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.
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.”
Best known for his talents as the lead singer and songwriter of Toad The Wet Sprocket, Glen Phillips has continued to perform as an independent artist focused on honest storytelling and compelling songwriting. The latest stop on tour in support of his latest album, Swallowed by the New, was to a packed but chilly crowd at Cleveland’s Music Box Supper Club. The biting cold and rain on a wintery March night couldn’t stop his passionate fans from sitting in on this show.
But first, wrapped in comfy scarf, blue dress and rose cowboy boots, Amber Rubarth took the stage and warmed up the icy crowd with a selection of acoustic numbers. The comforting blend of indie country and folk rock from her upcoming new album Wildflowers in the Graveyard were lovely and her light, soft voice captured the intimacy and strength of her songs. Even her gentle spin on REM’s Losing My Religion recast the classic song in a new light. Later in the set, the crowd got a preview of Glen Phillips as he joined Amber onstage for a stirring guitar and vocal duet. Amber will be returning next month for the Cleveland International Film Festival in support of her starring role in the movie “September 12th.” The film discusses people’s compassion and coming together following the events of September 11th. Amber and co-star Joe Purdy will perform after the screening in Tower City on April 1st and 3rd.
Glen Philips was excited to finally feel better for once. After just getting over a recent bout of sickness, he was finally able to let loose, bringing smiles and laughs to the crowd and his friends onstage. Joined by talented musicians/songwriters Amber Rubarth and fellow Toad collaborator Jonathan Kingham, Glen featured a majority of the tracks from Swallowed by the New, while taking time to weave their stories and settings between songs. At one point, he told the story of how Baptistina was named for the original source of the asteroid that wiped out the dinosaurs, only to find out the source was later disproven.
Even though Phillips’ songs are emotional, the night was filled with fun and good spirits. His priceless reaction after his mention that the tour would be ending in Pittsburgh the following night was met with jeers and boos. “Is it a sports thing?” he asked innocently, before getting briefly educated about the infamous rivalry between the two cities. He started a new song, only to stop and remark, “You know, back in the day, this kind of hate was reserved for someone else breaking into your town and stealing all your sheep or something.”
The standout moment of the night belonged to Jonathan Kingham. Before turning the stage over to Kingham for a song, Phillips asked the crowd what they wanted to hear him play. Unanimously, we voted for “funky freestyle,” which Kingham obliged with a solo acoustic version of Every Little Step by Bobby Brown, complete with dance breakdown and off-the-dome freestyle lyrics. Bars included having the meatsweats from his pre-show shortrib dinner, and apologizing to the guy stage right for having to pay full price for a seat with a direct view of his ass all night. “You won’t normally see that at a Glen Phillips show!” he quipped at song’s end.
Glen’s voice is still as distinct and expressive as ever, with touching and tragic lyrics about love, loss, faith, his divorce, and hope combined with his signature folk-inspired songwriting. Even while Glen admitted on stage that “my songs are mainly about how sad I am,” each song of the evening’s set illustrated a wide range of feeling: from the forlorn lighthouse love song in the album’s opening song Go — which muses that sometimes the most loving thing you can do for someone is to let them go — to the closing inspirational, stomping, hymnal chorus of Held Up. Glen also played several popular songs and fan favorites from his Toad The Wet Sprocket years, including All I Want, Walk On The Ocean, and an encore crowd request of Crowing that got the room singing along and ended the evening on a high note.
With an amazing career spanning 30 years, Matthew Sweet has been the answer when it comes to guitar-driven power pop. His breakthrough records from the early 1990s, like Girlfriend, Altered Beast and 100% Fun, highlight the chord-ripping rock and endearing songwriting that set his style apart in the era of “alternative” music, much like Elvis Costello’s emergence parallel to the eruption of British punk in the 1970s. Like a true artist, he has continued to write, perform and collaborate on an astounding number of projects through the years — and shows no signs of slowing down yet. Matthew talked with Blown Speakers before visiting Cleveland on his current tour of the Northeast U.S., and discussed his next album, Tomorrow Forever, among other things.
Matthew Sweet: The whole thing is recorded. I still have to mix it, and I have to figure out what makes the album and what happens with the rest of the songs. I recorded 38 songs for it, so I’m going to try to figure out what the main album is.
There’s supposed to be a bonus disc that some people pledged for, and that was going to be demos, but given the time frame and I got started a little late, I mostly just made real recordings, so that bonus thing will also be full of studio songs.
Were there any direct influences that were drawing themselves out while you were making the new album?
MS: That’s hard to say. I think that it really just came from me. I’ve moved from living in a new place, and it’s kind of on its own steam. I wouldn’t say there was something I was particularly listening to or wanting it to be like. I just started picking ideas and doing it like I normally do, which is a little bit mysterious. I store up short minute long ideas or something. When I go through my day before I’m making a record, I’ll occasionally record little things and then save them up, or if I have nothing I’ll make them up that day or whatever when I need them. But somehow once they’re that little thing, it’s like the seed of what it’s going to be, and it just sort of becomes that. I just trust that it will and then it’s like magic or something.
I didn’t do a lot of thinking about what I wanted it to be like, but it has a wide range of stuff on it and I did try to make sure it has lots of different types of songs. For instance, I recorded it in three batches, and I think that the first batch had a variety of things, and then the second batch was a little more power-pop, and then the third batch was really slow, moodier type of stuff. But that’s the most I thought about it. I was like, ‘Well, I want to make sure I have slow stuff,’ you know?
Has being back in your old home state influenced the album, like how you were saying about a move back and everything?
MS: Well I guess your house and where you live is the most solid thing. I mean, for me, in my life, it doesn’t matter where I am in terms of doing music. I can do what I do anywhere, and I have. I’ve lived a lot of places, but there’s something about when you’re settling in and you have that comfort of your own space, and I think that did factor in somehow.
I grew up in Lincoln, and so Omaha’s really a bigger city than I grew up in. Although, Lincoln’s a good size, I mean the University of Nebraska’s there, it’s only fifty miles away from here. But it has been cool to connect to how I felt when I was really young. I’ve always been bad with remembering what all happened when I was little. I’d meet other people throughout the years who I grew up with, and I always felt like they remembered all the stuff, but I just didn’t remember it exactly. And there is a little bit of that being here — that I just can feel like I’m more connected with that part of my life. So there is something weirdly comforting about that.
Do you still have the home studio in your new place? How was it moving everything to a new location?
MS: I do. Well, that’s cool, too, to have a new room that I work in. I’ve never had a pro studio set up at home in terms of like “the room.” I’ve never built a room to be a studio. It was funny because when I sold my place in Los Angeles, it got in local papers and online, and it said I sold my home ‘with recording studio,’ but there was really no recording studio in it, except my gear being in one of the rooms of the house. And that’s really the same way it is here, but our new place had a really good room for me to do music in, so it’s always fun being in a new space doing that. It has been cool setting up my studio and making it my own sort of vibe.
You’re hitting the road in September. This will be your second time coming through Cleveland in two years. What is it that keeps you coming back to this area and do you have any favorite moments or memories about playing in Cleveland?
MS: I feel like there must’ve been a time where we didn’t come as much, and then we started coming more often a few years ago. I mean, back in the day, we came there and there were always great rock crowds, and we played a lot of different places that had different vibes and stuff.
Then we played the Beachland a few times over the last few years, and that was when we really started playing Cleveland again. We played there a few times, and then we played the Music Box, and we had a great time there. It’s a really nice venue, and spacious, and has a really good backstage and stuff. I have positive memories of it, so it’s comfortable.
But in general, Cleveland, it’s such a great music city and the Rock and Roll Hall of Fame is there, and I have some history with it. I had a really cool moment in my career when we got to play at an opening of the John Lennon exhibit that Yoko Ono curated in there in 2000. Two or three bands played at it, and we were able to meet Yoko and have her sign our little books at the exhibit. It was up in this room where they had a lot of John’s handwritten lyrics on walls. So that was a trip and is a cool memory from being around there. It’s always been a rock and roll town so it makes sense that it would be a place good for me.
Your songs have been used in a lot of popular movie soundtracks from the 90s and on. Has anyone asked you to write a film score or perform a complete film soundtrack, like Prince on the Batman soundtrack?
MS: Not really. I would’ve done it, I’m sure. I got close to that sort of thing. Unfortunately, when I probably could’ve done something like that easier was when my career was early enough in success. I was touring all the time and maybe didn’t have as much time to get into that sort of stuff. Later on, I’ve never really concentrated on trying to change the kind of work I do because I just like being an artist and writing my own songs. But I’ve always felt like I could do it pretty easily. I guess the closest I got was a little bit of incidental music in Can’t Hardly Wait, the teen movie. I had a song on the soundtrack of it, but I ended up with a little bit of background music for it.
Are you still crafting pottery? Is the Lolina line still going on?
MS: It is, theoretically. I have all my stuff here and I actually have a small garage just for doing pottery in, but I haven’t really set it up and started doing it. It’s been kind of a long break for me but I am going to get it going sometime soon. I got embroiled in the album pretty quickly after we moved and I’ve only really been working on that. Some of the rewards from the Kickstarter campaign include 3-D printed things that I’m making. I’ve scanned from pieces of my pottery, like a cat head, and then use them in building the 3-D things. I’m also making a bronze cat sculpture as one of the things people could get as an incentive. To do that, I think I’m gonna carve it out of clay, and then we’ll make some sort of a mold from it, so I’ve got to get into some clay and get it going. I’m thinking sometime this fall is when I’ll actually get all that stuff rolling and get back on the wheel. Make some things to get myself going.
I think that doing pottery, the way I do it, it’s very self-taught. I’m not like a pro at doing it, it’s my own weird way. I learned just a little bit from others, but kind of like my guitar playing, I just kind of learned it on my own. It has this thing about it that’s kind of like music, which is why I like pottery. Where you can get lost in it, and it’s hard to imagine how you did it afterwards, for me. I listen to a song I’ve done and I can’t really imagine where it came from. It’s sort of like when I said magic, that’s sort of what I mean.
I’ve got several pieces around the house that we ended up keeping though a lot was made and sold. When I look at pottery that I made over a few years ago, I go, ‘How did I ever make that?’ It’s hard to imagine how I knew how to do it on the wheel. It’s different from music because it’s like a solid thing.
I think I will be able to just do it still. I think, in a weird way, maybe I’ll be better at doing it even though I didn’t do it during that time. You go back to a feeling, and if you can get in that kind of a meditative state where you lose yourself, you can do it. That’s when it works. You know, pottery is really weird. Some days it just seems like you can’t do it at all, even for people who are great at it. Some days it’s just not happening, something’s wrong, and then you get in that sort of zone, and it happens. I’m more used to creating that feeling with music and a lot less used to it with pottery, but I still have faith in that concept.
How do you feel about the Kickstarter approach and using this kind of method to connect with fans and get your work out?
MS: I like it. It’s something I’ve always wanted to try, and I talked about doing it for a long time before I ever did one. I can’t say whether I’ll always do it through Kickstarter. In a way, I feel like it would be hard to do it multiple times or something, but what it gets for me is this fire under me to really try to do something great. I’ve really tried to make it come to life in a strong way, and it’s afforded me more time to spend on recording and record more things just out of wanting it to be very special. Because it’s paid for by fans, I want them to really like it. The only way I really knew to make sure it’s especially good was to just record a lot of stuff and then pick the things that just work the best. That’s been great, although it’s making it a little harder to choose what the album is. I’m getting close to that.
I think the hardest thing about it is that it’s taken me so long to do, and some people get impatient about it, although the vast majority are just really great and supportive. I think that trying to stay super engaged with communicating and keeping everybody happy is something I’m not as good at. I’m a person who’ll decide one day, ‘I want to do Facebook,’ and I’ll do posts or I’ll get engaged, but then the next day, I have no urge to do it. I just know myself in this way that. That’s been the hardest thing, I think, between me and the Kickstarter, is me giving enough extra stuff because I’ve just been so focused on recording.
Having said that, people are great and it’s really fun to give a big update and tell them where I’m at. Last month, when I got done with all the rough mixes and everything was recorded that’s going to go on all the parts, it was fun to tell everybody, ‘Look, here’s where it is, and we can see light at the end of the tunnel now.’ I just have to get all the rewards going and mix it this fall and we’ll be good to go.
If there was a (purely hypothetical) biopic movie of your life coming out either this year or next year, who would you want to play your role, and who do you see playing any of the other guys in your band, like Ric (Menck) and Paul (Chastain)?
MS: Ha! This is great. I wish I had a couple days to think about this. There’s a guy who looks like I looked when I was young. People tell me, ‘That guy reminds me of you.’ To me, he’s much cooler than me, and also a really cool actor. His name is Michael Pitt. He played Jimmy Darmody, the young, up-and-coming bootlegger guy on Boardwalk Empire. We may not really look that much alike, but he’s cooler than me and somewhat similar.
He can play me, and then, god, who could be Menck? Who’s really tall? You need someone tall and skinny so that’s the actor. Paul would be a smaller guy. I don’t know, I just have to think a little bit more about casting those two because it would have to really be right. In a way, Steve Buscemi would be good as Ric, but he’s not tall enough and he’s too old to be with Michael Pitt. Meet the older and the youngers, you know? Buscemi has the personality that’s a little more like Ric. But no, it can’t be all people from Boardwalk Empire!
Concert/photo recap, Music Box Supper Club, Cleveland, 9.13.2016
Instead of bootlegged whiskey, Matthew Sweet has been chord-running an intoxicating collection of hits and fan favorites as his fall tour winds through the Midwest and toward the Atlantic coast. His visit to Cleveland’s Music Box Supper Club proved to be another outstanding performance that his devoted listeners have come to love.
The night began with a rousing performance from Cleveland’s Chris Allen, known for his work in the bands Rosavelt and The Boys From County Hell. His brand of hard-strumming heartland rock with a subtle touch of Telecaster twang was a perfect match for the evening. Joined by Tom Prebish on bass, and Fred Perez-Stable on congas and percussion (instead of the usual drum kit because the kit couldn’t fit on stage in front of all of Sweet’s band’s gear), the trio delivered a strong, yet intimate set that included several Rosavelt favorites, like The Last Heartache and Perfect Girl.
Matthew Sweet arrived on stage to a packed seated house. As usual, he was joined by Ric Menck on drums and Paul Chastain on bass, both long-serving bandmates and the core duo of Velvet Crush, and featured the incredible non-stop talents of John Moremen on solo guitar.
Matthew’s set covered plenty of his popular singles, like Girlfriend, Sick of Myself, and Time Capsule, and also showcased signature tunes from his recent releases, such as Byrdgirl and She Walks The Night. By the end of the night, the crowd of steadfast fans in the audience got more hits and rock sweetness then they bargained for.
For more details on east coast tour dates and venues, and more news on the upcoming album, visit Matthew Sweet’s official website.