Monthly Archives: March 2011

Midway through Jonathan Richman’s set on Saturday at the 9:30 club, a fan yelled “How about some oldies?” Richman responded, “How much older do you want, I’m almost 60.” This exchange illustrated three key things about the singer. First, in 1971-2, he recorded one of the greatest albums of the rock era – The Modern Lovers. Second, that was a long time ago. In fact, he opened the night with a reworked acoustic version of “Old World” (a favorite off The Modern Lovers), which exchanges nostalgia for longing for a break from the past (while still maintaining melody and lyrical structure from the original). Third, he still maintains a constant sense of humor that goes along with a childlike attitude. The latter was most important throughout his performance on Saturday, where his act blended humor, music, and simple lightheartedness into an overall joyous experience.

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Alyosha, the debut solo EP from prominent Arizona musician Tobie Milford, is beautiful. And I mean that in every sense of the word. Sounding at once stripped-down and symphonic, Milford’s uses nothing more than a violin and his voice, performing live in a studio over and over again, to produce a staggering musical accomplishment in just over 30 minutes. Alternating between sweeping, orchestral soundscapes and weightless pizzicato, Milford seamlessly weaves his fiddle and his vocals into a single expression of his equally poignant message. Read More »

[INTRODUCTION TO BETWEEN THE LINES: OK, books, right? Music, right? Musicians writing songs about books, right? Those songs are the best kind because they pander to those of us who like both. This may be the hands-down nerdiest thing I will ever have to say, but: I’m always so, so satisfied with myself when I pick up on a literary allusion in a song. I’ll always remember finally getting the Nathaniel Hawthorne Scarlet Letter reference in the Music Man soundtrack’s “The Sadder But Wiser Girl” on yet another never-ending family roadtrip. I excitedly announced my epiphany to the entire car, especially exalted because I had finally beaten my English professor father to understanding some reference of literary merit for the first (and, for all I knew, last) time in my long 15 years of life. I have since managed to make a few more such song-to-book connections, and have come to see literary allusions by musicians as secret high-fives between artist and listener—it’s like we have our own inside joke, isn’t it? And just like everybody loves puppies and winning, everybody loves inside jokes—there’s an eternal satisfaction, even a vindication in being able to pick apart a song and trace it back to the pages of your favorite books. So I thought I’d write a column about these songs. And no, not about this song, though it does fit the category, even a little too well.] Read More »

Visiting from New Orleans, jazz/funk jam band GALACTIC rolled through the 9:30 club promoting their new album YA-KA-MAY (Feb. 9), showing D.C. that, yes, five middle-aged dudes can sell out the 9:30 Club with style. In truth, the band’s age is irrelevant. The show was held in some sort of two hour time-warp where age had no meaning, so it didn’t even matter that the crowd was one part stoner twenty-somethings, one part used-to-be-cool forty-somethings, and one part used-to-be-forty stoners. GALACTIC’s jam-based set had everybody awkwardly dancing together—the unifying elements being a love for funky jazz and drunkenness.

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The word “telekinesis” is defined as the power to move something without touching it. Isn’t that exactly what good music is supposed to do? Move us (in a good way) without touching us (because, well, it can’t)? Precisely. Good one, Michael Lerner. Very punny.

Lerner’s latest release under said band name, Telekinesis, is 12 Desperate Straight Lines. I’m of the conviction that good albums can teach us something. 12 Desperate Straight Lines teaches us that breaking up sucks (and of course we knoooow), but breaking up doesn’t have to sound like it does. Read More »

When Jonathan Cook of the band Forever the Sickest Kids isn’t conducting circle pits, showing his appreciation for security guards wearing cowboy hats, or sitting down with Charlie Sheen for a casual afternoon conversation, he conducts interviews.  A lot of interviews.  However, in order to conduct this interview, I had to find him.  As I went on my quest, walking past scores of 14 year old girls waiting for doors to open, I finally found their manager.  While I walked on to the FTSK tour bus, I was approached by a very mellow Jonathan (very unsuspecting due to his contagious hyperactivity on stage).  As we walked to the back to find some peace and quiet for the interview, he and FTSK’s band manager Brandon discussed the upcoming NCAA tournament viz.

Georgetown Basketball.  Once the interview got started, there was no going back.  Many of the questions were provided by you, the WGTB listener, and I thank you for your support of this project.  Be sure to listen in below to hear his dulcet voice explain the important things in life, including (but not limited to) FTSKU, Charlie Sheen, Robots v. Aliens, and The North American Low Rider Association.  As they say, enjoy. Read More »

Jessica Lea Mayfield can’t fall in love. She has examined herself and her lovers from every angle and can’t seem to figure out what’s going wrong. She certainly wants nothing more than to be in love—a mature incarnation of a little girl’s princess fantasy– but she can’t honestly connect with those she loves. Except maybe on her latest album, Tell Me. Even here, though, you have to look into the lyrics to find her mental cacophony because her deadpan voice gives hardly anything anyway. She’s the least believable narrator, yet strangely enough, empathizing with her comes so natural.

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