Showing posts with label 2000. Show all posts
Showing posts with label 2000. Show all posts
Tuesday, September 4, 2018
Schema - Schema EP
Another quickie "thank you" post in the wake of this blog's 500,000th visitor yesterday...
In my Mary Hansen (Stereolab) post from about five years ago, I mentioned that a couple of years prior to her untimely death in a London road accident, Mary was involved in a one-off collaboration with members of the Seattle alt-rock group Hovercraft in a collective called Schema, whose sole release was an obscure five-song EP.
To save you the trouble of searching it out for yourselves, here it is for your enjoyment - the Schema EP, recorded and remixed in Seattle in 1999, and released on indie label 5 Rue Christine Records on October 3rd, 2000. All of the songs on this disc are great, with my personal favorite being "Far From Where We Began", featuring Mary's voice prominently:
Enjoy, and as always, let me know what you think.
Please use the email link below to contact me, and I will reply with the download link(s) ASAP:
Send Email
Labels:
2000,
5 Rue Christine,
Alternative,
Mary Hansen,
Schema,
Space Rock,
Stereolab
Wednesday, February 1, 2012
Various Artists - O Brother Where Art Thou? Soundtrack

Hold onto your hats, folks - this is gonna be a long one . . .
I've found that the best times in your life are usually not the ones you plan, but the ones that just sort of happen. The great thing I've discovered about being alive, of being able to walk around on this nutty planet, is that even during the most mundane, ordinary days, there's potential magic and amazing experiences tucked away around every corner. Most of the time, we fail to see these opportunities, or we don't move fast enough to take advantage of them. But when that special thing actually does happen, seemingly from out of the blue, it reminds you that the possibility of magic IS out there. I have had some unique and interesting experiences in my life, and this is one of the best of them - moreso because I didn't really go looking for it, but it just sort of found me just the same.
One Friday in June of 2001, while I was living in Providence, Rhode Island, I took the day off of work to run some errands. None of the things I needed/wanted to do that day were of any major consequence - I needed a couple of things from the Stop & Shop grocery; I had to pick up some bits and pieces of dry cleaning; I needed to buy myself some new pants - typical stuff. As I was walking out of my apartment that morning, I remembered that I had a roll of undeveloped film sitting around, taken during a recent trip to California. So I turned back to grab it, figuring that I could head over to nearby Providence Place Mall and drop it off to be developed while I visited the clothing stores there for my slacks.
The mall was fairly deserted when I got there - since, of course, most other people besides me were at work. I left my film at the camera store, then wandered around the center for a bit, enjoying the sensation of not being cooped up in the office during a weekday. As I roamed, I happened upon two women sitting behind a small folding table set up in an out-of-the-way corner of the mall. It looked sort of like one of those temporary setups that insurance or credit card companies put up in shopping centers and airports - you know, the "Sign Up Today And Get A Free T-Shirt!" sort of things. This particular table didn't quite have that particular sort of vibe coming from it, but I still began to steer clear of it - I didn't feel like being hassled that time of morning.
But with no one else in the immediate vicinity, the women started waving me over, with a little more urgency than I thought necessary. My "No" radar was still flashing red, so I can't tell you why I stopped and turned back to respond to them - I suppose continuing to move away would have been impolite on my part. But in hindsight, I'm glad I did, for as I approached, one of the women greeted me with "Hi! Would you like to try out for a TV game show?"
It was then that I noticed the banner draped across the front of the table - "WEAKEST LINK SIGNUP HERE".

In the first couple of months after its springtime debut, The Weakest Link experienced the same sort of huge popularity and success as its competitor. But with all of the hype and buzz surrounding it, I still had not bothered to watch the program. Game shows (especially prime time game shows) weren't really my bag, to be honest - I had seen Who Wants To Be A Millionaire? only a couple of times, and never all the way through. To me, all game shows just seemed so contrived and phony, with intellect not exactly being the determining factor in winning or losing. Every once in a while, I thought about trying out for Jeopardy!, since it seemed like you had to actually have (and use) some real smarts to succeed on that show. But overall, these contests weren't really the sort of thing that interested me.
I confessed my ignorance of the show to the two ladies. But they said that didn't matter; I should try out anyway, especially since I was the first one there and thus would be guaranteed a chance. Since I was going to hang around the mall anyway until my film was finished, I finally agreed. They had me sign my name to a register, and gave me a ticket with "#1" printed on it, and told me to come back in an hour or so.
I went up to the third floor food court to grab some lunch, and by the time I returned to the area where the Weakest Link table was, there were literally HUNDREDS of people gathered there, all vying for a chance to be a contestant. They only took a certain number, something like the first 300 or 400 - since I had ticket #1, I was good to go. At the appointed time, they trooped the vast lot of us through the mall, up two escalators and into a barren area that used to be a former store, now filled with folding cafeteria-style tables and benches where we all could sit.
Despite the vast size of the applicant pool, the Weakest Link folks were very efficient in their duties - it was very apparent that they had done this type of thing before, in cities all over the U.S. After greetings and preliminary remarks, they handed each of us pencils and a four-page "Biographical Questionnaire", on which we provided them with our names, addresses, education, occupation, hobbies and any other pertinent facts about ourselves. They gave us about 20 minutes to complete that. Then everyone's forms were gathered up and replaced with a single sheet of paper, with the numbers 1 through 20 listed along the left-hand side. This was the "testing" phase of the application - a staff member stood up in the middle of the room and shouted out twenty questions, one at a time, while we quickly scribbled our answers down on the sheets provided.
- "What is the capital of Wisconsin?"
- "What does DNA stand for?"
- "How many sides does a Rubik's Cube have?"; etc.
The game show recruiters then gathered up everyone's test sheets (we all put our names at the top beforehand), and took all of these papers back to another part of the room, closed off from the rest of it. In there, there appeared to be a couple of dozen additional staff members sitting, waiting to grade the exams and match them up with the bio sheets. Apparently, they were looking for both the smartest and quirkiest/most interesting personalities to be on the program. We (that is, myself and my fellow contestant applicants) sat in that room on those hard benches for what seemed like an eternity, until the group leader finally reappeared and announced the names of the applicants who would move on to the next round in the process. Out of more than 300 people, they selected about 20-25 of us for Phase II . . . and, lo and behold, I was one of the selectees.
After dismissing the others, they took my selected group back to yet another part of the store, which had been set up to vaguely resemble the actual game show set. There, we were told that we were going to assemble in groups of eight, and play a quick version of the game, all of which was to be filmed by several cameras set up around the room and "sent back to Hollywood" for the show's producer's to make the final determination as to who would and wouldn't be invited to be on the actual show. After a rapid run-through of the rules of play, we began the mock competition. While the cameras rolled, the stand-in for the show host lobbed questions and insults at us, and we all tried our best to answer/respond in kind (they claimed beforehand that it didn't matter if we answered a question incorrectly; they were just trying to see how we looked and responded on camera. Whether that was true or not, I know for a fact that I didn't miss a single question - a factor that played in my favor, as I learned later on).
After about 45 minutes of that sort of nonsense, that was that. The crew thanked us for our time, and said that they would be in touch with us soon. It was late afternoon when I finally left that store, so I went down to get my developed pictures before walking home (never did get those new pants that day, however . . .).
I didn't tell a lot of my friends about my experience that day, because despite assurances from the production staff that we would "hear from them", I honestly didn't expect to. I figured that that team had been doing the same type of recruiting all over the country, and as such there were scores of other applicants for them to choose from besides me. I was semi-hopeful to get a call from them, but I wasn't really banking on it.
However, to my surprise, an associate producer for the show contacted me in less than a week. The top-line producers, she said, were impressed with how I presented myself on camera, and they liked my background, etc. She also mentioned that, during the filmed portion of the process, I was the only one to correctly answer a question that had stumped every other applicant in the country (this is no bullshit). The question was, "Which Milwaukee band was discovered by the Pretenders in 1981?" At the time, I knew from the moment they said "Milwaukee band" that the answer was "Violent Femmes". No one else nationwide provided the correct answer - including the applicant group FROM Milwaukee (See - vast and obscure musical knowledge IS good for something!)!
The bottom line was they were very interested in getting me out to California immediately to participate in a real taping. She told me to stand by for further details, which would be coming in the next few days. I was jazzed to hear this news, but also a bit nervous, since I still had yet to actually WATCH the program. I thereby began a crash course in Weakest Link-ology, watching every episode I could and trying to discover its flow and nuances.
For those of you who don't recall, here's a rundown of how to play The Weakest Link (I edited this down from what I found on Wikipedia - sorry, but this is as brief a description as I could put together):
"Essentially, a team of players tries to reach and bank a set target within a time limit by compiling a chain of correct answers that would be broken with an incorrect answer or if a player decided to bank the money that was already in the chain. On NBC, the team was composed of eight people looking to win up to $1,000,000. One player would be eliminated after each round until two were remaining. Each round is reduced by 10 seconds thereafter (with the first round lasting for 2:30). Contestants who are eliminated in the rounds leading up to the final round are told by the host: 'You are the weakest link. Goodbye!'I received my first Weakest Link callback in mid-July, early on in my efforts to study the game. The producers wanted me to fly out to L.A. for a taping in early August. But at the last minute (and fortunately for me, in hindsight), the show I was supposed to be on was replaced with a 'celebrity' edition - they decided to tape an episode featuring the former cast of The Brady Bunch. I wasn't too disappointed - they assured me that I would be tapped for another taping "very soon", and I hadn't finished with my observations of the program yet. So it was all good.
The final vote occurs prior to the penultimate round, after which the two remaining players compete in one more round together for double stakes (with the round lasting for 1:30). The final round is a head-to-head five-question competition between the two finalists, with the contestant who answers the most questions designated the winner, or 'The Strongest Link'. The game show is winner-take-all, with the Strongest Link received the entire amount of funds banked during the show, up to a maximum of $1,000,000.
Prior to the start of the show, a random draw backstage is held among players to determine order, and the player who draws the first position starts the first round. Each round thereafter begins with the strongest link from the preceding round (or if that player had been voted off, the second strongest). For the head-to-head round, he or she also has the option of going first or passing play to the other finalist."
I watched every episode of The Weakest Link that summer, and it didn't take long for me to discover one constant in all of the shows - the smartest person in each group of contestants rarely if ever won it all. That person would do well in the early rounds, then would be voted off late in the game as the others perceived him or her as a threat to their acquisition of all the money. That's when I began to realize that not all TV game shows were fake and moronic . . . and I started to understand and appreciate just how evilly well-constructed this particular game show really was. The winner-take-all aspect of The Weakest Link was both ingenious and insidious - ingenious in that it forces team cooperation in what is essentially a non-cooperative, cutthroat competition; insidious in that it seduces individual players to go all-out to win the money for themselves, thereby attracting undue attention to their efforts that ultimately cost them a chance at the prize. The show was more than just a trivia challenge - it was a very complex psychological struggle between eight people, with Anne Robinson's role being that of a gadfly, using insults and putdowns to ratchet up the already-present internal and external tensions within and between the contestants.
Once I figured out the show's structure, the WHY, I next had to come up with the HOW - how would I actually go about winning this game show? After a few more days of observation and thought, I came up with what I thought was a good plan:
In the first couple of rounds, I would go all out, answering as many questions as possible and trying to build up the overall bank as much as I could. Then beginning in the third round, when there are six players left, I would begin dumping questions; that is, purposely answering some questions incorrectly. Not all of them, mind you - just one or two per round, hopefully in spots where my breaking the answer chain wouldn't result in a large loss of money to the team. The goal was to be very subtle about it, and refrain from antagonizing my fellow contestants - not so that they would like me, but more so that they would forget about me when it came time to vote a member off at the end of each round, and focus on one of the louder, "smarter" contestants.
I didn't consider things like stage fright (I'd been the frontman for my band for a while by then, so being under lights in front of everyone didn't worry me a bit) or being unable to answer the questions (I'm sorry to say that I have a vast knowledge of useless trivia contained in my head) would impact the execution of my game plan. I figured that if I focused on the "timely dump" plan, I would at least make it to the final three contestants. At that point, I would trust to luck to get me into the finals.
At about the time I finished formulating my plan in late August, I began hearing from the Weakest Link producers again. They claimed they were done with "celebrity" editions for the time being, and were ready to start shooting some "regular people" shows. There were solid plans to tape a block of shows near the end of the following month, and the word I received was that I would be included in one of the early productions. I received several calls from them in the days that followed, and finally they locked down the time and date with me. I was told to expect a call from the Weakest Link travel coordinator that following Tuesday, to discuss flight schedules and hotel reservations.
I arrived in my office on the sunny, beautiful morning of the appointed day full of anticipation, looking forward to what was undoubtedly going to be a great day. At just before nine, I received a call on my office phone with a Los Angeles-area area code. I had a fleeting thought that it was odd to get a call from the West Coast so early (it being six a.m. there), but quickly chocked it up to studio efficiency as I picked up the phone. However, the call wasn't from NBC at all. It was from my sister in L.A., who was calling to tell me something about a news story she just heard, an unusual aircraft accident in New York City . . .
That was the morning of Tuesday, September 11th, 2001.
. . .
I think that it goes without saying that, in the immediate aftermath of that horrific day and week, I never received a call from the game show producers. I didn't bother to contact them either; somehow, my appearance on network TV just wasn't that important all of a sudden. Finally, after a week or so, I got a call from my contact there. The word I received was that, with the events of 9/11 still fresh on everyone's mind, NBC was going to curtail producing new episodes of The Weakest Link that involved 'regular' people, and concentrate on the exclusive production of 'celebrity' editions - the obvious but unspoken implication being that they were leery about flying people across the country, and would instead use the local talent pool. The network rep made the usual mouth noises regarding "In the future, if we decide to resume normal production, we'll keep you in mind, blah, blah, blah . . .", but I figured that I'd missed my opportunity, and my chances of ever appearing on the show were over and done with. It was disappointing, but what could you do? After a few weeks, I sort of put it all out of my mind, and by the early fall of 2001 I'd moved on with my life.
I still watched The Weakest Link from time to time. But the shows became less interesting after 9/11, as the network trotted out "special edition" after "special edition" episode, featuring washed-up actors and other pseudo-"celebs" playing for charity. As the quality of "celeb" contestants began sinking further and further (pro wrestlers, redheads, Anne Robinson lookalikes, etc.), the show's once-high ratings began sinking as well. In my opinion, the producers forgot the golden rule - people watch game shows to see people like themselves win life-altering prizes - NOT to see some Troy McClure clone playing for some obscure animal shelter in Tarzana.
Unlike NBC, my company had no intention of curtailing business flights, and as such, I spent the latter part of that year flying to places like Buffalo, San Francisco and Cleveland for work. In November, we began a project with a large bank in Canada, and in support of these efforts I began making regular visits to Toronto. In early January, I was standing in line in Customs at the Toronto airport when my phone rang. I was surprised to be greeted with the excited voice of my old Weakest Link contact, who I had not heard a peep from in almost four months. The network, she told me, had decided to resume regular production, and I was at the top of their contestant list. Would I be available at the end of the month? Hell yeah, I would be!
This time, there were no hitches - a little more than three weeks later, I was using a NBC-paid ticket to board a plane bound for Los Angeles.
They pulled out all the stops for me upon my arrival that Friday evening, with a limo waiting at LAX to whisk me over to the Sheraton Universal Hotel in Universal City, where all of the next day's contestants were staying. I was pretty psyched for the show taping the next morning . . . but there was another event that weekend that shared space in the forefront of my mind - Super Bowl XXXVI, between the St. Louis Rams and the New England Patriots, was being played that weekend. And while I had no special affinity to either team (I'm a longtime Saints fan, and frankly couldn't (and still can't) STAND the Pats), the fact that I was in close proximity to Las Vegas on perhaps the biggest sports betting day of the year was too great an opportunity to pass up. I had already made plans that, regardless of the outcome of my game show experience, my ass was going to be sitting at a poker table in Sin City, with sports book tickets in my hand, by no later than Sunday morning. The Rams were heavy favorites that year, and the thrilling possibility of making a twin killing in both LA and Vegas that weekend kept me awake far into the night.
I had to be up early the next morning - there was supposed to be a shuttle bus waiting for us at the front door of the hotel at 7:30. I was knackered due to my late night, but I made it on time, and clambered aboard the ride with about a dozen other folks. The contest instructions we had been given prior to our arrival stated that we were not supposed to engage with one another prior to arriving at the studio, so the ride to Burbank was made in stone silence - an eerie silence, albeit we were all sitting cheek-by-jowl with each other.

descript row of gray warehouse-type buildings, where we were met by Weakest Link assistants and herded into a receiving area in Studio 1. It was here that I learned that my show auditions were not yet at an end. Like I said earlier, there were about a dozen of us on the bus - but the show only has spaces for eight contestants. So there was some final winnowing-out to be done. One by one over the next couple of hours, we were led into a room to face a panel of three or four show producers, who took turns asking us questions like "Why do you want to be on the show?" As opposed to my earlier audition in Providence, this one was a lot more serious - not a lot of smiles or nods coming from that grim group of execs. These were the gatekeepers, the guys in charge of making sure the show was entertaining and good, so the production company and network would make money. So they were keeping a keen eye open - not for weirdoes (because the show benefited from having interesting personalities on), but for boring, 'blah' people. So I went into my final interview with the whole 'happy face', "Hey, great to be here!" sort of attitude - and it worked. I made the final cut.
They moved the final eight of us into another room for a late brunch, and a chance now to finally speak to one another, as the restriction on contact was now lifted. My fellow contestants included a college student, a former beauty queen, a psychologist, a probation officer and a small town mayor. All in all, almost everyone was pretty cool. Since they were anticipating having us indoors for the taping for the next several hours, the show runners also gave us a little time to roam around outside in the parking lot for some fresh air. Studio 1 was the same studio where The Tonight Show was filmed, and we all admired Jay Leno's car parked outside in his own special spot - a spotless old-fashioned car (looked possibly like a Duesenburg to me) painted a shiny sea green with immaculate white-wall tires.
It was during this break that one of the contestants recommended a unique strategy. Apparently, she had also been watching the program, and was struck by how little of the potential $1 million grand prize was won (on average, the Strongest Link took home somewhere between $20,000 and $40,000). Her suggestion was that in the first round (when the questions were generally easier), NONE of us would 'bank' the money until we had correctly answered eight questions in a row, giving us a maximum payout for that round of $125,000. If it worked, it would instantly make our episode one of the most lucrative in Weakest Link history. Everyone immediately agreed to give it a try - myself included, since it played right into my strategy of "going all out" in the early rounds.
After that break, things began moving very quickly. We went back inside Studio 1, and were herded into wardrobe and makeup. We had to bring a couple of extra outfits, which were reviewed and critiqued by the producers. A couple of the female contestants were told (make that 'ordered') to change into one of their alternate ensembles, which pissed them off to no end.

We were then moved to another part of the studio, where they had us all sort of mill around and pretend to chat with one another while they filmed us, for part of the opening sequence. From there, they led us across the floor, stepping over cables and around TV cameras, and onto the main stage, which looked like something out of Close Encounters.

I was placed in position 8, the last place to Anne Robinson's right as she faced the audience. As I walked to that spot, I quickly glanced ahead, to get a glimpse of the studio audience. But they were very difficult to see - it was like an audience full of undertakers or ghouls; they were all either dressed completely in black, or draped in black blankets. All in all, it was a very freaky effect. But before I could fully process my surroundings and get settled to everything else that was happening around us, I found to my mild shock that the filming had begun. I thought there might be a couple of practice shots or something . . . but no. One second, we were sort of milling around on stage - the next second, music was playing, lights were flashing, and I was staring into a TV camera saying my name. And off we went. I quickly put everything else out of my mind, and tried to concentrate on my "questions dumping" plan developed months earlier.
But first, we had to get through the initial round and see if we could max out our winnings, according to the plan we agreed to earlier that day. The play clock showed 2:30, and Ms. Robinson spun towards the player in position 1 to start.
Q. "For $1,000, what legendary Scottish sea creature is nicknamed 'Nessie'?"
A. "The Loch Ness Monster"
"Correct!"
And on it went around to each of the first seven players, each one of them answering without banking, with the money meter highlighting our current level rising incrementally - $5,000 . . . $10,000 . . . $50,000 . . . $75,000. I could almost FEEL the audience holding its collective breath, as the money and tension level rose higher and higher. It finally came to my turn, as the eighth player - my correct answer would be worth $125,000 and would end the round, a feat never before accomplished on the U.S. version of the show. Even with so much at stake, surprisingly, I didn't feel the least bit nervous.
Q. "What 'A' is the superhighway in Germany with no speed limit?"
I instantly responded - "Autobahn". And with that, the crowd went wild, as did all of us there on stage! A $125,000 round! Holy smokes!
After all of that excitement, it was time to vote one of the contestants off the show. The first one to get the ax was the young college student, who was frankly sort of an arrogant douche to everyone that morning, an attitude that did him no favors once the taping began. During the first round of voting, I was happy to see that no one voted to put me off the show. So far, I was flying under the radar, just as I had hoped. Things were going well.
And so the show went. Round after round progressed, with the overall bank building and contestant after contestant being voted off (After being relieved, the dismissed contestant was taken to another part of the studio to film a brief valedictory segment, then immediately taken back to the hotel in a waiting limo). Beginning with the third round, I started intentionally dumping a question or two per round, at times when it wouldn't hurt the team (i.e., cost us money) - and to my delight, my plan was working like a charm. Players kept leaving, but I survived, time and time again. There were little breaks in production every couple of rounds, so the cameras could be reset and things moved around, stuff like that. I remember standing there during one of those breaks in the middle of the taping, quietly laughing to myself in incredulity - I couldn't BELIEVE that things were going the way I hoped they would!
Finally, it came to a point where only three of us remained - the small-town mayor, a woman from Texas and me. The woman from Texas had been gunning for me for the past couple of rounds, voting for me to be removed, so I knew she was a threat I had to neutralize (in addition, she was clearly the smartest remaining player - besides me, of course!). The mayor was visibly nervous as the show wore on, but was holding his own. I knew that at this point, my 'question dump' plan had to fall by the wayside, and I needed a little bit of luck to make it to the championship rounds. At the end of that round, we all had to vote for who to remove - and the audience gasped as our votes were revealed - the three of us all voted for a different contestant!
In situations like that, the contestant who had the highest number of correct answers during that round won the tiebreaker, with the opportunity to choose the member to be removed - and by the barest of margins, the strongest player for that round . . . was me. I quickly voted the Texas woman off. With a little strategy, and a heaping dollop of luck, I had made it to the penultimate round and the finals.
"The final vote occurs prior to the penultimate round, after which the two remaining players compete in one more round together for double stakes (with the round lasting for 1:30). The final round is a head-to-head five-question competition between the two finalists, with the contestant who answers the most questions designated the winner, or 'The Strongest Link'."The penultimate round was a chance for us two remaining players to really stack some cash onto our already sizable winnings. But as I mentioned earlier, the small-town mayor was clearly rattled, especially so at nearly being eliminated the round before. So the guy kept missing question after question, limiting our take for that session. I, on the other hand, tried to remain calm and focused, particularly with the best-of-five championship round coming up.
As the strongest player from the previous round, I had the option of choosing who would go first in the final round. I told Ms. Robinson that I chose to go last, and as I did so I glanced at my opponent and watched the blood drain from his face. Wow, I thought; this guy is seriously in bad shape. And it showed - he missed his first question, a relatively easy one, as far as I was concerned. I answered mine correctly, so the score was now 1-0 in my favor. From that point, we both went on a tear, each of us giving correct responses to our next three questions. With only one question apiece left, the score stood at 4-3 for me. Still, I felt surprisingly calm.
Anne Robinson asked my opponent his fifth question - if he missed it, I would win automatically. But he nailed it, tying the score at 4 to 4. Fine - no problem. My last question was coming up - if I answered it correctly, I would be the Strongest Link, and the victory would be mine. Even with all that, I remained cool as a cucumber.
Then Ms. Robinson said " . . . if you answer this question correctly, you have won. So, for . . . ", and she said the amount of the grand prize.
THAT'S the moment when I got nervous.
Really nervous. Really, REALLY nervous. I could feel the tension and panic building inside my stomach - up to that point, I really hadn't thought about the money, per se; I was just concentrating on trying to win the game. But when she stated what exactly was at stake for me, well . . . My heart started pounding like a jackhammer, so hard that I could feel it shake my body, so loud that I was sure the folks in the audience could hear it. A low buzz started building in my ears, increasing slowly in volume - I later determined that what I was hearing was the sound of blood rushing through my head. And I got a mild case of tunnel vision - I couldn't see anything to my extreme left or right - just Anne Robinson's face right in front of me, as the Moment of Truth arrived, and she asked what hopefully would be the Final Question:
"The soundtrack of what George Clooney film - "
The answer that instantly came to my mind with those words was Out Of Sight, a recently released George Clooney/Jennifer Lopez vehicle. I instinctively knew that it was the WRONG answer . . . but that was the one that lodged in my head. And, truth be told, I almost blurted it our spasmodically. But I forced myself to calm down, and listen to the rest of the question:
" . . . won the 2001 Country Music Award for Album Of The Year?"
The answer was then obvious (at least to me), and I took several moments to compose myself. I looked away and took several deep breaths while I locked the words into my head. I then looked up, straight into Ms. Robinson's eyes, and slowly enunciated every word in my response:
"O . . . Brother . . . Where . . . Art . . . Thou?"
There was a soundless pause in the studio, then Ms. Robinson intoned these words: "That . . . is the correct answer." I was the winner!
AAAAAAAAAAAAARRRRRRRRRRRRRRGGGGGGGGGGGHHHHHHHHHHH!!!! The word "relief" does not do justice to what I felt at that moment! I wanted to laugh and cry and faint and jump and hug everyone and slap five with Jesus, all at the same time! I barely heard the rest of what Ms. Robinson said, about me being the Strongest Link, and the money I had won! It was truly a mind-jolting, ecstatic experience!
They wrapped the taping on the main set shortly afterwards, and audience members came rushing up to congratulate me. I then had to go up to the little room to film my own final segment, like everyone who had gone before me. After that, it was back to the production offices to sign a shitload of paperwork, before climbing into the waiting limo that took me back to the Sheraton (now, THAT was an uncomfortable, awkward journey - as my fellow passenger on that trip was the small-town mayor, the guy I just defeated on the show. He was miserable about losing his chance at all of those winnings - understandably so. But still, for that short time, he was killing my buzz).
When we arrived back at the hotel, we found all of the other previously dismissed contestants waiting for us in the lobby. They had all gathered there that afternoon, one by one, as their limos returned them there. The word had already been passed to them that I was the winner, so when I walked through the hotel door, I was greeted with applause and a loud cheer. That was intensely gratifying - I didn't want those folks to hate me; my desire to win the show wasn't a personal issue - it was just business. I herded everyone into the nearby hotel bar, where we all partied together for the next several hours - all on my tab, of course!
But early on during our blowout, I excused myself to head up to my room for a couple of minutes, to drop off my extra show outfit and to have a moment to myself to contemplate the enormity of what had just occurred. That was the point when it all began to sink in . . . and as I looked out of my window over the smoggy San Fernando Valley, I could see the reflection of my big smile in the glass as I thought to myself how great it was to live in times like these, to revel in the unexpected, and to see a plan succeed beyond my wildest dreams. I allowed myself those precious few seconds of private, unbridled joy and satisfaction . . . then I changed my shoes and went back down to the party I was hosting.
So with all of this, I present to you the O Brother Where Art Thou? soundtrack album to the movie of the same name, released on Mercury Records in December 2000 - the album whose name was worth six figures to me, ten years ago on this very day, one of the better days in my life. As I have stated earlier, I have no special affinity for country music. And truth be told, I have never actually seen this movie (although I should - I understand that it's excellent). But I felt that I HAD to purchase this album, if only for what it brought to me on that fine L.A. afternoon. I hope that it provides you with just as much joy and delight. Enjoy, and as always, let me know what you think.
(And thanks for reading this thing all the way through - I apologize again for the length. Pretty good story though, eh?)
Please use the email link below to contact me, and I will reply with the download link(s) ASAP:
Send Email
Labels:
2000,
Country,
Mercury Records,
Soundtrack,
Various Artists
Sunday, December 12, 2010
Lolita Storm - Girls Fucking Shit Up

. . . or as I like to refer to it: "The Worst Fucking Album I Ever Bought".
And that's saying something. Over the years, I've laid my hard-earned cash out on some truly reprehensible garbage - Julian Lennon's Valotte, Sheryl Crow's Tuesday Night Music Club, Andy Summers' XYZ and It's A Sunshine Day: The Best Of The Brady Bunch, just to name a few. But at the very least, these albums I just named have a dollop of something within to redeem themselves - one decent song, the nostalgia factor, whatever. Girls Fucking Shit Up has ABSOLUTELY no redeeming qualities whatsoever that I can find.
As per usual, I blame the British music press. Those lyrical limey lunkheads fooled me once again.
Back in the late 90's/early 00's, English magazines like NME and Melody Maker (which merged with NME in 2000) were on a roll. Practically everything cool or cutting edge that I listened to back then, the Brits had discovered first, and championed long before anyone in the U.S. got wind of them. The Smiths, The Madchester sound, The Pixies and the stuff 4AD was doing - they were the ones who let the world know about these new and important sounds. And with that, I became a devoted reader, my thought being that if Q or the NME said it was good, then who was I to argue?
Lolita Storm was formed in 1999 by four working-class girls, who performed under the nom de plumes of Nhung Napalm, Romy Bonilla Medina, Jimmy Too Bad and Spex. They put together a demo tape of their material, which made its way to influential UK DJ Steve Lamacq.

Sounds good, right? Well, not so fast, pardner. Lolita Storm's sound was nothing close to what Kathleen Hanna and company were doing out in the Pacific Northwest. The band's sound has been described as something called "digital hardcore", but that's bullshit - to paraphrase Wikipedia, their music is basically "chanted [shouted] punk lyrics about sex, bondage, drugs and feminism . . . put to a backdrop of generally highly aggressive [digital breakbeats]" at a maximum BPM. It's essentially noisy, toneless, mindless shit.
Still don't believe me? Here - have a taste:
NOW are you convinced?
Still, however, I didn't know that's what this band was all about. So, in 2000, when Lolita Storm released their first LP, Girls Fucking Shit Up on Alec Empire's Digital Hardcore Recordings (DHR), the April 21st, 2000 issue of NME gave it a decent review, giving them points for effort rather than execution. My dumb ass read this review, and like the Pavlovian music dog I was at the time, I immediately responded to this outside stimulus by running out and buying this album at my first opportunity.
Big mistake on my part.
From that point on, I began to question the objectivity and wisdom inherent in NME/Q/Uncut's music reviews, and to take their recommendations with many grains of salt. In the meantime, I listened to this album once or twice, just to make sure I didn't miss out on any redeeming qualities that might have been buried within. Then I stuck this CD up on the shelf, in a section I call the Island of Misfit Tunes, where it has remained unplayed for the past decade.
So again, in case you missed it - here's the Pee-Pee Soaked Heckhole review of Lolita Storm's first album:
Xxxxx Fucking Shit Xx
I'd like to thank the band for seeing fit to include the gist of their music in the album's name.
But hey - that's just my review. Like I said above - don't take my word for it. If you feel up to it, here it is - have a listen. Just don't say I didn't warn you:
Please use the email link below to contact me, and I will reply with the download link(s) ASAP:
Send Email
Saturday, December 11, 2010
The Wiggles - "Unto Us, This Holy Night"

OK, OK . . . I can almost see the looks of incredulity on your faces with this entry. But bear with me, while I explain its inclusion here (and no, I am not insane).
Frankly, it's hard to write a good modern-day Christmas song. I think that most people have a pretty set list of images and ideas in their heads as to what Christmas is and should be all about. These things include stuff like sleigh rides and snowflakes: Santa Claus and reindeer: Jesus, Mary and Joseph; presents and bells and Christmas tree lights; heading home to see the folks in their nice, warm house and having holiday dinner with the family; etc. You know what I mean. The problem that holiday songwriters have nowadays is that, musically, all of these themes have been covered and recovered, ad nauseum. There are literally dozens of songs about sleigh rides, scores of songs referring to Santa, hundreds of songs addressing the subject of Christmas snow or holiday weather, and thousands of song celebrating Bethlehem and the birth of Jesus. It's all been done.
In addition to theme, a holiday song has to set the right tone - sincere without being sappy, real enough without seeming contrived. Think of the best lines in the greatest Christmas songs - "Chestnuts roasting on an open fire; Jack Frost nipping at your nose"; "For the holidays you can't beat home sweet home!"; "Oh the weather outside is frightful; but the fire is so delightful"; "I'm dreaming of a white Christmas; just like the ones I used to know". All of those songs conjure up and reinforce cherished Christmas images and ideals, even for people who have never roasted chestnuts in their lives or have never experienced a white Christmas. [For example, it was always sort of weird hearing these traditional holiday tunes played and sung when I lived in New Zealand, where Christmas falls in the middle of the austral summer there. And yet, the people there cherished this music as much as folks in the Northern Hemisphere did, so while it seemed odd, it still felt right and natural.}
Unfortunately, all of this hasn't stopped contemporary songwriters from trying over and over again to create up a new bit of holiday musical magic. Most of the latest results have been embarrassingly trite or maudlin - prime examples include Paul McCartney's "Wonderful Christmastime" from 1979, Leann Rimes' "Put A Little Holiday In Your Heart" from 1996, 2000's "My Only Wish (This Year)" by Britney Spears, and Faith Hill's 2008 song "A Baby Changes Everything". Even worse have been the spate of Christmas novelty songs released in the past generation - the worst of which being the reprehensible "Grandma Got Run Over By A Reindeer"; I could live just as long and die just as happy never hearing a note of that stupid song ever again.
With all of this in mind, you could quite easily make the argument that there hasn't been a great, sincere, classic (not novelty) Christmas song written since the mid-1960s. I'm referring to beloved tunes like Vince Guaraldi's "Christmas Time Is Here" from the 1965 Charlie Brown Christmas special, Andy Williams' 1963 classic "It's The Most Wonderful Time Of The Year", and "Do You Hear What I Hear?" by the Harry Simeone Chorale in 1962 (I'd include Burl Ives' "Holly Jolly Christmas" and Thurl Ravenscroft's "You're A Mean One, Mr. Grinch" in this group, but I consider these more as novelty holiday songs).
Now, I'm not a big Wiggles fan. They were huge around my household back in the early part of this decade, when my children were still toddlers. Their TV show was rarely missed in my house, and more than once I stood in line overnight to buy tickets to the Australian group's local live shows. But the popularity of The Wiggles waned as my youngsters approached school age, relegating the piles of Wiggles DVDs, toys and other paraphenalia to boxes in the storage area.
I bought the album Wiggly Wiggly Christmas for my one- and two-year-old daughters in 2002, although it was released in 2000. The majority of the material on the disc is kiddie fodder - reworkings of traditional Christmas tunes alongside bouncy, silly original music usually referring to a character on the band's TV show: "Henry's Christmas Dance" or "Wags Is Bouncing Around The Christmas Tree", for example.
But there was one song on this album which stood out from the rest: "Unto Us, This Holy Night". On this one, the band played it straight, and offered up a superb Latin-tinged melody about the birth of Jesus, subtlely highlighted with tasteful horn arrangements. The song is so glaringly good, that it's hard to believe that it's stuck unheralded in the middle of an album like this.
Here's a clip of the Wiggles from their Wiggly Wiggly Christmas video, playing this song; it starts at about 1:32 after the chatting with the children:
It's almost shocking to admit this, but I have to say, in my opinion, that The Wiggles' "Unto Us, This Holy Night" is simply one of the best Christmas songs written in the past twenty-five years. But I'll let you all decide for yourself. I have mercifully taken this one song off the album (and believe me, if you knew how bad stuff like "Let's Clap Hands For Santa Claus" or "Go Santa Go" really was, you'd be thanking me for not posting the rest of the disc) and attached it below. Check it out, and let me know what you think of it, or of any of what I've written above.
Please use the email link below to contact me, and I will reply with the download link(s) ASAP:
Send Email
Thursday, November 11, 2010
Triple Gang - This Nation's Saving Grace (Cover Version)
In the summer of 2000, a short-lived pickup band composed of national and local recording artists residing in the Bay Area played two shows three weeks apart at small venues in San Francisco. Normally, events like this happen all the time in cities around the globe, and are little noticed nor long remembered, even by the participants and attendees. What made this particular pair of concerts so memorable was that the band, Triple Gang, decided that instead of playing a set full of hoary rock chestnuts, they would challenge themselves and their audience by mastering and covering, in its entirety, The Fall's 1988 magnum opus, This Nation's Saving Grace.
This Nation's Saving Grace is one of my favorite Fall albums, a release from the band's heady mid-80s period, when they could do no wrong (at least as far as their fans were concerned) and pumped out classic album after classic album: Hex Enduction Hour, The Wonderful & Frightening World Of The Fall, Bend Sinister. TNSG is the apex of the band's output during that time, but it's also one of their densest and most challenging recordings, sonically and lyrically. It's very much a product of Mark E. Smith, The Fall's founding member, lead singer and quasi-dictator, and as such, one would think that it would be pure hubris and/or insanity for any band other than The Fall to cover it.
And yet, that's just what Triple Gang set out to do.
Triple Gang was composed of: Matt Jervis, the ex-lead singer for local S.F. band Kingdom First; Billy Gould, the former bassist for Faith No More; Alex Newport, who used to play guitar for Fudge Tunnel; drummer Jon Weiss, formerly of Horsey; and keyboardist Miya Osaki. The two shows they played that summer were at Kimo's that July 14th and at the Covered Wagon on August 3rd (both venues still exist, and still showcase local music almost nightly).
I can't remember how I heard about these shows. I was living in Texas at the time, and as such had no chance of getting out to San Francisco to see these events - would have loved to have attended, though. I probably got wind of them through the Fallnet message boards active back then.
The SF Weekly ran a long article about Triple Gang and this project in an issue released prior to the first show - here's the link, in case you're interested.
These two shows were the only performances ever conducted by this band lineup. Immediately afterwards, Triple Gang broke up, and the band members moved on to over things. Jervis currently lives in Berkeley, doing illustrations and producing the occasional concert poster. Weiss and Gould are currently collaborating with Jello Biafra on one of the latter's latest projects, Jello Biafra and the Guantanamo School of Medicine. Newport owns a recording studio in New York and is an in-demand producer, working with such names as Death Cab For Cutie and Japan's Polysics. And Osaki has worked with a number of small Bay Area and L.A. indie bands.
The Triple Gang shows were never officially recorded for release. But fortunately, someone had the foresight to tape one of these events for posterity (specifically, the first show, at Kimo's), and as fortune would have it, I obtained a copy of the bootleg. But for a bootleg, the sound quality is actually pretty good.
I suspect that the audience for this posting will be extremely limited to folks with knowledge of/nostalgia for the old Bay Area music scene, as well as hardcore Fall fans interested in a different take on a classic Fall album. If you count yourself a member of one of these groups, well, here you go - enjoy. As always, let me know what you think:
Please use the email link below to contact me, and I will reply with the download link(s) ASAP:
Send Email

And yet, that's just what Triple Gang set out to do.
Triple Gang was composed of: Matt Jervis, the ex-lead singer for local S.F. band Kingdom First; Billy Gould, the former bassist for Faith No More; Alex Newport, who used to play guitar for Fudge Tunnel; drummer Jon Weiss, formerly of Horsey; and keyboardist Miya Osaki. The two shows they played that summer were at Kimo's that July 14th and at the Covered Wagon on August 3rd (both venues still exist, and still showcase local music almost nightly).
I can't remember how I heard about these shows. I was living in Texas at the time, and as such had no chance of getting out to San Francisco to see these events - would have loved to have attended, though. I probably got wind of them through the Fallnet message boards active back then.
The SF Weekly ran a long article about Triple Gang and this project in an issue released prior to the first show - here's the link, in case you're interested.
These two shows were the only performances ever conducted by this band lineup. Immediately afterwards, Triple Gang broke up, and the band members moved on to over things. Jervis currently lives in Berkeley, doing illustrations and producing the occasional concert poster. Weiss and Gould are currently collaborating with Jello Biafra on one of the latter's latest projects, Jello Biafra and the Guantanamo School of Medicine. Newport owns a recording studio in New York and is an in-demand producer, working with such names as Death Cab For Cutie and Japan's Polysics. And Osaki has worked with a number of small Bay Area and L.A. indie bands.
The Triple Gang shows were never officially recorded for release. But fortunately, someone had the foresight to tape one of these events for posterity (specifically, the first show, at Kimo's), and as fortune would have it, I obtained a copy of the bootleg. But for a bootleg, the sound quality is actually pretty good.
I suspect that the audience for this posting will be extremely limited to folks with knowledge of/nostalgia for the old Bay Area music scene, as well as hardcore Fall fans interested in a different take on a classic Fall album. If you count yourself a member of one of these groups, well, here you go - enjoy. As always, let me know what you think:
Please use the email link below to contact me, and I will reply with the download link(s) ASAP:
Send Email
Thursday, August 26, 2010
Young Marble Giants - Salad Days

I found this one in, of all places, Nashville, Tennessee.
I was in Nashville for the very first time for a conference back in 2002, staying at the Opryland Hotel. Back then, I had no strong affinity for country music. I don't know if you've ever been to Nashville, but if you haven't, let me let you in on a little secret - practically the ENTIRE TOWN is devoted to country music. It's everywhere, especially where I was staying - banjo music is piped nonstop through the building, the lobby features exhibits from the Grand Old Opry (stuff like Minnie Pearl's hat), and that country theme is even embedded in the décor of the place. Needless to say, after a day or so there, I was starting to freak. A little of that kind of music goes a long way for me, so being immersed in it was getting to be a bit much.
On the second day of the conference, I fled the building, desperately trying to find anywhere, anyplace that had that whole country schtick toned down even a little bit. I found myself at, of all places, Opry Mills Mall nearby - maybe not the best choice, but all that I could get to at that moment. The place was fairly generic, as far as malls go, except for, once again, the hillbilly Muzak that was apparently ubiquitous with the region. However, I saw a store in the mall that appeared to offer some salvation - the local Virgin Megastore. I practically ran there, figuring that if there was any cool music being played in Nashville, it would be in there.
And sure enough, stepping through the door was like stepping through a bubble, shutting out the countrified outside world. Stereolab was being played over the store speakers, the cashiers all had visible tattoos and/or piercings - I felt like I was back in 'civilization' again, or what I considered to be civilization . . .
I killed some time by going through Virgin's stacks (guess what was the largest section in the store . . .). I wasn't really looking for anything, but as I ran through the "Y"s in the Rock section, I recalled that one of Kurt Cobain's favorite bands was a short-lived Welsh post-punk group called Young Marble Giants. Shockingly, the store had a single copy of one of the band's albums available, Salad Days. I really didn't know anything about them, but Cobain's word was good enough for me - I purchased it.

The album Salad Days was released on obscure label Vinyl Japan (UK) Ltd. in 2000. The fifteen songs contained on this album are essentially demos and home recordings of songs that eventually ended up on the band's album and EPs. Salad Days is Young Marble Giants distilled down to their essence. The sound of these recordings are not as full as the final products would be, but their very primitive, lo-fi quality makes them more immediate and intimate. For example, of the two versions of "Brand New Life" I own on Colossal Youth and Salad Days, I prefer the latter version - the minimalism of the Salad Days version, in my opinion, strengthens the song. Usually a band's release of early demos is pretty useless, and of interest only to hard-core fans; this album is one of the few demo collections that stands toe-to-toe with the band's other recordings.
Since the breakup of Young Marble Giants in 1981, Stuart Moxham has continued making music in the indie genre, both solo and with other artists (most significantly with Barbara Manning in her 1993 release Barbara Manning Sings With The Original Artists). Alison Stratton and Philip Moxham recruited other musicians and quickly formed a jazz-influenced combo called Weekend, which released an acclaimed album, La Variete, in 1982. After Weekend disbanded in 1983, Philip Moxham moved into more mainstream alternative territory, playing bass for Everything But The Girl and The Communards.
However, in 2003, the trio reunited for a one-off radio special in Wales. Since then, they have appeared together as Young Marble Giants sporadically, most recently in 2009. There are rumors of a new album now and then, but nothing has come of that thus far.
Until that occurs, enjoy this copy of Salad Days. If you have Colossal Youth, compare the sound of the two. I believe that, like me, you'll come to appreciate and enjoy them both. Let me know what you think.
Enjoy:
Please use the email link below to contact me, and I will reply with the download link(s) ASAP:
Send Email
Monday, August 9, 2010
Various Artists - Harry Smith's Anthology of American Folk Music, Vol. 4
.jpg)
Although I have professed to be a lover of all types of music over the years, frankly folk music has never really done much for me. Aging urban hipsters around during the late '50s/early '60s always wax nostalgic for the times they visited their downtown hootenanny and 'discovered' the latest hillbilly band sensation (although more times then not, these so-called rural ensembles hailed not from the backwoods of Tennessee or some clapboard shack in West Virginia, but from no further than the city's suburbs). One of my favorite writers, Hunter S. Thompson, is guilty of this misty-eyed memorializing too; he has written about jugband throwdowns he attended at the "hungry i" (yes, it was spelled out in lower case on the marquee) in San Francisco, and about travelling into the outback of Kentucky to hear 'authentic' mountain music.
That might have been fine for him, back then. But I think that few of today's music lovers can relate to or appreciate that real folk sound. After the initial explosion, some of the early sixties folk musicians, like Joan Baez, Peter Paul & Mary, and especially Bob Dylan, tried to keep the authentic feeling alive. But as the decade progressed, folk music got commercialized and bastardized, becoming poppier and thus losing much of its original potency. The Mamas & The Papas, The Stone Poneys, The Grass Roots, The Hollies - all of those groups started out with folk intentions, but evolved into pop groups. However, today, when people think about 'folk music', these are the bands (and many others like them) that immediately spring to mind. In considering these groups to be 'folk' groups, it cheapens the actual genre. The sound of the Hollies, Mamas & Papas, etc., is of a certain time and place, and while that sound may have appeal to Sixties revivalists, it serves to limit the more widespread appeal of authentic folk.
Like I said, that music didn't do anything for me - 1960s folk/pop wasn't a sound that I could get into.
A few years ago, during one of those periodic Dylan revivals that seem to happen every so often, I was watching some TV documentary about Dylan's early years. They interviewed a guy named Dave Van Ronk, who was one of the young Dylan's mentors in New York. Van Ronk spoke about the early days of the folk revival in Greenwich Village, where he was a leading light, and his influences in those days, which included the blues legend Odetta and the recording artists and music associated with Folkways Records (where Van Ronk recorded his first folk album in 1959). I thought to myself, "Ah - there was something before Dylan," and filed the names "Van Ronk" and "Folkways" away for later.

I was pretty well blown away, and asked to borrow the Anthology for a while to fully absorb it.
Over the next week or so, I got to know the Anthology pretty well, and with it, I discovered a new appreciation for folk music. From what I read, Harry Smith was a California artist and eccentric who in 1940 began collecting old blues, gospel and country 78s as a hobby, at a time when most people didn't take that type of music seriously. By the end of the 1940s, Smith had amassed several thousand of these records in his collection. He met with Moses Asch, the head of Folkways Records, in 1947 in the hope of selling or licensing his records to the label. Instead, Asch gave Smith the chance to put together an album of his favorites. According to Smith, he selected recordings from between "1927, when electronic recording made possible accurate music reproduction, and 1932, when the Depression halted folk music sales." The Anthology of American Folk, Vol. 1-3, divided into three themes (Ballads, Social Music, and Songs), was a sensation in certain quarters when first released. The set is directly responsible for the folk music revival of the 1950s, and all that came later. Most of the folkies at that time, including Van Ronk and Dylan, considered the Anthology to be the Bible of Folk, and many of the once-obscure songs on it became folk music standards after being played at those urban coffeehouses and hootenannies.
In the original liner notes to the Anthology (themselves celebrated for their wittiness and design), Smith mentions that there were to be three more volumes in his folk music series, which would compile music up to 1950. However, none of these following volumes would be released in Smith's lifetime (he died in 1991). Eventually, in 2000, Revenant Records released Anthology of American Folk Music, Vol. 4, consisting of songs released on 78rpm records between 1927 and 1940, and compiled using notes that Smith left behind. Just as the first three volumes of this series had a theme, the theme of Volume 4 is Labor Songs. This two-disc set is just as superb as the original three volumes, and just as essential. With that being said, I have no idea why Revenant would let this album go out of print.
From what I understand, the final two albums in Smith's planned series of six were taped, and have been sitting in the Folkways (now Smithsonian Folkways) archives for decades, although they lack the documentation required to fully license the music and complete the liner notes. Let's hope that someday they get around to doing that, and fully realize Harry Smith's dream. Until then, enjoy this sublime and currently unavailable collection of classic folk music. This is damn near impossible to find online, so . . . Enjoy:
Please use the email link below to contact me, and I will reply with the download link(s) ASAP:
Send Email
Labels:
2000,
Folk,
Folkways Records,
Harry Smith,
Revenant Records,
Various Artists
Subscribe to:
Posts (Atom)