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newusedrecords — Fri, 22 Aug 2008 02:24:27 GMT

I'm joining the MOG Music Network. That's the best way to keep up with all my posts. See you soon.

Review: The Age of the Understatement / The Last Shadow Puppets

newusedrecords — Tue, 10 Jun 2008 19:19:56 GMT

Sometimes, you know (or at least I do) that you will love a record before you've even heard it. Such was the case when I first read about the Last Shadow Puppets - a duo comprised of Alex Turner (Arctic Monkeys) and Miles Kane (The Rascals) - in Paper. Admittedly, I am a bit more familiar with Turner's work, following the Arctic Monkeys since 2006, with Favourite Worst Nightmare becoming one of my favorite records of last year. Both are skinny, devilishly young British boys with rock star haircuts and voices that have both a comforting softness and a punk edge. The two became pals when Kane's old band, The Little Flames, toured with Arctic Monkeys. They bonded over a mutual love for Scott Walker and David Bowie, and began writing material together. Meld those two influences alongside the bombast of Shirley Bassey Bond themes and the romance of Burt Bacharach strings and you've got The Age of the Understatement.

Turner's and Kane's voices are so similar that at times it is difficult to tell which is singing. Their voices blend spectacularly well, whether harmonizing (which they do quite often) or trade off (like on highlight "Separate and Ever Deadly").The arrangements reflect a time gone by, however The Age of the Understatement does not appear dated, and only a tad nostalgic. Their is a consistency to the the songs on the album, suggesting that the two artists take this far more seriously than just your typical side project. If there is any disappointment to this record, it's that it ends before you want it to - "The Time Has Come Again" proves to be an understated ending. Flawless in every other way, Kane and Turner simply keep you the listener wanting more - which, in this day and age, is not such a bad thing. (Note: The two are set to begin working on new material next year).

Video - "The Age of the Understatement"

Because You Can't Make Sex Jokes Forever

newusedrecords — Mon, 26 Nov 2007 02:25:06 GMT

A week back or so, I was scrolling the events calendasr for some of my favorite local venues, and found that a recent headliner was none other than THOMAS IAN NICHOLAS OF AMERICAN PIE AND ROOKIE OF THE YEAR. That is how it was billed. Unfortunately, the show had already passed, but a couple clicks over to MySpace, and it was evident that, yes, the guy who portrayed sexually frustrated Kevin in three American Pie films is making a go of it in the music business. It looks as though Nicholas - who puts his own spin on that whole Nickelback/Gavin Degraw/2000-era Bon Jovi - is "unsigned," while the site is still littered with various endorsements.

Of course, being label-less is not going to prevent Without Warning from dropping - without warning, I might add - on January 19. His bio reads quite convincingly: "Although the term 'actor-turned-singer' can have a negative connotation, Thomas will definitely change your mind with his songs 'Wasting my time,' 'How does it Feel' and 'You Don’t Know.'" Apparently, according to the bio writers, it is only those three songs that avoid the negative "connotation."

Not convinced yet? Watch the video for "You Don't Know"...

Review: Graduation / Kanye West

newusedrecords — Tue, 25 Sep 2007 16:52:56 GMT

Everyone says the record industry is dead, but they omit one point - people still love music. In fact, music is probably more important to people right now than it's been in a long time. When Kanye West decided to push the release date of Graduation up to September 11 - so that it could go up against 50 Cent's Curtis - he got people excited about a release date, and I can't remember the last time people gave a shit about that. Songs leaked before, but West was giving people a reason to actually go to the store and buy it, and for those who did, something special was awaiting them. Should West be number one when SoundScan figures drop next week, it would solidify him as a totally new kind of artist. In just a few short years, we've seen West transform from in-demand producer to critically acclaimed rapper and now West has expressed a desire for the "stadium status" that goes with a Justin Timberlake caliber artist. Such a goal would have seemed lofty at best four years ago, but now seems almost inevitable. West's music boasts both a complexity and an accessbility - not to mention that West may be the only rapper whose arrangements are so lush they could actually translate to a stadium venue.

The best place to start with Graduation is the title. West has promised this academic theme since the release of his first record, The College Dropout. That title was in reference to West's decision to drop out of school, focusing solely on making it in the music, much the the chagrin of his college professor mother. But the title and a recurring theme throughout the album regarding making your own path and not letting others stand in your way. The album was the result of a frustrated run where no one believed in his ability to rhyme. Roc-a-fella president Damon Dash suggested the youngster simply stick to beats. By Late Registration, he had proven himself, but the album was as dark and uncertain as it was celebratory. With arrangements fleshed out by Jon Brion, the album was pushing a level of hip hop avant garde. Still, with hits "Gold Digger" and "Touch the Sky," West was stronger than ever.

And so we reach Graduation at a point where West has not just been accepted as a rapper, but one whom innovation is expected of. If those first two records were West's way of laying out the blueprints for his plan for musical domination, Graduation puts them into motion. The album is sparser - no skits (thankfully) and songs are kept at a radio length. The arrangements are no less complex - but West isn't trying to push you to the edge this time, he's expecting that you're already meeting him there. But I don't even know what to call this - it's not rap as rap has ever been heard before. In fact there's only two ("Barry Bonds," "The Glory") - maybe three ("Everything I Am") songs that I would actually classify as rap. As a whole, it comes off as a futuristic pop art/R&B from outer space.

The cover again showcases West's bear character - this time however all artwork is by Japanese artist Takashi Murakami. Between this, his recent choice of fashion accessories and the "Stronger" video, West is showing a considerable interest in Tokyo. Last December, I was having a conversation with my cousin regarding my own interest in Japanese youth culture. He said they have a real love for American fashion and pop culture, but they really take it and put their own unique spin on it. I would say that spin is quite futuristic, and I think West's brain moves the same way. West's rhymes are a collection of movie quotes and pop culture references, while his beats pull rhythms from the strangest of places (Steely Dan, Daft Punk, Can), occasionally throwing in the day's most popular voices (T-Pain, Chris Martin) for good measure.

The merits of hip hop are almost judged solely by lyrical content. Those who discuss political and social issues on occasion are placed above those who are more concerned with cars, money and women. But I've never placed art's importance solely on content - form plays just as essential, if not a more essential role, in art's effectiveness in society. Lyrically, this is West's least socially conscious effort to date, but musically, it's more complex, challenging and intelligent than anything done before. West knows how to trigger the senses - it's impossible not to feel confident and empowered the moment "Good Life" kicks into gear. At the same time, he knows how to push.

"Stronger" boasts now R&B hook, instead just ferocious rhyming over a mildly chopped-up Daft Punk sample. More challenging is "Drunk and Hot Girls." Lyrically the song has been criticized as "beneath" West, but with a sample from art rockers Can, the song moves at such a dark, slow pace, it's impossible to know what to make of it. "Stronger" I can grasp, but I just can't wrap my head around that one. It's like it intentionally breaks the first half's momentum just to fuck with you.

There is no more poignant moment than on closer, "Big Brother," an ode to Jay-Z that isn't all roses. West notes Jay's Madison Square Garden concert - "Not only did I not get a chance to spit it/But Maureen told me I could buy two tickets." At the track's end, he fumes, "I told Jay I did a song with Coldplay/Next thing I know he got a song with Coldplay." Ultimately, though, West comes back around to admiration, it's a rare moment of vulnerability for a rapper, but no so much for one whose always remained self aware and unashamed.

Kanye West Blows Up At MTV

newusedrecords — Tue, 18 Sep 2007 18:09:55 GMT

It's not all roses for Kanye these days despite the fact that he will likely have a number one debut and currently has two of the top five songs on iTunes. Kanye's little rant after the MTV Video Music Awards last week was caught on tape and, well, it is pretty entertaining. Say what you will about Kanye, the man does not lack passion...

In cased you missed it, Kanye was a little peeved about being shut out at the award show for the second year in a row. To add to his dismay, 'Ye was frustrated about not being asked to perform on the mainstage and the Britney Spears opened the show instead of him.

The Byrds and I (Part 5)

newusedrecords — Tue, 04 Sep 2007 03:38:13 GMT

Part 5: The Notorious Byrd Brothers (1968) The Notorious Byrd Brothers is not a record my dad and I ever listened to - yet I can recall its cover rather well. This cover shows the band now as a trio - McGuinn, Hillman and Clarke, with a horse supposedly to represent the ousted David Crosby. Crosby was a bit frustrated with the band's decision to use another Dylan cover as the lead single, as well as the fact that his tale of a three-way relationship, "Triad," was going to be left off. Tension was also brewing with Clarke, who would depart shortly after the album's release. Turmoil or not, however, the record is still considered one of their best, displaying the country influence that would overtake them later in the year. "Wasn't Born to Follow" is the song I can most vividly remember hearing, and I believe it would later play a prominent role in the film Easy Rider. "Draft Morning" I would later discover in the Steven Soderbergh film The Limey - the film that made me want to be a filmmaker. And such is the nature of the Byrds and myself - discovering them early in childhood, yet no matter how far I step away, they find their way back around to influence my life - sometimes only as background music.

I was probably 17 when The Limey struck me. Sometime earlier, I watched Out of Sight - which has a very similar editing structure - and got my first taste of experimental cinema. Being rather unhappy, it was bits of experimentation in art in which I found solace. When I discovered Buffy the Vampire Slayer on the WB, I finally was able to see something that reflected what I was going through. Thus, Buffy and my brother Charlie's Little League games were about the only think I looked foreword to.

I was really bummed I missed Charlie's first home run. I had a physiology test which I badly needed to study for, though if I'd known I would have failed it anyway, I wouldn't have even bothered. I also missed the third by just a few seconds, but most importantly, I caught the second - and this I consider one of the single greatest moments of my entire life. You see, I was never quite good at baseball - much to my father's disappointment, and gave up by the time I was ten. Teaching Charlie how to play was important, and we spent many a night in the nearby park competing against one another. This relationship forged over baseball would later become the centerpiece of my college admissions essay, which detailed my close relationship with my brother. Sitting in the bleachers with the team's dads, I became Charlie's male representative - and thus received credit when something went his way. Thankfully, this was a rather frequent occurrence. I must have been 15 or 16, which would make Charlie 10 or 11, and I remember he was playing on the Royals. The Royals entered the final inning trailing significantly, and Charlie was not due to bat anytime soon. Yet, something happened and the team managed to bat the whole way around - bringing Charlie up with two outs and representing the winning run. Now my mom and I were nervous as hell as we huddled in the bleachers blowing air onto our cold hands - though I know Charlie was not.

Before Charlie hit the home run, I already knew it had happened. A second before his bat hit the ball, time actually froze. This is the only time that such a thing has happened for me, but gave me the chance to savor what was about to happen for just a little longer. When I recall it, the stopping of time is very vivid. And then it was over, and the expressions of joy from my mother and I were incredible. Now it is great that my brother hit a game-winning home run, but the event was more important for what it symbolized. For my brother and his quiet confidence; for my mother raising him and I alone; and for myself, seeing my brother accomplish something I never had, letting me know that he was going to be alright. My brother has since gone on to accomplish a number of things I never have - and it makes me happy every time.

"Wasn't Born to Follow"

The Byrds and I (Part Four)

newusedrecords — Fri, 31 Aug 2007 17:20:37 GMT

The Byrds and I is a series of essays that tell the story of my life through each album from my favorite band.

Part Four: Younger than Yesterday (1967), The Best of the Byrds (1967), and Blur's Think Tank (2003)

y education on the Byrds first came from my father, and for the most part it involved the band's first four albums. I did skip ahead a little to 1968's Sweetheart of the Rodeo but, in general, my knowledge of post-1967 Byrds was seriously lacking. While I distinctly recall placing each of those four records on the turntable, it seems the only songs I recall actually listening to fell on the 12 track Greatest Hits album. Thankfully, this meant that there would be many Byrds songs to discover in later years that would ultimately take on new meaning. As I (now in the 4th grade) compiled my Byrds mixtape, I imagine it was heavy on Mr. Tambourine Man, and only two songs from Younger than Yesterday were included - "My Back Pages" (yet another Dylan cover) and "So, You Want to Be a Rock and Roll Star" (a rather clever little jab at the record industry). Making that mixtape and a trip to the park with my brother and my dad are what I believe to be my last happy memories of my dad living in our house.

A couple years later, I was staying at my father's apartment for the weekend, and we got caught up in the frequent act of me pulling out records and him telling me the stories behind them. The record in question was Younger than Yesterday, and the song was "Renaissance Fair." It is essentially a brilliant summation of the "Summer of Love" - "I smell cinnamon and spices, I hear music everywhere, all around, kaleidoscope of colors," they sing, building up to, "I think that maybe I'm dreaming." My dad then pulled out an Animals compilation to play "Monterrey" - a tribute to the claasic 1967 rock festival - in which singer Eric Burdon adopted "I think that maybe I'm dreaming" for his chorus, as an homage. My dad then went into a story about attending the Monterrey Pop Festival and - from what I was hearing - 1967 had to be the coolest year imaginable. A quartet once again for Younger than Yesterday, the distinct personalities of McGuin, Hillman and Crosby all show up. Crosby is getting dark and moody on the lovely "Everybody's Been Burned," while Hillman's leanings tend to be of the country variety. Of course, the harmonies are still tight as ever, especially on the georgeous "Have You Seen Her Face." Less psychedelic than Fifth Dimension, Younger than Yesterday successfully perfects the best elements of the band's past while largely hinting at what is yet to come. My love for and continuous discovery of the Byrds has been never-ending, yet as I hit my twenties, another philosopher of the musical variety emerged to stand nearly alongside Roger McGuin. Like McGuin, Damon Albarn has an undying love for music and his desire to trace its roots and histories and create something entirely new puts him on par as far as I'm concerned. I did not initially get into Blur, as they did not find much success on American radio. I picked up a Best of in 2001, yet I my interested piqued around the time of Gorillaz. I've always appreciated and sought out music that transcends genres and - while I did not love all of Gorillaz - I greatly appreciated the contribution. My junior year I would track down a record of songs Albarn recorded in Mali, while I eagerly awaited the release of Think Tank.

My first two years of college were not quite all that I had hoped. I was not necessarily happy with the social group I'd fallen into my freshman year, while neither of my relationships had really ended positively. Towards the end of my sophomore year, two friendships developed into the most important ones I've ever had, and though I was beginning to get comfortable expressing myself as a filmmaker, I questioned whether or not I could handle my third year. That year I was taking over a student organization known as the Art Collective, as I had sought to form my own artistic community since having my film career shaped my freshman year in Alex Juhasz' Independent Film Cultures class. That fabled junior year, my life would become one ridiculously thrilling non-stop movement. I planned art shows and concerts on nearly a weekly basis; I read Greil Marcus' Lipstick Traces and got really into situationism and artistic subversion; I spent months obsessively editing a political short called Dailogue One: Consumption; I stayed up all night on a regular basis; drank heavily on weekends with my close friends; missed classes ... but just simply did not stop. It was as if I was making up for all the time I spent lost in my own head.

As the last week of the school year approached, so did the release date of Think Tank. I had completely altered my sleep schedule as to finish a ten page paper on Buffy the Vampire Slayer. Early one morning, I'd finished the first five pages and set out to Rhino Records for the new Blur. I waited outside for the store to open, bought the cd and immediately put it into my discman. I was taken right away with the lovely opener, "Ambulance," but it was "On the Way to the Club" that I would ultimately play over and over. After several spins, I eventually fell asleep in the early afternoon. When I awoke hours later, I planned to attend a campus event. It was there that I had my first real conversation with Hillary. I had learned earlier that evening that Hillary was planning on writing her senior thesis on Buffy and instantly I wanted to know her much better. I can't say we talked for too long and love did not initially blossom then, but when I returned three months later, there was really only one girl I hoped to get to know. Alas, my year wrapped up and I walked away with an odd feeling of accomplishment, as if the path for my life had not only been set on the right track, but was actually going somewhere - fast. Fittingly it was all summed up by my two heroes - "I ain't got nothing to be scared of," sings Albarn on "Ambulance," while McGuin, Hillman and Crosby harmonize, "I think that maybe I'm dreaming."

"My Back Pages," Roger McGuinn

"Ambulance," Blur

The Byrds and I (Part Three)

newusedrecords — Thu, 30 Aug 2007 16:51:04 GMT

Part Three: Fifth Dimension (1966)

Fifth Dimension marked the beginning of major changes for the Byrds. Internal conflict that would follow the band around forever started with the exit of Gene Clark. His absence was attributed to a fear of flying, which he described on the album's first single, "Eight Miles High." Backed with another Clark composition, "Why," "Eight Miles High" is seen as the first record of the psychedelic era. Psychedelia is present all over Fifth Dimension (whose cover shows the band now as a quartet) from the avant garde instrumentation to the quirky lyrics. This would be the start of the amazing genre-hopping that would define nearly the rest of the Byrds' career. With Clark out, McGuin began to assume more frontman-like duties, taking the lead on the album's other two singles - "Mr. Spaceman" and "5D (Fifth Dimension)." Both songs depart from the love letters and social commentary of the band's early lyrics. "5D" is pure pop alternative with McGuin proclaiming, "And I saw the great blunder my teachers had made/ Scientific delirium madness." On "Mr. Spaceman," McGuin begs alien visitors to take him away - all with a happy tune. Decades later, Radiohead would echo this with much darker sentiment on the equally brilliant, "Subterranean Homesick Alien."

Darker and more disjointed than the band's previous efforts, it did chart nearly as well as its predecessors. That being said, it was the Byrds willingness to take chances as well as follow/start/reinvent trends that has endeared them to me for some time now. As McGuin began to assume leadership duties, the Byrds would become his playground to experiment with the styles that were beginning to define the era. While attempting to break new ground, McGuin also never lost sight of the roots of American rock music, and would continue include covers of traditional songs.

I spoke before about getting lost in my own head, or in fact retreating there. While I intend to follow the direction this story has taken, I become afraid about certain misconceptions. I would rather write this story in a disjointed fashion jumping from various points in my life - as I would not want certain events to seem more important than others. I don't consider my parent's divorce to be all that significant in retrospect. In fact, now it seems totally normal that my mom did just about everything on her own. I don't link that one event with leading my to retreat into my own imagination, as I think I was sad almost from the beginning. As early as I can remember, I was acting out movies in the backyard and recording tapes where I played radio DJ. As I got older this just manifested into more involved projects which served as a nice distraction from what was really going on in my life. As stated earlier, I didn't really relate to my peers and subsequently wasn't close with two many of them. I had crushes that never panned out and friendships that died quickly, all fueling the various creative projects that swam around in my head.

When I was 16 I had a very vivid dream where an offbeat science fiction plot played out. I've never been able to take the idea outside of my head - but nearly ten years later, it continues to stick with me. Trying to set that down in a screenplay was just one endeavor - I attempted to write the history of rock and roll, I tried to start a rock/electronic/experimental hybrid, and eventually there was my failed and somewhat bitter 17-minute short, The Door which was also based on a dream. In that one, I found myself running from someone who eventually caught up with me. When he did so, "Woke Up this Morning," the theme song from The Sopranos began playing and I asked, "what do they [the lyrics] mean - 'woke up this morning, everything you had was gone.'" "It means," he told me, "that when you wake up, everything that you have will be gone." "What do you mean?" I asked. "I'm already awake." "Not like that," he said. "When you wake up - when you find yourself, then everything that you have will be gone." I woke up at that point, thus beginning a period that could only be described in the most cheesy of senses as one in which I attempted to find myself. This journey would take me beyond old vinyl records to artist memoirs, new cds, avant garde films, concerts, and Pitzer College - where the self discovery would actually take place.

Passionistas in the SF Bay Guardian!!!

newusedrecords — Thu, 30 Aug 2007 04:21:37 GMT

The Byrds and I will return tomorrow with an essay on Fifth Dimension. Tonight I want to take the time to celebrate that band on my record label - The Passionistas - and their feature in the Bay Guardian. Along with eight other bands, the Passionistas were selected for the "Class of 2007" - the Guardian's picks for "the most talented unusual suspects we suspect will bust out with great things this year and next." The article was penned by Johnny Ray Huston and you can read it here.

The Byrds and I (Part Two)

newusedrecords — Tue, 28 Aug 2007 18:45:18 GMT

The Byrds and I is a series of essays chronicling the story of my life through each album from my favorite band.

Part Two: Turn Turn Turn (1965)

Re-reading what I've thus far written and hoped to pass off as part two of this series, I can't help but feel a little bit unsatisfied with what I've put down. It feels a bit unfocused to me - but at the same time I think it reflects a very honest portrayl of what my writing used to read like. I actually haven't tackled such a writing assignment in some time, so as this series of essays procedes, I may have to again go through that fine artistic task of finding one's voice. Consider this a transitional piece, in which I will present many ideas that will be developed more profoundly later on. That is rather fitting because TurnTurn! does pretty much the same thing - at least that's how I like to look at it.

Released just months of Mr. Tambourine Man, TurnTurn came at the height of the band's "America's Answer to the Beatles" status. It would be their last genuine folk rock effort and while not predicting the psychedelic direction the band would soon take, it did nicely close the first chapter of the band's history. They finally mastered "It Won't Be Wrong," a tune that had been developing since their earliest sessions, eventually becoming a jangly love song with two distinct yet complimentary parts. The chorus, one could argue, hinted at the alt-country the band would pioneer years later. McGuin truly came into his own as a songwriter with his JFK-eulogy, "He Was a Friend of Mine." Perhaps he was unsatisfied with the initial results, though, as it would later be re-recorded by two different formations of the band. There's a rather perplexing cover of "Oh! Suzanna," but as stated before, McGuin was interested in all kinds of music and had no pretense about covering a folk song of any nature or origin. In fact, his work today consists primarily of sharing traditional folk songs with internet listeners. Of course, the band was still re-working Dylan and attempted to rock out both "The Times They Are A'Changin'" and "It's All Over Now, Baby Blue." Only the latter made the cut, as "Baby Blue" would not show up until McGuin was the last Byrd standing.

Of course, it was in covering Pete Seeger - not Dylan - that the Byrds managed to find their defining moment. Unlike the "Tambourine Man" cover which seemed to strip the meaning of the original in place of pop catchiness, the pop-like nature of "Turn Turn Turn" actually seemed to make the song more meaningful. Lyrically, such biblical words have never managed to move me, except when coming from the mouths of the four part harmony. With each line met with a "Turn Turn Turn" they sing, "to everything/ there is a season/ and a time for every purpose/ under heaven/ a time." They continue, "A time to be born, a time to die, time to plant, a time to reap, a time to, kill, a time to heal, A time to laugh, a time to weep," and, really, more honest words were probably never spoken. Though I don't consider myself a religious person in any sense, I can't help but find peace in the song's philosophy. It didn't quite resonate with me in such a way initially, but after hearing it at a funeral years later, it's doubtful I will ever forget that melody. If it sounds at all familiar, I'm guessing you recall it from The Wonder Years, which seems to establish the fact that something in the song's opening triggers a rather universal emotion.

Of course, "The Wonder Years Effect" seems to drum up notions of of nostalgia, and sentimentality, two things lacking from how I look at my childhood. In fact the Byrds weren't quite my soundtrack, but instead, my release. Getting lost in their records and learning every detail of their history was a nice distraction from the confusion that seemed to fill my hours before I would get home to the safety of my cd player. Explaining this will take some time, but I think it's best to start by introducing some of the defining factors in my life. My brother Charlie was born five years after me and though not initially a music nut such as myself, he's certainly developed into a full-fledged one now. I can't help but want to take a little credit for that, seeing as how - when it came to my brother - I always wanted to lead by example. At the core, our relationship has always been strong but each of us has been prone to become very annoyed with the other on numerous occasions. When our parents got divorced, I was ten and he was five. My father moved out, and while he stayed in the picture, the three of us often felt as though we were all we had. My mother first worked in my elementary school library before eventually settling as a manager at a bookstore, while I spent a great deal of time keeping an eye on my brother. This was fine by me, as the bond we formed quickly proved much more important than the frivolous activities associated with a teenage social life. In fact, as I taught my brother how to play baseball and introduced him to my various interests, I'm came to feel as if I was fulfilling the positive older male roll.

Of course, in my ability to grow up very quickly, I lost sense of what it actually meant to grow up, and while I felt confident in what I believed to be wisdom beyond my years, I also felt completely lost. I then retreated into the wonders of my own head, a space where bad song lyrics and pretty decent television plots fostered and grew. It wasn't until years later that I actually got to see them realized in a visual sense, but looking back, I am rather grateful to have had so much time alone with my thoughts. I highly doubt I'd be who I am now without that.

The Byrds and I (Part One)

newusedrecords — Mon, 27 Aug 2007 17:56:31 GMT

The Byrds and I is a series chronicling the story of my life through each album by my favorite band.

Part One: Mr. Tambourine Man (1965) To anyone who reads this blog on a regular basis, or to anyone who knows me personally, my love and passion for music is very apparent. While this has grown into obsession in recent years, this passion is something that I've carried with me for almost as long as I can remember. My father is the one to blame, as his record collection - honed over decades then reconstructed after an unfortunate theft - served as my own personal school of rock. I'm told I wouldn't go to sleep unless rocked to the sounds of Graham Parker or Roxy Music, and when I reached such an age of curiosity, I found myself pulling out albums at random, anxious for the stories they held. Stories were not lacking when I came to records in my father's collection, and like most young boys who idolize their dads, his favorites became my favorites. John Lennon, Bob Dylan and American five piece, the Byrds, became the most important thing in the world to me at that point. I was probably 8 or 9, and I can't say I was much of a happy child. I had great difficulty focusing in school - result of a learning disability that lead teachers and students to question my level of intelligence. Needless to say, friends weren't easy to come by either, and the best part of my day became being able to indulge in the sounds of a decade I so badly wished to be a part of.

The Byrds hit the American airwaves in 1965, as rock and roll began to divert from basic rhythm and blues to more experimental sounds, and dissenting voices began to emerge against the actions of the government. Dylan proved to be the voice of a generation, yet his folksy political wisdom didn't quite exactly translate into pop success. Byrds frontman Jim McGuin was interested in all kinds of music, but his initial inkling was to blend that folk wisdom with the pop tightness of the Beatles - creating a sound that was catchy, yet anthemic. Mr. Tambourine Man is full of Dylan covers, with the title track becoming their first number one. Dylan's "Tambourine Man" clocked in at over six minutes, but McGuin chopped it to under two, rendering the song radio friendly, if somewhat meaningless. Elsewhere it was the tight harmonies of McGuin, David Crosby, Gene Clark and Chris Hillman that would ultimately characterize the Byrds' sound. Drummer Michael Clarke did not spend too much time on the microphone.

I would discover gems much later - because I don't actually think I made it too far past the first two songs. After "Tambourine Man" came one of Gene Clark's originals, "I'll Feel A Whole Lot Better." Clark was my dad's favorite Byrd - at least until Gram Parsons joined. My dad always identified with the underdog - often a tragic underdog. Clark would only record one other album with the band, before embarking on a solo career that only saw success and acclaim after his passing. Clark was a great songwriter and - not playing an instrument himself - was the one who held the harmonies in the line.

Decades later, my favorites on this album are originals buried deep beneath the covers. I care little for their rendition of the title track when stacking it up against the others, and it is Dylan's original that holds resonance. My mom always preferred that version, most notably the line, "to dance beneath the diamond skies with one hand waving free." In 2003, I was working on a documentary film about my mom's brother, Steve, who'd committed suicide years before I was born. Her family had grown up in Michigan, but Steve had come to San Francisco in the sixties searching for something. As we strolled Haight Street and I filmed the scenery, we happened upon a street performer. I chatted with him briefly and he informed me that he played mostly Dylan songs. I asked him if I could film him playing his favorite. He agreed, and proceeded to sing "Mr. Tambourine Man." Though it was all by chance, that moment ended up becoming a defining point in the film. Even if I tried to escape them, the music that defined my life as a child continues to define it today.

The New Pornographers on Letterman

newusedrecords — Sat, 25 Aug 2007 16:37:25 GMT

Some of you may recall a time when Dave was really, really into Hootie and the Blowfish. Well, times have changed. The Late Show has - in the past couple years - become a venue for the likes of Band of Horses, Tapes N Tapes and, most recently, the New Pornographers...

Kanye's Complex Photos

newusedrecords — Fri, 24 Aug 2007 16:37:59 GMT

From the latest issue of Complex Magazine... Read more here.

Annoying New Nickelback Song and Video

newusedrecords — Wed, 22 Aug 2007 16:43:19 GMT

Back in my early days of blogging, I had a recurring "Worst Song" feature - for instance I had the "Worst Song Ever," the "Worst Christmas Song," and the "Best Worst Song," in addition to regularly crowning the "Worst Song of the Month." I've tried to keep things positive as of late, but maybe it's time to bring it back.

You know what I despise - songs about wanting to be famous sung by those who are already really famous. OK, David Bowie's "Fame" is pretty good, as is "Drive My Car" by the Beatles - but as of late, no one's really bringing anything new to the topic.

The most recent entrant into this most phoned-in of song genres is Nickelback. Now, Nickelback is a pretty easy target - and a vast array of crap could find its way into a "Worst Song" box set. Nonetheless, they still manage to annoy me.

"Cause we all just wanna be big rockstars/ And live in hilltop houses driving fifteen cars/ The girls come easy and the drugs come cheap/ We'll all stay skinny 'cause we just won't eat/ And we'll hang out in the coolest bars/ In the VIP with the movie stars/ Every good gold digger's/ Gonna wind up there/Every Playboy bunny/ With her bleach blond hair/ Hey hey I wanna be a rockstar."

The video stars an array of ordinary folk alongside celebrities (Kid Rock, Gene Simmons, Nelly Furtado, Wayne Gretsky?) lip-synching the song.

First off, you've heard this shit before - the same goofy cliches sung over the simplest of tunes, winking and nudging at you because it all seems silly, yet the dude singing actually gets to live this lifestyle.

At the same time, Nickelback appeals most to the down-home, red-meat eating, Republican-voting, Hollywood-hating base. This is just an easy tactic for them to distance themselves from the so-called "elite" and portray themselves just as average dudes, without so much of a clue about what goes on in "Hollywood." This is the same kind of shit like when they tried to portray Bush as an "everyman" Texan rancher. Though I guess the video do make me happy to see the Kid Rock can still find work.

Bandwidth Music and Technology Conference

newusedrecords — Mon, 20 Aug 2007 21:16:45 GMT

I spent much of the weekend at the Bandwidth Music and Technology conference in San Francisco, where so, so many interesting issues were discussed - surviving the digital-ization of music, embracing the internet as a label, streaming rates on internet radio, the possibile re-emergence of vinyl, and on and on. My heads spinning with ideas. I came away from the conference interested in so many of these issues and wanting more than ever to be a part of this business. I also got to meet and chat briefly with David Hyman, who is a nice fellow. Great weekend, I have to say.

Kanye, Weezy Shout Out "Barry Bonds"

newusedrecords — Wed, 15 Aug 2007 16:43:11 GMT

I just saw over at Pitchfork that a track called "Barry Bonds" has just been added to Kanye West's "Graduation." It features Lil Wayne and has a chorus of, "Here's another hit, Barry Bonds." Sounds awesome. The home run king has previously been referenced in songs by Pharell and Master P.

As for Graduation, we've posted the official cover at the top there. I seriously love the whole Tokyo theme 'Ye's working with this time around. The previously reported tracklist (sans "Barry Bonds") went something like this...

01 Good Morning 02 Homecoming [ft. Chris Martin] 03 Stronger 04 Champion 05 Good Life [ft. T-Pain] 06 I Wonder 07 Even More Broke Phi Broke (Skit) 08 Can't Tell Me Nothing 09 Drunk and Hot Girls [ft. Mos Def] 10 Evrything I Am [scratches by DJ Premier] 11 Good Night [ft. Mos Def & Al Be] 12 Big Brother 13 Graduation (Skit) 14 The Glory

50 Cent is Pissed + Lots of Videos

newusedrecords — Fri, 10 Aug 2007 19:58:27 GMT

So, 50 Cent is pretty pissed off, following a leak of one of his new songs and videos - "Follow My Lead" with Robin Thicke. MTV reports, "50 reportedly erupted, ripping out a plasma TV, throwing his cell phone through a glass window and saying that he was going on vacation," and I'd probably do the same if some started leaking Passionistas songs.

50 wanted to keep the emphasis on his latest single, "Ayo Technology" featuring Justin Timberlake and Timbaland.

The year has not been easy on 50 - early singles for Curtis (due 8/11) received a lukewarm response, and then there was that perplexing performance at the BET Awards (video unavailable I'm afraid).

Oh, well, at least he's still got Vitamin Water.

Backstreet Boys Still Around

newusedrecords — Thu, 09 Aug 2007 19:51:47 GMT

So ... contrary to what you may have thought, the Backstreet Boys are still a group and in fact have a new album coming out. The album is due in October, and the first single is called "Inconsolable," written by the same scribe behind Nick Lachey's "What's Left of Me." This will mark the Boys first album as a quartet, following the departure of Kevin Richardson - one of the bearded ones. In related news, Justin Timberlake is too busy being an in-demand megastar to reunite N'Sync.

New Bjork Video - "Innocence"

newusedrecords — Thu, 09 Aug 2007 16:13:06 GMT

For Bjork's latest video, a contest was held, with the winner being decided by fans and Bjork herself. This was the winner... Björk - Innocence - Competition Winner

I've really been enjoying Bjork's Volta and will be posting a review soon.

Video: Editors Interview

newusedrecords — Thu, 09 Aug 2007 03:13:46 GMT

Review: "Same Girl" (remix) - R. Kelly featuring T-Pain

newusedrecords — Wed, 08 Aug 2007 19:06:20 GMT

I was pretty psyched to find out there was a remix single to R. Kelly's "Same Girl" out. I mean, the original was classic with a brilliant video, and R. Kelly's remixes are usually better than their predecessors. This time, however, the magic just isn't there. First off, despite the fact that Kells and Usher found out they were dating the same girl in the original, they in fact bonded over it buddy comedy style, eventually hatching a revenge plan together. T-Pain, on the otherhand, sounds downright depressed, almost homicidal.

First T-Pain comes on like he's been overhearing the conversation and says that the other guys don't know him, which can't be true because he and R were just clubbing together in the "I'm a Flirt (Remix)" video. Then he asks if she has a crib by the waffle house, which leads me to wonder if it isn't possible that there is more than one "waffle house"? Then he asks R if she was doing that thing "with her mouth." R says yes. Then T-Pain asks, "Best sex in your life?" When R says yes, T-Pain concludes this must be his wife. So, let's recap - because this woman lives by the waffle house (the only one!), does something with her mouth (we'll assume it's sexual), and is a dynamite sexual partner, then she must be T-Pain's wife. His wife, I should add, that he does not live with. This is dangerous territory for anyone to be stepping because we all know that the "best sex" for R. Kelly seems to be.

This remix sucks and I am going to place the blame on T-Pain for this one. It was somewhat believable that Kells and Usher could be dating the same girl, but T-Pain as well? Besides, T-Pain's sequel totally breaks continuity with the original and sucks all the fun out of it. And the girls still twins? Triplets? I give credit to Kells for trying to save the rest of the remix, but it just isn't happening with this one. Should've left it how it was or just done a remake, if you ask me.

Thoughts on My Birthday + 3 Special Videos

newusedrecords — Tue, 07 Aug 2007 19:50:10 GMT

So, today I turn 25. If I were Rolling Stone, I'd be publishing several issues to celebrate my history. Or, as my brother says, if I were a band, we would be reuniting for an arena tour and issuing a greatest hits collection. Alas, I am neither of these things, but this is one birthday which does not fill me with a melancholy feeling. While I've never really dreaded my birthday, the thought of getting older is one that has troubled me in recent years. In fact, just about every birthday post-college has been a little difficult, feeling as though I'm getting older and not on the path I want to be on. It's hard reading about artists in their mid-20's directing music videos or landing gallery shows, and wondering why it's them and not me.

But this year, I'm quite ecstatic about turning 25. Really, my career and life are exactly where I would like them to be, and I feel like I am doing exactly what I am supposed to. Starting this label has really changed my life, and it's hard to think of something more rewarding. It's allowed me to free just about all of the envy I had for people my age who seemed to be landing "cool" jobs. It's thrilling to be doing this on my own, working to build it up every step of the way. Really, I'm working my dream job, getting to mix just about all of my interests, and I get to work alongside a truly phenomenal band. And that is certainly something worth celebrating I think.

Now, a few videos for my birthday ...

"The Universal," Blur

"Eight Miles High," The Byrds

"Touch the Sky," Kanye West

An Artist Life Too Short

newusedrecords — Mon, 06 Aug 2007 23:38:55 GMT

Watch the video for Beck's "Round the Bend" (from Sea Change) and you will see the genius of artist Jeremy Blake.

You will probably also recognize his work from the colored vignettes in P.T. Anderson's Punch Drunk Love. The artist killed himself at the age of 35 last month, one week after the suicide of his girlfriend, Theresa Duncan. He will be missed.

Mark Your Calendars

newusedrecords — Mon, 06 Aug 2007 19:00:17 GMT

Two awesome Passionistas shows happening in the Bay Area this month:

Friday, August 17 at the Stork Club in Oakland w/ Greg Ashley (of the Gris Gris) and Logo Moi $5 / 9PM / 21+

Thursday August 30 at the Make Out Room (Presented by Performer Magazine) in San Francisco w/ the Happy Hollows and the Dont's $7 / 9PM / 21+

Interesting Passionistas Show Review

newusedrecords — Mon, 06 Aug 2007 18:49:53 GMT

So, a lot of Passionistas reviews have been popping up this month, including a live review on Wiretap Music, a new local music website. Jeff Bissell writes of the Passionistas' show at Bottom of the Hill, "I hadn’t planned on seeing the Passionistas but I caught their last three songs. Initially, I was repulsed by their lack of musical talent, but I dug the singer who was ranting like a boyish Mark E. Smith. It wasn’t until the last song, 'Banana,' that it finally clicked for me. The singer picked up the guitar and, wishing humiliation on someone who let him down, I saw a new age Stephen Malkmus. Keep them on the radar."

"[R]epulsed by their lack of musical talent" is an interesting description, though what's exciting about this review is how the band actually won him over. I don't think we assume that everyone seeing the Passionistas for the first time will automatically be into it, but if they stay and watch I think the band's charisma, excitement and energy will be undeniable. "Keep them on the radar" - I like that; plus it's hard to feel bad about comparisons to Pavement and the Fall.

The Return of Andre 3000

newusedrecords — Fri, 03 Aug 2007 22:52:34 GMT

Last year, with the release of OutKast's film and album Idlewild, it seemed like the last thing Andre 3000 wanted to do was rap. He dropped just a pair of flows on Idlewild, preferring his own vocal take on jazz and blues. A year later, and MTV is calling him the 4th hottest MC in the game, a spot ahead of Kanye West. And this is all skill. Dre hasn't dropped a solo or OutKast joint since Idlewild, just made notable (somehwat random) appearances on five songs this year - Lloyd's "You" (remix), DJ Unk's "Walk it Out" (remix), Rich Boy's "Throw Some Ds" (remix), Devin the Dude's "What a Job," and UGK's "Int'l Player's Anthem" ...

Dre's a mystery - his rhymes disappear for a little while, then reappear with no hype. It's the true power of an artist when he can grab this kind of attention while seemingly trying to avoid it. Hear what he says and realize the Dre remains true to himself - if anything, he's only gotten weirder.

Press For the Passionistas

newusedrecords — Thu, 02 Aug 2007 17:23:09 GMT

The Passionistas - the first band signed to my New and Used Records label - have been garnering much press as of late for their debut God's Boat, which was released in June.

A review of God's Boat can be found in the latest issue of Performer magazine - the West Coast version. So, if you live on the West Coast, you can probably find the magazine at one of your local establishments. If you do not, however, you can read it online. It's quite a nice review with several quoteworthy moments - "a true DIY spirit [channeled] through jaunty, three-chorded noise pop," "tunes with a timeless appeal," "genre-bending," not to mention: "The most redeeming qualities on the album, however, are the hidden ones: above every blithe pop hook looms a fuzzy bass line meandering lazily; behind a jagged rocking number awaits a grating squall of razor-wire feedback."

A review in this week's East Bay Express by Nate Seltenrich says, "The Passionistas have their heads in the right place, but their hands don't follow. Jilted, jerky pop lacking tightness and polish sounds like the work of a high school garage band with great taste." And that's the whole review.

Port O'Brien Album Out

newusedrecords — Wed, 01 Aug 2007 17:41:22 GMT

Port O'Brien's The Wind and the Swell hits stores this week, combining the best songs from a pair of the band's previous self-releases. The band is based in Oakland, with summers spent in Alaska on a commercial salmon boat. Thus, their sound retains a mix of both locales - something you might call edgey folk. The brilliant "I Woke Up Today" captures elements of both the Arcade Fire and Crosby, Stills and Nash and has been making believers out of the likes of M. Ward and Pitchfork.

The Sopranos Finale: Brilliant Use of a Journey Tune

newusedrecords — Tue, 31 Jul 2007 17:33:11 GMT

So, I just watched The Sopranos finale. You can read my "theory" on the controversial ending here.

The last scene is a fine example of brilliant use of a song in a scene. I'm not a hug Journey fan by any means, but damn if this song didn't work perfectly. That Sopranos team always did have great taste in music.

Journey singer Steve Perry insisted on seeing how the song would be used before giving final approval. "I was not excited about [the possibility of] the Soprano family being whacked to 'Don't Stop Believin'," said Perry. "I told them, 'Unless I know what happens — and I will swear to secrecy — I can't in good conscience feel good about its use.'"

Watch the clip...

SF Music Bloggers at the Ballgame

newusedrecords — Mon, 30 Jul 2007 18:58:08 GMT

I'm just barely in the photo - on the far, far right.

Adrian at ipickmynose - one of several great San Francisco music blogs - organized a get-together for the various music bloggers in the city, with all of us attending a Giants game on Saturday night. In attendance were Adrian, myself, Christian and Ben from the Bay Bridged, Avery and Emily from the Deli SF, and Oz from HearYa. Adrian live blogged the whole thing on his sidekick - kinda wish I coulda done that. It was a great time chatting it up with the bloggers, eating hot dogs, watching baseball. There was the possibility of Barry Bonds tying Hank Aaron on the all-time home run list, which did not happen. What did happen, however, was quite exciting. . .

I've been nursing a bit of a losing streak in Giants games I attend, and heading into the ninth down 3-2, it would appear my low-scoring team would suffer a nasty fate. But then leadoff man Dave Roberts drew a walk. Mark Sweeney launched a double and Roberts scored the tying run, just barely beating the throw home. A walk and a bunt later, Ray Durham launched one to deep left that landed just in front of the wall, scoring the winning run. A gathering of music bloggers and a Giants win - pretty tough to beat for a Saturday night.

Elton John Hates Bloggers

newusedrecords — Sun, 29 Jul 2007 22:13:24 GMT

In the latest issue of Interview, Elton John tells Ingrid Sischy, "The Internet has stopped people from going out and being with each other, creating other stuff. Instead they sit at home and make their own records - which is sometimes okay, but it doesn't bode well for long-term artistic vision. It's just a means to an end. Here we're talking about things that are going to change the world and change the way people listen to music, and that's not going to happen with people blogging on the Internet. I mean, get out there. Communicate. Go be with people and talk to people. . . . Hopefully the next movement in music will tear down the Internet. Let's get out in the streets and march and protest instead of sitting at home blogging." Thoughts?

Awkward Stage/Music Lovers at Rickshaw Stop

newusedrecords — Sat, 28 Jul 2007 19:10:03 GMT

Aaron (from the Passionistas) and I caught the Music Lovers set at Rickshaw Stop last night. Having not seen the Music Lovers since our Sacramento adventure, I was eager to catch the band live again, not to mention chat them up a bit. I showed up around 10:30, and was pleasantly surprised to find the Awkward Stage playing. I'd previously heard them from our blog friend Allison, and was quite pleased with the indie pop emanating from the six piece band. "Heaven is For Easy Girls" - the title track from their debut - was a definite high point. The band's drummer you may know from one of my personal favorites - the New Pornographers, bringing my New Pornographer-related concert experience total to four.

The 'Lovers took the stage around 11, with a slightly different lineup than what I'm used to. Playing as a quartet - with no lead guitar or violin - the sound was a bit more stripped down, but still sounded absolutely fantastic. In fact, it may have been my favorite of the four Music Lovers shows I've seen. I didn't know about half the songs - which was a pleasant surprise - and there was a bit of a "film noir" vibe to most of them.

Smashing Pumpkins on Letterman

newusedrecords — Tue, 24 Jul 2007 01:58:27 GMT

Performing "That's the Way (My Love Is)" from new album "Tarantula" ...

Adore: Complex and Frustrating

newusedrecords — Mon, 23 Jul 2007 19:01:57 GMT

I haven't really been listening to the new Smashing Pumpkins record all that much. I have been going back and revisiting their early work, however.

The Smashing Pumpkins did not grab me initially. It was not until I saw the "Tonight, Tonight" video that I was completely drawn in. Thus, 1998's Adore was the first Smashing Pumpkins' album that I actually "anticipated." A year earlier, the band contributed "Eye" to the Lost Highway soundtrack. To this day it remains my favorite Smashing Pumpkins song. The electronics of the song showed a dramatic shift in the band's musical direction, from the grunge meets shoegaze that had brought them to prominence. Word was they would follow this same path for Adore. I remember waiting with excitement for the album's release, feeling as though this would be one of those "groundbreaking" albums. Corgan had told MTV it would be "'arcane,' cause I think that it seems to sum up the music best. It's kind of like music from the past, but done in a futuristic way. And I think there's natural elements on the album and there are synthetic elements on the album." He added that he was trying to "make something that is indescribable."

The album is shrouded in darkness. Drummer Jimmy Chamberlain had been kicked out of the band. Furthermore, Corgan had just grown through a divorce and suffered the loss of his mother. He also seemed to be rejecting much of the fame his band's previous album had brought on, by making great steps to alter their sound and image.

Listening to it today, it's hard to believe this would be considered "groundbreaking" and it's also difficult trying to imagine what Corgan wanted to produce. The album is subdued built around drum machines and electronics that sound almost dated today. With so many styles and instruments brought in, it sounds very much scattered. The tone is dreary. The singles were great - the gothy electro "Ava Adore" and the nostalgic "Perfect." There are great moments all through the album - sometimes songs themselves ("Pug" for instance), sometimes buried in the details of songs. There seems to be a story here ... but often that story is hard to find. Trying to make it through the whole album proves to be a bit of a struggle.

But maybe this was the late nineties for a lot of people. Musical taste was shifting away from rock music. Electronic music failed to take over like some had anticipated. Corgan's attempt to mesh various genres reflects what many critics assumed would become the future of music, while the somber (almost bleak) tone reflects the disappointment coupled with the post-grunge era. It stands as a complex album, a fascinating moment in the Smashing Pumpkins history, an album very much stuck in its own time. And maybe that does make it "indescribable."

"Perfect" video

Bittersweet Bottom of the Hill Show

newusedrecords — Wed, 18 Jul 2007 15:29:53 GMT

Bittersweet is really all I can say about last night's Passionistas show at Bottom of the Hill. I learned just beforehand that it would be the last one for drummer Tim whose been playing with the band for the last few months. He was a phenomenal drummer and really brought something great to the band. We wish him nothing but the best - and you will see him in some future episodes of the video podcast. This was also the final San Francisco show (for some time at least) for The Herms - as frontman Matt Lutz is leaving the city to pursue some Hollywood dreams. I first saw Matt play at Rickshaw stop last year opening for Kelley Stoltz - the first time I met Stoltz, actually. Later that year, I featured Matt on my video podcast series. Turnout was pretty small, which I think disappointed all of us, and no copies of God's Boat were sold.

On the plus side, we got to meet Avery - one of the new editors at the Deli SF - who interviewed the band after their set. Christian and Ben from the Bay Bridged were also in attendance, gearing up for their CD Release Party tonight at Thee Parkside. The Passionistas sounded great, bringing out a keyboard for the first time on new song "You Just Gotta Live With It," also rocking through the standard God's Boat hits - "Going Gay," "The Socialists," "So Rock N Roll" and so on.

That's the last show until about mid-August so obviously some things will be happening. Someone will be stepping in as a drummer soon, though whether it will be a permanent solution is up in the air. In the next month, we'll be strategizing further about getting the record out there and maybe even setting up a tour. I think I was a little exhausted the last couple weeks, but I am feeling very confident at the moment. I have a lot of ideas about the future of N&UR and I feel more motivated than ever to start implementing them.

Fucking with critics on Icky Thump

newusedrecords — Wed, 18 Jul 2007 15:26:50 GMT

Early last year, when I reviewed the Raconteurs' "Steady as She Goes," I wrote, "If music is the universe, then Jack White gets his own planet." I still feel this way. White is so immersed in music's past, present and future, and holds a great appreciation and understanding for all of its details. And like the most brilliant of musicians, he has found those cracks in the universe, those flaws in the details, and exploited them. He has managed to constantly fuck with structure, chipping away at the boundaries, yet somehow coming back around to rock and roll acceptance. But with the new White Stripes album - Icky Thump - Jack and Meg White achieve something absolutely unprecedented - they have become defiant. That is to say they have managed to completely fluster the critics who once adored them.

Rolling Stone rewarded 2005's Get Behind Me Satan with a glowing five star review. Two years later, Icky Thump deemed a 3 and a half - fantastic for mere mortals, but hardly what you'd expect for a Jack White project. "Jack White is less a songwriter than a sonic architect," writes Robert Christgau. "Compared even with Lil Jon or Avril Lavigne, what his hits have in common isn't anything he stands for. It's instantly enticing musical constructions. On these the new album comes up slightly short." Not so bad. Spin was much harsher. Brian Raftery calls it a "noisy, cranky piece of work. Jack's ever-rueful lyrics raise the sighing cynicism of 2005's Get Behind Me Satan to a roaring snarl, while the music returns to its ferocious slash-and-burn roots, with no shortage of strangled distortion. One can only imagine what the bosses at Warner Bros. thought when they realized that Jack and Meg's major-label debut would be the least fun album of their career."

On the otherhand, the less White-friendly Pitchfork was quite taken. Rob Mitchum writes, "After the straightforward radio-rock trappings of the Raconteurs, Icky Thump packs an unexpected freshness, even given its back-to-basics premise; had it come immediately after Satan, it could have seemed like a cynical, regressive gift to the core fanbase, but following Broken Boy Soldiers, it recaptures a sense of goofy fun and a caustic edge that the duo haven't possessed since White Blood Cells launched them to the A-list."

Icky Thump is an album baffling in its brilliance. Its influences are obviously from the past, but yet it hardly seems concerned with that past. It doesn't reference previous White Stripes albums nor doesn't try it fall in between ones. The title track is easily the oddest single the band has ever done - with so many starts and stops, virtually no chorus, and a perplexing rap. Certainly not as easy a Stripes album to grasp as the last three, but dig into the details and you may be truly amazed at what you find. White has made an album that is the antithesis of the music blogger culture - not an album that grabs you right away, instead one that haunts you and forces you to find its hooks.

Paul McCartney's Starbucks CD

newusedrecords — Mon, 25 Jun 2007 18:38:15 GMT

Hey MOG! I'm back in full effect. I've been listening to Paul McCartney's Memory's Almost Full quite a bit lately. Reviews have been pretty good, though for most critics, it's been difficult to separate the music from the fact it was released on Starbucks' Hear Music label.

Of course, Hear Music's success will depend on the strength of its product. McCartney's solo work overall is a bit spotty I think, though his innate ability to craft a pop song is unbelievable. With Memory Almost Full, McCartney sounds less like he's trying to compete in today's music marketplace, and instead gets nostalgic for the sounds of his past. "Dance Tonight" is a campfire singalong based almost solely around a mandolin. "Ever Present Past" recalls Magical Mystery Tour-era Beatles, until its chorus reflects McCartney's 80s output. "See You Shine" is pure seventies "AM Gold," while "Only Mama Knows" sounds like his best attempt at "Alternative Rock." "Mr. Bellamy" is a high point - a familiar tale of a loner, with the lush musical arrangement we've come to expect from Sir Paul.

"Dance Tonight" video

Adventures of a Record Label President

newusedrecords — Wed, 25 Apr 2007 17:15:57 GMT

The Passionistas ventured to LA this past weekend while the boss stayed back in San Francisco. The idea of accompanying the band on road trips/tours/etc sounds really fun to me - however, given that this was just a weekend trip, it didn't quite make sense. If the text messages are any indication, the show went pretty well - "we made friends and everything" Aaron wrote me. Even though we don't yet have a record to sell, I was glad to see them getting out of the city as it is important to me that we build an audience outside of the Bay Area. As much as I love San Francisco, it is pretty challenging to sell a band in this city, if your name isn't the Lovemakers or Kelley Stoltz (thankfully the latter is in our corner). San Francisco is more on an event city, thus there aren't high sums of people eager to check out random new bands. Furthermore, with most shows being 21+, selling merch can prove exceptionally difficult. However, I think the Passionistas have serious potential to be one of those big San Francisco bands - and making it here would be a serious accomplishment. That being said, I'm excited for our out-of-city shows, like this Sacramento show with the Music Lovers in late June.

With our June 5 release date approaching, there's a great deal we've got to do. The to-do list is just getting longer ... -Sort out cover art for digital release -Sort out cover/booklet art for cd -Print cds -Firm opening act(s) for cd release -Design website -Edit 2-3 more video podcasts -Re-launch new and improved Radio Hour podcast -Band photo shoot -Send out press releases -Secure interviews -Media strategy session w/ band

And I don't even think that's everything. Like, T-Shirts and buttons - we probably need that stuff, too. Even with all that, we've still be plotting more releases for later in the year. God's Boat will probably be the only major N&UR release in 2006, but there could be a couple digital only ones as well.

Will Benham is a Fucking Idiot

newusedrecords — Wed, 25 Apr 2007 17:14:18 GMT

So, I love Erlend Oye. I love both Kings of Convenience records; I especially love his DJ Kicks album; I love the Whitest Boy Alive; I love his version of "Last Christmas." Now, a few weeks back I was dining with the Passionistas at trendy San Francisco cafe Frijts when in walks a gentleman - tall, pale, big glasses, kinda nervous looking and carrying a ukulele. I thought to myself, "If I didn't know better, I'd say that was Erlend Oye." But then I thought to myself, "What would he be doing in San Francisco. If he were on tour, surely I'd know about it. So, I paid it no mind. But then - I see this video on Pitchfork of Erlend outside a Bay Area In-N-Out burger and it is totally the guy I saw. He's wearing the exact same thing. So, now I feel like a total fucking idiot.

Barry Zito ... Meet My New Favorite Player (Baseball, That Is)

newusedrecords — Tue, 03 Apr 2007 23:46:16 GMT

It has been several years since I've had a "real" favorite baseball player - but as the San Francisco Giants open the 2007 season, I'm happy to finally have another. The Giants signed Barry Zito this past offseason to the richest contract ever for a pitcher. While I was excited about this initially, I've only become more interested in Zito the more I've read about him. He's quite unlike any player to pass through San Francisco in recent memory, and it seems to be a number of quirks (or just unique qualities) that endear him to me. He once told the New York Times, "I refuse to be molded into some stereotypical ballplayer that has no interests, really, no life, no depth, no intelligence," which is pretty impressive as it is.

But on top of an ability to actually articulate, he has a tireless work ethic - approaching it with a unique perspective that separates him from other athletes. When a friend told him about the intensity of wrestling matches - he hopped on a plane to Iowa for the National Dual meet championships in Cedar Falls, hoping to "integrate that intensity and focus into my game." (Full story at ESPN). He's, like, all focused on the power of the mind, with a serious interest in zen and yoga, and applying those principles when he pitches. Oh, and did I mention that he listens to Michael McDonald and Radiohead, his favorite movie is Todd Solondz's Happiness (according to Wikipedia, he has a "favorite philosopher" (Neville Goddard), he plays guitar and was rumored to be dating Hilary Duff???

Seriously, dude's a rockstar.

New LCD Soundsystem Rocks My World ... Of Course

newusedrecords — Mon, 02 Apr 2007 16:18:38 GMT

First I apologize for rarely including mp3 streams in my posts. I will get better at that ... I promise.

Listening to Timbaland's new solo album, I begin to devise a mental list of those artists the superproducer should have worked with. Yoko Ono seems like an obvious one. Jarvis Coker, maybe. And of course, LCD Soundsystem mastermind and 1/2 of the DFA production duo, James Murphy. Murphy's first work as LCD Soundsystem included a series of singles followed by a brilliant double album. One can imagine that Murphy boasts a pretty serious record collection, or at least an extensive knowledge of music and its history. He has a knack for crafting pop hooks, but spends much of his time breaking them down, or pushing the limits of a song far past where you would imagine it heading. Somehow it all works, and on that first record, he created something that felt subversive, cool, and reasonably accessible. Such was accomplished without appearing to do too much or be trying too hard to do anything but create good music. The un-official followup, a nonstop 45 minute mix commissioned by Nike, was again catchy, while lacking Murphy's unique, half-spoken vocal delivery.

Thankfully, Sound of Silver brings Murphy back to the microphone. The lengthy monologues that characterized his early work are all but gone, while Murphy seems to be finding even greater confidence in his singing voice. At the same time, he's unafraid to distort it or slow it down for an interesting effect. Single "North American Scum" showcases just what makes LCD brilliant, as it retains the bounce of "Tribulations" (one of his first record's finest numbers) while also bringing in yelling children and sarcastic lyrics. The song works as both anthem and critique, pointing out many of the faults of North America, while also finding confidence and identity through it. Elsewhere, Murphy seems disillusioned with the party culture he was once a part of, multiple times referring to his removal from the New York scene. On closer, "New York, I Love You But You're Bringing Me Down," he notes the city remains much the like one he once loved - while at the same time it is this exact fact that means he must move on.

Expoloring Van Halen's Wikipedia Page

newusedrecords — Fri, 30 Mar 2007 17:33:08 GMT

So ... Van Halen's Wikipedia page is way interesting. I've never been a huge fan of the VH, but damn if they don't have an interesting story with all the internal conflict. I was reminded of such a fact, while watching their induction into the Rock and Roll Hall of Fame last week. Due to Eddie's entrance into rehab and some more infighting, only two of the inducted members showed up - ousted original bassist Michael Anthony and twice-ousted frontman Sammy Hagar. That's not awkard ... at all. Anyhow, I found that Anthony is a really classy dude. Why do you ask? Well he was totally kicked out sometime in the past couple years ... and replaced by Eddie's 15-year old son, but was all like, wishing Eddie the best and saying he loved him. Then he like, thanked Gerry Cherone, the forgotten third ousted frontman. Seriously, that's class. Anyways, the story of Van Halen is like a pretty awesome rock and roll soap opera ... lots of drama with the same recurring characters coming back.

New Timbaland - Love? Hate? or Somewhere in the Middle?

newusedrecords — Wed, 28 Mar 2007 17:15:32 GMT

So, 2006 was really Timbaland's year ... especially when he took the careers of Justin Timberlake and Nelly Furtado to new heights. Even that song he did with the Pussycat Dolls was hot. Now, I've been a fan of his work for several years now, especially everything he did with Missy Elliot, so I was pretty excited to hear he had a solo album dropping. Virtually every track is a collaboration, ranging from predictables (Missy, Furtado, JT) to the unexpected (the Hives, M.I.A., Fall Out Boy, She Wants Revenge, Elton John). Now having listened to that whole thing over at MySpace, and I have some mixed feelings.

The shows are heavy on electronics, with the three Timberlake collaborations sounding as though they would have fit right in on FutureSex/LoveSounds. Also, the M.I.A. track is only on the Japenese Import, and the Hives collaboration is not included in the stream (actually it's listed, but the wrong song is in its place). It certainly has its catchy moments, however most of the time Timbaland spits the first verse quickly, and then moves aside to let the high-profile guests do the talking. "Kill Yourself" also bites its chorus directly from Kanye West's "Bring Me Down."

All that being said, he certainly has created a party record with dashes of the experimental. As usual, Timbaland is at his best when blowing way past pop's barriers ... especially on "Bombay" and "Apologize" (my personal favorite). Even She Wants Revenge collabo, "Time" ain't bad. Seems like the future of Timbaland is bringing back 80's new wave, with dashes of world music. Of course, I'm sure he'll be taking things in an entirely new direction by year's end.

This Record Label of Mine

newusedrecords — Mon, 26 Mar 2007 16:54:41 GMT

So late last year - after a year's worth of music blogging and podcasting - I started making plans to start my own record label. Now, with contracts being signed and hands being shaken, things are starting to fall into place.

Our first release, God's Boat by the Passionistas was produced by Kelley Stoltz and will see release this June. We've just finalized the cover art ...

You've seen me blog about the band before, and it was through my interactions with them - mainly for a recurring video series - that I decided to build a record label around them. The idea behind the label is to keep fans informed at all levels through a recurring video series and blog. Over the past few years, I've seen the music fan evolve into a highly influential individual (thanks in large part to the internet) and the idea of building a label around that really excited me.

I'll continue to blog here about the label, as well as what is tickling my fancy musically. I'll have news regarding June's CD release party to post soon. Meanwhile, if you're in the Bay Area the band has a pair of upcoming shows:

4/11 at the Hemlock Tavern w/ Love is Chemicals 4/25 at the Rockit Room w/ the BBC Brit Bus Tour (Jyro Jets, Crave), Little Fuzzy

I Wish I had Been at SXSW

newusedrecords — Mon, 26 Mar 2007 16:46:00 GMT

I've never been able to take in that wonder that is South by Southwest ... So, for another year, I missed out on that exhausting parade of hip indie bands, the next big thing, and Euro acts making their US debut. How awesome would it have been to see the Pipettes? I have anxiously been awaiting them to play San Francisco. For now, this video will have to suffice...

And, the Good the Bad and the Queen? My love for Damon Albarn is no secret, and I would just love for the opportunity to see his new band...

Maybe now that I've got this label and all, I'll have the chance to attend next year.

Free Wednesdays at 12 Galaxies in March

newusedrecords — Tue, 06 Mar 2007 10:27:33 GMT

For my SF readers, 12 Galaxies will be hosting free DJ events every Wednesday for the month of March. DJ Foodcourt will headline each one, with a host of special guests dropping by. Birdman President David Katznelson will hit the ones and twos for an early set tomorrow night, while Kelley Stoltz will be dropping by later in the month. The event starts at 9. Maybe we'll see you there.

Passionistas Sign to New and Used Records

newusedrecords — Tue, 06 Mar 2007 10:25:06 GMT

After much courting, hustlin, and form-filling, it is all official - my website, New and Used Records is a label and the Passionistas are our first signees. After another Noise Pop Happy Hour at Thee Parkside last Thursday (featuring the Dodos and Loquat) the band and I grabbed some Indian food in the Haight to go over the final details. Though an idea that was always in the back of my mind, launching a record label was certainly not something I was anticipating us doing so early on. Our project with the Passionistas simply continued to grow from the initial video shoots, and now it seems like the perfect next step for this little collective we call N&UR. We'll be putting out their Kelley Stoltz-produced God's Boat in the coming months ... so please stay tuned for more updates.

Noise Pop Recollections

newusedrecords — Tue, 06 Mar 2007 10:21:41 GMT

Even though I've lived in San Francisco for a couple of years now, I'd yet to experience the week-long music event that is Noise Pop. In addition to headlining shows from the Dandy Warhols, Sebadoh, Ted Leo and countless others, there are a number of free events - and here at N&UR, we really hate to pass up anything free. Sadly, I missed Noise Pop's opening night party at the Mezzanine with Tapes 'N Tapes, Har Mar Superstar and David Cross, but you can read all about it at the Bay Bridged. After work last Wednesday, I did head to the outer, outer Mission for the first of many Noise Pop Happy Hours at Thee Parkside. Gathered was a real "who's who" of the local music scene, with managers, label heads, band members, podcasters and bloggers all squeezing their way over to the bar.

Afterwards, Ben Mirov and I headed over to Annie's Social Club for The Cock-T's first annual Cox Remedial High Talent Show. This was a non-Noise Pop event, so I felt a little guilty for cheating on the music festival I was just getting to know ... but what can you do? I didn't quite know what we were in for - but I would soon learn the the Cock T's are San Francisco's "#1 Burlesque Cheerleading Squad."

I had come to see singer/songwriter Katie Gorman who took the stage around 10:30, under the name Cat Benatar. With her face done up like a cat and a dress straight out of a Pat Benatar video, we could tell we were in for something fun. Her acoustic take on Benatar hits, mixed with jokes about talking in her native "cat," and references to Cat Stevens, she was easily the highlight of the night. I first came in contact with Gorman's work about a week ago, after following a link on Boy Least Likely To's MySpace page. Gorman's put together a little project call the Girl Most Likely To featuring stellar covers of the band's tunes as well as re-done artwork in the fabulous BLLT style. She's also got a band called The Specs in addition to fun cover projects. Certainly someone to check out in the Bay Area scene, and hopefully an artist we'll be featuring more of.

Noise Pop Week in SF

newusedrecords — Mon, 26 Feb 2007 11:19:42 GMT

This week, San Francisco hosts its annual Noise Pop festival - featuring a series of shows at venues all across the city. I imagine this is kind of like our version of South by Southwest, although you'd probably have to utilize the services of public transportation if you wanted to venue hop at all. Anyhow, Sebadoh, Tapes N Tapes, the Ponys, Gris Gris, Ted Leo, Howlin Rain, Jolie Holland and Cake are among the performers - details here - yet I actually won't be making it out to any of those shows. That doesn't mean my Noise Pop plans are completely nonexistent, though I'm a little sad my plan to hit up opening night with David Cross and Tapes 'n Tapes was a bust.

For those in the San Francisco area, on Wednesday I will be attending the first "Happy Hour" event at Thee Parkside. The event is free and Peloton and the Otherside will be performaing. That evening, I will head over to Annie's Social Club for The Cock-T's first annual Cox Remedial High Talent Show - a non-Noise Pop event but one that still promises to be fun, I'm sure. On Thursday, I'll be at Thee Parkside once more for early performances Loquat and Dodo Bird. Friday I rest, and then Saturday I just might head over to the Noise Pop Expo at the Swedish American Hall, which goes from 1-6. Both Happy Hour events are 5-8.

My Podcast

newusedrecords — Thu, 22 Feb 2007 00:33:41 GMT

So, I used to do this podcast (my Radio Hour) yet I seem to have fallen out of the rhythm over the past six weeks. Nonetheless, I got myself back in gear and recorded a new episode, which you can listen to here or in iTunes. I'm going to try and do these with some regularity again. So, plug those headphones in your work computer and enjoy some groovy tunes from Beirut, Of Montreal, the View, Greg Ashley, Ciara featuring R. Kelly, Bracken, Julie Sokolow, and the Time Fly's.

The Cuts/Birdman Records Video Podcast

newusedrecords — Wed, 21 Feb 2007 23:16:23 GMT

Last year, I was lucky enough to interview Oakland rockers the Cuts for my video podcast series. With a look and attitude straight out of a mid-70's garage, the Cuts' sound blends elements of glam, punk and psychedelia into something wholly unique. Their latest release, From Here On Out, is a bit of a musical time machine, while remaining free of gimmicks. This genuine vintage sound is indicative of the label they call home - Birdman Records. Check out this feature on them, which also features on interview with Birdman president, David Katznelson...

The N&UR Presents Show

newusedrecords — Mon, 19 Feb 2007 17:33:57 GMT

Last Thursday, I put together a little live show at SF's 12 Galaxies, and I think it was rather successful. Kicking off roughly around 9:15 with Lou Lou and the Guitarfish, it would be inching towards 1:00AM by the time Rock N Roll Adventure Kids' set ended. Though it was a tad exhausting, the night was nonetheless memorable. Surrounded by a crowd that included old friends, rock stars I'd interviewed, local podcasters and bloggers, and some new friends as well, I felt right at home.

The night was young when Lou Lou and the Guitarfish got things off to a rousing start. My dear friends the Passionistas (pictured above) declared that we were living in the Passionistas Universe, and I got to enjoy the band for the first time not through a camera lens. Psychedelic folkie Brian Glaze had a recurring cast of band members that included Gris Gris frontman Greg Ashley (who also produces for Glaze). The one-time Brian Jonestown Massacre drummer played selections from 2005's Let's Go to the Sea and his forthcoming new record. Our headliners Rock N Roll Adventure Kids hit the stage last, kicking ass with their fast, tight, rockabilly punk rock.

If you couldn't make it, enjoy "Going Gay" from the Passionistas...

Sloths!

newusedrecords — Mon, 12 Feb 2007 13:11:51 GMT

My Grammy Diary

newusedrecords — Mon, 12 Feb 2007 13:09:06 GMT

9:04 PM: I'm trying to muster up some fake enthusiasm here, but really I'd rather watch that sloth video a few more times. Every year I tune in to the Grammys with at least a little bit of excitement, and everytime I walk away disappointed. It's kind of a sadistic game. Anyhow, we're about one hour in and Mary J. has won two, the Police reunited for a rather underwhelming "Roxanne," and Tony Bennett and Stevie Wonder shared a rather cute moment when their duet on "For Once In My Life" took home the night's first award. I just barely made it three a ridiculously slow three-song medley from Corrine Bailey Rae, John Legend and John Mayer. Then Mayer won for (not Best Rock Album despite his recent Rolling Stone-hyped credibility, but) Best Pop Vocal. I would have given that one to JT, who minutes earlier had performed "What Goes Around."

9:43PM: What happened to Willow? So Alyson Hannigan comes out all fake-tanned looking rather orange. What would Xander say? Thankfully Cee-Lo and Danger Mouse turned up to (even if their song's been a tad overplayed for the past year) breathe a little life into this otherwise snoozer of an evening. Just one question - where's all the crazy duets at? You know, like Jay-Z with Paul McCartney and Linkin Park?

9:55PM: Rascal Flats? "Hotel California"? That's it - I can't handle this anymore.

Second Flyer For Our First Show

newusedrecords — Fri, 09 Feb 2007 10:54:46 GMT

The first ever New and Used Records Presents ... concert is just a week away, featuring the sounds of Rock N Roll Adventure Kids, Brian Glaze, the Passionistas, and Lou Lou and the Guitarfish. If you can make it to the 12 Galaxies at Mission and 22nd in San Francisco, please do. If you are not in the area, I'll be hittin' you up with some video footage afterwards.

Timberlake Plays "Dick in a Box" at Madison Square Garden

newusedrecords — Fri, 09 Feb 2007 10:53:46 GMT

New Fantasia Song is Hot Like Fire

newusedrecords — Fri, 09 Feb 2007 10:52:57 GMT

So, after winning on American Idol, Fantasia didn't exactly "blow up" to Kelly Clarkson-like proportions. On top of that, one of the women she beat out for top prize is now nominated for an Oscar. No worries, as Fantasia has just dropped a ridiculously sick tune called "Hood Boy" featuring Big Boi. With its ferocious beat, "Hood Boy" is totally my favorite tune from an Idol EVER! (Sorry, "Sorry 2004"). When Big Boi drops in for the third verse, he totally kills it. Can't wait for his solo record.

The Little Ones - "Oh MJ" Video

newusedrecords — Mon, 05 Feb 2007 20:15:44 GMT

Because I am going music video crazy today!!!

I remember when I interviewed them for my video podcast series.