Vallejo musician Dewey Tucker.

Here’s the news on the murder of Dewey Tucker, 24, of Vallejo, guitarist at a local church and bassist for Lauryn Hill:

OAKLAND — The California Highway Patrol said the deadly highway shooting of a promising young musician was a random act of violence.

“What’s very disheartening is someone has clearly shown a wanton disregard for human life, and it’s imperative that we find them as quickly as possible,” said Sgt. Trent Cross, Solano County’s CHP spokesman.

Dewey Tucker, 24, of Vallejo was shot at about 9:50 p.m. as he drove west on Interstate 80, just west of Cummings Skyway between Crockett and Hercules, Cross said.

He was a guitar player with the Greater St. Paul Baptist Church band, played bass on singer Lauryn Hill’s world tour and played with nationally known Oakland hip-hop group the Coup.

Investigators have made no arrests, and say it appears Tucker was simply in the wrong place at the wrong time. They say he had no criminal history.

Tucker’s parents say their son was engaged and was an outgoing young man who lived to play music. Continue reading »

We’ve covered The Mother Hips here on BuzzOfTheBay (when we had a blast at their show at the Starry Plough in Berkeley) and so I was drooling to get a copy of their latest record.

Pacific Dust; the Mother Hips seventh studio album, is no Back To The Grotto (their first release, and arguably one of their very best, recorded on Rick Rubin’s American Recordings label).  It’s actually far better in every way, as the band seems to have aged like fine wine.  Some lose their luster and their willingness to keep playing, keep searching for the right beat, the right groove, the sound that reflects who they are and who they once were.  The Mother Hips however, keep tearing it up, and seemingly enjoy the ride; both the bad and the good.  Pacific Dust is aptly titled, its sounds are a sonic looking glass into their past and future, and Tim Bluhm and the boys continue to dust the amateurs out there.  This tight group will also be doing this until they themselves turn to dust I’m sure.

The title track is a glimpse of some of the great jams we’ve heard from the Hips over the years.  It’s atmospheric rock pays homage to the classics while sounding like a beautiful collision of Alice in Chains and the Northern Cali soul of The Mother Hips.  “White Falcon Fuzz”; the album’s opener, is vintage Hips, with Bluhm’s breezy, bouncy vocals and the kind of harmonies you only hear from a band that’s truly lived on the road rocking crowds for years.  “Third Floor Story” is  good ol’ rock-n-roll aimed at the mindless corporate greed that has infested major labels across the globe.  These guys (the band that is) do it because they need to, not because they want to be wealthy superficial rock stars.

Gearing up for a coastal drive?  “One Way Out” is the quintessential song for that sort of journey.  I know I’ve said this before (when writing about Farrar and Gibbard’s One Fast Move or I’m Gone; Kerouac’s Big Sur record), but it’s difficult to quantify for someone who hasn’t driven highway 1 on a crystal clear day.  It’s almost as if the music (when written by artists who live here, or have seen these places) paints images of those magnificent views and winding stretches of highways in a way that transports you there.  The Mother Hips weave in and out of their rock-n-roll melodies and rhythms like a seasoned jazz quartet.  Their sound is liquid and full-bodied, and as tight as some of the worlds most commercially successful bands.  These guys come to play.

“Are You Free” combines the Hips alt-country roots with their keen pop sensibilities.  Crunchy guitars open the heavier, and more upbeat “Bandit Boy”; a song that sounds like where the Black Crowes could have gone, had their playing been this tight and masterful.  They bring things down for  “Cheer Up Champ”; the record’s closing track.  Bluhm digs deep into the grit of life’s pressures, sounding like he’s figuring things out as he sings “but I can’t win it seems, I can’t catch up to my dreams, cuz it’s me that I’m fighting”.  It’s almost as if he’s trying to convince himself, as well as the listener, that things will be alright.  His vulnerability is warm and familiar, just like the vibe at a Mother Hips show (no joke, you must experience this band live ).

In all I think Pacific Dust is The Mother Hips best album yet, and since it’s their seventh studio album, I hope they never quit.  Even my wife Alexandra, who actually turned me onto the Hips (she’s a native Northern Cali girl) and has been a fan for many years, thinks this is their best to work to date (her words).  Give it a listen.  You won’t be disappointed.

Readers of Jack Kerouac know about Big Sur.  The book, possibly his most gripping work, spans a ying yang of alcoholism-induced nightmares and gorgeous imagery, and was written in ten days on a single, ten foot spool of facsimile paper.  It’s the writer’s famous account of time spent at Lawrence Ferlinghetti’s seaside cabin in Big Sur (while drying out), squeezing in a few trips to San Francisco and back.  There is real terror throughout the book, but there is also sublime beauty in both his mental breakdowns (yes, only Kerouac could make you feel grateful for reading about his demons) and his stunning visual prose, describing the magic of the sea and the vast, pre-historic terrain of Big Sur.

Jay Farrar (of  Son Volt) and Ben Gibbard (Death Cab For Cutie) have come together and recorded a genuine sonic treat for Kerouac devotees.  Their newly released One Fast Move or I’m Gone: Kerouac’s Big Sur was released on Atlantic Records/F-Stop last month.  The album combines the gorgeous Americana/folky (some say alt-Country, but lets not over-classify) compositions of Gibbard and Farrar with the amazing words of Jack Kerouac’s novel.  I must admit; just hearing about this concept made me drool with anticipation.  Here is the culmination of three artists I truly admire (one of them an immortal poet warrior).  How much better does it get?

Then again, trying to compliment Kerouac is no easy task.  We’re talking about one of the greatest American writers that has ever lived, and it takes a certain kind of respect and admiration for Kerouac’s craft in order to do this sort of thing right.  Well, it seems both Farrar and Gibbard have spent lots of time digesting the wonderful world of Jack Kerouac (including, according to various music sites, Gibbard re-enacting Kerouac’s great Big Sur escape in Ferlinghetti’s cabin), and I feel bad for anybody who hasn’t experienced his works.  I’m proud to be able to say that I stuffed On The Road, Dharma Bums, and Visions of Cody into my backpack in preparation for my first cross-country adventure in 1994, and my appreciation for his writing only grew.  There’s a soulful rhythm to Kerouac’s prose, a literal dance that Farrar and Gibbard obviously love, and the result of their admiration is an album of music that not only pays tribute to the great novelist, but invites a whole new group of listeners into the wonderful world of the Beat generation (though many living poets and writers surely hate the label, I’m trying to encapsulate the movement of which Kerouac was an important participant).

If you like Son Volt, Death Cab for Cutie, Wilco, Billy Bragg, Dar Williams, or Martin Sexton (think of  similar singer/songwriters) you’re probably going to enjoy One Fast Move or I’m Gone: Kerouac’s Big Sur.  The entire album sounds like an honest labor of love.  “California Zephyr” opens the record with airy guitars, a classic-sounding organ, and Gibbard’s lighthearted lyrical style, working Kerouac’s words into a gorgeous ballad for the open road.  This is perfect music for a coastal drive.  I think living in Northern California enhances the feeling of intimacy that is conveyed through the images in Kerouac’s mind.  Those of us who have seen and live near the areas he’s describing will certainly have a different perspective from those who have not experienced these magnificent places (not putting down anybody outside of Cali, but people who live here definitely understand what I’m talking about).  Nonetheless, even the despair of “Low Life Kingdom” sounds beautiful, with Farrar weaving harsh words into mellow, wispy guitar licks.  This is Northern California Soul (as the Mother Hips would put it).

The Southern bluesy twang of the bassline in “Breath our Iodine” gives the song a sort of rhythmic locomotive feel.  The sounds moves slowly, but steadily, and was the perfect introductory track for the documentary (Kerouac’s Big Sur).  The wide open, stripped down island vibe of “Big Sur” is elegant and inviting.  This is also a great soundtrack for dinner with friends you haven’t seen in quite a while.  It will set the mood wonderfully.  The title track continues the warm, full-bodied sound that fills One Fast Move or I’m Gone.  It’s a textural sound, a velvet-like flow that many alt-country fans should dig (think of the guitar licks on the Sling Blade soundtrack for example).

There’s a darkness surrounding the music throughout the record that works in enhancing the literal mysticism of Kerouac’s blessed writing style.  His words can create pictures as well as any photograph, and both Farrar and Gibbard deserve to be commended for their efforts here.  They have managed to craft a beautifully sincere musical tribute to one of the worlds greatest writers.  I have a feeling Mr. Jack Kerouac would have approved, and I wonder what Lawrence Ferlinghetti thinks of the record.  Perhaps we should ask him (maybe another thing to wax on about).  In the meantime, give it a listen.  I’ve been playing it constantly for weeks now.

***The brilliant documentary; Kerouac’s Big Sur, featurs such great artists as Tom Waits, Dar Williams, Laurence Ferlinghetti, and of course Ben Gibbard and Jay Farrar.  Check the film out ASAP (we got a copy recently, and I’ll be reporting on it soon here on BuzzOfTheBay).***

Have you ever found a record, that once you got it home and dropped it into the stereo, the sound made you feel like home?  It is difficult to quantify that feeling, the warmth in the sound of an old friends voice on the telephone, or your wife/husband walking through the door after you’ve suffered through a horrendous day.  Letting Up Despite Great Faults has managed, at least to this writers ear to translate that feeling into uplifting, wispy sonic landscapes on their self-titled debut LP.  This is music for the Fall, for changing seasons and colors, the kind of record you pass along to your friends in order to pick up their moods.

Classifications can get pretty boring and obvious, but are necessary when  attempting to paint a literary picture of somebodies music.  One of the great things about Letting Up Despite Great Faults is how their sound blends the present with the future, peppered with a little flavoring of the past.  Think The Cure, Dusty Trails, Ivy, and even a touch of Elliot Smith (during the floating melodies of “Sun Drips”).  They weave mellow electronic grooves with an acoustic sensibility.  Some indie music (or even major label releases for that matter) sounds so depressing, it’s as if the artist is trying to make you feel like slitting your wrists.  There is a time and place for morose, and there is also room for positivity (especially now) and Letting Up has opted for sunshine.

The synth line effect on the introductory “in steps” (also their single, I think) can lead you to believe your player might actually be skipping.  The seemingly broken stroke/loop of the keys works, odd enough as it sounds, like a virtual sonic curtain, lifted to expose a catchy, wide-open, airy song that would be right at home on the Away We Go soundtrack (the funny coming-of-age indie film, check it out if you haven’t already seen it).  The aptly titled “Folding under stories told” has a familiar sound to it; an incremental energy via new wave-style synthesizers, building drum loops, and a Cure-like chord progression.  This music takes me back, back to the days of WLIR FM on Long Island (something I’ve mentioned before here on BuzzOfTheBay, the station that introduced me to The Smiths and Depeche Mode).  The dreamy guitar licks that kick off “pause” conjure images of early morning talk sessions with dear friends; the times you wish you could hold onto forever.

Needless to say; music, like all art is in the eye of the beholder (here I am, repeating myself yet again) so perhaps much of this article seems overstated.  I’m not saying Letting Up Despite Great Faults are The Beatles or even New Order, rather I’m trying to give you a glimpse of the beauty I hear in their music, and it is simply gorgeous.  There is also something for everyone here: A bit of drum-n-bass, some lighthearted choruses, and a sound that is both electronic and folky at the same time.  I am very thankful to have found their music and look forward to seeing them live here in the Bay Area, hopefully sometime soon!  Look em up, I don’t think you’ll be disappointed.

If you haven’t seen The Devil and Daniel Johnston documentary, find a legitimate way to view it immediately (rent it, as it is, amongst many other things, the story of truly independent music).  Johnston has suffered through and tackled as many internal battles as many great artists, mostly involving his fight against mental illness and the delusions that come with it.  Through all this he finds solace in his music; a sound as honest and vulnerable as you are likely to hear anywhere.  His new album Is And Always Was is an updated and re-imagined looking glass into the many shades of Daniel Johnston.  Teaming up with producer Jason Faulkner (worked with Beck and Air) gave Johnston the opportunity to take some of his classic demos and turn them into genuine studio productions.  This is indie rock, written and performed by an artist whose journey started long before Pitchfork told us what was cool (nope, not knocking Pfork by any means, I’m a weekly reader myself).

Art maybe in the eye of the beholder, but lately it feels as if too many bands and artists are simply trying too hard to be original.  They’re swallowed by their desires to sound apart, create something new, and the result can sometimes be music that sounds far from effortless.  It’s almost as if they are working too hard, concerned only with the end result.  Music is one of the highest forms of expression, and real sincerity can be captivating.  This is why I love Daniel Johnston’s music.  When you listen it feels as if Johnston has invited you into his crazy world, even if just for a moment.  His lyrics aim straight at the heart of his pain, his love and passion, and the musical result is magnetic.

Johnston with producer Jason Faulkner

From the playful, seeming ode to a fallen pet “Queenie the Doggie” to the twisted humor behind dealing with mental illness on “I Had Lost My Mind” (those who’ve seen the documentary will recognize this catchy number) you can’t help but fall in love with Daniel Johnston.  He’s goofy occasionally and sometimes very sad (aren’t we all), but isn’t all that where good art stems from?

“Fake Records of Rock-n-Roll” is a gorgeous stab at the overly-polished, soulless junk that passes for music these days.  Johnston may live in a basement without a computer (well, I don’t actually know for certain that he still lives down there) but he knows whats going on.  The sounds of  “Tears” make all the Brian Wilson comparisons make sense.  Johnston paints his painful lyrics with airy guitars and an island feel.  It’s great to hear some of his earlier works, previously stripped down songs, as finished productions.  Hearing these songs again in this new way makes his listeners feel like they have actually grown up with Johnston.  Hell, many of us did!

Love it or hate it, Daniel Johnston has the courage to simply go for it and worry about the aftermath later.  Thankfully, and judging from the overall sound of these works I’d say Johnston has beat the Devil down with an ax, and that ax makes wonderful music.  Like all art; for some it comes without serious thought and for others it presents itself as a real chore.  Is And Always Was doesn’t sound like it tried to get recorded.  It sounds like it needed to be recorded.  May the rest of the world discover Daniel Johnston.

OK BOTBers; Wheatus has been busy with the roll-out of Pop, Songs and Death The Lightning EP, but Brendan took the time to finish our questions and we are very thankful to have his insights.  For those of you who missed the first part of our chat you can FIND IT HERE. It’s important for our local indie artists to hear from a man who’s been through it: The thing they aspire to (the record deal, the touring, etc.) so they can get a real glimpse of what to expect.  Here we go (as always, my initials are marked MM and Brendan B. Brown as BB):

MM: Artists approach me occasionally to talk about the difficulty in managing their own PR, booking, all of that stuff, while trying to write good music.  I typically say it’s up to them to build a fanbase, formulate relationships with local venue owners, etc…  Are you handling your own career on all fronts currently, and what would your response be to those artists?

BB: Well, there are more social networking outlets than an artist needs right now and as always I think the most important aspect is the quality of the content that you are centering your social networking around….So IMHO it’s better to make the best art you can and keep up a personal conversation with people who are genuinely interested in you and what you do…effectively letting them know that you are available for an open dialog.  That access will make it easier for them to reach out when they want your new record.  But the new marketing economy requires that you as the artist be as interested in your fans as they are in you…It’s give and take now, which is great positive change.  As far as Wheatus and self management, yes we are currently managing all aspects of our own career.  I have the number of a good lawyer and an accountant on the sidelines, but I don’t call them unless I absolutely have to because they are expensive.  But those two avenues are only necessary because of earlier decisions that, in retrospect I would have made differently at the outset.  It is possible to do it all yourself if you keep it simple.

MM: The Sea Change in media/music delivery and the fact that there are so many avenues to share your music can get overwhelming at times.  How do you manage to keep things focused when rolling out a new record?

BB: Ha….that’s funny…I didn’t read this question before I answered your 1st one.  I guess I’ll just continue it…people need a reason to focus on your art and on you.  Great music is enough to generate interest, but people need a better reason to focus on you for the long term.  I think it’s best to let people into your creative process and make things that they can see you making and then decide to endorse.  I think the problem major labels are facing is that many of the artists they are banking on for profits don’t actually have a personal creative process to share.  Rather they have writers and producers and teams…those records are made by committee so they must be marketed the old way, with no direct access.

MM: That is an astute observation sir, one that could only be made with your experience.  I wholly appreciate the way you explained that.  Our local artists need to know about these things.  You mentioned the P, S-n-D series being therapeutic for you.  Are there more records in this series already recorded, and if so when can we expect to hear them?

BB: The whole series is about 45 songs long….the songs are all written but we are only now recording the next batch of 6….I don’t know how long it will take but the technical process is getting easier and I think they will come out quicker as we go.  All together some of the story lines comprise a pretty long narrative.  If you were able to view them all at once you’d be able to see the themes.

MM: I noticed the tenth anniversary tour coming in 2010 on Wheatus.com.  How is that coming, and where are you guys planning to play?  Is there a possibility we could have Wheatus out here on the Left Coast anytime soon?

BB: Absolutely….there are lots of plans to tour but we can’t make any announcements.  I will say that we are gonna tour the USA and the UK in 2010. …And yes indeed we will be playing in SF!

MM: Thank you again for taking the time to speak with us Brendan.  We’d like to keep in touch with you, monitor the bands progress on the upcoming tour, and perhaps do this again.  Maybe for next time we can focus the talk on something specific in this crazy industry of ours.  Is there anything you’d like to discuss in the future, something you think our Bay Area indie artists need to be thinking about, and what was Hunter S. Thompson’s well-known quote about the music business?  Care to comment?

BB: Yes…I love that quote, about it being “a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs”.  Yeah, of late I have been more interested in his musings on the edge though….”The Edge… there is no honest way to explain it because the only people who really know where it is are the ones who have gone over“.

MM: Damn, I know more about the edge than I care to admit.  I’ve fallen off more times than I should be allowed, but I’m trying to take that, and everything else, and pour it into giving something back to the artists.

BB: You are pretty damn amazing…Thank you for doing this.

Brendan B Brown

Lasy week I wrote a review of  Pop, Songs and Death Vol.1 The Lightning EP; the latest release from the band Wheatus.  Many of us remember their catchy self-titled debut record, released back in 2000 on Columbia/Sony.  Their song “Teenage Dirtbag”, best known for its placement in the Loser film soundtrack, had put Wheatus on the map.  The song was recently immortalized once again this year following its contribution to a scene in the hit HBO series Generation Kill, where a group of Marines belted the song while driving through Iraq in their humvee (it was a classic scene, very funny indeed).

I got a chance to have a cyberchat with Brendan B. Brown, the bands frontman and songwriter.  We go way back with Wheatus (my wife Alexandra organized and booked their first major industry showcase in New York City just before their record deal) and so I thought this would be a great opportunity for our BOTB bands to hear from an artist that has been through the label process, touring, and has managed to live the life of an artist for nearly a decade.  Like our previous interviews here on BuzzOfTheBay, my initials are stamped as MM, and Brendan’s as BB:

MM: Thank you for taking some time to speak with us Brendan.  I know things must be hectic with the release of the new EP.  We’re excited to have an opportunity to pick your brain and share your insights with our BOTB bands.  I think hearing from an artist who has been through the label deal, the major label politics, touring, promotion, you name it – is a great learning tool for our indie acts.

B: Well…thanks very much for being interested.  Major Labels…yeah, I’ll do my best.  Things are changing fast these days.  I’m not sure what I have to say about deals that will be useful but I hope it is….All in all I think that what you are doing with BOTB and in general, indie outlets that are fact based are doing a greater service to music and art than any experience I’ve ever had…but I’ll do my best.

MM:  Well, thank you sir!  I wholly appreciate the thought.  One of the biggest misconceptions I run into when speaking with local bands is the idea that, once you’ve signed your record deal, life is a bed of roses from there on in.  They don’t realize what a deal truly means, the work that goes into all the different aspects of a record release, etc…  What would you say to a band that is about to enter into a deal with a major.  If they came to you and said: Is there anything we should look out for, something that is more important than the rest?

BB:  The 1st question would be about the money.  Where is it being spent and by whom?…Now, there are plenty of label deals and label relationships where in you would be blacklisted for even asking those questions.  The truth, as I see it, is there are no golden adventures in paradise to be had.  If you think a deal with a label, major or otherwise, is some sort of ladder rung to climb to where you’ll no longer have to worry about the things you worried about on your way up, you are wrong.  There is no simple way to describe how a label works and many of them work differently from one another but my experience is with a major so I’ll start there.  Artists used to be expected to be rebellious.  Rebellion was part of music culture.  Major label execs used to know that and deal with it but not any more.  Now you have to kiss ass to make it work at a major.  When you start asking questions about money you probably won’t like what you find out, that is if anyone ever tells you the truth.  I’d say if you know enough about how a major label works to actually work at one yourself then you’re STILL not wise enough to safely sign a deal.  It’s a HUGE risk.  The dirty secret that is emerging is, between Tunecore and twitter, there isn’t much that a label can offer an artist that an artist doesn’t already have access to.  When we signed it was the old school deal type, recoupable advances and a royalty split….now labels want to recoup from everything, merch, publishing,…everything! They are calling it a “360 Deal” I find that deal unethical at best and criminal at worst….I could go on, but in summary I would tell new bands that, once you know enough about how a label works to sign to one, you wouldn’t want to anymore

MM:  I have written about the 360 here on BOTB actually, and I am so glad you brought that up.  “Teenage Dirtbag” was a big hit for you guys, especially given its placement in the Loser film.  I remember your industry showcase, and how we all knew that song was going to be huge!  You were signed to Sony/Columbia shortly thereafter.  What were some of the most significant changes in your daily life post signing?

BB: I quit my day job and began recording full time with the gear I purchased with my Publishing advance….Lot’s of rehearsals as well.  We also started to tour opening with other bands…now this is when you really start to wonder where the money is being spent, when Sony is asking you if your mom has a credit card you can borrow to get to Oregon….yeah.  But immediately following the completion of our deal I began recording the final version of the 1st album in my mothers house….it took 3 weeks.

MM: It seemed at the time, and I could very well be mistaken, that the Wheatus record (released in 2000) did not get the same support as the single.  It looked like the label was putting all their eggs into the “Teenage Dirtbag” basket, and expecting it to drive album sales.  Is that accurate?  Did you feel supported by Columbia?

BB: I felt supported by The President of Columbia Records for a time…He loved TD and wanted to run with it…but you are right, there was no plan made for the rest of the record.  That was all part of their model at the time….they didn’t break new bands, or even 1st records, they were only into breaking singles….which they never actually did in the USA with TD….so imagine the shock when it went Gold or Platinum everywhere else.

MM: When did the band get officially dropped from the label roster, and was it a shock, or did you expect the axe to fall?

BB: That’s actually a funny story….it was 2003, we had just delivered our 2nd record, Hand Over Your Loved Ones.  We were in a meeting up in the ivory tower at 550 Madison and they were telling us all about how they weren’t putting our 2nd record out in the US and they weren’t gonna pay for TV, and they refused to do this and that and Wheatus sucks and we have no real fans and after a long exchange during which I remained silent; they asked me what I thought and I said with absolute sincerity, “well, it sounds like I should probably get a day job”….One of the honchos snapped, lost his cool and shot back: “well if you feel that way about it you can have your f—ing record back and go!”…I said, “OK”  and that’s how we got dropped….no axe, no fear just a relief that we no longer had to be strapped to a sinking ship with old people in it.

MM: You guys must have built up a decent fanbase by that point.  One of the things I think made the band so strong was your live performance.  You know how to get the crowd amped, and you have great skills.  Unfortunately, in this age of cyber-delivery some of the more popular bands simply can not replicate the performance on their recording in a live setting.  How important is the live show, and what do you do in order to keep those concert-goers coming back?

BB: It’s of paramount importance to me that we be able to do it all live…that is the reason we don’t use ProTools anymore….we record our records live 2 track onto our Sonoma DSD recording system….The whole Lightning EP was recorded that way and so will the rest be….Stereo instrumentals with vocals overdubbed…it’s the only way for us….mixing a record sucks the life out.  Live performance is so fun and so satisfying when it’s done right that I’d say it might be the driving force behind most of the passion musicians exhibit….I know it is for me.

MM: Your new EP; Pop, Songs & Death: Vol. 1 The Lightning EP sounds extremely personal.  It’s a departure from the consistent upbeat, Fountains of Wayne-style pop music that we have loved from you over the years.  Did you feel it was time to bear your soul sort of speak, both the light and the darkness?  - and by the way: I think the album is fantastic (as indicated in my review last week).

BB: Thanks for the kind words….glad you like it….Well, yes….the whole P,SnD series is essentially part of a therapy exercise for me…I don’t mean to sound spiritual because I am not…I’m a staunch Atheist in fact but I am and have always struggled with anger control.  Much of my childhood has gone unaddressed in my adult life.   And I have made terrific mistakes in my adult life as a result of things I learned early on.  I’m not sure I want to talk about all of it, or that anyone would care, but at this point I have sort of run out of happy stories to tell.  P,SnD has a narrative arch to it that will only be decipherable at it’s end.  If you want to research the events that were the context to the Lightning EP title track, From Listening To Lightning, then check this link out: http://www.holysmoke.org/wb/wb0161.htm.  It’s an article from Rolling Stone Nov. 22, 1984 reporting on one of the events in my hometown that occurred about 3 blocks away from my home…..That incident set a course for my life and here we are…..that article also happens to contain the only in print example, that I know of, where the term” Dirtbag “ is used in it’s native dialect and in the context of the song I wrote in its honor, albeit Rolling Stone saw fit to hyphenate it, which is incorrect.

Wheatus has been through the music biz grinder in the past decade.  From their smash hit “Teenage Dirtbag” (from the Loser film soundtrack) to major label record deals and major label pink slips.  Their latest release; Pop, Songs and Death Vol. 1: The Lightning EP is a musical viewfinder, plastering sonic images of the many experiences, both good and bad, since their industry debut (via the self-titled Wheatus album released on Columbia/Sony) in 2000.  Brendan B. Brown (lead singer and songwriter) has captured beautifully the maturity that has found him after all those long and twisted roads.

That same maturity has also given them an astute awareness of the present, as is evidenced by the way in which they are offering their latest album.  Like Radiohead before them, they are offering the album in a pay-what-you’d-like (or donate, as they say) delivery.  You merely goto their website, pick the format of your choice, and start downloading.  The fact that they offer multiple formats is a testament for their dedication to sonic integrity as well as tight musicianship.  The buyer also has incentives to donate.  They offer bonus tracks to those willing to pay five bucks or more (they get two bonus tracks, and a PDF for their “Real Girl” comic book).  They also offer a limited edition set with a donation of twenty-five bucks or more (including acoustic recordings, a DVD video w/ short documentary, and “Some sort of a one-of-a-kind gift from them”).  This is what its all about: Giving your fans added incentive to continue their support of the band by way of extras and more accessibility.

Pop, Songs and Death Vol. 1 The Lightning EP is not nearly as bleak as the title may infer.  I imagine it speaks more to their musical identity, having endured both the peaks and valleys of a full fledged, professional music career; a career that shot off quicker than any of them could have anticipated.  Now we find the band almost a decade later, and it’s clear they know how to draw inward as well as out for their inspiration.  “From Listening to Lightning”; the album’s opener, gets things started with this hovering synth, sounding like something from Spiritualized or Spacemen 3.  The noise is followed by a playful Fountains of Wayne-style guitar rift.  Brown’s vocal creates pictures of his childhood through poetic verses like “down the street passed the sweet shop kids dipped in angel dust”, talking about bonfires and getting his ass kicked.  This imagery is wrapped in catchy pop filled with vintage glam rock-styled break-downs and soaring voices.  An imaginative mixture (guitar solo and all) and not an easy task to pull off at eleven minutes in length.  Fans of the Fratellis should dig this sound.

“You and Your Stoopid Guitar” kicks off with a slight twangy flavoring of the newly resurrected new wave sound (which my wife appropriately tagged “second wave” recently, as the first wave has already crashed).  But they switch things up quickly, bringing this song further into rock-n-roll territory via its electric guitars and heavy kick drumming.  “Now” opens things up a bit, sounding like the perfect stripped-down ballad to play during a northern coastal drive.  The vulnerability of the words is infectious, and it doesn’t sound like they’re trying to force authenticity.  Some bands just sound like they are trying too hard.  The sway of the ska-sounding “If You Need a Friend” is the perfect track for a Summer barbecue playlist.  They add more interesting piano driven break-downs here, merging an old school vocal style with their own blend of cyber-pop.  Brown’s falsetto has a broad range which lends itself to this music wonderfully.  They cap the album with a dirty bassline in “Texas”; a song that bumps with floating organ keys and a kind of Death Cab For Cutie vibe; minus the belting vocals of the chorus, begging to “Take me back to Texas with you”.

Wheatus is no longer a band just for teenagers.  They never were that sort of limited act anyway, but it seemed the industry tried to place them there nonetheless.  This music could be enjoyed by my fifty-year old neighbor (a big Astra Heights fan actually) or my twenty-year old nephew.  Their current sound stretches far beyond any pigeon hole they may have landed in years ago, and it’s refreshing to hear a band mature alongside its fanbase.  I hope they make a decent wage this go-around and we’ll be looking out for a Bay Area show!  Go Wheatus.

**** We’re in the midst of a cyber-chat with frontman Brendan B. Brown for BuzzOfTheBay, where we’ll talk about the bands industry experience as well as their recent efforts.  We’re pumped for it!!!!****

I’ve written about certain vital aspects of your music career here on BuzzOfTheBay. We’ve covered getting your publishing in order as well as how to establish a fanbase.  I’ve ranted on about the importance of quality in your art, and suggested how to forge ahead with promotion without getting too distracted.  Well, plenty of other websites do the same things, and are just as addicted to music (well, perhaps not as addicted as I, but passionate nonetheless).  GrindEFX is a blog aimed at putting the music biz through the looking glass.  The site has laid down some serious knowledge with their recently published:

5 Reasons Why Nobody is Buying Your Music

Now, don’t let the title fool you; this is actually a list of how to’s and where to’s.  They break things down into five simple categories:

Does Anyone Know?

Is your Music Up to Scratch?

Are You Giving Your Fans Options?

Are You Giving Your Fans a Reason to Buy?

Are Your Prices Reasonable?

The piece is something all of our indie BOTB artists should read.  HERE IT IS AGAIN.  It will give you a glimpse of the things you must be considering should you wish to turn your music career into your only endeavor; the one that fills your time and pays the bills.  Yes, it is still indeed a pipe dream, no matter what anybody tells you, but knowing about and utilizing the tools currently available will give you the best shot without question.  Many of these sites are run by fellow music industry veterans, and believe me when I tell you many of them care about music just as much as you do.  Though I imagine that may be difficult to believe, I know it is true.

Now, the only thing missing in GrindEFX’s well executed list is a discussion about the necessary will to give your music away.   Little to unknown artists need to be willing to give some of their music away in order to establish a fanbase  (local or global).   That fanbase, if nurtured with enough music and information will be loyal.  That means that someday they will also be willing to support your music through their pockets.  You have to recruit them first however, and that’s what all of these sites and tools are there for (amongst other things of course).

None of this however, as I’ve said before, means anything if you don’t have a good sound.  The music needs to be tight and from the gut.  There are far too many artists out there already trying to mimic each other in order to replicate the others successes.  It doesn’t matter if you recorded music on a 4-track (cassette even) or into Pro-Tools.  If the soul isn’t there it’s not going to translate.  I don’t care of you’re using a Casio keyboard from 1987 with that tinny bossa nova drum loop or one of T-Pains new Auto-Tune tricks.  If it’s genuine somebody around the world will be into it.  You just have to find them.

I’m sure we’re all surprised at how many fans some of these two-dimensional acts continue to capture.   You know what?  Somebody was at the helm steering those artists toward the masses.  Perhaps it was the artists themselves, or a team of devotees.  Either way there was a cohesive vision at one point, and in the end it is not the vision that actually matters all that much.  It is execution and dedication that wins the day.  Keep writing good songs and practicing, first and foremost, and then continue your hunt for ways to get your music heard.  If it means that much you will find a way, and there are plenty of roads to take these days, more than we have ever seen.

***Coming up on BuzzOfTheBay: We are going to be chatting online with Brendan Brown from Wheatus (remember “Teenage Dirtbag” - you must) - and I’m looking forward to it!!  Brendan has been around the music business, both major and indie, and we go way back.  He will have plenty to tell for all BOTB bands.

***We also had our talk with Jim Welch, founder of 2012 (Shiny Toy Guns manager) and will be featuring our conversation ASAP.

A Heartfelt tribute, courtesy of the Palms Casino in Las Vegas

DJ AM, whose real name was Adam Goldstein, was found dead in his Soho apartment on Friday afternoon. The police found a ton of prescription bottles and a crack pipe in the apartment.  Adam had a second chance, surviving that horrific plane crash with Travis Barker, and I am sorry he missed it.

I only had a brief exchange with the man, but I have a few friends who knew him well, and they all said he was a good-hearted person. Here’s yet another sign - a sign of what drugs can do for you.

Adam Goldstein had just wrapped his MTV-reality show about sobriety last Tuesday (and played a gig after).  Everyone in the entertainment industry who knew him are seemingly stunned, as this was far from expected.  The man had been sober for nine years, following an almost fatal crack addiction in his twenties (where he attempted suicide and failed - which led to his recovery).

***More to report soon, as we get more details.  But, more importantly, we’ll touch on the man and his journey to this unfortunate end.***