I’m not sure how many times I can hear the Broken West live without actually seeing them live. It’s starting to get frustrating. I demand they come back to Phoenix because I missed them the first time around.
Whatever, the set has five songs, including the pretty much undeniable Brass Ring and On the Bubble. eMusic has made Brass Ring available as a free download, so I’ll post it here. As for the other four, well, you’re on your own.
I caught the tail end of Colorstore’s set the other night, and it reminded me to go MySpace digging to see what’s up with some of the better local bands. Robin Vining is always a busy man, taking part in both Colorstore and Sweet Bleeders. Turns out, he recently tackled a solo project, too.
The Nightcap Serenade, so says Vining, was inspired in part by the RPM Challenge, which basically asks artists to record an album in 28 days. I’m guessing they end up with either a boatload of garbage or some fairly riveting, if not rushed, material.
It’s easy to say that Vining’s falls in the latter category – at least from the three songs he’s made available to download. For the most self-critical of musicians, the need to squash that instinct to pore over songs and edit and re-record and rinse and repeat must be brutal. “So now I’m striving for the more instant gratification of imposing a strict duration limitation and popping one out this month,” Vining wrote.
The title track is a mercurial instrumental that carries strains of Western strings, Italian-style atmosphere and a little electronic juice at the song’s takeoff. Then there’s Stupid Face, a forlorn and soulful plea that probably would sound better on a ’50s jukebox than 21st century MySpace.
At his RPM page, Vining says “steps were taken to prevent ‘cleaning up’ or ‘overworking’ tracks and performances (which is, to say that it just wasn’t done). Even though everything was tracked individually, I wanted most of this to sound like a live performance of a somewhat ragged band.” To that end, he probably accomplished his feat, and it also proves what sort of spontaneous elegance one can create under deadline.
Where were you when Asleep in the Sea played its last show? I was there, at the Trunk Space, amid the sweaty, smelly and hopped-up kids of the mostly under-21 set. They laughed, they cried (wait, no they didn’t) and they moshed (seriously, they did).
It was pretty apparent from the get-go that the farewell would be far from serious, a reflection of the lighthearted manner that makes (errr, made) the group so great to begin with. They took requests for pretty much the entire set – save for the opener (Annie) and the closer (Dance On). They also entertained the angsty/hormonal antics of the skinny-jeaned kids souped up on flavored soda: “Fuck you!” and “Don’t break up!” and “Fuck you!” It was touching. Actually, it was somewhat inspiring and heart-warming to see so many people sing along to the songs when this city is often panned for its lack of local support. That said, I could have lived without the moshing/body contorting/”dancing” or whatever you want to call it.
But, hey, I guess it’s nice to see the sense of finality tempered by some levity. Because if it wasn’t the moshing, then there was the final sing-along to Dance On or people crashing the stage for an “encore” after fervent chants of “one more song!” These people are nothing if not dedicated. It’s enough to make you wish for just one more show.
I wrote a few weeks ago at Circa 45 about Brand New Funk, one of the many great tracks off He’s the DJ, I’m the Rapper by DJ Jazzy Jeff (the DJ) and Fresh Prince (the rapper).
I praised the song’s production/sampling value and even gave props to Fresh Prince’s lyrical prowess (shocking, I know). Then last week, a comment was left by Ready Rock C (born Clarence Holmes), part of the production team who was pictured inside the liner notes for the album, a tip-off that he might have had a big hand in the album’s creation. There appears to be bad blood, from some cursory research.
Here’s what Ready Rock C had to say in the comment at Circa 45:
THe reason Jeff used the Original Bass Line and Beat is that He never did the original to begin with. So rather than be creative and make a new version He used the same track that I produced on the original Hes THe Dj Im the Rapper album. I am also behind the Lyrics Parent Just Dont Understand, The Music of ITS TIME TO CHILL, JUST ROCKIN, ROCK THE HOUSE, HUMAN VIDEO GAME, JUST ROCKIN, TAKING IT TO THE TOP, MY BUDDY, and a few more. I was discredited for alot of work that I performed and wrote. These guyz have particularly Will Smith has made it big time and never thought once to act on Helping me back in the music game. Its hard to get back in after being severely discredited. THier music simply has not been the same since my departure. Peace and Blessings to All.
Ready Rock C
Now as Jazzy Jeff reintroduces the track – Brand New Funk 2K7, though not really brand new because it’s mostly the same musical foundation – I’m not sure what to believe. If Ready Rock C lost his lawsuit for unpaid royalties (per Wikipedia), then maybe Jazzy Jeff has free reign on the catalog and would use it to spite Ready Rock? It’s weird, though these sorts of dealings likely are the norm for the music industry.
Of course, I meant no disrespect to Ready Rock C – if he is, in fact, the producer of the track, then the man deserves his credit. And I applaud him for commenting to speak his mind. (Somehow, I don’t think we’ll get Will Smith to weigh in on the issue.) The label on my vinyl copy of the album offers production credits to DJ Jazzy Jeff and Fresh Prince, though that doesn’t mean Ready Rock C didn’t play a major role. Who knows?
In any event, Jazzy Jeff has revived Brand New Funk with lyrical stylings from Peedi Crack for his new album Return of the Magnificent. It’s not terrible, but it’s awkward to hear a familiar song coupled with an altogether different emcee and rhyming scheme. Jazzy Jeff seems to be making a play for the nostalgia factor while at the same time updating its relevance. I’d just hate for this version to somehow cheapen the value of the original, which I hold in high regard.
DJ Jazzy Jeff (feat. Peedi Crack) | Brand New Funk 2K7
Nevermind what I said. We saw both Sunset Rubdown and Tapes ‘n Tapes. It was fantastic. More on that later. In the meantime, I’m too drained for an in-depth post. So here’s a making-of “webisode” for Sage Francis’Got Up This Morning video.
Remember: Sage hits the Clubhouse in Tempe on June 12. Sah-weet.
In a fairly rare occurrence, Phoenicians have two quality indie shows from which to choose tonight: Sunset Rubdown at Modified or Tapes ‘n Tapes at Brickhouse.
Originally, I’d planned on Tapes ‘n Tapes, whom we saw in Tucson last year and also at the Pitchfork Festival. But then I started thinking that Sunset Rubdown probably would sound huge in the modest confines of Modified. And I’m usually not one to try to scramble and see two in a night. I’m one or the other.
As of now, I am leaning toward Sunset Rubdown, unless someone convinces me otherwise. I’m all ears. If local media has anything to say, you’d be at Tapes ‘n Tapes. Frontman Josh Grier talks to The Arizona Republic and the Phoenix New Times previews the show.
For what it’s worth, Shiftee has become a high point on an album of many – though it should not be confused with this Shiftee. I like that the band got through eight songs in this session; considering there’s 12 songs on I Can’t Go On, I’ll Go On, it’s more than worth the price of admission.
One last note: Hale Sunrise screams Wilco – but that’s a good thing.
The Broken West, KCRW Morning Becomes Eclectic, 4/19/07:
I’ve been fortunate enough to spend a good couple weeks already with the National’sBoxer, due out May 22 on Beggars. It’s too early to say if it’s better/worse/same as Alligator (a favorite two years ago). In fact, it’s probably shallow/unfair to even try to compare the two. For now, the major thing that sticks out about Boxer, to me, is its tempered approach, very few of the vocal swells we heard on Alligator, like on Abel or Mr. November (awesome songs both).
In any event, director Vincent Moon has filmed a documentary titled A Skin, A Night about the band, and it has its own little place on the Interweb. So here’s some teaser action for Start a War, a song we saw the National perform at last year’s Pitchfork Festival.
Today we are off for a weekend jaunt to Rocky Point, Mexico, with friends to celebrate my wife’s 30th birthday, which was on the 17th. We’re even taking this guy’s woman. Woot! The plan is to drink some beer, some tequila, beer, tequila, then some beer. And maybe swim. And read. Though maybe not in that order. I bought Game of Shadows, as if I needed any more reason to question Barry Bonds. (Quickly on the topic of sports books: Read Jack McCallum’s :07 Seconds or Less. Highly recommended.)
Anyway, I recorded the Broken West’s session on KCRW from Thursday morning but didn’t have the time to split it up and what not. But I’ll leave you with one of the tracks, Brass Ring. (Please note, the somewhat sudden fadeout came from KCRW, not me.) Sorry, but we’re in a hurry to get the heck outta dodge.
There’s a chance I’ll try to post the rest over the weekend, but there’s also a chance I’ll have no desire to even look at a computer. Happy birthday to my wife! 30 is the new 20 … or something.
KCRW set list: Down in the Valley
So it Goes
On the Bubble
Shiftee
Slow
Hale Sunrise
Big City
Brass Ring
Yep. Still am enjoying Aqueduct’sOr Give Me Death, in case you were wondering. I also enjoy that his MySpace page informs us that his influences include Dr. Dre and Geto Boys. (I’m always looking for the hip-hop angle.)
Anyway, I finally sat down for two minutes and 54 seconds to check out his video for Living a Lie, directed by Charles Spano. This song, in particular, seems to reflect the bittersweet tone of the album – the post-breakup avalanche of anger, regret, resent. The initial theme for the video, according to Spano, is “the microcosm of revolution and apocalypse in suburbia.” OK, that’s deep. But also, he talks of “bittersweet feelings at the fleeting nature of things.” Certainly, you could apply that to love and relationships, as David Terry’s words might suggest: “I just can’t get it / I keep on forgetting / How the last two years / of my life have been wasted.”
I love the concept of this video – it either represents a purging or piling up of emotions. I’d assume the former, because there seems to be a liberating sense to these people unloading unwanted or little-used items. Then there’s the whole tossing gasoline on the pile, so that’s a pretty good hint.
I’m not sure how many times I can hear the Broken West live without actually seeing them live. It’s starting to get frustrating. I demand they come back to Phoenix because I missed them the first time around. 
