Monday, February 25, 2008

ISSUE 22 - DJ YUMMY



ADRIANA/DJ Yummy

What types of music do play/prefer? My favorite is House music, especially house remixes of old songs. I am known for playing what's called "Baltimore house" or "Baltimore club." It's a mix of hip-hop beats at 120 to 135 beats per minute. Usually the music has low production quality, giving it that old-school rap sound. Lately the crowds have been asking for a lot of mash-up stuff. I put my own spin on it by playing a popular record for a few bars, then dropping a Baltimore house beat on top of it. I do spin some hip-hop but it’s a shame what has happened to that form of music. It started out so fun and original and now it just plain sucks. There are no new decent artists. It’s just all crap shoved down out throats by MTV. I miss the old days of rap.

How did you get into dj-ing? I started in the business as a bartender in a beach/party town in Maryland called Ocean City. My favorite thing in the world to do is go out dancing, but I was always frustrated that the DJs in the area were not as entertaining as those in bigger cities. I always wondered why DJs would just sit quietly behind the booth like a human jukebox. I felt that DJs should be as energetic and animated as bands are on stage. The crowd feeds off the performer’s energy. Motion creates emotion. Finally I had someone teach me the basics of music and equipment, and I took it from there. I really think that dancing had a lot to do with me grasping the concept of pitch, tempo, and mixing.





What separates your local scene from others you've been to? I actually am part of a couple of scenes. In the summer, I live in Ocean City MD. The rest of the year I live in Baltimore. The scene in Ocean City is a blast. I play to enormous crowds every night and do a lot of outdoor parties on the beach or at pool bars. It's just such a fun crowd to play to because everyone is drunk and on vacation. Musically, this area hasn't caught up with the rest of the world, but that's just part of the laid back lifestyle here.





Do you create your own mixes? Yes, I work with a producer and we've been working on original stuff. I've been contacted by some record companies who are anxious to get my stuff on the shelves already.





What’s the most exciting thing so far in your career? The first time I saw my name on a billboard. I called my mom right away. I also just recently saw my face on a T-shirt. That was pretty cool. Bud Light is my sponsor, so actually getting paid to drink good beer is another high point! Truthfully though, the greatest is seeing a packed dance floor when everyone is dancing and smiling and having a great time. It's very rewarding when people tell me that they came to see me again because of what a good time they had with me the last time. I work very hard when I'm performing, including jumping out of the DJ booth to dance in the middle of the crowd.

Lastly, what about you no one knows or would be surprised to know? When I spin at clubs it's all house music and hip-hop, but when I'm alone...I belt out the country music at the top of my lungs!

ISSUE 22 - FICTION



CONSTITUENT
By John Hunter

Pullum Frontonianum, or chicken a la fronto, is a tricky little dish. You have to fry the chicken first. Not bake, but fry. And this works for the whole chicken. This recipe was one of literally two hundred or so that I collected that year. Sarah called my collection “a clear symptom.”
“Make sex to me, Errol.”
Like an aide memoire, her passion started as a low, breathy flow of lust, originating in the bedroom and extending from her lips, wrapping around the hallway and ending in a barely audible proposal in the kitchen.
Of course it can’t be that simple. Then all you have is fried chicken. Nothing calls out a boring menu more than fried chicken. Find a nice wine, perhaps Madeira for its longevity, and coat the chicken with it. Also add dill, fresh leeks, cilantro and a little olive oil. Liberally add saturei; that is if you have a good dose of it.
“Make sex to me, Errol.” Her pining swelled above an undertone, simmering above the room temperature whispers of the previously broadcasted yearning. Her nightly routine.
As soon as you season the chicken, you discontinue the frying and place the chicken in the oven on bake for about 60 minutes on 200 degrees. This gives you enough time to deal with the bedroom situation.
I always knew that I would fall in love.
“Ohhhhhhhhh...Errol!”
Through time, she always changed in my mind; the ideal woman I mean. Sometimes she was blonde, sometimes brunette. The small details. But somewhere between the cookie-cutter notion of what the ideal woman should be, the lines became distorted. The hourglass figure, the angelic face with no laugh lines, the well adjusted, All-American pin-up from Everywheresville, Nebraska; the masturbatory pipe dream that I was throwing my self into; all of those prerequisites are just the set-up.
“MAKE SEX…TO ME!”
You’ve seen her before. You couldn’t forget her. Even through the endless rotation of recycled emotions spread thin on the daytime television that you watch, you couldn’t take your eyes off of her. When she was on the model-turned-talk show host’s mid-afternoon extravaganza, you tuned in. You probably chuckled to yourself. When she made the local news, you were there. Your eyes were peeled. When she had her own one hour special hosted by the best selling author/psychologist, you watched. And when she got her own show, you glued yourself to the screen.
You watched every minute of the sensationalism. You watched as the audience members pretended to wipe the tears from their eyes, the tissues conveniently placed under their seats, careful not to stare at the camera upon cue.
You can’t be held responsible. It is tough. No, it is impossible to look away from my wife. In fact, it is preposterous to think that anyone could avert their eyes from anyone who weighs 814lbs.
“ERROL!”



Errol was Errol Flynn. If Jesus was resurrected, he would have become an actor named Errol Leslie Thomson Flynn, according to her.
Because of her condition, she was bedridden. The bedroom became a virtual home theater. Stacks and stacks of movies, any television channel from here to London, the universal remote, anything that would distract her from remembering that she was who she was.
It was The Adventures of Robin Hood that did it for her. That was her favorite Flynn movie. He was the archetypal hero. At that exact moment, there was nothing more appropriate that she needed.





“There’s no need to be jealous,” she would say to me. “We have all had something taken from us. We all need someone to steal it back.”
So while Errol and his Merry Men were saving the day, I was busy taking care of the dirty work.
Between treating her outbreaks of cellulitis or changing her soiled sheets, along with cooking meals or changing movies, I barely found time to eat. “Starvation,” Sarah called it. I always found that little things like eating and sleeping got in the way of time that could have been spent with her. Despite Errol’s best efforts, even he couldn’t steal back wasted time.
It all becomes a routine. The recipes are the same. You look for something more exotic, something you can work with. You seek out the ingredients, you mix them together and you work your life around it accordingly. But then, just as life happens, something occurs. It’s not in your cookbooks or your self-help, one-shot fix everything cd’s. Its something that you can’t find on your instructional, idiot’s manual to life.
“Oh! It is perfect!” Those are the first words I remember her saying. Well, she was in fact screaming at the top of her lungs.
She was in a dressing room of a higher end department store. I was searching for new pants or a clever tie or some other article of consumerism that would fill the gaping holes in my life.
The door opened and the six mirrors outside of the dressing room paralleled something so lovely, so exquisite that the incessant desire to fill the gap was gone. The holes were sealed by the beautiful mess dressed in a hideous evening gown.
“My god! It’s just the thing,” she continued. She waived her arms out by her side and spun around in miniature circles. The old, rich housewives gawked. The store clerks were either too apathetic or too afraid to stop her. Every movement drew me in farther.
Her face was plastered with a sarcastic leer. It was all a production. We were the joke. Our expressions were the punch line. I wanted in.
I carried a camera everywhere I went then. I wanted people to know that I was a high profile photographer, damn it. I was the one that captured the images on the covers of the magazines that told women how to lose the pounds and gain a man. The spread of the actress with her newborn twins; that was mine. I was an artist who deserved their curiosity. I helped manufacture that masturbatory pipe dream. Now I have never wanted anything less.
Click-click-click! The snapping and the flashes from the camera drew even more attention to us. “So lovely!” I shouted. “In all my years as a professional, I have never…”





She pouted her lips and put one hand on her hips, the other on her head. “It’s not even so much me, darling,” she said in a mock French accent. “It’s this fabulous dress.”
She wasn’t always obese. She will tell you herself. In fact, she was a perfect size four the day that I met her. She will probably tell you that she was overweight as a child. She could even tell you that she often would go home and laugh herself to sleep thinking about the slight pandemonium that she caused. “At least they will have something to tell their bored husbands,” she would say.
But without a doubt she would never tell you about her Uncle Bruce. The words would stop in her throat and nearly suffocate her if she talked about Bruce, who was no blood relation but rather a family friend. She could never bring herself to tell you that he took her to the old theater downtown every Saturday afternoon to watch the matinee of the old classics when she was around eight years old.
While watching The Philadelphia Story he put his arm around her. When Gene Kelly was dancing to the title song in Singin’ in the Rain, they giggled. And when Jimmy Stewart was introducing everyone to his giant rabbit in Harvey, Uncle Bruce was forcing her to do terrible things.
“That’s what pretty girls do,” Bruce would say. “And you are such a pretty girl. You’re like one of those fashion models in the magazines, so special to me.”
“So you can’t tell Mommy and Daddy, because then Uncle Bruce would have to do something really mean to them.” His words were breathy and crisp. “You understand?” He was the kind of serious that she knew not to test. But she would never tell you that.
It would stir it all up again if she were to tell you how it only got worse. She couldn’t tell you that she hated being pretty. Anytime someone even suggested that she was beautiful or gorgeous or even cute, she would lose control, sometimes scream, and sometimes hide behind her mother. Reticent is how her parents described her.
She wouldn’t tell you that. She would never tell you that she ate. That was her way of fighting back. She ate and ate. She was swallowing her way to freedom. She didn’t want to be just chubby. She wanted to be grotesque, fat, obese. She couldn’t be that pretty girl anymore.
And it was until that Saturday, the one that she came home wearing blood soaked panties, her legs smeared with red streaks, the day that she first saw The Adventures of Robin Hood that it continued. Enter the hero, Errol Flynn, taking back what was once stolen. But you would never know.
She almost stopped eating all together when Uncle Bruce after Bruce’s sentencing.
A year into our marriage, Bruce was killed in prison. He was serving time for molesting a mailman’s daughter.
It all came back. The guilt poured in. She was responsible for his death, or so she thought. She ate. She didn’t stop. But you would never know. I never did. She wouldn’t tell you. Not until years later. All you would see was an 814 lb. woman.
Thus became my formula for life. But everybody always wants more. A steady routine of an even mixture of love and pain can cause even a man on top of things to miss the obvious.
For example, you spend a day out gathering the ingredients for minutal marinum and running errands. Routinely you lock the door. It isn’t even a routine. It has become a biomechanical reaction, as if breathing or coughing. But today you come home and there it is, not only unlocked but slightly open.
What do you do? Panic, right?
So here you are, scurrying through the house, looking for signs of an intruder. What you are really looking for is a trail of blood, a barely recognizable corpse, one with a wedding ring. Her wedding ring.
But even more horrifying, even more sickening, you find absolutely nothing. No sign, nothing to stop the brutal murder imagery from punching and kicking your head until it causes a throbbing pain right above your eyelids.
So you head to your bedroom. But as you hit your heroic, gallant stride, you crumple like a piece of paper. You grab your stomach and writhe on the ground. You feel like you are going to shit yourself, but you can’t.
How embarrassing. Your wife is missing and all you can do is collapse because your body is eating itself. And you bought the wrong broth for the minutal marinum. Sarah calls it “poor insight”.
In a sick, desperate move, you crawl to the bedroom. The room, her bed, is empty. Nothing. And right before the inevitable blackout, you notice the enormous hole in the bedroom wall.
The beeping sound is the first thing that I heard when I awoke. A heart monitor. The stinging feeling in my hand was an IV. The hospital.
“That was your wife on the news tonight.”
My mouth felt like a wasteland.
“What? Who?” I asked.
“She was lifted from your house with the crane. They rescued her, you know.”
She read the monitors in the room and took notes on her clipboard. Her hourglass figure was draped in all white attire. Her name tag read SARAH.
“That guru, the fitness guy, he found her. Apparently one of your neighbors called him. Said they were concerned,” she continued.
“Rescued? What happened?”
“You collapsed. You haven’t eaten in, oh, probably six days. Your wife, they took her away. They are going to help her.”
I wanted to rip out the IV and run clear of the hospital. I wanted to scream. But I was almost too weak to speak and the catheter in my urethra had me chained to the bed.
She turned on the television. Every channel showed the same scene at different angles. My wife was being “rescued”. Everything went dark again.
For the next week and a half I spent time in or around the hospital talking to doctors, shrinks, dieticians and nurses. They all saw her on the news, my wife. I know this because they found it necessary to tell me.
Sarah walked me out the day that I was cleared from the hospital. “It’s not your fault. You can’t save everyone. I have tried,” she said. She handed me a card with a telephone number written on it. “We all want to feel needed. Call me.”
For the next year, I tracked my wife through the daytime television. When she filmed the “very special” weight loss episode with the fitness guru is Seattle, I was forbidden from the premises. During the special hosted by that balding, mustached psychologist, I tried to find which hotel she was staying in.
Calls were never returned. Letters were never answered. Doors were closed. I was floating at the bottom.
For weeks I watched as she had her stomach stapled, as she lost weight, as she crusaded to help others. Months and months on end I watched. I was helpless.
“We have all had something taken from us,” my wife would say. “We all need someone to steal it back.”
And as I watched, I ate. And I ate more. For days, weeks, months, I ate. I stared at the screen everyday, eating my way back to her. I needed her to save me.
Yeah, you have probably seen me too. I am the house ridden man from the viral video on the web, the giant orca who can’t get out of bed. I too have made my way through the day-time television circuit. I have had my own half- hour, heartbreaking segments. But all you saw was a humungous man who has eaten himself into a death sentence.
Sarah calls it “a serious attempt at romance.” She has been taking care of me for a few months. While my wife is saving the some obese mother of three, Sarah is busy taking care of the dirty work. “Mental health days,” she calls my time in bed.
“You know, its funny,” she said. “God set us free with that apple. He gave us the ability to choose, to make decisions. We have to decide what color socks to wear, what the best type of toilet paper to use, what to eat, what to watch on television.”
She climbs into the bed beside me and grabs my hand.
“But the most important of all decisions, the one we want to control…you can’t choose who you fall in love with. You can only choose how you deal with it.
She holds my hand tighter and lays her head on my chest. For the first time in a year, I turn the television off.

ISSUE 22 - DVD REVIEWS (SURF)




RIDING GIANTS

Just as the title says, this disc is about big wave riding. Directed by Stacy Peralta, world renowned skater and director of the documentary Dogtown and Z-Boys, Riding Giants focuses on pioneer Greg Noll and traces surfing from the fifties to the present with Laird Hamilton. Not the ordinary surf film, it’s a particularly uncommon documentary, tracing the ascent of surfing’s appeal to young males and the history of big wave surfing.
The first third of the film centers on Greg Noll and the early days of surfing until the eighties when pro surfers brought personality back into the sport and shorter boards were more common. Much is focused on Waimea surfing and the huge waves surfers ride.
Next is a section on Mavericks, a surf spot held secret for fifteen years by Jeff Clark. It’s an area he found in his backyard off the coast of Northern California outside San Francisco. Looking out from his school he saw a huge wave breaking consistently in the distance. One day he set out to ride it and kept it a secret until 1990. It is an area surfers have to paddle forty five minutes to get to, a trek in rough, cold waters with treacherous rocks near by. The waves rival Waimea, in size and complexity, a sight to behold. Clark describes how he “never had water move so fast under a board before.”
The section doesn’t ignore the dangers of the spot, noting the death of Mark Foo and discussing the pros and cons of using a leash in waves over twenty feet tall. The leash can tie surfers to a rock below or be used to climb back to the surface to return to their board.
The final act focuses on Laird Hamilton, the best big wave rider in the world, taking a look at tow-in surfing that allows surfers to catch enormous waves up to eighty feet in size. Hamilton explains that it isn’t so much the complexity of the wave but the struggle to catch it since the wave is moving terribly fast. Getting out there begat jet skis that towed surfers out to the wave where they caught it sans paddling.
These waves are tremendous in size and surfers travel on them at thirty five miles an hour, they almost disappear on the face of the wave. It’s like man being able to play on the filed with dinosaurs. This relatively new way of riding is another step in the evolution of surfing, taking the leap with on one of Mother Nature’s greatest thrill rides. Riding Giants illustrates humanity’s capability to express wonder and embrace it to the fullest

- Brian Tucker





STEP INTO LIQUID

“Once you surf, you’re in the club,” says six time world champion Kelly Slater. “It’s like the mob. You can’t get out.”
Dan Brown’s Step Into Liquid showcases the soul and spirit of surfing. His camera travels all over the globe, from Hawaii to Vietnam, Wisconsin to Tahiti, telling a spot on story of surfing and its lifestyle. Brown, son of Endless Summer’s Bruce Brown, follows surfers over and under waves, catching their success and falls. One spectacular shot follows a surfer diving under a wave, beautifully capturing the roll from the below the surface.
In Hawaii, Laird Hamilton rides waves of incredible size, so large he’s towed out to them by Jet Ski, leaving one to wonder what drives someone to take such a risk. The answer is the fulfillment of passion for surfing, something that is genuinely lost on much of popular sports today. But surfing is more of a way of life than a sport.
“Can you describe a color to someone?” asks Hamilton. “No, you can’t. You have to see it to understand it.” You have to do it, be an active participant.
Surfing was a rebellious past time that exploded during the early sixties into mainstream culture. If surfing is a sport, then it is one still misunderstood and looked upon with a strained eye. Philosophical as it is daring and dangerous, surfing is displayed in. Step Into Liquid as much for its individuality as well as its fervor. Much of the blame for surfing stereotypes rests with modern media and movies. Step Into Liquid does well to squash the sound bites of ‘Hey Dude’ and Spicoli from Fast Times at Ridgemont High.





Especially with the fact that necessity is the mother of invention when it comes to catching waves, any waves. In the absence of an ocean or acceptable waves, surfers have a knack for finding a solution. In Wisconsin, on Lake Michigan, locals wait for winds to emerge and then take to surfing the resulting waves. It may not be Hawaii but the excitement is evident on their faces, enjoying each wave as though it were the last. In Texas, surfers take a boat ride into the ocean to surf the wake of a super tanker.
“You can ride the same wave for a long time,” says one of the surfers. The men ride continuously, while the super tanker moves along in the distance. It’s a fantastic and outlandish sight captured on film.
The Malloy Brothers return to Ireland where their family hails from to surf. The locals come out to watch, uncertain whether the brothers will head into the icy water. Later, they bring boys and girls from Northern Ireland, Protestants, and they surf in the same ocean as Catholic boys and girls. While the rest of the country is at odds over religion, these children find a common ground in the water with surfing.
The film also follows a veteran of Vietnam back to Da Nang to surf again and chronicles a paralyzed surfer. And then there’s Dale Webster, who’s surfed everyday since 1976 in which to set a record of surfing over 10,000 days. In Tahiti the film focuses on three female surfers who embody the precision and enjoyment of surfing. In a field that once shunned female surfers, these women show off their talent.
“Who’s the best surfer in the world?” Keala Kenelly asks rhetorically. “The one that’s having the most fun.”

- Brian Tucker





UNTIDALED

Oh what fun it must be to hit the road for some great surfing footage, from the United States east coast to California, Hawaii and Puerto Rico. Untidaled is a straight up surf film, complete with non-stop footage occasionally interrupted by tomfoolery and bikini shots. It is essentially all surf action, beneath the curl of the waves and over the back of them.
Surfers are filmed shredding and toppling waves big and tall, bursting out of the sky blue colored barrels, foam blowing out just behind them. In New Jersey surfers tackle green surf that is rough and mushy, careful to avoid industrial pilings in the surf. Their ability to ride and avoid pitfalls is pure fun in itself, showcasing how far surfing has come in the last fifty years. Some scenes capture how amazing surfers are on a wave that they have no control over, sliding, twisting and slipping over the lip of a wave. It’s an elegant dance they do, maintaining balance and form on moving water.
The waves at Cape Hatteras are the most interesting, super fast, clean and crisp, propelling surfers out like shot through a gun. But they are no match for the big waves of Hawaii, skyscrapers themselves that are breathtaking but brutal and unsympathetic.
The forty five minute disc hosts a ton of surfers, from Jason Reagan to Tom Curren and Kelly Slater. It’s a fine disc of all action surfing. However, depending on what you like in a surf video it may or may not appeal.
Untidaled is less a documentary and focuses strictly on action. There’s no interviews with the surfers or comments from spectators or the filmmakers. It’s all action, which many may prefer. The footage is accompanied by established popular music from The Cult, Marilyn Manson, 50 Cent, The Bravery and Danzig. It would have been more interesting to have the scenes accompanied by lesser known artists (like bands on the film’s soundtrack TSOL and Social Distortion). Given that surfing, at its heart, is still an underground activity, the music used would have been more compelling were it lesser known.
Untidaled is a welcome addition to any collection of surf films. Watch it with your own tunes or as is, it’s still a lot of fun to watch.

- Brian Tucker

ISSUE 22 - CD - REVIEW - THE SO SO GLOS










Those vested in categorizing everything as cool, or already over, will not like anything for more than its perceived short shelf life. That attitude causes the swift music fans to miss the gold nugget in the silt. Their perception that something is ‘cool’ overlooks the fact that it’s good. Their loss.
Some bands get labeled as the momentary cool thing, which is dangerous when they’re good. Let’s hope that doesn’t happen to New York City’s The So So Glos. They are good, they are cool and say something as they play music that puts the New York Dolls, The Clash and the sparseness of The Strokes in a cab careening down a dark alley collision.
Mixing up a sometimes overlooked genre of rock and roll and brash swagger, The So So Glos have recorded one of the best collection of songs (four to be exact) to come along in a while. You can feel and smell the city on their EP, dripping with attitude, fun and angst. The tracks are thick with rhythm and gut deep sentimentality, criss-crossing bombast with gentility.
Beginning with a singular siren guitar riff on ‘Black & Blue’ singer Alex Levine belts out The cops put a black boy in back of the car/The pretty people watch it as they strut into the bar. He sings as if being dragged away by thugs, his delivery soulful, like a staggered rally cry. The guitar is playful and pointed, moving along and then going quiet, making a point, supplanted even further by the drumming and a howling chorus of have you got it all figured out? It is fucking blissful, hoarse and brazenly Joe Strummer to boot.
‘Seventeen’ opens with harmonica, hand claps and ‘Used to Love Her’ descending guitar strumming, Seventeen and closet queen/Flashing purple on the screen…You’d rather bite the bullet than to take a chance/You’d rather be a mouse than be a man…It’s a biography with a Beggar’s Banquet feel, a wall of sound that hits hard.
There’s the New York Dolls driving strut of ‘Broken Mirror Baby’ as the band namedrops themselves. ‘Low’ is a rave-up, sounding thirty years old and new at the same time. Four songs and the band have produced something more meaningful than some say with a whole record. It has power, wildness, and a vibe and elicits the promise of something more.
The band contentedly echoes The Clash, The J. Geils Band or the swagger of T.Rex. Thank god this style of playing lives on; fun and dangerous just the same. They’re telling stories with a superb soundtrack. It may seem like they don’t give a shit, the playing is energetic and seemingly effortless. But the band does give a shit, wanting to put teeth back in music, demanding that an audience listen, dance and participate.
This is the type of band that would get airplay on SNL back in the day, a band with something to say, a little reckless. Now all you get is Avril Lavigne. Take this to heart from lead singer Alex Levine:

“I live amongst the apathetic generation. We think that we're something special, when in fact we are all beautifully mediocre. Incredibly so-so. We stand for nothing, care about nothing, talk a lot, and do nothing. Apocalyptic beings waiting for the end, and exploiting what’s left while we are still here. Making sure we look good as the world crumbles in devastation. I am as dim as the lights from the city, a fucking SO SO GLO. Just like you. Change Something.”

-Brian Tucker

myspace.com/sosoglos

ISSUE 22 -CD REVIEW - POWDERCAKE







Pure, raw sugar and ferocity describes their sound. The all girl trio from Raleigh, N.C. pound out old school punk chords with catchy hooks, L7 crossed with Veruca Salt. ‘Meant to Fit’ mixes a straightforward guitar riff and a catchy chorus, mixing up grinding guitar with nasally sweet vocals.
‘Past Life’ is the opposite, acoustic strumming and fuzzed out guitar with deeper vocals. A drawer full of memories/Pictures of a younger me smiles masking strife/Pictures of another us/Evidence of a past life. A slower track that comprises a moody and reflective narrative of time lost and people removed, Take your time/stay within the lines…it always hurts now you’re gone. The song is later complimented by low key electric guitar.



‘Inside Out’ is a shotgun ride out of town, a repeating guitar riff and sometimes snarling vocals, Inside out and broken bones/Inside and shattered hope/Now I know I’m never coming home. Then there’s the realization of ‘Only One,’ of being yourself in a relationship.
The band seems intent in making old school rock mixed with pop flourishes. The music is straight up and slightly tongue-in-cheek, vocals that contradict the music’s raw power or the band’s name with umlauts above and below the letter O and C like Shout at the Devil era Motley Crue.

- Brian Tucker

Myspace.com/powdercakeband

ISSUE 22 - CD REVIEW - PIEBALD


Piebald “Accidental Gentleman”
Side One Dummy Records, 2007

Piebald was much maligned after 2004’s All Ears, All Eyes, All the Time for its introspective lyrics and piano ballads. They were castigated for having a normal life, for growing up, for thinking about different things in 2000 than in 2004. Fans wanted the hooks of ‘We Are the Only Friends We Have’ and the spontaneous liveliness of the double-disc Barely Legal/All Ages.
From the latter perspective, Piebald may be trying a retreat. ‘Accidental Gentleman’ has more of their post-hardcore fusion than the last, with vibrant goodness in ‘A Friend of Mine’ and ‘Oh, The Congestion.’ ‘Getting Mugged and Loved It’ continues Piebald’s penchant for the sardonic; this song is their response to a mugging against them. ‘Shark Attack’ is a concoction of dirty punk rock chords and desperate vocals that re-establishes Piebald’s punk relevance.
‘Roll On’ is a horrible joke track that describes lead singer Travis Shettel’s love of biking. To the uninitiated, it would sound like a poorly recorded jingle for a children’s album. The piano is too repetitive, the melody too simple. ‘Strangers’ is the same way, and it has a cheesy friendship chorus that sounds like a Billy Joel ripoff. Shettel’s voice is horrible and disingenuous. And maybe that’s how it’s supposed to be. Shettel’s voice is oddly atonal, and it only fits with the music he creates. Therefore, there is a wry sarcastic quality to it, and also an everyman quality to it, that embodies the spirit of punk rock.
Accidental Gentleman is better Piebald than their previous, and the Massachusetts’ boys seem to still have some life in them after ten years of punk rock frantic madness. The songs that are supposed to rock do, those that are supposed to be jokes may be lost on new listeners. But punk rock without an insider’s club would be pop, so Piebald keeps Accidental Gentleman in line with their fans - those that want Piebald to never grow up, and to never go pop.
-Josh Spilker

ISSUE 22 - CD - LIPBONE REDDING


Lipbone is the past and a whole new breed of musical performer all at once. Now, Doug E. Fresh and the Fat Boys may have made music using their mouths, beat boxing in the mid-eighties, but Lipbone uses his to makes more distinct music. The sounds he makes are those of a trombone or trumpet. If you didn’t know before, you wouldn’t know while listening. All the horn sounds on Hop The Fence is made by Lipbone’s voice and lips.
Magnificent musical uniqueness aside, the songs on Hop The Fence are a striking combination of music from the past and present; Cab Callaway, Dr. John, Paul Simon and Fats Waller.
It has the feel of world music, New Orleans jazz and Delta soul. The album was recorded live (and in three days) and the feel is loose, yet electric. All those years playing and traveling the world probably helped since it’s evident in the music’s swagger. To be blunt, the album is just cool.
‘Closing Time’ is a funky number where Lipbone sings in a raspy, laid back vocalization. The title is adequate, the energy loose and fleeting. ‘Dogs of Santiago’ recalls Paul Simon, smooth vocals with a funky world music feel. ‘Sixteen Tons’ shows his musical heritage where ‘Hollywood An’ Vine’ is a delight, capturing the essence of a casual slow dance song. The vocals are talkative at first, like a subtle Gil-Scott Heron and then sweetly passionate like Fats Waller. It is laced with elegant guitar and percussion, strutting along like a couple fresh in love.
‘Old Flame’ is a country ride done right, crooning like Ross Bon from The Mighty Blue Kings but without the bass in his voice. It is a tender song ripe for a Saturday afternoon stroll.
Lipbone and his fellow musicians bring our parents and grandparents music into the present while offering it up fresh and new. Hop The Fence isn’t trapped in a particular genre in the way that pigeonholed groups such as Squirrel Nut Zippers or Big Bad Voodoo Daddy in the mid nineties. The album displays not just excellent musicianship but the ability to craft songs that are catchy and timeless.

- Brian Tucker