Jamal Ruhe – Engineer

Jamal had the good luck to be born the year Innervisions, Dark Side of the Moon, Let’s Get It On and Quadrophenia were released. Dad was a studio owner, mom was a music teacher. He had the good luck of starting a band that would record a debut Timothy White of Billboard would later call, “Dazzling… one of my favorite albums of all time.” He also had the bad luck to have that recording shelved in a label shake up. He’s had the good luck to work on recordings at Ardent, Capitol, and Manhattan Center Studios among others, and the good luck to meet Alan Douches at the corner coffee shop!

West West Side Music has two dedicated mastering suites, and a dedicated multitrack room that just needed someone to show up to track and mix in it. The “Back Room” boasts a 2″ Studer with both 24 and 16 track head sets, a ProTools rig as well as an analog console and full compliment of analog outboard gear. Jamal is happy working on Rock, Hip Hop, Metal, Hardcore, Indie Rock, Americana and just about anything you can put up on a set of speakers. He has lived many lives in the world of music.

Through the years, has worked behind live and studio consoles as well as shared stages with a wide variety of artists. In no order, some names you might recognize: Frank Black, Dick Dale, Morris Tepper, Pavement, Low, Jon Rauhouse, Blonde Redhead, Old 97s, Modest Mouse, Giant Sand, Owen, Har Mar Superstar, Bardo Pond, Elliot Smith, Three Mile Pilot, Seven Storey Mountain, Those Bastard Souls, G Love and Special Sauce, the Flaming Lips, the Hooters, the Gin Blossoms, Orange 9mm, Shudder to Think, Weakerthans, Steve Miller Band, Ryan Adams, Pedro the Lion, Julianna Hatfield, Link Wray, Rainer Maria, Tortoise, the Refreshments, the Sea and Cake, Slash’s Snakepit, the Promise Ring, Reubens Accomplice, the Supersuckers, DJ Radar, DJ Z-Trip, Ozomatli, Quinto Sol, Dr. Ralph Stanley, Guitar Wolf, Dandy Warhols, Guided By Voices, David Garza, Marshall Crenshaw, Nils Lofgren, Nels Cline, L7, the Gossip, Mike Watt, Zeke

Call us directly at 845-563-3094 or email us… wwsm@mac.com www.westwestsidemusic.com

My readers, how I have forsaken you. In my absence, the view count climbed, and there I was in the real world fucking up epically, more self-revelations each with less power than the last to prompt a change.

I applied to universities today.

28 Weeks to Freedom.

I wonder what my freedom is in the occasional fleeting visitations of reason – I swear to fucking god I’m losing it. I’m fighting a losing battle against society, and I’m going to fall Holden’s fall. It’s not even about the people around me anymore, I’m not sure if it’s around me. I’m not sure that the world we live in is able to sustain the everman’s growth anymore. I think the Wikipedia Generation has been stretched to its breaking point. Everything within arms length; I’m not sure I want what I wanted anymore.

Only from Frank Black’s snuff-film scary rants on everything do I find some morbid solace in the fact that a band like the Pixies were able to find amusement in the shit that we’re all disturbed by – they must have been some nasty-ass motherfuckers.

Seriously though, I’m just scared of the unknown right now – school’s  just another fucking chore that occupies time and inhibits me from just finding something worth holding on to – a reference point if you will.

I’ll be doing  a Pixies Wave of Mutilation review soon, as well as a Pixies overall critique – It’ll be fuckin A.

(Photo from The Washington Post – By Stephen Lovekin/Getty Images)

The Pixies 2006 documentary was aptly called LoudquietLoud.  Whether it was DAR’s acoustic’s or the Pixies’ playing – the show was one of the loudest I’ve attended in a while.   When the Pixies first got back together in 2004, I was excited but unsure whether I wanted to see them.  Reunions tours can sometimes be a bust.  

I’m under the impression that Frank Black (or is it Black Francis since we’re talking about the Pixies?) must have been sipping green tea with honey regularly for the past 20 years.  A 45 year old man should not be able to scream like he did during songs like “There Goes My Gun” or “I’ve Got Something Against You”.   But Black wasn’t the only member of the band who proved himself.  Perhaps because of the way the songs are written the songs simply cannot be performed half-assed.  That being said – the band seemed extremely tight as they shifted from their signature loud and quiet format -sometimes  several times in one song. 

Obviously, Black is the star of the show.  But as my friend Michael told me, “they’re like the Beatles of ’80s.  If one was missing, it wouldn’t be the same.”  After seeing the show, I couldn’t agree more.  Guitarist Joey Santiago is a master of the aggressive one-note style of playing – only letting loose on an extended version of “Vamos”.  Kim Deal and David Lovering proved that they are probably one of the most under-rated rhythm sections in rock.  

And to anyone who thinks that concerts where bands play entire albums suck – this show reminded me how great of an album Doolittle is. It gives the band and its audience something to celebrate.  Most reunions shows are just a greatest hits forum.  With the album-concert concept – bands are forced to play songs they probably never played.  It’s nostalgia without the bitter taste in your mouth.

And it also confirmed my theory that everytime I listen to Nirvana I hear a half-assed Pixie song.

Release date: 2009 Genre: Indie Pop Label: Red Ink Records

Rating: listened to: often

Grand Duchy is not just Frank Black’s latest solo project. Instead, Frank Black merely is a band member of a two-person band headed by Violet Clark (who just happens to be his wife)… and Violet Clark, she is in a word spectacular! Part Madonna, part Kim Deal, part Kristin Hersh, but always Violet Clark, she channels various female alt-rock leaders and pop stars but never imitates them. She’s having a great time, and Frank Black and the listeners happily go along for the ride. If it weren’t for the fact that the album references a lot of indie music (in a good, self-assured way) instead of presenting something entirely new, I would have rated it five stars. But then again, maybe using that as a criterion would make it impossible to rate an album five stars nowadays. Petit Fours succeeds completely in what it sets out to achieve.

The album starts with Come over to my house and from this you might be lulled into expecting Frank Black to be in charge. He’s in fine form, and as usual I love the lyrics. Come on over to my house / I’ll make you buckets of tea. He may be ironic in his songs, but he’s always sincere and never pathetic. Violet Clark takes over next, continuing the theme and celebrating love in Lovesick: Don’t stop for breathing / leave it when you’re older / Listen to that devil on your shoulder / Don’t stop for reasons / be a little bolder / Everybody’s got their lovesick seasons.

Fort Wayne is apparently the oldest song on the set list. Pleasant, but not really remarkable in my opinion. It did however rightly raise expectations for the forthcoming album when it was played in concerts.

Their age obviously works for Frank Black and Violet Clark. They’re veterans of rock and of love and don’t mind showing it on this record. Black Suit, the highlight of the album, benefits from this perspective. And the song itself is just plain awesome, with perfect vocal deliveries from both Black and Clark and an insidious post-punk sound reminding me of Killing Joke and Echo and the Bunnymen (or Interpol, for a more recent obvious comparison). Soul slipping down the coal chute into the alien mine / The boy looks good in a black suit / we all know that he looks divine! I’ll probably never figure out exactly what the song is about, but the glimpse offered by the lyrics is tantalizing.

On the other songs Violet Clark is teasing, jubilant, or just sweet. The album fittingly closes the party with Volcano! Violet Clarks starts with Is this song starting? / I’m a little confused before morphing into Kristin Hersh, but by then we’re already in on the joke. Everybody on the dance floor, to celebrate love and three decades of alternative music.

I can highly recommend the album. Lately, I have been collecting albums that are good-natured in tone without being flat, boring or embarrassing (although I still like my gloom and doom… albums from bands like Tindersticks, Sisters of Mercy remain more than welcome). When it comes to this, Frank Black always delivers. I do not agree at all with the (otherwise positive) Allmusic review where they call the album a bit long – both Break the angels and Fort Wayne are fine songs.

track list
1. Come on over to my house
2. Lovesick
3. Fort Wayne
4. Seeing stars
5. Black suit
6. The long song
7. Break the angels
8. Ermesinde
9. Volcano!

The last time I wrote a live review was when Dave Navarro’s band played the Paradise about four years ago, because my friend Karen has a huge crush on him [she probably still does. Karen and I are no longer friends because she gets mad at me very easily and never forgives me]. Needless to say, I mainly reviewed albums as a music critic and never picked up on the art of writing a solid, engaging live review [for a good one: see Sarah Rodman at The Boston Globe]. I did go to the show with a very cute, smart guy and he held my hand during the set! That was sweet. I’ve also never been a Pixies fan [How is that possible when I’m from Boston? I don’t particularly follow the Red Sox either but I adore The Patriots. Football is cooler.] I’m only familiar with the radio singles. I’ve seen the band once live before at Agannis Arena and it was a pretty good show. The yelling songs I can do without. There’s definitely a cult following. You know, the cool kids are in the crowd. Now they are the hipster parents who got babysitters to have a big night out at the rock show.

The Wang Center is a rather regal setting for a band like Pixies. It’s for ballet. At least it used to be but things have changed. So now the ornate building served as the homecoming venue for that band from UMass, not Dinosaur Jr., but Pixies. It’s just that the Pixies seem much less fancy and more rock and roll and gritty. The venue choice surprised me. It was a treat to see the Pixies there. The latest craze for older bands is to get back together and play a popular album in its entirety and for the Pixies that is Doolittle the band’s third album which includes classics such as “Debaser,” ‘Wave of Mutilation,” “Here Comes Your Man,” “Hey,” and “Gouge Away.”

Often I sensed that the crowd was way more into the show than the band and that’s never a good thing. I wanted the band to put in a hearty, complete effort to entertain me. [I completely enjoyed myself and got into it and all but I don't know most of the songs]. After playing Doolittle in its entirety the band played three [egocentric I’d say] encores of B-sides. On “Where is My Mind,” my date thought that it sounded worse live than on the CD. He felt the Pixies gratuitously played the song. Judging by the hopping and shaking and cheering and cell phone picture-taking and tweeting and texting going on around us, the crowd disagreed.

Bassist Kim Deal looked most at ease and energetic the entire time and particularly on the final song (and the band’s third encore) — incidentally my favorite Pixies’s song “Gigantic.” Of course my classy date wrote that the encore sucks. “It was so short it was like my 20-year-old date cumming in his pants before I even took my shirt off [quote obviously written from my point of view].” Frank Black rarely smiled but his voice sounded great and on other numbers he loosened up. All in all, the Pixies turned out a cool, grooving show. The band falls easily back into playing off each other and riffing and jamming on several songs.  

–review by Amy Steele

This is the main set list:

DANCE THE MANTA RAY         

WEIRD AT MY SCHOOL

BAILEYS WALK

MANTA RAY

DEBASER

TAME

WAVE

I BLEED

MAN

DEAD

MONKEY

MR GREIVES

CRACKITY

LA LA

# 13

GUN

HEY

SILVER

GOUGE

SLOW WAVE          WHITE

• Bjork com Guomundar Ingolfssonar Trio – Litli Tonlistarmadurinn,
• Joe Strummer And The Mescaleros – All In A Day,
• Frank Black – White noise maker,
• Edwyn Collins – A girl like you,
• Galaxie 500 – Strange,
• The Glove – Looking Glass Girl,
• Royksopp – What else is there,
• Empire of the Sun – We are the people,
• Space com Cerys Matthews – The Ballad of Tom Jones,
• Itamar Assumpção com Tetê Espíndola – Adeus Pantanal,
• Pizzicato Five – Sweet Soul Revue,
• Bobby Fuller Four – I Fought the law,
• Emmanuel Jal com Abdel Gadir Sali – Blood Diamond.

The Pixies arrived in Seattle to play two nights at the Paramount Theater.  Being historical musicians playing in a historical Seattle Theater made this show feel like that of the early 90’s.  The set was opened with b-sides, which were fresh and complimented by an amazing background of lights and digital screens.  As the set rolled on singer and guitarist Frank Black started to get into the more circulated tracks like “Here Comes Your Man”, “Wave of Mutilation”, and “Hey”. The Pixies if for some reason you are unaware are built from the great city of Boston.  Comprised of Frank Black, Joey Santiago, Kim Deal, and David Lovering.  The show overall was well balanced and the set was constructed with an intention of keeping an extremely smooth show.  The Pixies were better than I could have ever envisioned.  The crowd being of both young and old were equally appreciative of the band making it’s way back on the stage to play the hit “Where is my mind”.  This of course left me thinking after the show that I could include some cheesy closing comments about how amazed and satisfied my mind was and is, but I will resist.  I will not talk of my mind, but I will raise the question; where was your mind if you missed one of the best shows in the city of Seattle this year?

On the Graveyard shift, with Mark Radcliffe, Joolz and Frank Black live.

22nd January 1996 Side A

22nd January 1996 Side B

En esta ocasión, la recopilación no empezó por una canción, sino por la portada. Estaba repasando las fotos que hice los últimos meses y me topé con la que he utilizado para este disco. La retoqué un poco, elegí un nombre y, de ahí, surgió Prince y su Sign ‘O’ The Times.

Después, todo fue ir encadenando canciones, hasta que con el Mr. Suit de Wire se cerró la enésima recopilación que os dejo en el blog: una selección de temas más indie de lo habitual (con toques pop, punk, new wave, etc.) y muy entretenida desde mi punto de vista.

Haz clic en la portada para descargar Modern Times

Prince, Young Marble Giants, The XX, Giant Sand, Pavement, Stephen Malkmus, Iggy Pop, The Wave Pictures, Papas Fritas, Violent Femmes, Patti Smith, The Pastels, Nick Lowe, The Stranglers, Kashmir, Sebadoh, Wolf Parade, The Undertones, The Polyphonic Spree, The Raveonettes, Tegan & Sara, The Breeders, Veruca Salt, The Manhattan Love Suicides, Frank Black y Wire son los cantantes y grupos que he incluido en Modern Times, que, como siempre, os la podéis descargar pinchando en la imagen de la portada.

AQUÍ tenéis el listado de canciones. Espero que os guste.

P.D.: La foto es de una tienda de juguetes y objetos antiguos que está en el barrio de Chueca.

Yeah i like this part cause it dope, idk he’s got some tech, some big, style, a bit of everything. Plus I lOve the Intro and the song.

For the Portland (Maine) Press Herald.

Pete Yorn has been a busy man lately. He’s also been a fortunate man – particularly in regard to whom he’s worked with.

For starters, the singer-songwriter recorded an album with Scarlett Johansson, pretty much the hottest and most talented young actress in Hollywood. As Don Draper of “Mad Men” would say, men want her and women want to be her.

But is she really as classically beautiful in person as she is on screen?

“More beautiful,” Yorn said from a recent tour stop in Indiana. He didn’t say it like he was bragging, which would have been excusable. No, Yorn spoke as if simply stating a fact.

Continue reading.

My favorite season of all.

If you ever want a fool-proof way to make me shout, “Aughaughaughhh,” in a positive manner, tell me about one of my all-time favorite bands having their somewhat obscure songs shown some love by a current favorite band. I nearly bawled fat tears of joy when Glen Hansard of the Swell Season made it clear that he’s a fan of the Pixies. In the Swell Season’s show in Eugene, OR last year, Hansard and bandmate Markéta Irglová took a break from their collaboration’s characteristically yearning ballads and paid their respects to the former-ish band of Eugene resident, Frank Black. I especially like the part when Hansard digresses to talk about Finding Nemo and manages to logically tie a movie about fish to the end of the Come On Pilgrim track. It’s an inspired combination of images that Black would surely enjoy.

Less recently and less locally, the Swell Season also tried out “Cactus” from the Surfer Rosa album. Hansard breaks a string but smoothly gets his guitar replaced without interrupting the flow of the song too drastically. Irglová’s soft voice gets more volume, too. And while it’s impossible to really capture the tension and bare-faced desire of the original, particularly at Coachella as the audience members clap their hands and grow increasingly more delirious with every passing sleepless hour, the song is still a pretty apt selection for a Swell Season cover. Only time will tell if the Breeders or Frank Black’s solo work (or, less likely, the short-lived project of Joey Santiago and David Lovering, the Martinis) get the Hansard/Irglová treatment at a future show.

The Swell Season will play at the Crystal Ballroom on Tuesday, November 24. Doveman will also play.

“Levitate Me”

“Cactus

I can’t say I know much about London indie band Art Brut but a friend of mine (thanks, David Willis) recommended this song to me a couple of months ago and I’ve since heard a few more of their songs and been pretty impressed.

They remind somewhat of a cross between Half Man Half Biscuit and Pulp.

From their third album Art Brut vs. Satan, produced by former Pixies frontman Frank Black and released in April this year, this is DC Comics And Chocolate Milkshake (two things pretty close to the Choob’s heart, though I prefer banana ’shakes to chocolate).

The performance was filmed live on June 13 this year at Seattle radio station KEXP.

Enjoy!

El jueves por la mañana estaremos Fer y yo camino de Londres. Como no creo que pueda actualizar el blog hasta el próximo lunes (seguiré actualizando por Twitter (adolf_ITO) y Facebook), os dejo para estos días de parada técnica una nueva recopilación.

En esta ocasión me apetecían temas lentos y no me he fijado especialmente en el estilo (ha quedado muy ecléctica), sino que me he dejado llevar, enlazando una canción tras otra. Como novedades, el Star Power de Sonic Youth en una nueva versión acústica y el Space Oddity de David Bowie en italiano (lo había incluido en otra recopilación, pero en esta ocasión está remasterizado digitalmente –el otro archivo es una transferencia directa de un LP antiguo–). Por lo demás, muchos temás clásicos, algunas versiones y, sobre todo, canciones a las que suelo recurrir con cierta asiduidad. Espero que la disfrutéis.

Haz clic en la imagen para descargar la recopilación.

Los cantantes y grupos que he seleccionado en esta ocasión son David Bowie, Sonic Youth, Arcade Fire, Lambchop, Suede, Pixies, Cocteau Twins, Paul Weller, John Butler Trio, Bright Eyes, Cowboy Junkies con John Prine, Elton John, Elvis Costello, Johnny Cash, Frank Black, Five For Fighting, John Hiatt, Cyndi Lauper con The Minus 5 y Aztec Camera.

AQUÍ tenéis el listado de temas.

P.D.: La foto que he utilizado de portada es un detalle de una escultura de la Alte Nationalgalerie de Berlín.

There were a lot of familiar faces guest staring on Fringe last night (and last week for that matter) – let’s start with Kevin Corrigan who you may know from movies like Superbad or television shows like Grounded for Life.  He is currently playing Sam Weiss, the man Nina Sharp told Olivia could put her back together again (and how to score 300 in bowling).

Then there is Claudette Mink, who you may remember from earlier this years horror TV drama, Harper’s Island.

Finally, Lance Henriksen who portrayed Frank Black in the Chris Carter series that was released after the X-Files known as Millennium.

Another X-Files (esk) reference…

Fringe began with a human super bomb that was triggered by a combination of a weird serum tuned to the right frequency. You see, over in Iraq the military did a top secret study on some of their soilder – they injected them with this amber colored liquid that would freeze them and cause them to explode – just like a human bomb.

The problem… they didn’t know.

So Walter, Peter and Olivia head off to discover the truth. The Observer (a.k.a. “The Bald Guy” or Fringe’s “Cigarette Smoking Man”) made his reappearance tonight. It seems that The Observer is behind it all.

Collecting data on the human race so that “they” can fit in and then destroy us. Oh they and them… how they are known for that…

On a side note, when Peter was in Iraq – he wasn’t a nice guy and Olivia, with the help of Sam Weiss, is not only working on getting her memory back she is off the cain, as of the end of the episode.

The fidgeting of Walter was better this episode, they didn’t over do it with is “quirky food” references, but I still worry. The first season took a major turn so maybe this season will too, the one thing I did get is that the Bishops are here to stay.

Well, at least they’re moving out of their hotel room into an apartment.

Fringe airs on Fox, Thursdays @ 9pm - Next week, more Leonard Nimoy!

Léo e eu conversando sobre um episódio de Millenium (especial de Halloween) em que o sr. Black, ainda criança, tinha seu primeiro vislumbre do que estava por vir.

num sótão escuro, um homem com barba por fazer, fumando como uma máquina a vapor, conta uma história. subentendido: trata-se de uma criatura de outra esfera.

junte-se a isso a leitura, anos antes, de Guaita (sobre Jacques de Molay e o julgamento dos templários) e, presto!, surge Lúcio, protagonista de ‘a continuidade do fogo’, ‘escaldado no fogo do inferno’ e ‘heróis’.

a predominância do ‘fogo’ dá o tom.

Lúcio é meu dublê de Constantine?

Crédito: 20th Century Fox Home Entertainment

Os fãs de Millennium (entre os quais eu me incluo), andam um pouco entusiasmados com a possibilidade lançada por Lance Henriksen em entrevistas recentes de a série regressar à televisão, na forma de uma quarta temporada, ou ao grande écran, na forma de um filme. De acordo com Henriksen, que protagonizou esta obra de culto dos anos 90, existiria um consenso em torno do elenco original, faltando um sim de Chris Carter para a execução do projecto.
Para os que não conhecem a série, Millennium foi a série que sucedeu aos Ficheiros Secretos na obra de Chris Carter, e se muitos identificam algumas semelhanças entre as duas séries, o facto é que ambas têm em torno do seu argumento base, e como única semelhança entre si, o facto de se centrarem numa realidade conspirativa, sendo que a partir deste facto ambas se separam…se Ficheiros Secretos segue as linhas da cultura UFO Folk dos EUA como espinha dorsal da sua construção, Millennium situa essa componente conspiracionista na temática do ano 2000 como data do fim da existência humana, analisando não apenas no presente mas através da história, a forma como a civilização se desenvolveu em torno desta ideia, e os fenómenos que na realidade presente surgiam como relacionados com este facto.
De facto, se Ficheiros Secretos foi comercialmente a grande série de culto de Carter, a realidade é que se a analisarmos bem dentro da linha de pensamento que a originou ( e mesmo da sua extensão para o paranormal), não existe grande “sumo” para além do que se pode ler nesse UFO Folk, embora existam episódios individuais escritos e realizados por Carter que procuram fugir a essa matriz dogmática, sendo esses episódios pontuais nas diferentes temporadas. Quanto a Millennium, Carter parte do que existe sobre a sua temática em particular para todo um conjunto de realidades consubstanciadas em variados argumentos muito bem escritos em torno não apenas da sua base ficcional, mas igualmente em torno da psicologia comportamental, da dinâmica do mito na sociedade moderna ou em torno da análise da questão do fim dos tempos em diferentes matrizes culturais, não sendo pouco frequente a associação destas três (ou outras) temáticas. Toda esta versatilidade é incorporada em  Frank Black, que não nos surge tanto como um cruzado pela verdade, mas como um pivot de personalidade muito marcada pela influência de todas estas variáveis, com influência directa na sua vida pessoal ao longo da série. Esta andou sempre um pouco omnipresente na saga Ficheiros Secretos, com o Jeep vermelho que caracterizava a personagem Frank Black a surgir em vários episódios, sendo que a própria personagem surge na sétima temporada num episódio onde se deslinda um pouco da história de Millennium. Apesar disto, Millennium está muito longe de ser um spin-off de Ficheiros Secretos, como por vezes, de forma errada, alguma crítica menos informada vai opinando.
Para ser franco, sempre gostei mais da fórmula de Millennium, e fico muito satisfeito por existir a possibilidade do retorno deste magnífico enredo, independentemente do formato. Preocupa-me, contudo, a possibilidade de um filme após os dois trabalhos muito fracos em relação à adaptação dos Ficheiros Secretos para filme, embora no caso particular de Millennium estejamos perante uma fórmula que não está de forma nenhuma desgastada para se colocar em filme, apesar das fracas audiências das últimas temporadas, fenómeno que se fez sentir também em Ficheiros Secretos. Logo se verá o que pode surgir. Certo é que estarei bem atento.

Usually I try to focus on bringing you tunes from the 80s and 90s, but this week I’m going to do more. I’ve got some great tracks from the early 80s and then some really recent bands and bands from the early 2000s that just go so good with the early new wave and punk sounds. I’m also going to be bringing along some classic late 80s/90s tracks. It will be a fun time.

Listen in tonight on KRUI 89.7 fm or online here. Also my dad is here with me. Here he is eating an ice cream. How cute is this man? And, he’s cool he played Johnny Cash.

1. Archers of Loaf, Icky Mettle, Hate Paste
2. The American Analog Set, Promise of Love, Come Home Baby Julie Come Home

3. Crime, San Francisco’s Still Doomed, Frustration
4. Built to Spill & Caustic Resin (1995), EP, One Thing
5. The Stooges, The Stooges (1969), Real Cool Time (Remastered)
6. Northern Picture Library, Paris (1994), Signs
7. Aveo, Battery (2004), Awkward at the Knees
8. Lush, Split (1994), Starlust
9. Frank Black, Teenager of the Year (1994), Space is Gonna Do Me Good (Check this goof ball out!!)

10. The Brian Jonestown Massacre, Strung out in Heaven (1998), Wisdom
11. Nick Cave & The Bad Seeds, Let Love In (1994), Ain’t Gonna Rain Anymore
13. Radio Birdman, The Essential Radio Birdman, Murder City Nights
14. T.S.O.L., T.S.O.L. (1981), Word Is

15. Descendents, Fat (1981), Mr. Bass
16. Pinback, Blue Screen Life (2001), Prog
17. Shipping News, Flies the Fields (2005), Axons and Dendrites

18. Wild Beasts, Two Dancers (2009), All the King’s Men ( I learned about this band and Autolux which was played later from the podcast One Track Mind, their blog can be found here. It’s pretty cool.)

19. Orange Juice, The Glasgow School, Falling and Laughing (track came out in 1980)
20. Autolux, Future Perfect (2004), Turnstile Blues
21. The Sleeper, The It Girl (1996), Dress like your Mother
22. Shop Assistants, Shop Assistants Anthology, I Don’t Want to be Friends with You
23. Talking Heads, Speaking in Tongues (1983), Moon Rocks
24. Young Marble Giants, Colossal Youth, Choci Loni
25. The Cure, Pornography (1982), The Hanging Garden

26. The Verve, A Storm in Heaven (1993), See You in the Next One (Have a Good Time)
27. Guided by Voices, Live at the Wheelchair Races, Over the Neptune/Mesh Gear Fox

Sunday, September 20, 2009 at 7:30pm

Ciao My Shining Star –The Songs of Mark Mulcahy

Featuring Frank Black / David Berkeley / Chris Harford / Ray Neal / Butterflies of Love / The Autumn Defense / Vic Chesnutt / The Parkway Charlies and many more!… Plus a premiere screening of the Thom Yorke video “All For The Best” and readings by graphic novelist (and Parsons Illustration Full-time Faculty) Ben Katchor.

Music Hall of Williamsburg,
66 North 6th St., Brooklyn, NY 11211

$20.

For Tickets:

http://www.musichallofwilliamsburg.com/event/3502
http://www.ticketmaster.com/Ciao-My-Shining-Star-the-Songs-of-Mark-Mulcahy-Ft-Frank-Black-More-tickets/artist/1356151