Superchunk in 45 Minutes or Less

No, it's been about a month since you posted something.

Speaking of a month, in less than a month Superchunk will release a new album called I Hate Music.

I learned of Superchunk from listening to fIREHOSE. They covered "Slack Motherfucker" live ("It's about working for an ass-hole," Mike Watt would bellow.), but it wasn't until the song was included on their Live Totem Pole EP that I knew what and who I was looking for.

I liked what I heard on Superchunk's debut, "Slack Motherfucker"'s home.  After a few listens, I came away with some favorite songs but nothing to send me racing for more.

A couple years went by.  Superchunk released Here's Where the Strings Come In.  I gave them another try, with similar, yet slighter, results.  I came away with some songs I thought were decent, but the rest, I didn't care for at all.

Several years went by.  Superchunk released Here's to Shutting Up.   My love for albums titles beginning with the contraction "Here's" was at it's pinnacle.  I couldn't resist giving Superchunk one last shot.  The album was much more mellow than their debut, but the songs were a lot better than Strings.  I was satisfied.  However, I wasn't inspired to dig any further into their catalogue.

Many years went by, and the music scene began to see acts from the early 90's reunite and tour and sometimes release new material.  While Superchunk never broke up, they hadn't toured or released an album since Here's to Shutting Up.  

Enter: Majesty Shredding.  Fifteen seconds into the first track, I was questioning everything I felt about Superchunk.  That song, that album.  Great and great.  I was hooked.  To their back catalogue!  

Oh, the years I wasted not listening to Superchunk.  This whole time I was playing a losing game of Battleship, missing the albums that would have made me an fan: On the Mouth, Foolish, Come Pick Me Up, Indoor Living.  I just didn't know it.

Well, everything is good with me now.  I'm worried about you, though.  So, I've put together a Superchunk sampler that you can listen to here though Spotify. It's just the tip of the Superchunk iceberg, but it should get you ready for I Hate Music when it's released on August 20th.

 

Rob Braithwaite writes stuff for Pencilstorm. Learn more about him and our other contributors by clicking here.

 

The live cover that started it all... 

And the song that got my mind right...

The Wet Darlings and Nick Tolford & Company at the Columbus Commons and Why Columbus Will Never Have a Thriving Downtown District by Ricki C.

I don't live in the suburbs, but I might as well.  I live by Cleveland Avenue & 161, right on the edge of Westerville and don't get downtown very much.  But on Thursday night July 25th my lovely wife Debbie set off for the Ohio Theater Summer Movie Series to see The Thin Man  and I went to check out The Wet Darlings and Nick Tolford & Company at The Columbus Commons.

Here's the thing about going Downtown for people like me; Columbus city leaders are always paying lip service to revitalizing our City Center (pun intended, that's the failed urban mall they tore down that BECAME The Columbus Commons) but then immediately start throwing up obstacles to that goal, i.e. making people feed the parking meters until 10 pm adjacent to Columbus Commons (as well as The Brewery District and much of the rest of downtown).  I just got home from a series of gigs with Watershed in Raleigh, North Carolina where downtown parking is TOTALLY FREE after 5 pm. Seriously, are people from the suburbs - who NEVER have to pay for parking ANYWHERE - really going to make the effort to load up the family, make the drive downtown (which they perceive as scary anyway) and then get soaked for parking meter or garage parking fees?  And it's not even the actual COST of parking, which is nominal compared to a Big City prices, it's the IDEA of paying to park.  

Secondly, Columbus urban planning geniuses, whose bright idea was it to shoehorn in a row of apartments/condos between High Street and the Columbus Commons, thereby cutting off any kind of connection between THE MOST HIGHLY-TRAVELED STREET IN THE CITY and The Commons?  Heaven forbid that people might be driving or walking past The Commons and say to themselves, "Hey, there's a show going on here, in the heart of my city, maybe I should stop and check it out."  At my most cynical I wonder if those buildings were placed there to cut off free viewing access to the Commons, so that homeless people or mere moocher-passersby can't set up a lawn chair on the sidewalk outside the fence and watch Picnic With The Pops without paying 25 to 50 bucks .  Or even more cynically, so Picnic With The Pops patrons wouldn't have to look at the homeless while sipping chablis stage-side with their families.  Regardless, are there really enough highly-paid downtown-sector workers to FILL those buildings?  How'd that Jeffrey Place condo development go over on 4th Street?

Anyway, enough anti-capitalist rich people grousing, let's talk about music....... 

I actually like The Wet Darlings a lot.  (It's not going to sound like it, but I do.)  I was looking forward to seeing the band in a non-club setting, but I've gotta admit being a little disappointed with them.  The Columbus Commons set-up really couldn't GET any more pro: good sound, GREAT lighting (though most of the Darlings' set took place in full daylight) and a HUGE expanse of stage to work with, which was part of the problem. Lead vocalist Jenny Lute is a great singer, is really pretty and possesses genuine onstage charisma but the band seemed a little bit lost on the Big Stage.  The songs are good but not really great and it seems a little like the band wouldn't know a hook if it fucked 'em in a closet.  Plus songwriter Bill Patterson might wanna work on FINISHING the songs, some of which don't so much end as just subside.

Also, Lute seemed to be having trouble connecting with the kinda-distant (geographically and temperamentally) audience.  She wound up talking to the crowd about the weather THREE TIMES during the 90-minute set, which is at least two times too many.  If the band wants to make the jump from clubs to bigger shows it really might not be a bad idea to work on a little stage banter.  It doesn't have to be prepared or forced, but SOME idea of how to draw in an unfamiliar audience of regular (non-clubbing, non-hipster) people might be in order.  All that being said, I really enjoyed The Wet Darlings set.  It was a good solid set of rock & roll on a truly gorgeous summer night.

The Wet Darlings might want to take some onstage lessons from Nick Tolford & Company.  Tolford is instantly ON and communicative with the crowd, opens the show with a song about how great summertime is (obvious in this setting, but still great) and completely engages the crowd from the very first moments of the set.  There's a lot of things I could say about Tolford & Co. but the main thing I always have to start with is how simultaneously TIGHT and LOOSE the band is.  This brand of gospel-infused rock SEEMS easy to play but it isn't.  Staying strong on the beat and swinging at the same time is a tightrope walk Tolford & Co. have mastered.

Also, I should be put off by the band's LOOK, but I'm not.  I'm 61 years old, I started off my rock & roll journey with The Beatles and The Dave Clark 5 in matching suits, progressed through Paul Revere & The Raiders, etc. to wind up back at The White Stripes and The Hives, sartorially.  The fact that the whiplash-great pretty-boy blonde guitar player sporting a cardigan sweater is immediately adjacent to a Z.Z. Top-bearded, ballcap-wearing bass-player straight out of Leon Russell's band in 1972 SHOULD bother me, but somehow the Tolford band pulls it off.  (By the way, for those of you scoring at home I saw Joe Cocker and Leon Russell's Mad Dogs & Englishmen tour at the Ohio Theater in 1970 and it's always the first thing I'm transported back to when I see Tolford & Company.  And you KNOW that can't be bad.)  

So yeah, Tolford has a KILLER yowl of a white-soul voice, is a great bandleader, plays a mean electric piano (with the mike placed firmly between his knees, Jerry Lee Lewis-style) but really it's the SONGS he writes that truly set him apart from the rest of the Columbus rock & roll pack.  Unlike most local acts you never really know WHERE a Nick Tolford song is gonna go next: is there gonna be a funky out-of-time bridge, is there gonna be a stop-time section that wasn't there the last time they came out of the chorus, is there gonna be a drums & bass breakdown where you least expect it?  Where ARE we in this tune?  It's great.  It's genius.  Plus, my ultimate compliment: I always find myself wishing the songs in Tolford's set were three minutes LONGER than they are rather than the two minutes SHORTER I hope for in lesser bands' hands.  And that soul-gospel chorus enacting choreographed dance-steps and synchronized tambourine-shaking?  Man, that guy and those girls are FINE. 

Nick Tolford & Company, thank you for a consummate night of summertime rock & roll.  

 

(sidenote; I got hungry around the time of the bands' set change, so I wandered over to Jeni's Splendid Ice Cream at the Commons for a snack , but was in for a rude awakening: two scoops of Jeni's Splendid would have set me back $118.  That seems pricey for an ice cream cone, doesn't it?)    - Ricki C. / July 26th, 2013

Ricki C contributes to Pencilstorm and has his own fabulous blog, "Growing Old With Rock n Roll" . You can learn more about him and our other contributors by clicking here.

 

Top 5 Movie Monologues with Rock and Roll Intentions. By Lizard McGee

 Top 5 Movie Monologues with Rock and Roll intentions.

or

Everything I ever needed to know in life, I learned from Rock and Roll

By Lizard McGee

You go to the theater and sit in the dark. A projector pushes light through film and out onto the screen. You open your mind to the power of imagination and pretense momentarily suspending all disbelief. Actors expound on delicate dramatic details. You are washed with an intense certainty that they are speaking directly to you. As if a folded horn grows directly from their heart, out through the screen ending at yr face, amplifying and translating the deepest meanings of their words. 

Whatever they are talking about, they’re really talking about Rock and Roll. Everything I ever needed to know in life I learned from Rock and Roll. Rock and Roll is the beginning and the end of the world. It’s everything. Remember in Apocalypse Now when Marlon Brando says that he “… has seen Horrors.” ? Rock and Roll has seen those Horrors. Or Citizen Kane’s “Rosebud.” Rock and Roll has a Rosebud. 

But those are films. I’m talking about movies. Consider this a master class in Rock and Roll. 

1. Tears in Rain (Blade Runner) - Rutger Hauer 

Rock and Roll should always go for the jugular. The emotional response. You want the audience ripping off their panties and throwing them at the stage with mindless abandon. Even if your audience includes that ripped, sweaty, fantastically mustachioed grip who winks at you during scene breaks. No matter what, you want them all to be lost in the moment. 

Legend has it that the film crew was brought to tears and erupted into spontaneous applause after Mr. Hauer delivered this impromptu soliloquy. He ditched the script and went with his gut, abbreviating and adjusting what the director and screen-writer had given him. His gutsy move reminds us that great performance is also about spontaneity. Plus nothing says Rock and Roll more than having platinum blond hair and holding a dove in one hand while talking about death.


2. Don’t Ever Get Married (Purple Rain) – Clarence Williams III

Prince’s dad beat his ass, just beat his Mom’s ass and is now sitting at a piano in the basement crying while playing a beautiful melody that Prince later turns into Purple Rain. His dad grills the Kid about whether or not he has a girlfriend and what their future plans are. 

“I never meant to cause you any sorrow/I never meant to cause you any pain”

Indeed. 

Q: What do we learn from this growling monologue? A: Rock and roll is wrong. You should do it in a basement. You might get yr ass kicked. And most importantly, making plans for the future is a bad idea because that bitch will just break yr heart.


3. I’m A Wolf (Moonstruck) – Nicolas Cage

Ronny and Loretta have fire. Ronny has fallen crazy in love with Loretta. He wants her to come upstairs with him and get in his bed. But Loretta is fighting against her heart. Loretta is trying to be reasonable, she’s trying to make “good decisions”. What does this scene tell us about the dogma of Rock and Roll? It tells us that playing it safe is a loser’s game. The past and the future are a joke. Nothing matters but right now. Why? Because fucking. Because recklessness. Because it doesn’t matter how and it doesn’t matter why. Love breaks yr heart, love ruins everything, love is a mess. And when yr on fire, everything seems like nothing against -I want you in my bed. 

Nick Cage speaks for Rock and Roll. And Rock and Roll says - Don’t play it safe. Listen to the Wolf.


4. Help me Obi Wan Kenobi, you’re my only hope (Star Wars) – Carrie Fisher

Editing is Rock and Roll’s masterstroke. You must have impact. And it’s all in that last line. That one sentence has so much power. The wanting in her voice. Because everything depends upon this. This is a call. This is the power ballad. This is top notch Rock and Roll. Because it’s a fucking hologram, so cool. Also, Carrie Fisher is fine. Because metal bikini. And because it’s fucking STAR WARS and I still want a Landspeeder.

5. Bruce Lee Kicks Everyone’s Ass (Enter The Dragon) – Bruce Lee

It doesn’t matter that this isn’t a monologue. Rock and Roll is about breaking the rules. When Bruce Lee fights, he makes the coolest fucking sounds EVER. Specifically the moment in the scene in the underground drug lair when he fights off 7 henchmen and then after he beats the last guy’s ass, he stomps on his chest, grimaces, makes an alien-cat noise and prowls away to a soundtrack of spooky synthesizers. Bruce Lee is a BAD ASS, people. He then goes on to gloriously beat the shit out of another 47 dudes (I counted). That is seriously Rock and Roll. Because nunchucks. Because you can do anything. Even against insurmountable odds. Especially against insurmountable odds. Rock and Roll feeds on the glory of the underdog. And because it doesn’t matter if you’ve reached the end of the set. Go farther. Who cares what the club owner or the sound-man says. They may throw up the house lights and try to kill yr vibe, or pull the plug on yr guitar amp and try to shut you down. But God gave you a voice and made you a human amplifier. And he did that so you can say “I think we’ve got time for one more.” 
You cannot be stopped.

“You must constantly exceed your level. There are no limits. There are plateaus, but you must not stay there, you must go beyond them. If it kills you, it kills you.” – Bruce Lee

Well said, Bruce.

Rock and Roll always says -"Bring it on". Because Rock and Roll is all about stepping up yr game.

- Lizard McGee

Lizard McGee is a guest contributor for Pencilstorm and one hell of a talented guy. Follow him on Twitter or Learn more about his band Earwig and all things Lizard by clicking here

 

This Couple Travels From Idaho To North Carolina To See Watershed Play. No, Seriously..... by Ricki C.

I was sitting in a sidewalk café in downtown Raleigh, North Carolina this past Sunday morning, July 20th, talking to my lovely wife Debbie about how Watershed’s three-gigs in three-days in three-different bars Rock & Roll Junket event was going and I said, “I met a couple last night who came all the way from Idaho to see the band.”  “ON PURPOSE?!?!?” was Debbie’s incredulous reply.  “Yes, on purpose,’ I said, “why else would they come?”  “No, I mean, did they come to Raleigh for something else and then see that Watershed was playing so they came to the show?” Debbie clarified.  “No,” I explained, “they read about the Rock & Roll Junket online and flew all the way from Idaho to North Carolina for the weekend.”  After a short pause to take that all in Debbie said, “Now I feel bad.  I didn’t even go see Colin the last time he played solo right here in Columbus.”

That’s the kind of weekend it was.  Dara & Nick are our new friend Superfans from Idaho and the story is possibly even stranger than this sounds.  Stranger because Nick lived in Columbus and worked for our local daily newspaper, The Columbus Dispatch, from 1995 to 1998 – possibly Watershed’s most gig-intensive period ever, during and immediately after their Epic major-label years – and Nick managed to be only marginally aware of their existence and never saw the band live.  After moving to El Paso and meeting Dara, he got more into the band long-distance before the couple moved to Boise, Idaho in 2001.

I found out most of this from talking to Dara (man, I hope I’m spelling her name right) at Colin’s acoustic show Friday night at Sadlack’s Heroes.  She had come up to where I was selling merch and we got to talking.  When she mentioned that she and her husband had come all the way from Idaho for the shows I couldn’t believe my ears, I thought I had heard her wrong.  “You came here all the way from Idaho?” was the first thing I said.  “Yeah,” Dara replied casually, as if it was the most natural thing in the world, as if stuff like that happened to Watershed all the time.  The first thought into my head (which I’m really glad I didn’t say out loud, because Dara was such a sweetheart) was, “I have never met ANYONE from Idaho who was not an Aryan separatist.”  The second thought into my head (much like Debbie’s reaction above) that I DID say out loud, was “You came all the way from Idaho for THIS?”  

Luckily Colin, Joe & Dave delivered a Watershed All-Timer set at The Pour House on Saturday night or else I was gonna have to clear it with Biggie to start plying the couple with free stuff from the merch table to justify their weekend expenses.  (I’ve seen Watershed literally hundreds of times since 1990 and the Saturday night show was easily one of the Top 15, possibly Top 10.)  

There were other people who came from far away at the First Annual Watershed Rock & Roll Junket – Todd came from wherever he lives now, Catherine came from Georgia, at least one couple came from our hometown Columbus, Jenna and her boyfriend/husband came from Hilton Head – but all of them are another blog for a different time, because Dara & Nick came all the way from Idaho to North Carolina to see Watershed.  No, seriously……   -  Ricki C. / July 24th, 2013

 

For more on the Watershed Rock n Roll Junket. Setlists and recap posted at Colingawel.com

                                          

Robin Zander and Rick Nielsen Held Up This Black Concert T-Shirt and We Can Prove It

I have a question and I know you you have it too: Why Isn't Cheap Trick in the Rock n Roll Hall of Fame? It's a simple question, but nobody seems to have an answer. To try and get to the bottom of this, Joe Oestreich wrote a best selling book with Cheap Trick as a major character, I ranked every single Cheap Trick song and then with help from The Lonely Bones started a band called, "Why Isn't Cheap Trick in the Rock n Roll Hall of Fame?". They played some free concerts to help assemble some clues to solve this mystery. The shows got a bunch of national press and everybody agreed that it is essential that the answer be found. and soon. 

Last week in Columbus, Ohio in front 5,000 boozed up rock n roll fans, Rick and Robin helped the cause by holding up a "Why Isn't Cheap Trick in the Rock n Roll Hall of Fame? " T- shirt before playing "Surrender". Looks for it in the clip below around 35 seconds in. If you want a shirt yourself, A couple are still left so click here ASAP.

 

Colin Gawel really, really likes Cheap Trick. He does other things too. Read about him and other Pencilstorm contributors here. 

Cheap Trick performing Surrender live at Lifestyle Communities Pavilion, Columbus, Ohio on Saturday, July 13, 2013 at the Q96 Wing Zing event.

Birthday Blog 2013 - Ricki C.

It's my birthday today. I'm 61 years old. I worked a rock & roll show today, playing roadie for Colin Gawel & The Lonely Bones, my good friend Colin's side-project band when Watershed is not taking the stage. The appearance was at Comfest, a local Columbus hippie fete, that I have been attending since its inception in 1972. In some capacity - roadie, performer, stage manager, etc. - I have participated in Comfest since 1978 when I first helped Romantic Noise bassist Greg Glasgow onto the stage after a forklift driver ran over his foot at his warehouse temp job the day before the gig. (Ah, the glamorous rock & roll lifestyle.)

But that's not what this blog entry is about.

This blog entry is about my dad, traveling, hotels and growing old with rock & roll.

My dad was the greatest person I have ever known. He died of a heart attack at the age of 56 when I was 17 years old, April of my senior year of high school. I myself am on my second cardiac pacemaker and have so far outlived him by five years, but only with the bonus benefits of technology.

My father gave me my whole world. When I was 13 years old in 1965, dad started to get me into the rock & roll shows he worked as a ticket agent for Central Ticket Office, an early forerunner of what Ticket Master would become. It was my father's nighttime job after his main occupation at Columbia Gas of Ohio. My mom and dad both worked two jobs. They were children of The Great Depression and carried to their graves a legacy and a fear of not knowing where their next dollar was coming from.

Dad saw how interested I was in rock & roll and started bringing me along with him to shows at Veteran's Memorial or the Lausche Building on the Ohio State Fairgrounds. I was an incredibly shy, introverted child and I think the fact that I was willing to leave the shelter/womb of our house on the West Side to see a rock & roll show heartened my dad so much he'd have brought/driven/conveyed me anywhere, let alone the three or four miles it was from home to Vet's Memorial.

At first it was package shows like The Turtles with Neil Diamond and Every Mother's Son ("Come On Down To My Boat") opening; or Paul Revere & The Raiders with The Standells and Sam the Sham & The Pharoahs. But then, as The Sixties got into full swing I saw Bob Dylan's first electric tour with The Band (when they were still called The Crackers), The Doors, The Jimi Hendrix Experience, Janis Joplin & the Full-Tilt Boogie Band, Cream and, most crucially, The Who on November 1st, 1969. (sidenote: Not one of those shows sold out the 3000-seat Veteran's Memorial. Dad would bring me to the show, wait for the opening acts to start, then pull me a single unsold seat somewhere. Advance sales to The Who show in 1969 were so slow that dad pulled me FOUR SEATS; one each for my best friend and our dates, a date I would almost certainly never have had but for the grace of my dad and of the rock & roll.) (Tickets for that Who show, by the way, were $3.50.) 

Those shows, and rock & roll in general, quite literally gave me a reason for living. (see blog entry The Bathtub, January 13th, 2012.)

Dad gave me other stuff: he instilled in me a love of traveling. In 1962, when I was 10, a coupla years before The Beatles first appeared on the Ed Sullivan Show and Changed Everything, dad had started to take my older brother and I to Cleveland Browns football games. This was in the Browns' heyday, when fullback Jim Brown was a true star of the National Football League and the Super Bowl hadn't even been invented yet. We would stay at the Sheraton Gibson Hotel right off Fountain Square. The Sheraton Gibson, and hotels in general, became MAGICAL to me. You could LIE IN BED and watch television. You could TAKE SHOWERS. (Our bathroom at home sported a claw-foot bathtub only.) You could look out the 20th floor window and see all the lights of the city spread out under you. I felt like a king.  (sidenote: When Pete Townhend's first solo album, Who Came First, was released in 1972 with a track called "Sheraton Gibson" I was BEYOND THRILLED that I had once occupied the same building, the same square footage, as my Number One Rock Hero of that time.) 

I remember very clearly one night in 1965 on the way home from Vet's, when dad was explaining the concept of touring to me, that musicians had to be on the road all the time. I just looked at him wide-eyed and said, "You mean all these guys do is play guitars & drums in a different city every night and stay in hotels in between?" I was incredulous. I was dumbstruck. Dad couldn't have possibly realized what he had just done. He might just as well have stamped Unfit For A Normal Job Of Any Kind across my 13 year old forehead right at that very moment.

My dad never got to travel much; those trips to Cleveland, our family summer vacations to the likes of Cedar Point Amusement Park in Upper Sandusky, an annual autumn trip to South Bend, Indiana, to see a Notre Dame football game with his Columbia Gas buddies. One time when I was 12 he took my sister and I to Florida. It was my first time flying and I was so nervous I threw up on the plane. I was such a miserable little kid. Dad, I wish I could have been better for you.

When my father died I think I had a little nervous breakdown. I can't really remember much of anything from April or May of that year, but by June 1970 when I graduated from Bishop Ready High School I had decided two things: 1) I was never ever going to have a job where I had to wear a suit & tie to work; and 2) I was going to travel and describe to dad all the things I saw.

It's my birthday today. I'm 61 years old. I accomplished the first goal goal by working in warehouses most of my adult life and discovering that bluejeans and a black t-shirt will get you through most days quite nicely. On most of my vacations from work I traveled to see rock & roll bands; to Massachusetts, to Texas, to California, to a lotta points in between. 

I accomplished the second goal by becoming a rock & roll roadie in my 40's and crisscrossing the length & breadth of these United States (multiple times) with Watershed and Hamell On Trial.

Dad, you were with me every step of the way: every new sight out of every car, truck, bus, van & airplane window; every street of every city & town; every mile of every tour. This blog is for you. It's a happy birthday.  - Ricki C. / June 30th, 2013

 

This entry originally appeared on Ricki's own blogsite - Growing Old With Rock & Roll, www.rickic614.blogspot.com - if you'd like to read more.