Monthly Archives: November 2011

Worst. iPhone. App. Ever.: Auto-Tune

 

 

Now you can be even
more annoying than your neighbor.

 

By Blurt Tech Staff

 

We get lots of useless press releases around here and try as
we may, it’s just impossible to stop the flow. So we go with it sometimes…
which is the case at hand. We have no doubt that zillions of people will be
taking advantage of this new app, but let the record show that if BLURT ever
receives a phone call that betrays any semblance of Auto-Tune… hey, we have
your phone number, and it’s easy to block it, haw haw! So don’t try to
“surprise or amuse” us.

 

Read the full press release below. It is, in a word,
impressive.

 

***

 

 

World’s First Real-Time Auto-Tune Vocal Effect Now Available for
iPhone: Auto-Tune Phone App Transforms Your Phone Calls Into a Personalized Pop
Song

 

MONTREAL, Canada – December 1, 2011 – NewHula.com Inc. and
Antares Audio Technologies today announced the availability of Auto-Tune Phone
for iOS devices. Auto-Tune Phone is the first app to provide users with the
iconic Auto-Tune Vocal effect during a live phone call to any phone or phone
number in North America.

 

With Auto-Tune Phone you simply dial a phone number within the
app to get the genuine Auto-Tune effect for both callers or just yourself in
real time. You can also record yourself or a call and post it to Facebook or
Twitter.

 

Auto-Tune gained world-wide recognition as the tool of choice
for what has become one of the signature vocal effects of our time. Used by
many artists in the pop, R&B and hip-hop communities, Auto-Tune has become
an industry standard musicians and producers. Auto-Tune Phone now allows anyone
to create and share their recordings.

 

Features

– Surprise and amuse your friends with Auto-Tune phone calls

– Tune only yourself or both parties on the call

– Record your calls and share on Facebook and Twitter

– Hone your Auto-Tune skills in the free practice area

– Call any phone number anywhere in North
America

 

Pricing and Availability

Auto-Tune Phone is available immediately for iOS devices through
the App Store at the discounted price of $1.99 for a limited time (regular
price: $2.99). Thirty minutes of free calling time are included. Versions for
Android and Nokia Symbian devices will be available soon.

 

For regular Auto-Tune Phone updates follow us at www.twitter.com/AutoTunePhone, become
a Fan on Facebook at www.facebook.com/Auto-Tune-Phone/ or visit www.autotunephone.com.

 

Antares Audio Technologies

Antares Audio Technologies is the worldwide leader in the
development of unique vocal processing tools. Having revolutionized vocal
production with the ground-breaking Auto-Tune pitch correction technology,
Antares is committed to providing producers, engineers, sound designers and
musicians with powerful, innovative, easy-to-use tools for enhancing and
manipulating the human voice. Antares Audio Technologies is located at 231
Technology Circle, Scotts Valley, CA 95066. For more information visit www.antarestech.com

 

NewHula.com Inc.

NewHula.com Inc. is a mobile app development company located in Montreal, Quebec,
Canada. The
managing partners at NewHula.com Inc. draw on a combined total of over 50 years
experience in the fields of Telephony, Telecommunications, Networking and
Software Development. NewHula now specializes in the development of challenging
native mobile apps that include telephony, VoIP and remote server components.
NewHula.com Inc. is currently privately funded. NewHula.com Inc. is located at 9740 Trans Canada Hwy. St. Laurent, Quebec, Canada, H4S 1V9.

 

 

 

AUTODISCOGRAPHY: Howe Gelb/Giant Sand

 

 

Companion piece to
today’s “The Story of Giant Sand’s
Chore Of Enchantment” feature – consult Britain’s Sa-Wa-Ro website for
even more in-depth discographical details.

 

BY HOWE GELB (as told
to Fred Mills
)

Giant Sandworms: Giant
Sandworms
EP (1980, Boneless)
It’s really a bad sounding record. I’m totally embarrassed by this whole sort of
David Byrne style of singing that I was latching onto. It was 1980, and in Tucson, that kind of
erratic crap was big. But at the time it was a process of elimination, getting
rid of the .38 Special and stuff. Rainer and I had started Giant Sandworms and
got the two other guys [David
Seger
, Billy
Sed
] and it became a four-headed beast.

Giant Sand: Valley Of Rain (1985, Enigma)
‘Desert rock’… that was an accident of geographics. I like the contrast: ‘valley
of rain,’ there in the desert with no water, but that one time of year — the
summer monsoons — when things seem to pour. First records are always so
important because you have all this ‘stuff.’ That took 28 years to make; it was
recorded in ’84. But the next one only took eight months to a year! The
greatest compliment is that if you can still put it on and it’s not embarrassing,
it has good sounds, and the energy still comes through – how many years after
the fact, sixteen?

The Band of Blacky Ranchette: The
Band Of Blacky Ranchette
(1985, New Rose,
France)
Dan
Stuart
‘s girlfriend had moved out to L.A.
and was going to put together a real country-punk record. [The Don’t Shoot compilation
featuring John Doe, Divine Horsemen, the Giant Sand side project Blacky
Ranchette and various members of Green On Red and the Long
Ryders
, on Zippo, 1986.] She turned us on to this studio and we went out
there and did this in a day and a half for 400 dollars. This French guy offered
me a thousand dollars for it and that’s what began the formula: to record for
half of whatever the front money was gonna be and split up the difference. I
took Rainer out there and did his Barefoot Rock album the same way! At any
rate, Rainer had quit Giant Sandworms but I had wanted to get back playing with
him. I had started doing this thing with Van
Christian
, but he eventually wanted to do his thing with Naked Prey, so I got Rainer and this great, straight-ahead
rhythm section. This was in ’84. I moved out to L.A., and the first night out
there, I had the tapes of both Blacky and Valley Of Rain in the van and I
had a feeling it was gonna get ripped off so I’d taken everything out of the
van but I forgot the tapes! We had the pre-mix and the rough-mix of each
session, and we got back and sure enough, they’d ripped off the van — they’d
somehow stolen one reel of each, leaving me with the rough mix of Blacky and
the pre-mix masters of Valley Of Rain. Those tapes became the two albums. The
next day we went down to this ghetto area and suddenly Scott
Garber
[G.S. bassist] goes, “Did you see the shit that guy was
wearing?” And it was a Giant Sandworms shirt that he must have stolen.

Band of Blacky Ranchette: Ballad
Of A Thin Line Man
(1986, Enigma) and Heartland (1986, Zippo,
England)
These came out the same day. Thin Line was
recorded in L.A. and Heartland was done in Venice and in Reno. At that time, back
in the ’80s, I was so free that I wanted to have five or six different bands
all playing different music. Then when I started getting acclaim for any one of
them, I started to feel the weight of each, and it began to make less sense to
go off starting something new. Why not just do Giant Sand since they know this
name now, so with the following record I just combined both.

Giant Sand: Storm (1988, What Goes On)
We’ve got Paula [Paula
Jean Brown
, ex-Go Gos, and Gelb’s first wife] on bass — she was pregnant
there — and Neil
Harry
on pedal steel. It made sense just to combine the attitudes, of the
country stuff as well, and just call it Giant Sand. I was trying to get Tom [Tom
Larkins
, drummer, now with Jonathan Richman] to play with brushes then.

Giant Sand: The Love Songs and Long
Stem Rant
(1988 and 1989, Homestead)
This is when John came in. We were living in the same building, which is how we
met him, and when we went down to record Love
Songs
he was playing in the Insect Surfers and was really, really good in
that. He only had 45 minutes so we hurried through the songs, sometimes playing
faster than normal so we could get them done! Paula and I were living in Hollywood and had just had
our baby, Patsy; she’d had a hit with “Mad About You” with Belinda
Carlisle and that was paying our bills. I was barely making anything and had to
get side jobs. I was trying to get this job at RCA working the phones. At that time
Paula and I weren’t getting along, Chris
Cacavas
who’s on the album was going off to do his solo thing, and in the
meantime Craig Marks at Homestead was setting up this tour, and I asked John if
he wanted to go on the road. It came down to whether or not the RCA job came
through; I was gonna piss off Homestead
and say, “That’s it, I’m gonna get a steady gig and not make records!”
If that job didn’t come through I was gonna hit the road.

      That Friday it
didn’t, and by the weekend we were on a plane. Craig picks us up, bought us a
$2000 ’81 Honda Accord with his credit card, bought me that amp [points at
amplifier in the room], and that was our tour support. We would show up
everywhere as a two-piece five minutes before we were supposed to play and
they’d give us hell because they were expecting a band! But they’d see how
little gear we had and the soundmen loved us — I just said, “Make it sound
like Hendrix!” It was great; that was some of the happiest times. It was
on that tour that we first went to South By Southwest and we met this guy Dusty
Wakeman and his partner Michael Dumas. They invited us up to this little place
near Joshua Tree where they were gonna build a studio. When we got there they
hadn’t gotten it finished, so our friend Eric Westfall, who has worked with us
on most of our records, dragged an eight-track up there to that barn [pictured
on the sleeve]. It was after that when Dusty called me and said he needed a
caretaker to live there, in one of the four little cabins nearby. It was very,
very remote and I loved it. I was fresh from a divorce, and I’d had enough of Hollywood.

Giant Sand: Giant Sandwich (1989, Homestead); Giant Songs: The Best Of Giant Sand (1989, Demon); Giant
Songs Two
(1995, Demon)
Sandwich was an excuse to put out some
unreleased stuff and some remixes. The others are “sort of” best
of’s, not chronological in order. With compilations it’s all about flavor;
anything that has to do with lists on paper is probably the last thing you
should do.

The Band Of Blacky Ranchette: Sage Advice (1990, Demon,
UK; reissued 1993, Restless)
I had the notion to drive back to Tucson
and hang out. So I thought I would record while I was there. I didn’t have any
songs at the time for it, so I wrote a few on the drive down from Rimrock. Not
so hard when you’re alone on a 7 hour drive in a ’66 ‘cuda. You kind of need
that sort of exercise to eat a few miles. And in that car, you felt every one
of them. It was fun finding folks to record, some of the same people that did
the first 2 Blacky records. Rainer of course,  Neil Harry on steel, Tom
Larkins [now with Jonathan Richman] on drums, Bridget Keating on violin…
Later when I got back to California,
I added Lucinda Williams to one of the tracks for a duet thing.

Giant Sand: Swerve (1990, Amazing Black Sand)
That was also written up in Joshua Tree. There are a lot of people on it [Steve
Wynn
, Chris Cacavas, Mark Walton, Falling James, Juliana Hatfield, Poi Dog
Pondering, etc.] because while we were on the two-piece tour we met Poi Dog
Pondering and another band whose singer I became totally enamored of. That was
Juliana Hatfield and the Blake Babies. We recorded some in Boston
and she came in, then again later in L.A.
when she had come into town to do something with Susanna Hoffs. And Steve had
become a friend, met him in Europe, and it was
fun just to come in and cut something fast. Falling James was nothing but
great. I had put it out in Europe, which is
where I got the financing to have it done, and then I put it out in the States
myself. (Later, Restless picked it up.) It was a cottage industry we had in our
one-room cabin. Me and John would do it and would answer the phones as
“Big Julie.” That was great. Big Julie would talk about the band like
we were assholes! The reason the records have a Tucson address on them is
because I hadn’t stayed in one place for more than two years so having that
mail drop seemed as good an address as any.

Howe Gelb: Dreaded Brown Recluse (solo album, 1991, Houses In Motion, Germany;
reissued ’93, Restless)
I ended up hating the art on that, stupid pink-purple cover. Part of the problem
with dealing with Europe and get things done
quick. When Restless picked it up I was able to do the cover better. Ultimately
a solo record was only an excuse not to do a Giant Sand record because we’d
been putting them out every six to eight months and they were saying,
“Please, can you wait longer between releases!” It could just as well
be a Giant Sand record. By then we had Joey… John’s on there, Paula, Rainer,
Victoria Williams…

Giant Sand: Ramp (1992, Amazing Black Sand; reissued ’92 on
Restless)
I was splitting my time between New
Mexico and Rimrock, near Joshua Tree. Victoria and
Pappy [Allen} are both on there.  Eric Westfall was engineering and
producing our records, and he would get the keys to the studio that would allow
us to sneak in and do an all-night session. We’d have maybe 24 hours, a day or
two, to get these things done. On used tape for 50 bucks. So a few years before
Eric took me to meet Victoria;
he’d met her and had fallen in love with her, but she’d fallen in love with Peter
Case. A couple of years later I drove my Barracuda down to McCabe’s in
Hollywood where Steve Wynn was doing a gig and had asked me to come down. Pappy
had a bar in Rimrock and I’d been helping him do stuff, fix his urinals, and I
invited him to go with me and sing. When we got there the first person we saw
was Victoria,
and I said if she ever wanted to come out and all that…
   A mutual friend of ours recommended Joey to us. The idea of
finding someone who could play — and had! — an upright bass was part of the
job description. It was time to expand the format even more, and he didn’t seem
to mind at all the hide and seek turns the songs would take. This would really
take its toll on bass players. Drive them nuts! But Joe hung in there real
well. He was the first bass player we ever had that never complained when we
didn’t rehearse. He enjoyed the game of us trying to lose each other. John and
I had this telepathy thing going, and then Joey, of course, was allowed in the
triangle. He figured it out.

Giant Sand: Center Of The Universe (1992, Restless)
I think that’s the best one. The songs are short, a lot of them are realized. The
sounds aren’t great but I like ’em because they aren’t great. There are no deep
tones on that record, for example. I had gotten into this method of working.
Most of the distortion is done with an acoustic guitar. With the pickup on it,
I got one of these pedals with an A-B switch so I could throw it to the amp
when I wanted to. In effect it allowed me to get the recordings done even
faster because I didn’t have to overdub two guitars. I’d be playing acoustic,
step on the pedal, kick in the distortion, then turn it off and come back down
to acoustic.

Giant Sand: Purge & Slouch (1993, Restless)
We had a good relationship with Restless; I think they used us to attract other
bands but that was okay. We had a verbal deal, nothing on paper, but they
claimed we owed them another record when they knew we were gonna sign to Imago.
But I liked the idea and wanted to make a Metal
Machine Music
record like Lou Reed. They got nervous with that: “But
wasn’t that a ‘fuck-you’ from Lou to RCA?” “Yeah, but I’m gonna have
fun with it! I just wanted to walk in with no ideas and see what happens.”
And that became Purge & Slouch with Al Perry, Rainer, all those other guitarists.

Giant Sand: Stromausfall (1993, Return To Sender, Germany)
Limited edition, outtakes from Purge
& Slouch,
recorded at Harvey Moltz’s in Tucson, kept acoustical. That
will probably be rereleased in our bootleg series. Bonus tracks, and I might
take one or two that bugged me off of that.

Giant Sand: Glum (1994, Imago)
All these records were done in a few days; Center might have been a week. That record, it’s a major label record, and we had
four weeks total time put in. You can hear the difference in the sounds. The
low end is just beautiful, and John was totally possessed. We were in New Orleans and I’d never
heard him play drums as magnificently.  That was the record that we
learned about editing. Trina Shoemaker did the editing and she would chop the
songs to make them more concise, and Malcolm [Burn, producer] would tell us how
John Lennon would edit here and here, how War would jam for a half hour and make
a 3 ½ minute song. What I’d done previously was just leave the song long, or
make these really, really weird edits. Which I loved! I’ve got this cassette of
the pre-edit rough mixes for the album. I’ve also got these outtakes with Lisa
Germano, who was going out with Malcolm. She ended up sitting in on three songs
that didn’t make it onto the record. The idea is to re-release that in the
bootleg series as the hissy cassette mixes and then throw on the Lisa Germano
tracks too.

Giant Sand: Goods And Services (Brake Out/Enemy), Backyard
Barbecue Broadcast
(Koch), Volume
One Official Bootleg Series
(Epiphany) (all 1995)
Each one is made up from DATs; none involved us going into the studio to do a new
record. They’re all one-offs. Goods came out in Germany; I’ve wondered if I should
release that in the states. The guys who did it recorded us live, mostly in
Europe, both as a three-piece in Europe and as
a six-piece [Gelb, Burns and Convertino, plus Paula Jean Brown on bass, Bill
Elm on steel and Mike Semple on guitar]. They remixed it, and I could add
remixes and one or two extra tracks. Barbecue, I let Nick Hill, of WMFU-FM, put it together. It was recorded at WMFU in ’94
and ’95 and it was his puppy. And the bootleg thing, it had some outtakes from Barbecue and Goods, some bits and pieces that we wanted to take and make a
semi-ambient sounding album. The first track is a live show in New York with Cris
Kirkwood — which nobody knows, because I opted for the luxury of not putting
any credits on there.

OP8: Slush (1997, Thirsty Ear)
The Lisa Germano sessions. Something smoother, almost like the sound of when we
play in the lobby of Hotel Congress here on Friday nights. That’s really the
only studio Giant Sand between Glum and Chore — and it’s not really Giant
Sand, it’s OP8. We had actually started working on some of the songs that would
become Chore, and about that same time we started working on The Inner Flame [Rainer Ptacek
tribute/benefit album that Gelb and Robert Plant spearheaded]. Then Lisa came
to town.

Howe Gelb: Hisser (solo album, 1998, V2)
A different methodology. Culminating crap in the living room, just acoustic guitar
and piano, and friends who drop by. It wasn’t like going in and working. A
friend of mine who lives out in the desert had a big reel-to-reel in storage
and he came over and set up this huge four-track and a couple of big mikes,
some old tube pre-amps, literally right here in the living room.

Howe Gelb: Upside-Down Home (solo album, 1999, Ow Om)
That was just a quick CD-R release I made, mostly outtakes from Hisser. It’s when I was first beginning
to stand on my feet again, go out and play some shows, see what’s out there, if
anybody gives a shit, whatever. I made up a few with cheap covers. Maybe only
20 or 30 copies altogether. And I ended up using a few of the tracks for the
European edition of Hisser, but I
dunno, that was probably long enough!

Giant Sand: Chore Of Enchantment (2000, Thrill Jockey)
I couldn’t be happier. The beauty, I guess, of working on it for so long was that
I got to consider it and say, “No, we don’t need that…” or,
“Yeah, it’d be good to use this…” I got to live with it for a long
time — which we never get to! And the other thing was that I wanted to make it
more concise.
        We had gotten to the point where
we were playing 2 1/2 hour, 3 hour sets, then that wasn’t appealing any more. I
felt we were wasting people’s lives: it’s better to be a pharmacist and dole
out the proper dosage, so we then were doing 45 minute sets that were really
good instead. And I thought for the actual studio records I wanted it to be
thick enough for those who have waited for so long, but short enough so it
doesn’t become too exhausting. So I thought, “I’ve gotta keep it under an
hour,” which is why it’s 59 minutes and 59 seconds.

Giant Sand: The Rock Opera Years (2000, Ow Om)
It’s the second volume in the Bootleg Series, available on the website and at
live shows. It’s a companion piece to Chore; four songs are the same titles but very different versions. “Dusted
(In Tucson)”, for example, was recorded the same day in ’96 we did “The Inner Flame” for the Rainer tribute. I added a
little electric, some steel, some pump organ. “Punishing Sun (In
Tucson)” is a relentless pulse of dance fever compared with the acoustic,
almost solo ballad on Chore. Also
included is the title track “Chore Of Enchantment” that isn’t on Chore at all. Evan Dando sang on a couple
tracks when he’d come out for a visit. Victoria Williams did the same when we
went to visit her, and then ended up doing “Music Arcade,” a 
Neil Young cover up there. All this stuff was done just prior to beginning the deal
with V2, and this is how the record would have been if we’d never signed to V2.

 

 

 

Wasteland Bait & Tackle / James McMurtry

 

Occupy: “It’s common feeling and common conviction
that makes a movement.”

 

By James McMurtry

 

About a week ago, at the end of a short solo tour of Southwest Alaska, I wandered down to Occupy Anchorage.
The camp was only a block from my hotel.

 

The temperature was in the single digits with a light
snow. There were three tents, the first of which was wide open. Inside were
four young men, two white and two native, a dog, and a propane heater.  I offered them some smoked salmon and some
CDs. They took great interest in the salmon and it was quickly consumed. The
white guys introduced themselves. The natives did not.

 

I guess I should have introduced myself to all of
them, but I felt sheepish and shy, like an interloper or a tourist. They all
seemed to handle the cold pretty well. I asked them if they had any tips to
help Occupiers in the lower forty eight get through the winter. They shrugged.
John, the dog’s owner, said, “It’s pretty simple. You need shelter, heat,
and food.” About then, a nice woman named Wendy, who lived in the neighborhood,
came in with a crock of hot soup. Morale improved instantly. Wendy struck up a
lively conversation with a young man named Matt, who seemed like he could
become a spokesman, if the movement wanted a spokesman. He had something of a
thousand yard stare from, I guessed, fatigue and constant cold.

 

Matt considered himself lucky to be protesting in Anchorage rather than Portland
or Oakland,
because the Anchorage Police were not bothering the protesters, and some
officers were openly supportive of the movement, stopping by to chat and to
gripe about departmental budget cuts. Matt said he thought he preferred sub
zero temperatures to pepper spray, horses, and batons. He offered me some of
the soup. I’d had plenty to eat and had to catch an early flight, so I
declined, wished them luck, and left. I was struck by their generosity. I liked
the salmon, but they needed that soup.

 

 

Historically, it’s always been pretty easy for the
powerful to get poor people to swing sticks at other poor people. The powerful
simply have to pay the stick swingers just a little bit more than they used to
pay the strikers or the protesters or whatever group is causing them annoyance;
divide and suppress. Police officers may not live in abject poverty, but
they’re certainly not rich. They need their jobs and they’re trained to follow
orders. They are not paid to care whether or not they belong to the one percent
that gives the orders, though I don’t doubt that some of them do care anyway.
I’m curious about the origin of the orders.

 

With regard to Occupy and Law enforcement, mayors and
college presidents seemed to be charged with giving the orders, at least
officially, and they are subsequently charged with taking the heat when the
execution of any of their orders goes terribly wrong and produces violence,
physical injury, and embarrassing YouTube videos. Politicians and
Administrators don’t generally like controversy, it’s bad for careers. I don’t
think such people would give orders that would likely result in some really
messy controversy, unless enough pressure were brought to bear on them that
they would fear for their careers anyway. I think there are bigger forces at
work here.

 

In October, the New York City Police Department
arrested over seven hundred Occupy protesters on the Brooklyn Bridge.
Some were held for hours without charge. Earlier this year, J.P. Morgan/Chase,
one of the recipients of the government bailout, derided by both Occupy and the
Tea Party, donated 4.6 million dollars, partly in technology, patrol car laptops
and such, to the New York City Police Department. This was the largest single
donation ever received by NYPD. You can’t tell me there were no strings
attached. City Budgets are strapped. Departments are underfunded. A direct
donation from a major corporation must be like manna from heaven to a police
department. But of course, the department will need more in the future, and it
won’t get more if it turns on its new benefactor.

 

No one gives away 4.6 million expecting nothing in
return. J.P. Morgan CEO Jamie Dimon is quoted as saying, “These officers
put their lives on the line every day to keep us safe, we’re incredibly proud
to help them build this program and let them know how much we value their hard
work.” I wouldn’t argue that NYPD, or any police department, is not worthy
of such a donation, but I must question the motive and the timing.  I wonder if Mr. Dimon actually lives in the
City. The few New York CEOs I’ve had the pleasure of dealing with all lived in Connecticut and rode
limos down the Merritt Parkway
to work and back. Wherever Mr. Dimon lives, I doubt he fears for his safety.

 

 I hear
complaints that the protest is unfocused, that the protesters’ rejection of
traditional hierarchy renders the movement ineffective as a political force,
that it has no clear message. But I don’t see a problem yet. Occupy has been
effective simply by coming into existence. No one organized Occupy ahead of
time. A call went out and people showed up.

 

They’re still showing up and their numbers and
tenacity do have an effect. They get noticed. As for the message, one can Google
Keith Olbermann and hear the message, well written by Occupy and well read by
Olbermann. Basically, occupiers want to take their country back
from the banks and lobbyists. Their demands aren’t that different from those of
the Tea Party. The two groups should join forces. They’re mad about
the same conditions, though they disagree on where to put the blame.

 

The Tea party blames the government; Occupy blames the
corporations that now own the government. Is there that much difference?
Ultimately, we will all have to join forces if we are to call ourselves a
nation. Right now, we are too polarized to be effective. We no longer recognize
each other as Americans. The mayors and college presidents who call out the
riot squads apparently don’t know that those are their fellow Americans getting
beaten and pepper sprayed. Those are American sons and daughters. Those are
American students, American librarians, American grandmothers, and American veterans,
and when they get hurt, we all get hurt. The stick swinging has to stop. It
serves no useful human purpose.

 

I’ve taken part in very few protests. I attended one
No Nukes march in Washington
D.C. in the late seventies. It
seemed to be conducted mostly by old hippies who wanted to do it again, and
younger people like myself who thought we were sorry to have missed the
sixties. My son and I attended several anti war protests in Austin
at the start of the Iraq
war. Our fellow Americans screamed expletives at us as we stood on the street,
but we didn’t get arrested. There were some “protest for fun” types
there too.

 

I think Occupy is different. I’ll have to go to New York and check it
out. I’m pretty sure the guys in Anchorage
weren’t out there for the fun of it. They seemed to feel that they needed to be
there, that they had no choice. It’s common feeling and common conviction that
makes a movement. And it seems that more and more of us feel that we have no
choice.

 

 

Singer-songwriter James McMurtry lives in Austin, Texas.
When he’s not touring, you can see him at the Continental Club every Wednesday,
‘round about midnight. Full details at his official website.

 

 

New James McMurtry Blog: Occupy Movement

 

The storied
songwriter drops in on the Occupy Anchorage
encampment…

 

By Blurt Staff

 

“I think Occupy is different,” muses Texas
rocker/songwriter James McMurtry, in his latest “Wasteland Bait & Tackle”
BLURT blog
, explaining that while he’s a veteran of protests past (No Nukes in
the ‘70s; the Iraq war several years ago), something about the Occupy Wall
Street movement has the tinge of uniqueness. McMurtry happened to visit some of
the protestors at the Occupy Anchorage encampment recently while on a solo tour
to Alaska,
and the sight of them camping out in sub-zero weather in the snow confirmed to
him that they were acting out of pure conviction.

 

Click over to McMurtry’s blog, and then consider your
own convictions. As he puts it himself, “I’m pretty sure the guys in Anchorage weren’t out
there for the fun of it. They seemed to feel that they needed to be there, that
they had no choice. It’s common feeling and common conviction that makes a
movement. And it seems that more and more of us feel that we have no choice.”

 

MP3: New Sharon Van Etten

 

Track comes from forthcoming
album, due next February.

 

Sharon Van Etten’s new album (Tramp, out Feb. 7 on
Jagjaguwar) showcases an artist in full control of her powers, and “Serpents”
blares Tramp‘s articulated vision. Listen to the track here for an
advance glimpse of the album:

 

 

With venomous strength, Sharon’s singing and lyrics attack self-doubt
and insecurity, when one feels the initial pangs of a relationship turning away
from beauty towards rot. She’s backed by a supporting cast of The National’s
Aaron Dessner (slide guitar, bass) and Bryce Dessner (ebo guitar), The
Walkmen’s Matt Barrick (drums), Doveman’s Thomas Bartlett (keys), and Wye Oak’s
Jenn Wasner (vocals). “Serpents” offers only an inkling of the glorious Tramp,
an

Benefit for Japan School Music Revival

 

Proceeds of benefit concert go to help children return to
their music studies.

 

On November 20 at 7pm at Largo in West
Hollywood, CA, The
Section Quartet hosted “A Concert to Benefit School Music Revival”.
Co-MC’ing the show were comedienne Margaret Cho and singer/songwriter Grant-Lee
Phillips.  Artists initially scheduled to perform were Sam Phillips, Van
Dyke Parks, Linda Perry, mike watt, Lisa Germano, Wendy & Lisa, Matt Sharp,
Jenny O and Grey DeLisle who were joined by Ken Andrews and Kellii Scott (of
the band Failure), Vivian Campbell (of Def Leppard) and Murry Hammond (of Old
97s), with more guests to be announced.  

 

Pictured above are Cho and
Phillips performing together at the event. (Photo by Chris Cuttriss.)

 

All the artists performed in
collaboration with The Section Quartet who acted as “house
band,”  making for an evening of
unique and unforgettable musical moments.  In addition, journalist and
co-founding editor of BoingBoing.com Xeni Jardin spoke about her recent
trip to Japan
to report on the ongoing nuclear crisis for PBS’ News Hour program. Eric
Gorfain of The Section Quartet will be traveling to Japan
to hand deliver 100% of the concert’s proceeds to Mr. Naoyuki Seo of the School
Music Revival foundation in Tokyo.

 

The March 2011 earthquake and
tsunami in the Fukushima region of Japan decimated
the immediate area and created an ongoing nuclear disaster; the images of the
disaster beamed around the world in real time shocked and horrified all. As a
musician who has spent much of the last 21 years repeatedly visiting and making
music in Japan,
as well living there for a four year stretch, Gorfain, wanted to help in some
way, large or small.  Then, Gorfain discovered that composer Ryuichi
Sakamoto had co-founded School Music Revival, an organization devoted to
repairing or replacing school instruments damaged or lost in the disaster.
 

 

“While human life was lost in
incomprehensible numbers, lives are being put back together, and music plays a
large role in mending the mind, as well as the body, so I wanted to help the
children of the region get back to ‘normal’ life with their music studies as
quickly as possible”, says Gorfain.

 

More details:  http://www.schoolmusicrevival.org/purpose_eng.html

 

Report: Joy Formidable Live in Rochester

 

Sept. 30 at the Water Street Music Hall,
it was a Roar-ing good time.

 

Text & Photos By April Engram

A humbled and charged
Joy Formidable descended upon Rochester’s Water Street as
they neared the end of their headlining U.S. tour in support of debut album
The Big Roar. The Welsh trio has
quickly gained a following since their 2009 EP A Balloon Called Moaning; with the recent U.S. release of
Roar the band got a chance to drown
fans from across the pond with their kinetic music.

 

Joy Formidable’s
reputation for putting on a great live performance preceded them and they wasted
no time in awing the audience with their loud, shoegaze tunes; first, drummer
Matt Thomas had to battle a leaky pipe dripping water on his set. After a stage
hand comically, and unsuccessfully, attempted to throw a towel around the
highly suspended pipe he found a stool, stood on it, and securely tied the
cloth…the audience applauded. With all other instruments soundchecked and
Thomas ready to go Ritzy Bryan (guitar, vocals) and Rhydian Dafydd (bass,
vocals) emerged from backstage; their presence encouraged a second round of
applause from the eager crowd. Bryan
greeted everyone and Joy Formidable leapt into the music.

 

Thomas was
amazing on the drums as he pulverized his kit while Bryan and Dafydd purposefully
– and dangerously – collided. Bryan
intentionally stumbled backwards into Dafydd’s bass and he shoved her away; he
swayed with the music into Bryan,
she kicked him back to his station. Their angst-filled energy was surely
intensified by their amped music while Thomas, quite contradictorily, wore a
beaming smile for the entire performance.

 

Despite a short
setlist, Joy Formidable fans enjoyed every moment and sang along with Bryan. When
the familiar bass riff intro to “Austere” began people cheered and applauded. Near
the songs’ end the band quieted as Bryan’s
voice soared over the audience’s rhythmic claps before the expected explosion
of music filled the music hall. Bryan thanked Rochester for the reception and confessed that she’s
amazed that a little band from Wales
could drum up such a crowd, “I’m always surprised people show up” she joked.

 

 

 

 

 

Before the night
was through one song that didn’t appear on The
Big Roar
, “Ostrich” made the cut with darker track “Buoy” leading us to the
finale. Of course “Whirring” would be last; now the customary end to a Joy
Formidable performance the nearly seven minute song concludes with a furious,
high octane four minutes of music. Yet there is nothing like experiencing
“Whirring” live; Bryan
throws her guitar to the floor and turns her attention to her effects board,
she and Dafydd beat drums while Thomas goes even crazier on the drums. When the
song was over Bryan
and Dafydd waved their farewell to the audience, Thomas threw his broken drum
sticks into the air, high fived fans in the front row, jumped off the stage
into the crowd and disappeared backstage.

 

Though the
performance excluded some great songs from The
Big Roar
that could’ve extended the night, Joy Formidable always proves to
be a fantastic live act.

 

Setlist:

 

A Heavy Abacus

The Magnifying
Glass

Austere

Ostrich

The Greatest
Light is the Greatest Shade

Cradle

Buoy

Whirring

 

 

Filmmaker Ken Russell R.I.P. 1927-2011

 

The visual brains
behind the classic rock film Tommy.

 

By Fred Mills

 

Ken Russell, the maverick, frequently over-the-top British director
behind the film version of The Who’s Tommy as well as the Franz Liszt biopic Lisztomania (which featured a Who vocalist Roger Daltrey in the lead role), passed away
yesterday, Nov. 27 at the age of 84. According to media sources he had
experienced a series of strokes prior to his death.

 

Russell’s heyday was the ‘70s, with Tommy emblematic for his flamboyant style and in your face visuals
(can anyone ever forget the Ann-Margret baked beans scene, or Tina Turner’s
quivering face and body in her Acid Queen guise). Among his other films were
1969’s Women In Love, 1971’s The Devils and 1980’s Altered States.

 

 

[Photo via Wikimedia Commons, by DiVicenzo (2008)

Fugazi Goes Grateful Dead w/Live Series

 

Planning to post 800
concerts when it’s all said and done – kinda like Dick’s Picks, only more elaborate.

 

By Fred Mills

 

It’s not the first time that punk legends Fugazi have earned
comparisons to the Grateful Dead, and favorable ones at that. Say what you will
about the actual stylistic gulf between Ian MacKaye and Jerry Garcia; over the years both
bands proved themselves to be at the forefront of cultivating intense fan
loyalty, of adhering to a decidedly populist stance in terms of concert and
merch pricing and making sure that the folks who care about the band know that
the band cares about them in return. (Pearl Jam is another band that’s operated along these lines.)

 

So according to a report in Pitchfork this morning, Fugazi
is taking yet another logical step in that general vein, announcing plans to offer
up around 800 concerts priced at $5.00 each via the Dischord Records new Fugazi Live
Series website
. You can already check it out in the beta stages, with an
initial official launch of 130 live shows due December 1. Each gig – culled from
1987 to 2003 – will have archival content (photos, posters, etc.) in addition to
the actual music, and the site will be fully browseable via date, location and
song.

Band Of Orcs Return to Earth for New LP

How could we not resist posting that photo?

 

By Blurt Staff

 

Metal band A Band of Orcs have
been working on new concept album about killing giants.  According to
their handlers, The Orcs are “working with a human” known as Juan Urteaga whose
most recent credit is Unto The Locust by Machine Head. The artwork is
being created by Chuck Lukacs. 

 

You can check out the Orcs’ first Studio
Update
for their new album which features Oog smashing his drums. And you
can also get involved with their new KickStarter
Campaign
.  We are advised, “since most earthly establishments do not
accept human blood as monetary payment, the Orcs are having humans help out with
the process by [donating money] and will reward the generosity of their human
fans by including their names in the albums liner notes, giving away free album
downloads, autographed albums, T-shirts, Orc Miniatures, and more!