The Voice Project debuts in Hollywood – Pass It On!

Tuesday night was the first official The Voice Project fundraiser event.

The Voice Project Foundation is a not-for-profit public benefit corporation. The foundation’s mission is to raise awareness and financial support for those using art to enact meaningful social change by using art for said change.

Hunter Heaney and I conceived this organization back in January, and it’s been the little group that could, thanks to a group of amazingly talented, well connected, hard working and passionate people who have joined the cause.

The event took place at the Hollywood Roosevelt Hotel’s Tropicana pool bar during David and David’s Nightswim event.

Also celebrating that night was Alex Ebert (Ima Robot) and his new band Edward Sharpe and the Magnetic Zeros. A listening party of their new album took place earlier in the evening.

DJs Chris Holmes, Ana Calderon and special guest DJ Devendra Banhart treated the guests to tunes and hospitality.

Liz Miller, Alycia Astudillo and I manned the Voice Project suite inside.

People came in to watch our VP video, read leaflets and purchase Voice Project t-shirts, designed by the talented Ramsey.

Some special guests showed up to help further the cause, including 30 Rock’s Jack McBrayer, Lonely Island’s Akiva (I’m On A Boat) Schaffer,

Tom Green

DJ Poet from the Black Eyed Peas

and even Lindsay Lohan, who jumped onto the decks and played some Nancy Sinatra.

It was a fantastic night where a lot of money and awareness was raised and good times were had.

Proceeds will go to our inaugural project, which is to support the women of Northern Uganda in their efforts using music to lead the Peace and Reconciliation efforts in the region of Northern Uganda, Eastern DR Congo and Southern Sudan.

Women of Northern Uganda; widows, rape survivors and former abductees have been banding together in groups to support each other and those oprhaned byt the war and the diseases so prevalent in the IDP camps. They are singing songs. The lyrics let the former ‘soldiers’, i.e. children abducted by the LRA and forced to fight agaisnt their own families, know that they are forgiven and they should come home. The songs are passed by word of mouth out into the bush. It is working. For the first time in 22 years, the region has a reach chance at peace.

The Voice Project is an attempt to support these incredible women.The strength, the message and the art of these women can benefit the world and in return, we can help carry their message, provide basic necessities and the tools to further develop their own communities and businesses.

Music and voices that carry, they can end wars. These incredible women have shown us that. Pass it on.

If you’d like to get involved with The Voice Project please visit www.voiceproject.org

Back To The Future With The Juan MacLean & The Ali MacLean

When I heard that The Juan MacLean was in town, I knew I had to talk to him, not only to chat about his new album The Future Will Come, being part of the uber cool electro mafia: DFA Records,  but also to finally figure out how the hell we are related. Two MacLeans from Boston in the music scene? There’s just no way this man doesn’t share a branch from my tree. I headed over to the Avalon during Juan’s sound check to get a glimpse bef0re the big performance at Control later that night, and have some pre-show tea.

ALI ON THE AIR: Hey, we need to figure out our family tree. You’re from Boston…originally Gloucester right? My Dad’s from Gloucester. What if we had the same dad, like on Springer or something where the man has two families.

JUAN: I know. Well,  my Uncle lived in Gloucester. I actually live in Dover, NH, about an hour from Boston. But I tell people I’m from New York. When you’re doing an interview in Berlin you just don’t get into explaining New Hampshire. I say New York.

AOTA: But you don’t say Boston, I notice. Hmmm.

JUAN: I’ve always felt unrelated to the music scene in Boston. I lived in Providence for a while and I liked the music scene there much better. I like the Middle East in Boston. I mean, with all the colleges, you’d figure it’d be huge but it’s not that great. But I find that I’m mostly commuting back and forth to New York. I have a couch in the DFA offices.

AOTA: Do you prefer the road or working on the studio?

JUAN: For some reason every time I go home it’s so demoralizing. There’s not this thing every night where you are the center of attention. I have a lot of work at home in general with remixes and stuff so I’m really busy. The thing that is a hassle about it is that I’m always alone when I’m DJing. It gets old after a while. I went to Europe in the winter for three weeks and for two and a half wasn’t anywhere where people knew English. It wears on you after a while.

AOTA: You have a lot of stories on your site about airport security and how they love to stop you and check out your…package. You seem to get searched a lot more than the average guy. Was Miami for real?

JUAN:  The Miami one was a 100% true story.  I thought they were joking. But the guy said that it’s such a cocaine trafficking place that people will tape drugs in their groin. The way they went about it and what they said was so insane. The woman kept pointing at my crotch and saying “There’s too much”.

AOTA: At least she thought there was too much. It could be worse, for instance if she thought the opposite.

JUAN: Yeah. But it’s like, ‘Thanks, I think’. They got the guy who is lowest on the totem pole to check me, and he kept saying on our walk to the room ‘Why didn’t they get the gay dude to do this!’ Hey, we’re not going on a date! Man! The problem is, I’m going through security with all of my records…

AOTA: With a sticker on them that says ‘Death From Above’.

JUAN: We quickly switched the stickers after 9/11…but they always check my record bag without fail and they swab my case for cocaine and it always comes up positive. I don’t even do coke. For someone who doesn’t do it, it’s all over my stuff. I pick it up on turntables and stuff in the clubs.

AOTA: Do you use vinyl or Serato mostly?

JUAN: I only use vinyl. I hate Serato. I just like vinyl in general – the tactile nature of it. I don’t understand looking at a list of MP3s and picking out a song that way. But leafing through records…there’s an emotional response in seeing them. People can mix flawlessly with Serato in a way that you just can’t do with vinyl. I feel like it’s made this artificial standard of mixing. I carry it around in my laptop in case my records go missing, but I don’t use it.

AOTA: There seems to be a glut of DJs out there these days. You’ve been doing it for a long, long time…

JUAN:  I get paid to DJ more than I get for the band playing live music which is really frustrating. There is this trend of people going on blogs and downloading a bunch of crappy mp3s and instantly you’re a DJ? What once was DJ etiquette or DJ culture or the craft of DJing has been lost. Showing up and being a headlining DJ and the person before you playing a hundred times harder than you’ll ever play and even playing your own records – people playing MY records right before I go on to DJ? You just totally blew me out of the water, man. Instead of kids buying guitars nowadays, they get the stuff you need to ‘be a DJ’. You can buy it pretty easily and it doesn’t really require any skill anymore.

AOTA: And now there’s DJ Hero coming out.

JUAN: Oh great. It’s a double edged sword because DJ culture is so much bigger than it was ten years ago, so it means that I DJ constantly.

AOTA: Do you prefer playing as opposed to DJing?

JUAN: Right now I’m so into playing with the band. Its all I want to do. But I do get the same gratification from DJing. If it’s done properly…A lot of people have a play list and they’re gonna play the same set mo matter what’s happening. But it should be like playing off the crowd. When that’s happening, and it’s going well, I like it as much as playing  with the band.

AOTA: You’ve said that people with a rock background make more interesting music than people whose only come from is electronic music.

JUAN: People who just come from electronic background tend to be genre specific and I think make uninteresting records. People who have made my favorite music tend to come from a live music background. Like Bookashade.

AOTA: A lot of artists are afraid to admit to influences/ They’d have you believe they just hatched from nothing and became an entity. You’re willing to say on this album you listened to Human League or Grace Jones.

JUAN: It’s almost become a game. People like to go through and pick out where we “stole” things from and somehow it’s become a source of derision on message boards. There’s a type of guy – and it’s always a guy – who speaks endlessly about how ‘oh he stole the piano part from this song’. Well, that’s what people have been doing since the beginning of pop music. Not only that, but we’re talking about electronic, sample based music here. So it seems odd to me that people would get so bent out of shape about it. I don’t think anyone cares except a few of these guys that spend way too much time on the internet.

AOTA: There’s always some blogger with something nasty to say. You’ve actually had the balls to respond to some of them.  Your blog is actually quite entertaining.

JUAN: At one point I thought it was overtaking the music. We’d be on tour and people would come up and say ‘Oh I love the album…but the BLOG. It’s HILARIOUS!’ When I’d post on Myspace I couldn’t believe how many people would subscribe. It’s insane. I was approached by a couple publishing people about doing a book. I was a writing teacher for a while so that’s something I’ve wanted to do.

AOTA: So, if there was no more electricity, that could be your creative outlet?

JUAN: That would definitely be my next choice. It might be what I segue into next. Or when I get too old to do this.

AOTA: Oh, come on. You wont be like Alan McGee or BP Fallon? DJing into your twilight years?

JUAN: That’s the thing I like about dance music in general. Unlike when I played in an angry rock band…when I turned thirty, I was like “I don’t want to do this anymore.” With dance music you can keep going. There’s a tradition of people that are older who are revered.

AOTA: Right, like Suicide or Silver Apples. Now, do you think you need to be angry or depressed or in pain to be creative?

JUAN: Oh god. I’ve thought about that. I’ve actually read a book about it by this guy Peter Kramer who’s from Providence. It’s called Against Depression. I’ve been prone to depression my entire life and its common with…

AOTA: MacLeans?

JUAN:Ha, my family, yeah, and with creative people. People often say if you could get rid of depression then what about artists like Van Gogh? What would happen to their art? Well, maybe they would have done better things and have been even more productive. And that’s how I see it. People who have truly been depressed don’t glorify it. For me, when I’m in that mode, I can’t do anything, so it’s not useful or productive. Things that sound depressing in my music are probably more from choices I made where things haven’t gone very well.

AOTA: This album is less angry or depressive. You and Nancy are doing duets. There’s a relationship going on. It’s less about a robot and more human. Maybe more…Wall-E?

JUAN: It’s a definite narrative that we tried to end on a happy note like with Happy House. We tried to end each side of the record with something uplifting.

AOTA: Is it influenced by more uplifting times? Or a promise of some? Yes We Can?

JUAN: For Nancy and I, when writing about our personal lives, we don’t write on the macro level. Obama isn’t explaining stuff to the girlfriend that things are going to get better after the tour. Nancy played in LCD Soundsystem so a lot of this is what being in a touring band can do to a relationship.

AOTA: So then after you get off the road, you remix a lot so you can stay in one place for a while?

JUAN: No one really buys an album now. There’s a lot of income that you lose out of from not selling cds and stuff that gets generated from that so you have to tour. People download music for free, but they will pay to come to shows. So I can play much bigger shows.

AOTA: You have a stage persona which is sort of like your blog persona.

JUAN: Being involved in the 90′s indie rock scene, which was the grunge scene – the rock star as a regular guy. Kinda like Kurt Cobain who was like ‘This is just the way I am. There’s no pretense to it at all.’ I’ve always been more into people who were like “No, I’m an entertainer/Rock Star!” who had a persona. All of the blog writing, well at least fifty percent of it is truth and a lot of it is embellishing. I’m more concerned with entertaining than I am with using my music as my diary.

AOTA: Have you gone as far as the Marc Bolan route where you’ve worn your own face on a t shirt?

JUAN: Well, there are Juan MacLean shirts with my face on them that’s I’ve worn around. Embarrassing. I do it more to be a douche bag than anything else.

AOTA: Before I leave you to change into your own face t shirt…have there been any patchouli pranks or shenanigans this tour?

JUAN: There’s this terrible cologne called Drakkar Noir. We’d all joke about it and then I actually bought some. I kept spraying it on DJ’s keyboards and he was like ‘Man! Someone’s wearing some strong cologne! The monitor guy or someone. Whew!’ It kept happening and finally one night he figured it out. Drakkar Noir. It’s like a fancier step up from Old Spice.

AOTA: I think one of my grandfathers wore Old Spice. Keeping it in the family…

Space Oddities – Looking For Rock In All The Weird Places

Space Oddities – Looking For Rock In All The Weird Places

by Ali MacLean

In this town, it’s easy to get jaded. Every club or party these days seems to need to top some pinnacle of bacchanale… a regular night with drinks and music just wont do. A warehouse rave is just ordinary. It has to be louder, harder, faster: rollerskating parties, dodgeball parties, plastic surgery parties, parties where you’re in a video game, parties where you come as your spirit animal, parties in a subway car, parties in the basement of the Ramada, Edward Scissorshands parties, staring contest parties…the weirder the better.

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And now rock shows are going by way of parties. It’s not enough to just stage something in any old raw space or polo field. First Fridays sets up songs next to stuffed Woolly Mammoths and dinosaur bones. Tom Morello raged against deus ex machinas in a Venice Church. DJ Squeak E Clean has dropped it like it’s hot at a Hollywood car wash while fashionista DJs The Misshapes have spun for the well heeled in an airplane hangar, complete with planes standing by.

It’s time to step it up to the realm of absolutely bizarre. Rock show in a cemetery? Check.

Glasvegas are known in Hollywood more for their cataclysmic buzz and for disappointing a sweaty Coachella crowd by their last minute cancellation. Tough it’d be odd to see these Scots in a searingly hot desert rather than in pissing rain. Perhaps that’s why their playing at the Hollywood Forever Cemetery just fit. But a show at a cemetery? It has to be some sort of sacrilege or at the very least a nuisance to those who haven’t quite crossed over. And seeing how out of control Angelinos can get when their basketball team wins. Do we really want to start a riot on a hell mouth just so some indie kids can rock out in a new, exciting way?

Traipsing over graves to get to the gig, I was already feeling guilty for looking for fun in a place of death. Maybe I’m not so goth or emo after all. I’ve been interested in seeing Glasvegas since NME editor Conor McNicholas recommended them to me last year, but with all the huge hype surrounding them, I was expecting to be disappointed.

The staid, upwardly mobile hipster crowd, waited patiently as the Glasvegas wake was delayed by nearly an hour. Finally, fresh off a stunt/gig at another strange venue (Las Vegas wedding chapel), James and Rab Allen took the stage in the Masonic Lodge, by walking down the crowded Hall and waiting for a crew dude to pull back a curtain hung on a wire. This crude set up revealed a gothic, yet etheral stage complete with an old wurli, a grand piano, white roses and a giant angel ice sculpture with a red broken heart. A perfect marriage for the Glasgow boys’ moody and soaring songs. Though some people in the crowd wondered aloud whether or not the rest of the band would join them, James and Rab kept it acoustic-ish and intimate, only pausing to bring up pianist Paul Cantelon for a rendition of “Stabbed”.

Glasvegas In the Masonic Lodge

James, channeling both Strummer and Costello in dark Ray Ban sunglasses, repeatedly asked for the lights onstage to be brightened as he tried to make out the keys of his Wurlitzer in only the glow of a film strip showing old movie stars and a rain of glitter. I suppose the shades didn’t help this, but when faced with entertaining food for worms, I guess I might do the same. Tunes like “Geraldine” and “Daddy’s Gone” sounded better than the rocking originals – the whole show had a Leonard Cohen vibe to it. A man across the aisle from me complained that it wasn’t a full band, I wanted to yell at him “It’s called NUANCE! Adjust, motherfucker!”. Where I was expecting to be disappointed, I was actually swayed and haunted. It was fitting to hear these Scottish dirges on a gray, misty graveyard evening. Though the moisture did give one pause – my friend next to me remarked that she was nervous that the giant ice sculpture was melting onto the instruments and amps and might cause the Allans to be electrocuted. They could be killed. “Well, they’re in the right place, if it does happen.” I replied. Sometimes location can be the x factor of the evening.

ice sculpture of death

When I was invited to see a special acoustic performance with Bat For Lashes, I jumped at the chance. The Glasvegans had whet my appetite for some UK atmosphere and I couldn’t wait to see Miss Natasha in a dark and smoky club or out of doors under an old street lamp where the mist and fog could swirl around her layered synth songs.

Wait, she’s playing where? At a jeans store. On the Santa Monica 3rd Street Promenade. In the middle of the day. For a Neighborhood Social. Really?

Lucky Brand Neighborhood Social

As the kick off for the first Lucky Brand Neighborhood Social, Lucky lined up live silk screening by Giant Artists, denim painting by William Lemon III and provided fair food snacks for the people who stopped in. The inner sanctum of the store was reserved for a wrist banded crowd, to be treated to DJ sets by KCRW’s Jason Bentley, plus a Bat For Lashes set before their big show at the El Rey.

KCRW's Jason Bentley

Natasha Khan and her supremely talented keyboardist, Ben Christophers, took the makeshift stage which was wedged in the back of the store. People lined up and sat on jeans bins waiting for the elfin Khan to utter a sound. Khan, dressed in a gauzey pink blouse and sequined headband was instantly copied as girls in the crowd slid strings and scarves across their bangs. Ben, looking very Gold Rush/The Sting era in a long john shirt, vest and braces seemed perfect to play turn of the century xylophones, harpsichords and zithers that he whirled around like a mad scientist in a music shop. (note: see interview below for more on Natasha’s gear!)

Ben Christophers

You could hear a pin drop in between Natasha’s lilting songs, which the singer commented on, nervously. “You can talk in between songs. Be rude. It’s ok.” But the small crowd was silent and with rapt attention as if beholding the glory of a living unicorn.

Natasha Khan - Bat For Lashes

And that she is, or more closely resembling Kira from the Dark Crystal playing the keys. Her voice lilted daintily and then crecendoed into a powerful yelp, taking after her predecessor, Bjork. Natasha ended the quick half hour set with a lo-fi version of Daniel and then floated away backstage, er I mean, into the stock room.

Natasha Khan and Ali MacLean

A stock room seems hardly the place to hide away such a talent. But then again spaces and places are the name of the game today. Perhaps the thrill of the nu show is to find an oddity to jack up interest in the artist. frankly neither of these acts needed that extra push. They could’ve played in a brick walled condo in Barstow and still held as much interest.Oh dammit. I’ve just given promoters a new bad idea. Please, guys. No Barstow condo shows…

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Worn Free T Shirts – A Little Bit Comfy, A Little Bit Rock N Roll

The people at Worn Free Tees had the ingenious idea to license and recreate old soft worn in rock tees that have been seen on some of the greatest rock n roll stars of our time. Culling from the archive photos and closets of legends like Joey Ramone, John Lennon, Debbie Harry, Joan Jett, Kurt Cobain, Frank Zappa and Gram Parsons, Worn Free offers up these iconic tees with a backstage pass styled hang tag that tells you when and where the star was first spotted in them.

This has got to be the best blend of music and fashion. Where else can you find the clothes of your favorite icons without breaking the bank or being overdressed? Worn Free shirts have been spotted on the Kaiser Chiefs, Travis, Joel McHale, Carmen Electra, The Roots, The Whip, Ellen Page, Robert Downey Jr. and Gary Oldman.

I was very flattered when Worn Free sent me a few tees to wear on my show. And the tees were flattering and comfortable, not to mention cool as f#*k. On my way to interview Juan MacLean at his Hollywood show at Control, photog extraordinaire Rony Alwin, who (obviously can’t read) snapped this photo…

photo by Rony Alwin. T shirt by Worn Free

Well, Worn free saw this pic and fired off a love letter. The feeling is mutual.

You can read their blog here:

Worn Free

In July there is a discount on all of the Debbie Harry tees in honor of the ultimate Blondie’s birthday. You can order shirts here:

Worn Free Tees

Detroit Rocks This City – Von Bondies Shake Up The Strip

I’ve been hustling my little bunny tail all over Southern California recently. Lately, I’m in high demand to cover shows. But once you enter the realm of music journalism, the shows become work and it’s hard to detach from being the observer, rather than the music fan.

Sometimes you just want to have a blast, and the Von Bondies are always a good time. They’ve sat on my interview couch beaucoup temps and are hilarious onstage and off. (note to self: I need to pitch a show with my funny musician friends. Signing up the Bondies and Murs first!)

Jason Stollsteimer

Christy Hunt

Local lads from Bloodcat Love opened the night at The Viper Room, with their sassy Jagger swagger and set the tone for a bit of rock city, a Detroit/LA blend. Of course lead singer and founder, Jason Stollsteimer had to make the fans nervous, mentioning something about this being their last show in LA ever.

Leann Banks and Jason Stollsteimer

Was this the big Von Bye Bye? Or was Jason just aping Trent Reznor? Sure, it’s tough without the major label throwing money at you, but Stollsteimer has managed to sign with Shout Factory and with the new line up, including hot rock chicks Christy Hunt and Leann Banks, and drummer extraordinaire Don Blum, it’s like the Bondies never skipped a beat since the days of C’mon, C’mon.

Don Blum

The show was tight, choreographed and sharp, but never artificial. The Bondies always put out a perfect blend of staged showmanship and ragged rock – rough and tumble the way it’s meant to be heard. And sweaty loud. All what I was looking for in my Von Mondie.

Ali On The Air and Jason Stollsteimer

Love And Rockets So Alive Again With Tribute Album

Not only does this tribute feature my childhood hometown musical hero, Black Francis, but it also boasts Maynard from Tool, The Flaming Lips, A Place To Bury Strangers, Chantal from Morningwood and my favorite San Francisco Silverlakers, Film School.

Plus it was produced with love (and rockets) by Christopher the Minister from Sirius Radio and the lovely Phil J of Swinghouse Studios fame…plus art work by Shepard Fairey…is it Christmas?

Details below:

New Tales to Tell: A Tribute to Love and Rockets

“Love & Rockets are many things, but what they are more than anything are agents of that mysterious force known as Rock & Roll, a force loved by many but truly understood by a few” –Black Francis

New Tales To Tell, A Tribute To Love and Rockets is produced by
Christopher The Minister & Phil Jaurigui
Album art created by Shepherd Fairey

Track listing:

All In My Mind – Black Francis
Holiday On The Moon – Puscifer (MJ Keenan)
Love Me – War Tapes
No New Tale To Tell – Blaqk Audio
I Feel Speed – Dubfire
Inside The Outside – The Dandy Warhols
Kundalini Express – The Flaming Lips
Life In Laralay – Sweethead
An American Dream – Film School
The Light – A Place To Bury Strangers
Mirror People – Monster Magnet vs Adrian Young
Fever – The Stone Foxes
No Big Deal – Frankenstein 3000
It Could Be Sunshine – VEX
So Alive – Better Than Ezra
Lazy – Chantal Claret vs Adrian Young
Sweet F.A. – Ian Moore
No Words No More – Snowden

LOVE and ROCKETS

Digital release: July 28th, 2009

Physical release: August 18th, 2009

Look for special bonus tracks and Blue & Red Limited Edition vinyl.

Smooth Sailin’ – Yacht Rock Putting The Hard On In Chardonnay

When I was little, I used to pour over my Dad’s records, which were mostly divided into two camps: Beatles and Rolling Stones. I loved the colorful Beatles record jackets, especially Magical Mystery Tour and Sgt. Peppers. The Stones records intrigued me; I knew the zipper on Sticky Fingers records was something I wasn’t supposed to touch, but I wasn’t sure why. Between Bowie, Queen, some K Tel classics and my Star Wars records, these were in heavy rotation.

Curiously there was a third pile, which I didn’t quite get. The Doobie Brothers, Loggins and Messina and their ilk, with their long hair, Hawaiian shirts, and high-pitched harmonies, annoyed my post-toddler glam rock sensibilities and thus, those records remained on the shelf.  I guess between Chewbacca and Ch-Ch-Changes, I didn’t have time for the pastel suited dudes who looked like guest stars on a fey version of Miami Vice. But with my up bringing, you’d think I would have…

I grew up summering on Cape Cod, where the adults wore coral necklaces and collars up at clambakes and spoke about the Vineyard (Martha’s) and Vicodin. I was basically bred as the preppy spawn of Yacht Rock, yet it repelled me. Like hair metal, I looked down on it until later on in life, when I could appreciate both the kitsch value and sonic delight. I can now fully appreciate those deliciously smooth sounds.

Cut to the new millennium and mid-naughts. A resurgence in sampling, especially the ever-popular Michael Jackson, has led to a lot of smooth music being used in contemporary tracks. The YouTube comedy series “Yacht Rock” becomes a massive cult hit. Popular electro dance band, Chromeo, appear, un-ironically, on Daryl Hall’s internet program ‘Live From Daryl’s House‘.  Yacht Rock’s captain, Michael McDonald, recurs as a running punch line over several seasons of 30 Rock and then makes an appearance singing on their finale episode. Andy Samberg raps about the pleasures of being on the great big watery road with a nautical themed pashmina afghan.  As the Marina music clans begin putting together reunion tours and retrospectives, yacht rock parties start popping up around Hollywood. It’s a ‘Wassup Yacht Rockers!’ world. Everyone seems to want to rock out on the open sea.

Enter the Knights Of Monte Carlo. They play hard-core soft rock and ‘put the ass back in class and the hard on in chardonnay’.  The Knights of Monte Carlo are distinctly rich, gorgeously handsome, flawlessly refined sextet dedicated to resurrecting the best music ever to have hit the airwaves– 70’s soft rock. Because of their incredible talent and unparalleled style they frequently attract chic and pulchritudinous admirers from around the world, making Knights of Monte Carlo the most popular and internationally sought after soft rock tribute ensemble of all time…this is all self-professed.

I regale a friend about this group and convince her to dress in tropical splendor and accompany me for this three-hour tour. We decide that we need a yacht club persona. My friend chooses the soccer mom sensitive Cheryl Connerson, while I choose Debbie Finkelstein. Half way to the show, I decide to change the name to St Germaine, knowing a Finkelstein can sometimes have issues with the advisory board at a yacht club.

At the Key Club, a nautical flag sign denoted a VIP Entrance (actually the elevator), which whisked us aboard a room decorated with a Tequila Sunrise backdrop, and life preservers. Men in white linen suits and mirrored sunglasses beckoned us to come aboard for some pina colada and wine spritzer specials. For those not into health food, but into champagne, Knights Of Monte Carlo bass player, Brad Bayliner, held court at his International Cheese and Cracker Tasting – complete with gouda, Carrs, grapes and a Wall Street Journal. Yuppies Ahoy!

With tongue firmly planted in cheeks, the sextet took the stage and posed, postured, and karate kicked and flexed their way through a set including Doobies, Ambrosia, Loggins, Cross, Air Supply, America and Chicago. Can you Dig it? Yes, I can.  But wait, there’s more in this K Tel show. Toto? Yes, Toto too. Was the set missing some McDonald? That’s what a fool believes – he was aptly represented. A show sans Hall and Oates? No can do. The Knights can’t go for that, and neither should you.

The Knights were totally smooth, save for a few Rolexes and rope bracelet in danger of getting in the way of their fret work. Hey, that’s what a little Riuniti on ice will do to a guy. While Doc Spyders crooned the Escape song and shook his ass, Montague, dressed like a judo master, gave a shiatsu massage to the congos, elbows and all. During the drum break, Doc did yoga poses as Brad lit up a tobacco pipe.

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Next the Knights sequed into some Fleetwood Mac, a rousing rendition of Go Your Own Way which would have made Lindsay and Stevie at the Staples center across town, very proud. There were hits for the ladies too. Somebody’s Baby, Summer Breeze, Easy Like Sunday Morning, Ride Like The Wind and Africa, made the ladies sway like they were finding their sea legs at high tide. Knights drummer, Bobby Colada, even dedicated a song to Debbie St. Germaine (nee Finkelstein) noting how hard it can be to get into the yacht club with their (ahem) restrictions. Then the band launched into Rosanna. Meet you all the way, indeed.

Rounding out the night with some Robbie Dupree and Gerry Rafferty, KOMC’s Rico Morgan, was a master on the Korg keys and saxophone. Nelson Borealis wandered out onto the deck amongst the passengers for some smooth electric guitar. Brad gave a cheese update. Doc pulled up his white socks from his deck shoes and leapt over the mic stand; a finale of their white man choreography. I haven’t danced, or laughed, that hard in a while.

The normally staid preppy crowd whistled and yelled for more as if we were watching Bon Jovi in ’88. But the Knights had such a long way to go to make it to the border of Mexico. So they bid us all a bon voyage and asked us to come get smooth next Thursday for the continuation of their residency. It’d take a lot to drag me away from them.

Key Club – Thursday nights. Ya mo be there.

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Ali On The Air interviews Mike Doughty on Antiquiet

Mike Doughty led the one-of-a-kind Soul Coughing in the 90s, one of the original “alternative” rock bands, and one that really tested the limits of the genre, with improv jazz, odd samples and glitch-punk experimentation.

Soul Coughing broke up in 2000; Doughty was battling a heroin addiction when he wasn’t battling band mates over credits and publishing money. Doughty however, didn’t break pace, continuing on as a solo artist, selling handmade CDs from the stage at gigs before running into Dave Matthews at Bonnaroo in 2004. Matthews professed to being a fan of both Soul Coughing as well as Doughty’s solo records, and Doughty was eventually signed to Matthews’ ATO label.

ATO released Doughty’s Haughty Melodic to critical acclaim, and its single Looking At The World From The Bottom Of A Well brought more success than is usually expected of a kicked-the-heroin-and-gone-solo front man of a sort-of successful defunct 90s alt rock band. And Doughty has been going strong ever since. – Skwerl

Below is an interview with Doughty – party two, really of a dialogue that began at the Vlaze Studios a year ago. Mike is on tour with his bassist/guitarist/cellist Scrap for the Question Jar Tour. Definitely check it out if it comes to your town.

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Lions and Tigers and Wolfmother, Oh My.

The Los Angeles Museum of Natural History hosts First Fridays intermittently, where people can go to the museum for wine, food and some polite music. I’ve skipped these shows though a few, like Sea Wolf and The Little Ones, piqued my interest. When I heard the new line up of Wolfmother was the headliner this month I had to laugh…and then get my ass there pronto. Could the stone mausoleum walls contain the frenetic noise of the grammy winning Wolfmother?

As we arrived at the sold out show, people were queued up to enter the main room where the bands would be playing. In the opposite hall, wine tasting and food was being served. Dinosaur bones and bug exhibits were swarmed by hipster hair and hoodies. Well-heeled thirty somethings, looking out of place without a cigarette and coffee, wandered through the exhibits of other mammals in their natural habitats. I took a shine to the rocks and gem collection which featured gold and precious stones under lock and key.

My veteran rock journo friend, Kevin, quipped “Will they feature Wolfmother under the wolf section or the rock section?”. True, they bridge the gap between both with their hard rock guitars and Andrew Stockdale’s lupine howling and Page style wails.

Andrew of Wolfmother

Set up in the Mammal Hall, alongside the cougars (both feline and human female) and wolves, Wolfmother took the stage and kicked off a set loud enough to wake the dinosaurs in the main entrance. I haven’t seen a crowd this excited in a while, and that includes all three days at Coachella.

wolf - mother

rocking the horns

previous horn rockers

Ok, much of the scene looked like that old movie Airheads, but with a better soundtrack. And true, one of the guys sported a pilgrim hat and several others wore bedazzled items.

airheads

But the music was so searing and hot, no one could complain about fashion…not even me.

Murs and Ali 2: Electric Boogaloo!

We caught up with Murs at the Rock The Bells Press Conference at the Key Club last week, to talk about the label relationship he continues to have- at arms length- as well as well, a bunch of bullshit, frankly. Such as why complaining about the government is no different from complaining about bad service at Taco Bell, and which Summer blockbuster the comic book nerd is most looking forward to (Star Trek!). We may have started a new hip hop beef while we were at it. Well see if Joaquin Phoenix responds.

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