All posts by Kevin

The Boy Least Likely To on KCRW

It’s taken me awhile to come around to The Boy Least Likely To for one seemingly trivial (some might call it “anal”) reason: The group’s name drives me batty.

You see, I’m a copy editor, so I can be kind of obsessive-complulsive when it comes to grammar. The Boy Least Likely To commits a cardinal grammar sin: Almost never should you end a sentence in a preposition. Seriously. The boy least likely to … what? The boy least likely to fly? The boy least likely to sing? The boy least likely to poop? Something. Give me something! Argh! It reminds me of the Sunny Day Real Estate album How It Feels to be Something On. Oh, what would Strunk and White say?

Well, grammar misstep aside, I’m quickly warming up to the group’s wistful and refreshing tunes; Be Gentle With Me is priceless. Plus, they are YANP-approved, so you know they’re good. And I was pleasantly surprised to hear the guys in the group name-drop Son Volt among their current favorites.

The Boy Least Likely To, on KCRW’s Morning Becomes Eclectic, 4/6/06:

1. Hugging My Grudge
2. I See Spiders When I Close My Eyes
3. Papercuts
4. My Tiger My Heart
5. Monsters
6. The Battle of the Boy Least Likely To
7. I’m Glad I Hitched My Apple Wagon to Your Star
8. Be Gentle With Me
9. Fur Soft As Fur

Band of Horses on KEXP


Well, my ears will have to be surgically removed from my computer headphones because there has been some great radio streaming in the Web this week, thanks to NPR, KCRW and KEXP. This little here performance by Band of Horses is no different.

For starters, I think The Great Salt Lake is rising in my favorites rankings, though it’s still just a tad behind The Funeral. Be sure to check out the slower version of Wicked Gil.

The group has made its way back home to play two shows in Seattle this weekend to celebrate the release of Everything All the Time, which has made the rounds on the blogs and should end up on several end-of-the-year top 10 lists, assuming it’s early-year release doesn’t affect peoples’ memories.

That said, I’m expecting the usual indie backlash in … 5 … 4 … 3 … 2 … 1 …

Band of Horses, Live on KEXP, 4/13/06:

1. The Great Salt Lake
2. Part One
3. Wicked Gil
(Which they dedicate to Mariners starter Gil Meche. I love baseball.)
4. The Funeral

New Swollen Members

Madchild and Prevail
So, we’re doing a 180 from the Neko Case posts, at least in terms of style. We’re going north, to Canada. To Vancouver. That’s the home of Swollen Members, who, aside from having a name that would send Beavis and Butt-head into a laughing conniption, are ready to drop their fifth LP, Black Magic, this summer. (“Uhhhh, you said ‘members,’ huh-huh, huh-huh.”)

At their core, Swollen Members are Madchild and Prevail, but the group extends to the extended Battle Axe Records family: Rob the Viking (producer/DJ) and Moka Only. And they’ve collaborated with some of the best: Hieroglyphics, Chali 2na, Dilated Peoples, DJ Babu.

Madchild and Prevail are the bad boys of hip-hop – they drink, smoke, crowd surf and probably would steal your girlfriend if you’re not careful. They’re the guys your mom warned you about. You’d hate ’em if they didn’t rock it so hard.

Their raps can be haunting and cerebral (watch ’em get all Dungeons & Dragons on ya) or just straight-up party jams. From what I understand, they put on legendary live shows. Just check out their pics on MySpace.

Swollen Members | Black Magic
Swollen Members | Too Hot

From Monsters in the Closet … this is the jam:
Swollen Members | Steppin Thru

Neko Case, NPR Live Concert Series, Part III

Whew. OK, here’s the last of the Neko Case set on NPR. Pay special attention to the ridiculous banjo work of Tempe’s own Jon Rauhouse on Wayfaring Stranger. I’m telling you, besides playing one of my favorite instruments (pedal steel guitar), that guy is really amazing. He’s worked with Neko, Giant Sand, Calexico and a host of others. We’re proud to call him one of ours.

Today’s random picture brought to you by my 1-year-old niece, Eliot:

Hope everyone is enjoying this set. Major props again to NPR’s All Songs Considered.

Neko Case, NPR Live Concert Series, 4/9/06:

Songs 1-7.
Songs 8-14.

15. Hex
16. That Teenage Feeling
17. Furnace Room Lullaby
18. Hold On, Hold On
Encore
19. Wayfaring Stranger
20. Look for Me (I’ll Be Around)
21. John Saw That Number
Second encore
22. Knock Loud

Neko Case, NPR Live Concert Series, Part II

Before Part II of the Neko Case show that NPR All Songs Considered broadcasted on Sunday, I just have to say thanks. I’m about 99 percent certain that I set traffic records yesterday in both page views and visitors. I’m not sure if it was that link from Dodge (definitely), the Neko stuff (probably) or my abundant supply of wit and charm (um, yeah, probably not) … either way, thanks for stoppin’ by.

To celebrate, here’s a picture of my cat, Sadie, which has nothing to do with anything, except for maybe that Neko’s sometimes-backing band is the Sadies:


On to the music, which includes my Neko favorite, Deep Red Bells, and a cover of Bob Dylan’s Buckets of Rain, for which I am indebted to Hello Gina for so kindly sending me when I once made a passing mention of my adoration for Neko.

Neko Case, NPR Live Concert Series, 4/9/06:

Songs 1-7.

8. Dirty Knife
9. I Wish I Was the Moon
10. The Tigers Have Spoken
11. Maybe Sparrow
12. Margaret vs. Pauline
13. Buckets of Rain
14. Deep Red Bells

Neko Case, NPR Live Concert Series, Part I


Wow. The great folks at NPR’s All Songs Considered have done it again. Just as I was lamenting the fact that I had forgotten to instruct the elves in my computer to record Neko Case’s concert at the 9:30 Club in Washington, D.C., that NPR was streaming on Sunday night, All Songs Considered already has made it available as an mp3 download.

Once again, this is great for me because Neko is only coming as far West as Austin, at least on this tour. So this is as close as I’ll get to her live, although I’ve seen her a couple of times in the past at small venues in Tempe. She’s tremendous. (Duh … deep analysis, I know.)

An added bonus: Her pedal steel guitar player is (and has been for some time) Jon Rauhouse, a stalwart of the Phoenix/Tempe music scene, not to mention one of the nicest guys around.

As always, I’ve trimmed the one file into separate song files not to discount the value of concert banter but more for ease of navigating through songs. I encourage you to pick up the entire file here. And this is a monster: 21 songs. I might have to do this in three posts.

Neko Case, NPR Live Concert Series, 4/9/06:

1. A Widow’s Toast
2. Favorite
3. If You Knew
4. Fox Confessor Brings the Flood
5. Set Out Running
6. Outro With Bees
7. Star Witness
(with opener Martha Wainwright)

Elbow on KCRW


The incomparable Elbow, which is on a tour of the United States (eight dates plus a stop in Toronto), played for KCRW’s Morning Becomes Eclectic on Friday. The band is playing in Los Angeles tonight at the Avalon, and I pretty much hate any of you that will be going out of sheer jealousy. If anyone is going to a show on this tour, pleeeeease offer up some ideas of how it is. (And, you know, feel free to send a concert T-shirt.)

Anyway, the KCRW set was nothing short of amazing (or as amazing as an in-studio performance can be), particularly because Elbow pulled out a couple of old songs, including one of my favorites in Fugitive Motel. Also, frontman Guy Garvey presents himself as the sort of intellectual, down-to-earth songwriter I imagine him to be. He all but exposes his vulnerability in explaining the great Mexican Standoff as a metaphor for jealousy about his partner’s ex.

Alas, I meant to record the simulcast stream (128 kbps), but I mistakenly recorded a different stream KCRW offers. So I backtracked to record the QuickTime stream. Still sounds decent.

(And don’t think I’m not recording Elbow’s in-studio on KEXP next week.)

Elbow, on KCRW’s Morning Becomes Eclectic, 4/7/06:
1. Great Expectations
2. Fugitive Motel
3. Switching Off
4. Scattered Black and Whites
5. Mexican Standoff
6. Puncture Repair
7. The Stops

The Streets: “Don’t Mug Yourself” remixes

So, you all know The Streets (aka Mike Skinner) has a new album, The Hardest Way to Make an Easy Living, due out for release in the coming weeks; clearly, I’m not in the business of breaking news here.
Anyway, I’m going back to his first LP, Original Pirate Material, for this post. On a recent record-shopping excursion, I plucked a 12″ single for Don’t Mug Yourself that includes the instrumental, acapella and three remixes. Hey, when you’re good, you’re good.


Two of the remixes (the Big$hot and Jammer mixes) are pretty much instrumental reworkings that have more of a dance club feel, thought I sort of like the Jammer mix. The Fusion Remix maintains the lyrical content with a bit of a slower-paced beat.

The Streets | Don’t Mug Yourself (Fusion Remix)
The Streets | Don’t Mug Yourself (Big$hot Remix)
The Streets | Don’t Mug Yourself (Jammer Remix)

Q&A with Doodlebug of Digable Planets


OK, so I’ve had this one in the bag for a while, and I’ve been really excited to post it. After I posted on the Procussions (who opened for Digable Planets last year), I was contacted about an opportunity to interview Doodlebug (aka Cee Knowledge), one-third of the fantastic Digable Planets. Yeah, like I was going to say no to that.

The DPs, as many of you know, reunited last year after 10 years apart. I’m excited about the potential that Doodle, Butterfly and Ladybug can recapture. Even if it feels a bit nostalgic, there’s still a market eager for what the DPs offered in their heyday.

For me, any conversation of hip-hop includes Digable, who blended the cool-cat vibes of jazz with laid-back beats to create a chilled vibe. It’s almost surreal that they reformed, but hip-hop is better for it:

How’s the touring?
“It’s good. … We’ve been touring all of 2005 up until the end of January. Now we’re gonna take a break. I’m gonna start working on a solo project. … I have a new mixtape out called the Cosmic Funk Essentials. Around April we’ll start working to record a new Digable Planets album.”

(mp3) Cee Knowledge (with Giant) | Jazz Is

What kinda people are you seeing at shows?
“I’m seeing a lot of young cats, so they obviously couldn’t have been big fans when we were first out … they’d have been too young. After shows, I’m talking to people that say they’ve been down with us for so long and they went to shows. There’s also cats that are in college that heard about us and liked our music and never had a chance to see us perform and they were excited because they never thought they’d have a chance to see us perform. … I think it’s a mixture of old and new.”

What’s the response been like?
“Yeah, it’s real great. After such a long break, for them to have all those people come out and show support with no new record out … that was awesome, man.”

What sort of response where you expecting?
“I really didn’t know what to expect. You always hope for the best, but I didn’t know what to expect. It’s a blessing that after all this time, we’re still … in some people’s minds. They wanted to come out and pay their hard-earned money to see us.”

What can we expect on a new album?
“I really don’t know … it’s gonna be 10 years’ experience traveling the world, meeting new people. I think we all grew as artists, as producers, as people and producers. That growth should be shown on a new album.”

What led to you guys splitting apart?
“There’s a lot of different things. It would take too long to go into them all. I’m not trying to air no dirty laundry. It boiled down to us being young, rebellious and not really understanding the business. Our record label was starting to fall apart around the time we broke up. Our management company wasn’t together right. A lot of things that were going on, plus personal issues that kinda put us in a corner. … We got into this for fun. And when it stopped being fun, we decided to walk away. ”

Was there regret?
“Most definitely. I can only speak for myself … I didn’t think it was a good idea. But it was the best thing to do at the time. After a couple of years I definitely regretted it, and I stayed in touch with the other two. I did some solo stuff and Ladybug would come in and help me out on some things. Butterfly came in on a show I did in Philadelphia.

“But it took awhile for everybody to get over whatever the issues we had to get over. Finally we were mature enough to talk about those issues. I had an opportunity to do a tour in Europe last February and I thought it might be a good chance to get everyone back together again. And if it didn’t’ work out and if everyone wasn’t feeling it anymore, it would have just been a nostalgia thing, it woulda been over. Halfway through the tour everybody was coming up to me telling me how much they loved it and how they wanted to keep it movin’.”

Was it ever a thought before the tour that you should get back together?
“We had some legal issues that we had to handle that we all had to come together again for. … But that didn’t really need us to be in the same city again. A couple of months after that, I kept in Ladybug’s ear and Butterfly’s ear. Eventually, we got to a point where we sat down and decided after a couple of talks on the phone to sit down in September 2004. We had a meeting for a couple of hours, and at end of the meeting, we decided, let’s try it.

“We hired a booking agent. We were booked up for an entire year. It was amazing that people actually wanted to book us. It was exciting, it was a real exciting time, man.”

What was it like the first time back on stage?
“The first time was kinda nerve-racking a little bit. I wasn’t sure what to expect, I didn’t know what to do. It had been 10 years or more since we were on the stage together. But at the same time, we were all professionals. Individually, we maintained a stage presence doing our solo projects. I was nervous all the way up to the time we hit the stage, but once we hit the stage all the nervousness died away. We just flowed. The first show (in Vienna) was hot. It was real hot. It was real tight.”

What do you think has changed from time you split up to now?
“The music, the artists, the culture that surrounds the artists and the recording. That hasn’t really changed. But the way they market and way record labels are involved, their level of involvement is a lot different than 10 to 12 years ago. They’re willing to put up bigger budgets. Marketing campaigns are outrageous. People are getting a lot more money than back when we were doing it. … The focus in terms of market has changed. The mainstream market is really more focused on the pop, that gangsta rap. It’s different. We’re a little older. I think there’s a market for everything. Going out and doing these shows has really proved it to me. With no record out and not too much publicicty, these shows are packed, people were out there and they were interested. They knew the songs and they would sing along with us. These are songs out in ’94, ’95. So I’m like, ‘Damn!’ There’s definitely still a market for this.”

It shows people are starving for good hip-hop.
“There’s still good music. It’s just that the mainstream doesn’t always seem to focus on the good stuff. Underground has held down a lot of great artists. They just might not have right outlet or right situation that it takes to get there. It’s also a lot of luck.”

Are you nervous that you’ve lost a portion of your fan base?
“It’s probably gonna show in terms of record sales. That’s where there the pressure is more on us. It’s pressure because you have to find a label that’s willing to do it. But as long as you do your thing and be yourself … at the time we did our first album, nobody thought we would have commercial success. Everybody looked at us as group that would be college radio group. A&R signed us took a chance with us. All meetings were concentrated on college marketing. Then the single (Rebirth of Slick (Cool Like Dat) ) came out and it somehow hit a nerve with the fan base. And it went way past their expectations. I don’t think they were even ready for what came with that song.

“As long as you stay true to yourself as an artist and a person and do your thing and do the best you can do, you never know. There’s no guarantee people are going to like you, as long as we do our best I’m happy with that. … I know there’s a fan base that’s going to follow us and grow with us.

“We’re gonna grow. We’re not gonna be the same. There’s gonna be a fan base that’s gonna want to hear to hear another Cool Like Dat. But that might not be something that’s going to come out of us. I don’t know what’s going to come out of us. But whatever it is, it’s going to be real, it’s going to be natural and it’s going to be fly.

You’ve got so many people caught up in nostalgia. There’s got to be a fine line, catering to fans that were with you back in the day but also moving forward.
“Yeah, that is true. The position we’ve been put in, it’s been so long, people didn’t even think we were gonna come back. And now they’ve solidified their ideas of what we’re supposed to sound like. ‘Cause all they had to listen to was the first two albums. They weren’t with us when we grew as individuals when we were apart for those 10 years. So the dynamic of all three of us together, it’s going to be different for all of us … us and our fan base.

“Hopefully it’ll work out. I’m confident that it will, just from energy of the live shows. That was the key to whether or not we were going to be able to do this. After 10 years, you have to regain that vibe and that trust as performers. And on stage, I think we reclaimed that.”

Baby Dayliner

And now, the post you’ve all been waiting for … well, at least one of you.

Allow me to backtrack to the National show in LA last week. Annie and I are having a splendid time at the bar with Justin and his wife, Melissa (two of the nicest people you’ll meet). Then the house music dies and a tall man with a button-down shirt (white collar/cuffs) takes the stage. He’s by himself. Singing. There’s some electronic-type beats backing him. Nothing more, nothing less.

So we’re sorta stunned. Like, this isn’t for real, is it? It is. And, admittedly, we kind of have a laugh at it. Until … um, well … I start getting into it. For a guy who is like a cross between Harry Connick and Rick Astley (props to the wife for that reference), I’m thinking this is some ironic/hipster ploy. It isn’t.

And it isn’t funny anymore when all the cool kids start slowly migrating toward the stage, eager for a closer look whilst bobbing to the beats. I can’t decide: He’s retro, he’s ironic, he’s hip, he’s ballsy, he’s … good. Hell, he has a pompadour. And he’s sort of doing this mic-in-one-hand, mic-cord-in-the-other-hand dance that you might do if you were at home by yourself listening to Wham!. In a matter of about a 40-minute set, Baby Dayliner converts elitist hipsters to cooing fans.


Melissa was so enamored with Baby Dayliner, she just had to get her picture with him. So she steps to him at the bar, tells him he put on a great show, and he’s a real nice, laid-back cool kind of dude. He makes small talk – and makes some pretty sweet faces for photos:


Now I have to jump into the scene:


So does my wife. Baby Dayliner is winning over our wives. (Cut to scene: Me falling to knees, arms extended to sky): Daaaaaamn you, Baby Dayliner!!:


Peep Baby D (that’s what I call him) on MySpace. His new album, Critics Pass Away, is due out in May on Brassland.

Baby Dayliner | Raid!
(From his LP High Heart & Low Estate)

Also …

  • Dodge is rockin’ a new Black Keys track here.
  • Eric, probably my favorite-ist writer out on these here blogs, kills it yet again with another well-written piece on the exaggerated notion of “payola” and what it means to mp3 bloggers.
  • Peter saw Blackalicious Tuesday night, and I’m jealous.

How about some upcoming shows in the A to the Z?: