San Francisco soul swingers Royal Jelly Jive just crossed the finishing line in their ongoing fundraiser for their upcoming sophomore album, “Dear Mr. Waits,” which means not only will we get a new collection of the group’s groovy gypsy rock soon, but the band will be able to take the show on the road for a 2016 tour.
That’s great news, obviously. Today, the jiving jellies share a sneak peek at the upcoming album with a live studio recording of their first single, “Story,” featuring special guest Marty O’Reilly, of Marty O’Reilly & the Old Soul Orchestra.
Recorded at the always excellent Prairie Sun Studios in Cotati, the single, “Story,” is a slow burning and sultry dirge, featuring harmonizing vocals from Royal Jelly singer Lauren Bjelde and O’Reilly set against dusty vintage guitars and jazz rhythms. Click on the link below to watch the studio recording. Royal Jelly Jive perform on New Year’s Eve at the Big Easy in Petaluma. Details for that show are here.
Onstage with Jim and Tom has long been one of my favorite podcasts and video series, focusing on local music and the historic Phoenix Theater in Petaluma, run by hosts Tom Gaffey and Jim Agius. The series incorporates interviews with local bands and live concert films, and this week the project unveiled their most ambitious concert feature yet.
Last summer, recent Norbay Music Award-winners the Velvet Teen released their long-awaited and exceptional indie rock album, All is Illusory, and toured the US; capping the trek with a massive show at the Phoenix Theater on August 22. To top it off, the Onstage film crew was there to capture the whole darn thing.
Edited by Agius and mixed by Greenhouse Recording Studio co-owner and engineer Paul Haile, this is a clean, clear and professional production that goes beyond simple recording and stands as a full-on film. And the band has never sounded better, captured here in their element, playing for the hometown crowd.
If you saw this show last summer, relive the good times. If you missed the show, now’s your chance. It’s well worth a watch.
If you’re a record collector, you’ve probably read that there are very few vinyl pressing plants left in the USA today, causing massive delays for popular releases on vinyl. But, if you’re a cassette tape collector, you may not know that there is only ONE factory still making analog, magnetized cassette tapes for music.
When all the other manufacturers moved to CD replication in the 1990s, the National Audio Company held on tight to their tapes, even buying out their former competitors’ equipment. With a major re-emergence in the last decade of cassette-only music labels and album releases from independent musicians everywhere, this Springfield, MO, plant is busier than ever.
Learn all about National Audio Company in this cool little video from Bloomburg Business and relive the salad days of the Walkman.
Petaluma singer-songwriter Emily Whitehurst used to be known as the dynamic front woman of pop punk outfit Tsunami Bomb, though since 2011 she has been the brains behind electronic project Survival Guide. Back in May, she released “Way to Go,” an elegant indie gem of a record. And now, there’s a new music video for the title track to feast your eyes upon.
Featuring Whitehurst’s sublime vocals over hypnotic beats and twinkling keys, the video’s storyline mirrors the album’s own tale of holding onto your passions-even when you have to stand on your own. Survival Guide’s next show in the Bay Area is on Thursday, July 30 at the Stork Club, 2330 Telegraph Ave, Oakland.
Napa’s Comfort Slacks released their official video this weekend for “Biscuit on My Six,” and it’s highly suggested you watch it. This band makes catchy, fun music that’s so irreverent it’s hard not to find something to love in each song.
In this video, see if you can spot the following: Shake Weight™, a judge, weatherman, a toaster that has the word “cooking” hand painted on it, Etch-a-Sketch™, a man getting a haircut, wine in a coffee mug, a comically large “cigarette,” plastic He-Man™ toy, gold hotpants, underpants that fit four people at once.
The video, which is a genius riff on a local morning television talk show, dares the viewer to contemplete: What’s your favorite type of biscuit? Blueberry? Dog? Gluten-free? Whisker? Sweet? Buttermilk?
It’s a great video, but I have to say I’m a little disappointed that this isn’t an actual show. I’d watch it every morning.
Forget 40s of Old English. Forget Patrón. Here’s Moe Green, Cameron Washington, and Jairo “Rojah” Vargas with “Wine Country”—filmed in Sonoma:
Kreayshawn—the self-directing, self-editing, mega-inhaling personality from Oakland—signed to Columbia this week. If you haven’t seen “Gucci Gucci” yet, you might not know what this means. Check it out below, and then try to get it out of your head.
Kreayshawn came up in the hyphy craze, keeps good ties with Lil’ B from the Pack, and tweets with Mistah F.A.B. Though she’s in L.A. these days, hanging out with Odd Future and Soulja Boy, she still reps Oakland pretty hard wherever she goes.
It’s easy to be conflicted on Kreayshawn. Let’s face it, it’s been a while since there’s been a rising star out of the Bay Area, let alone Oakland. (Keyshia Cole’s got love for the city but moved the hell out, and when I asked her once in an interview what East Bay spots she like to hit up on tour, she couldn’t name any.) So it’s exciting to have some Bay Area action going on.
But . . . is “Gucci Gucci” really the face of Oaktown?
Behold, two girls fighting over who’s more hood!
“This chick @KREAYSHAWN is a rapper…yes. But hood? NO. She knows nothing about the streets she’s not half as hard as she comes off as,” tweets Harmony Gabriel, from Hustler and HBO’s Cathouse. “Makes me sick..maybe if she was some type of hustler or came from the streets or had some type of ambition but she’s trash to me. White chick acting hard throwing up gang signs from home made gangs…. #FAIL.”
Lest one doubt Harmony’s inherent hoodness, the credentials come forth:
“I got people in REAL hoods that can vouch for me I’m not hood now cause I GREW up I get big girl $ now but believe me I come from ‘hood.'”
This triggers Kreayshawn’s response:
“shut up with yor rants I’m from east Oakland u skanky.”
“Who’s hotter? Who’s the realest? @KREAYSHAWN or @HARMONYG? #ImJustSaying”
At this point, if you’re thinking it’s time for Kreayshawn to take the high road, you’re right.
“your a trip chicka I’m from east Oakland you can come visit my hood and tell me what you think… much luv anyways.”
None of this sits too well with Harmony Gabriel, unfortunately.
“@KREAYSHAWN Yea that’s all you got? Cause your mom happen to have you in east side oakland your hood!? Hahahaa!! Ask about me!! Buy my mags!”
Sensing unneeded drama, Kreayshawn then advises that she will “only reply to positive things from here on out,” and Harmony Gabriel, after reminding people “I sold pussy” and telling them to wait for her upcoming rap video, declares herself the victor: “the title is mine the crown is mine.”
And that, dear readers, is the hood battle of the day.
P.S. If you’ve been following the phenomenon of Kreayshawn, this excellent piece by Meaghan Garvey irons out a lot of conflicting feelings.
What we have in the On Land Festival, presented annually by Root Strata, is four days’ worth of darts aimed in whatever direction and occasionally, surprisingly, hitting the bullseye. That the acts generally have “Noise / Drone / Experimental” anointing their begrudgingly active MySpace profiles implies that their aesthetic has no true trajectory, but of course there must be some involved intent. I knew what to broadly expect, and I was not disappointed, aside from having to miss two of the four days and arriving late even so.
Pete Swanson appeared entirely consumed by his music, his eyes and mouth especially. When his white noise began, people walked out. Thing about Pete’s music is that your ears tune out the white noise and these wonderful submerged melodies reveal themselves. I placed my head against the wall and stared into the back of his wooden reel-to-reel. He sang a little. It was intense. Then it was over after, like, 15 minutes. Way to leave people wanting more.
White Rainbow looped some staggering beat that didn’t make sense as he started to build it but cohered over time and you’re like, oh, of course. I knew nothing of him before Friday night and he won me over fully. Certain noises would affect him like a stab in the ribs; he’d double over in pain and return for more. Had people in stitches over his iPad animal noises. Seems like a fun-loving guy. Maybe he can tell me what happened to Watery Graves.
Oneohtrix Point Never delivered solid programming on the same frequency as his latest, Returnal, which I recommend. Hypnosis among the crowd. It was packed in there. Cafe du Nord isn’t comfortable when it’s full, but OPN essentially spread a blanket over everyone and sang some comforting lullabies. Time-space synth noise lullabies, but lullabies nonetheless. During a quiet interlude, someone, no doubt accustomed to jumpy rock bands, yelled, “Do something!” This seemed as pointless as yelling at Aubrey Huff to hit the ball when he’s out playing left field.
Dan Higgs, at Sunday’s show upstairs in the wonderful wooden Swedish American Hall, was good old Daniel (Arcus Incus Ululat) Higgs Interdimensional Song-Seamstress and Corpse-Dancer of the Mystic Crags. He stomped on a box. He played the banjo. He laughed heartily for a very very long time, or what seemed to be a very very long time for laughing in the middle of a song, but the song was also long, and unique, and definitely improvised on the spot.
Even though he didn’t play until the very end of the set at the Greek Theatre last night, Pavement’s notorious ex-drummer Gary Young made his surprise presence known early. Wandering around the wings in a gray-haired ponytail, cutoffs, mismatched socks, a soccer jersey and a red-and-blue women’s blouse, Young at one point lumbered up to frontman Stephen Malkmus, in the middle of the stage, and handed him a giant bottle of Scope mouthwash.
Malkmus scrambled for an explanation. “Uh…” he said, “…this is our product placement?”
The entire show was ridiculously perfect, probably the best Pavement has ever played in the Bay Area. Famously spotty as a live band in their day, on this reunion tour Pavement has honed their trademark of playing on the edge of falling apart. Better yet, the set list comprised greatest hits—“Stereo,” “Shady Lane,” opener “Cut Your Hair”—alongside lesser-knowns like “We Dance,” “Date w/Ikea” and a downright spine-tingling “Stop Breathin’.”
As for Malkmus himself, the rakish surrealist was sight to behold, owning his past by playing his guitars in the weirdest diagonal ways and nailing the spirit of songs that the not-quite-sold-out crowd sung along to, loudly: “Range Life,” “Gold Soundz,” “The Hexx.”
But then came Gary Young’s turn on the drumset, which as anyone could guess changed everything completely.
“Trigger Cut” was the first to endure Young’s sporadic drumming. Then “Box Elder.” Young, who had only been announced for the previous night’s show in Stockton but decided to show up tonight as well, plays the drums, uh, “uniquely.” There’s videos. It’s kind of like if Gary Busey drank a bottle of NyQuil and was handed drumsticks.
For “Linden” and “Summer Babe,” Young threw his whole being into every cymbal crash and off-time drum fill. “Two States” nearly fell apart. Young even introduced “a new one they won’t let me play,” and started—for a few seconds, at least—the drumbeat to his solo anthem “Plantman.”
“Jesus Christ,” muttered Malkmus.
As strange as the last five songs were, to anyone who knows the Gary Young legend it was a beautiful triumph for a guy who probably won’t ever get the chance again to play in front of thousands of people—some even leading a chant of “Ga-ry! Ga-ry! Ga-ry!”
The set ended with “Here,” Young smashing out bizarre fills in the otherwise calm chorus and covering his face with both hands while still keeping a kind-of beat. Spiral Stairs jumped into the drum set, Malkmus ironically played the melody of “Those Were The Days” on his guitar and the show was over.
Except it wasn’t. Check the video below; after hopping off the stage into the photo pit, Young walks into the crowd and mingles with fans while trying to find his way to the exit. At one point, he asks a fan, “D’you think that I drum better than the other guy?”—and wonders out loud why the rest of the band doesn’t want to stay at his house.
Ga-ry! Ga-ry! Ga-ry!
Cut Your Hair
Zurich Is Stained
Rattled by the Rush
Date w/ Ikea
Spit on a Stranger
Elevate Me Later
In the Mouth a Desert
Starlings of the Slipstream
Spent a good deal of time dwelling on Dilla today for a quick piece on Good Hip Hop’s J. Dilla Tribute in Sebastopol next weekend. Then, drove to Petaluma with Like Water For Chocolate on the tape deck. The weird thing about Dilla is that as far as I remember (and I’m a little older than most people who seem to champion his genius between every meal), nobody—as in, not one solitary person I knew—liked Labcabincalifornia when it came out. Or The Love Movement. Or Amplified. All really, really reviled albums, they were.
Whether or not Dilla was ahead of his time is as pointless as wondering, as I did today, if there would eventually be someone else who decided to swap up the kick drum and offset the snare ever so slightly. That stumbling burble, his trademark—someone else surely would have thought it up, just like someone would have shook their hips and howled sexual innuendo on TV if Elvis hadn’t. Right?
All of this is to say that rap production is in some interesting hands right now, and those still worshipping Dilla should hopefully see that his spirit lives on in intrepid creativity if not outright aesthetic. Right around the time Dilla died, the Pack, from the Bay Area, had a left-field hyphy hit with “Vans,” which rode on a tiny snap beat, a tssst-tssst hi-hat and a synth sent from Mars. Its spirit owed slightly to the Ying Yang Twins’ “Wait (The Whisper Song)” before it, and birthed a YouTube craze with the New Boyz’ “You’re a Jerk” in its wake.
Young L from the Pack released this new video for “Young L-E-N” today, and I hope its production hits the ears of mainstream beatmakers like Just Blaze. Not at all into the useless verses, but that’s hip-hop in 2010—the illest beats beneath filler lyrics. Dilla was lucky to have visionary MCs in the best of both worlds.