All posts by Kristy Eldredge

Dandy Warhols: Pure Buoyancy

Dandy WarholsThe Dandy Warhols

Bowery Ballroom, New York, September 14, 2003

If at times the Dandy Warhols’ music seems to have the quality of a machine with their smooth, trancey beats and seamless musicianship, they undercut that effect by their response to the thuddingly cliched yell for “Freebird” at their Sunday night gig at the Bowery Ballroom. They played it. “Do you come to all our shows?” keyboardist Zia McCabe cried impishly to the fan while Courtney conferred on the chords with fellow guitarist Pete Holmstrom and then launched into a decent version of the Skynyrd tune, bandmates singing along supportively. The moment was one of many where Taylor showed an unpretentious humor, often hidden behind his haughty, carefully dandified manner.

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Lisa Marie Presley: Won’t Smile Pretty, Won’t Play Nice

America's Royal FamilyOne morning a few months ago, I flipped on the TV and was caught by the image of a woman who looked incredibly tough and mean. Demuting to learn why this contemptuous vixen was being featured on morning TV, I found I was on NBC and the snarling woman was Lisa Marie Presley. Then it made sense. Lisa Marie Presley is an American icon, even though at the moment she may come across as the sullen product of a broken, dysfunctional home. No matter! Elvis Presley is American royalty and so, by extension, is his daughter, who’s working hard lately to promote a recording career of her own.

Until recently, she’s been famous only for being the daughter of the King of Rock and Roll, and then for being the tranced-out wife of the King of Pop. Now she’s out on her own as a singer, and while she’s not very talented, she’s totally fascinating.

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What’s the Deal with Bright Eyes?

Free WinonaIs Bright Eyes really all that? The 23-year-old Nebraskan singer/songwriter (real name Conor Oberst) has been turning up regularly on critics’ “Best Of” lists and drawing consistent praise for his talent, including his new record, Lifted, or The Story is in the Soil, Keep Your Ear to the Ground. He’s a founding member of Saddle Creek Records, the center of a newly-hot music scene in Omaha which includes bands The Faint, Cursive, Azure Ray and Oberst’s own side project, Desaparecidos. But attention is shining particularly on the flirtatiously named Bright Eyes. His youth, raw emotionalism and productivity—he’s released three full-lengths and countless EPs and 7″s—create the aura of a romantically burning poetic spirit. Inevitable comparisons to Dylan have been trotted out, as well as Robert Smith, whom Oberst himself names as a big influence. And it’s not just American critics who are enchanted with the waif-like Oberst—the Brits are getting on board too. An article in the Guardian UK gushes: “Part of what makes Bright Eyes so exciting is Oberst’s obviously passionate belief in the ability of songs to communicate ideas. Lifted is gloriously wordy, more scathing and verbose even than early Dylan.”

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Retro and Fabulous: The Real Tuesday Weld

(The Real) Tuesday Weld(The Real) Tuesday Weld

Fez, New York City, June 25, 2003

“(The Real) Tuesday Weld” is the name for British singer/composer Stephen Coates’ suave, playful, yet delicately emotional lounge act. It’s not a very good name; though he does slightly resemble the beautiful Ms. Weld, Coates’ sensibility isn’t as non-stop camp as that moniker suggests. True, as he sings into a hand-held mike in a soft, breathy voice that’s sincere and self-mocking by turns, he looks like he could be waving a cigarette and sipping on a highball in that early-60s, basement-nightclub boho way. But he doesn’t need any props—his tunes are lovely, Jobim-esque numbers and his witty, unpretentious lyrics surprised the hip-o-rama New York crowd (who are inclined to take this kind of thing seriously) into laughter many times.

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Clem Snide – Soft Spot

Clem SnideSoft Spot (SpinART)

Sometimes it can be a big drag when a band’s singer falls in love. As song after song on the latest cd pours out, detailing the ineffable greatness of the new flame and the sense of newfound contentment and everyday happiness, listening to it can be about as much fun as watching couples make out in a park where you’re trying to read a book or just think about your miserable lonely life.

But not Soft Spot by Clem Snide. It’s too pretty to complain about, and besides, I kind of like the singer’s new girlfriend. She looks critically at herself in the mirror; she gets colds and chapped lips; she seems to worry about aging—it’s hard to feel anything but warmth toward someone so human. Throughout the album, Eef Barzelay showers this vulnerable, anonymous person with songs of wholehearted love and devotion. “Summer will come, with Al Green and sweetened ice tea,” he sings emotionally on “All Green.” “Summer will come and be all green with the sweetness of thee.” “You’re the flower of my heart,” he sings on “Find Love,” somehow not sounding like a total idiot. “That my thoughts can’t tear apart. We have love, we have love/ strong enough to doubt.” There, in the last clause, is the skeptical, sometimes sarcastic note touched in so many other Clem Snide songs. But here, it’s consistently overridden by the singer’s brave embrace of emotion.

Mutual love, for some reason, isn’t a great subject for rock songs. “Gee, you’re swell,” as a feeling, just isn’t that interesting—aching regret, helpless addiction, yearning from afar, and bitter denunciation all seem to lend themselves more naturally to songwriting than the happiness that comes with genuine love. But Eef Barzelay turns that on its head. He’s exuberant in his expressions of affection, but the songs are also irresistible—effortlessly melodic and catchy. A swooping, romantic violin noodles around the melody in some, making them so liltingly memorable that they seem like future favorite dance tunes for contemporary couples to celebrate anniversaries to. (See, I’m hopelessly won over by this album, and I’m really bitter!) “There is nothing in this world if I can’t share my love with you,” goes the refrain on “There is Nothing,” a simple country ballad. “All the riches of this world, can’t compare to your smile/ and if only for a kiss, I would walk a thousand miles.” I could endlessly quote Barzelay’s mature, well expressed acceptance of love in its totality and the change that brings to one’s general outlook. The singer’s trademark cleverness is evident in many lines, but this time on the side of niceness, not meanness: “You could be coming down with something/ so I’ll come down, with you,” he sings to his chilled, sneezing love.

It’s not all gentle mellowness. There’s the fast, Elvis C. and the Attractions-ish rave-up, “Where There’s Love There’s Action,” a harmonica-driven rocker that’s about just really liking to be with somebody. And there’s the equally engaging “Happy Birthday,” a likable song for the band’s drummer. “Half-Jewish boys make kick-ass drummers,” Barzelay sings warmly, “but if you need lessons I’ll have to pay.” He seems full of real, open-hearted feeling for everyone on this record. Near the end he sings a quiet, finger-picked “Forever Young”-esque song (“Fontanelle”) which, like a benediction, hopes for the listener: “May God hold you in his hand.”

This cd didn’t leave my player for weeks after I got it. It’s uplifting, fun to sing along with, melodically beautiful, and love-soaked but not in a clichéd way.

You can download “All Green” from SpinART, and there are other Clem Snide mp3s at mp3.com.

Joey Ramone’s Legacy Alive and Thrashing

Third Annual Joey Ramone Birthday Bash

Webster Hall, NYC, May 16, 2003

The Third Joey Ramone Annual Birthday Bash probably got as close to “the ass-kickingest party Joey would have wanted” (in the words of Rocket From the Crypt’s lead singer) as it’s possible to get with the new New York smoking ban. Despite that almost inconceivable limitation on rock and roll abandon, the crowd – a mixture of young punks and Goths and aging former punks and Goths – was in good spirits and packed Webster Hall, which was done up to look like the old Ritz that it was when the Ramones played it. Despite the good cause (all the proceeds went to lymphoma research, to aid sufferers from the disease that Joey died of in 2001), I was initially feeling very old and unexcited. A gray-haired Tommy Ramone sang “I Wanna Be Your Boyfriend,” and he did a good job, but he looked about as old as I felt, and I wondered what a night of Ramones covers would feel like – just sad nostalgia?

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White Stripes + Public Hunger = Not a Good Show

The White Stripes

Hammerstein Ballroom, New York, April 19, 2003

Everything about the White Stripes’ Hammerstein Ballroom show on April 19 felt a little oversize, a little out of focus. Part of it was their opening act, Loretta Lynn, whose celebrity is on another level from the Stripes, and whose icon status couldn’t help but dwarf theirs. But the show also felt crowded beyond regular rock-show conditions — fans jammed the vast main room (flat as a football field, allowing 0% visibility for anyone under 5′ 5″) and thronged in the lobby in long, barely-moving lines to buy drinks. Are they overselling rock shows now, like they do airplane flights, assuming some people will cancel? There were just too many people — it brought to mind footage of the Beatles playing their pop tunes in screaming football stadiums. Meg and Jack aren’t at that level yet, but their popularity is driving them into bigger and bigger venues, where their sound has to be amplified to the point of distortion.

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He’s Got Style, Miles and Miles

A recent New York Times article discusses the recurrence in our culture of melodrama and earnestness, especially since 9/11. The writer was focusing on recent movies like “Far From Heaven,” that despite appearances, have steered away from ironic distance and ended up engaging their subjects with impassioned seriousness. (At least, that’s his argument about “Far From Heaven,” which he initially found tongue-in-cheek and not earnest enough.) In passing, he mentions Beck’s “Sea Change” and Wilco’s “Yankee Hotel Foxtrot” as other examples of the new seriousness.

It may be, and I have no quarrel with saying goodbye to too much ironic cleverness. But there’s a new example of “straight,” non-ironic presentation in the media that I don’t think I can tolerate. Stephen Malkmus has done a cheesecake shot to promote his new cd, “Pig Lib.” The Village Voice has a photograph of him lying on a bed, his arms thrown over his head, his face turned langorously toward the camera. It looks like any old handsome, empty Calvin Klein model till you tip the paper sideways and there’s his face! His intelligent, chiseled face that used to wear its beauty so casually! He used to not even seem to realize he was exquisite! Suddenly he’s using it and exploiting it and even seeming to enjoy it!

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Clem Snide Not Snide At All

Clem Snide

Southpaw, Brooklyn, March 28, 2003

Clem SnideNear the end of their set, Clem Snide sang a song whose chorus went something like: “It’s so close I can see it, I can feel it, I can taste it, so therefore, I can’t touch it.” I was amazed to hear singer Eef Barzelay put into words a weird feeling I’ve always had: that life is somehow so special and important, it has to be set aside — it’s for other people. This was one of many moments when the band startled me by an insight that was not simply clever (I’d heard they were clever) but emotional and affecting, yet plunked seemingly effortlessly into a catchy rock song.

It was hard to tune into these moments, though, because the crowd at Brooklyn’s Southpaw was into talking. All night. Throughout Clem Snide’s set, and even through Barzelay’s sharp complaints about the babble. “You guys who are talking, I just want to remind you, you paid $12 bucks for this,” he said. “That’s 12 bucks you’re never going to see again.” Didn’t help. The crowd may have peaked early, with opener Phil Roebuck’s gutsy one-man-band banjo-and-bass-drum act. Roebuck sang great rootsy/bluesy songs and had everyone in the palm of his hand. Are New York audiences so torqued that they can only really concentrate on one set per night?

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A Direct Hit: And Yes I Do Want to Be Free

Cat PowerYou Are Free (Matador)

Cat Power - You Are FreeA) I feel like I’ve already raved quite a bit about Cat Power on this site, and b) I feel like I rave too much in general. So how should I write about a record I already love but I’m self-conscious about raving about?

I emailed Jake Brown, my editor, that I was having trouble writing this review because I feel foolish (come along, fool) to rave about Cat Power one more time. I wish I was Lester Bangs, I said, and he said, “Make a lot of coffee and type non-stop until you have 3,000 words.” So I am. This is it.

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