Category Archives: arizona

arizona

Go Vote 2006: Jimmy Eat World/the Format

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Whatever you think of Jimmy Eat World (dude, I know, Clarity was totally their best album), you have to appreciate the group’s generous track record of musical philanthropy.

In August, JEW played Scotti-Stock III, a benefit for a former owner of a popular Tempe club/venue who is in need of a liver transplant. This time on Oct. 19, our hometown boys are headlining Go Vote 2006 (via Stateside Presents), which is serving as a fund-raiser to support Harry Mitchell for U.S. Congress in District 5 of Arizona. Mitchell, a former Tempe mayor and councilman and member of the Arizona senate, is running against 12-year Republican incumbent (and former sportscaster … seriously) J.D. Hayworth, who, among other things, is caught up in the Jack Abramoff mess because he accepted more than $100,000 in gifts from Indian tribes once represented by Abramoff. (Hayworth sadly attempts to defend his own honor.)

District 5 includes Tempe so, naturally, the show will be held at the Clubhouse in Tempe. Also on the bill: the Format, Stiletto Formal and Monique Reagan. Just a wild guess: It will be freaking packed. Get your tickets.

Jimmy Eat World | You
(An “exclusive track” off a Grand Rapids, Mich., radio station compilation.)

Related: Jimmy Eat World plays Scotti-Stock III.

arizona, covers, hip-hop

Mat Weddle covers OutKast’s “Hey Ya”

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A story in Monday’s edition of The Arizona Republic featured local musician Mat Weddle (of local group Obadiah Parker; he’s on the left in the photo), who concocted an acoustic cover of OutKast’s Hey Ya. A performance of the song was videotaped at an open-mic night at a coffeehouse (*cringe*). It found its way to YouTube, and now it’s a smashing success, or so we’re told. Weddle told Spin.com, “It’s all been a big accident.”

This bothers me a little bit, though not as much as the Republic writer calling the original Hey Ya “little more than get-out-of-your-seat melodic fluff” (more on that in a sec). I don’t want to be too much of a naysayer here because Weddle’s version is pretty nice and the video – edited to mix the original video and Weddle’s performance – is clever and fun. (The original video apparently was slowed to 80 percent of normal speed to match Weddle’s tempo.) Hell, this is the first time I – and possibly a lot of other people – have heard of Obadiah Parker, which I’m guessing might be a small part of the motivation to do this cover. If we’ve learned anything from OK Go’s treadmill stunt, it’s that gimmicks bring publicity.

I’m mostly annoyed by the perpetuation of this trend of indie/folk rockers covering hip-hop songs, which, next to trucker hats, is just the pinnacle of irony. Off the top of my head, I can think of Ben Folds’ cover of Dr. Dre’s Bitches Ain’t Shit, Nina Gordon’s cover of N.W.A.’s Straight Outta Compton (mp3) and Dynamite Hack’s cover of Eazy-E’s Boyz-N-The-Hood.

I admit: That Ben Folds cover is pretty funny. But even my own reaction is part of the problem. Hip-hop songs that were conceptual and meant something in their original form are taken out of that context and reduced to parody because, hey, it’s funny to hear a square white dude say “bitch” or an adult-pop songstress sing “crazy motherfucker.”

Back to the Republic article, written by a guy I know who is in his mid-40s and white, which, sorry, has to be a little relevant to this conversation. He says of Weddle’s take on Hey Ya: ” … his graceful voice adding measure to a song that was little more than get-out-of-your-seat melodic fluff.” Just a tad patronizing to a song that was voted best single for 2003 by the Village Voice Pazz & Jop poll, no? You can’t tell me that Weddle’s voice is what unearths the greatness of Hey Ya. I’m really disturbed by the comments on the video at YouTube, including this one: “oh man!… such a better version of that song!!!” … or this one: “I love this! No offense to anyone but the original is crap compared to this” … or this one: “…You made Hey Ya bearable to listen.” … or this one: “Go white boy!”


I suppose this conversation could head in different directions: talk of appropriation by white artists (“Go white boy!”) or maybe a discussion of what makes a good cover. Regardless, this whole concept seems to mock the originals and maybe, by extension, hip-hop culture as a whole. Do these covers exist to promote the art of rap and hip-hop or to prey on the convenience of irony (and publicity)?Mat Weddle | Hey Ya (OutKast cover)

Video on YouTube.

UPDATE: I was sent another acoustic version of Hey Ya, this one by an artist from Iceland who goes by the name My Summer as a Salvation Soldier. I’m posting, if only to help prove my point that these covers are becoming a) unoriginal and b) tired.

My Summer as a Salvation Soldier | Hey Ya (OutKast cover)

arizona, vinyl

Trunk Federation: “History of Dead Ends”

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I haven’t converted nearly enough tracks from my constantly growing vinyl collection around here in recent months. My recent jaunt to LA, where I scored a load of 7″ gems, is reason to get back in the habit.

This selection from a 7″ by Trunk Federation counts as a great find in a depressing sort of way: I plucked it from the massive 7″ sale bin at Amoeba Records. Nothing would seem so humbling to a musician as those clearance bins – records upon records reduced to nothing more than a store’s effort to get them the hell out of its way. Of course, I’m happy to oblige.

Like so many great bands never to be heard from, Trunk Federation should have been big. The group emerged from that fertile Tempe, Ariz., music scene in the ’90s but preferred a sound that colored outside the lines a bit more than the somewhat sterile pop-rock that seemed to rule.

This 7″, Hi-Fi for Small Fry, was one of the first products Trunk Federation put out. But I can’t help but think that, after listening to History of Dead Ends on the A-side, the group already was making some statement about the scene:

“This city’s pitiful/
Been talkin’ to myself/
Up here you look so small/
This city makes you ill.”

Trunk Federation released three records, including the great The Curse of Miss Kitty, which recently found new life in Tim Fite’s Gone Ain’t Gone (available at eMusic). Fite constructed samples for his album only from CDs in which he found in the dollar bins. The Curse of Miss Kitty happened to be one of them.

Trunk singer Jim Andreas and drummer Chris Kennedy are now in relatively new Phoenix band LetDownRight, which is opening for Silversun Pickups and Viva Voce at Modified on Sunday.

Trunk Federation | History of Dead Ends
(From Hi-Fi for Small Fry 7″, 1995)

Related:
Tim Fite resuscitates Trunk Federation.

arizona, hip-hop, remix

Z-Trip blends Gnarls Barkley: “Crazy Good Times”

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Has Crazy lost its mojo yet? I had to chuckle when I heard it was played on Phoenix radio station, KEZ-FM (99.9), whose tagline is “The most soft rock!” (Underline and exclamation point are theirs, not mine.). I guess you could argue that Cee-Lo and Danger Mouse created a ubiquitous song that appeals to all ages. But the thought of my mom jammin’ out to Crazy in her car on the way to work really makes me laugh.

Regardless, Gnarls Barkley apparently provided DJ Z-Trip the vocals exclusively, which Z blended with Chic’s Good Times. He’s streaming it at his MySpace.

If you missed it, I posted on Z-Trip earlier this week. Like, two days ago. (Shut up, Ben.)

arizona, hip-hop, radio rips

DJ Z-Trip live on Power 106

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We make no bones about it: We’re major, unabashed fans of all things Z-Trip around here. You might have noticed that before.

As promised, he’s keeping his Web site fresh with updates and downloads. The latest download is a live mix he did for Los Angeles radio station Power 106, which apparently recorded it and provided a copy for Z-Trip. Fair warning: It’s a large file (75.5 mb) and it’s taped off a radio show, so you’ll hear those somewhat annoying drops during the mix (“P-P-P-P-P-Power 106 … Where hip-hop lives!”). That said, it could be worse: The station couldn’t have made it available at all. You know, beggars can’t be choosers.

As to be expected, Z’s devotees have partial playlists of the tracks he uses in the blend on his forum. I’m sort of shocked at how well the Maroon 5 This Love/Nas Made You Look mix goes together.

Z dropped in on one thread to explain that the mixes were done on vinyl, although (and this is kind of surprising) he’s breaking into the world of mp3 mixing with Serato Final Scratch, which my boy Jay has, and it’s pretty damn cool. As Jay said, Z-Trip can do things on vinyl that amateurs can’t even do on Serato. Give him mp3s and the possibilities are potentially endless. In Z-Trip’s own words: “… trying to work it in, but still very much on the vinyl side … But yeah, I’m embracing it slowly.”

DJ Z-Trip | Live on Power 106

arizona

Tonight: Reubens Accomplice at Modified

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I’m ashamed to admit that for as long as I’ve lived in Phoenix – or at least for as long as I’ve been attending shows – I’ve yet to see Reubens Accomplice, one of our local scene’s best bands.

The band’s principal members are Chris Corak and Jeff Bufano, although they seem to have stabilized the other half with Ryan Kennedy and the great John O’Reilly on drums, who apparently tracked some drum work in the studio for the Format’s latest LP Dog Problems.

Reubens has been quite active lately on the show circuit, which probably means they’re trying out new songs from the forthcoming LP, tentatively titled Mammal Music. If it’s as good as their last effort, The Bull, The Balloon, and The Family, then we’re in for a treat. The guys have a great ability in their writing to capture the vacant feelings of this city, its nostalgia and the sometimes depressing feeling that creates. There’s lots of sincerity in their irony.

If you’re on the West Coast, Reubens is playing a few dates with Maritime in Southern California in September and opening for the Format Friday night in San Diego. (Check their tour page.)

Limbeck and relative local newcomers Alcoholiday open the show tonight.

Reubens Accomplice | Underneath the Golden Grain
Reubens Accomplice | All Chorus

arizona, live

Phoenix concert update

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So, I’ve had too much to drink tonight because we went out with some really good friends. For the time being, I thought I’d point out the mess of great shows coming to our Phoenix/Tempe area. Wow. Pretty insane. Although, I’m a little upset with the Decemberists for booking Tucson and not Phoenix. Um, hello! Yeah, we’ll talk about that later, Colin.

My bro and I have our eyes on next week’s Clientele show at the Rhythm Room.

Our friend Forrest (who kinda knows this guy) bought tickets for the Ladytron/CSS show on Oct. 24.

Birdmonster and Division Day play Modified on Aug. 19. We’ll be in Vegas, drinking and gambling.

Local favorites Reubens Accomplice play Modified Aug. 31.

The Long Winters, whose Commander Thinks Aloud I’m listening to right now, is coming Sept. 12 to the Rhythm Room.

The motherfucking Black Keys are in town on Sept. 16, but we’ll be in Austin for the ACL festival. Damn!

Fruck! Serious dilemma: Rogue Wave and Ratatat play the same night at different venues. This rarely happens in Phoenix. I’m leaning toward Rogue Wave right now.

Maritime, whose We, The Vehicles I am loving, comes to town Sept. 26. Then Jose Gonzalez on Oct. 4. Holy hell. Thank you to Stateside Presents for the goodness.

Yeah, and then Damien Jurado is coming to Modified Oct. 16.

And, oh, Saturday night a couple members of that band called the Arcade Fire are guesting as DJs at Shake!

More proper (read: sober) posts coming today …

arizona

In Tempe tonight: Scottie-Stock III

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The local Phoenix/Tempe music community is pulling together tonight for a benefit show at the Marquee Theatre for Mark Covert, who owned Nita’s Hideaway, which used to be the best club for live music in the Valley.

Covert is in need of a liver transplant, and a Phoenix New Times story details his battle. As the story points out, his reputation is held in high regard as evidenced by tonight’s lineup: Jimmy Eat World, Roger Clyne and the Peacemakers, Less Pain Forever vs. Peachcake, Dead Hot Workshop, Gloritone and the Minibosses, among others.

The number of amazing shows I saw at Nita’s Hideaway (especially at its old, original location) blows my mind when I stop to think about it: Built to Spill, Jimmy Eat World, Neko Case, No Knife, DJ Swamp, who absolutely wrecked the turntables and cracked a record, half of which I caught (and still have). That’s not to mention the weekly visits I paid to the Bombshelter DJs (Z-Trip, Radar and Emile).

I was introduced to bands (and lots of alcohol) at Nita’s. It was a cozy club, tucked in Tempe’s industrial area, next to an adult bookstore. There were shows inside and biggers ones outside: I can remember being a bit tipsy, requesting (loudly) over and over for Built to Spill to play The Plan much to the chagrin of my then-girlfriend (and now wife) Annie. I also remember thinking I’d go see Calexico there once without purchasing tickets in advance. Big mistake: I couldn’t find parking and got so frustrated I drove back home.

Anyone who’s played music in Phoenix/Tempe in the past 10 years probably owes some sort of debt of gratitude to Covert and Nita’s, which eventually moved to a new location before closing a few years back.

The full lineup is available here, and you can buy tickets (or make donations) here. Click here for the Donate Life Web site.

A few mp3s to encourage attendance:

Jimmy Eat World | Lucky Denver Mint (live)
Gloritone | Die to Make a Dent
Peachcake | Hundreds and Hundreds of Thousands