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.
While Shaun Fleming of Diane Coffee began writing songs for his upcoming third full-length, the first two he wrote sounded maybe too much like the last album, Everybody’s a Good Dog. Also, the direction for the album changed, and these two songs no longer fit with the new concept. Not wanting the songs to just fade away, he decided to release them. Enter the new PEEL EP, a one-two punch of funk, soul, pop goodness he calls Psychedelic Motown.
The first song, Poor Man Dan, is based on a true story from Shaun’s childhood. An older kid in their Agoura Hills, CA neighborhood would tell the younger kids stories about the area that became like urban legends of the area.
“We were five or six. He was probably 13. He was just screwing with little kids. He was kind of a bad egg, but he told good stories,” Shaun says.
“One of them was about a guy who lived a block from us,” continues Shaun. The story went that his daughter died and he buried her in the front yard. It’s silly when you actually explain it. Then he would kill kids off the block that would come to his house — like, you could never go Trick or Treating at his house because he’d kill you and he’d bury you in his yard so his daughter would have friends to play with.”
“You know what’s funny too, is every time I drive past that house — if I’m in town sometimes I like to drive past my childhood house — I see that house and I still kind of get weird feelings. Even though I know that it was just some guy who then, for some reason, didn’t have any kids Trick or Treating at his house, but it still weirds me out.”
Song two, Get By, is Shaun’s example of three people who bury their pain and put on a smile through hard times. It’s a warning that we should accept rather than stigmatize or feel shame about the hardships of ourselves or others.
“This is just three examples of people dealing with things, says Shaun. It’s the out-of-work actor, and the person who’s going through mental problems, and the way we can just kind of hide that behind a half-smile and deal with it. Maybe there’s shame about talking about certain issues that you’re going through, even though most people are going through it.”
“We should be more accepting, and not stigmatize people going through certain things, he continues. We should be more open to talking and helping.”
Shaun feels like he might be done with songwriting for the upcoming third LP, but wants to get a producer for the first time, take the demos in, and work the songs out in the studio.
Diane Coffee plays the Beachland Sunday, November 5, where he and the band will play old songs as well as new, including songs from the upcoming album.
“I’m excited to go back to that vintage store,” says Shaun of the Beachland. “And the food is really good. Most times a venue is a venue is a venue. But it’s all the little things that come along with it. Like if you have a sound guy who’s always really fun, or you have a vintage shop connected, or if they serve really good food. It’s these little things you love about certain places. We always get really good crowds at the Beachland, and at the end of the day that’s the most fun. But the first thing I think about when I think about the Beachland is the really good food and the vintage clothing shop.
Taking a page from ’70s Pink Floyd mixed with your favorite ’80s pop music summer playlist, Los Colognes’ new full length The Wave delivers soothing audio soundscapes.
Listen to the entire full length here, complete with chill-inducing graphics.
Los Colognes is currently on tour with Blues Traveler:
10/20 – St Petersburg, FL – Jannus Live
10/21 – Ft Lauderdale, FL – Revolution Live
10/24 – Mobile, AL – The Steeple
10/26 – Austin, TX – Emo’s
10/27 – Dallas, TX – House of Blues
10/28 – Houston, TX – House of Blues
10/30 – Tulsa, OK – Cain’s Ballroom
11/1 – Minneapolis, MN – The Pantages
11/2 – LaCrosse, WI – The Court Above Main (Los Colognes Only)
11/3 – Indianapolis, IN – Vogue
11/4 – St Louis, MO – Del Mar Hall
11/5 – Kansas City, MO – Uptown Theatre
11/7 – Las Vegas, NV – House of Blues
11/8 – Salt Lake City, UT – The Depot
11/10 – Boise, ID – Knitting Factory
11/11 – Portland, OR – Crystal Ballroom
11/12 – Seattle, WA – Showbox at the Market
11/14 – San Francisco, CA – The Filmore
11/15 – San Francisco, CA – The Filmore
11/17 – Los Angeles, CA – Belasco
11/18 – Anaheim, CA – House of Blues
11/19 – San Diego, CA – House of Blues
As we approach the end of fall and brace ourselves for another brutal snowbelt winter, watching trees lose their clothes a little more each day, listening to a band called Last Leaves just seems right. I put it on and am immediately transported to warmer, sunnier days. It may not be T-shirt weather anymore, but on my radio it’s close enough.
As someone with every Lucksmiths album shuffling daily on my iPod, continuously pumping perfect pop song after perfect pop song through humble speakers, I was stoked when Last Leaves formed to reunite guitarists Marty Donald and Louis Richter with bassist Mark Monnone. Drummer Noah Symons (Great Earthquake) completes the quartet. Their debut album Other Towns Than Ours picks up right where the Lucksmiths left off.
From the first moment of the first song, our boys are back, painting stories with warm witty words and gentle instruments like only they can. It all sounds so familiar. Their particular genius is alive and well throughout the entire release.
With the third song, The Nights You Drove Me Home, I’m back in high school on Sunday nights, in the passenger seat of my first love’s orange Chevy Vega. For the first time in years, I’m remembering those drives from one end of town to the other, recalling his jokes and how all we used to do was laugh.
Most songs on the album are looking back, many on past loves, as the band’s characteristic harmonies on track six ask, “The world we had/where did it go?” This may as well be a question for nearly every song on the album.
Songwriter Marty Donald spoke with us about this collection of songs, some of which were written while the Lucksmiths were still together, and others after Last Leaves formed.
“I didn’t stop writing songs when The Lucksmiths finished up,” he explains. “I’ve been doing it too long to even consider that, I guess. But I wanted to find new things to explore with my writing, without that change feeling forced. I’ve always been a fairly painstaking writer anyway, so I knew that would take a while. I also moved to the hills outside Melbourne around this time; a sense of place has always been fairly central to my writing, and it took a while for the change of scenery to work its way into my songs. Again, though, I wanted this to happen naturally rather than be contrived at all.”
“When it came time to do something with the songs I had, I didn’t have to give too much thought to working with Mark and Louis again,” Marty continues. “The sort of friendship and musical understanding we’d developed over the years shouldn’t be given away lightly! But I also thought it would be good for us to introduce something different into the equation. Noah was a friend I’d made in the hills, whose drumming is incredible and completely distinctive; from the first rehearsal we all had together, everything clicked beautifully.”
“When we first started working together on the songs I had, though, some worked and some didn’t,” Marty continues. “It took us a while to understand ourselves, I guess — for some sort of direction to suggest itself. Once it did — after we’d played a few shows — I began to find the writing process much easier. Having a better idea of how the songs would end up sounding was definitely helpful! A few of my favorite songs from the record — The World We Had and Third Thoughts for example — are from this slightly more recent period.”
Cleveland country artist Charles Hill Jr recently recorded a direct-to-wax performance of his new song Little Buddy with new studio The Earnest Tube run by local engineer Clint Holley.
All Earnest Tube recordings are done straight to lacquer, with no overdubs, multitracking or mixing.
Hill wrote Little Buddy with hope that anyone with a child, grandchild, niece or nephew, can relate to.
The song was written the night of his baby niece’s first Christmas. “The whole song is about the moment I met her. Little facial expressions she was making when she was only a number of hours old, I looked at my sister and was like, ‘Well, you messed up. You made a me. You better try to make another one that’s like you.'”
“I’d actually sat down to write a song about Ken [Janssen, Cleveland friend, frontman and founder of Stow House Records, who died of ALS New Year’s Day 2015] said Hill. “This one just came out instead.”
This single is the very first Earnest Tube recording. Neither Hill nor Holley had done it before.
“We were just testing out how the process was going to work,” said Hill. “It was never to be released.” But since the recording turned out so well, he decided to run with it.
“It humanizes the whole [recording process]. There’s a little warble in it just because of how it’s done, but I like that. It gives it a sort of old school aesthetic.”
The single also features a B-side cover of Blaze Foley’s If I Could Only Fly and will be available in a limited edition of 25 hand-made custom pressings, signed and numbered by Charles himself, with proceeds benefiting hurricane relief efforts in Puerto Rico. These pressings form Wax Mage Records go on presale Monday October 16 on Hill’s Bandcamp.
“I’m not one to go on Facebook and bitch about the president. I just don’t think it does any good,” says Hill. “Obviously he didn’t approach or execute as well as he should have with the hurricane in Puerto Rico. I mean, you can just see the apathy in the press conferences. So instead of getting mad about it on the internet, I decided it’s just better to try to stay positive and do something good about it.”
Additional copies will follow November 17 on Stow House Records, with a release party that night at Survival Kit, part of the 78th Street Studios art galleries. Hill will be joined by Al Moss on pedal steel and Mike Allen (The Dreadful Yawns) on bass. Supporting acts Clint Holley and Brandon Shields (The Lucky Ones) will also perform.
“I love playing [at Survival Kit]” Hill says. “It’s intimate. And especially with the third Friday [shows] you sort of get a built-in crowd and it’s all people that are there to absorb art in whatever way you give it to them.”