Fuck Releases The Band, Their First New Album in 10 Years

A personal life rule of mine: Never date a girl that’s heard fuck before. Fuck is what I bring to a relationship. They are my gift. My contribution to love. Introducing potential mates to Those are Not My Bongos, or now The Band, is my gift to each and every girl I’ve let down. Look, I know I’m bound to screw up the relationship eventually. However, I can always rest assured, that 5 years later when she thinks back to what an asshole I was, she’ll probably be listening to fuck. It’s my only positive contribution to most of my relationships.

To say I’m an aficionado of fuck is falling short of the target. I’ve made personal life rules based on their discography for christ’s sake. Which is weird, because I was late to the party. I didn’t listen to my first fuck album, Those Are Not My Bongos, until 2005, a year or two after it was released. That was also their last album. I’ve had a full decade (and change) to digest a half dozen albums, rearrange my best bands of the ’90s list, and wish I could have seen them live.

I’ve been told several versions of what happened at the last show in Cleveland at the Beachland. Before they played in the Tavern, they had everyone walk over to the Ballroom. There, depending on the version of the story you hear, they either performed a puppet show, or one of the members caterpillar crawled, in a sleeping bag, across the Ballroom stage. I like to imagine both happened—simultaneously. I missed it all. So really, this is my first brand new fuck album, and it’s a perfect place for anyone to start.

Timothy Prudhomme, Geoff Soule, Kyle Statham, Theodore Ellison

The Band, coming 6/22 on Vampire Blues, starts off with a noisy instrumental rocker. The song is punctuated with a knock knock joke. Spoiler alert: the song title is the punchline. Grammar humor is the best. I’m already hooked. Facehole is classic fuck. Laid back, quirked out lyrics. They excel at clever arrangements and layering off kilter melodies. Their back catalog is filled with fragile songs, all feeling dangerously close to falling apart, but with a force of will that propels them confidently forward. This dichotomy (fancy word time) is what I find so seductive about their music. The Band is no different. It Girl dissolves and re-coalesces around the bass. Cream Pie Patch is the dreamy fuck of the ’90s, resurrected and better than ever. The video for the lead single, Leave My Body, was released last month, and on the album it’s nestled in the middle. It’s the bellweather track of this album. If you’re down with it you might as well just buy the album. Thirsty Gnome is definitely from a band that puts on puppet shows while inch worming across a stage. The album mellows and fades out. If the opener, To Whom, is when the person with the bourbon shows up to the party, the closer, Tell Me No, is 4:30am and you lost your pants hours ago.

The Band is most definitely fuck. Not in a rehashing well-tread territory way, though. It’s comfortingly fuck. It also showcases a band that has clearly grown in 10 years. They thread the needle of releasing an interesting, pretty, and relevant album after a 10 year hiatus. If it’s not their most consistent album, it’s at least one of them. Maybe we’ll get a tour. Maybe even another album. I’m not really worried about that, because The Band can sustain us for another decade.

Timothy Prudhomme, Geoff Soule, Kyle Statham, Theodore Ellison
photo by Jamie Harmon

It just occurred to me that someone from fuck might be reading this. I potentially have the opportunity to speak directly to some of my musical heroes. I guess I’d have to say sorry. Sorry for that one time a band I was in opened for fuck member Geoff Soule’s band Sad Horse. I drunkenly decided to do a fuck cover. One that our fill-in drummer had never heard. It did not go well. Even with, or perhaps because of, the booze and drugs. Yeah, man. I’m sorry.

Timothy Prudhomme, Geoff Soule, Kyle Statham, Theodore Ellison
Fuck: The Band — Timothy Prudhomme, Geoff Soule, Kyle Statham, Theodore Ellison
Share

The Struts at House of Blues Cleveland

It takes a lot of skill and commitment to deliver a high-energy glam rock show without seeming over the top, but The Struts pull it off so flawlessly it’s like part of their anatomy. From the way all four members lay into each and every endlessly catchy song, to the way frontman Luke Spiller’s perfectly tailored raiments swish and shift with him as he glides across the stage, The Struts are a machine so well-oiled you’d swear they were born to do exactly this. 

Luke Spiller, The Struts by Cleveland rock photographer Mara Robinson
The Struts by Mara Robinson
Luke Spiller, The Struts by Cleveland rock photographer Mara Robinson
The Struts by Mara Robinson
Luke Spiller, The Struts by Cleveland rock photographer Mara Robinson
The Struts by Mara Robinson
Luke Spiller, The Struts by Cleveland rock photographer Mara Robinson
The Struts by Mara Robinson

 

We overheard another concertgoer having heated dialogue about it, echoing our own sentiments: “This guy! This guy!” he exclaimed, “He’s like Freddie Mercury and Mick Jagger rolled into one!” It’s true, and he can command an audience just as well. Not everyone can pull off a successful call and response session; or get a sweaty, sardine-packed crowd to jump and clap along. But last night’s fans were emboldened.
 
I used to talk in my articles about how Cleveland crowds are stoic and not easily impressed. Most bands are lucky to get a half-hearted golf clap after their songs. But not Struts fans. Oh no. These fans screamed, yelled, cheered, sang along at the tops of their lungs, raised their hands in the air, and gave back every ounce of energy the band put out to us.

Jed Elliott, Gethin Davies, The Struts, photo by Cleveland rock photographer Mara Robinson
The Struts by Mara Robinson
Luke Spiller, The Struts, photo by Cleveland rock photographer Mara Robinson
The Struts by Mara Robinson
The Struts by Mara Robinson

 
The Struts took notice, too, declaring it their best Cleveland show to-date. Even new songs off their forthcoming album got the same warm welcome. “Is it good? Or is it shit?” Luke asked. I assure you, it’s every bit as good as anything off Everybody Wants. I certainly can’t wait to hear the rest of the album, and can’t wait to see them again.

Luke Spiller, The Struts by Cleveland rock photographer Mara Robinson
The Struts by Mara Robinson
Luke Spiller, The Struts, photo by Cleveland rock photographer Mara Robinson
The Struts by Mara Robinson
Luke Spiller, The Struts, by Cleveland rock photographer Mara Robinson
The Struts by Mara Robinson

All photos by Cleveland rock photographer Mara Robinson 

Share

Soundtrack for Your Record Store Day Playlist

What better way to celebrate Record Store Day than with some new music! Specifically, a song all about how awesome record stores are.
The Junior League is a project by New Orleans transplant Joe Adragna. His sixth release since 2006, the latest album Eventually is Now is a mix of true stories and inspired tales.  The lead track, Teenage Bigstar extols the virtues of record stores and the great things that happen there. It chronicles two true stories from Joe’s life. Aptly named, the song strikes of Teenage Fanclub meets Big Star. 

Verse one recalls the day Joe met Alex Chilton at a New Orleans record store called The Magic Bus. Joe was a Big Star fan and quietly mentioned it to Chilton, not wanting to bother him. Chilton casually waved it off and instead grabbed the records from under Joe’s arm to see what he was buying. Chilton held up Joe’s copy of Beach Boys Live in London and started talking about how great they were, how he toured with them in the ’60s, and what a great drummer Dennis Wilson was. Chilton took out the record, handed it to the clerk, asked them to play Barbara Ann, and started playing air drums along to the beat. 

Verse two is inspired by the night Joe went to see The Minus 5 and wound up taking Scott McCaughey, Peter Buck and John Ramberg to that same record store. They talked about The Beatles and The Monkees, and after the show Joe vowed he’d make a record if it was the last thing he ever did musically. Lucky for us, he’s still going strong. Check out the rest of Eventually is Now on Bandcamp or Spotify. 

 

Jr League band eventually is now

 

Share

Project Mayhem Rocks Again

Boardman, Ohio loves the arts and gives students amazing opportunities to learn and perform music. Case in point, Boardman High School’s rock orchestra Project Mayhem. Backed by electric and acoustic violins, cellos, bass, drums and more, the band performs rock hits from yesterday and today. Featured artists include Fleetwood Mac, Nirvana, Kansas, Styx, Foo Fighters, Imagine Dragons, Metallica, Bon Jovi, Tom Petty and Pat Benatar. The orchestra keeps gaining in popularity and sold out the 1,600-seat Boardman Performing Arts Center. I photographed the show for the second year, and look forward to doing so again next year. Enjoy!

Cleveland music photogrpher Mara Robinson
photo by Mara Robinson
Cleveland music photogrpher Mara Robinson
photo by Mara Robinson
Cleveland music photographer Mara Robinson
photo by Mara Robinson
Cleveland music photogrpher Mara Robinson
Project Mayhem 2018 by Mara Robinson
Cleveland music photogrpher Mara Robinson
photo by Mara Robinson
Cleveland music photogrpher Mara Robinson
photo by Mara Robinson
Cleveland music photogrpher Mara Robinson
photo by Mara Robinson
Cleveland music photographer Mara Robinson
photo by Mara Robinson
Share

Squeeze live in Akron

Under the giant, illuminated Goodyear logo located east of downtown Akron, the polished granite, red brick and concrete exterior in the center of the rubber company’s former corporate campus looks fairly unassuming. But after walking through the doors into the Goodyear Theater, it’s easy to see why it’s attracting a diverse array of artists, including The Cult, Jason Isbell, Primus, Smashing Pumpkins and Dwight Yoakam. The spacious main hall and balcony of the latest addition to Akron’s growing musical culture captures the grandiose allure of a vintage orchestra stage hall. The character of this amazing venue was perfectly suited for one of England’s most enduring modern rock bands, Squeeze.

Glenn Tilbrook of Squeeze by Cleveland music photographer Mara Robinson
Glenn Tilbrook of Squeeze by Mara Robinson
Squeeze band by Cleveland music photographer Mara Robinson
Squeeze by Mara Robinson
Glenn Tilbrook and Chris Difford of Squeeze by Cleveland music photographer Mara Robinson
Glenn Tilbrook and Chris Difford of Squeeze by Mara Robinson

Glenn Tilbrook and Chris Difford have toured separately and together as a duo in the past, but this tour marks the return of Squeeze as a full band. Drummer Simon Hanson and keyboardist Steven Large have been performing with Glenn and Chris since the most recent formation took shape in 2007, and the recent additions of Yolanda Charles on bass and Steve Smith (from UK electronic remix outfit Dirty Vegas) on percussion helped keep the upbeat energy going between everyone on stage and in the audience.

Glenn Tilbrook of Squeeze by Cleveland music photographer Mara Robinson
Glenn Tilbrook of Squeeze by Mara Robinson
Chris Difford of Squeeze by Cleveland music photographer Mara Robinson
Chris Difford of Squeeze by Mara Robinson
Glenn TIlbrook and Chris Difford of Squeeze by Cleveland music photographer Mara Robinson
Glenn TIlbrook and Chris Difford of Squeeze by Mara Robinson

Squeeze played a finely curated mix of trademark favorites mingled with cuts spanning their entire career. They started their set with Please Be Upstanding, a song from The Knowledge, their 15th studio album, released in October. The songs from the new album continue to showcase Tilbrook and Difford’s songwriting tandem of new wave British Soul, from upbeat pop tunes to heartfelt ballads. The new material definitely has their unique vibe as much as their past libraries of work, and adds more colors to their musical landscape. The country slide guitar on Patchouli, the operatic vocal solos of Rough Ride, and the bongo beat percussion of Albatross show Squeeze expanding and are not satisfied by standing creatively still.

Squeeze band by Cleveland music photographer Mara Robinson
Squeeze by Mara Robinson
Glenn TIlbrook and Chris Difford of Squeeze by Cleveland music photographer Mara Robinson
Glenn TIlbrook and Chris Difford of Squeeze by Mara Robinson
Yolanda Charles of Squeeze by Cleveland music photographer Mara Robinson
Yolanda Charles of Squeeze by Mara Robinson

With the second song of the set, they promptly moved into their classic hit, Pulling Mussels (from the Shell). Their set included a majority of songs from their 2010 album Spot the Difference, where they re-recorded their greatest hits in identical detail to the original recording. Squeeze’s live performance lived up to the same perfection with every song. They haven’t lost an ounce of the energy and vibrancy that has attracted music fans for decades.

Yolanda Charles, Simon Hanson, and Steve Smith of Squeeze by Cleveland music photographer Mara Robinson
Yolanda Charles, Simon Hanson, and Steve Smith of Squeeze by Mara Robinson
Steven Large, Simon Hanson, and Steve Smith of Squeeze by Cleveland music photographer Mara Robinson
Steven Large, Simon Hanson, and Steve Smith of Squeeze by Mara Robinson
Steven Large, Simon Hanson, and Steve Smith of Squeeze by Cleveland music photographer Mara Robinson
Steven Large, Simon Hanson, and Steve Smith of Squeeze by Mara Robinson

Squeeze packed the last leg of their set with an all-star lineup of their biggest hits. The rhythm section took to the front of the stage for a rousing rendition of Take Me I’m Yours, with hand drums, marching snares, and accordion that got the crowd out of their seats. They kept the fans on their feet by bringing the show home with a rally of their best songs, including Tempted, Goodbye Girl and Up the Junction, and ultimately building up to the rapid disco keyboard melody of Slap and Tickle.

Chris Difford of Squeeze by Cleveland music photographer Mara Robinson
Chris Difford of Squeeze by Mara Robinson
Glenn Tilbrook and Chris Difford of Squeeze by Cleveland music photographer Mara Robinson
Glenn Tilbrook and Chris Difford of Squeeze by Mara Robinson

After a brief rest from their marathon performance, Squeeze returned to the stage to deliver an encore with two more of their most popular hits, Is That Love? and Black Coffee in Bed. During the final breakdown of Black Coffee in Bed, Glenn and Chris took time to introduce everyone in the band and gave them a moment to shine. The entire crowd stayed on their feet and helped end the night with a bright and soulful call and response of the song’s chorus. With a final gathering at the front of the stage, the band joined together for a final bow to Akron’s appreciative and devoted fans. Squeeze hasn’t lost a step in their stage and songwriting game, and the great response from their new material and their memorable catalog will have an incredible and expanding impact on music fans for a long time.

Share

We like to rock