Monday, October 2, 2017

Band-Maid: Rock Maid in Japan

Recently Youngest Son played a couple of Band-Maid videos for me.
Holy crap.
This is one hard-rocking band.
These are NOT entertainer-dancers with a soundtrack. They are musician-artists who can sing on key and play their instruments at a high proficiency, with both skill and soul. And a metal edge. If you listen, use speakers or headphones that are capable of serious bass frequency reproduction and power, because believe me, it's here.
The lyrics are mostly Japanese, with an occasional word or phrase in English.
Okay. These are twentysomething Japanese women dressed in faux-litle-maid outfits (just a smirking artistic touch, related to a trend in female Japanese bands)... who crank up the music so strongly that metal fans are among their most loyal followers. They are independent artists who were just hoping to make enough to keep playing, but then they played a Comicon event, someone with the right connections heard them and set up a large venue in London, and once that very cosmopolitan audience heard them, suddenly they were known by people from all over the world. They thought they were going to be opening for someone else, but the money offered was really good so they went. While setting up their instruments, they learned they were THE only act booked that day. They played their hearts out. But people were stepping outside and calling their friends to come HEAR this. People were coming in from all over London and new people were circulating in as soon as room allowed. So they played back-to-back sets, for NINE HOURS.
 BTW, their tune "Thrill" is about this, their big break.
  Hooks they've got.
  When required, pop smoothness they've got.
  And rompin', stompin' rock and roll they've got.
  What was so impressive about them? Guess you'll have to listen and see. Some Official videos. The tagline, “Welcome home, master and princess” included there in the posting notes is often used as part of live concert opening by Miku - the sort of greeting might expect from one's Japanese maid on arrival:
Choose Me

Secret My Lips

There are several other videos of Band Maid on YouTube including live concert appearances; they vary widely in quality. Some of the better quality examples:

Nowhere near High-Res, but an energetic performance of "Freedom", live in Paris a year ago:

Typical startup with Miku (dressed mostly in white) cranking up the audience, then they slam into the first number, November 2016 Manga festival in Spain. There are three vids of their appearances there on YouTube. Notice the poster's note: "Play it much louder."

Same concert doing "Thrill":

Included mostly for unique perspective of being onstage:

Another outdoor performance, in Japan, with some better quality video and nice closeups:

One more, Inazuma Rockfes in Japan. Note the plastic covers over the amplifier head units; they were dealing with intermittent rain:

The following links are also in the posting notes for the official band video releases on YouTube:
Official Facebook:

More info is on the band's own site. The Bio/History is barely there at all, but the page includes individual members' pics with names so you can tell who is whom:

Official Twitter

Official Instagram

Buy CD (European Edition):


Thursday, December 9, 2010

Ah, the Guilty Pleasure: Porcelain and the Tramps

  The subject of Guilty Pleasure music choices came up in an online discussion recently, and I wrote the next three paragraphs.  Then it grew.

  My upbringing was somewhat strict. So a musical act where the singer covers anger and/or sex and uses bad words has a certain guilt attached.  I can hear my ex: You LIKE that? I can't believe you would listen to that!  Shame, shame.
  I have some of those now.  Lately it's been hard to get enough of Porcelain and the Tramps.  Why?  Would I actually like this person on a social basis?  I dunno... Alaina, or the part she plays, comes across as belligerently blunt, bossy, frequently profane and ready to take what she wants in a relationship, usually sex.  With exultation.  I tend to turn it down when pulling into a parking lot or next to another car.  And then... back up ASAP.  She can write and sing and be fresh and creative, with gusto.
   Okay, maybe not as guilty artistically as the Madonna and Britney stuff I had.  But in other ways yeah.

   Why not artistically?  Porcelain can go from a kicking chanting sound to a sweet bit of melody that could have been from the 1940s or 1920s or even earlier, while never letting you forget this is a self-aware, self-empowered Modern Girl... then combine those elements and pump them out in another and another way.    She explores you-will-not run-over-ME anger/determination (Gasoline and My Leftovers), grinning romantic sexual intention (Sugarcube), desire versus talk of desire (You Want), wry and sarcastic appraisal of vanity and deceit (Transparent), and an adoring/judging prude (The Neighbor), an apparent mistress-slave relationship (King of the World), a romantic relationship post-mortem (The Preying Mantis), a look at the dynamics of prostitution (Redlight District, ironically maybe the most radio-playable song yet), the self-explanatory I'm Your Favorite Drug, a joy-of-sex number (I Feel Perfect), and pride of being really fantastic at it (F*** like a Star).  Um, yeah, largely about sex and sexual romance and power... and pursuing fun to actually grab it, not to pine away like some maudlin Victorian.  She's quite clear about what she means.  Yet in her bluntness, she writes damn good poetry, uses alliteration and illustrations and empirical statements et cetera in ways that flow seamlessly, and shows the same talent in melody lines, beats and pacing that can turn on a hair without losing its way.  Rock and Roll?  Dance Music?  Pop?  Classifying her is pointless and hysterical - at least half of this cannot be played on the air.  Which is sad because (A) lovemaking has to be superior to hate and THAT gets played all the *%# time, and (B) Porcelain is a world-class treasure of an artist.    If the world weren't so dang prudish and artistic justice existed, she would be recognized as such and be ridiculously rich.  Crap.  What a downer.  What would make me feel better?
    Well - other than that - I'm gonna listen to Sugarcube again.
    And smile.

   Porcelain and The Tramps is essentially Alaina Beaton's group, and at any given time can include the musicians that work for the time and situation.  If there's better info on that, feel free to correct me. She has been writing and performing on a professional level at least 5 years that I know of.  She's currently 25, pretty, has a fine ability to create her own striking dramatic style and loaded with independent attitude.  A true underground star, IMHO.  Wiki doesn't have an article on her or the band, though they do list them in a couple of other articles:

    They DID have an article on Wiki, but it was deleted for "Lack of Notability" (as was Alaina's):
   - Despite listing her in a string of articles about other artists she's worked with - co-wrote "How Do You Love Someone" for "Guilty Pleasure" by Ashley Tisdale, also co-wrote "Lolita" for Belinda's Carpe Diem CD, more of the same with L.P. (singer),  is featured on "Action" on "We Are Machines" album by Street Drum Corps...  But Urban Dictionary knows her:

   -  Which is pretty much Underground Cult Queen defined, I reckon.  It is mentioned here and there that some consider them "Industrial" rock.  I haven't the foggiest idea why.  She can go through 3 or 4 genres in a single song, and none of them sound like what I would consider Industrial - think Rammstein.  Anyroad - her MySpace site:
Which references her Twitter site - don't usually include these but she doesn't have that many:

   Check YouTube for videos - mostly fan slideshows it would seem.
And this appears to be her Facebook location:

 - Or at least one of them.  Search there on her name and you'll see what I mean.

   Have fun - but don't say I didn't warn ya.


Sunday, October 24, 2010

Genya the Survivor

Genya is a Holocaust survivor.  She is 70 this year.  She became one of the great artists of rock and roll. And almost 50 years after she began her career, she still is.

  It's a miracle she exists at all.  On the 8th of September, 1939, the city of Lodz, Poland, was captured by the German army.  A thirtysomething wife and mother of three named Zelkowitz was around three months pregnant then.  The 233,000 Jews of the city of nearly 700,000 were forced into a ghetto and used as slave labor to produce supplies for the army, while being systematically starved.  Anyone smuggling food in was typically shot.  At one point the ghetto number grew to about 300,000 from people being brought in from the surrounding area, but that is not a total; trainloads of Jews (and at least 150,000 others) were being shipped out to the death camps on a regular basis.  The Zelkowitz family would soon be among them.  By the war's end only about 900 Jews would remain alive in the city.
   Six months into the occupation, on April 19, 1940, a baby girl was born in Lodz.  Genyusha Zelkowitz would spend much of her first five years in concentration camps.  Families of both her parents would die – her grandparents from both mother's and father's families, uncles, aunts, cousins, all of them, plus her two brothers.  Her father saw all nine of his brothers killed.  When the Russians came, they were no longer in Nazi concentration camps, they were in “displaced-persons” camps – moved from one to another to another.  They were still not free.  The little family – her parents, herself and her sister Helen – escaped their liberators (she remembers lying flat in the grass after the initial bolt out of the camp, feeling suffocated by her mother's hand over her mouth), made their way across Europe, and ended up in another displaced-persons camp in the US-controlled area in Germany.  But at this camp, they were free.  And ships sent by people trying to help the refugees would take them to either the newly forming state of Israel or to the USA.  The next boat out of Germany was to the USA.  They came by ship through Ellis Island in 1947 and ended up in an apartment on the lower East side in New York, her father starting a candy store with the help of their sponsor.  They had to have sponsors to immigrate; the volunteer sponsors who took the Zelkowitz family under their wing were named Solomon.
  Her mother called her Goldie now instead of Genya because she thought it would help her fit into the new country.  Goldie would fall in love with Rhythm and Blues with her ear against the radio speaker, turned way down in the wee hours of the morning.  The whole working-through-the-pain approach of blues really connected with her experience.  Her first English teacher was that radio.
  Through her teenage years she became more rebellious and independent.  Her parents arranged a marriage that didn't work at all; she ran away to California riding on the back of a friend's Harley, then came back and got an annulment.  (Some garbled accounts of her life claim she met Ginger and founded Goldie and the Gingerbreads in Cali at 16, not true.  Read her book.)  She did “cheesecake” modeling work (for those unfamiliar with the term, that's skimpily clothed - or less - in sexy poses).  She met and became friends with Shel Silverstein (and his wife), whose song “Carry Me Carrie” she would later record.  She never stopped being in love with music... by her late teens she had developed some skill on alto sax, drums and harmonica.
  When she was twenty-one in the summer of 1961*, she was at the Lollipop Lounge in Brooklyn where a band called The Escorts was playing (one of at least three groups with that name). On a dare, and because she loved to sing, she asked if she could sing with them.  They stared at her bellybutton peeking between her low jeans and halter top – risque in the early 1960s – and agreed.  She did “Stupid Cupid” with actual expression and the crowd loved it.  They yelled for more.  She did another.  A few days later Richie (Richard Perry), the leader of the group, invited her to sing for them full-time... and she became a professional singer, working clubs and recording with them over the next year-plus.  “The Escorts featuring 'Goldie'” was on the label of their 45 RPM single “One Heart” with “Somewhere” on the flipside, both from Leonard Bernstein's “West Side Story” musical.  It charted well and “Somewhere” hit # 1 in Michigan, leading to their doing “record hops” with Marvin Gaye there.  But The Escorts were a preppie group that had to take winters off for college.  Goldie wanted more, and after meeting a girl drummer named Ginger Panabianco the next summer (1962), she began to see possibilities.
   In the fall of 1962, with Richie and the rest of The Escorts going back to University of Michigan, she and Ginger put together something new: A (soon-to-be) successful all-girl band, Goldie and the Gingerbreads.  Not a girl vocal group backed by invisible male musicians, but a band with all instruments played by young women and played well.  At first they didn't have a guitarist; later they would try several and keep Carol MacDonald, in 1963.  But their first tour was as a trio with Margo Lewis as keyboardist carrying responsibility for both the instrumental melody line and bass with her portable (barely) Hammond organ.  They went to Germany and Switzerland opening for Chubby Checker in late 1962.  (The latter's German version of “Let's Do the Twist” had been released in January, so his audience there was clamoring for live shows.  Adding to the excitement was the unprecedented return of his original 1960 English release to the Number One on the US charts at the same time.)  Tony Sheridan, a well-known English singer-guitarist who had collaborated with a new group named The Beatles on some recordings a year earlier when their drummer was Pete Best (just before they had Ringo Starr), was a star on the German part of the tour and sang some numbers with Goldie at some of the venues in Germany – to the great irritation of his rather rigid manager, who thought he should strictly solo.
  Goldie/Genya's feelings about being in Germany were edgy, and she freely admits she was wearing a chip on her shoulder.  Her earliest memories of hearing German spoken were from Nazi soldiers whose orders were to shoot food smugglers in Lodz, including perhaps her childhood friends, and then concentration camp guards.  Everywhere they went, she would go into jewelry shops and ask to see whatever they had with the “Star of David”.  She would usually end up buying something as they were almost universally nice.  But if they were out, she got upset.  And when one shop owner told her bluntly that she would not find one Star of David in the entire shop, she flew into a rage and began screaming at him.  Her bandmates had to drag her out and calm her down.  Between their reasoned talk and the very positive, friendly treatment she was overwhelmingly given by almost everyone there, she was able to gradually relax and enjoy their tour.
  They would achieve critical acclaim and some well-placing records over the next five years, and the appreciation of the soldiers at the military bases they toured.  Mainstream media coverage and respect was harder to come by, yet male musicians studied their techniques; they were known as “the musicians' musicians”.  They would get more respect in England and Europe than in America.
   The biggest impediment to a hit record in the US was, oddly, race.  Genya sounded “black” to the white stations so they mostly wouldn't play their tunes, and the black R&B stations weren't playing white artists.  In England and Europe, pop artists of all sorts and races were played on the same stations.
   Their biggest break was probably the 1964 “Mods and Rockers' Ball” in New York, with any artist of any kind who was anyone in attendance – and Goldie and the Gingerbreads being the entertainment act booked.  The Rolling Stones were there and found the Gingerbreads exciting.  So did Tom Wolfe, who wrote about it.  And so did Ahmet Ertugun, legendary co-founder of Atlantic/Atco Records.  He signed them immediately and Goldie would later fondly remember Ahmet and his people as both fair, and genuinely caring for their artists in an industry that most often exploited the artists routinely.  He talked them up around town too... though by the time they pulled the plug on the party at 4 AM and breakfasted with some of the “in” crown at the “in” place – The Brasserie -  the group was the buzz of New York.
   Also that year, The Animals' Eric Burdon, Hilton Valentine (whom Goldie later dated for awhile) and their manager Mike Jeffries were walking by The Wagon Wheel, a club where Goldie and the Gingerbreads were kicking out “I Can't Stand It” loudly enough to be heard in the street.  Thinking it was a black group, they stopped in to give a listen and were blown away by the rest of the act.  They  invited them to England, paid their passage and put them up in the duplex the Animals shared.  One problem:  Goldie visited Eric in his room just once, and it gave her the creeps, and it was hard to forget.  Eric was a WW2 memorabilia collector, mainly of Nazi items.  His room was filled with Nazi uniforms, helmets, books, swastikas... she didn't think he was one, but that stuff in her face was not where she wanted to be.  They later stayed in a fleabag hotel.  But... they toured with the Rolling Stones, the Hollies and others, and the U.K. and Europe loved them.  Ringo Starr and Harry Nilsson took her to her first Indian restaurant.  Jeffries, with partner Mickie Most,would manage them for some time.
   In 1966, after recording backup vocals to a Georgie Fame tune in London, she started messing with a piano and sang an R&B song called Disappointed Bride, which was recorded and was released as a single under the name Patsy Cole. It made its way to Jamaica where it topped the charts.  Georgie's horns, Spencer Davis and Stevie Winwood joined in to back HER up on that one.  Dusty Springfield had been there for Georgie's backup too but left before Goldie started this.
   In late 1967, Goldie and the Gingerbreads parted ways.  Publicly, she wanted to explore her own direction.  The image of the group had become too confining – she wanted to rock more (Charles Chandler and Eric Burdon produced their recording of “Can't you hear My Heart Beat” and Eric kept saying, “Sing it like Diana Ross would sing it” instead of letting her do it as herself, which upset her).  More profoundly and privately, there was friction with the rest of the group about her overpowering role and personality.  They felt estranged from her and she didn't know what to do about it.  So she remained in the UK and the others returned to the States.  In 1972 Ginger and Carol would put together another even more innovative all-woman band, the jazz-funk-fusion Isis, later joined by Margo.
   In 1968 Goldie came back with a powerhouse 10-piece band named Ten Wheel Drive, and reclaimed her original first name, touring as “Genya Ravan”.  Ravan (sic) was a play on her “black” singing sound suggested by a jazz drummer friend as “Raven”, and she respelled it for uniqueness.  Ten Wheel Drive had guitars, keyboards, horns and of course drums... everything.  She was the only woman leading such a group, again.  (The most comparable group would have been Blood Sweat & Tears, all male.)  It sounded bigger than ten people because most of them alternated between two or more instruments.  Genya occasionally did her blues harmonica.  It was played on progressive FM stations, they did the Fillmore East regularly, et cetera.  They put out some amazing music, “tight” and strong, but are best known for the novelty tune that hit the charts in a big way, “Morning Much Better”. It was during this period she met Janis Joplin, they did a show or two (?) together and the two were inevitably compared, but Genya wasn't thrilled by the “sounds like...” comments at the time.  Frankly, I think her sound at full cry is closer to Aretha Franklin – not surprising since they both grew up listening to the same R&B artists, who were also Genya's first English teachers via radio.
   Ten Wheel Drive lasted into 1971.  In their time together they put out three albums, “Construction #1”, “Brief Replies” and “Peculiar Friends”.  Genya then put out three solo albums from the west coast: “Genya Ravan”, “They Love Me, They Love Me Not”, and in 1974, “Goldie Zelkowitz” with a cover pic showing her in some old-style East-European (?) Jewish dress... albeit open down the front... There was some critical acclaim for her work on all three, but little mainstream media support.  And she was frustrated by producers who didn't “get” her, or didn't care what she thought.  Becoming her own producer became more and more attractive.  She moved back east and eventually learned the art so well she made a name as a truly talented producer who could capture the best of an artist – the first successful professional female record producer ever.  She worked for RCA and also established her own label for a time, Polish (pronounced like furniture polish).
   She sometimes contributed tracks to other people's albums as appropriate, but still was doing her own, though – her “Love is a Fire” was heard in the movie “The Warriors” in 1979, and in her self-produced CDs “Urban Desire” in 1978, then “...And I Mean It!” in 1979.  She and quite a few others consider these some of her best work.
      One of the RCA projects was an album for a punk group called The Dead Boys (Young, Loud and Snotty, 1977), and she recalls unloading on them why they should NOT be using swastikas for shock value.  They dropped that, and she now considers that one of her best production projects.
   There were plenty of others too – Long John Baldrey, Kool and the Gang, Tiny Tim?!
   Polish produced the 1982 album “Siren” for Ronnie Spector, another Holocaust survivor.  This was another project she liked the results of, but working with the famously unstable diva was another matter.  She credits the expense of trying to finish the album with Ronnie as a major factor in the collapse of her label.  She took some time off.  She visited friends.
   All during her career Genya had been drinking, smoking and chemically enhancing her way through life.  She seemed bulletproof, immortal.  She wasn't.  It all caught up in the mid-80s and hit hard.
   She knew she was sick, and thinking over how she'd been living, she decided she had to get off the drugs and alcohol.  It was a good first step.  Bernie Segal got her started in AA. Getting off drugs, notably cocaine, took longer.  But August 11, 1990, she learned just how sick she was.
   Lung cancer.  Third stage.  Prognosis:  Three to six months to live.  But they didn't know Genya.
   She went through all the misery the medical profession could throw at her – chemo, then surgery, the works.  Her immense determination was challenged. In chemo, she was violently sick and her hair not only fell out, but her body was so hypersensitive she couldn't wear the beautiful natural hair wig that her sister and friends bought for her... though she kept it as a memento of their love. Her sister and her old bandmates came to help as soon as they heard. Older sister Helen, who had nearly died from a shrapnel neck wound in Poland and was saved by a nearby military mobile clinic, who had never projected the toughness Genya had, now was the emotional rock and caregiver as baby sister fought for life, fought to want to keep going. After the hospital treatments and surgery to remove the remaining cancer (and the upper portion of a lung), Helen took her to her home in Florida to recover.  At the time, she was focusing simply on living.
  She took up painting.  She learned more about websites and set one up for herself in 1997.  When she was stronger, she became a radio show hostess/deejay – eventually with two shows – on Little Steven's Underground Garage venue on Sirius Satellite radio. She helped discover Hilly Kristal, The Wives, Linda Potatoes.  She discovered TriPod at CBGB's in 2001 and produced their demo album, even contributing a vocal to one tune.  Would she sing again on her own?  Would there be any more albums by Genya Ravan?
   The question hung in the air while the 1995 “Best of Ten Wheel Drive” was released, followed by a personal-best collection of existing, previously unreleased tracks in 2003, “For Fans Only”.  She worked on her memoirs, and 2004 brought the publication of Lollipop Lounge, Memoirs Of A Rock And Roll Refugee (Genya Ravan, ISBN 0-8230-8362-4 ).
   Then, in 2006, “Genya Ravan Live” from a performance at CBGB's was released, and in 2010, “Undercover” is out.  She's back, she's seventy and she still rocks.
   I have to tell the truth.  The intense power of her squall in the late 70s – early 80s work is muted.  But her soul is here, deeper and more experienced.  Not less, just different.  Of the new stuff, “202 Rivington Street”, literally about where she comes from (as a child in New York), has with the most spill-your-guts feeling of revelation, I think.  And from what I've seen elsewhere, others have gotten the same impression.
   Genyusha Zelkowitz has continuously grown and re-invented her life from its beginning.  And with the perspective of nearly losing it some 25 years ago, re-found it as well.  She is exploring her visual (painting) talents, her music has returned in a new form, and I hear she has a full-time love these days.
  She is a survivor – of the Nazi death camps, the cold genocidal brutality that would have destroyed her and her remaining family had it had the chance.  Of being practically imprisoned by their liberators, and the flight to the west.  Of adapting to a strange new land with a new language and customs.  Of a sadly unwise, nearly forced marriage she wasn't ready for.  Of the ups and downs of the music business, of a curious combination of fame and obscurity.  Of her own self-destructive behavior culminating in cancer and chemo and surgery.  She has been pulled through some things by others and Providence, pushed herself and driven through other things, and seems to be in a good place now...
   Alive and kickin'.

Some firsts:
Co-founded the very first! successful all-female rock and roll band
Co-founded first female-led power rock band
First female professional music producer

   And from the Ten Wheel Drive – Fillmore East days, the boobie prize [sorry, had to say that]:
       The first female rock artist to remove her top onstage – and didn't even get arrested, thanks to body paint.  And probably the location.  According to one source, it was a vest that came off; under that she was wearing a dark but very sheer blouse thing but it was unbuttoned and highly see-through anyway.
       Though she WAS probably the first female rock artist arrested for public profanity onstage, after her colorful language when somebody started yelling “Sly!” while she was opening for Sly Stone.

* Re times and ages:  In the early 1960s she would have had to be at least 21 to be drinking (as per Pages 40 and 41 of her book) in a public lounge without them losing their license.  That places the first encounter with Richie The Escorts at Lollipop Lounge sometime after 19th of April 1961.  Considering they recorded her not long after that, went back to college that fall, did some “record hops” with her in Michigan that winter and then performed in New York with her the following summer when she met Ginger Panabianco which she states was 1962, the Lollipop Lounge encounter with The Escorts pretty much has to be the summer or fall of 1961.
   Genya states on page 40 that the Lollipop Lounge encounter was 1962, and on page 47 that “Somewhere” was released in late 1962... and on page 42 that they already had a recording contract by the time she was asked to sing with them and they went straight there – but on page 45 that "Sometime in the fall of 1961 we met with the record-company executives at Decca... " and describes the subsequent recording of "Somewhere" and three other songs.  THEN the boys went back to college, then the record was released, hit # 1 in Michigan, so she went to meet Richie and the group at UMich at Ann Arbor that winter and they did some record hops with Marvin Gaye to promote their music further.  Then she got together with the Escorts the following spring (after school, a/k/a next year) and performed together during the summer and she met Ginger that summer – which had to be 1962 because before the end of that year they had formed Goldie and the Gingerbreads and were touring Europe opening for Chubby Checker.  Assuming the remaining references to “1962” are valid, that is... as opposed to simply the only year number she can remember.
   So, my bottom-line analysis of all this is that dear Genya's memories of this time of her life are being recalled from the far side of a hellacious lot of chemicals, recreational and medical.  That doesn't change my respect for her or her art.
   And Yes, I realize I'm being obsessive with this.  It's my nature and my work – I've spent much of my life proofreading and verifying engineering documents.  It's as much a part of me as my love for music.
   The rumor repeated on several sites, even in the Wikipedia article on her, that she started Goldie and the Gingerbreads when she was 17 or even younger may have been a bit of disinformation started by an early manager or record company due to the perception in the sixties that popular music sung by teenagers was more authentic – and more profitable.  Being 22 and thereabouts could put her and her companions out of the running for being “teen idols”.  There is no way it can fit the time frames of other events, especially her birthday in 1940!  Or it could have been the simple messy tangle of third-hand information.  This has led to confusion on some sites as to her birth year, its relation to when the family arrived in America, the idea that she was born in a concentration camp (she wasn't; she was born in Lodz, they were taken to camps later) and lots of other stuff that makes no logical or mathematical sense when you compare them all.  So:  Categorically, the teenage start to Goldie and the Gingerbreads is malarky.  She was 22 at the time, and the year was 1962, according to the preponderance of evidence from her memoirs plus recorded facts on when records were made, when Chubby Checker's first German tour was, Tony Sheridan's remarks about working with the Beatles, et cetera.
  This is a tiny taste of a very rich and adventuresome life.  If you've read this far, you'll want to read her book: “Lollipop Lounge: Memoirs of a Rock and Roll Refugee”.

Her Sites:

Her Book:

Dates are not all correct, but it's a start:

This one gets her birth year wrong, but has lots of other good info:

An overview of female bands of the sixties including Goldie and the Gingerbreads:

Thursday, January 28, 2010

A Trio or Three

Trio One of Three: Cream

   Long long ago and far far away (or something like that) in the Sixties (yes, before Star Wars and during the original Star Trek), a schoolmate told me about a group called Cream. Over the next several years I acquired I think pretty much every LP record they made. It was a British group that did blues-rock, their versions of some Robert Johnson and Willie Dixon tunes and quite a bit of original material. The drummer was a tall guy named Ginger Baker (it's an English thing) who kicked double basses which was not usual then. The bass player was a broody intellectual poet named Jack Bruce. And the lead guitarist was a Yardbirds and John Mayall Bluesbreakers alumnus named Eric Clapton. All of them were already well known in the U.K.; they were the first band referred to as a "supergroup". They had some hits mostly with their original stuff and then showed up on a U.S. TV variety show in a spaced-flower-child inspired video, no skits or nubile females or cussing, just them singing and an independently moving background with landscapes and lights and I think flowers. I could taste cream in my mouth for a week after that. No, I'm not gay, and I wasn't doing any psychotropic drugs that I remember. It was just there. Cream eventually split up, reportedly because everybody's ego (principally Baker's and Bruce's) was bigger than the group and it reached the point of being unable to work together as a team. But while it lasted (1966 through 1968), it was awesome to behold. There was another group of the same name about 20+ years later but it was unrelated. The three played together again at their 1993 Rock and Roll Hall of Fame induction and in a short series of concerts at Royal Albert Hall and at Madison Square Garden in 2005. They understand the value of scarcity.

If you like solid blues-inspired sixties rock, or just have an interest in hearing an original, historic 60s band that isn't played everyday, check them out. Albums: See

Later, Ginger Baker formed Ginger Baker's Air Force, which has been described as a a jazz-fusion band. He also did some traveling and recording of indigenous North African drummers, which he considered in danger of fading away. However, in his own playing, I think he was at his peak in Cream.

Jack Bruce did some solo work and I once had an album named "Out of the Rain" by him. His first solo album was "Songs for a Tailor".

Eric Clapton - did a pile of stuff you probably already know.  I particularly liked his work on his first post-Cream album, "Derek and the Dominos", and on George Harrison's.


Trio Two of Three: The Eroica Trio

   Eroica means "Heroic" and is a reference to a Beethoven piece... not "erotica" as my ex liked to say sarcastically every time I listened to them. In the context of the group itself, it refers to the "heroic" passion with which they approach the music.

   I first encountered this outfit in the form of a coworker loaning me a couple of CDs to stay awake and cranking at the computer, about 2001. One of them was "Baroque", a 1999 release by The Eroica Trio, with tunes from Vivaldi, Loeillet, Bach, Buxtehude, Lotti and Albinoni (kinda full circle there). In rock terms, it was a "tight band". They should be - two of them had known and played with each other since age 9 and they met the third at 12. Their renderings seemed effortless (ha ha) and flowing, never stilted or trite. And on top of that, they weren't bad to look at - three nice-looking ladies, attractively groomed and gowned as for a formal event. I've heard at first they had some trouble being taken seriously because of that. Thankfully, they stuck to their guns (or gowns) and didn't uglify themselves, and today they are a high-demand, award-winning, world-recognized group. And each is an outstanding musician with solo and orchestral-backed work to her credit.
   One has left since they began - Adela Pena, due to fatigue injuries of the hand (carpal tunnel?). She's playing with the Orpheus Orchestra now, so I don't know exactly how that works unless she has a less demanding concert schedule with them. I have long thought the violin was not designed for humans anyway, maybe some alien race. Maybe for some kind of dry-land squid. It's rough on necks especially.
   In 2006, Pena was replaced by an equally impressive talent, Susie Park. Unlike the others, she didn't go to Julliard, she went to Curtis Institute of Music and New England Conservatory. And by the time she joined Eroica, she was also world-acclaimed. (Even I had heard of Susie Park and I'm not a "classical only is my world" kind of guy.) And like the others, she keeps the view pleasant.

So currently the group is: Erika Nickrenz, piano; Susie Park, violin; Sara Sant'Ambrogio, cello.

   Their current release, their 8th, "An American Journey", explores a more present-day pop culture arena, not a new venture for them in terms of recent composers, but this gets into Gershwin, Bernstein and a new work referencing Johnny Cash. What I've heard so far (on the MySpace site) is well-done just like the historic pieces of "Baroque" but the new composition seems to me less elegant in comparison. Eroica did a creditable job, they didn't drop the ball, it isn't a "fault". The material and classical musicians just have a hard time meshing smoothly, IMHO. Maybe that's me. Give them a listen and see. And remember, if you don't like this disc, there are seven previous ones to check out.
   On musical styles: Symphony orchestras and classical ensembles have never sounded at home (to me) playing the likes of The Rolling Stones' "Satisfaction" and so on... rather like training an elephant to tap dance. However admirably the elephant (generally a graceful creature) performs, it's never quite "there", never quite as graceful as the creature in its natural environment. The Trio is far more agile than an orchestra but there are still odd moments of pacing. Oh well. You may disagree.

   Their concerts include a variety of compositions and are a lot of fun, I hear.

   Anyways.  In case I haven't meanderingly talked you out of it, I do totally intend to convey that if you have even a passing interest or bare tolerance for Classical, at least the more intimate chamber compositions, these people should be on your list of "Check Out Next".  Okay?

   To start catching up with them:

Here's a this-month article (January 2010) online:

 As a group, Eroica's label seems to be EMI Classics. Articles about them include a short stub in Wiki:

A longer one from their management group:

And re the members:

Erika Nickrenz - So far, only a page on the Eroica Trio site:

Sara Sant'Ambrogio official Web site -

Susie Park official Web site - Missing from Existence?  Would you like help with that, Susie?

Here's a nice not-so-new article on Susie:

And former member Adela:


Trio Three of Three: One More time, E.A.T.

   Okay, Eagle And Talon is supposed to be the dynamic duo and all.  But Andrew Jeffords is the quiet (?) dude who plays with them and even sings some in concerts. And I wanted an excuse to mention one more thing about them.
   I paid the money and did the download-plus-CD purchase of the album of Thracian. I expected a CD in an envelope. I got that, but much more. Let's see, there were several little animal cutouts, a flexible foam-plastic stuff intended for, say, a child's feltboard/storyboard? A tube of organic coconut-based lip balm, a packet of herb tea, a standard-sized cherry Tootsie Roll, A large chocolate Tootsie Roll, an art-critter drawing by Kim that reminds me of John Lennon's early sketches on acid, and two glossy photos: An entry into a living or dining room that has hanging plants plus what looks like a birdhouse hanging from the ceiling, and the other is Andrew dressed as a frumpy housewife talking on a house-type wireless phone by a counter on which is, uh, some bicycle seats? The effect of all these things together seemed to say to me that anything can happen and it's gonna be good fun.
   Practical considerations: It was in fact a bubble-wrap CD bag with "Your Thracian Loot Bag!!!" written on the back and the CD liner notes have some more pics (Andrew gets to wear a plaid shirt, no dress involved) and you can actually READ the lyrics in black and white. I know some artists are trying to portray a moody image and all, but small, thin brown letters on a dark background don't do it for my oculars. This readability is a GOOD thing.
   All in all, I was digging it, laughing and showing this stuff to my sons. The younger one said "They're just like you!" with what sounded like dismay. So they might not be for everyone. But somehow I think they would be pleased by that.
   I think I was one of the first buyers, so I don't know how many shipments got this treatment. I'm glad mine did. Personal, artsy, delightful, real and surreal all at the same time.
   Okay, next time I promise I'll stick to talking about somebody else.

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Thursday, June 11, 2009

Liberation Legends: Sleater-Kinney

The first tune I heard by Sleater-Kinney was “Oh!” on The vocal reminded me of maybe the B-52s a little, or some mid-60s girl group. It was funny and sexy and really different. At first it sounded like a girl telling her boyfriend No – but soon I realized that's not it, she's coaching him! Had to hear it again and again. I started checking out their other material, and every cut was different, then started buying CDs, largely off eBay because they were hard to find. Still haven't got “The Hot Rock” although I've heard most of the cuts, and I don't have the pre-”Dig Me Out” discs, “Sleater-Kinney” or “Call the Doctor”. But Sleater-Kinney has affected my music listening and awarenesses for the past half-decade.
Sleater-Kinney is one of the strongest groups of our time (turn of the Millennium), creatively and musically. I believe it was Greil Marcus, who has a rep as The Guru among rock writers, who did an article on them in Time Magazine representing that they were the best band in America. (It was a “Best of America” project in Time in 2001.)
Facts in case you don't already know: S-K is/was an all-girl/woman group generally considered to be punk or post-punk style (sorta) in-your-face feminists, which was named for a freeway off-ramp near Corin and Carrie's homes. Corin Tucker and Carrie Brownstein are longtime friends; they had a love affair but Corin was much more emotionally invested which Carrie only realized after they broke up as a couple. They were friends before and obviously still are. They each do guitar and vocals, but Corin usually leads on vocals and Carrie on guitar. They did other bands earlier, and had some modest success with this one but it was their fourth drummer, Janet Weiss, who brought new energy and inventiveness late in 1996 that helped propel them to international cult heroines (or at least international cult heroines who were far better known). The first disc she did with them was 1997's “Dig Me Out”. The title tune blasted me awake in the morning on my radio/CD alarm for awhile, opening with dissonant guitar and then the surprisingly varied drums and Corin's urgent singing. “One more Hour” was about Corin's feelings at the aforementioned breakup. “Turn It On” was another mightily sexy number, and seems to be about a male (“Oh it's too hard – it's too good...”) who turns her on even though she doesn't truly trust him. (“Why do your words have to ring so false... why do your eyes have to change so much...?”) “It's Enough” might also be, depending on how one takes it. “Little Babies” is the closest thing to a general negative review of males, IMHO. There are a lot of possible double entendes, in different directions... “Not What You Want” has the singer encountering a guy friend and asking him to take her for a drive and to keep driving faster. She's totally stressing. He's asking What's wrong and apparently whether it's him, and her reply is “It's not what you want”. Which can be taken a couple of ways. Like, My feelings aren't headed in the direction you want, forget that, and/or What you want has nothing to do with what I'm going through. Of course this isn't his idea of a good time, but what I'm hearing here is that this is HER stress, she owns it and No he is not the cause. Everything in HER life is not about HIM.
I hear a basically similar idea on “Youth Decay” from “All Hands On The Bad One”. “Acid Tooth / It's got nothing to do with you / But if you wanna watch me chew / My teeth are cutting you out...” This (with the context) sounds like she doesn't want to be close to men at least right now. I'm okay with that. The writer actually recognizes that all men are not the source of her problems, despite complaining in the same song about her father judging her and her mother harshly. I've heard women and men (both “liberal” and “conservative”) say basically that if anything is wrong in a woman's life or psyche it's the nearest man's fault. Lemme tell ya, that gets old fast. I'd much rather deal with the honest feelings of a woman who wants an equal relationship rather than one who says the man should make all major decisions and then gives you holy hell if it doesn't turn out to be what she wanted (and what you were supposed to have guessed). What I'm saying is that the perspective here is reasonable and fair; these are not man-haters here.
BTW, Corin and Janet have been married to guys, Corin still is, and Janet is still friends with her ex and does a project band named Quasi with him. Carrie happily babysits Corin's son Marshall and is his favorite because she will roughouse with him.
Most of the early cuts I've heard, from before Dig Me Out, are so much shriller they're physically painful for me to listen to. Women's hearing is possibly more attuned to enjoy it. They have said that harshness was part of what they aimed for at the time to make a point.
The title tune on “All Hands on The Bad One” is social protest at its finest, skewering precisely how proper conservative society condemns those who act or look different while doing the same stuff themselves (sometimes a couple of years later), with an undertone of social protesters themselves being a particular target as seen on the CD cover. (Similar idea to “Call The Doctor”.) “You're no Rock and Roll Fun” is about a certain pop star, reputed to be based on an encounter with Kevin Richardson of the Backstreet Boys, who is too full of himself to play around with “the girl band”. It's playful (of course) and has its own good kickin' fun. So is another song about the other person not letting her get close, “Ironclad”. Overall impression: They're in control of their own destinies and refuse to be controlled or be victims.
At least once per CD they tend to do a rage-against-the-unfairness-of-the-music-machine and at least one desire-for-a-woman number, the majority (?) of both done by Carrie. Sometimes the desire tunes are poignant - “Buy Her Candy” comes to mind, and the near-desperate certainty of “Dance Song '97”: “You're the one that I saw/You're the one that I want...” Sometimes they're just awkward musically (Milkshake'N'Honey) or conceptually (“Prisstina” on “One Beat” is about a totally non-socialized non-playful college girl who walks past a club, hears rock-n-roll, goes in and is instantly converted from celibate scholar to gay. Right... ). There's a relentless, often bleak analyzing of truth as seen by the writer: “Do you see her face/When she's gone/Sometimes so bright/Your heart just stops...” (Jenny). But there is also the power of that truth to rise above the present state of things or the present (former?) relationship: “...It is brave to feel/It is brave to be alive...” (Things You Say).

All three are individually bright musicians with actual creativity, world-class. Together they're a Tour-de-Force. Carrie is an intense, impressive lead guitarist who plays like she's awake, and can do both sarcastic and some surprisingly subtle vocals as well. Corin is the even more urgent wail that will blast your hair back, yet also versatile, and probably the most political in her writing. And no slouch on the guitar either – she and Carrie do complex interplay anytime it seems appropriate. Janet Weiss is among the very top few drummers I have heard in the past 50+ years. She is not merely “filling the holes”, but is an important part of the structure of the music, and those beats and patterns are living things. She can also do the more repetitive pounding rock very effectively. In the videos I've seen, Janet looks totally focused and in control, yet also getting really into it, head swiveling and hair swinging almost straight out at times. Not merely skilled, but a passionate artist. Yeah.
My favorite S-K CD is “One Beat” from 2002. Besides the usual pean of praise for Rock, for Their Rock, for Grrrl Power Rock etc. (One Beat, Step Aside), it has the spookily accurate Faraway about the beginning of the Iraq war (?) with the bombs falling, written before the event because Corin saw it coming, and Combat Rock, about the war-faring of our country and the media/political popularization of it as the One Right Attitude of the Loyal American Citizen. Corin did a show with Eddie Vedder and Pearl Jam in Denver at the beginning of the Iraq war and they were booed by 10,000 people for their political stance – and they kept going, in the face of death threats and all. Gutsy and earnest people.
There are plenty of relationship postmortems too... “The Remainder”, “Funeral Song”. There's the eerie feminist identity-of-the-self versus the image shell “Hollywood Ending”, and the environmental “O2”.
The last song on One Beat, “Sympathy”, is Corin's frank portrait of her feelings and thoughts in a terrible, amazing time a few years ago when her first child came 9 weeks early. It is ragged and raw and real and should pull tears out of a turnip. It did from me.
The events include: Doctor with long face giving bad prognosis (they were losing him), a new mother's fear and anger and cry for help from a God she barely knows exists, or at least has her doubts about, and a glimpse of what the results and her thoughts were, after. Hint: Corin's firstborn son is still a strong, healthy, roughousing little boy with none of the long-lasting problems that often come with this stage of prematurity. The lady is utterly honest about what she understands of what happened, and about what she really doesn't understand. Which puts her light-years ahead of many overtly “religious” people in my book.
God is not a political property; He/She loves screaming liberal feminist rock singers too. Just in case you hadn't heard.

Which brings us to the latest (last?) album, The Woods. Everyone has their opinion, this is mine. To compare it with their previous CDs:
All the albums from Dig me Out forward through All Hands on The Bad One, The Hot Rock and One Beat were produced by John Goodmanson on the Kill Rock Stars label. They were very personal, very Carrie-Corin-Janet personal. I wasn't in love with every cut, but I had a great liking for the totality. There were always songs that spoke to me somehow. Then came “The Woods” on Sub Pop in 2006, produced by David Fridmann. Contrary to the Sub Pop blurb for the album on the S-K MySpace site, I'm not afraid of things being new. A new album by S-K is always different than the last. That's cool. What's not cool with me is that Fridmann did not like the Sleater-Kinney I liked, and was determined to change their sound to suit himself. The band gave it their all-out effort. This guy is supposed to be big-time or something like that. Maybe it really is what they wanted to do. But most of the tunes just don't seem as heartfelt and real and personal. Rollercoaster is almost there. Steep Air may actually be there. And the plaintive Night Light sounds something like certain cuts of the old S-K, like The Swimmer from All Hands on the Bad One but different. But unlike any Sleater-Kinney CD before, this one overall left me feeling a sense of loss and sadness, and not just because of the self-consciously dark subject matter. It felt like it was an album by Fridmann, not by Carrie, Corin and Janet. They just worked there. Am I the only one who feels like this? They're not saying anything like this in interviews, so maybe it's only my opinion. I should probably listen again, try more to get into it, but rarely desire to.
Then the announcement in 2007 that the band is on indefinite hiatus. Everyone is doing their own thing. This happens, sure. But I wonder if the pressures of working toward an artificial end had anything to do with it.

Sleater-Kinney as a band seems not to have been on MySpace in a year and a half. Here are some URLs anyway.



Further Links on a Sleater-Kinney webring (see, webrings aren't all porn popups) – and some of 'em even work.


Band Members Today:

Today, Carrie seems to be writing. She has a music blog on NPR's site; one of them is specifically on being a musical contrarian. That sounds like her... Carrie's position as an “Indy” is well reinforced there. Anyway, she really has more thought-provoking depth the more I read. Worth the look.
Maybe I'm just not looking in the right places, but is Carrie doing the musician thing as a professional gig these days? If so, it seems to be a well-kept secret. If you find her playing on something, I'd like to hear about it. She did a side project in 1999 with Mary Timony called The Spells.

Corin seems to be collaborating with other musician friends on a selective basis. S-K has worked with Pearl Jam in the past (has opened for them) and Corin most of all. Doing gigs like this where she's part of the show but but can also step back give her a chance to be with her family more than touring full-time with S-K plus maybe a side project or two (Cadallaca, 1997 through 2005?).

Janet is still doing the “Quasi” group project with ex-husband Sam Coomes. Like in S-K, she comes in on vocals, once in a while. I have “When the Going Gets Dark” by them. I wouldn't call it rock and roll. I wouldn't call it Marvin either. It sounds like a collage of folk-protest and a train wreck. I think I like it. “I Don't Know You Anymore” seems real and desolate. “Peace and Love” is about the power of those things. And “Poverty Sucks”, about integrity versus financial success in the System, is wryly funny. Actually, most all of 'em are.
“Never give up, never give in – Poverty sucks but it ain't no sin...” Love that line.
They have a new CD coming out soonly, with Joanna from the Jicks on bass. It helps the mind not to fragment so badly.

Janet was also working with the Jicks on the side when in Sleater-Kinney; now she's full-time with them. Malkmus' vocals tend toward the “cracking voice is more real” approach – something Coomes pushes much farther. I'm of the position that such a device is artistically useful when used occasionally, not all the blinkin' time. But that's me.

An independent news blog on Sleater-Kinney Members, “Tiny Suns Infused With Sour”:

Band Members

Carrie (Profile is private, but the photo is her):

For her thoughts, check out Carrie's “Monitor Mix” blog on the NPR site:



"Totally Janet" Fansite:

The Gothamist

Band Sites - Stephen Malkmus and The Jicks: (Members: Stephen, Janet, Joanna Bolme, Mike Clark)

Quasi Band Members: Sam Coomes, Janet Weiss, Joanna Bolme

Quasi Official Site:

Quasi Official MySpace Site:

Quasi Fansite:

About Eagle and Talon and Sleater and Kinney

Lots of music columns and blogs have already made the comparison of EAT and Sleater-Kinney. Eagle And Talon seem to admire S-K; in my intro article on Eagle And Talon I mentioned the tribute pics and such. They have philosophical and scholarly and in-the-real-world involvement with feminism and as nearly as I can tell, bisexuality (?). And some of their riffs seem to be influenced by S-K, especially the deliberate dissonance that shows up every now and then. They show the radical, smart, artsy-stark originality that characterized the Sleater-Kinney approach. But that originality is their own. They're less concerned with being the all-girl band; they use males in the band although it's clearly the Kim and Alice show. Their controlled musical chaos is just as real but different, and often smoother than S-K. They can be spare and they can let loose an amazingly rich sound. And in the concert clips I've seen, they seem to having more fun with it. Off the wall thought # 483: As much as I like their male drummer's work, I can't help wondering what playing a set with Janet Weiss would sound like.
Another angle on EAT vs. S-K: More cerebral, more humor, more interested in keeping the music moving forward consistently, yet more dynamics going on in a given song, I think. Kim's vocals tend to be lilting/chirpy and sneakily, playfully sarcastic at times rather than the rollerball dynamo Corin's approach tends toward in social commentary. I like EAT for many of the same reasons as I like S-K, but for other reasons too - Eagle and Talon is not a Sleater-Kinney clone. They are fresh, bright and worth some serious listening, for themselves. And they're just getting started.

While I'm here, I owe you and EAT a correction. I honestly think the lyrics sound like what I said, but I must respect the Authoress and her intention. Kim wrote:

“after reading your post I just had to let you know what I'm really trying
to say in hot caught he he!!

"I like women, I like mannequins, and I don't build fires for myself"

although I have to admit your interpretation is definitely more exciting:
“I like women... I like men in kilts – A little bit of fire, for myself...”

Blame it on the Scottish side of my genes I suppose. Correct me, correct me... but be careful, I might like it.

Sleater-Kinney's Different Drummer, or one of them:
Lora (a/k/a Laura) MacFarlane

The first two CDs by S-K (which I don't have but have heard some cuts) had Lora MacFarlane drumming. When Sleater-Kinney did their “Call the Doctor” tour in 1996 (?) the drummer was Tori (Toni?) Gogin who was pretty dang good. Lora was expanding a side project named The Ninetynine. And somewhere in there was Misty Farrell as drummer.
Lora was born in Scotland (surprise, surprise) and her family moved to Australia when she was quite young.  It was there that she developed her drumming, and her songwriting, and released some very unique material both as a limited-edition album CDs and as individual recordings. She worked as a guest musician (?) with the Brautigans and Manic Pizza, and did some recording with a couple of friends in various modes under various names: Sea Haggs, Keckle, Popemobile... there was a very rare CD, Jelly, which cuts can be heard here: http://dev।

Don't go there if it bothers you to hear a teenage girl exploring her sexual thoughts and intentions, as several of the songs do (and she sounds even younger). There's a wonderful freshness and candor in it without being crude, IMHO. (Some would argue the point concerning “Seasaw”, but that's them.) There's also a tune that MIGHT have a similar application, about a “Beastie” which is being celebrated in song and possibly taking part in that, and then suddenly it's out of control and there's screaming. Interesting... I hadn't been that shocked at where a tune went since some early Pink Floyd. Like the one where Syd Barrett (I think) is murmering into the mike so you get really close to the speaker and then there's this “bloody murder” type screaming? Or another, “Several Species of Small Furry Animals Gathered Together in a Cave and Grooving With a Pict”? Like that, only quite different.

Today with the Ninetynine, her affinity for the experimental is still healthy, and bringing in another person on drums allows her to do more chromatic percussion instrument work and vocals. There are a few videos on YouTube with Ninetynine … here are a couple of them. Lora is on vocal and vibraphone and has a drummer who looks like a wild man playing, who pounds the skins very well. And Oyeah – lately she has been using the more conventional spelling of her name, now “Laura”.

Official MySpace page (Note the “different” main graphic pics):

Group site:

Members at the mo (lineup may vary):
Laura MacFarlane
Cameron Potts
Meg Butler
Iain McIntyre


Saturday, May 16, 2009

Eagle and Talon: Sharp with Strange Feathers

I like these ladies' work, a lot. Okay. Explanation follows.

E.A.T. (it's on their MySpace page that way, honest) in turn likes Sleater-Kinney a lot and seem to figure they'll be compared anyway. So they apply some humor to it... A couple of their released photos have Kim (the Anglo Canadian, BTW) looking up at the camera in a classic broody pose that looks remarkably like some shots of Corin Tucker from S-K, who she doesn't normally look like, while Alice (the Asian-American) deadpans, well, kinda like Carrie Brownstein. Alice is the drummer and the guys who work with them don't look remotely like Janet Weiss, so that's pretty much the limit of that. Some of their songs have a definite S-K influenced flavor (contrapuntal dissonant chord progressions for one), but if you're a Sleater-Kinney fan you will know that “influence” is as far as it goes.
Looking at their MySpace site, etc., they have a number of quirky posed photos that press the question, “What is this??” Kim breezing through a fifties-ish diner scene carrying a covered cooking pot. Another in the same general scene with a Mini-Me type character sitting on some asparagus (I think) on top of the, uh, cook pot. (It's Alice with a similar red top, but with white ballet/Tinkerbelle gear below that.) Is it “me sitting on the pot”? Or maybe “Tinkerbelle sitting on the pot”? Another has Alice sitting on what appears to be a washing machine in a utility room while Kim uses a plastic step to try to climb up there (?) where there really doesn't appear to be enough room. Hmm, 'zat have anything to do with the reason Xaviera Hollander said she often stayed home to do laundry when she was a young girl when her family was going out somewhere? We're dealing with a couple of artists with a sense of fun, whether on camera or in the music. Then there are several pics of them looking pretty effectively like little girls, as if they grew up together, which they didn't. Surreal stuff.
So are their lyrics. Trippy, strangely juxtaposed words. But there's a purpose in there, make no mistake. They're just making sure the journey to the goal is interesting and probably gigglesome on the way, like the diametric opposite of expectable wording. Even when literally dead serious, talking about how the choices we make can maim or kill someone for our profit (“Georgia”), they zing it in with a sweetly sung yet sarcastic twist (“They'll trade a baby for a lap dance... they'll trade a finger for a fur coat...”). In fact, “Georgia” is one of their smoothest songs musically and one of the most jarring lyrically. Unforgettable. (Note: This was about the time the nation of Georgia was fighting the Russians over South Ossetia. Coincidence?)
On the same CD, “Thracian”, is “Hot Caught”, a breathtakingly frank praise to the sexual value of, mmm, getting caught. And so forth: “You're all that I see, when he's not with me...” “I like women... I like men in kilts – A little bit of fire, for myself...”
BTW, I asked them in an email if the CD name had to do with the ancient nation or with the phonetic sound (like thrashin'). The answer is apparently Yes:
“thracian pron. "thray-shun" refers to the ancient greek peoples but according to one friend, thrace is still around. and we like the meanings that the sound suggests (to us anyway)”.

Yep, they're fun. And brilliant. And sexy. And I sound way too much like a fanboy.
Fair warning: They'll do that to ya.

The official EAT site

Their official MySpace site (check out the video downloads - sound quality not great, but shows how they work):

A couple of other people's reviews:
Tom Whyman on Line of Best Fit

Sean on 3Hive

Next time we'll talk about Sleater-Kinney and Lora MacFarlane. I was very much into S-K for the past five years and still like them, though there's no new product since “The Woods”. They're the one everyone compares EAT to, to some degree or another. There are some obvious similarities, and there are great differences. Stay tuned.


Thursday, February 19, 2009

Christopher Heidler and Friends do Christian

  Hiya - and apologies to anyone actually reading this - I have not posted here in awhile. As of January 26 I am among the increasingly popular ranks of the unemployed... downsized because most of my company's clients were afraid or banking-impaired to do new projects. Since I have been working on mostly natural gas pipeline projects as a mapping designer, and people haven't stopped needing heat this winter, it doesn't make a lot of sense to me. But then, the economic gyrations of late seem to have little to do with logic anyway. Let's see, these people over here ruined the economy buying worthless paper, so let's give them lots more, of public money we have to borrow? Is anyone really looking out for the many "little guys" who got hurt? Maybe the stimulus bit will actually restart things. We'll see.
  It would appear that I'd have more time to do this, but then there's that whole looking-for-a-job thing. Eh. So.

  This seems an appropriate time to post a few words on religious music. Faith is a necessity at times like these, or at least the need is more in-your-face obvious. I can only speak with some certainty when evaluating that which is identifiable as Christian, since that is my background. I might later get into my take on some others, but with the caveat that I don't claim to have as much understanding of say, Hindu or Islamic music. I do recall about 30 years ago hearing an LP record done by the Shankar family (yes, Ravi Shankar's family) with lines like "I am missing you; Oh Krishna where are you?" and "Jaya jagadish hare, Jaya Jagadish hare..." or something like that. I think it was part of "Shankar Family & Friends", recorded in 1974. As a Christian, I felt a little weird about listening to it. At the same time, I was aware that Christian worship music could be having the same effect on someone with a different background. Maybe even the culturally-sophisticated Shankars. So it seemed only right, with Christianity asking others to consider its claims, to try to examine where they are coming from as well.

  Maybe it has something to do with being a Southerner that draws me to Christopher Heidler's worship music. Maybe it's the fervent genuine longing-for-the-divine quality that matters to me. Maybe it's how professionally well-done the results are from these obviously devoted folks from Georgia, USA. Probably all of those. Badly written or performed music, done ever so earnestly, doesn't make me want to listen to it. Neither does a polished recording with zero soul. Heidler's CD is well-done in every way that counts, with feeling. It's not only his work (Mike Kinnebrew's compositions are a major portion) but a group of close-knit, talented individuals. I'd like to say Lindsay Kinnebrew's brief vocal foreground appearance in "Wait for You" is exquisite. And I'm not just saying these things because it's hard to pan music related to religion. This is more about faith than religion... there is a difference.
  Going to the website of the Passion Church ( mentioned on the CD, I notice it's a fairly slick site, shows happy people and people praying for each other with hands raised to heaven, and has a repetitive riff playing on an endless loop that's seemingly designed to irritate the hell out of you. At one point I saw a mute button for it, which should be on every page. I'd like to suggest they use some of the beautiful stuff from the worship instead, rotating a much larger set of tunes. I liked the goal stated as a text from Luke 10:27 - "Love the Lord with all your heart and with all your soul and with all your strength and with all your mind, and love your neighbor as yourself." That's what Yashua of Nazareth said was the most important law, something I wish all His followers took seriously.  

  To get back to Chris and this CD: Southern but not bogged in some self-conscious "Southern" tradition, inventive but not bizarre, passionate without raving, mellow and gentle without being a bore. Genuine. Good music any way you listen to it.  
  In 2004 I was searching for music to keep my head moving while I was working in front of the computer. I was on another site - it might have been but I'm honestly not sure any more - and was referred to where you can hear one song by Chris and that's about it. The site is primarily presenting itself as a worship resource, and very little is said about any of the artists and their work (hint - y'all could stand to work on that). I ordered this CD anyway, and haven't regretted it a bit. Everyone I've played it for has been delighted to hear it, and I haven't witnessed that consistency of approval very often at all. I'm thinking it's time for another one? I know you can't force it. But when faith meets a need, things happen. A few years ago, a friend at work was finishing leading a youth worship in his church. At the last minute, the pastor sent him a message that he needed him to do a "special music" moment to open the main service. As soon as he had gotten the message and was racking his brain to know what to do, a partition slid back, the spotlight hit him and he turned to face the audience with his guitar. At that moment, having nothing from his mind to work with, he was given a song of his soul, an elegant one, perfect for that time, and just did it. It doesn't often happen that way, but I have been told several times that a tune of mine, presented for the first time at worship, prepared the listeners for the exact message they would be hearing next - which I had no clue about beforehand. My point, I guess, is that thing about "ask and it shall be given you" can very much apply to art, and sometimes it's given without you even knowing to ask. There's a divine flow there. And Christopher Heidler's self-titled CD is in it.

CD Name: Christopher Heidler
I behold the love of God
Boast about this
Praise the Lord, O my soul
Great is Your Faithfulness
How Wonderful
Come to Me
Wait for You
I am an Offering

Chris Heidler on guitars and lead vocals
Tony Otero and Chris on Bass
John Brockham on drums
Lindsay Kinnebrew on background vocals
  He has some neat links to others on there.
Chris teaches guitar at Atlanta Christian College, and sometimes plays guitar with Mike Kinnebrew's band:

Give 'em a listen. If you have any interest whatsoever in Christianity, you'll get into what is being said... if not, they're still enjoyable artists. Try some.