The Crutch

Monte's Gauntlet

2006-09-25T22:46:00.000-05:00

After hearing about the closing of The Crutch, a friend of mine, George Kaplan, talked me into contributing to a new blog, Monte’s Gauntlet. I love the idea of this blog – so much so that I wrote the mission statement for it. I’ll actually be helping out a great deal, but we will have a few others contributing all sorts of stuff. The blog’s not only something that is needed, but it’s also something nobody else is doing – it’s new and it’s fresh.

Go check it out – the mission is posted. Regular posting will begin very soon.

Thanks again to you all.

something new?

2006-09-23T04:12:00.000-05:00

Just wanted to let everyone know that I may be contributing and helping out with something new. I've been talking to a few people and we may collectively launch a new blog as early as next week. A very different blog. Something that has never been seen. Stay tuned...

And thanks for all the responses on here and via email! Much appreciated!

Farewell

2006-09-19T11:20:00.000-05:00

Well, I’ve had enough. This blog will be systematically dismantled in the next few days. Thank you to all our readers and to most of the artists and industry folks that we’ve dealt with in the past three and a half years. The Crutch is dead.

Orgy of Blogs

2006-09-12T19:59:00.000-05:00

It's time to bring some attention to a few noteable blogs and a few of their recent posts. Go visit these pages, bookmark them, leave comments, and tell others. There's no avoiding blogs these days, and though there are a million of them, there are not that many quality ones. So, thank you to these music lovers and several others for keeping your ears to the ground and sharing your ideas and the music with everyone...

Gorilla vs. Bear
- The Hot IQs

Mocking Music
- Handsome Furs

*sixeyes
- Richard Buckner

You Ain't No Picasso
- The Black Keys

Metro Distortion
- Bob Dylan

Songs:Illinois
- I Heart the '80s (series)

Give Me a Cover To Keep Me Warm

2006-09-07T05:44:00.000-05:00

There are a handful of imperatives when it comes to cover songs. First, you must have a great original. A solid foundation is the only thing that leaves the possibility for a quality cover. Secondly, the covering artist should at least match the original, if not improve upon it. This comes down to a matter of subjectivity, but some are simply irrefutable, such as the famous “All Along the Watchtower” – even Bob Dylan resigned to the “fact.” Lastly, it cannot be a carbon copy of the original – it must have the covering artist’s stamp on it. It’s difficult to change a song and make it your own, while keeping the heart and attempting to improve the face, but it’s a crucial element when covering a song.

In the late ‘50s, early ‘60s record companies hired multiple artists to cover songs they thought could sell in various markets. The Beatles and Rolling Stones did covers in the teething years of their careers, while bands like The Byrds made their careers off of doing it. The Animals are often thrown into the same category of The Byrds, but The Animals improved upon so many of the songs they covered that, along with Jimi Hendrix and Joe Cocker, they stand as one of the few artists that truly made a song theirs when they covered it.

The most recent example of a band that fits in the same box as The Animals, Hendrix, and Cocker is The White Stripes. They are not known for it, but they have a number of stunning covers scattered amongst their records and b-sides. The White Stripes not only show their admiration for the artists and songs they cover, but they also reveal some of their deepest influences – the vocal inflection of Blind Willie McTell, pop goodness of Brendan Benson, lyrical stylings of Bob Dylan, experimental tendencies of Captain Beefheart, country heart of Loretta Lynn, blues soul of Robert Johnson, and rock and roll rebellion of MC5. A cover song is one of the kindest and honest signs of admiration from artist to artist – egos are suppressed, and suddenly, the music becomes the most important thing – and in that shared spirit, the Stripes seem to use it as an opportunity to promote other artists they feel people should know about. It’s like hand-picking an opening band – to use your clout to tout another artist.

Going along with that spirit, I decided to post some lesser-known covers/originals along with a handful from The White Stripes. I had to limit how many White Stripes tracks I posted because, well, I don’t want to get sued, but there are some amazing versions out there of the Stripes doing the likes of “Death Letter” (Son House), “Lovesick” (Bob Dylan), “For the Love of Ivy” (Gun Club), “Lord Send Me an Angel” (Blind Willie McTell), “Baby Blue” (Gene Vincent), “Jack the Ripper” (Screaming Lord Sutch / Peter Gunn), “Looking at You” (MC5), “Goin’ Back to Memphis” (Henry and June), “Ashtray Heart” (Captain Beefheart), and of course “Jolene” (Dolly Parton), among others.

Key: song title, original artist, covering artist(s)

Stop Breaking Down – Robert Johnson, The White Stripes
Party of Special Things To Do – Captain Beefheart, The White Stripes
Good To Me – Brendan Benson, The White Stripes
Who’s To Say? – Blanche, The White Stripes

Killing Floor – Howlin’ Wolf, Jimi Hendrix
Ain’t No Sunshine – Bill Withers, Soledad Brothers
Jenny, Jenny – Little Richard, The Sonics
Underdog – Sly & The Family Stone, The Dirtbombs
You Got Me Hummin’ – Sam & Dave, The Reigning Sound
Girl Named Sandoz – The Animals, The Smashing Pumpkins
Where Did You Sleep Last Night? – Leadbelly, Nirvana
Preaching Blues – Robert Johnson, Gun Club
Who Do You Love – Bo Diddley, George Thorogood
Bonus: Bang Bang (My Baby Shot Me Down) – Nancy Sinatra, The Raconteurs

*note: Jack White's t-shirt says Blind Willie McTell.

Music Enemy #1

2006-09-03T08:43:00.000-05:00

The 2006 MTV Video Music Awards. Holy fuck. This was one of the most surreal things I’ve seen in a while. I don’t listen to the radio, nor do I watch much television, so every once in a while, I’ll check out MTV to see what the crazy kids are listening to these days. They’re not crazy – they’re retarded.

A few bright spots:
- Ok Go doing their treadmill routine. [video]
- The Killers weren’t bad – still not my bag. [video] [When You Were Young - new single from Sam's Town]
- Shakira dancing. Lord. [video]
- The Jackass crew making fun of Fall Out Boy when they came up to receive their award.
- Lou Reed adlibbing while presenting an award, saying MTV needs to play rock and roll videos again – “you know, two guitars, drums, and bass!”
- The Raconteurs as house band: Not only did they play “White Light/White Heat” with Lou Reed to start the show off, but they even had Billy Gibbons (ZZ Top) with them later on, doing a kickass rendition of “Cheap Sunglasses”.

Outside of all that, it was painful. However, as it was with Titanic, I had to watch it so I could have an opinion on it. Apparently, Jared Leto has a band, and it’s emo goth something. Nominees in the rock video category included Leto’s band, Panic! At the Disco, A.F.I., Green Day, and Red Hot Chili Peppers. First, RHCP needs to stop. I saw the video of them visually placing themselves in the midst of rock and roll mavericks (for the most part) of the past and I almost threw my guitar at the television in disgust. Green Day – eh – I don’t have too much of a problem with them, but I still don’t dig their music. Panic? I wish this band were as dead as disco. A.F.I. won, but for the life of me, I honestly couldn’t tell the difference between all five songs as they previewed them before giving out the award. Oh, and the All-American Rejects played live – they played the same song that the other five bands recorded (and were nominated for).

I’m not going to go too far into my commentary on the hip-hop realm. I’m a big old school hip-hop fan, but we’re far away from that era. All I know is that I couldn’t understand a fucking thing anybody was mumbling – and I’m not talking about the performances – I’m talking about the presenters.

To top it all off, Jack Black was as funny as cancer. He needs to stop playing a caricature of himself – in movies and everything else that he does. It’s getting out of hand – the Groundlings need to have an intervention.

An intervention is also needed for MTV. People blame the big six record labels for the miserable state our music is in, but they have superiors. As far as popular music goes, there are only a couple eras that are a complete wash. One would be the late ‘70s, which was knee deep in shit like Elton John and Kiki Dee duets and “I Just Want To Be Your Everything”. The other would be the last 10 years. The reason for the latter is the lack of integrity from the information outlets. Rolling Stone, MTV, and Clear Channel have single-handedly (tri-handedly?) ruined the world of music in the last decade by turning the focus onto image and controlling what the public sees and hears. It’s this type of money-driving power that keeps the labels afloat.

There’s no way to remove the crap from the pop charts – they’ve always been dominated by cookie-cutter artists that the masses can swallow with no water – but with the technology age, there is an opportunity to take a piece of the pie away from the elite. The 600+ indie labels are gaining power, but without true competitors for the mass communicators in television and radio, it will only get worse. The rich get richer, and our minds get poorer.

New 12-Pack For Everyone

2006-09-02T08:41:00.000-05:00

Chin Up Chin Up - This Harness Can't Ride Anything
This Harness Can't Ride Anything - Suicide Squeeze
Unfortunately, they'll get some comparisons to Kings of Leon for this hopalong.

Cococoma - Don't Tempt Me
All I Give 7" - Shit Sandwich
For the love of god, please do not tell Cococoma that you can record at a better quality. Perfect as is.

Cracklin' Moth - Talk to the Dark
Special Single
This sounds so familiar that it's going to get repeated listens so people can spot bites (please refer to 1984 for definition of "bite" used in this context).

White Bear - Subject of the Queen
Demo
A good balance between pop and Marc Bolan.

Lee Marvin Computer Arm - Cha-Cha
Lee Marvin Computer Arm EP - Conspirators in Sound
Douse me in gasoline, throw Lee Marvin Computer Arm at me, and watch me burn.

Black Mekon - Simplify
Free Range Hassle - ?
This came out of nowhere - picking up where the Immortal Lee County Killers left off.

Pit Er Pat - Solstice
Pyramids - Thrill Jockey
Put this in for a road trip and indie-tango in your seat.

The Big Sleep - Murder
Son of the Tiger - Frenchkiss
I'm not sure what I'm supposed to do with this. Treadmill music?

Lou Reed and The Raconteurs - White Light, White Heat
live at MTV VMA
One of the coolest things I've seen on TV in some time. Too bad it had to be part of one of the shittiest things I've seen on TV in some time (MTV VMA).

Soledad Brothers - Downtown Paranoia Blues
The Hardest Walk - Alive
There'll be an article up soon on the Brothers - long overdue. Along with it will be a playlist created by the one and only Soledad drummer, Ben Swank. Some interesting shit.

All Thought and No Feeling Makes The Crutch a Dull Boy

2006-08-24T15:11:00.000-05:00

Pitchfork and The Crutch don’t always see eye to eye on a great deal of music, with our tastes standing apart at the middle of independent music, but Pitchfork does a good job at what they do, so I’m not trying to take anything away from them on the whole. However, I was highly disappointed in their recent 200 Greatest Songs of the 1960s list. Lord, I would love to buy these guys a drink and let them unwind a bit. In this moment, Pitchfork has left the feeling of the music for the pseudo-intellectual basement of life. Too much thought and effort into talking about what is primarily a list of rock and roll songs, which isn’t a genre that needs too much thinking.

There is some quality writing in the blurbs for the songs, so don’t get me wrong – it’s not a bad read. But, if you’re going to do a list that includes ALL music from the 1960s, I find it difficult to believe you can’t find more in the genres outside rock and pop. If you’re going to list one Brazilian song, you better be completely knowledgeable in music from every country during the 1960s – enough to be able to confidently tell me there isn’t ONE more song from the rest of the world, outside of Great Britain and North America, that couldn’t fit on the top 200. I don’t buy it.

And can anyone explain this to me?!:

200. The Kinks: “Sunny Afternoon”
150. Bob Dylan: "It's Alright Ma, I'm Only Bleeding"
132. Louis Armstrong: “What a Wonderful World”
117. Ben E. King: “Stand By Me”
99. Jimi Hendrix: “All Along the Watchtower”
88. The Kinks: “You Really Got Me”
80. Bob Dylan: “Subterranean Homesick Blues”
77. The Velvet Underground: “Heroin”

76. BBC Radiophone Workshop: “Doctor Who (Original Theme)”
63. Stan Getz and Joao Gilberto: “The Girl From Ipanema”
49. Lee Hazelwood and Nancy Sinatra: “Some Velvet Morning”
38. The Meters: “Cissy Strut” (which was one ahead of Rolling Stones “Sympathy For the Devil”)
32. Ennio Morricone: “The Good, The Bad, and The Ugly (Main Theme)”
20. The Shangri-Las: “Out in the Streets”
18. The Crystals: “And Then He Kissed Me”
10. Desmond Dekker and The Aces: “Israelites”
7. The Beach Boys: “Wouldn’t it be Nice?”
6. The Ronettes: “Be My Baby”
2. The Jackson 5: “I Want You Back”
1. The Beach Boys: “God Only Knows”

Um. Is this some sort of sick joke? I understand that this isn’t supposed to be a typical “greatest” list, but this is simply trying too hard to be different. “You Really Got Me” is 50 spots behind “Cissy Strut”?! I know they put the disclaimer saying they left off a bunch of “fantastic and amazing song,” but some tracks could’ve been swapped out for more important and meaningful songs, and the order of what was included is a travesty. Was there a criteria outside of Pitchfork's personal taste? Is this Pitchfork’s attempt to balance themselves between givens and quirk?

Yeah, bossa nova and reggae are wonderful, but having “The Girl From Ipanema” at 63 or Desmond Dekker’s “Israelites” at number 10, and not having The Beatles “Revolution” even on the list, is purely insane. And film scores and theme songs are neat, but there’s no reason to have them on a list that has Miles Davis and John Coltrane sitting behind them. I get the cheekiness, but what’s to be taken seriously and what’s not?

Oh well. All lists will create this sort of reaction – people get mad at lists, as if personally insulted. This was not personal – it’s merely a difference in taste – no rights or wrongs, even though I called them insane. I guess even I can contradict myself with an oxymoron while being counter ironic.

Here are a few songs out of my collection that I think should’ve made it:

The Beatles – Revolution
Hey Jude – 1968
This might be the best song ever written with lyrics, figuring in the energy, spirit, message, and most importantly, the timing. With all the turmoil in ’68, this song, even in its acoustic version from the White Album, was as socially conscious and topically powerful as anything Bob Dylan has ever done.

Booker T. and the MG’s – Green Onions
Green Onions – 1962
I am always surprised nobody went back and tried to put lyrics down to this track. It’s one of the most famous pop instrumentals, and it’s one of the coolest struts in the last 50 years. Everything in this song is blissful – the organ, Hitchcockian guitar, and a durable bassline. “Green Onions” even predates the funk that James Brown made popular a few years later with “Papa’s Got a Brand New Bag”.

John Lee Hooker – Boom Boom
Burnin’ – 1962
I’m not sure if I saw any blues on the list, but I certainly didn’t see this raunchy Hooker track. Everyone has covered this song, but Hooker’s version is perfect. Enough said.

The Doors – Five to One
Waiting For the Sun – 1968
So they said no “Light My Fire”, but that doesn’t mean you need to completely shun a group. “Five to One” is just as primal as “Break on Through”, but it embodies more of a rock and roll attitude, with its young conquering old theme. It’s a son of a bitch of a song, and I’m not elitist enough to ignore the fact that at least one contribution from The Doors deserves to be noted.

The Lost Souls – This Life of Mine
Nuggets II
The Lost Souls never released an album, but this Nuggets band from Cleveland lashes out on this track like very few could at the time. It’s off balance, as if the music just can’t catch up to the vocals – climbing and falling back down, as the screams come from the bottom of the well. It’s the child-like spirit that puts this in perspective – angst with confidence. He’s not running away – he’s going to find himself and become something. This song was their rite of passage.

The Pretty Things – Don’t Bring Me Down
The Pretty Things – 1965
It starts off like The Sonics, but dives into a catchy morphing of Beatles pop and early Stones blues rock. The cockiness and rawness of the recording is stunning, and though they were overshadowed by the Stones, they can put up “Don’t Bring Me Down” against almost anything the Stones did early on.

The Yardbirds – For Your Love
For Your Love – 1965
It was one of the supposed reasons why Eric Clapton left The Yardbirds – he thought it was too mainstream and was looking to play more blues. That didn’t work out so great for Clapton, but he did contribute to this track, which the Yardbirds simply kill.

Ramsey Lewis – The In Crowd
The In Crowd – 1965
It reached #5 on the charts, and though I think Billy Page’s composition predates the ‘60s, Lewis made it popular in ’65, and that’s enough for me. This jazz track is rock and roll to me – when I think of a song that swings, this is it. With additional help from a live audience, “The In Crowd” flows through highs and lows, held tight by the deadlocked rhythm section, even going to a whisper of music before storming back to end the song. If I knew how to dance, I’d be up for this song every time it came rolling through the speakers.

Cream – Sunshine of Your Love
Disraeli Gears - 1967
This song is typically seen as relying on the guitar work from Eric Clapton, but "Sunshine of Your Love" almost remained a demo - because the band couldn't find the right groove. It wasn't until legendary engineer/producer Tom Dowd (Ray Charles, Aretha Franklin, Allman Brothers, Otis Redding, etc.) suggested Ginger Baker try a Native American rhythm. Tada!

Others (I’m tired of writing, even the basics):
Count Five – Psychotic Reaction
The First Edition – Just Dropped In
Martha and the Vandellas – Nowhere to Run
Sonny and Cher – The Beat Goes On
Mitch Ryder and the Detroit Wheels – Devil With a Blues Dress On
Wilson Pickett – Land of 1000 Dances
Moody Blues – Go Now
The Turtles – Happy Together
The Standells – Dirty Water
The Youngbloods – Let’s Get Together

Crazy 8's - Chicago

2006-08-09T16:01:00.000-05:00

A variety of new stuff from the Chicago...

Assassins - Guilty
You Will Changed Us - Chemicals Kill

Justin Sconza - A Pretty Picture
Pain By Numbers - Brilliante

Bound Stems - Andover
Appreciation Night - Flameshovel

Alexander Sands - What Ever Became of Betty?
Demo

The Like Young - For Money or Love
Last Secrets - Polyvinyl

The Record Low - This Other City
This Other City single - Self-released

Headache City - Headache City
Headache City - Shit Sandwich

Hot Machines - Can't Feel
Microphone 7" - Dusty Medical

What Made These Austin Kids Famous

2006-08-05T20:24:00.000-05:00

It was a long wait, but persistence paid off for What Made Milwaukee Famous – a sugary rock and roll outfit from Austin, who, after shopping their self-released Trying to Never Catch Up around since 2004, have finally landed a deal with Barsuk Records. Swapping out a handful of tracks and replacing them with newer material, leaving the treats from the debut, this re-release…debut…whatever will turn some heads – especially the indie folk.

Michael Kincaid’s vocals lure and lull like Buckley and the blissful jump stops and handclaps have The Cars written all over it. Mix in a little post-punk and Radiohead with Beatles and Kinks melodies, and we’re getting closer to completing the picture What Made Milwaukee Famous lays out in their music. Comparisons aside, the pop hooks and the shimmy-shake in heart halting tracks like “Hellodrama” are what brought these Texas kids all the way to Lollapalooza this year.

Two years is no wait at all when you find yourself in position to be the next indie darlings.

What Made Milwaukee Famous – Hellodrama

Go to their Myspace page to hear three other tracks.

The Acoustics in This Place Are Great

2006-08-04T15:48:00.000-05:00

I was just listening to a Jeff Tweedy performance from January 2000 – a 27 song farewell performance to a former Chicago staple, Lounge Ax. Even if you don't live in Chicago, you may recognize the name from High Fidelity - it's where Lisa Bonet sings Frampton. Peter fucking Frampton. Anyway, Tweedy has always played solo, acoustic, so it's no surprise his sets are amazing and that his songs transfer well to the acoustic realm. And even though MTV made playing acoustically a popular alternative for rock bands, it's always interesting to hear how these bands break down their songs and pull them out of the electric buzz, fuzz and feedback. But it doesn't always shock me that they pull it off, being that I’m sure many are like Immortal Lee County Killers’ Chet Weise, who once told me he writes and develops most of his punk blues songs on an acoustic guitar.

I wish I had a couple of those acoustic ILCK tunes to share, but hopefully these choice tracks – a mixture of studio and live recordings – will please you just the same.

Jeff Tweedy - Shot in the Arm
Original studio recording from Summerteeth

Smashing Pumpkins - Dancing in the Moonlight (Thin Lizzy cover)
Live Thin Lizzy recording from Bad Reputation

Radiohead - Creep
Live version of Creep

Yeah Yeah Yeahs - Maps
Live version of Maps from Peel Sessions

Jimi Hendrix - Hear My Train a Comin'
Live version of Hear My Train a Comin' from Woodstock

Social Distortion - Ball and Chain
Original studio recording from Social Distortion

T Rex - Planet Queen
Original studio recording from Electric Warrior

Johnny Thunders - Eve of Destruction (P.F. Sloan cover)
Original P.F. Sloan recording from Songs of Our Times

The Breeders - Cannonball
Original studio recording from Last Splash

*Note: If you can't read it, Whiskeytown, Guitar Wolf, Elliot Smith, Neutral Milk Hotel, Will Oldham, and Nashville Pussy are all listed on the Lounge Ax calendar.

The Movement That Never Was: BLOCK #7

2006-07-18T20:51:00.000-05:00

Block 7

The last and final block of The Movement That Never Was 1997-2005 compilation. 60 bands - 60 songs. We could've easily pushed that number to 100, but we had to cut it off at some point. I wish I had time to delve into all this further and write the short bios for all the blocks, but I got caught in the middle of a move, so time is/has been scarce. We hope you all enjoyed the music. Now go and buy what you liked.

Yeah Yeah Yeahs – Our Time
Master – Wichita / Touch and Go (2002)

The Ponys – I Wanna Fuck You
So Sentimental 7” – Contaminated (2003)

Miss Alex White & Chris Playboy – Pop/Stall
Miss Alex White & Chris Playboy 7" - Missile X (2003)

The Blackouts – Let You Down
Living in Blue – Lucid (2004)

The Greenhornes – Can’t Stand It
The Greenhornes – Telstar (2001)

Thee Lordly Serpents – But You Think So
Thee Lordly Serpents – Pro-Vel (2004)

The Dishes – Use Your Arms
3 – File 13 (2003)

Black Rebel Motorcycle Club - Whatever Happened to My Rock n' Roll
B.R.M.C. - Virgin (2000)

The Little Killers – Volume
The Little Killers – Crypt (2003)

King Khan – On a Brass Bed
Mr. Supernatural – Hazelwood (2004)

The Movement That Never Was: BLOCK #6

2006-07-14T01:49:00.000-05:00

Block 6

The White Stripes – Lafayette Blues
Lafayette Blues 7” – Italy (1998)

The Von Bondies – It Came From Japan
Lack of Communication – Sympathy (2001)

The Dirtbombs – Stuck Under My Shoe
Stuck Under My Shoe 7” – Some Assembly Required (1998)

The Go – Keep On Trash
Whatcha Doin’ – Sub Pop (1998)

The Sights – Don’t Want You Back
Got What You Want – Fall of Rome / Sweet Nothing (2002)

Detroit Cobras – Hey Sailor
Life, Love, and Leaving – Sympathy (2001)

Demolition Doll Rods – Doo Walka Walka
Tasty – In the Red (1997)

The Paybacks – Just You Wait
Knock Loud – Get Hip (2002)

Clone Defects – Stray Boy
Shapes of Venus – In the Red (2003)

The Movement That Never Was: BLOCK #5

2006-07-13T10:53:00.000-05:00

Block 5

The Deadly Snakes – Closed Casket
Ode To Joy – In the Red (2003)

Spaceshits – Can’t Fool With Me
Misbehavin’ – Sympathy (1999)

Les Sexareenos – Everybody Sexareeno!
Live! In the Bed – Sympathy (2000)

Mando Diao – Sheepdog
Bring ‘Em In – Mute (2003)

The Datsuns – Lady
The Datsuns – Hell Squad / V2 (2002)

The Hells – He’s the Devil (But I Love Him So)
He’s the Devil 7” – Artrocker (2003)

Country Teasers – I’m a New Person, Ma’am
Science Hat Artistic Cube Moral Nosebleed Empire – In the Red (2002)

The Kills – Black Rooster (Fuck and Fight)
Black Rooster EP – Dim Mak (2001)

Cato Salsa Experience – So, The Circus is Back in Town
A Good Tip For a Good Time – Emperor Norton (2002)

Tokyo Sex Destruction – Break-Out Town
Le Red Soul Communnitte – Dim Mak (2003)

The Movement That Never Was: BLOCK #4

2006-07-12T03:08:00.000-05:00

Block 4

The Spits – Don’t Shoot
The Spits (3) – Dirtnap (2003)

The Lost Sounds – Lost and Found
Black-Wave – Empty (2001)

The Husbands – Dirty Mouth
Introducing the Sounds of The Husbands – Swami (2003)

Mystery Girls – Circles in the Sand
Circles in the Sand 7” – In the Red (2003)

The Black Lips – Throw it Away
The Black Lips – Bomp! (2003)

The Forty-Fives – Out of My Mind
Fight Dirty – Yep Roc (2002)

The Gossip – Don’t Make Waves
Movement – Kill Rock Stars (2003)

The Makers – No Count
Hunger – Estrus (1997)

The Gris Gris – Everytime
The Gris Gris – Birdman (2004)

Mr. Airplane Man – Uptight
Moanin’ – Sympathy (2002)

The Movement That Never Was: BLOCK #3

2006-07-10T22:28:00.000-05:00

Block 3

The Tears – Don’t Care About Nothin'
She Ain’t Right 7” – Bancroft (2002)

Reatards – Your So Lewd
Your So Lewd 7” – Empty (1999)

The Liars – Grown Men Don’t Fall in the River, Just Like That
They Threw Us In a Trench… - Gern Blandsten (2001)

Soledad Brothers – Break ‘Em On Down
Steal Your Soul and Dare Your Spirit to Move – Estrus (2002)

Catholic Boys – Sometimes Baby
Psychic Voodoo Mind Control – Dropkick / Trick Knee (2004)

Reigning Sound – Straight Shooter
Time Bomb High School – In the Red (2002)

The Mistreaters – SC Twist
Grab Them Cakes – Big Neck (2000)

The Bloody Hollies – Swing
Fire at Will – Sympathy (2003)

Tyrades – Cut Your Feet Off
Tyrades – Broken Rekids (2003)

Fatal Flying Guilloteens – Cup of 1000
Get Knifed – Estrus (2003)

The Movement That Never Was: BLOCK #2

2006-07-08T05:46:00.000-05:00

See the entry below or go to The Crutch website to read about The Movement That Never Was 1997-2005.

BLOCK #2

The Hunches – Explosion
With the occasional Screamin’ Jay Hawkins styled vocals and extra dirty punk rock and roll in the ass pocket, The Hunches are somewhat of an acquired taste for many, but salty enough for the barrage of fans they picked up in the early part of the 21^st Century. Listen to Yes. No. Shut It. and you’ll come out the other end looking like you’ve been wedging your hands in every crevice of the 289 on your ’65 Mustang. They haven’t released a full-length since 2004, with the release of their Leper Parade 7" on Dusty Medical this year and a recent tour with Miss Alex White and the Red Orchestra, we may see something new soon.

Immortal Lee County Killers – Killer 45
Chet “Cheetah” Weise came from Quadrajets fame – another band that could fit in this movement. The Killers easily carry one of the heaviest sounds out of these bunches of bands, but their punk blues gets your attention like stepping on a nail. The hard riffs are catchy and the drumming is simple, but they have managed to push some envelopes with their three full lengths. They’re loud and…fun – yes, fun – and they’re still on the scene, releasing These Bones Will Rise to Love You Again on Funhouse Records this year.

The Horrors – When I Get Home
These hawkeyes may have crafted one of the best albums in the last 10 years with their 2003 In the Red Records release, Vent. A little on the blues-rock end, The Horrors came and went before NME could call them the best band in the world. It’s quite a shame, but luckily they left us a couple albums to listen to and wonder “what if…”

Porch Ghouls – Little Candy For Tessie
Another tragedy of this era, the Porch Ghouls only released two albums. Their first was a self-titled 10” – produced by legendary Jeffrey Evans, and filled with blues covers, including R.L. Burnside, Willie Dixon, and Hound Dog Taylor tracks. Their second, Bluff City Ruckus, is a fucking barnburner, and was released by Roman Records (Joe Perry of Aerosmith’s label, who personally brought them in) and Columbia, but nothing came of it. It’s surprising, since this dirty country blues album blows away anything the widely popular Black Keys have ever recorded. Drummer, Bruce Saltmarsh, also briefly played in ’68 Comeback, but otherwise, these Memphis kids completely disappeared from the map.

Vue – Pictures of Me
First known as The Audience, San Francisco’s Vue was one of the more promising bands of the late 1990s. Jumping from GSL to Sub Pop, and finally to RCA, they had the backing to do something. They also had a sophomore stunner in Find Your Home. There isn’t a bad track on that album, but plenty outside of it. With a the Marc Bolan and Jim Morrison influences, they quickly found themselves regurgitating their own work and sound. Regardless, Find Your Home still stands as one of the better albums of 2001.

Go to BLOCK #1

The Movement That Never Was

2006-07-06T17:53:00.000-05:00

In 1972, Jac Holzman (founder of Electra Records) and Lenny Kaye (guitarist for Patti Smith and Jim Carroll) put together one of the best compilations ever assembled: Nuggets: Original Artyfacts From the First Psychedelic Era 1965-1968. It contained 27 obscure garage bands, highlighting a group of artists that would've otherwise been forgotten, including Thirteenth Floor Elevators, Electric Prunes, Shadows of Knight, and Count Five. All of these bands, and even more that made the inevitable Nuggets box set released in 1998 by Rhino Records, sat in the shadows of the British Invasion, but with the original Nuggets and the later box set, there is a recorded testimony for all music fans to remember bands that can easily be counted as some of the most influential to come out that era. Names like Captain Beefheart and Love still get thrown around as influences, and The Sonics could even be seen as the godfathers of punk.

30 years later, in the late 1990s, those who were paying attention saw a similar type of moment happening in rock and roll, with a number of bands forming and following in the practically invisible footsteps of rock revivalists like The Gories, Thee Headcoats, '68 Comeback, Gibson Bros., Cheater Slicks, Flat Duo Jets, and The Oblivians. But by 2002, there was an accelerated repeat of the grunge era's final years, where the big media began noticing the surge, shamelessly touting every new band as the next big thing, and the major record labels started snatching up every band they could possibly fit into the marketing tag of "garage rock." The term was not only inaccurate in most cases, but it also quickly became the label of death - for the bands branded and also for a rock and roll movement that never happened.

Detroit got the most attention, but bands were popping up everywhere - New York, Chicago, San Francisco, Austin, Memphis, Toronto, London - Sweden, Australia, New Zealand, and Japan. There were many bands mining similar sounds, but the diversity of the music was actually quite impressive, and the quality gave many the tingling feeling of a possible rock and roll movement about to explode - after all, we were, and are still over due. However, like the underground movement in the mid-to-late '60s, there are only a few bands from this most recent period that found success and that remain on the international scene today. Most have either dismantled, changed their sound to be more marketable, have been demoted to the basements of major label PR departments, or simply have never got popular enough to consistently tour and play in front of large audiences.

The White Stripes and The Strokes are the only two bands out of the 1997-2005 crop that have gold records hanging on their walls, and some others who got exposure by the media actually saw a backlash from the underground rock dwellers, but in the end, it was an exciting and prolific time for modern rock and roll. And just because we no longer have a viable environment for another rock and roll movement, due to our over zealous media trying to force revolutions instead of allowing them to evolve, doesn't mean we have to forget the bands and the songs that could have made a much bigger impact on the history of rock and roll and also the current music world.

Hopefully, someday, someone will compile an official release so that these great songs and artists won't be written in the wind. Until then, The Crutch is happy to provide blocks of an unofficial compilation: The Crutch: The Movement That Never Was 1997-2005.

CLICK HERE FOR BLOCK #1

10 Women For My 10 Fingers

2006-06-27T20:54:00.000-05:00

Here is some female delight.

Joanna Newsom - Inflammatory Writ
Loretta and the Larkspurs - After Hour
White Magic - Keeping the Wolves From the Door
Etta James - A Sunday Kind of Love
Brenda Lee - I'm Sorry
Marlene Dietrich - Look Me Over Closely
Dolly Parton - Jolene
Sister Rosetta Tharpe - Nobody's Fault But Mine
Big Mama Thorton - Ball and Chain
Bessie Smith - Nobody Knows You When You're Down and Out

What Not To Do: A Guide For the Indie Musician

2006-06-22T10:36:00.000-05:00

Topic #2: Press Kits

Publications, radio stations, and music venues get an insane amount of packages filled with CDs and information about artists. The effort some of you artists put into your press kits is fantastic, but your efforts will most likely be wasted and could actually work against you. Press kits are simple, and regardless of what you try to do to catch the eye of the person you’re sending it to, it most likely will not matter a bit. The worst thing you can do, however, is repel a potential writer, DJ, or talent buyer/booker with your press kit.

Be frugal and don’t try so hard. If you’re creating your own press kit, that means you’re not at the stage where you have a publicist to do it for you, so don’t spend money if you don’t have to. And honestly, you don’t have to. The primary article that needs to be in the padded envelope is the CD – the music, believe it or not, is the important thing. If you can’t afford sending a real CD with artwork, send a CD-R in a plastic sleeve with a printed tracklisting. Don’t get fancy with colored or glossy paper, and, for the love of god, don’t waste hard earned dollars on folders of any kind – they go right in the garbage.

Also, try not to kill yourself over the content of your one sheet. And yes, make it only one sheet – plain white paper – black print – it’s cheaper to copy. Your bio should sound like it’s coming from another person’s perspective and it should be concise. Where are you from, what do you sound like (yes, it’s good to compare yourself to other artists as a quick reference for the person you’re sending it to), and what makes you different than the rest of the artists sending the same thing? If you have any press quotes, include them. If you’ve played on good bills, mention the recognizable names you’ve played with. Remember that you’re marketing yourself. That’s about it – that’s all you need.

The one thing that will ruin everything? A stupid looking picture of you and/or your band. It’s best not to include one at all – put a band logo or stylized font to represent yourself if you have to. You’re not a major record label, who has the money to sell an image (and only an image) – you’re an artist trying to make it, so you’re going to have to bust your ass, be persistent, and rely on your music to get attention. Send a photo of you and/or your band trying to look cool and your CD may find its way into the ever growing “pay no mind” stack without even ever being heard.

To recap, include a CD and a one sheet in a padded envelope – that’s your press kit. Don’t waste your time, energy, and money doing anything more. For the most part, publicists do it this way, and even the major labels often send the cheapest press kits that will ever grace a desk.

Basically, think of it like picking up a girl or guy. The harder you try, the less chance you end up having because you ultimately seem desperate and a novice. Also understand that you’re one of thousands of artists who are sending out their music. The odds are stacked against you from the beginning, so don’t over complicate it and put such effort into a package that may never even get opened. Most of all, don’t fuck it up with your first impression – also known as your press kit.

Take an Interview with The Vacation

2006-06-20T11:02:00.000-05:00

By: Sarah L. Myers

My mother was always afraid my obsession with rock n' roll might lead me to some bad influences. 25 years later I met The Vacation. After listening to their debut album, Band From World War Zero, it's tempting to pack that rattlesnake suitcase and head to Hollywood, following a night at the liquor store with a morning in the hills watching the sunrise. Debauchery flows in song and spirit, but twins Ben (vocals) and Steve Tegel (guitar) are actually quite subdued. Offstage anyway, and before the Budweiser. Frontman Ben Tegel takes 10 questions for The Crutch.

The Crutch: Which Sex Pistols songs did your cover for the 103.1 "The Filth and The Fury" screening?
Ben Tegel: We're covering "Holidays in the Sun," "Pretty Vacant," and "E.M.I."

What is your preferred brand of cherry cola?
BT: Royal Crown Cherry Cola Worst injury suffered onstage?

Anything resulting in the use of a crutch?
BT: I injure myself pretty much every time we play. I always wake up the next morning covered in bruises, scrapes, or severe chest lacerations. One of the worst injuries, though, occurred at a show in a terrible bar in San Marcos, CA (don't ask me why we were playing there). I was standing on a monitor which sat very close to the edge of a rather high stage, balancing myself and acting like a jerk, when I fell off, scraping my lower back severely on the metal edge of the stage. Then the monitor tumbled off the stage and landed on my back. We were actually able to finish the show but that hurt like hell for quite awhile. I have a strange looking scar there that looks as if I had some sort of spinal surgery.

Ben and Steve: any requests for Vacation "sandwiches"?
BT: Um....I make a damn good ham & swiss & fried egg on wheat toast....is that what you are referring to? Girls are gross, come on, that's not gonna happen.

Tell me about the story behind "W.I.I.F.M", with the lyric "Would somebody please exploit me?" That's a great concept.
BT: That song was an attempt to satirize the way that capitalism tends to co-opt and thereby minimize subversive energies.

Name five great songs.
BT:
"I Walk on Guilded Splinters" - Dr. John
"My My Hey Hey" - Neil Young
"Biological Speculation" - Funkadelic
"Rock N Roll" - Velvet Underground
"Fortunate Son" - CCR

The album has a song called "Hollywood Forever," which is a cemetery in Hollywood, where many celebrities are buried, including two of the Ramones. Have you spent time in the cemetery?
BT: Yeah, a lot. Steve's apartment, where we formerly lived together, is right around the corner from it. It's nice, it's like a park. It's funny that the closest thing to a park in Hollywood is a cemetery.

You're from St. Louis, but are definitely a Hollywood band. Do you still have any Midwest in you?
BT: I guess my answer to this is that Hollywood is full of a lot of people who come from elsewhere, including the Midwest, in search of fame or fortune or whatever. A city of immigrants and emigrants. So in that sense we are a typical Hollywood or LA band. I think there is a romanticized notion of LA in the Midwest. I mean, let's face it, Americans are obsessed with Hollywood and all that it represents. and LA is definitely more palatable to a lot of Midwesterners as a big city cultural center than New York City. It seems less snobby, maybe, to a certain Midwestern kind of defensive pride in one's commonness, or classlessness. And there is something inherently common, unsophisticated, about LA. And, for that matter, America in general.

The first song you heard that made you want to play rock n' roll?
BT: Let's say either "Rock N Roll" by Led Zeppelin or "Rock N Roll" by the Velvet Underground.

What's your worst habit or biggest vice?
BT: Gee, we have a lot of bad habits and vices. You name it, we've probably done it. We definitely abuse alcohol. Rather, it abuses us. Almost all of our other vices stem from alcohol consumption. My worst habit is probably fighting in public with my brother. Or buying tennis shoes.

-----

The Vacation - W.I.I.F.M.

10 Songs For a Roadtrip From Detroit to Chicago - by SSM

2006-06-16T14:55:00.000-05:00

I’ll tout these guys as much as I can because they’re just fucking good and deserve the attention, but I do have some information to pass along. Here are their Midwest tour dates for SSM. They’re touring with The Bellrays. Go see them.

In addition, I asked SSM for a playlist/mix tape/compilation – 10 Songs For a Roadtrip From Detroit to Chicago. Johnny Szymanski was kind enough to put it together for us. He also answered one question I just had to ask:

Devo - Sloppy
Steve Treatment - Tempest Fashion Baby
Chubby Checker- My Mind (Comes From a Higher Place)
Fire Engines - Get Up and Use Me
Grauzone - Eisbaer
Visage - Frequency 7(dance mix)
Prince - Gotta Stop (Messin’ About)
Flaming Lips - Pilot Can at the Queer of God
Queen - Tie Your Mother Down
Desmond Dekker - Isrealites

The Crutch: What is the primary difference between SSM and S&M?
Johnny: The only difference between SSM and S&M is a slip of the right index
finger...

*Thanks, Johnny.

Ain't Nothing Little About It

2006-06-13T15:02:00.000-05:00

With their new release, A Real Good One, The Little Killers are keeping that raw rock and roll spirit alive. There are not many bands that are able to tap the past without getting shit from today’s music critics, but The Little Killers have managed to impress just about everyone. On this second release, Andy Maltz (singer/guitar), Sara Nelson (bass), and Kari Boden (drums) sharpen their teeth a bit and hone their skills, putting forth an album worth some focused attention, so quit multi-tasking for a half hour and give them a listen.

Andy Maltz was kind enough to answer a few questions for us, despite our lack of seriousness. Enjoy reading and then go enjoy their music.

The Crutch: Could you kick The Killers’ asses?
Andy: The Killers? Jeeez, c'mon we can kick Motorhead's ass. I think Sara and Kari could show the Killers a thing or two about applying eye make-up. Honestly I've never heard The Killers. I'm sure they're great.

People have said you sound like this or that band, but what do you think you would sound like, collectively, if you were all drunk at 4am, discussing Nietzsche?
Probably sound like a bunch of fools, drunk at 4am or stone cold sober at noon.

Why the jump from Crypt to Gern Blandsten?
We still love Tim at Crypt but he's busy with other things and we wanted to get an album recorded. Right about the time where were gonna start asking around, Charles from GB called. He's an old friend of mine from waaaaaay back. He asked if we'd be interested in doing something with him. Sara and I met him at a bar and he filled us in on what he had in mind. We all left feeling like it was a great idea. A month later we were in the studio.

And do you know why I can hardly find anything on the Gern Blandsten website about you and A Real Good One?
We didn't really wanna do the whole big "checkoutourwebsitedude" thing, ever. I really don't think band websites are interesting at all. We don't have one except for the page that was on the crypt site and the one that Rupert Murdoch owns. Just listen to the record. Everything you need to know about us is on the record.

Are you old enough to remember the Mister Microphone commercials?
I'm old enough to remember Mr. Microphone's mother and father. They were good people.

Entertainment Weekly gave your debut album an A-. What grade would you give Entertainment Weekly as a publication?
I would give them an A minus minus. The extra minus is for adding a minus to our grade. I hate the idea of grading records. It makes them seem like homework assignments. I thought this was supposed to be about having fun. How can I have any fun if I worry about what grade I'm gonna get? Consequently, I don't really care to much.

Does the sun revolve around New York City or does New York City revolve around the sun?
I was never very good at science, I don't know. The sun revolves around Uranus. Hahahaha...

Instead of me telling everyone what I think you learned or developed in the time between your first and second record, what do YOU think you learned or developed in that time?
I think we learned to trust ourselves. I think that through sheer hard work we became great at what we do.

In relation to your personalities, what cartoon characters would you be, or choose to represent you?
The three robotic stooges.

Did you ever feel uneasiness, having such little experience as musicians or as a band when you recorded your first album? Or was there confidence and belief from the beginning?
Oh no, we were always confident that what were doing was good from the get go.

What’s the last book you read?
I always read about five or six books at a time. The last couple I finished were a history of Turkey, and a Hank Williams biography.

*Thanks, Andy!

The Little Killers - Been So Long (A Real Good One - Gern Blandsten)
The Little Killers - Volume (The Little Killers - Crypt)

The Muldoons - Tomorrow's Rock Stars

2006-06-05T17:38:00.000-05:00

No matter how I write about The Muldoons, it’s going to make someone unhappy. The reason is because two out of the three members are under the age of 12. Yes, that’s right. It’s a family affair – two brothers, Shane (8-years-old – vocals/guitar) and Hunter (11-years-old - guitar), backed by their father, Brian (46-years-old), on drums. See, if I say it sucks, people are going to think I’m picking on a couple of kids. If I say it’s good, people are going to think I’m taking it easy on them because they’re kids. So be it.

Overall, it sounds like a mediocre punk band with a chick singer. However, for their age, it’s fantastic. Would I listen to it without knowing anything about the band? Probably not. Should I listen to it because I know something about the band? Definitely.

The record was produced and recorded by Jack White. You see, Jack White and Brian Muldoon had a band together back in the day called The Upholsterers. Evidently, they’re still friends, and Jack even allowed the kids to borrow one of his stolen guitar licks (from “Pain [Gimme Sympathy]” - originally by Jack Starr) for The Muldoons’ first single, “Driver’s License”. White also did The Muldoons the favor of letting them debut live at a The White Stripes concert in Detroit last year. Since then, The Muldoons have done a few shows, including opening for SSM at their record release last weekend, opening for The Raconteurs, and also a live gig on the renowned Jersey City radio station, WFMU. Thank you, Uncle Jack.

The recording is purposely rough and everything else is as simple as you would expect, but if these kids can keep at it, by the time they’re both in high school, they’re going to be pretty fucking remarkable. For now, I’d buy the four-song single from Cass Records as a novelty, if nothing else, and look for another release at the end of the summer, produced by Brendan Benson.

The Muldoons - Driver's License
The Muldoons - Agitated (live on WFMU)
The Muldoons - live at Magic Stick in Detroit (from Cass Records)

Man Oh Man

2006-06-02T05:47:00.000-05:00

They blew away everyone at SXSW 2005, put out one of last year's best albums (The Man in the Blue Turban With a Face), released their critically acclaimed follow up (Six Demon Bag) a few months back, and are about to be on tour with Fiery Furnaces. They're a breakfast buffet band...or a 64 count box of crayons...or a kitchen sink band. Whatever silly thing you want to call them, their name is Man Man and they're good - and their live show is something to be seen.

I interviewed them not too long ago - here's one question - you can read the rest of the interview at the Crutch website:

The Crutch: What is your favorite sandwich?

SERGEI: Knuckle. Pig knuckle.
MIZZLE: Never the throat though. Too coarse.
POW POW: Pig Throat?
MIZZLE: Yes. I'm a cultured man.
COUGAR: You're a brute.

READ THE ENTIRE ARTICLE HERE

Find tour dates at their website

Man Man - Mission Black Goggles (Six Demon Bag)
Man Man - Engwish Bwood (video)
Man Man - White Rice, Brown Heart (The Man in the Blue Turban With a Face)

An Interview with The (International) Noise Conspiracy

2006-06-01T03:01:00.000-05:00

Interview by Sarah L. Myers

Maybe if our local politicians were as decorated as Dennis Lyxzen more people would stand up and take notice of the bullshit hypocrisy The (International) Noise Conspiracy front man rails against. I listed him as one of the greatest front men of all time last spring, when INC upstaged the Bravery at the Metro in Chicago. Now I've made it official. Following is our sit-down at Saturday's Beat Kitchen gig.

The Crutch: The last show that you guys played in Chicago sold out, and the one before that, with the Bravery did also. Obviously this city really loves you guys. Is the feeling mutual?

DL: Yeah, Chicago is one of my favorite cities I've played in and I think everyone in the band really likes Chicago. So we like it. We have a lot of friends here and there's always a good vibe here.

How was the tour with the Bravery? Did you feel like that was a good match for you guys?

DL: No. (When you go out with a band) sometimes it makes sense, and sometimes it doesn't. The Bravery tour was definitely one of those examples where it didn't really make sense. I mean, the response was good but just I don't think us and The Bravery really clicked, I would say.

Punk rock was a reaction to capitalism and the face of heavy metal and prog rock. Even now punk rock is becoming commercialized and getting a shinier surface. What do you think defines punk rock now?

DL: I think punk rock now defines...is defined by people actually doing it their own way and not afraid to accept preconceived notions of what it's supposed to be. I mean, this is an issue that's been debated - what is punk rock? What is not punk rock? Is punk rock the super live underground culture? Is Blink 182 punk rock? Are we a punk rock band? I think it's one of those gifts I brought with me from punk rock, was that some of my favorite bands, if they would have come out today, people wouldn't have called them a punk band just because of the way they sound.

Such as?
.................
READ THE ENTIRE INTERVIEW AT THE CRUTCH WEBSITE

The (International) Noise Conspiracy - Black Mask (from Armed Love)
The (International) Noise Conspiracy - Up For Sale (from A New Morning, Changing Weather)

SSM - Not Just Another New Band

2006-05-30T04:30:00.000-05:00

Some bands begin with a group of young, talented and progressive individuals that grow into each other, becoming mature together. Other bands have more maturity from inception, drawing talent from a pool of other groups. Like The Raconteurs, SSM pulled together a trio consisting of pieces from Detroit bands such as The Paybacks and The Hentchmen (John Szymanski – vocals and keys), The Sights (Dave Shettler – drums), and Cyril Lords (Marty Morris – guitar). It’s as if they’re each starting anew, learning from the mistakes of their youth and coming to a collective realization that they have the talent and experience to create more meaningful and progressive music.

Like writers, who cannot avoid inserting their lives into their writing, SSM marinates in the rough but endearing Detroit sound that they’ve been surrounded by for over a decade each. But this is just a base – a foundation that is even bypassed at times on SSM’s self-titled debut (on Alive Records). Take the introduction to the album’s first track, “Exit Strategy”, as an example, which is nothing but a collection of noises that serve as a soundcheck of creativity to come. From there, the record seamlessly shimmies from Gories-styled soulful garage (“No Looking Back”) to a statically distorted glam hand-clapper (“Sick”), and shakes from the blissfully danceable “Put Me In” to the psychedelic sonic caboose, “The Seer”.

But it might be “Dinosaur” – the only track to make the cut from their critically acclaimed (New York Times) demo, LP1, onto the official debut – that is the killer which every album invariably needs. “Dinosaur” has elements of Beck, The Beatles, and Andre Breton – the blips of the Atari game keyboard line, the tumbling breakdown, and the surreal guitar solo garnish the dynamics of the upfront bass and backdrop stun-drumming. Equally as sticky is the repeated opening line, “I’ve had much better than you,” which is wonderfully simple and direct, much like SSM themselves. Yet, like the band, its power lies in the layers behind it.

The album could be seen as self-indulgent because SSM tends to do what they want to do without much regard for anything else – this is what they hear and how they want to communicate it – but SSM is more self-consistent than anything else. And while SSM explore their own realizations, it’s up to us, the listeners, to indulge a bit – to absorb and interpret an extremely impressive hybrid debut.

SSM - Sick (video)
SSM - Dinosaur

Black Angels Get Their Wings

2006-05-18T22:20:00.000-05:00

In March of 2005, I stumbled upon The Black Angels on Myspace and I was stunned. I used to do a spot called “Who To Look Out For” and these Texans were the first to be featured. This is what I had to say:

Fuzzed out, VU-inspired, by-the-balls rock and roll. Hold on tight, kids - this band is going to storm through the indie scene like Grant through Richmond.

Two months later, I reviewed their EP, Sniper at the Gates of Dawn, and said this:

The Black Angels throw punches – a swirling full-fisted flurry of sexually delivered lyrics, drug-hazed Velvet Underground repetition, and that special attitude that makes rock and roll exciting, intriguing, and identifiable.

Their new four-song EP, The Sniper at the Gates of Dawn, is bullish and gropes you with everything The Black Angels have in those moments of creation.

It’s “Black Grease” that caught my attention and it’s that track which I’ll give you. Last March, I described it this way: blurred bass line, Texas jangled guitar, relentless drums, stadium-sized vocals, and a consistent fuzz that holds it all together – it’s unavoidable – it’s inescapable.

I only quote myself because I don’t think I could put any of it any other way without plagiarizing myself, so what’s the point? Either way, The Black Angels are starting a nationwide tour that goes through June to promote their debut full length, Passover (out on Light in the Attic). If you have a chance to see them, do so.

The Black Angels - Black Grease

Allstate Ensures Ponys

2006-05-13T11:50:00.001-05:00

I just saw the latest Allstate Insurance commerical and damnit if I didn't start smiling. The reason? Because my beloved hometown favorites are the featured artist on the stereo inside the black woman's car just before she gets plowed into. I'm talking about The Ponys, and the song is "We Shot the World". It may not have turned out as I predicted last year when I said, "this could be one of those significant songs that partake in a rock and roll movement...and I think it will," (heh) but it's still one hell of a song. Tell me I'm wrong...

The Ponys - We Shot the World

More Bang! Bang! For Your Buck

2006-05-12T05:09:00.000-05:00

Bang! Bang! is about to release their first full-length, Decked Out (Morphius Records), and it is sure to make some noise (squeaking bed frames, thumping headboards, and slapping flesh?), as it’s crème-filled with sex rock goodness.

This trio is so good that we begged them to play our Crutch 3rd Anniversary show back in January and we will be putting up an interview piece sometime soon, as, if everything goes right, a Crutch contributor talks with the energetic Jack Flash. They play their hometown record release tonight at Schubas and then hit the road so the rest of the country can get sweaty with them for the next month or so. Welcome them with open arms – they’ll make you squeal.

Bang! Bang! - Electric Sex
Bang! Bang! - Days Are #'d

Are There Functional Blackouts?

2006-05-12T02:46:00.000-05:00

A friend of mine told me about some pimple-faced college freshman in one of her classes who was talking about punk music. The freshman, of course, was decked out in his punk gear that he picked up at some Hot Topic type of mall store, and was quoted as saying Hawthorne Heights is the best punk band around today. Christ. That kind of shit makes me want to shake the youth out of some kids. Pay attention, freshman.

Chicago hosts some of the best punk bands in the country. Criminal IQ Records alone could be your source, and that’s where we look to find a new release from The Functional Blackouts, The Severed Tongue Speaks For Everyone. With a revamped lineup, Functional Blackouts bring some smarts to the shouts – well, maybe not smarts, but certainly some interesting dynamic punk rock. It has the sonic coarseness of pre-punk and is minced with 1977, but it definitely leans towards the thoughtful musicianship that always laid in the unnoticed fringe of the punk movement (more associated with post-punk).

It’s scabrous and could be dangerous to your ears, but it has that lovely “fuck you” spirit – much like my own lately, as I look at all the same cookie-cutter people walk past me on the sidewalk and in bars - yuppie and hipster alike. The Functional Blackouts extend a bit outward with Severed Tongue and have me nodding my head as one who acknowledges and thinks he understands.

Side note: The Functional Blackouts drummer, Brian Costello, released a book called The Enchanters vs. Sprawlburg Springs. The first chapter is available at Featherproof Books – go read it. I know it made me want to buy the damn thing. If that’s not enough, you can check out editorial review quotes at Amazon. But buy it from Featherproof. Oh, and if you didn't know, Brian Costello is also a professor at Columbia College in Chicago.

Functional Blackouts - Kamikaze!

Raconteurs Live Wire

2006-05-08T21:13:00.000-05:00

If you didn’t know, there is a new supergroup called The Raconteurs. It consists of Jack White, Brendan Benson, and the rhythm section from The Greenhornes, Jack Lawrence and Patrick Keeler (both of whom also contributed to Jack White’s Grammy Award winning Loretta Lynn album, Van Lear Rose). You may have heard the first single, “Steady As She Goes” on the radio, and are anticipating their debut full-length, Broken Boy Soldiers, but until then, you can listen to some special live stuff here.

From the XFM session they did for Jack Kennedy’s program, here is “Level” – lurching guitars, combined with White and Benson’s spirited call and response vocals make this one of the best tracks on the full-length, due out soon.

The Raconteurs – Level (live XFM)

Also, here are three tracks from the Radio One session The Raconteurs did recently. The interesting thing about these live recordings is that they’re drastically different versions than what was recorded for the album – almost making the songs unrecognizable (not that anyone would know the difference if they hadn’t heard the album yet), but intriguing nonetheless, flipping all three on their heads.

The Raconteurs – Store Bought Bones (live BBC)
The Raconteurs – Call it a Day (live BBC)
The Raconteurs – Intimate Secretary (live BBC)

My Little Red Book

2006-05-04T14:46:00.000-05:00

Welcome to the newly created Crutch blog. Simply put, watch this fucking space – that’s really all I have to say because you will not only learn about new and old rock and roll, but you’ll be able to listen to it, be entertained by it again (finally), and even participate in the discussions about it. We’re going to have some fucking fun.

Watching my dear 3-year-old publication, The Crutch, board a plane to some Cuban hotspot, not knowing when she’ll return, I feel like I’m breaking up with a girlfriend. With that in mind, I wanted to post a song that would be fitting: “My Little Red Book”.

60s garage band, Love, turned this Burt Bacharach (and Hal David) song into one of the catchiest little ditties ever laid down, full of fervor and burning like gasoline on skin in the Tucson sun. To me, it stands as one of the better first album / first tracks ever, opening up Love’s 1966 debut. Jet stole the beginning for their breakthrough hit, “Are You Gonna Be My Girl” and you can hear an inexperienced White Stripes cover this on a live bootleg of one of their first shows ever. There are actually a number of artists to have covered “My Little Red Book” – too many to name, but I’ll give you a taste of a few – you decide which is best.

I’d say nothing will replace my first publishing love, The Crutch, but this song represents a twofold perspective on my original sweetheart. One, we can go with the lyrics, which would support the romantic idea that there is no replacement, or we can go with the fact that the covers of this song are better than the original, which does stand as a special song in its own right. Time will tell, I suppose.

Versions of "My Little Red Book":
Love
White Stripes (live)
Burt Bacharach
Manfred Mann
The Nomads
The Rumour
The Standells
Elvis Costello (live)