|
|
Interviews
|
Written by Wes Orshoski
|
|
Monday, 05 February 2007 |
|
RUBBER SOUL DUO THE BLACK KEYS SPILL THE GOODS ON MAYONNAISE, TAKING PUNCHES INHIGH SCHOOL AND AKRON, OH—A PLACE WHEREEVERYBODY KNOWS THEIR NAMES.
CAUGHT IN A REGRETFUL MOMENT, DAN AUERBACH AND PATRICK CARNEY ARE SITTING ON THE LATTER’S FRONT PORCH ON A SUNNY SUMMER AFTERNOON IN AKRON, OHIO, SHAKING THEIR HEADS. MOMENTARILY, THEY’RE BOTH LOST IN THOUGHT, REMEMBERING ONE OF THE WATERSHED MOMENTS THAT HAVE OCCURRED IN THEIR COLLECTIVE LIFE AS THE BLACK KEYS.
Auerbach’s eyes glaze, as they recall finding themselves faced with the immortal dilemma that seemingly every notable rock band in recent memory has had to at some point go nose to nose with:Whether or not to sell out—or, rather, cash in on its newfound popularity.
Message board dorks and music snobs would universally agree that when the Keys refused a mayonnaise maker’s request to use one of their songs in a U.K. television commercial, they made the right (and noble) decision. But with the luxury of a little distance, the reality is crystal clear to Auerbach and Carney: They were idiots.
Write Comment (0 Comments) |
|
Last Updated ( Monday, 05 February 2007 )
|
|
Read more...
|
|
|
Written by Michael Spies
|
|
Monday, 29 January 2007 |
|
Todd Snider wakes up early on a clear Tuesday morning in January. He smokes a little pot and sits down to write some poetry. Daylight streams through the windows of his East Nashville home. Snider walks out the front door in order to better observe the day. Things are normal, in their appropriate place. Of course, if you’re a paranoid, this is always the most dangerous of settings. He notices a flock of doves in the sky and smiles. They break up over his house. One takes a dive, a suicide mission, and heads straight for Snider. Luckily, Snider has quick reflexes. He dodges the bird but is not unshaken. Every day he puts out birdfeed; he claims to get along with most birds just fine. Snider turns around and heads back into his home. He shakes his head, thinking to himself: “I don’t have to stand for this. It’s my fucking yard. That goddamned rogue bird has to fucking go.” The door closes behind him.
Write Comment (0 Comments) |
|
Read more...
|
|
|
Written by Mike Greenhaus
|
|
Monday, 29 January 2007 |
|
October 2000
It is a normal fall afternoon in upstate New York and Dispatch is sound-checking for an opening spot at Clifton Park, NY’s Northern Lights. Though a nondescript bar with a beer advertisement placed behind its stage, Northern Lights is a comfortable halfway house for bands traveling between New York clubs like Wetlands and Boston venues such as the Paradise and, as such, has nabbed a surprising number of bands on the verge of their big breaks. Technically the Samples are billed as the evening’s opening act, but Dispatch draws the crowd with its catchy ability to mix Sublime’s variation on reggae with Dave Matthews Band’s knack for improvisation.
Dispatch arrived on the live music circuit at an interesting era in music history, a time when file sharing was still new and Napster still mattered. After stirring up some interest on the Northeast frat circuit as the semi-acoustic One Fell Swoop, the trio—Chad Urmston, Brad Corrigan and Pete Francis—plugged in and switched its name to Dispatch. Dispatch’s music spread like wildfire on the internet and the group followed up by swiftly barnstorming clubs and colleges throughout the country. Still without a label, bus or real road crew, Dispatch hired a few friends as ad hoc stagehands, but the group is clearly struggling to keep up with the pace. There seems to be some internal conflict too, but the one thing all three members of the band can agree on is that their recent recording sessions [for 2000’s Who Are We Living For?] were incredibly difficult. “We may never record again,” guitarist Urmston admits.
Write Comment (0 Comments) |
|
Last Updated ( Monday, 29 January 2007 )
|
|
Read more...
|
|
|
Written by Sigfrid Rydquist
|
|
Tuesday, 09 January 2007 |
|
Cindy Cashdollar: Side of Steel
Back when they were still playing basements, Joe Russo and Marco Benevento referred to their partnership as Organ and Drums. Years later, The Duo's trademark instrumentation is still in place, yet buried beneath an arsenal of keyboards, pyrotechnics and—most importantly—well-groomed songs. If Best Reason to Buy the Sun redefined The Duo as song-oriented hipsters, than its follow-up, Play Pause Stop, cements the paired performers' reputation as studio craftsmen.
Austin’s talented Cindy Cashdollar has defined her career by playing alongside great musicians. She is most comfortable as a side person, filling in the rhythm section with her arsenal of steel guitar, Dobro and bottleneck slide.
Write Comment (0 Comments) |
|
Read more...
|
|
|
Written by Mike Greenhaus
|
|
Tuesday, 09 January 2007 |
|
Tommy Ramone is a Bluegrass Punk
Long before he championed punk, Tommy Ramone discovered bluegrass. As a child growing up in Queens, NY, Tommy Erdélyi first heard the mandolin on the ABC variety show Hootenanny, which featured the country/comedy duo of Homer and Jethro. Spurred on by his brother, who constantly spun The Weavers’ Live at Carnegie Hall, Erdélyi began playing guitar in his teens.
Coming of age in the 1960s, Erdélyi’s interests switched from bluegrass to psychedelic rock and, in high school, the guitarist played in a garage-rock ensemble known as The Tangerine Puppets with Johnny Cummings (who, like Erdélyi, later adopted the pseudonym Ramone). He also developed a keen interest in production, and as a student worked on Jimi Hendrix’s famed Band of Gypsys album. “As the times changed, we got into the New York glam-rock scene and, from there [along with Johnny, Dee Dee, and Joey Ramone] put together The Ramones, which was the opposite end of the spectrum. So, I switched from long improvisation to strictly structured, short songs.”
Write Comment (0 Comments) |
|
Read more...
|
|
| | << Start < Prev 1 2 3 4 5 6 7 8 9 Next > End >>
| | Results 55 - 63 of 73 |
 |
|
