Tag Archives: music

Houndmouth Comes Alive

Mother Jones

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Jim Herrington

During the performance of a song called “Penitentiary” at San Francisco’s Outside Lands festival last month, Houndmouth’s curly-haired guitarist and vocalist Matt Myers was very deliberate in his annunciation of the first line: “I hid a batch in Fresco/I couldn’t score a job/So I did the next best thing and I learned how to rob.” He’s referring to a Dallas suburb—not to be mistaken for Frisco, San Francisco’s out-of-vogue nickname.

“I thought of changing it to Waco,” Myers told me after the set, lounging backstage with bandmates Katie Toupin (keys), Zak Appleby (bass), and Shane Cody (drums), and sipping bourbon from a mug. “I know people from San Francisco don’t like to hear their city called Frisco.”

From the Hills Below the City, Houndmouth’s debut on Rough Trade earlier this year, features a dozen tracks of corn-fed middle-American roots rock. In addition to the Frisco/Fresco thing, it name-drops at least a half-dozen southern states, towns, and cities. The songs are filled with stories about hittin’ the road, ridin’ the rails, gettin’ thrown in jail, and comin’ back home—dropping all nonessential “g”s.

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Houndmouth Comes Alive

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Morgan Spurlock’s One Direction Documentary Is a Threat To Democracy And Safety

Mother Jones

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One Direction: This Is Us
TriStar Pictures
92 minutes

It’s upon us.

One Direction, the English/Irish boy band sensation that is worth roughly a billion dollars, has a new documentary in theaters. The 3D film examines the five members‘ lives on and off the arena stage, portraying them as normal, down-to-earth people who love their families and are bemused by bowls of Japanese food. It’s produced by Simon Cowell and directed by Morgan Spurlock, the same guy who did Super Size Me, made a documentary on The Simpsons and failed to track down Osama bin Laden in this critically tarred mess of a movie.

One Direction has sold 30 million records and the boys have been invited to the White House by First Lady Michelle Obama (they couldn’t make it, though). But the really important thing about One Direction is that they are venerated by a violent, ravenous international cult of adolescents.

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Morgan Spurlock’s One Direction Documentary Is a Threat To Democracy And Safety

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Fast Tracks: Hillbilly Harmonies on Robbie Fulks’ "When You Get to the Bottom"

Mother Jones

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Track 6

“When You Get to the Bottom”

From Robbie Fulks’ Gone Away Backward

Bloodshot

Liner notes: “Live it up while you can/But when you get to the bottom/Don’t reach for my hand,” Robbie Fulks wails, as keening hillbilly harmonies and acoustic guitars underscore his high-lonesome misery.

â&#128;&#139;Behind the music: The versatile Chicagoan, who once “saluted” Nashville with the song “Fuck This Town,” never stays in one rootsy groove for long; his last album was a Michael Jackson tribute.

Check out if you like: Country tunesmiths with a gift for blending sentiment and dark humor, like Roger Miller and Tom T. Hall.

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Fast Tracks: Hillbilly Harmonies on Robbie Fulks’ "When You Get to the Bottom"

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Venom P Stinger’s Raw, Relentless, Punk Retrospective

Mother Jones

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Venom P. Stinger
1986-1991
Drag City

Like a furious blast of hot, rancid air, the Australian quartet Venom P. Stinger spewed startling punk-rock noise on the Melbourne scene during its prime. With all the subtlety of a steamroller, the band subjected what could have been, in gentler hands, catchy rock ‘n’ roll to a barrage of abuse, pushing its vibrant tunes to the edge of chaos without going over the brink.

For all the brutality, though, these guys could really play: Guitarist Mick Turner and drummer Jim White brought fresh twists to the genre’s conventions, rarely lapsing into familiar tropes. Together, they would later form the more refined Dirty Three, an instrumental band with violinist Warren Ellis (not the novelist), as well as work with Cat Power.

At the center of the storm, singer Dugald McKenzie, formerly of Sick Things, brandished a voice so raw and relentless that the Clash’s Joe Strummer sounded like Frank Sinatra by comparison. Howling, barking and snarling with scabrous charisma, McKenzie suggested a wounded beast on the loose, which might not have been too far from the truth, since self-destructive habits allegedly sparked his departure from the band. In any case, this essential two-disc set collects Venom P. Stinger’s widow-rattling output, consisting of two albums, plus an EP and a single. Annoy the neighbors and blast it today.

For more great ’80s punk from Down Under, also check out last year’s four-disc set The Aberrant Years (Sub Pop), compiling recordings of the Sydney group Feedtime, who were more focused and just as exciting.

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Venom P Stinger’s Raw, Relentless, Punk Retrospective

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Talib Kweli Stands His Ground

Mother Jones

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Earlier this summer, when George Zimmerman was acquitted in the shooting death of Trayvon Martin, there were marches across the country. But the protests largely faded out, folding in on themselves before they had a chance to create any lasting change. One place that isn’t true is Florida, where a group calling itself the Dream Defenders took over the state capitol building, and called upon GOP Gov. Rick Scott to support the Trayvon Martin Act. The bill was an attempt to address racial profiling, the state’s controversial Stand Your Ground law, and zero-tolerance policies in schools that funnel kids into the criminal-justice system.

The Dream Defenders were able to gather a lot of national and high-profile support. Among the bigger names who turned out to support their cause was the Brooklyn-based rapper Talib Kweli, among the most enduring and successful “conscious” hip-hop artists of his generation. I caught up with Kweli last week for a chat that ranged from his new album (Prisoner of Conscious), to stop-and-frisk, feminism, and homosexuality in the hip-hop community.

Mother Jones: What made you want to go to Florida to support the Dream Defenders?

Talib Kweli: Harry Belafonte hit me to the Dream Defenders and I liked what they were about. When I asked them how I could help their movement, they said, “You can help by coming down here; you can tweet.” But I was like, “That’s easy, what else can I do?” What I like about Dream Defenders is they’re taking all the fly shit from activism—they’re taking the right energy from civil rights, from black power, from Occupy Wall Street, all these movements, the Arab Spring. They’re not protesting, they’re not demonstrating; they’re just coming with a plan for action and they’re not going anywhere until the governor addresses their plan.

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Talib Kweli Stands His Ground

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What do you do when you find 7 tons of debris on a beach?

Great vid of a simple story, massive beach clean up. Excerpt from –  What do you do when you find 7 tons of debris on a beach? ; ;Related ArticlesIs there anything more authentic than a child’s drawing asking us to preserve our oceans?Is New Jersey screwing up the Hurricane Sandy rebuild?Buy this book for your kids ;

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What do you do when you find 7 tons of debris on a beach?

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Fast Tracks: "I Have No One" from "The South Side of Soul Street: The Minaret Soul Singles 1967-1976"

Mother Jones

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Disc 2, Track 3

“I Have No One”

From The South Side of Soul Street: The Minaret Soul Singles 1967-1976

Omnivore

Liner notes: Keep the fire extinguisher handy when Big John Hamilton pours out his heart on this smoldering lament.

Behind the music: Based in a tiny town on the Florida Panhandle, Finley Duncan’s Minaret label released a slew of fine R&B singles in its decade of operation, all included on this two-disc set. Hamilton, Minaret’s most prolific artist, worked with Etta James and Hank Ballard before going solo.

Check it out if you like: Southern soul crooners like Joe Simon, Percy Sledge, and James Carr.

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Fast Tracks: "I Have No One" from "The South Side of Soul Street: The Minaret Soul Singles 1967-1976"

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Into the Gyre

A team of artists and scientists traveled to Alaska to document water pollution. Carl Safina, an ecologist and Mark Dion, an artist, talk about their observations from the trip. Originally posted here: Into the Gyre ; ;Related ArticlesIs there anything more authentic than a child’s drawing asking us to preserve our oceans?Tracking This Year’s Dismally Small Monarch MigrationMystery Lung Fungus: Are You at Risk? ;

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Into the Gyre

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10 "Songs of the Summer" Going Back a Century

Mother Jones

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As the amount of time we spend debating which track is truly the song of the summer swiftly approaches the amount of time spent listening to said tracks, it can be helpful to turn backward for guidance. How can we argue about 2013 without first arguing about 1993? 1953? 1913? Using Billboard chart performance as well as more subjective measures, let’s get our summer hit house in order.

1913: “When Irish Eyes Are Smiling,” Chauncey Olcott

Going by Tsort’s chart consolidations (which will be the main standard for here for the years Billboard was only publishing sheet music and vaudeville charts), “When Irish Eyes Are Smiling” was a number one hit in 1913, entering the charts in June and remaining for 16 weeks. Olcott—who was from New York—meant to evoke the serenity and peacefulness of Ireland when she wrote the song for the musical The Isle O’Dreams.
(Also considered: “When I Lost You” by Henry Burr and “The Spaniard That Blighted My Life” by Al Jolson.)

1923: “Down Hearted Blues,” Bessie Smith

With lyrics like “Trouble, trouble, I’ve had it all my days / It seems that trouble’s going to follow me to my grave,” Bessie Smith’s recording of this ode to an abusive ex-lover wasn’t exactly a feel-good hit. Anyone who was darb enough in the summer of 1923 still thought it was the bee’s knees, though, and that frazzle-snazzle helped it reach number one after charting in June. In 2006, the track was inducted into the Grammy Hall of Fame.
(Also considered: “Yes! We Have No Bananas” by Billy Jones (later performed by the Swedish Chef of Muppets fame) and “Parade of the Wooden Soldiers” by Paul Whiteman.)

1933: “The Gold Diggers’ Song (We’re in the Money),” from Gold Diggers of 1933

What could have happened in the 1930s that would make this image resonate with audiences? While it may only be the second-best gold digger-related song of all time (scratch that, third-best), “We’re in the Money” was a huge hit in the summer of 1933. Not only did it lead off the Gold Diggers film, which premiered in late May, but star Dick Powell recorded a separate version that got radio play on its own. With apologies to Duke Ellington, whose instrumental “Sophisticated Lady” charted for four months that year—maybe if he had included a pig latin breakdown, he would have won out. (Also considered: “Sophisticated Lady” by Duke Ellington and “Stormy Weather” by Ethel Waters.)

1943: “You’ll Never Know,” Dick Haymes

No, you’re not a bored college student again—that song really is a cappella. Musicians were on strike in 1943, and since it would be decade before they could all be replaced by Pro Tools and a Casio keyboard, singers like Dick Haymes had to make due. “You’ll Never Know” first rose to prominence after Alice Faye performed it in Hello, Frisco, Hello. (It won the Academy Award for best original song.) Haymes’ version hit number one on the Billboard charts in the middle of July and didn’t drop from that spot for another month. (Also considered: “I’ve Heard That Song Before” by Harry James and “Taking A Chance On Love” by Benny Goodman.)

1953: “The Song From Moulin Rouge,” Percy Faith

No, not that Moulin Rouge. It may not have originally been a summer song—it first hit the Billboard sales charts in March—but Percy Faith’s track lasted 24 weeks, peaking at number one from May to July. It didn’t do as well on the jukebox charts as Eddie Fisher’s totally-not-about-a-stalker hit “I’m Walking Behind You,” though Faith did outpace Fisher in radio plays. Do they still measure jukebox plays, or can we just assume Bon Jovi has been number one since 1984? (Also considered: “I’m Walking Behind You” by Eddie Fisher and “Vaya con Dios” by Les Paul and Mary Ford.)

1963: “Fingertips Part 2,” Stevie Wonder

So it turns out the ’60s existed before the Beatles came to America. Who knew? In a strange year that saw “Hey Paula” by Paul and Paula sell more than a million copies, and The Singing Nun hold down the number one spot on the charts for a solid month, picking a definitive song of the summer is tough. The edge goes to Stevie Wonder’s live recording of Fingertips Part 2, because it’s fun as hell, features Marvin Gaye on drums, and has an impromptu encore at the end (“What key?!”). This track sat at number one for most of August. (Also considered: “Surf City” by Jan and Dean and “Sukiyaki” by Kyu Sakamoto.)

1973: “My Love,” Paul McCartney and Wings

McCartney wrote this track for his wife and bandmate Linda, proving that inter-band relationships aren’t always the worst. “My Love” sat atop the Billboard charts for four weeks in June before fellow Beatle George Harrison unseated it with “Give Me Love (Give Me Peace On Earth).” Five months later, “Photograph” hit the top of the charts, making Nickelback Ringo Starr the third Beatle with a number one song that year. (Also considered: “Will It Go Round In Circles” by Billy Preston and “Bad, Bad Leroy Brown” by Jim Croce.)

1983: “Every Breath You Take,” The Police

This track owned the summer of 1983, sitting at No. 1 throughout July and August. Sting apparently still makes $2,000 a day in royalties from “Every Breath You Take,” meaning he pulls in a cool $730,000 a year for however many wedding couples never bothered to listen to the lyrics that closely. (Also considered: “Flashdance…What A Feeling” by Irene Cara; Seriously, that’s it.)

1993: “That’s The Way Love Goes,” Janet Jackson

In the closest summer battle of the century, Jackson—whose track sat at number one from the middle of May into July—beats out UB40, whose cover of Elvis’ “Can’t Help Falling In Love” held that mark from July into September. (Let’s also toss in Tag Team’s “Whoomp! (There It Is)” as 1993’s “Get Lucky.”) “That’s The Way Love Goes” won a Grammy for best R&B song and went on to be certified platinum in the US. Sorry, UB40. I blame the A-Teens. (Also considered: “Can’t Help Falling In Love” by UB40 and “Protect Ya Neck” by Wu-Tang Clan—because this is my list.)

2003: “Crazy In Love,” Beyoncé, featuring Jay-Z

“Crazy In Love” combines the 1983 winner’s stranglehold on summer airwaves with the 1973 winner’s ‘aww’ factor. (Little-known fact: Beyoncé and Jay-Z actually actually got married five years after this track was released!) It’s also the second-highest selling single since 2000, moving more than eight million copies. In 2003, it reigned over the Billboard charts from the middle of July into September. (Also considered: “21 Questions” by 50 Cent, featuring Nate Dogg and “This Is The Night,” by Clay Aik—nope. Let’s just stop this right here.)

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10 "Songs of the Summer" Going Back a Century

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Live Nation Concerts Transition to Local & Sustainable Food

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Live Nation Concerts Transition to Local & Sustainable Food

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