Author Archives: mike

Love Monkey ‘On Hiatus’

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While I was cruising around The Paste website I noticed in their News scroller at the top that CBS’s Love Monkey was put ‘on hiatus” after three episodes! This is old news, I guess. I’m pretty bummed about it as I enjoyed the show. But, evidently over 1 million viewers didn’t enjoy it enough to watch it the next week. Adding insult to injury a rerun of “Law and Order: SVU” drew more viewers! Aimee Mann was supposed to be on an upcoming episode. I wonder how many episodes they taped? Maybe they’ll release a box set of the first season, like Firefly.

It’s the Tone! The Diplomats of Solid Sound @ Martini’s in Iowa City

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Yesterday was Sherry’s and my Six-Year Anniversary, so I planned a dinner at Joseph’s Steakhouse in Iowa City after some shopping. I was looking at some other things on-line and happened to notice that The Diplomats of Solid Sound were playing at Martini’s, which is in the Ped Mall as well. I also noticed that there was a 7″ that I was missing from my collection: “Grease Monkey” b/w “Loaf and Jug.” It is a Spanish import on a label called VampiSoul. So I shot Doug from DOSS a quick e-mail asking if I’d be able to get one from him. He promptly replied and said he’d have some there. Bonus!

Some History: The Diplomats of Solid Sound is the latest project for longtime Iowa City musician Doug Roberson. Doug has been in a number of bands in Iowa City over the years. The first time I ever saw him in a band was in the Dangtrippers. This was in the late ’80’s. The Dangtrippers were signed to DogGone Records which was started by the then-manager of REM Jefferson Holt. Unfortunately, the label collapsed soon afterwords. Doug was in another band called Head Candy. Head Candy won a battle of the bands which gave them a record deal with Link Records, which was distributed by Hollywood/Elektra/Warner. This band had Jim Viner from Dubuque, IA, who is the current drummer for the Diplomats as well as Mike Sangster who came from the band The Hollowmen who had a couple of records out in the late 80’s. This band sounded a lot to me like some of the shoegazer bands like My Bloody Valentine due to its use of layered guitars and unique tunings. The resulting album Starcaster (released 1991) is an album I still consider to be one of the better efforts of this period. I still pull it out to give it a listen. Doug told me once that I might be the only person still listening to it. At the time there was a lot of speculation that Iowa City was going to blow up like another Athens or Seattle. Head Candy even had a video shown on MTV’s 120 Minutes (I think it was “Part of the Earth”). Jim and Doug resurrected the South/East Records label and started working on a compilation of Eastern Iowa bands as a vehicle to showcase the regions talent. I was in a band called Gust at this time and submitted a tape for consideration. I think that we were on the short list to be included for a while, but ultimately didn’t make it. The criticism we got back was that we needed a drummer. Some of the other artists that made it to The Third Times a Charm would go on to some notariety– Tripmaster Monkey from the Quad Cities got a major label signing and released a couple of albums. The scene never really achieved the recognition that I had hoped it would. Head Candy put out a couple of other songs on some compilations including one for an Alex Chilton tribute that I’d like to find some day. Mike Sangster left Iowa City for Minneapolis. Doug formed another band called The Bent Scepters that was a period-type band like the Diplomats. The Scepters were more in the vein of ’60’s Nuggets/garage type rock like the Kingsmen. A fun band, I saw them play the Silver Dollar in Dubuque on Holloween one year. The Diplomats were started in 1998 as a side project to the Scepters. The Scepters broke up in 1999 after member Patrick White move to France, and the Diplomats are Doug’s primary music gig today. White moved back to the US in 2001 and the Bent Scepters have played some reunion shows since. I have seen Dangtrippers reunion shows advertised in recent years, too.

I’ve got to hand it to my wife, she’s really patient when it comes to my music obsession! The show was supposed to start at 9:30, and we finished dinner around 7:30. So, we decided to hit Martini’s early. The upshot to that was that we got in before the cover charge took effect. The downside was that the place was packed with “Mother and Daughter Weekend” people wearing the same teeshirts– some sorority deal, I guess. Once the band came in and set up, most of them cleared out, thankfully. The band got a late start, but kicked things off with what looked to be some kind of jam that they were working out the chord changes on stage. They moved into some of their normal stuff like “Holdin’ The Money” and another song that seemed to be called “Do the Bacon.” Typical decent B-3 fueled R&B instrumentals like the Meters or Booker T & The MG’s. At one point Jim Viner got up from behind the drum kit to announce that one of their songs “Who’s Got the Grady?” from their 2003 release Let’s Cool One was used on the MTV show “There and Back” during a scene and that everyone in the band made $37 for it. They then played that song. Most of the crowd except me and another guy were ignoring the band. It surprises me that Iowa City can have a band the caliber of DOSS, and it surprises me even more that people don’t realize it! I really like this style of jazz/R&B. I grew up with Booker T & the MG’s– “Green Onions” is one of the best instrumentals ever next to “Walk, Don’t Run” or “Classical Gas.” I became interested in this type of music when I picked up the “Lost Grooves” series on Blue Note records which is based on the late 60’s Funky B-3 sound that a few of their artists had.

I’ve seen the Diplomats a half a dozen times or so over the years. This was the first time I’ve seen the lineup with Dave Basinger their new Sax player. Dave is the brother of Nate the keyboardist. By the time the set was over the bar was starting to fill up, and we needed to get home to the dogs who’d been in their kennel all day. I walked up and introduced myself to Doug with “Nice Tone!.” He remembered who I was from the other times we’d talked in the past. He replied with “That’s what is important!” We chit-chatted for a bit about Joseph’s and his guitar for a minute and he went out to get the 7″ for me. $5! Whatta deal! I left wishing I could stay a bit longer, but I’ll have to catch them later. They will be opening for Wilco at their Des Moines show– maybe I’ll see them there.

Update: The Bent Scepters will be playing Gabe’s Oasis on March 17, 2006.

Download Holdin’ The Money from Destination… Get Down!

Retail Secrets of Best Buy

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I don’t know if you’ve ever noticed the numbers on the wall at Best Buy. They are black on yellow and typically are located by checkout. These numbers are statistics tracking things like theft or inventory discrepancies, Sports Illustrated subscriptions, and credit card applications. This is a really good article on it. There is a link in the article that ties to a website where workers from Best Buy talk about theft issues. Even though the employees are not paid bonuses on sales as they will repeatedly tell you, they are paid bonuses on other metrics.

Cat Power – The Greatest (review)

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I had read a few reviews of Chan Marshall’s new album as Cat Power called The Greatest. Some of the reviews praise the record as an attempt to become more accessible. Others bemoan the loss of the Cat Power that was risky, edgy, and underground. Chan (pronounced “Shawn”) packed up and went to Memphis to record this record at Ardent studios. Ardent is where Big Star did all of their greatest work. She worked with Memphis veterans such as Mabon “Teenie” Hodges and Steve Potts. These guys played with the likes of Al Green, Tina Turner, Neil Young, and Booker T and the MG’s. Teenie co-wrote “Take Me To The River” and “Love and Happiness” with Green. Pitchfork gives the record a 7.9/10– which is quite a compliment from them, however, their comment is that is sounds “outdated” or “musty” instead of timeless. They praise the album as one that will widen her audience.

So, I guess I stand in the widening row. I have heard some Cat Power in the past. I even have a live show that I traded for some Tortoise live show a couple of years back. I had always meant to listen to her covers record that she released in 2000, as I guess it was pretty good. I’ve sat through this album three times in a row (which I don’t usually do). I’ve come to the decision that I really like it. Sure, it isn’t really edgy or confrontational. It sounds like a record made by someone who was having a good time hanging out with some old school R&B guys. It is nice and laid back slightly jazzy with a really intimate small bar feel. The recording feels live to me, very little editing. The songs that stand out for me are “Moon” and “Love and Communication.” I really recommend this record. One of the reviewers for this record said that if “Adult Alternative” was going to include this kind of music then they should sign her up. The trouble with reviews is that all the best that anyone can do is compare the reviewed record to other records. Evidently she doesn’t have anything in her catalog that compares to this. At times it sounds more like a smoky, angry Dido record, or maybe a Natalie Merchant record after a night at the bars. I’d recommend this one. I plan to get the vinyl version, I think. Thanks to Matador’s very cool vinyl friendliness, we have a vinyl version! Also, there is a 7 inch single available for $.99!

Here is an mp3 of the first track on The Greatest.

The Pines on Live from Studio One

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One of those happy accidents happened tonight. I happened to be listening to KUNI on my way home from work and they announced that The Pines were going to be live on Studio One at 7PM. This was pretty good news because it would give me a chance to record it. The Pines are Benson Ramsey and David Huckfelt. They are living in Minneapolis today, but are both from Iowa. Benson Ramsey is the son of Bo Ramsey— who is pretty well known in Eastern Iowa as well as a noted producer for artists like Lucinda Williams and Greg Brown.

So, I recorded it to cassette on the compact stereo up in our bedroom (I need to get a receiver down by my workstation) and listened to it. They seemed humble and appreciating. They did an acoustic guitar duo set. They did a couple of Pines songs, a couple songs from Benson’s upcoming solo album The Light Under the Door which is supposed to be out this spring, and some other folk covers. They sound a lot like Bob Dylan’s acoustic guitar period. Observational stories. Really good stuff for a couple of young guys. I guess they met each other in Tulsa.

I bought the Pines first album last year and really enjoyed it. I haven’t seen them live yet, but I really am hoping to sometime. This spring we will have the solo Benson Ramsey album, as well as a Pines 7-song Folk EP.

So right now, I’m ripping the tape to .wav and will probably burn CD’s for everybody I know who likes the Pines. I wonder if I should torrent this?

Dejé mi oído en Tucson

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I’m always amazed when I stumble upon some corner of music that I haven’t looked into before. In the last week I started looking into some related bands. There is a regional music scene similar to Athens, GA in the late 80’s and like the Post Rock scene surrounding Thrill Jockey Records in Chicago today in Tucson, AZ. In similar fashion to Athens, it has a movie documenting it.

I had heard some music from Calexico. I had sort of written them off as being kind of a hispanic Post-Rock group and not really paid attention to them. I had a chance to hear the Calexico + Iron and Wine collaboration in In the Reins which was very good. Coming in March is the new release from Calexico called Garden Ruin. It seems that Calexico has veered from its mariachi roots and produced an album that stands on its own merits. I think that maybe they have learned something from the Iron and Wine.
Once I heard Garden Ruin, I started looking a bit closer to the roots of Calexico. Calexico is primarily John Convertino and Joey Burns. They were both in Giant Sand with Howe Gelb. Giant Sand have a pretty extensive history. Howe (pronouced “How”) Gelb moved to Tucson with his family after a flood at their home in Pennsylvania. He formed the band Giant Sandworm in the 70’s. They hung together until 1980 or so, when Howe started firing members. By the time he was signed to Enigma records it was just him and a drummer and he dropped the “worm” part of their name. At this point he moved from what was considered largely a punk outfit to being something else. I think that Giant Sand occupies the dry desert music space as the Meat Puppets– kind of rock and kind of western. (note: this perspective of music seems to be called “New West” and includes Wilco/Sun Volt, and Ryan Adams) Convertino and Burns are still considered members of Giant Sand, although it seems that Calexico is their primary focus. The last Giant Sand record on Thrill Jockey, Its All Over… The Map doesn’t include them. Howe Gelb has been compared to Neil Young in his sound and his method of re-inventing himself. His last album on Thrill Jockey under the project/album name of Arizona Amp and Alternator definately shows this. Howe has a new album coming up that he recorded with a gospel choir he met on tour last year. This album called ‘Sno Angel Like You is due next month. He will tour for this album, but won’t be bringing the choir with him.

Also related to Calexico and Giant Sand/Howe Gelb is the late Rainer Ptacek. Rainer played slide guitar in Giant Sand and a number of other projects with Howe. He also has a couple of solo releases. He passed away in 1997 of brain cancer. A significant loss in this regional scene.

While I was doing my research on these bands, I found out that there is an independent movie that is completed and doing the run of film festivals called “High and Dry: Where The Desert Meets Rock and Roll” that is about the burgeoning music scene in Tucson. This movie, as you might imagine, includes a lot of footage from Calexico, Big Sand and Howe Gelb, as well as Rainer. Evidently, there is a trailer on the October issue of Paste Magazine. I’ll have to dig that out.

The guy who seems to be keeping the flame for this scene is a DJ named Jim Blackwood who is considered the archivist for both Calexico and Big Sand. He has been posting stuff to Archive.org and a number of the bittorrent sites. I managed to snag a torrent off of dimeadozen which was a radio show from the community station he works for, KXCI, which includes a bunch of archive stuff from Gelb, Rainer, Giant Sand, OP8 (a side project with Giant Sand and Lisa Germano), Calexico, and an instrumental spinoff called “The Friends of Dean Martin (today called “The Friends of Dean Martinez”).

I should also point out that Giant Sand and Calexico are related to Neko Case and are part of the band that backs her up on her new album Fox Confessor Brings the Flood which was recorded in Tucson in the studio that Calexico and Howe Gelb frequents. Neko is kind of an institution in her own rite between her solo career and her side job in The New Pornographers.

So, it looks like I’ll be listing to this scene for a while. We have the new Calexico album, a new Howe Gelb album and the new Neko Case album all getting attention in my rotations. Since Calexico and Gelb allow taping I’ll be able to do some listening of the live shows. Calexico are on tour in Europe at the moment. I’m hoping/assuming they will kick off a US tour after the new album comes out on the 11th of March. I’d like to try to get out to see them.

On Endtroducing.com

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Shadowmike
I think that the best way to start any endeavor like a new website, is to examine previous efforts. If you read my Introductory statement you know that I used to run a website for DJ Shadow called Endtroducing.com. It started out in 1997 mostly as an excuse to run a website. I met a guy through a consulting gig who hooked me up with an account on his server mostly as a way to ftp some software to me. It also had the ability to display web pages! For a couple of weeks I searched for a reason to use a website. I started a couple of lame pages with links to other sites. I bought an HTML reference.

One day I was driving around Eagan, MN– I was probably going to work in the Cities. I remember this pretty clearly. It was early 1997. The sun was out and the radio, tuned to REV 105, was playing the opening strains of “Building Steam with a Grain of Salt.” I was immediately enthralled. I waited in my truck to hear the name of the song and artist and immediately headed to The Electric Fetus in downtown Minneapolis to see if they had it in stock. They did. This disc- DJ Shadow’s Endtroducing… stayed in my player constantly for weeks it seems. I started to do research on this enigmatic artist. There was a very noticable lack of information on him. At least, none of it was in one place. So, I thought that it was a good thing to write about and would be helpful. I’ve always been a content first person when it comes to the internet. I made a decision right at the start that I was going to do this only up until the point when the site becomes redundant. That is, when another site does a better job than when I do. It is kind of the Open Source mentality. Rather than two sites trying to outdo each other, the maintainers should combine efforts to make one really good site.

I logged my link on Yahoo and UBL (The Ultimate Band List) as well as CDNow (who incidentally did a banner exchange with me!). The rest is history, as they say. A guy named Mike Beam offered to host a ListServ that we called InFlux which helped to gel the community by giving them one place to interact. Shadow’s girlfriend (now wife) joined the list anonymously enough but reached out to me to tell me that he liked the site. He didn’t have a computer, but she did, and she read his e-mails for him. We stayed in touch, and she got me hooked up with the label A&R person for A&M/FFRR/Mo’Wax, Alison Pember. I helped her get the word out for the mini-tour surrounding the UNKLE Psyence Fiction project. Mike Beam and I pulled together a couple of moderated “Internet Chats” with DJ Shadow via IRC. Talk about old school!

At some point in that timeline (October 18, 1998) I picked a domain name for the website. I chose “Endtroducing” because it was the first album and a word that DJ Shadow used to mean the end and the beginning at the same time. I thought it was suitable. I also didn’t want to register djshadow.com– although it was available at that time– because I wasn’t the “official site” and thought it would be confusing. I should have registered it because Shadow had some negotiating to do with the guy that did register it!

In 2000 Shadow finally registered and put a site up on djshadow.com, but initially it was only used for some label contests. Shadow admitted to me that he didn’t have the time to keep it up, so he wanted to keep using endtroducing.com as a vehicle for collecting all of the news, etc., and would give me the scoops. This relationship stayed pretty much this way until August 15, 2001 when Shadow got serious about his web presence and hired someone to design it in Flash. Shadow asked me to come on board and help with getting the content done. I was flattered and very excited at the prospect of this. This was what I thought should happen. I had previously negotiated with a company called MusicFans to sell endtroducing.com to them and signed on as a consultant to run that site. Everything was in place. I was working directly with an artist that I considered to be very important and vital. On the side I was working on the primary fan site for the artist as well– kind of a cake-and-eat-it-too situation.

Unfortunately, things didn’t stay this way. In the middle of the UNKLE release, MCA bought A&M and that messed up the management of things. Shadow got lost in the shuffle as far as the label was concerned. MCA started taking over the content of the website. Shadow started working on his next album and the essential communications that were needed to keep me in the loop so I could work on djshadow.com stopped. At the same time the dot.com boom busted and MusicFans filed for bankruptcy. They alerted me that they wouldn’t be renewing the endtroducing.com domain name, and they had no plans of transferring the domain name back to me. I was paid, so I couldn’t complain. According to “whois” endtroducing.com was going to expire in October 2002. There was another person who was running solesides.com– which was becoming a very good site in its own right. His focus was more on the stable of Quannum artists that DJ Shadow was part of. I explained to him what was going on and asked him if he’d maintain an archive of endtroducing.com on his site. He graciously agreed. Soon after I posted what was to be my last words on the subject to the InFlux Mailing list:

It’s time for me to move on. It has been a pretty great ride, and I got to do some pretty good things. I made *the* website for DJ Shadow and I ran it for over 5 years. I saw Shadow come from being someone who didn’t use a computer for e-mail to getting his own site up and running. I saw the generation of In/Flux and the follow-on Hindsight mailing lists, a couple of really good mixoffs, I hosted 3 Internet chats with the Man Himself. I paid for Josh’s lunch when I met up with him during the 2000 tour. I got credit on the Private Press.

Today, I run the official website for the band Pell Mell http://www.pellmell.org/ . Although they are on hiatus, I have been in touch with three of the members. They are pretty excited about a site about them, and I get some updates from them. I am also starting a website for Dave Spalding, one of the guitarists from Pell Mell http://www.davespalding.com/

It’s time to play b-sides

And so it begins again from how it ended…