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Rock Art Rock
The Decemberists
September 19, 2009
Terminal 5, New York, NY
By Amanda Hatfield "The Decemberists played a special one night 'lottery show,' where the songs played were picked at random by a master of ceremonies, played by John Wesley Harding..."
Ra Ra Riot
April 4, 2009
Webster Hall, New York City, NY
By Amanda Hatfield "This show was, at the time, the biggest one Ra Ra Riot had sold out as headliners, and it was clear to me after watching it that the band is destined for even bigger and better things..."
Florence and the Machine
October 28, 2009
Bowery Ballroom, New York City, NY
By Amanda Hatfield "Florence Welsh and her backing band delighted and mesmerized a sold-out crowd at Bowery in her first official NY headlining show..."
Dirty Projectors
July 19, 2009
Williamsburg Waterfront (Brooklyn, NY)
By Amanda Hatfield "I was skeptical about how well Dirty Projectors' gorgeous, complex vocal harmonies would carry over outdoors, standing under hot sunshine..."
See more in the Rock Art Rock gallery.
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Mojo Nixon: Psycho Hillbilly After All These Years
As most of his die-hard fans already know, Mojo Nixon isn’t so much a rock ‘n’ roll wild man as he is some kind of backwoods Appalachia version of a Robert Crumb comic book character. The boisterous redneck has authored such hollerin’ underground hits as “Elvis Is Everywhere” and “I Hate Banks”, carved out a strange acting legacy by appearing in both the ill-fated 1993 Super Mario Bros. movie and a 1998 production entitled Buttcrack, and was even once appointed an honorary captain of the United States Olympic luge team. Through it all, Mojo has peppered his experiences with constant talk of “dingle berries,” “tallywackers,” and his disdain for “pantywaists” like Rick Astley.
Mojo tried to step away permanently from performing a few years ago, but the ol’ coot is occasionally coaxed out of his San Diego home for special events and gatherings. Most of the time, however, Nixon stays indoors, hosting a handful of radio programs for Sirius Radio, including “The Loon in the Afternoon” for the Outlaw Country channel and a political show for Raw Dog called “Lyin’ Cocksuckers.”
Time, age, and the dawn of Obama have not calmed Mojo Nixon down one bit, as Crawdaddy! discovered in this exclusive chat with the man who once claimed Debbie Gibson was pregnant with his two-headed love child. Read on and enjoy a bevy of crazed statements that could easily be turned into a new string of hits for the lunatic born Neill Kirby McMillan, Jr.
The Beatles and the End of the Album
Philip Larkin’s poem “Annus Mirabilis” opens with this: “Sexual intercourse began / In 1963 / (which was rather late for me) / Between the end of the Chatterley ban / And the Beatles’ first LP.”
Like much of Larkin’s work, he’s speaking about his own sexual experience as a metonymy for culture as a whole, and like much of his work, he’s on to something. The British Invasion, the LP Era, the Golden Sixties, was the birth of sexual intercourse as commodity, marketed to anyone with a record player and TV set—the cameraman began shooting below Elvis’ waistline, so to speak. Anyone, youth especially, could now access the previously elusive sexual act through the exchange of goods in the capitalist marketplace. Sex and metaphor transformed into one another. read more
Gordon Gano & the Ryans
Gordon Gano & the Ryans
Under the Sun
(Yep Roc, 2009)
In case you were holding your breath and waiting for a Violent Femmes reunion, it’s now official: “Violent Femmes are over.” Gordon Gano says so himself in the press kit for Under the Sun, his collaboration with former Bogmen the Ryan Brothers. One can imagine him feeling a combination of relief and sadness. With no possible Violent Femmes albums in the offing, perhaps folks (and critics) will start dealing with him as a solo artist. Perhaps. The Velvet Underground still haunts Lou Reed, Mott the Hoople still colors people’s perceptions of Ian Hunter, and McCartney’s post-Beatle offerings will always be compared to his earlier work, so Gano has a way to go before people will start evaluating his new songs on their own merits.
Gano’s first solo album, 2002’s Hitting the Ground, featured Frank Black, They Might Be Giants, PJ Harvey, John Cale, Lou Reed, and others singing Gano songs that ranged between brilliant, embarrassing, and mundane. Under the Sun is more cohesive, mostly avoiding the quirks and vocal twitches that were part of the Violent Femmes’ sound. Which is good. Gano sounds like an adult here. When he sings a heartbreaking song, there’s no ironic distance between his vocals and the feeling he’s describing. The results are mixed, but that was true (here comes a comparison) with every Violent Femmes album, except their debut. But the past is hard to put to rest and the album’s most energetic tracks—“Way That I Creep” and “Red”—are Violent Femmes knock-offs. “Way That I Creep” tips its hat to the Trashmen with its driving garage/surf-meets-psychobilly beat. Breakneck guitar, bass, drum, and piano rhythms are mixed into a delirious AM radio mush, with Gano’s staccato vocals acting like another rhythm instrument. The lyrics are unintelligible, something about “stickin’ and a lickin’,” but it’s a perfect two minutes of insane rock ‘n’ roll.
NoInsuranceLand: The Health Care Music Scene
Lou Thomas is a great guy. Not just a talented bassist/guitarist/songwriter, but an all-around affable, intelligent dude that cares about his friends and others. Thomas is a part of the thriving music mecca that is Portland, OR. He works in a coffee shop a few days a week and lives paycheck to paycheck in order to devote as much time as possible to the bands he plays in, including the critically acclaimed A Weather, whose hushed, immaculate first album, Cove, was released last year to glowing reviews all over the web and beyond. Thomas also plays in the louder, lesser-known four-piece Chores, which is pretty much Everyband, USA, lauded for being both melodically adventurous yet 100 percent pretension-free in the comparatively small bit of press they’ve gotten so far. Chores also just released their debut LP, The Subtle Politics of the Public Hammock, on Field Hymns Records. Between the two, Thomas experiences a pretty full spectrum of what life is like for the small-time, struggling recording artist that lives for, but doesn’t make a living from, his music.
One of the under-heralded grassroots gems on the Chores LP is a song called “Noinsuranceland”, and you can probably guess what it’s about. A bike accident at age 15 left Thomas with a knee that would continue giving him problems over the years, though it had been years since the last sign of any ailment, up until one fine day in 2007 when he was walking through a Portland park and a little girl asked him for a push on the swings. “I stepped wrong on the mulch,” Thomas recounts in an email exchange, “fell over in pain, and passed out for a few seconds.” Broke and uninsured, he dealt with it as shrewdly as possible. He found a ride to the emergency room, skirting the ambulance fees at least. “This is where the story gets complicated,” Thomas says.
He needed to see a knee specialist who could order an MRI, yet without insurance, this meant Thomas was basically fucked. Fortunately, it turned out that his boss was just about to roll out a health insurance plan at the coffee shop, but not for a couple months. “So I saw the specialist, but then put off getting the MRI until the insurance kicked in.” He managed to get the ER and specialist fees reduced by 75 percent by being broke enough to qualify for government assistance and having the wherewithal to plow through the requisite mounds of paperwork. Even then, “It was expensive, but manageable,” Thomas says.
Bonnaroo: June 11-14, Manchester, TN
When June reels around every year, I hear the siren call of Tennessee’s mega-music bacchanal, and despite the rabid heat, grungy camping, and general hassles involved, I’ve made the ’Roo pilgrimage the last four years in a row, including this one.
Bonnaroo stands outside the hamlet of Manchester, TN, on a 700-acre farm, an hour south of Music City. Every summer, Bonnaroo becomes Tennessee’s sixth largest city, and the festival even publishes its own daily newspaper, the Beacon. This isn’t the little hippie-fest-that-could anymore; though jam bands are still well-represented, it’s become something else: America’s arguably biggest, most musically diverse, and probably best music festival. It’s the Woodstock for the digital age.
I arrived this year on Friday morning; though it technically starts on Thursday, few bands play that evening. I spent that night in Nashville on honky tonk row, getting in shape for the upcoming events. It’s a good thing too, because thunderstorms soaked the area all evening.
When Bad Things Happen to Great Writers
“Very few people have the balls to talk about ‘rock and roll’ anymore.”
Paul Williams, Crawdaddy!, May 1967
We’re all plagiarists these days—thieves in the night, stealing what we can off the fat of the land, then reducing it to a bite or a blurb or a blog post at best. The Twitterers, they tweet. And the Tumblrs, they text. And the world, it keeps spinning round at 160 characters per minute.
The days of free-form journalism are dead as the dog dirt, my friend. All the hip kids have packed up, moved on… sold their soul to tabloid journalism two graphs at a time.
Ed Pearl: Back to the Ash Grove
“What the Ash Grove did,” says Ed Pearl, “was change the face of popular music.” Of course, Pearl would think that: He is the folk impresario (if that’s not an oxymoron) behind the Ash Grove, a fabled roots music club that stirred it up on Melrose Avenue in Los Angeles from 1958-1973. It was the kind of place some folks dream about, a place where legends the likes of Muddy Waters and Doc Watson, as well as Flamenco dancers and street poets, took the stage on the same bill; a community center where everyday people—activists and laborers, millionaires and grifters—all made the scene. So why would anyone want to burn it down, not once, but three times?
The gospel of the Ash Grove, according to Pearl, demonstrates how the traditional music of the American South came to the West Coast, entered the popular culture in the early ’60s, launched the folk revival followed by the creation of folk-rock and its protest-orientated repertoire, and contributed to the transformation of culture. Though what you are about to read may or may not prove that claim, like one of those traditional ballads that gets handed down and slightly rearranged over time, it’s the writer’s hope that the essence of the song is pure, while its mystery remains.
The Step Into Tradition
Danny Kalb: How to Have Fun and Still Play the Blues
Danny Kalb, a “commie kid” who grew up with folk music in the house but always ground his axe in his own fashion, was paid 75 bucks for two acoustic blues numbers on an LP that moved 300,000 units. The record was a compilation, The Blues Project, released in 1964, which Elektra Records billed as “a compendium of the very best on the urban blues scene.”
Kalb remained faithful to the blues, but as he set about forming his own band, he went electric, finding that the electric guitar offered more power and fun than the acoustic guitar he’d been plucking at.

“It’s Father’s Day, and everybody’s wounded”
Williamsburg: Amazing Baby vs. Savoir Adore
by: Ben Westhoff
Savoir Adore, meanwhile, arrived on the scene with just as much talent but far less razzle-dazzle. Though, like Amazing Baby, they hail from that mecca of artsy privilege, Williamsburg, Brooklyn, their irrepressibly giddy, pure pop tunes haven’t set the buzz machine in motion for some reason. While plenty of folks have fallen for their album In the Wooded Forest, the Fader profiles, groupies, and movie star camaraderie have been slow in coming.
Both groups have benefited from ties to MGMT, the psych-rock outfit that found worldwide success last year. Savoir Adore signed with Cantora, the indie label that released MGMT’s 2005 Time to Pretend EP, while Amazing Baby’s guitarist Simon O’Connor palled around with MGMT’s Andrew VanWyngarden and Ben Goldwasser at Wesleyan College, itself something of an indie music farm system.
O’Connor and Amazing Baby’s other founding member, lead singer Will Roan, met each other after their college bands were booked together for a New York show. “I think I was hooking up with the same girl at the same time as someone in Simon’s band,” says Roan, adding that he’s fairly certain it wasn’t O’Connor.
They played a number of shows together, and after O’Connor graduated, he moved into a pad in Brooklyn, where Roan would crash whenever he came down for the weekend during his final year at Bard College. The pair began collaborating on various band projects and later worked together in a music distribution office, where their duties included crafting ringtones. In 2008, they formed Amazing Baby, focusing on a studio-centric sound that included layer upon layer of percussion, guitar, and keyboards. Their live shows, meanwhile, featured as many as 10 people on stage at a time, and early praise for the group was swift and unequivocal. “I think people liked the spectacle of this crazy band,” Roan says. Eventually, the lineup was rounded out with bassist Don Devore, guitarist Rob Laakso, and drummer Matt Abeysekera.
After releasing an EP called Infinite Fucking Cross last summer, they were pursued by a number of labels and ultimately signed with Shangri-La, who put out their full-length debut, Rewild, in June. Many of the reviews focused on the album’s seemingly hallucinogenic-powered prog, psych, and goth rock, as well as the group’s hipster aesthetic. Some of this had to do with their video for Rewild track “Headdress”, which featured topless girls, wearing paint and capes, prancing around in the woods.
Then there was the encounter with Bill Murray, who dropped in on their 2008 Halloween show wearing a rubber mask with black glasses. He and Roan hung out all night long, attending a house party, smoking cigarettes on a roof, and drinking bourbon on a friend’s couch. Notes Roan: “It’s one of the few stories I can tell where my mom is jealous.”
Savoir Adore’s story is far less flashy. Principal members Paul Hammer and Deidre Muro met while students at NYU, where Hammer played in a group catering to “sorority girls,” he says. Both possessing musical backgrounds, they decided to play a show together and then later conceived an album almost spontaneously. While on a train ride to visit Hammer’s parents at their home in a bucolic section of Holmes, New York, Hammer and Muro brainstormed the plot for what would become their first EP, The Adventures of Mr. Pumpernickel and the Girl with Animals in Her Throat. A concept record focusing on a professor and his meetings with a troubled student and a fairy who lives among the trees, it showcased the pair’s great talents for collaboration. Taking turns on vocals and instruments, they introduced the harmony-heavy, ever-sincere fantasy pop that would become their signature sound.
They return regularly to Holmes, where Hammer’s father Jan—a jazz and rock
keyboardist who was enormously popular in the ’70s and ’80s and crafted the Miami Vice theme song—has a studio. Savoir Adore recorded In the Wooded Forest there, trading off on guitar, drums, and bass for hours at Hammer’s studio, which actually is ensconced in the middle of a wooded forest. While successfully employing a sound that suits their strengths, the full-length lacks a unified storyline like their EP, but boasts more fleshed-out tracks. At times, the preciousness can be a bit overwhelming, but songs on the album like “MERP” and “Early Bird” are as euphoric and hummable as anything to come out of Williamsburg this past year.
Their work seems not to contain an ounce of pretension. Savoir Adore certainly isn’t trying to impress anyone with their cool, and their seeming lack of self-consciousness is responsible for much of their appeal.
Amazing Baby also developed much of their music during long jam sessions. While employed at the music distribution company, they spent their evenings making music until the wee hours, allowing themselves only as much sleep as was absolutely necessary. Their goals were somewhat different from Savoir Adore’s, however. Roan told Spin that they were “desperate to convey a feeling of ecstasy.” Indeed, almost every one of their tracks is epic, or at least strives to be epic. While they often succeed in this regard—songs like “Kankra” and “Pump Your Brakes” are full, bombastic, and satisfying—it often feels like they’re breaking off more than they can chew. Much of Rewild lags, bogged down by excessive instrumental wankery and semi-pretentious lyrics that are difficult to wrap one’s mind around. (“We are starving cannibals / She protects her animals,” from “Smoke Bros”, has been particularly derided.)
With only one album each to judge them on, one could make a pretty good case that both Amazing Baby and Savoir Adore have the potential for long, gratifying careers. For the time being, however, the latter act’s less pretentious way of conducting business has led to a more satisfying catalog.
Listen: Amazing Baby, Various Tracks [at myspace.com]
Listen: Savoir Adore, Various Tracks [at myspace.com]
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by: Ben Westhoff
published: November 9, 2009 in column: The Switchback
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