David Byrne live benefit EP

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David Byrne has a wonderful four-song EP for download benefiting Amnesty International highlighted by an amazing live version of My Life in the Bush of Ghosts' "Help Me Somebody," converting a song based on samples to a live vocal jam. There's also a superior version of "One Fine Day," from his still-percolating 2008 album with Brian Eno. Here's Byrne's email in full:
Some time ago Amnesty International asked if I might do "something" for that organization this year- (in previous years I had done one of my tour dates as a benefit for them). Amnesty has such an amazing and consistent track record of speaking out and helping to illuminate courageous people who might otherwise not be heard from so the answer was "yes."

It was decided to record some songs from my current tour for them to be sold as a download with the proceeds going to Amnesty. As there are no physical costs with digital distribution this means more of the sales percentage actually goes to where it's supposed to. So, thank you for supporting a great organization and I hope you like these recordings too.

Get the Tracks

The tour isn't over yet. It has been exhilarating for all the musicians, singers, dancers and the crew as well- so we all voted to keep rolling on through summer 09. On these live shows I decided to use the connection of Brian Eno- as a collaborator, producer or musician- as the thread that links some material from the past with a group of songs done last year. Most of the time music listeners are blissfully unaware of the contributions of a record producer, and sometimes even of which musicians who play on a record as well...so the Eno linking device might not be as self evident as I imagine. However, the device also allowed me to include a fair number of songs in the live set that people are somewhat familiar with, which wasn't exactly accidental.

For me, there is are rhythmic and structural links between the older material and the new- though there are lyrical and melodic differences too that I, at least, can hear. Those musical parallels help the live show maintain some kind of musical thematic unity- they help the show from becoming a random hodge podge of songs. I've even heard someone say to us backstage that they felt the show tells a story. They didn't elaborate as to what kind of story.

DB
Midtown

De La Soul, Nike, and corporate everything

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My favorite music right now is the new album by De La Soul, Are You In?: Nike+ Original Run--a new take on rap-rock-techno in 45 bracing minutes, with production by Detroit's Young RJ and Chicago duo Flosstradamus, with the latter mixing the results into one continuous track.

This is also De La's first album since 2004's The Grind Date (on Sanctuary Urban), and first new material since the new songs spiking their 2006 rarities comp Impossible: Mission TV Series: PT. 1, released on their own AOI Records label.

The reason you haven't heard about it is because the new album is actually an iTunes exclusive released by Nike, the latest in the company's series of "running mixes" by artists such as LCD Soundsystem, Aesop Rock, A-Trak, and Crystal Method. De La are on record claiming the mix is hardly just, or even, a "poster for Nike," and they're right: It's more like a shoe than a poster for shoes--a Nike product, straight up.

Am I the only De La Soul fan who finds this sad? Forget Nike for a minute, a company that could make sweatshops a thing of the past if it wanted to, and obviously doesn't want to. Are You In? (as in "R-U-N," get it?) says something about the music industry De La Soul has fled. "The objective of a record label is just selling records," said Dave Jolicoeur in an interview with Avertising Age. "I think they could almost care less about the creative aspect of it. So this is cool, you've got a company that creates."

In 20 years, will there even be record companies? Or just artists sponsored by corporations selling other things?

And what about the people who write about artists? As the wave of layoffs reaches my doorstep (my fiancee, my book editor, and a good friend all lost their jobs in recent weeks), I note that my best pay for writing about music comes from eMusic, an online store that doesn't run pans. Maybe one day I'll simply review the new De La Soul for Nike directly, to be published on their website.

People who think the corporatization of everything is as natural as the weather probably don't feel that corporations have fucked us with this economic collapse. But they have fucked us. Not just in their hold on government, which gave us the current crises, but in their hold on business thinking itself. Talk to anyone in any field, and you'll hear about business after business becoming more "corporate"--i.e. stupider, more centralized, less efficient, less fair, and more prone to "self-destruction"--though the "selves" getting destroyed are never the ones on top, who are rewarded.

This is the story of American industry in our lifetime, one that David Simon, creator of HBO's The Wire (whose show about New Orleans just got green-lit by HBO), framed very well recently on Bill Moyers when talking about newspapers:

"A lot of the general tone in journalism right now is that of martyrology... 'We were doing our job. Making the world safe for democracy. And all of a sudden, terra firma shifted, new technology. Who knew that the Internet was going to overwhelm us?'

"I would buy that if I wasn't in journalism for the years that immediately preceded the Internet, because I took the third buyout from the Baltimore Sun. I was about reporter number 80 or 90 who left, in 1995. Long before the Internet had had its impact. ... Those buyouts happened when the Baltimore Sun was earning 37 percent profits...

"We now know this, because it's in bankruptcy, and the books are open. Thirty-seven percent profits. All that R&D money that was supposed to go in to make newspapers more essential, more viable, more able to explain the complexities of the world. It went to shareholders in the Tribune Company. Or the L.A. Times Mirror Company before that. And ultimately, when the Internet did hit, they had an inferior product, that was not essential enough that they could charge online for it.

"I mean, the guys who are running newspapers, over the last 20 or 30 years, have to be singular in the manner in which they destroyed their own industry. It's even more profound than Detroit making Chevy Vegas and Pacers and Gremlins and believing that no self-respecting American would buy a Japanese car in 1973. It's analogous up to a point, except it's not analogous in that a Nissan is a pretty good car, and a Toyota is a pretty good car. The Internet, while it's great for commentary and froth, doesn't do very much first-generation reporting at all... The economic model can't sustain that kind of reporting. And to lose to that, because you didn't-- They had contempt for their own product...

"For 20 years, they looked upon the copy as being the stuff that went around the ads. The ads were the God. And then all of a sudden the ads were not there, and the copy, they had had contempt for. They had actually marginalized themselves."

More "Fun" around the Internets

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Recently posted elsewhere:

Q&A: Lady Sovereign (D.C. Decider), review: Mr. Lif, I Heard It Today (Las Vegas CityLife 4/23/09), preview: Mastodon (City Pages 4/29/09), preview: Sole and the Skyrider Band (City Pages 4/22/09), Apocalypse Now: Muja Messiah (The Liberator 11/08, posted 4/21/09), review: Monks, Black Monk Time and Monks, The Early Years 1964-1965 (Twin Cities Decider 4/15/09), preview: The Current Fakebook: Bob Gruen (City Pages 4/15/09), previous roundup (recently updated with things I missed).


'Unconvention' and the RNC 8



Whenever it opens, you must see Unconvention, the locally-made documentary about protests outside the Republican National Convention in St. Paul last year. (It screened Sunday as part of the Minneapolis St. Paul International Film Festival.)

I covered the events of that week for MN Indy, yet hadn't witnessed most of what's in the film, which outlines a long, slow, but seemingly planned and certain overreaction by police and paramilitaries to a small group of vandals--bringing the full force of tear gas and arrest down on legal marchers, bystanders, and unlucky reporters. The documentary tells this story without any narration or framing devices outside of a few subtitles.

I have to add that I was wary: I don't agree with director Chris Strouth, a friend of mine, that the purpose of political protest, avowed or subconscious, is to persuade the people being protested. (He expressed this ideas last week on MPR.) Something similar was pointed out by an audience member at the Q&A after the screening, but not before the exchange degenerated into shouting and ranting from the floor--had the hecklers never encountered a public speaker with whom they disagree?

The point to make here is that these shouters weren't responding to the film, but to the director's remarks: At no point does Strouth put anyone onscreen discussing the efficacy of protest. The fact that people of differing views respond so strongly and approvingly to Unconvention is a sign of its beauty. At an hour and a half, with footage from a slew of different DIY video journalists (including The Uptake), the movie feels raw, unprocessed, and complex--with an eye toward every possible irony. We put together the whole in our minds, and make them up while we're doing it.

Unconvention is also just a starting point, and makes no claim to be the last word. Among the things striking me that week that aren't onscreen was just how deserted downtown St. Paul was (partly, I imagine, as a result of Labor Day Weekend, partly because citizens were truly led to believe that the great bomb-throwing conspiracy was descending, partly by elaborate security design). I also think any historian of the moment should point out that the confrontations with police on Monday involved a break-away protest from the much larger and apparently uncinematic legal one--and discussions of efficacy should make that distinction. Yet the movie wasn't about that conversation, which should come later. Maybe it should come tonight:

There is a public meeting at Coffman Memorial Union tonight titled Defend the RNC 8! The Struggle for Justice after the RNC (7:00 p.m., Room 324). The "RNC 8" are the activists who were initially charged with conspiracy to riot in furtherance of terrorism under the Minnesota version of the Patriot Act. Though the terrorism charges were dropped recently, each still faces a possible five years in prison. It's a chance to hear them tell their story.

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The Shop Assistants: "Dreaming Backwards" mixtape 1983-1990



In the late 1980s, my friend Rick Vorndran made me a tape of a record he bought while in England, the Shop Assistants' Will Anything Happen. The 1986 Chrysalis Records album by the relatively obscure Edinburgh, Scotland, band remains one of my favorites of all time, a thing of enduring power and beauty. On 100th listen, it still sounds vulnerable, gorgeously noisy, and built to chill (notice how the chorus becomes climax and coda on "I Don't Want to Be Friends with You" above). They're a secret link between the Jesus and Mary Chain roar and Riot Grrrl rage, the Pastels' tenderness and Slumber Party daze, Cocteau Twins glisten and Stereolab drive, something new under the Velvet Underground sun.

Shop Assistants friends and fans the Vaselines recently got a deluxe reissue treatment on Sub Pop, and it's high time "the Shoppies" got something similar (since they've been covered by Matador's Fucked Up, maybe that label would be game). They were so much better than their contemporaries, I think, at least on the evidence of their hard-to-find recordings, and yet so much less heard and known--and I've always wondered why.

Until we get a proper complete-discography double-CD, here's a recommended make-it-yourself chronological compilation, with info about where to buy or download each set of songs. The most surprising thing about putting this together was that every single track was worth it:

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CD 1: 1983-1986

From Buba and the Shop Assistants, Something to Do (November 1983, Villa 21, 002) 7-inch, downloadable here at Shelflife:

1. Something to Do
2. Dreaming Backwards


From The Shop Assistants, a.k.a. Shopping Parade EP (June/August 1985, Subway, SUBWAY 01, Subway Organization) 7-inch, all different versions of songs than on album, downloadable here at Phoenix Hairpins:

3. All Day Long
4. Switzerland
5. All That Ever Mattered
6. It's Up to You


If I could find it, this would be where I put the "rough mix" version of "Safety Net," from an unreleased demo tape, which I read about here at Down With Tractors (with more here at Westway). Hope he re-ups that track!

7. Safety Net (rough mix)

From Peel Sessions (October 21, 1985), downloadable at Hopeless:

8. Safety Net
9. Almost Made It
10. Somewhere in China
11. All That Ever Mattered


From Safety Net (February, 1986, AGARR 1/AGARR 112, 53rd & 3rd Records) 7-inch/12-inch, from Anthology 1985-1986,  downloadable at eMusic:

12. Safety Net
13. Almost Made It
14. Somewhere in China


From Peel Sessions, June 12, 1986, downloadable at Hopeless:

15. Fixed Grin
16. I Don't Wanna Be Friends with You
17. Ace of Spades
[Motorhead cover]
18. Before I Wake


I Don't Wanna Be Friends With You (September 1986, Blue Guitar, AZUR2/AZURX2) 7-inch/12-inch, downloadable here at Phoenix Hairpins:

19. I Don't Wanna Be Friends With You [not different than the album version, but included here for flow]
20. Looking Back
21. All Day Long (Slow Version)
[a.k.a. Long Version]

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CD 2: 1986-1990

From the 2008 CD reissue of Will Anything Happen (also simply known as The Shop Assistants) (November 1986, Blue Guitar, AZLP2/ZAZLP2), LP/Cassette, also on Chrysalis Records/EMI, reissue on Cherry Red Records available for purchase at Amazon:

1. I Don't Want to Be Friends With You [same as single version except for the tweaked title]
2. All Day Long
3. Before I Wake
4. Caledonia Rd.
5. All That Ever Mattered
6. Fixed Grin
7. Somewhere in China
[different version than on Safety Net single]
8. Train from Kansas City [Shangri-Las cover]
9. Home Again
10. Seems to Be
11. After Dark
12. All of the Time
13. What a Way to Die
[Pleasure Seekers cover]
14. Nature Lover

From NME's C86 compilation cassette, downloadable here at Aquarium Drunkard:

15. It's Up to You

From You Trip Me Up flexidisc (January 1990, FLX886, Avalanche Records), downloadable here at Pukekos. Note significant lineup shift for these still-wonderful final releases, with the departure of lead vocalist Alex, bassist and second vocalist Sarah moving over to lead vocals, drummer Laura moving over to bass, and Margarita joining on drums with a full drum kit instead of Laura's usual upright bass and snare:

16. You Trip Me Up [Jesus and Mary Chain cover]
17. The Other One


From Here It Comes (January 1990, Avalanche Records, AGAP001C/AGAP001B), CD single, with "Here It Comes" and "I'd Rather Be With You" downloadable here at I Could Die Tomorrow, and the other two apparently downloadable here, though I'm going off my own CD copy, which is track-downable:

18. Here It Comes
19. I'd Rather Be With You
20. Look Out
21. Too Much Adrenalin


From Big E Power (May 1990, Avalanche Records, AGAP003/AGAP003MC/AGAP003T/AGAP003CD), various formats, including CD single, with first "Big E Power" and "One More Time" downloadable here at I Could Die Tomorrow, and "She Said" downloadable here at Chocolate Bobka, though I can't find the live "Big E Power" online anywhere yet (I'm going off my own copy of the CD, which is track-downable):

22. Big E Power
23. She Said
[Beatles cover]
24. One More Time
25. Big E Power
[live]



(The Pleasure Seekers' 1965 classic "What a Way to Die")
Drawn from these Shop Assistants links: Tom Bartlett's page, Wikipedia entry, 17 Seconds post, I Could Die Tomorrow, Merry Swankster, MySpace page, a discography, ilx, with more here, here, here, here, and a live remembrance/review and photo at Fruitier Than Thou. Send suggestions and links if you have them--info on this band has exploded online over the past decade.

"I never knew which cartel I worked for"

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(Poster for a missing 15-year-old girl from Juarez, Mexico, 2008, reproduced in Zanzana Knowledge and Expression)
Buy a subscription to Harper's and read the new article by Charles Bowden,
"The Sicario: A Juarez Hit Man Speaks." It's an interview with a former State Police commander in Juarez, Mexico.
 
"They hardly ever do police work," writes Bowden of the policeman and his partner years ago. "[T]hey are working full-time for the narcos. This is his real home for almost twenty years, a second Mexico that does not exist officialy and that co-exists seamlessly with the government." For much of his life, the commander spent most of his waking hours transporting kidnap victims, guarding them, torturing them (often in safehouses surrounded by cop cars), killing them, and disposing of the bodies, which numbered in the hundreds.
 
"We are not monsters," he tells Bowden. "We have education, we have feelings. I would leave torturing someone, go home and have dinner with my family, and then return. You shut off parts of your mind. It is a kind of work, you follow orders." (Read the beginning of the article for free at Anderson Cooper.)
 
Bowden wrote two books I want to track down now, Juarez: The Laboratory of Our Future, and Down by the River: Drugs, Money, Murder, and Family. I think Hugo Chavez should have pressed both of these into the palm of Obama, along with the one he actually did give our president, Open Veins of Latin America (more here). Bowden, a reporter embedded in the front lines of the drug war along the Southwestern border for decades, knows the war intimately enough to state plainly its murderous, corrupting futility and fraudulence:
 
"This isn't some ugly conspiracy by corrupt American presidents," he said in 2006. "This is what's called realpolitik. Tolerating the existence of a narco-state in Mexico is preferable to having an economic collapse in Mexico. Successive presidents have looked at the facts and made the same decision... The effort of the border patrol to stop illegal immigration is also simply for show, because if we really bottled up Mexico and a half million people a year couldn't come north, the economy would collapse."
 
Here and in Afghanistan, the president needs to start hearing the voices of reason on ending drug prohibition. Bowden is one of them.

Complete run of Billboard now on Google Book Search

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Matos hips me to the fact, pointed out to him by Eric Weisbard, that Google Book Search now has what appears to be a complete run of Billboard from 1942 on. Just what I want: More research materials! But no, this is a great and wonderful thing, especially the Google map identifying places mentioned in the magazine--there's usually at least one dot per issue in Minnesota.

Beenie Man mixtape



Beenie Man had his first hit, "Too Fancy," as Beney Man in 1981, when he was about eight years old--younger than in that photo accompanying the recording on Youtube. That will make him a 28-year dancehall reggae deejay veteran in his late 30s when he performs on May 1 with Wayne Wonder at Epic (formerly the Quest) in Minneapolis.
I haven't seen him since he made his Twin Cities debut at the same spot in 2000, though I'll probably be in Duluth for Homegrown.

In anticipation, here's a suggested mixtape of favorite tracks (with the years indicating CD dates, not song dates), plus, from Strictly Vibes, an image of the Crown HIM single that started it all:

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Anything She Wants: A Beenie Man Mixtape

1. "Who Am I," from DanceHall 101 Vol.1 (VP), 2000
2. "Weeping And Moaning," from All The Best (JA/Peter Pan), 1995
3. "Let Him Go," from Monsters of Dancehall (Greensleeves), 2007
4. "Heart Attack," from Undisputed (Virgin), 2006
5. "Year 4," from Monsters of Dancehall (Greensleeves), 2007
6. "Dancehall Queen," feat. Chevelle Franklyn, from Best of Beenie Man (VP), 2000
7. "9 To 5," from Art And Life (VP/Virgin), 2000
8. "Girls Dem Sugar," from The Very Best of Beenie Man Gold (Jet Star Music), 2002
9. "No Matter Di Money," from Defend It (VP), 1994
10. "Dude" feat. Ms. Thing, from Back to Basics (Virgin), 2004
11. "King of The Dancehall, from From Kingston To King of the Dancehall: A Collection of Dancehall Favorites (Virgin), 2005
12. "No Mama No Cry," from Sly & Robbie present Dancehall Killers! (Taxi), 2000
13. "Haters and Fools," from Art and Life (VP/Virgin), 2000
14. "Blackboard," from Monsters of Dancehall (Greensleeves), 2007
15. "Slam," from Best Of Beenie Man (VP), 2000
16. "Mobster," from Monsters of Dancehall (Greensleeves), 2007
17. "Man Nah Leave You (Retro Mud Up)," from DJ Rondon - Dancehall Reggae Vol. 31, 2005
18. "Turn Around," from Various artists/Bobby Konders Massive B, 90's Hardcore Ragga Dancehall Mix (Greensleeves), 2007
19. "Main Course (Inevitable riddim)," from DJ Rondon - Dancehall Reggae Vol. 31, 2005
20. "Bossman," feat. Lady Saw & Sean Paul, from Tropical Storm (Virgin), 2002
21. "Matie," from Ruff 'N' Tuff (Fuel), 2000            
22. "Miss Angela," from The Very Best of Beenie Man Gold (Jet Star Music), 2002
23. "You Babe," from Tropical Storm (Virgin), 2002    
24. "Gimme Gimme," from Various artists, Ragga Ragga Ragga 2009 (VP), 2009

Complicated Fun around the internets

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It's been a year since my last roundup up non-blog writing, so here's the beautiful backlog. If you want to read what I've written here at complicatedfun.com over the same period, browse the archive to the right.

Recently posted elsewhere:

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review: Lady Sovereign, Jigsaw (Las Vegas CityLife 4/9/09), review: Bob Mould, Life and Times (City Pages, 4/1/09), preview: The Ting Tings (City Pages 4/1/09), preview: Morrissey (City Pages 4/1/09), with more below, preview: Raphael Saadiq (City Pages 3/11/09), preview: Anni Rossi (City Pages 3/4/09), preview: Estelle (City Pages 2/25/09)

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The Shifting Republic of K'Naan: A deft Somali rapper, now ensconced in Canada, prepares his American invasion (Village Voice 2/25/09), preview: Ralph's World (City Pages 2/25/09), preview: Juana Molina (City Pages 2/18/09), preview: Blitzen Trapper (City Pages 2/18/09)

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CD review: P.O.S., Never Better (Las Vegas City Life 2/12/09), Slumdog Chamillionaire: Rapper K'Naan makes peace with Somalia, and pop for the world (City Pages 2/11/09), preview: A Celebration of Immigration to the Twin Cities (that's Jim Reilly in the photo) (City Pages 2/4/09)

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CD review: Heartless Bastards, The Mountain (eMusic 2/3/09), CD review: Various artists, The Roots of Hip Hop (Las Vegas City Life 1/19/09), preview: The Big Pink: A Tribute to The Last Waltz (City Pages 1/21/09), Pazz and Jop ballot (Village Voice 1/21/09), review: From Hell: AC/DC at the Xcel again (Gimme Noise 1/20/09), preview: AC/DC (City Pages 1/14/08), preview: Lil Wayne (City Pages 1/14/09), preview: Best New Bands of 2008 (City Pages 1/14/09)

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Artist of the Year: The makers of Trouble the Water (City Pages 12/24/08), preview: Hip-Hop Night at the Roxy (City Pages 12/24/08), Being Prince's Sister: Tyka Nelson steps out of her brother's shadow (City Pages, 12/10/08), preview: Mint Condition (City Pages 11/26/08)

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Apocalypse Now: Muja Messiah (The Liberator 11/08; click here to buy a copy--the cover by Rebecca McDonald alone is worth it), I contributed to the ILX Top 75 Films of the 1950s (I Love Everything 11/18/08), preview: Heartless Bastards (City Pages 11/12/08), preview: Atmosphere (City Pages 10/29/08)

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CD review: Dub Colossus: Dub Colossus in a Town Called Addis (City Pages 10/29/08), CD review: U2, Under a Blood Red Sky (see page 18) (Campus Circle 10/15/08), preview: Jolie Holland (City Pages 10/22/08), preview: Set the Smith (City Pages 10/15/08), preview: Stereolab (City Pages 10/8/08), preview: David Byrne (City Pages 10/8/08)

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SST Records: The eMusic Dozen (eMusic 10/3/08), preview: The Wedding Present (City Pages 9/24/08), preview: Impaler's 25-year Anniversary Show (City Pages 9/17/08), Muja Messiah lists his favorites, profile of eighth-place-winner in Picked to Click (City Pages 9/10/08), Picked to Click ballot (Gimme Noise 9/9/08)

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Anti-Flag Q&A: Police at Ripple Effect "dangerous" (MN Indy 9/5/08), Defiance of arbitrary authority sans painful consequences: Cops, Rage and Target Center (MN Indy 9/4/08), preview: GZA (City Pages 9/3/08), preview: Nas (City Pages 9/3/08), Ellison, and no Republicans, turn up for Katrina doc near RNC (MN Indy 9/3/08)

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Take Back Labor Day: Hip hop meets folk by the RNC riverside (MN Indy 9/3/08), The cloud over Sammy Hagar and the RNC (MN Indy 9/1/08), Liberty Parade: Missile Dick Chicks meet Ron Paul voters (MN Indy 8/31/08), preview: Black Keys (City Pages 8/27/08), preview: The Unconvention: Liberty Parade (City Pages 8/27/08)

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CD review: Coping With David Byrne & Brian Eno: A boost to your optimism from the Internet (Village Voice 8/27/08), Yo! the Movement 7th Annual Celebration (City Pages 8/20/08), CD review: Juliana Hatfield, How to Walk Away (City Pages 8/20/08), preview: Afrifest (City Pages 8/13/08), preview: N.O.R.E. (City Pages 8/13/08), CD review/profile: K-Salaam & Beatnick, Whose World Is This? (City Pages 8/6/08), "They Sound Like God": Peter S. Scholtes reviews Orchestra Baobab (Gimme Noise/Culture to Go 7/1/08), CD review: Trama & Muja Messiah (City Pages 6/4/08)

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Purple Rain Dogs: Tom Waits for Prince Fans--Or How Atmosphere Went Electro (City Pages 4/30/08), Back to the Terrordome: Peter S. Scholtes reviews Chuck D and Slug (Gimme Noise/Culture to Go 4/29/08), Hi Yo Silver, Purple Rain: The Color of Minneapolis Rock and Roll, From Integrated Bands to Segregated Clubs (paper presentation at the EMP Pop Conference in Seattle 4/11/08--I'll email it to you upon request), No Faking: Peter S. Scholtes reviews the Mekons with Greil Marcus (Gimme Noise/Culture to Go 3/31/08) Artist of the Year: The Owls (City Pages 1/2/08)--where I proposed to Toasty, and she responded on the letters page the following week (City Pages 1/9/08). It's been a good year!

Previous roundup (scroll down), the one before that, and the one before that.

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Morrissey: Compiled

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Nathan Amundson, a.k.a. Rivulets, writes to inform me that not only does the solo Morrissey need no compiling, contrary to my hasty preview, but he's been compiled to death--with more than 10 best-ofs listed on Allmusic alone. "What Morrissey needs is a definitive box set. Which can never happen until he's done, and he doesn't seem done yet." Overconfidence in my (obviously) casual fandom wasn't my worst sin: I somehow missed the "compilations" tab while checking his discography at Allmusic. As partial penance, I offer parts one and two of a very rich 2002 Morrissey interview with Dave Fanning on 2FM Ireland, probably news only to fans as casual as I. (But so long as I'm linking audio, download a recently posted 28-minute interview with the Minutemen's D. Boon at Corndogs.org.)

Also, Jake Rudh emails to announce his official Morrissey afterparty at the 7th St. Entry Monday night, free and 18+, with Morrissey prizes, music, and a large screen showing your favorite Smiths and Moz videos:

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