, I know, especially for all those who were completely convinced that the only good time you could have at a show was in the parking lot at 3:30. Revelers were almost encouraged to bring their narcotic du jour (Disclaimer: Having served as an underage security guard for many of said festivals, I can assure you, patrons took advantage of the lax enforcement policies).

As the day wore on, the collective glow of the crowd began to hover over the throng of revelers in the form of pot smoke like a purple haze. By the time the headliners hit the stage, the crowd wasn’t so much in a frenzy (ala Woodstock Renewed ’99) as much as a collective groove for a good time.

Recently, we attempted a redo of Woodstock with Limp Bizkit and friends touting date rape and

worse. Nightmare. The aforementioned tours whizzing around U.S. stadiums every summer are drunken disappointments. For Christ’s sake, Ozzfest was free six months ago to boost attendance.

Apparently, re-executing the perfect festival is akin to catching lightning in a bottle. Hence, the number of festivals recurring every year dwindles. The right weather, bill, set list, etc., are all a toss up in the grand scheme.

Logistics are a disaster.

This isn’t some former Deadhead waxing nostalgic over days of yore. This is simply the yearning for something that’s unavailable to today’s concert-goer – the opportunity to enjoy a day of music without either dropping half a paycheck on tickets and booze, and not having to be reminded of the day’s corporate sponsor.

Pissed off? Holla: joneill@skopemagazine.com Too bad Jeff didn’t attend the Echo Project festival in October. Might’ve changed his mind.—ed.

by Jeff O’Neill

January/February 2008

Where have all the good times gone?

“

A solid album. HELENA is captivating...it caught me off guard.”

- Morton Wilson, Schtung Music

“ “ “

Powerful lyrics and melodies” - Clare Morin, HK Magazine

Reign Lee is a world class artist.”

- Eugene Foley, Foley Entertainment, Inc.

Amazingly deep, yet clear, lyrics sung with a passion that is infectious.”

- CDbaby Listener Review

Summer Faded This Lonely Love Don’t Close Your Eyes Something About You Helena Everything Changes In Your Arms Burn Don’t Walk Away After the Flood

mic o c s

e. emu e l le

gn

i rei e r / . m w .co

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w e w spac y

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m w.

BRO S KEN E N I L LEE SKYIG N E RN SALE NOW! O

don’t read this

by Eric Saeger

I

, e Die,pac S y Die! M

t’s my fondest hope that the entire MySpace site gets accidentally deleted by the most Gilligan-like nitwit on their staff.

This would rid the world–for a while, anyway–of all the talentless assholes running bots to rack up MySpace hits and earn themselves Top MySpace Band awards, for whatever they’re worth. You do know about that one, right? I mean, you honestly didn’t think pus-gargling retards like Job For a Cowboy have something special going on that you and you alone simply don’t get because you’re not cool, do you?

During a recent interview, Assemblage 23’s Tom Shear told the reporter (notice I didn’t say “told me,” even though that was what actually happened?) this: “With the accessibility of music software and digital distribution of MP3’s, there are more releases out there than ever, and it becomes a lot more difficult to find the real quality stuff.

You get the proverbial ‘needle in a haystack’ thing.”

‘Needle in a haystack’? More like a needle-molecule in a whole Big Bang.

People need to stop making music when it sucks. Not to get too “inside baseball” about it (and man am I getting sick of editors* holding up the big red “inside baseball” sign, as though rock fans don’t really care what goes on behind the scenes and instead want a nicely flowing set of record company talking points), but we get a lot of albums in here. Milk crates full, no exaggeration, every year. And 99.9 percent of those records suck. With some of them, maybe half, their suckage is a symphony of worthlessness, suckage whose purity wrings tears from the soul.

And like clockwork, the worst bands of all–the lowliest, most unoriginal, loathsome truckloads of sticky catshit–get their encouragement from sycophantic MySpace Friends they’ve never met.

The web is a great tool, yes, but it’s no replacement for real-live people coming out to real-live shows. The next time a local band tries to rope you into their little clique by sending you an unsolicited MySpace message, do yourself–and me–a favor and give the band’s music an honest listen before you do anything.

If it sucks, tell them so. Don’t support a worthless “scene” from the safety of your computer just because it’s local to you and a few word-counting deputy editors are pretending to care.

“People need to stop making music when it sucks.”

Surely there are a few indignant rebels getting steamed enough to throw cyber-tomatoes at me via email.

Yes, MySpace helps to level the playing field and give every guitarfudging shmoe on earth a chance at the Bigs. But culture is a delicate and important thing, so pay close attention: If you’re listening to the 100th band this month to have released a bunch of songs ripped off from OK Go, you’re not getting culture, you’re overfeeding.

Music can be like comfort food, but sometimes you just need to try something new. There’s plenty out there to try already, if you’re up to challenging yourself personally. Seriously, if Gilligan whacked the whole MySpace server and none of the bands had the stuff backed up, how many bands do you think would make the effort to re-do their stuff?

Just trying to help. * he doesn’t mean me, folks.—ed.

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Steve Dunn

Marc Berley

With its sampled flute lines, the opening of “Spend Some Time” evokes memories of The Beatles’ “Strawberry Fields Forever.” Though he’s thoroughly original, Steve Dunn’s breezy pop sound cherry-picks from a number of winning influences. Solid-yet-subtle instrumentation travels John Mellencamp territory, albeit with the rougher edges smoothed out.

Dunn has followed up his 2004 full-length Ok to Drive with a new EP Great Escape. The EP continues Steve’s winning mix of originals and covers; the latter includes a remake of the Gin Blossoms hit “Hey Jealousy.” Dunn truly makes the song his own. Dunn’s music is promoted as “calming,” but the EP’s title track has a pleasantly rocking vibe.

An in-demand performer, Steve Dunn has live dates booked well into next winter. Most of these are in and around his Connecticut home base; those outside the tri-state area are advised to pick up Great Escape, available via his website www.stevedunnmusic.com

Marc Berley’s musical approach falls into the powerpop vein a la Material Issue, but with a harder-edged attack (see: Trick, Cheap) that keeps the songs from ever straying into bubblegum territory. The songs do stick in the listener’s head like gum, however, and that’s the idea. “I wanted to make people jump and feel great. I wanted to make people keep hitting ‘repeat’ over and over again,” says the New York-based rocker. Berley has taken his set to stages at famed venues including CBGBs and The Knitting Factory, and has performed at the highly-regarded World Café Live.

Berley’s singles “I Like You” and “Day Go By” (both featured on his new album Kick the Machine) were included on a recent compilation alongside tracks by The Killers and Citizen Cope. Adding to Berley’s classic rock cred, Steve Holley (Wings) plays drums on one track on Kick the Machine.

Order the disc and keep up with Marc at www.marcberley.com

reach your

target.

contact Mike Friedman: mfriedman@skopemagazine.com (617) 828-6622

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eview

cd’s & dvd’s

what to buy & what should die

Smash or Trash?

That’s the question our reviewers ask themselves each issue, as they apply their critical listening skills to dozens of new and recent releases.

The answer often lies in the great middle, but even then, our review team’s words can help improve the quality (and quantity) of the soundtrack of your life.

We’re here to help.

R

eviews

Love is Simple Young God

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sk pe

January/February 2008

Despite being a band that wandered the outskirts of experimental rock—melding psychedelic rock, noise, and folk music variants into a dizzyingly complex sonic stew—there always seemed to be something vaguely familiar lurking under the swirling surface of Akron/Family’s music. Now, with their third full-length release, that familiarity is revealed to be the influence of classic rock, with Love is Simple providing evidence of a shared love of Neil Young, the Beatles and the Grateful Dead.

Though love is probably the most exhausted theme in the history of popular song, the hairy New York quartet takes a far broader view of the topic than simple boy-girl relationships. The constant shifts in tempo and texture remain from previous releases, but nearly all of the dark energy of those albums is gone, here replaced with softly chirping electric guitar lines, rousing sing-along choruses, and reassuringly good-natured sentiments. For certain, these songs drone and meander a bit more than before, slowly drifting through the repeated chants and stomping rhythms of “Ed is a Portal” and the lullaby verses and gloriously harmonized choruses of “Don’t Be Afraid, You’re Already Dead.”

There are still moments of unkempt sprawl, but those moments are relatively uninspired compared to the more concise twists of the playful pop opus “Phenomena” and the reverb-drenched balladry of “Pony’s O.G.” All in all, it’s an album that arrives at a comfortable mid-point between their most far-flung experiments and their more straightforward classic rock inclinations, making an album that should both alienate and appeal to a whole new audience.

The Arcanum Order Rise Records

“Cacophonous.” That’s the first track on The Arcanum Order, the debut record from Lebanon, Ohio’s At the Throne of Judgment, and probably the best descriptor for the five-piece act. However, unlike so many of their peers, At the Throne of Judgment has a maturity to their sound that belies their ages; the group’s members are all in their late teens and very early twenties. The Arcanum Order is as reminiscent of modern metalcore acts like All Shall Perish and Black Dahlia Murder as it is of Slayer’s Reign in Blood and Sabbath’s Master of Reality.

The lads’ first effort is, by design, an all-out sonorous assault, neither radio-friendly nor any manner of friendly.

The only respites are the first track (which is, as far as I can tell, a recording of some rain and wind) the record’s final song, the haunting “The Captive,” and “Four Winds,” an un-distorted, heavily-chorused classically-influenced guitar track that Tony Iommi would have been proud to write. The Arcanum Order draws on (or creates its own) dark mythology for much of its lyrical content, and on the rare instances you can understand the lyrics, there is some interesting imagery conjured up.

The band’s members have a level of technical proficiency that is undeniable, which is most likely why they are touring with mathcore act The Number Twelve Looks Like You, whose latest EP was available exclusively at mallternative haberdashery Hot Topic. Seriously. Of course, if you don’t like metalcore, then you will think that this album sucks.

And At the Throne of Judgement would probably be fine with that.

ByTodd Sikorski

by Evie Nagy

At the Throne of Judgement

www.bluejar.co.uk

Akron/Family

myspace.com/atthethroneofjudgment

www.younggodrecords.com

by Matt Fink

check out the latest cds from your favorite artists, and find out who the up-and-comers are

Blue Jar Pelican Crossing Blue Jar

A listen to the Belfast, Ireland band Blue Jar’s second CD Pelican Crossing can be a pretty jarring experience, especially for people who grew up on rock music. When a typical music fan thinks of Irish bands, you think of U2, the Chieftains, or the Thrills. Well, Blue Jar is nothing like any of those bands.

Instead, the three main members of the band—Lesley Dennison, Tommy Locke, and Scott Heron—play music that can best be described as gypsy jazz with touches of pop and classical thrown in here and there. The emphasis of Pelican Crossing is mostly on the music instead of lyrics and vocals; only a handful of the songs on the CD feature Dennison’s singing.

While Dennison does have an appealing voice which works best on the cover of the pop standard “Blue Moon,” the best things here are the instrumentals which let the three members (along with special guest Ivan Black) show off their musical chops with impressive solos.

The opening track, “I’ve Found a New Baby,” is arguably the finest of the bunch as Dennison’s violin and Locke’s guitar trade off solos so perfectly it seems like the two have been playing together for eons. Another fine track is “Gymnopedie No. 1” which shows the band slowing things down, but it remains intriguing because of its dreamy soundscape.

That said, the songs on Pelican Crossing are not especially memorable despite the top-notch musicianship. But their easy listening quality does make the recording work great as background music after a night of downing too much Guinness.

Dank Disk

Even the title evokes an LSD-fueled journey to the unconscious. Canartic’s Bouncing Radar Beams off the Moon is a fusion of mid-tempo trance beats and synth-meets-acid jazz. Whoa.

Refreshingly incorporating real, live instruments intertwined with more “traditional” computerized beats, Canartic illustrates an instrumental canvas of eclectic sounds. Reverberating guitars pluck out arpeggiated notes that flow like a thousand ripples across the stream of chunky, funky bass and beats.

Opening with the lounge-friendly “Send,” the group tweaks out a bluesy, twangy guitar riff that dances over the hi-hat and snare of a traditional jazz time keeper. The title track follows with a harder and crunchier riff from the resident axe, framed by a quieter tempo and interspersed synth and echo lyrics.

“London 67” is a smooth, Sade-like rhythm that sounds great with an eighth of hydro. The sound comes in waves, but the percussion lays down a less than formidable foundation.

A more playful cut, “Sid’s Psychedelic Adventure,” is a quicker, lighter cut that infuses a funky riff with conversation throughout about nothing – typical stoner fare. A reggae beat drives throughout to reveal the most interesting sounds on the album. “The Soft Collapse” presents an introspective, sludgy cut with much lower guitar tones and a rockier snare keeping pace.

An interesting, eclectic work, Canartic’s Bouncing…, while original, falls a tad short of transcendent. A few of the tracks come close to the goose bump but the work as a whole seems a bit shallow. If you’re going to do something different—which this certainly is—you might as well go the whole way.

by Claudia Ward-de León

by Len Sousa

by Jeff O’Neill

Bouncing Beams off the Moon

www.cinematicorchestra.com

www. cherrysuede.com

www.dankdisk.com

Canartic

Cherry Suede

Cinematic Orchestra

Cherry Suede

Ma Fleur

Prodigy Music Group

Ninja Tune

Cherry Suede freely admit their debt to power pop performers like Bryan Adams and Bon Jovi. But even Bon Jovi doesn’t really sound like Bon Jovi anymore. And this is what Cherry Suede fails to realize on their debut album. Every track, every verse, and every riff sounds like a relic pulled from some pop music time capsule.

Ladies and gentlemen, it’s 1987 all over again.

The two main members of the band are both named Randy—Randy Young being the Richie Sambora to Randy Scott’s Jon Bon Jovi. For Cherry Suede (named after—no joke—a red pillow), their dip into the pools of 80s power popsters is a mixed bag. Songs like “Not a Day Goes By” and “What You Do to Me” are musically well written, but Scott’s breathy vocals make them sound like South Park parodies. A quick look in the liner notes didn’t mention Trey Parker or Matt Stone, so we can only assume a track like “In Pieces” with lines like, “Oh Miss Jealousy/You’re misery/Why can’t you let me go?” isn’t meant to be ironic. It may be that Scott is taking his vocal work too seriously or he’s simply stuck channeling Bryan Adams for inspiration.

Whatever the reason, it effectively kills what would otherwise be decent (if generic) songs.

At the very least, these dueling Randys deserve credit for coming up with a band name that sounds more like a porn star’s than Steely Dan. Job well done.

In fact Steely Dan took their moniker from a “character” in William Burroughs’ Naked Lunch. —ed.

The first pensive piano notes of the much awaited Ma Fleur are indicative of the solemn and subtle musical direction Cinematic Orchestra has chosen for their follow-up to 2002’s critically acclaimed Every Day. Unlike Every Day, the intense moments in this album are less pronounced, the sound more introverted, the album more epic and cohesive. The stories it narrates and the conversations it paraphrases are poignant. And in contrast to other Cinematic works, each song is understated and humble, which, apparently, has alienated some fans.

Group leader Jason Swinscoe hoped to conceive an album that would be the soundtrack to a movie not yet scripted. And the album is just that: a film with many endings, a philosophical walk along a street in an unknown city, capable of sounding as relevant and contemporary two decades from now as it does today. The legato baritone of the clarinet and piano on title track, “Ma Fleur” juxtaposed against the heartbreakingly beautiful spiraling melody of “Music Box” are mere examples of why this is one of those albums that must be listened to as a whole and not in mixed-up order or in bits and pieces.

Vocals are spartan, but the featured singers, Patrick Watson, Lou Rhodes and Fontella Bass brilliantly keep the album’s sound consistently afloat while each adding a distinctive emotion to the songs. This album doesn’t break in right away, but when it does, it suctions like a vacuum, drawing you near the center of something intangibly profound.

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www.skopemagazine.com

Daniel Bernard Roumain

Etudes 4 Violin & Electronix

Thirsty Ear Records

by Bear Frazer

www.dbrmusic.com

Letters From My Dreams

Blue Tortoise Records

by Bear Frazer

www.digablecat.com

January/February 2008

Dragons of Zynth

Coronation of Thieves

by Jake Paine

Gigantic Music myspace.com/dragonsofzynth

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used his bow to guide him to the next chapter of his life, which led to his international solo debut Etudes 4 Violin & Electronix.

Though his musicianship is astonishing throughout the nine-track collection, it has the tendency to become tedious. In fact, there are a handful of songs that run past seven minutes such as “The Need to Be” and “Metamorphosis.” The long, somber mood he sets easily leaves the listener wanting to hit the skip button – even if the listener doesn’t suffer from ADD.

Instead of returning with another album from his collective, DBR

Digable Cat

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Daniel Bernard Roumain has a stacked résumé. The professional violinist, more commonly known as DBR, has traveled around the country sharing his expertise with many universities and has played with several top orchestras in the United States. Additionally, he is also the bandleader of the nine-piece ensemble DBR & The Mission. His hard work hasn’t gone unnoticed, though. CBS Evening News recently named him an “Outstanding American.”

Now that’s a compliment!

Light rock is severely underappreciated. Over the past few years, the once-adored archetype has been pushed out of the spotlight in favor of energetic dance music.

Regardless, the mellow chimes are still appreciated by many, including Digable Cat. The Chicago collective released their debut Skratch Traxx in 2003 and with Alina Giurgiu working her Romanian magic on the microphone, their indie resonance captured the ears of coffee shop patrons and the Lilith Fair crowd. Their mantra has strengthened on their sophomore set Letters From

Fans of TV On The Radio may recognize Dragons of Zynth for their background work on Return to Cookie Mountain. As one might expect, the Cleveland-byway-of-Brooklyn outfit sounds frighteningly similar to the breakout band of 2004.

Coronation of Thieves is a bit darker than the archetype, but fuses lengthy passages of instrumental with disjointed lyrics, relying more on melody and harmony than structure to carry the listener through. “Get Off” uses heavy-handed production for a sophisticated feel, while

My Dreams, and while some of record is rough, their musicianship is comforting.

Digable Cat cleverly uses soothing melodies as a backdrop to emphasize their cunning bluesy riffs and ingenious lyrical content.

The song concepts are highly creative as Giurgiu poetically sings about a sick visual addiction during “My TV” and shares a chilling, yet semi-inspirational story on “The Inquisitor Wore High Heels.” Instead of exploiting her eccentric imagination throughout the album’s twelve tracks, Giurgiu touches on personal issues like feeling controlled on “Down the Road.”

moments before, “Breakout” possesses an unconventional, aimless approach that has a 90s garage feel. These lapses of consistency find Dragons of Zynth still in their novice stages.

The harder, speedier rhythms of Coronation of Thieves display Dragons’ uniqueness, but also their weakness. Songs like “Anna Mae” may give the group some space in the market, but the punk influence is lost on inaudible, scattered lyrics. Like their mainstream collaborator, this is an outfit that works best at mid-tempo, allowing lots of

Despite the drowsy ditties, DBR’s remarkable stringed talent is overwhelmingly delightful. The virtuoso’s classical, jazz-infused style works best on shorter compositions like “Fayetteville” and “Resonance.” Although the record is solely instrumental, a pleasant whisper adds a fitting touch to “The La La Song.”

Though Etudes 4 Violin & Electronix is an acquired taste, it won’t make much of an impact among the teenage population.

But it will further solidify DBR as one of the most talented violinists of our generation.

Despite their innovative flair, the majestic ensemble runs into a few dilemmas. Sometimes, the somber mood becomes a bit drowsy and damages the overall presentation of “It’s All Done” and “Soldier.” Also, their rendition of the Bee Gees hit “Stayin’ Alive” is completely lackluster.

Although Digable Cat isn’t entirely polished or commercial friendly, the intimate feeling they bestow on Letters From My Dreams is a pleasant breath of fresh air. Well, most of the time, that is.

dynamic choruses and accents, bringing out a colorful style that is as evocative as it is creative.

For those looking for a band to watch develop, Dragons of Zynth have appeal and plenty of room to grow. At present, this effort is a bit too transient, a bit too polarizing, and more musical than it dares to be prosaic. If the New York post-rock movement burgeons into the next three years, this group will undoubtedly be there, if their works between now and then can put them on a pedestal, and cover the rent.

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Drug Rug Black & Greene Records

From Nothing’ to Somethin’

Island/Def Jam

by Len Sousa

by Kathy Iandoli

Fabolous

www.fairtomidland.com

Drug Rug

www.myspace.com/drugrugdude

by Celena Carr

eviews

Fair To Midland Fables From a Mayfly: What I Tell You Three Times is True Serjical Strike/ Universal Republic

The bad news is that this is the most annoying album I’ve heard in a long time, the kind of exercise in talentless ego that could only be completed by the severely stoned and/or pretentious. The worse news: this music will be loved by the stoned and/or pretentious in the hopes that liking something so totally unlikable will make them seem deep/intelligent/provocative, and therefore utterly cool.

At times Drug Rug’s vocals actually sound like an episode of Walt Disney’s Duck Tales, with vocalist Sarah Cronin playing Wendy Duck and her proclaimed love and band mate, Tommy Allen, taking up the parts of Huey, Dewey and Louie. This makes it incredibly difficult to concentrate on what they’re trying to say, and even more difficult to care.

“Lie Lie Lie” is the worst track on the album.

Ms. Cronin sings solo with lines like, “Down in the valley lived a fair maid, no fortune she sought,” followed by something indecipherable, which to me sounds like, “no cornflake she ate.”

The tracks Allen fronts are a little better; his voice is unremarkable but much less irritating than Cronin’s. Without either of them singing, the lazy, folky guitar riffs could almost be vintage cool, but they insist on singing loud enough to cover these. On “Alright,” they shut up long enough to let the music come through, and you can almost start to enjoy the album.

Unfortunately thirty seconds later Cronin’s screeching comes right back on “The Sound Alone.” Bottom line: don’t waste the time or money on this one.

While rap’s attention span ends in three hits, Fabolous approached his ninth inning with the homerun single “Make Me Better” off his fourth album From Nothin’ to Somethin’.

Probably due to Ne-Yo’s hypnotic hook, the track created enough buzz to push Fab in the booth for another go’round. However, it poses an important question – considering From Nothin’ to Somethin’s astounding Billboard success, did people come for the cameos or for the ‘Loso?

Fabolous debuted in 2001 with Ghetto Fabolous, making waves hit after hit. His street cred thrived off the strength of his b-sides and consistent activity on the mixtape circuit. There was no real balance between the two, but just enough for dual fanbases. By his third LP Real Talk, Fabolous met the lowest point in his career, perhaps due to the industry slump in music sales. Or maybe people stopped caring.

From Nothin’ to Somethin’ can be considered a concept record. Laden with the success story of Fabolous that we all witnessed four years prior, it’s no longer relevant. Almost every song right down to the bonus cut includes a cameo – whether it’s Akon on the synthy “Change Up” or Jay-Z on the mixtape anthem “Brooklyn” with Uncle Murda. Even Lil’ Mo checks in on “What Should I Do” to prove their chemistry is gone. Sure, Fabolous has important friends, but how important is Fabolous at this point? From Nothin’ To Somethin’ may mark the next phase of Fab’s career – a connoisseur of posse cuts.

Full disclosure: I’m generally bored by most metal bands. If they aren’t completely ripping off the sound of another, more popular, metal group, they’re usually writing songs about vampires or wizards. Despite this landmine-ridden terrain, Fair To Midland surprisingly make it out without much damage. Sure, there’s still that annoying “metal growl” in the background of a few songs—enough with the growling, kids, it’s only going to date your music in ten years—but lead singer Darroh Sudderth rises above the usual metal machinations. Stretching his vox box to untold limits, the singer throws his neck out there on track after track, physically striking it to achieve the sound he wants. We’re hard-pressed to find singers willing to go through such ecstatic torture in any genre, even metal.

It’s little surprise to find that Fair To Midland is signed to System of a Down vocal witch doctor Serj Tankian’s record label. Within the metal scene, only Tankian offers a similar ability and willingness to use his voice as its own instrument. Sudderth, rather than sounding like a Tankian imitator, comes across with his own style in each of these eleven tracks. The best of them includes “Dance of the Manatee,” “Vice/ Versa,” and “Walls of Jericho.” Though Sudderth does drift precariously close to Linkin Park territory at times, the band comes to his rescue with a solid musical landscape in which he can weave around. One hopes it’s bands like Fair To Midland that will inspire the metal scene toward some more originality in the near future.

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www.skopemagazine.com

Cordless

From the name to their synth lines, everything about Freezepop speaks directly to the hipster demographic.

The ironically named, ironic-sounding electroclash/ synthpop group from Boston is hard to love, but equally hard to sit still to. They’re a dance motivator.

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Led by the warm, upbeat vocals of Liz Enthusiasm, tracks like “Thought Balloon” aren’t succinctly imaginative, but they work. Provided that the trio doesn’t take itself too seriously, the melodies of “Ninja of Love” and “Do You Like My Wang?” make these statements morph into songs. This could be what happened if LCD Soundsystem lost their knack for lyrics and wanted to replace it with tongue-in-cheek comedy. “Swimming Pool” is a deeper journal, playing into talk-box and softer, more new wave-inspired rhythms. When the laughter stops, the really appealing music begins.

Video gamers may recognize many of these songs through active licensing to such classics as Guitar Hero, allowing for familiarity, despite a lack of radio outlets. If game execs believe in this unique brand of pop, they’ve got good reason. Future Future Future Perfect is 43 minutes of fun. This is a developed album from the trio that’s been following this style for the last five years. Without really trying or crutching more than their trademark Yahama QY-70 sound, everything seemed to fall into place. This work is nothing to take to heart or offer reflection on life. However, simply to seem cool, work out to, or to accompany anything involving smiles or sweat, Freezepop is musical dessert.

The Flame You Follow

Falcon Ridge

The Flame You Follow is Jason Spooner’s second self-released album. It is a rich landscape of poetic comments on life and what Spooner calls story songs. The eleven songs are stunning in their imagery, accessibility, and instrumental execution.

Spooner’s songwriting is rapidly earning respect throughout the country. He was honored as a New Folk Finalist in 2006 at the prestigious Kerrville Folk Festival and was one of the winners of the 2007 International Mountain Stage Newsong Contest.

Spooner’s initial cut on this CD made my jaw drop, with the line, “it’s how I’ll remember you, in black and blue.” I expected a novelty album from the getgo, but Spooner just got my attention. What followed is a tapestry of stories and emotions.

“Simple Life” is an amusing comment on coveting everything your neighbor has. “All That We Know” presents an inside look at a robbery gone awry, while “Mirror This Morning” paints a poignant portrait of loneliness.

I was most struck by “Meant to Be,” a song about a family farm going under. Not only has Spooner captured the heartbreak of that experience through his lyrics, but his simple guitar, Reed Chambers’ percussion, and Abbie Gardner’s dobro and backing vocals produced chills.

“Slippery People,” the only cut on the album not written by Spooner, shows his skill at handling someone else’s material. Kim Taylor’s backing vocals are haunting.

Not all Spooner’s poetry is easy to grasp. However, the arrangements of even those songs made me not care what they were about because the mood Spooner sets with them musically is just so rich.

by Amanda Cuda

by Janie Franz

by Jake Paine

Future Future Future Perfect

Jason Spooner

www.jenmurdza.com

www.jasonspooner.com

www.freezepop.com

Freezepop

Jen Murdza Reboundin’ Butterflygirl Music

Jen Murdza has an undeniably beautiful voice.

The Boston singer-songwriter’s vocals are clear, strong and versatile, a combination of jazz, folk and pop styles. And her voice isn’t just pretty; it’s pure. In this age of over-processed pop stars, there’s no indication that Murdza’s vocals have been tinkered with. It’s all her, backed by little more than her own acoustic guitar and a few other musicians.

With so much natural talent on display, why is it that Murdza’s first full-length album, Reboundin’, is somewhat unmemorable? True, her vocals are technically lovely, but something’s missing. There’s no texture embedded in her instrument, no wit or pain.

Thus, the ten tracks on Reboundin’ sound a little flat and colorless. That’s not to say the album is bad. Actually, it’s quite pleasant, and sometimes better than that. Standout tracks include the heartbroken love song “Amorous” and the mournful yet upbeat “Cold,” a poppy, relentlessly catchy tune that suffers only a little from its ridiculous chorus (“‘Cause you’re so cold/that I’m getting an infection/and I’ve been told/it’s from your lack of attention”).

But even these strong tracks don’t resonate the way true love songs should. You don’t hear the suffering underneath the way you might in, say, a Lucinda Williams song. So, Reboundin’ isn’t bad – it’s just unexceptional. One hopes that Murdza works on her delivery, imbuing her songs with more character and meaning. She’s been given a great gift. She just needs to learn how to use it.

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eviews

Jennifer Warnes

Famous Blue Raincoat

(20th anniversary edition) Shout Factory

by Claudia Ward-de León

www.jenniferwarnes.com

Karate High School

The League of Tomorrow

EVO Recordings www.karatehighschool.com

by Carl Cunningham

Dear Jennifer Warnes, The shoes of Leonard Cohen are practically impossible to fill.

I know your 1987 anthology of his songs is seen by some to be the pinnacle of your career, and that your renditions of his masterpieces are merely your vocal interpretation. I can hear your own unique inflection when you saunter through “Famous Blue Raincoat,” but for the love of God, the song is about a man who becomes estranged from his brother when his brother steals his woman, and your goodnatured, crunchy Californian

Dubbed “Nintendocore” and arcade rock, Karate High School’s The League of Tomorrow is what happens after a music prodigy, joystick-wielding nerd downs a few hundred Rockstar Energy Drinks and discovers the joys of routing his Guitar Hero game through a cheesy 80s synthesizer.

Actually, the video game nerd/ brainchild behind KHS is Paul McGuire, a San Francisco technogeek who provided the lyrics, keyboard work, guitar tracks and production talent. The band is rounded out by other members when they perform live, but McGuire is the evil genius behind Karate High School.

voice is like a round peg in a square hole.

Maybe I have typecast your voice, dwelling on the soft-rock stations I am so accustomed to sitting through while having my teeth cleaned at the dentist. Maybe because I hear your voice and my automatic association is “Love Lift Us Up Where We Belong.” Not really a proud moment for you or for Joe Cocker, but I know we all have bills to pay and dentists have cavities to fill. I know you’re friends with Mr. Cohen, and that in itself is fucking awesome.

Alternately intriguing, grating and just plain great, The League of Tomorrow features McGuire’s masterful blend of video game “bleeps” and sound effects along with some appropriately frenetic guitar work throughout the first three songs. On “...And Then You Die!” McGuire delivers a slamming Foo Fighters-style guitar barrage.

The only downside to Tomorrow is the abundance of clichéd emo screaming on several of the songs. Try to get through “Three Strikes and You’re In” without getting even a tad peeved at the alleged “anger” and pointless throat grinding. He’s not a

I see Stevie Ray Vaughan played guitar on opening track “First We Take Manhattan.” High-five on that too, rock star. You’ve collaborated rather beautifully with Mr. Cohen as a back-up vocalist in the past, so please, stick to what you do best; carrying his voice and supplementing your wholesome femininity to his stark masculinity. His songs just wouldn’t be the same without you lifting him up to where he belongs.

Yours truly, An Ardent Fan of Leonard Cohen

spectacular singer, but given another album or two to mature, McGuire’s vocals may improve with age.

By the end of The League of Tomorrow, the album itself becomes a video game soundtrack, which isn’t a bad thing. Slip the CD into a stereo and blast it loud, and then mute the soundtrack on Half Life II or some similar game, and play away. The League of Tomorrow will kick your soundtrack’s ass.

KMFDM Tohuvabohu

by Lauren Proctor

KMFDM Records, Metropolis Records

KMFDM, whose band name is an acronym of the German phrase, “Kein Mitleid Fur Die Mehrheit” (No Pity For the Majority) formed in the 80s and call themselves the fathers of industrial rock.

Their 2007 release Tohuvabohu stays true to their roots, but also expands into much more.

the diverse conglomeration of sounds from all genres works well. As a result, KMFDM is welcoming of more than just the heavy metal and industrial rock crowd, as the album spans from a frenzy of sharp riffs and growling vocals to dance numbers and saxophone solos.

Tohuvabohu —a name inspired by a part in the Old Testament that describes the state of chaos before the earth formed—synergizes into fast paced, high energy rock that fuses techno and dance with metal and rock. Somehow,

KMFDM also works with a variety of languages from English to German to Spanish throughout the album. Diverse and highly creative, it’s obvious that the music this band creates is largely a result of impulse.

Tohuvabohu begins with “Superpower,” a track that combines a song with the voices of KMFDM fans who called in to talk about how the band affects them personally. Immediately the album unfurls into what could easily sound like the cinematic soundtrack of a superhero. Action packed, intense and constantly moving, every song on this CD will remind you of Ghost Rider jumping off of a high rise and then emerging heroically from a scene of fire and rubble.

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www.skopemagazine.com

by Janie Franz

by Evie Nagy

From Brooklyn to SF Massive

Artist and producer Kush Arora was born and raised in the Bay Area, but his music is an intriguing clash of hemispheres. Drawing heavily from Caribbean dancehall, Indian bhangra, European electronica and American hip-hop, the music on From Brooklyn to SF doesn’t so much defy genre classification as indulge in it.

The recent success of artists like M.I.A. demonstrates that Punjabi rhythm and instrumentation lends itself surprisingly well to Western urban and dance; Kush Arora’s tracks complete the geographical triangle with a strong reliance on dub mixes and a solid arsenal of reggae and hip-hop vocal talent. Featured vocalists include Dub MC Juakali, Dancehall vocalists Zulu and N4SA, Punjabi singer Gurmeet and rapper Blacksmith. The contributors don’t even necessarily alternate tracks—on “Music A Mi Cultcha,” for example, N4SA’s raw dub vocals work in tandem with Blacksmith’s rhymes, while a melodic Indian descant floats between them.

Omnipresent throughout is a clear electronica aesthetic, with sweeping, almost cinematic sound effects and samples. And then, when least expected, piano and acoustic guitar are welcomed to the party. The juxtaposition can be amusing, as in “Surf’s Up,” which sounds almost nothing like surf music in its understated stalkerishness, save for the occasional sample of waves crashing.

Fresh Rot

Flameshovel Records

by Todd Sikorski

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Mannequin Men

myspace.com/mannequinmen

January/February 2008 September/October 2007

Kush Arora’s tracks have engaging variation that is often all too scarce in dance music; then again, the music’s rhythmic and instrumental variation makes it sometimes difficult to imagine dancing to without having to change vibes midstream.

You can categorize the songs on Mannequin Men’s second CD Fresh Rot as garage rock, indie rock, proto-punk, or whatever; the fact of the matter is they are nothing but great. From the second the opening guitar riffs of the first cut “Private School” blast in to the final seconds of the pounding drums of the closing track “We Are Free” fade out, it is apparent this band from Chicago revels in making music that is energetic, snotty, rambunctious, and yes, downright infectious.

Blending the combined influences of Television, the Stooges,

www.myspace.com/lettersburning

www.kusharora.com

Letters Burning

Kush Arora

Almost Midnight

High-energy Los Angles band Letters Burning released a six song EP last October that showcases this young band’s power guitars and emerging vocals. Almost Midnight folds emo and indie rock into a pop-laced mix that is very radio-friendly.

Driven by Tal Mir’s lead vocals, the lyrics are supported by the voices of guitarists Cory Barker and Gabriel Kubanda. However, that support falls short in the opening cut, “Ready Set Go,” with its clichéd boyband “whoa, whoa, whoa” and the dip into chaotic emo guitars. Though “California Song” handles emo more cohesively, that first cut sets a tone that may represent where the band is at this juncture. They are a young band in search of a sound.

As the album unfolds, other music styles are revealed, and the band experiments with them. “Kings and Queens” offers more variety in execution and shows Mir’s skill with emotional rock and pop delivery. That is carried forward into “Second Chances” and the other two songs on the disc. Jerry Morales’ bass and Mark Stanley’s drum work keep everything afloat.

Though the band may be trying to solidify its sound, its lyrics are on more solid ground. “Second Chances” deals with forgiveness and “Waiting” makes a strong statement about holding a torch for someone.

Almost Midnight is a good first effort by Letters Burning. It will be interesting to see what this band becomes when it finally finds itself.

Dinosaur Jr, and the Replacements, this quartet sounds both old and new at the same time.

You can credit the chiming guitars of Kevin Richard and Ethan D’Ercole or the great rhythm section of Seth Bohn and Rick Berger for this. Then again, maybe it is the distinctive singing of Richard, howling out Fresh Rot’s anthemic choruses that make the recording memorable.

Whatever the reason, it does not matter. The thirteen songs here are not meant to be dissected.

Instead, they beg to be enjoyed for what they are—exciting and out

of control. Some of the standouts in this set include the punkish “Pattern Factory,” the melodic “Pigpen,” and the semi-grungish “Boys (They Don’t Mind).”

Surprisingly though, the real jewel on Fresh Rot is the slowest track of the bunch, “22nd Century.”

That one track proves Mannequin Men are more than just a loud rock band. They are good songwriters who can write a classic rock song that would make Paul Westerberg or J. Mascis proud.

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by Carl Cunningham

by Lauren Proctor

Heresy and the Hotel Choir

www.modenavox.com

www.maritmesongs.com

Maritime

Modena Vox Transportation

by Nick Zaino

eviews

Mr Marco’s V7 Spaceraser

Flameshovel Records

Indie pop with a dash of echoing synths and subtle electro, Maritime’s new album is pleasant and agreeable, yet nothing groundbreaking. Heresy and the Hotel Choir is the Midwestern quartet’s third album, but first attempt at a release without Dismemberment Plan’s Eric Axelson. The band doesn’t seem to have missed a beat. In fact, this is Maritime’s strongest album yet.

Heavy on hooks and polyphonic melodies, Maritime is attractive for their tight production and solid mixing. The backup band behind lead singer Davey von Bohlen is somehow ethereal and carnal at the same time.

The best part of Maritime is their jubilant and carefree sound, and most of the album capitalizes on this.

Davey von Bohlen’s lead vocals are less whiny than in the past, but his lisp never left; he’s difficult to absorb in large doses.

Nevertheless, it’s impossible to imagine the gleeful tunes of Maritime without his hollowsounding croons.

“Guns of Navarone” and the bouncy “Be Unhappy” are among the album’s best tracks.

“Guns of Navarone” is light and airy while “Be Unhappy” features clever lyrics, a light bass line, and paced rhythm section.

The band slows their usual quick pace with the ballad “First Night on Earth.” Calming and simple, the track is powerful. Brooke Sauer’s backup to Davey von Bohlen compliments the lead vocals beautifully.

Friendly and respectable indie pop that’s not particularly memorable, Heresy and the Hotel Choir is worth a listen, but probably not a purchase.

Hailed as a release by an up-and-coming “Buzz Band,” Modena Vox’s Transportation had a fair chance of becoming a classic British rock record if only it were recorded by an actual British band instead of five faux-blokes from Columbus, Ohio.

The jangly, Oasis-like opener “L.F.A.S” was over three minutes into “Show Me” before it was clear that these were indeed two different songs.

Before the sleepy, half-bored delivery of the sluggish “Sunshine” was completed, Modena Vox stood out as an American band that’s trying too darn hard to sound like they’re an English band.

It’s all there... the jangly guitars, verse-chorusverse and Beatlesque harmonies. Hell, they even look like they’re from London. So, for the members of Modena Vox (Anthony, Daniel, J.J., Thomas and Mike), a bit of fashion and style advice: don’t be afraid to sound like you’re from Ohio, instead of trying to ape some band from the UK that lifted their sloppy-seconds sound from John, Paul, George and Ringo. There’s nothing wrong with bouncy, jangling guitars and the requisite English moping; just try to spread it over several albums in a chorus or two.

On “Ride,” the next-to-last track, the boys finally let go of some of that Anglophilia, but it’s a case of too little, too late. Modena Vox is capable of showing off tons of musical prowess and know-how on Transportation. Once they wean themselves off of Lennon-McCartney and knock down the Oasis shrine, they will surpass being merely a knock-off band and could emerge as a true American Buzz Band.

Even Frank Zappa once admitted—albeit in disgust—that you have to have words with your music if you want people to pay attention. So what’s a band like Mr. Marco’s V7 to do? They could appeal to their most likely audience, the music geeks who own every Zappa guitar bootleg and think “Behind the Camel” is the best song The Police ever wrote. Their spacey funk and rock grooves should find fans in the Primus and P-Funk camps and among gearheads who will ponder what weight strings guitarist Marco “Hair Party” Pascolini is using to get that clear, chunky reverb.

The band seems to be ceding its place as background music with the label “11 Mood Altering Tracks Inside” on the back cover of Spaceraser, their third album. But then, it’s hard to take that seriously when you open up the jacket and see the track listing with titles like “Boogerfunk and the Bear,” “When the Good Foot of God Kicks You in the Butt (Keep Dancin’),” and “Mooninte Love Song.”

Like Zappa, Primus, and P-Funk, these guys also have a sense of humor, and it shows up in music. Mike “Creeping Death” Stover takes the lead on “Mooninte Love Song” with his pedal steel and Moog, managing to sound both kitschy and ominous. And drummer Kent “Precious Metal” Burnham shows great restraint in only bashing his gong once, toward the middle of the tune. Spaceraser isn’t background music so much as the most funky, kick-ass soundtrack to what would have to be the best B-movie monster love flick ever made.

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www.skopemagazine.com

Prince Ali Curb Side Service Hieroglyphics Imperium Records

by Celena Carr

www.myspace.com/playloop

Rob Schrab

Twigger’s Holiday www.robschrab.com

by Jeff O’Neill January/February 2008

Maybe I don’t get it. I’ll concede as much, but I feel that it’s not me.

30-something male). Set in an obvious spoof on children’s programming done very poorly, songs are interspersed throughout and pick up with seemingly nothing to offer the “plot.” “It’s So Fun To Have a Wooden Leg,” is a personal favorite, but, seemingly, all are innocuous and childish – something Chucky would sing before hacking a fresh victim.

The primary protagonist is a bespectacled anti-socialite with a purple stuffed animal on his head – say hello to 8-year-old Twigger Van Pelt (played by a

While the background beats on the album are nothing special at their best (and nauseously repetitive at their worst), Ali’s

This is not irreverence in the vein of South Park or even The Family Guy. This is using shock in a new medium to gain viewers. Sadly for Mr. Schrab, I don’t even see a cult following having the patience or wherewithal to endure mul-

voice and rhymes never falter.

Lazy and soothing, but somehow nimble at the same time, his style is steady throughout. Appearances by some impressive names including Keith Murray, Planet Asia, Casual and Rakaa Iriscience from Dilated Peoples prove that Ali is connected and well-respected within the underground hip-hop community. Only time will tell if he can transition to a mainstream so desperately in need an influx of new talent.

Keep an eye out for this one.

tiple viewings… I could barely stomach one without running to the porcelain friend.

A myriad of references, all derogatory, to homosexuality are rampant. And I wish that was the worst of it. A series of scantily clad and sexually charged young starlets play the roles of MILFs to the supposed 8-year-old Twigger. Nerds have morphed into “homo fags.”

Frankly, I don’t believe a publication such as Skope should even lend credence to such drivel – nor should you.

Rooney Calling the World

by Chris West

Geffen Records www.rooney-band.comm

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A follow up to 2006’s mixtape Corner Ensemble, released on Ali’s own eye5recordings, this is the MC’s official debut. Curbside Service has the distinct feel of the Bay area. Its grittiness and lack of glamour are in distinct opposition to the ubiquitous dirty south rap. But hope rolls in from other urban areas, with rising stars like Ali ready to breathe new life into the genre.

Rob Schrab’s Twigger’s Holiday is an ode to insanity. This is seemingly a mish mash of vignettes that feature zero logic, puppets, and extraordinarily objectionable content. I’m certainly not puritanical, but this sophomoric (at best) collection of sketches is brainmeltingly stupid.

Slow January

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With the advent of the internet age and all that pesky music sharing, musicians and record labels had to get clever. Promotional copies are sometimes released with “you are listening to… (insert artist or album name here)” recorded over them, in hopes that this will prevent you from reselling or illegally sharing the album. In the case of Prince Ali’s Curbside Service, this is done about every 20 seconds on every track, which makes it difficult to review.

L.A.’s pop rock boy wonder band Rooney have finally gotten past numerous delays and offer their second full-length album, Calling the World. Leaning on four decades of influences, the 12-track sophomore effort is an amalgam of pop, classic rock elements and strains of indie thrown in for good measure.

The album single “When Did Your Heart Go Missing?” features jangle guitar riffs and Robert Schwartzman’s sing-songy lyrical delivery wondering why a past love went wrong. “I Should’ve

Been After You” continues the lamentable love tunes and the tireless genre borrowing— think vintage Styx and ELO in a head-on bus crash with Becker and Fagen of Steely Dan. “Don’t Come Around Again” opens with blues guitar and a honky tonkish undertone but perhaps features the musicality of the quintet best.

Guitarist Taylor Locke’s mid-track solo leaps from the speakers and is a standout moment of the album. “What For” opens with bent-note guitar and a radiofriendly arrangement, but

continues the album theme of blatant, woe-is-me love songs.

With the band having lent tracks to Abercrombie and Fitch retail stores and the soundtracks of Herbie Fully Loaded and The O.C., this second outing seems to target a younger fan base. It makes me wonder if the throwback elements of bands gone by will be lost on a generation of fans too young to appreciate these modern day versions. Or perhaps the tracks are meant to be appreciated for what they are: new pop tunes that sound old.

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Various bands with female fronts and male backing have made rock history – No Doubt and Joan Jett & The Blackhearts are two prime examples.

Saving Jane attempts to further this tradition, with Marti Dodson’s singing and songwriting serving as a driving force for the Columbus, Ohio quartet.

That being said, Saving Jane, particularly with One Girl Revolution, struggles. The title track, sung by a 30-something, deals with malls, silicone, and trite teen images. The music, which is darker pop, doesn’t match this youthful penmanship. The identity crisis that follows makes Saving Jane too gloomy for the Destiny’s Child audience and too immature, if not girlish, for the regular genre audience. The same is true of “Loser,” which bathes in pettiness, approaching a former lover, seen in the streets.

One Girl Revolution is a bit predictable. Although the title appears empowering, the album is far too passive in its approach. “Nicotine” and “Writing on the Wall (Alcohol)” are not anthems, but rather melancholic and pensive reflections of rejuvenation. The music is lost, trying to be pop and darker rock at once, two things that all but cancel each other.

If any, the highlight of the band is pulling Dodson away from her band. The pain, the hope, and the perseverance become sincere and palpable on “Grace,” a slow and simple effort of just the singer, accompanied by piano. It is here that the revolution starts. But for an album that doesn’t take itself lightly, the revolution, regardless of gender or numbers, will not be televised.

Rockstar Mentality Universal Republic

Everybody and their mama wanted to “Party Like a Rockstar” after hearing the Shop Boyz’ debut hit off Rockstar Mentality. With the Southern rap renaissance infiltrating everything from YouTube to satellite radio, it became a matter of “if you can’t beat ‘em, join ‘em.” It would be easy to pigeonhole the Shop Boyz with every other Tom, Dick, and Jeezy on the block, despite their lack of songs about dance moves. However, there’s a greater story to be told by the Shop Boyz…if they can get out of their own way to tell it.

By now everyone’s heard about their discovery – three young men who worked as mechanics (in a shop…get it?) and later found the key to success resides in making the crowd—not their cars—move. Despite the rat-tat-tat-tat of the stuttering drumlines in every song on Rockstar Mentality, there is an underlying, dare we say it, message. “Bowen Homes” is a chopped and screwed ode to their roots as a source of both comfort and security. “Baby Girl,” “They Like Me,” and “Next To Me” are all about the ladies, and are danceably sweet despite their sequential order on the album.

Still, songs like “Rockstar Mentality,” “Totally Dude,” and “Sumthin’ to Talk About” all make good use of electric guitars like the hit single.

Maybe Shop Boyz will be around next year, and maybe they won’t. But like the real Rockstar Mentality, tomorrow’s never certain. So they’re having fun while they’re here. see our feature on Shop Boyz on p.50 —ed.

by Amanda Cuda

by Jake Paine

Universal

Shop Boyz

www.shoutoutlouds.com

One Girl Revolution

www.shopboyzonline.com

www.savingjaneonline.com

Saving Jane

by Kathy Iandoli

eviews

Shout Out Louds

Our Ill Wills

Uprising Records

Listening to Swedish pop group the Shout Out Louds is sort of like taking a trip back in time. The romantic lyrics, the strong mournful vocals, the tuneful but persistent backing musicians – it’s all reminiscent of early Cure and a half dozen other sensitive alternative bands from the mid-80s and early 90s.

Not that that’s a bad thing. Our Ill Wills, the second album from the Shout Out Louds, is powerful and entertaining, the kind of music that’s appropriate for dancing and singing along with, or just lying on your bed nursing a broken heart.

That’s due mainly to lead singer Adam Olenius and his impressive pipes. Olenius lets you feel the longing and pain in every track, particularly the epic love song “Impossible.” The tune begins softly with Olenius intoning, “I don’t wanna feel like I don’t have a future” and escalates into a thunderous ballad, as Olenius finally declares, “Your love is impossible.” To show such range within the confines of a single tune is truly impressive. Plus, the song is just catchy as heck.

Olenius isn’t the only standout here. The opener “Tonight I Have to Leave It” has a truly bravura opening, with a thunderous drum roll, leading into a persistent guitar riff, leading into more percussion until the music all rolls together, making a perfect backdrop for Olenius’s voice.

True, the Shout Out Louds aren’t breaking any new ground. But they do what they do very well.

And that’s an accomplishment in itself.

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www.skopemagazine.com

January/February 2008

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by Matt Fink

by Shaun Flagg

by Kathy Iandoli

Straylight Run

Sum 41

Arrivals & Departures

The Needles The Space

Underclass Hero

Victory Records

Universal

Island Def Jam

So here’s the story behind Silverstein – they’re named after kids’ poet Shel Silverstein. That association might be more meaningful than one would think, coming from a screamo band out of Canada.

But after a listen to Arrivals and Departures, it rings true that Silverstein – much like their namesake, Shel – create multi-layered lyrical works.

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www.islandrecords.com

www.straylightrun.com

www.silversteinmusic.com

Silverstein

Arrivals and Departures isn’t anything to scream about – no pun intended. The overall tone is darkness and bitterness mixed with a “rise from the ashes” mentality. However, that “hope” is cloaked in the generic run of the mill sad guy routine found on many screamo albums. It’s hard not to stereotype Silverstein, when in many instances on Arrivals, they’re caricatures of themselves. Take “If You Could See Into My Soul,” where vocalist Shane Told carries on about how deeply he is hurting. He then goes on to say he’ll pull the dagger from himself and hold it up to the throat of his estranged lover.

Um, ok? That sub-Shakespearean banter floods most of the work, like in “Disaster” and “The Sand Will Turn to Glass” which both cry change before time runs out. Not that they’re looking for it, but the track with the most pop appeal is “Here Today, Gone Tomorrow” – reminiscent of Senses Fail before the record deal.

The motto for Arrival and Departures could be summed up as “I’m gonna do it!” Whether it’s jump, survive, fall in love, fall out love, just do it already, Silverstein. You’re getting annoying.

It takes courage walking away from a sure thing.

Taking Back Sunday members John Nolan and Shaun Cooper did just that when they bowed out of that band and started a new one called Straylight Run. But what they may have sacrificed in secured success they gained in artistic freedom.

They take the possible ramifications in stride; they’ve joked about it being career suicide. They may be right seeing that Straylight’s musical orientation is far left from the mainstream center occupied by their previous affiliation. They retain this positive disposition since they are liberated creatively. And this freedom can be felt in their approach on this second full-length album The Needles The Space.

This effort is a welcome departure form the poppunk sound familiar to Sunday fans. It is more avant-garde with less conventional instrumentation a la xylophone and accordion. Nolan’s punk angst is balanced by Michelle DaRosa’s spirited, folk vibrato creating interesting vocal harmonies.

The siblings bring a comfortable intimacy to these tracks; their voices co-mingle easily.

There are a variety of sounds throughout this album from the propulsive galloping rhythms of “The Miracle That Never Came” to the meandering and keyboard laced melodies of “How Do I Fix My Head.” The latter is unconventional and may be hard for some audiences to grasp; it’s evidence that they are committed to spreading their creative wings.

A clear standout is “Take It to Manhattan.” With its virtuoso piano playing and sweet vocal melodies, this is heartfelt and emotive rebelliousness; there is a grand scale sound with the chorus and a cacophony of instrumentation in the climax.

As every punk band that wants to stay relevant for more than five years has learned, youthful defiance and musical amateurism will only take you so far. From the Clash to Green Day, even bands that once relied on juvenilia have eventually proven their ability to grow up, turn their defiance into political activism, and trade formula for experimentation.

Still, such transitions can be difficult, and Sum 41 suffers through some awkward growing pains with Underclass Hero. Their first album after the departure of guitarist Dave Baksh, the remaining trio inarguably has made their most ambitious release, issuing anthems for underachievers (“Underclass Hero”), anti-Bush rants (“The Jester”), and laments for an absent dad (“Dear Father”). But as a social commentator, frontman Deryck Whibley was much better at penis jokes. He might have adapted the album’s title as a variant of John Lennon’s “Working Class Hero,” but Whibley remains the perennial 14-year-old songwriter, now attempting to inject politics into songs full of inarticulate posturing and anti-conformist clichés.

Musically, the band’s attempt at maturation is only slightly more successful, mixing in a few bland acoustic ballads, slick pianos and strings, and stiltedly theatrical epics among their typically predictable pop-punk anthems.

Clearly challenged by the success of Green Day’s American Idiot, they adopt many of the same complex song structures and quasioperatic tropes, but in Sum 41’s hands those same ideas are reduced to nothing more than extended intros and multi-layered harmonies.

Ultimately, in trying to grow up, Sum 41 has never sounded more immature.

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eviews

While Eric Hedford isn’t drumming for the Dandy Warhols anymore, he isn’t resting on his laurels. When not performing in his hometown of Portland as DJ Aquaman or working with his production company, he is crooning with his new project Telephone.

Telephone Automatic Cobra Music

by Chris West

In homage to the yesteryear glory of the new wave movement, Hedford and company have gone the direction of such bands as Interpol and She Wants Revenge, with dark synth and droned lyrics reminiscent of vintage Joy Division.

The Automatic Music Explosion

“We wanna play your high school,” announces their MySpace page.

This Is!

by Bill Kopp

myspace.com/theautomaticmusicexplosion

Dynamic Records

The Dresden Dolls Live at the Roudhouse London www.dresdendolls.com

by Evie Nagy

Eagle Vision

This one gave me a real chuckle (and not the condescending kind, either). From the leadoff drum beat of “Take Me Home” (ripped from the Bay City Rollers’ “Saturday Night” and any number of sports cheers) to the fauxsnotty vocals that recall Redd Kross, the four-song EP from Los Angeles’ (where else?) Automatic Music Explosion hits all the right notes. For fans of—for a lack of a better label—bubbleglam, you can’t do much better than this in

The Roundhouse in London was built in 1847 as a turntable engine shed for the London and Birmingham Railway. As locomotive technology advanced, a turntable system was no longer needed, and the building was converted into a gin storage facility–and, in 1966, a performing arts venue. Fitting that a building built around a turntable would be home to some of the greatest acts ever to grace one– from Zeppelin to The Stones to The Clash and The Ramones.

Even more fitting then, that Boston duo the Dresden Dolls

“Shout About It” opens Automatic with effects-laden guitar, finally giving way to a backing keyboard foundation and Hedford’s nasal lyrical delivery. Though up-tempo and catchy, there is no sense of urgency that would make the track really pop. The title track again features strange synth notes that bend into quirky riff work.

Coupled with “In December” they are the shout-out tracks to Hedford’s pop sensibility. Rounding out the album is “Falling” a predominantly instrumental piece placing the eerie, ethereal keyboards atop contemplative acoustic strums. It is a melancholy, instrumental outro and most unlike the prior tracks.

2008. In this decade, few groups would record an EP to use as bait to gain the attention of producer Mike Chapman. Chapman was responsible for the glammy pop of early 70s acts like Sweet and Suzi Quatro, and later worked with Blondie, the Knack and Toni Basil (among others). If any of those names elicit a guilty smile, you’ll probably dig this.

The brief This Is! disc sports songs of teenage lust, punctuated with cries of “yeah yeah yeah” and “1-2-3-4!” At first glance, the lyrics are powerpop-dumb. But this quintet is no bunch of idiots.

chose the Roundhouse to shoot a live DVD of their always intriguing “Brechtian punk cabaret.” During the concert, a lingerie-clad Palmer and shirtless Viglione are joined by an array of engaging guests: Margaret Cho MC’s and does a full burlesque routine; Trash McSweeney from Australian band the Red Paintings sings lead for a cover of Tears for Fears’ “Mad World,” just after inviting audience to paint on a blank canvas set up outside; performance art group Zen zen zo does an interpretive dance in the audience during “Slide.”

Hedford and Telephone aren’t setting any musical milestones, and they aren’t trying to reinvent the wheel. Automatic is simply a modern-day interpretation of a twenty-year old sound and long gone genre. Brian Eno isn’t rolling over in his grave*, but he isn’t lauding this as new and cutting edge either. Give this a listen, try not to expect too much and be careful to keep your eyeliner from running. *Good thing, since as at press time, Mr. Brian Peter George St. John Le Baptiste de la Salle Eno remains among the living—ed.

Listen to the open couplets of “C’mon C’mon” for proof. They manage the neat trick of being innocent and filthy at the same time, recalling Eric Carmen’s work with The Raspberries. Yes, this stuff is retro, but it’s reaching back to a subgenre that isn’t terribly well-remembered (‘cept by fanatics like me) so it sounds as fresh as most of what’s served up these days. For fourteen minutes, it’s pure pop goodness.

Keep your ears open for the Chapman-produced full-length.

Amanda Palmer and Brian Viglione designed their act to be seen at least as much as heard, with their flamboyant costuming, theatrical interpretations and exotic guest performers, so this DVD is as essential to any fan’s collection as any of the band’s three albums. It doesn’t have quite the mythology of 2005’s Live: In Paradise, in which an unexpected power outage at Boston’s Paradise Rock Club caused the performance to spill into the streets, but if it did, that might be suspect.

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www.skopemagazine.com

The Jesus Lizard

It’s the Jesus Lizard concert you missed thirteen-years ago, only on DVD. I guess late is actually better than never.

The Jesus Lizard

by Chris West

www.thejesuslizard.net

MVD Asian Man Records

The Rocket Summer Do You Feel Island Def Jam

Decca Label Group/UMG

by Carl Cunningham

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Fuzzbox www.thesectionquartet.com

January/February 2008

by Janie Franz

www.therocketsummer.com

The Section Quartet

Filmed during a 1994 concert at the Venus De Milo Club in Boston, it is vintage Jesus Lizard— vast and intense instrumentation played with reckless abandon and downplayed, often unintelligible lyrics. The DVD is a look back to a not-so-long-ago time in indie rock when musicality was king and lyrical clarity was…um, suspect.

The concert footage watches like a Crowd Surfing for Dummies instructional video, with lead singer David Yow splitting time between stage and sea of dumbfounded twenty-somethings. It seems that as hard (and often) as he pushes into the crowd, they respond with a push back.

Midway through the charged set, Yow is shirtless, covered in a myriad of bodily fluids and drooling and spitting in between the mumblings of the verses.

Volatile guitarist Duane Denison rips through the guitar work of dirty chords and swirling riffs

Rocket Summer’s first recording on Island Records, Do You Feel, is arguably a monster album.

The CD boasts complex lyrics and intricate musical arrangements.

It is the product of one musician, Bryce Avary, who wrote all the songs, did all the arrangements, sang on every tune, and played nine instruments on the album.

He is Rocket Summer, a oneman musical whirlwind, who tours with a band. On Do You Feel, Avary played guitars, bass, piano, Moog, organ, Wurlitzer, drums, and harmonica.

The power pop/rock Avary has been honing since he was a teenager through six recordings has finally gelled. The kind of control he has had over his work, from hawking a self-produced EP to hometown stores in Colleyville, Texas, to co-producing Do You Feel for Island Records, has allowed Avary to develop his sound the way he wanted. His fan base has grown enough that he toured with the Vans Warped Tour last summer.

A message in the liner notes implores listeners to “play this album at an inappropriately loud volume because rock & roll sounds better that way.”

the listener’s ears slam shut to block out the noise.

Undeniably, Avary and his music have appeal, especial in the Christian market. His lyrics

After a decade of performing other artists’ songs with a pair of violins, a cello and viola, the L.A.-based band’s latest release Fuzzbox should be, at best, backing music for a depressing PBS documentary. This isn’t rock, no matter how it’s packaged.

Instead of loud rock & roll, Fuzzbox sounds more like a rock music-lovin’ band of gypsies playing on a street corner. One interesting musical interpretation is found on “Paranoid Android,” the band’s take on the Radiohead classic. While it lacks the intensity and light/heavy contrasts of the original, it is a pretty rendition of one of that group’s best.

The album cover looks like a 70s punk record, but a garage band pseudo-punk look won’t get you far if you’re constantly making

Where Fuzzbox really falls apart is during their dreadful choice of Led Zeppelin’s “Heartbreaker,” a cover that perfectly sums up

with an equal degree of ease.

David Sims holds bass duties grooving through Lizard musthears “Puss,” “Mouthbreaker” and “Gladiator” while Mac McNeilly pounds his way through his drum set, even if he is playing in his boxer shorts.

Though a nice piece of indie nostalgia, the group hasn’t made any contributions since 2000. And with founding members in other musical (occupational) ventures, as good of a Jesus Lizard concert as this may have been, I’m not sure why it’s relevant now.

are fresh and uplifting, and his handling of multiple instruments is skilled. I just had trouble with the timbre of Avary’s vocal delivery. It was well-done, but too tenor and too pop for my tastes.

I also felt that the songs were all of a similar energy level and presentation. With thirteen songs, I expected variety. I also expected at least one of the songs to grab me, either by the throat or by my heart. That didn’t happen.

For Rocket Summer fans, this album will be most welcome. For me, I’d give it a pass.

what is so good—and so wrong —about this band. Get past the annoying violin squawking to the part of the song where the Jimmy Page solo should be, and you’ll find some delightfully wicked improvisation that might make Page himself shake in his paratrooper boots.

If only they’d ditch the scratchy, high-pitched violins, and flesh out the viola and cello’s groovy low end. Then, pair it with a Les Paul cranked up to 10 and a heavy drummer, and they’d really have some rock ‘n’ roll.

That’ll be the day.

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All My Loving

Isolde Films

Although Tony Palmer believed his 1968 BBC documentary portended a great era of positive political change headed up by rock “heroes” like John Lennon and Mick Jagger, it had in reality much more in common with the “beware the military-industrial complex” section of Dwight D. Eisenhower’s presidential farewell speech.

To convey the importance of the era, Palmer interspersed stock-footage – hippies convulsing, Vietnamese guy getting shot in the head, screaming girls – with his interviews. Paul McCartney excretes some “let’s not scare the old folks” bromides about “using power for good” and whatnot, his dopey grin cueing the kids that the “good” he’ll be getting around to once the interview’s over will involve drugs, three or four babes and boiling musk oil. That scene’s timeless in that overpaid rock stars are still doing that shit. (If Bono were really playing for keeps, Bono would either burn himself alive or mush a cream pie in Dick Cheney’s face. Pussy.)

Frank Zappa comments on “the war on apathy,” positing that rock music is intended to “annoy people” until they “take a look at what’s going on.” Sure, Frank. Eric Burdon correctly notes that Hollywood has told the American Lie for (then) 30 years.

The real star of the piece, it turns out, is hack commercial-jingle producer Jim West, who unknowingly warns of rock’s demise. Given the hypothetical task of creating a jingle to sell the Mona Lisa, he contorts his brain into a pretzel, fascinated with the challenge. His pioneering spirit lives on to this day: “keep buying bullshit, idiots.”

by Shaun Flagg

by Amanda Cuda

Underoath

Two Loons For Tea

777 DVD

Nine Lucid Dreams

Solid State/ Tooth & Nail

Sarathan Records

Nine Lucid Dreams is Seattle-based Two Loons for Tea’s third album, and it might be their strongest effort to date. They exhibit a polish that affirms their accomplished musicianship. And here they are eager to demonstrate their continued creative growth.

The band is songbird Sara Scott and producer and multi-instrumentalist Jonathan Kochmer. Several guest musicians join them, adding a plethora of instruments including some of the more obscure variety (Omnichord, celeste, marimba and vibraphone).

This adds a lush and organic texture to their sound.

Further layering the sound with electronic keys and ethereal sounds adds depth and dimension.

Scott delivers warm verses wrapped in a bell-like timbre that resonates in beautiful, undulating waves; her voice is sublime and evokes memories of the great Ella Fitzgerald. Kochmer’s masterful instrumental work adds a firm structure to the compositions.

The overall tone of the album is melancholic, with slower paced songs and introspective lyrics. At times sinuous and meandering, this approach can wear thin on those looking for a more upbeat listening experience. On opener “Sunset Room” we are greeted with Scott’s soulful delivery; it is a down tempo immersion in layered vocals and rich instrumentals framed by an encompassing underwater bass sound.

It is clear the band has many influences, and they display this diverse background with the eclectic instrumentation. The lyrics are poetic on songs like “Toxic Shellfish in the Sun” with its imaginative visualizations. Nine Lucid Dreams is a strong and poignant effort; the only obstacle for listeners may be the temptation to be lulled to sleep.

www.underoath777.com

Tony Palmer

www.twoloons.com

www.allmylovingdvd.com

by Eric Saeger

eviews

Here’s a tip for Florida-based rock band Underoath: if you want people to think you’re a group of bad asses, don’t release a DVD in which you behave like obnoxious teenagers on spring break.

For that is exactly what the members of Underoath do during much of “Moments Suspended in Time,” the documentary-style feature that’s the centerpiece of the band’s DVD 777.

The feature starts promisingly enough, with members signing autographs for fans at a mall near where they grew up. We get a taste of the fans’ passion when a young girl waiting for an autograph bounces around chanting “Underoath! Underoath!

Underoath!” Another, goth-ier girl announces that she’s been waiting in line for a free show by the band since 4 a.m. “Eastern Standard Time,” she adds.

But the middle section of “Moments” mostly leaves the fans behind, following the band on tour as they promote their Define the Great Line album. At this point, it devolves into a poorly-made vacation video. We watch band members go cliff diving in New Zealand and visit the Eiffel Tower in France. We see them (no kidding) chug gallons of milk* and throw up in a parking lot in Canada.

The feature redeems itself near the end, with interesting footage of the band filming the video for “You’re Ever So Inviting.” The video is also included on the DVD, as well as clips for “Writing on the Walls” and “In Regards to Myself,” and a concert video of the band’s “MySpace Secret Show.”

But 777’s main course is “Moments,” and it’s not very filling. *

Milk?! —ed.

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www.skopemagazine.com

In the Vines

Fire from the Tomb

Asthmatic Kitty Records

Facedown

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January/February 2008

Ray Raposa, the singer/songwriter at the center of Castanets, fought through depression and a mugging in front of his Brooklyn home while trying to finish off his latest album, In the Vines. It shows in the music. Many of the tracks on Vines are best listened to by gaslight, huddled with a few friends in the wee hours of the night, trying to stave off some unknown darkness. The sound of Raposa’s voice falls somewhere in between Tom Waits’ wistful drifters and Bob Dylan at his most sinister – sinewy, often urgent but withdrawn, as if it’s taking the last of his strength to finish his thoughts.

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Raposa’s voice is the constant among the changing backdrop of sounds. He plays it mostly straight, just voice and guitar on “Westward, Blue,” with a few harmonies and the occasional tinkling glockenspiel for texture. The song is nearly hopeful, like a Clem Snide love song. The somber, pounding toms are a jarring juxtaposition on the next track, “Strong Animal,” with its sweeping pedal steel and bubbling keyboard accents. “Three Months Paid” and “And the Swimming” combine static, mechanical sounds with lush organic instrumentation to create a powerful psychological dissonance, similar to most of South San Gabriel’s gorgeous, despondent Welcome, Convalescence.

There’s a lot of meat to dig into on In the Vines, and you hope Raposa doesn’t have to keep going through hell to make albums like this. If you have a rootsy oddball genius section on your CD shelf, put Castanets there next to Waits, South San Gabriel, and Sparklehorse.

Onward Christian soldiers!

War of Ages’ latest offering, Fire from the Tomb may be the worst thing I have ever heard, and that’s saying a lot (I saw Styx on the Kilroy Was Here tour). Standard-issue metalcore riffs of the “look-ma-how-fast-I-can-play” variety, coupled with a punishing bass/drum assault equal... well, not much. The bowels-of-Hell vocals are a barely-interesting juxtaposition, set as they are against lyrics about how swell their god is. Their god kicks ass, dude. But he (or the band) seems a little…angry.

It’s all the same song, over and over, for twelve tracks (counting the silly, pretentious and obligatory track called “Intro;” hey—props to the guys for that imaginative song title!). The songs all sound the same, and the lyrics never venture beyond the “kickin’ ass for our god” and “bleedin’ in sin” shtick, but at least the titles help us differentiate one track from another. Fun titles include “Brothers in Arms” (about fightin’ for their god), “Only the Strong Survive” (more fightin’), and “Battle On” (are you sensing a pattern here?).

On the positive side, buried in the lunkheaded mix of “The Awakening” (itself a bold lyrical departure: it’s about fightin’ for their god) are some guitars that sound—if only for a moment—like Tom Scholz of Boston.

A liner notes shout-out from the guys in the band says that this album is a re-recording of their first album, necessitated because the first try “didn’t do the album any justice.” I plan on doing it justice by putting it in my trash compactor.

Almost any album deserves at least half a Skope rating. Not this.

by Eric Saeger

by Bill Kopp

by Nick Zaino

War of Ages

www.yousaypartywesaydie.ca

www.myspace.com/warofages

www.myspace.com/castanets

Castanets

You Say Party!

We Say Die!

Lose All Time

Paper Bag Records

Hipsters know – or should at least pretend to know – that the result of Erase Errata fronted

by Exene would sound quite a bit like Romeo Void, and it’d be an easy sell to casual CMJ readers, if not to their parents, who’ve already been there. Matter of fact, we’ve all been there.

We’ve all been in “hip” record stores where the clerks, wanting us to be vaguely afraid of them, subject their loudspeakers to the album from the hot new Loud Punk Girl in Black struggling with her hotness (or whatever bug is up her ass – people with looks and enough money to indulge in mental dress-up on an actual recorded record must have to dig seriously deep to find something to complain about. Come to think of it, maybe that’s the source of their angst in the first place).

Nevertheless, music can always use more waspdown-your-shirt agitation, what with all the wheezing, unintentionally discordant indie-pop out there (text IH8MUZC to us if you’d like a two-foot-tall stack of it, which would include Grand National’s latest disaster in triplicate).

YSPWSD’s sophomore release is more explosive than 2005’s Hit the Floor, squaring off against Sleater Kinney for the crazy-chick title belt in a few places, not that that automatically spells an improvement, particularly given the bouncy infectiousness of “Gap Between the Rich and the Poor,” which was Floor’s bread-and-butter track. “Downtown Mayors Goodnight” is this year’s “Gap,” making the best use of Krista Loewen’s funeral-home keyboards (they can really be an ass-pain at times). Singer Becky Ninkovic’s best “Never Say Never” moments come during “Opportunity.”

“The JKC infuses their kick butt rock-n-roll with plenty of musical hooks and an umbilical cord connection to the blues. Their original tunes create deja vu, as if their songs have been woven into the American musical tapestry for decades.”

—Black Jack Ketchum / WRFG Radio–Atlanta

“The JKC is a hard working blues-rock band that combines the funky strut of Jimi Hendrix and Steve Ray Vaughn with the soulful grit of the Allman Brothers Band. Both Kleins are good songwriters rooted in the aforementioned acts plus James Brown Ray Charles, Muddy Waters and a touch of Led Zeppelin. A Top 10 CD!” —Bob Makin–The Courier News–NJ

Available at cdbaby.com &

www.jonkleincombine.com

93

www.skopemagazine.com

Solitha

The breathy R&B hip-hop stylings of Solitha jump out at you on “Personal Horizon,” in which she invites the listener to “unwrap me.” That phrase is also the title of her self-released debut. The suggestive undercurrent remains consistent through tracks with titles like “Bootey” and “Damn Hawt,” but this Brooklynite has more depth than those cock-teasing titles might suggest.

Solitha says that “it was my father who encouraged me to set my lyrics to melodies; he said, ‘make music. That’s how you might cause attention.’” Her naughty persona has indeed attracted some interesting attention. Many of the posts to her MySpace page (myspace.com/solitha) are actually ads for, um, male enhancement products. But as the saying goes, there’s no such thing as bad publicity. Her seven-track Unwrap Me is available for purchase on CD or via download. Visit her web site (home to some nice pics, it should be noted) at www.solitha.net

Paul Kawabori

Kawabori gives new meaning to the word versatile. While his original tune “Don’t Stop Now” recalls The Cars, his EP’s title track “Meant to Be” is a smooth pop number closer to—and I mean this in a good way—N*SYNC. And then “Call Me Home” is a heartfelt piano ballad with subtle yet stirring string backing.

A singer/songwriter, Paul believes that “telling stories through song is something that is a part of every human being and ingrained deep within every single culture on earth.” Yet he’s also a fine interpreter of the work of others; Meant to Be includes a pleasing cover of Billy Joel’s “She’s got a Way,” and his MySpace page (myspace.com/PaulKawabori) features a haunting live vocal performance of “Una Furtiva Lagrima” from Gaetano Donizetti’s opera L’elisir d’amore. Is there nothing Kawabori can’t do?

He’s currently seeking a deal with a major label; stay tuned. Meantime, learn more about Paul by visiting www.paulkawabori.com

artists to watch Sonic Bids, the home of the EPK (Electronic Press Kit), has offered a multitude

of established and emerging artists a way to present their music on the internet.

But how do we wade through all of this musical wealth to find those CDs that are worth laying down our own gelders for? Each issue, Skope Magazine profiles eight new artists from all over the world, covering a variety of genres.

by Janie Franz

The Bands

Photography by Lawrence Lauterborn

Singer/songwriters

Australian SNEZ is a soulful singer who has been co-writing with bandmate Stewart Peters. Her vocal style, rich and fullbodied, crosses from pop into adult contemporary and even into rock and old-style R&B. Having a Maria Muldaur quality in her delivery, SNEZ is at home with a full band or just a naked guitar or piano. Keep an eye on her. She’s got something to say and she has the pipes to say it well.

Cathy Richardson

Daphne Darling, Toronto, was trained as a dancer and only found her way behind a mic a few years back. Since, her songs have been licensed for Canadian television. Though her vocal style is very young-sounding, Darling’s tunes are infectious and could be the soundtrack for a happy day.

Chicago native Cathy Richardson recently toured with Big Brother and the Holding Company, recreating Janis Joplin for audiences who weren’t old enough to have experienced the Summer of Love. Richardson’s work is probably best labeled adult contemporary though she drifts into rock and pop on occasion. Her album, The Road to Bliss, was nominated for a Grammy®. Her latest, Delusions of Grandeur, could be a contender, as well.

Tonya Ware, a Christian soul/R&B vocalist, started singing in public at six when her minister father urged her to sing before he preached at local jails. She has developed a powerful style that is big enough to carry her joy and yet controlled enough to reveal nuances of feeling and belief.

Terge Lie

One for Jude from France is a moody alternative trio with some dark twists. Since their lyrics are in French, it’s any American’s guess what their songs are about, but French would even make well-sung death metal sound seductive. The vocals range from atmospheric to pop/folk. Instrumentally, they’re light on guitars and bass and heavier on keys, which can offer more color. Their fifth album, Album Re Generation, was released in 2007.

Coming from Beirut, Lebanon, Scrambled Eggs was a big surprise. They morphed their grunge beginnings into an ambient improvisational band that creates sound tapestries to back up their English lyrics. Charbel Haber’s passionate vocals make him a Middle Eastern Bono. They released their fifth album, Happy Together Filthy Forever, last year.

Irishman Justin Commins and Swedish Elina Bergman joined musical talents to form Killkrinkleclub, a dark, odd coupling. Both sing and play many instruments, including a toy piano, cellophane tape, and a typewriter. Their live shows are a trip, include theater style stage acts, visuals, a pile of instruments, and plenty of found objects to squeeze some kind of sound from. Their EP, The Bloody Murder of Krinkle, came out last fall in Sweden.

Fave Pick

My favorite pick is Norwegian saxophonist, Terje Lie, and his four-piece combo. What’s not to like? It’s jazz. It’s a sax with a bass player who does guitar runs! These cats are not only good; they make you feel good. Some of the work borders on blues and funk. Lie started out as a classical flautist and moved into blues singing. He’s played funk, fusion, and rock. Lie’s vocals (and his lyrics) are minimalist, old-style pop. The strength of Lie’s work, though, is the soulfulness he has with a sax. He also has exceptional backup musicians, especially his keys player and bass man. Drums are so far in the background, they disappear. Traveler is Lie’s latest CD. Check out all of these Sonic Bids Artists to Watch online.

Scrambled Eggs

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CHRIS DICKSON HOLD ON TO YOU

Honest and inspiring music from a fresh new voice.

Available on iTunes.com Rhadsody.com CD Baby.com Hallel-Music.com Visit www.myspace.com/chrisdicksonhallel www.christiandickson.com www.hallel-music.com

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Sandra Bazzarelli A Demonstration in 4 Plays “New Jersey native Sandra Bazzarelli arrives bearing an assured attitude and lyrical wit. Well-seasoned in the Manhattan performance scene, a powerfully supple voice completes this singer/songwriter/performer trifecta.”

–Amplifier Magazine

“Sandra is a double threat; she has the voice & the personality to boot.

Her sound is powerful & her songwriting pulls you in.”

–Skope Magazine

Available @ cdbaby.com MANAGEMENT: Foley Entertainment, Inc. Eugene Foley 908.684.9400 EugeneFoleyMusic@aol.com FoleyEntertainment.com For Sandra Bazzarelli news, information, and music downloads: myspace.com/SandraBazzarelli