Classical
Jimmy Eat World
‘Emo’ was once considered a four-letter word, yet one of the founding bands of this genre, Jimmy Eat World (along with the likes of Rites of Spring, Sunny Day Real Estate and Braid), managed to give it staying power. From 1993 onward, the band that once did split 7” records with Jejune and Christie Front Drive has evolved into a Warped Tour member and is name-checked with Green Day and Taking Back Sunday. Taken aback by their success, the band has been seemingly cornered into re-creating and advancing this once fresh sound, moving it from its hardcore/punk roots into a bubblegum pop vocalists’ headbanger’s ball. In the process, Jimmy Eat World’s trademark sound, which began with 1999’s Clarity, shifted the majority of the vocals from Tom Linton’s scratchy emo-core rasp to Jim Adkins’ more pure tenor choirboy vox. Perhaps this was the switch that fixed Jimmy Eat World’s rising popularity, but at a heavy price. None of the once truly poignant words remain. On Chase This Light, the lyrics seem bled dry of anything heartfelt, the songs sliding from one to the next, not effortlessly, but unnoticeably. Gone are the days of the intense but admirable balance of adrenaline-bomb hooks and dramatic epics with electronic noodling (innovative in its day). This stagnant direction is surprising, since their last release in 2001 had them leaning back to their grittier Static Prevails days. Only “Firefight” and “Feeling Lucky” recall the band’s original sound. Venturing into new territory, “Gotta Be Somebody’s Blues” gives off a smoke-machine, Def Leppard vibe with its excessive strings and over-produced vocals. Even Jim Adkins’ contribution – “Carry You,” from his side project Go Big Casino, and which could be said to be more true-blue – still sounds contrived and will soon be Muzak. Was it foresight that almost ten years ago on Clarity’s “Your New Aesthetic,” Adkins sang, “We’re lowering the standard in a process selective / the formula is too thin / but it takes more than one person / so everyone jump on / I’ll miss you when you’re just like them”?
Nov 1st, 2007 by Erin Wolf
Bruce Springsteen
Bruce Springsteen’s career has been truly beyond reproach. Even those who aren’t fans have to acquiesce to the fact that he’s the definition of integrity in a business that thrives on the opposite. And while his popularity may have waned in the nineties, he still created provocative music that meant something both to him and to his audience. This is evidenced by recent releases from a number of young artists mining his sound and his aesthetic. Ah, but they could never be the real thing. And here in his 24th year of recording, Bruce produces yet another finely-crafted testament to his “Boss” title. Magic contains the most direct and immediate collection of rock music Bruce has put out since Born in the U.S.A. in 1984. The saxophone, the piano and the rest of the E Street Band are back in full regalia on songs like “Livin’ In The Future” and “I’ll Work For Your Love.” The driving rhythms, melodies and narratives are also back, particularly on “Last to Die.” But Bruce doesn’t stop there: on the title track he displays the entire spectrum of his talents as a creator. “Girls In Their Summer Clothes” is as innocent as it is wistful. And though it may turn some people off, there are also a number of songs that touch upon his acoustic, rootsy leanings, sparse and epic. Bruce makes albums that are the equivalent of audio novels. They tell stories, weave descriptions, paint landscapes and define characters. But he also always gives us a little prize wrapped in the theme of it all: the emotional resource that compels us to be the authors of our own existence. “Love (and attitude) is a power greater (and stronger) than death” he sings in his tribute to a deceased friend on the hidden track 12, “Terry’s Song.” Yep, that’s the magic.
Nov 1st, 2007 by Troy Butero
James Luther Dickinson
As producer and musician, Jim Dickinson has had a hand in masterpieces by Aretha Franklin, The Rolling Stones, The Flamin’ Groovies, Big Star/Alex Chilton, Ry Cooder, The Replacements and Bob Dylan – not to mention raising his sons, The North Mississippi All Stars. As a solo artist, Dickinson released his debut in 1972 (the classic Dixie Fried) and waited thirty years before following it up. Reminds me of a joke my grandpa used to tell about “a long time between drinks.” Dickinson has picked up the pace significantly since; Killers From Space is his third album since 2002. His choice in material and the very way he inhabits a tune go a long way to defining that particularly indefinable brand of Memphis strange. Ranging from Tin Pan Alley to blues to gospel to all-out rockers, Dickinson’s weathered vocals put the listener front-row-center to characters that may be down and out, but have more soul than they can handle. “I Need You” reveals menace that in lesser hands would be camp. Here its wheezy harmonica and piano interplay suggests the last gasp of Jay Hawkins at St. James Infirmary. Dickinson is a national treasure; he should be on a postage stamp.
Nov 1st, 2007 by Blaine Schultz
Element Everest
By Kenya Evans Life is a Heist tells the spiraling stories of the hood rich just trying to get by and delivers a verbal vengeance signed and sealed by Ms. Everest personally. The first and only lady of local hip hop group Black Elephant – 2006 WAMI runners-up for best unsigned artist – Element Everest (yes, her real name) is debuting her first solo album. She’s no stranger to MCing, writing rhymes and shutting down naysayers who criticize or question her authority as a female rap artist. Gritty and unapologetic, Life is a Heist booms with 808s, snares and brassy beats against Element’s smoky voice. The up-tempo “Intro” has the layered instrumentals of a marching band, dramatic and charged with musical action. “Good Girls,” the first single, which premiered on local radio station V100, is a sexy and sassy boy-meets-girl love song that’s mellow and made to groove to. Element upholds what Black Elephant does best – telling tales of the city, from grinding streets to head-bobbing beats – but brings a bit more soul to her own songs. Element sings a cappella on “The Wire,” reminiscent of an old Negro spiritual, channeling the stark realities of modern-day urban strife and the continuous struggle of black life: that there’s no difference between slaving in the fields to becoming slaves of the mind and products of an impoverished environment. “Katrina,” a duet with local guitarist/singer/songwriter Evan Christian, speaks for the dismal and discriminated New Orleans natives who were victims of a natural disaster and their own government. Overall, it’s rich and hard-hitting, both lyrically and musically: Element doesn’t play nice. Get ready to take a bite out of some ghetto melodies that bite back.
Oct 4th, 2007 by Vital Archives
The Music Issue
Here at VITAL, we love music, and we figure it’s a pretty fair bet that you love music, too. Every year we showcase everything that thrills us about the wide world of melody and harmony, rhythm and tempo, sound and silence, and this year it’s even more close to our hearts — it’s 100% homegrown. We talked to Milwaukee folk singers, Milwaukee hip-hop artists, Milwaukee legends, Milwaukee upstarts, and one remarkable Milwaukee rock photographer. We talked to five Milwaukee DJs about their best and worst nights and we talked to Milwaukee record collectors about the history of recorded music. We even visited the Wisconsin Conservatory of Music for a photo shoot. And our record reviews were local — we reviewed new releases by The Cocksmiths, The Saltshakers, Testa Rosa and Element Everest. It happened rather by accident, but what emerged from all of this was a sketch of an often misunderstood — and underestimated — music scene. Milwaukee is home to a vibrant, striving and passionate community of music lovers, makers and sharers. A lot of it happens under the surface, but it’s there, pulsing and singing and getting people up on their feet. But it’s there. And it’s here in our pages, and on our website. We hope you like it.
Oct 1st, 2007 by Vital Archives
Tone deaf and loving it!
When I was just a little girl, my grandmother used to say to me, “Lucky, honey, you can’t carry a tune in a bucket.” She said it often, because in spite of the fact that I didn’t sing well, I did sing a lot. And I sang as loud as I could. I have always loved singing. I participated in chorus in junior high and high school in the hopes that, with some training, I would become at least a passable singer. It never happened. I always thought I was tone deaf, but have recently discovered that the scientific term for my musical deficiency is pitch deafness. It’s sad but true, I’ll probably never be a good singer. Equally sad for the people who have to ride in the car with me is the fact that I still love to sing – very loudly. This trait is one that I have passed on generously to all three of my kids. Just as we share a love for singing at the top of our lungs, not one of us can, as Granny Betty used to say, carry a tune in a bucket. We sing loud and proud. And badly. According to that most reliable of internet sources, Wikipedia, “The inability [to discriminate between musical notes] is most often caused by lack of musical training or education and not actual tone deafness.” I’m not convinced this is true after my years of dedication to public school chorus and my girls’ years spent in the church choir. That training did manage to make us into pretty good mimics. We can copy music we hear repeatedly fairly reliably as long the music is playing, and that’s good enough for us. Early and often! When the kids were very young, I hoped that starting them earlier in structured music lessons would allow them to overcome this fine family quality. My girls started singing in our church’s children’s choir at six years old, and their little brother went with them faithfully to every rehearsal for the love of singing. Despite their obvious enthusiasm, it didn’t seem to improve their skills much. Since they come from a family of music lovers, my kids have wanted to learn about other forms of musical expression as well. Both girls took ballet and jazz dance lessons. Lena studied violin for two years and Emma starts with it this fall. Jeffrey is teaching himself how to break dance, and is pretty dedicated to becoming good at it. Last year, Lena took World Music in her first year of middle school and was exposed to marimbas, maracas, bongos, tambourines and many other instruments. Lovin’ it all Through all of the lessons and classes, my children have remained absolutely enthralled with music of all sorts. From bluegrass to rock, from classic country to hip-hop, they can sing along to the words without missing a single beat. They recognize instruments they hear, and fairly reliably identify music by country of origin. All three of […]
Oct 1st, 2007 by Lucky Tomaszek
Testa Rosa
When Milwaukee-based band The Mustn’ts shook hands and called it a day, they couldn’t have realized what a happy parting of ways it would become when two even more brilliant bands were re-formed from the not-even-settled dust: The Celebrated Workingman and Testa Rosa. The latter, a condensed version of The Mustn’ts (all three members of Testa Rosa were in The Mustn’ts) is Betty Blexrud-Strigens (vocals/guitar/keys), Damian Strigens (guitar/drums/bass/vocals) and Paul Hancock (bass/piano/guitar/vocals). Testa Rosa’s astounding triple threat of clever lyricism, luminous melody and the best girl vocals to be heard since the days of buttery 60s pop is an undeniable force to both listeners who play music themselves and casual pop consumers. Those who understand the complexities of composing a diamond of a pop song will hold genuine appreciation for the effortless songs nestled between the covers of Testa Rosa’s first release. And even the tone-deaf will be floored by Blexrud-Strigens’s alluring vocals, which hover lucidly over even the grittiest of their songs. Hancock and Strigens are the driving force behind the atmospheric pretty-pop primarily written by Blexrud-Srigens. Testa Rosa effortlessly ranges genres and manages to smooth them beautifully (compliments of producer/engineer mastermind Beau Sorenson of Madison’s Smart Studios). Two of the best songs on the album, “Ollie & Delilah” and “Arms of a Tree,” demonstrate this mix – “Ollie & Delilah” is a heartbreaking but punchily-penned song about two young lovers lead astray, with heart-thumping drumbeats, huge, echoing guitars and ghostly keyboards; “Arms of a Tree” is a wistful and lovely ballad which showcases Blexrud-Strigen’s alto perfectly. For lack of a better word, ‘perfectly’ is just how Testa Rosa’s first release appears to have turned out.
Oct 1st, 2007 by Erin Wolf
A matter of perspective
By Blaine Schultz, Jon Anne Willow and Kenya Evans + Photos by Kat Jacobs and Erin Landry In planning this story, we originally set out to pair young musicians with seasoned veterans and see what kind of school would be in session as a result. But what happened instead was vastly more interesting: organic dialogue stemming from a common love. What follows are three interviews with six musicians penned by three writers. The questions for each were different, as were the settings and interview styles. But the messages overlap, intertwine and paint a bigger picture of what it takes to live one’s passion. From creative process to overcoming jadedness to living with your choices, these six musicians laid it all out. Very special thanks to the Wisconsin Conservatory of Music for opening their doors for the photo shoots for this story. You’ll find more incredible images in our gallery at vitalsourcemag.com. —Jon Anne Willow Peder Hedman and Jason Mohr By Blaine Schultz + Photo by Erin Landry It is a too-warm September evening in Jason Mohr’s backyard, but nobody’s complaining. Bug spray and citronella candles help, but this year’s crop of mosquitoes arrived late and hungry. In a far-ranging conversation that spans Mohr’s thoughts on how a songwriter may be unconsciously predicting his own future to Hedman’s take on what it means to keep a band together when domestic realities come to the fore, it was never really obvious that two decades separate this pair of Milwaukee musicians. A common point of reference for both guitar mavens is the Maestro Echoplex, a vintage analog tape echo unit. Hedman brought to the interview a Stylophone, a gizmo he picked up at Value Village. The crude, handheld synthesizer may be best known as the instrument that plays the solo on David Bowie’s “Space Oddity.” The Peder Hedman Quartet is in the final stages of self-releasing Don’t Fall Down; Mohr’s group, Juniper Tar, is nearly ready as well with the provisionally-titled Free Bird. Both bands begin with interesting songs and then subtly warp them to their own needs. And make no mistake, the musicians who collaborate with Hedman and Mohr are as talented and beyond ordinary as you will find. “Take a look at this, the first press I ever got,” Hedman says, setting an age-yellowed copy of the Crazy Shepard on the table. The 1982 article profiles the Null Heirs, accompanied by a grainy black and white photo. Since then, bassist Mike Frederickson went on to form The Moseleys and play bass with Robbie Fulks; keyboardist John Duncan played with Gear Daddy Martin Zellar (and Tiny Tim); Kent Mueller ran the late KM Art. Hedman played in Liquid Pink, then Tweaker, which landed him down south for years. It’s a sharp contrast to Mohr’s less than a decade of band experience, highlighted by an EP with his previous group, Telectro. “If a tree falls in the forest and no one hears it … well, I’m making my mark,” Hedman says of his […]
Oct 1st, 2007 by Jon Anne Willow
Know Your DJ
DJ ROCK DEE AGE: 39 SIGN: Leo DAY JOB: Brookfield Guitar Center; Air personality, 88.9 Radio Milwaukee; DJ for Mob Candy Magazine & True Baller Clothing STYLE: Hip-hop, house, old-school funk, disco, salsa, reggae RESIDENCIES: Alverno College, Zen Den, Radio Milwaukee, Walkers Pint, Three, Summerfest BEST NIGHT EVER: Summerfest 2002. I had produced the Diskotech DJ stage. I had all the greats that year! One night I had Biz Markie headlining … I was blessed to experience the sports area packed … over 3,000 strong, with everyone singing “Just a Friend” right along with Biz Markie. WORST NIGHT EVER: God bless, none yet! ON THE NO-PLAY LIST: Honestly, nothing really comes to mind. If it’s good music, I will play it, no matter what the genre. STATE OF THE SCENE: My professor Tracy Stockwell reminds me all the time what a great city Milwaukee is … the art galleries, the economic development, the nightlife. DJs can actually work and make a living here … that is the bomb to me! Some say we’re still behind the times – and maybe we are a little – though we as a city are setting our own times, not basing our time on anyone else’s. IN THE BEGINNING: I was breakdancing at Skate University when all of a sudden these dudes make an entrance with equipment that never seemed to stop coming. Next thing I knew, there was this guy named Dr. B mixing records … cutting, scratching, backspinning, mixing this with that and rapping on the mic … I knew from that point on that was what I was going to do for the rest of my life. That was 1982 and now it’s 2007 … you do the math! FLAV-OR-ICE FLAVOR: Green. KID CUT UP AGE: 25 SIGN: Caution: Curve Ahead DAY JOB: Being a DJ is a full time job. GEAR: Tech 12’s, Vinyl, Serato, Rane 56, Shure SM58 STYLE: Well-rounded DJing. Hand skills AND party rockin’. Commercial AND underground. New AND old school. RESIDENCIES: No Request Fridays @ Redlight above Tocadero w/ Why B; Flirt Thursdays @ Hi Hat Garage w/ Steve Marxx; Hiphop Tuesdays @ the Uptowner w/ DJ Musko BEST NIGHT EVER: Any night people are down to let loose and have a good time. WORST NIGHT EVER: Weddings CURRENTLY PLAYING: New album from Milwaukee’s Element ON THE NO-PLAY LIST: Requests STATE OF THE SCENE: Potential-filled FLAV-OR-ICE FLAVOR: Orange. Slightly melted. DJ NU-STYLEZ AGE: 27 SIGN: Libra DAY JOB: DJ, mix tape producer, music producer STYLE: Hip-hop, crowd rocking, ghetto house … you name it, I can get it done. RESIDENCIES: Texture; Digital Underground tour DJ BEST NIGHT EVER: Sydney, Australia… rocking 10,000 people down under… unbelievable. WORST NIGHT EVER: Reno, Nevada. The sound man was drunk and left the board and somehow turned off the monitors, so there was no sound on stage! CURRENTLY PLAYING: My remixes and whatever makes me and the people on the dance floor feel good! STATE OF THE SCENE: It’s on […]
Oct 1st, 2007 by Matt Wild
The Cocksmiths
I was busy looking for a shiny, elegant yacht to land upon my shore. Instead, what sailed in was this beat-up, high-octane, dirty old barge with a rowdy party spilling out of it – the kind you’d call the Coast Guard on. The new Cocksmiths CD Trouble Pill is Milwaukee-brewed rock ‘n’ roll, with emphasis on the rock. It’s the product of a true live band taking their set into the studio, banging out 13 songs in two days. You can practically hear the beer bottles hitting each other in the background. The slowest, most melodic and contemplative song on this set is titled “Bar Room”—’nuff said. Even Matty Gonzalez’s voice is whiskey-drenched throughout, telling you he got the party started before playing the first lick. Gonzalez also pulls guitar duty with Ryan Daniels and Paris Ortiz, with bassist Joey Carini and drummer Dave Schoepke driving it home. Almost everybody sings, in true barroom democracy fashion. The ‘Smiths (sorry, I just can’t abbreviate to The Cocks) expertly dovetail both the sound and the production with the songwriting: no frills. Having knocked around town in various configurations for over ten years and played together going on five, these guys certainly know a good live hook and riff. And while nothing here is creatively original, the guitar solos (and there are good amount of them) and vocals are delivered with razor-sharp skill, and most importantly, honesty. These guys mean it. The Cocksmiths can loosely be joined to the current hard-rock renaissance. Buckcherry, Velvet Revolver, even emo bands from the early part of the decade have “matured” into aggressive, cocked-locked-and-ready-to-rockers who want the top down and the pedal to the floor. The Cocksmiths easily keep pace with all of them. Put this sucker in your car on the way to drunksville, and look me up when you arrive.
Oct 1st, 2007 by Troy Butero
Dan Kaufman/Barbez
There’s something undeniably mysterious about the sounds coming from Dan Kaufman/Barbez’s album Force of Light. Developed over the span of three years, Force of Light is a requiem to Holocaust survivor and poet Paul Celan. Scattered throughout the album are lines from Celan’s poetic discourse read by Fiona Templeton, a theatre director and renowned Scottish poet in her own right. Paul Celan remains one of the major poets of the post-World War II era. The death of his parents and his experience with the Holocaust are two central themes in his works. After receiving word of his parents tragic death in the camps, Paul writes, “And can you bear, Mother, as once on a time,/the gentle, the German, the pain-laden rhyme?” Just as his poetry is rich with feeling, Kaufman/Barbez’s works on Force of Light are on par with Celan’s devices. The opening track begins with a slow finger-picked chord progression on a nylon stringed guitar — dark and captivating, the climate catapults the listener into the realm of introspection. The music is accompanied by Fiona’s eloquent reading of Celan’s poem Shibboleth: “Together with my stones/grown big with weeping/behind the bars/they dragged me out into the market/that place/where the flag unfurls to which/I swore no kind of allegiance.” As the words of the poem take shape, chimed instruments are thrown into the mix, creating an overall eerie air. The track draws visions of shadowed figures in pantomime. Kaufman spent years working on this album, including a month in Berlin in solitude beneath images of the Holocaust. The result is an album that not only covers a wide musical terrain, but touches a collective human quality. From clarinets to theremin, to marimbas and violin, Force of Light is a lush auditory feast. The arrangement of sounds, along with Fiona’s reading of Celan’s poetry, is a perfect mesh that keeps the listener in limbo and often teetering on feelings of hopelessness and despair.
Oct 1st, 2007 by Blaine Schultz
Sharon Jones & the Dap-Kings
They spend all of their free time lending their considerable talents to other people’s work, which makes one wonder how Sharon Jones and her backing band, the Dap-Kings, have had any time for themselves. Jones recently worked with Rufus Wainwright; the Dap-Kings can be heard tearing up pop radio as the backing band on Amy Winehouse’s smash “Rehab.” Yet along comes 100 Days, 100 Nights, their third release, on their own Daptone imprint. Expending all that energy on other projects hasn’t diminished the drive to create on their own; 100 Days sizzles with the classic Motown soul of Aretha and Stevie. While the Dap-Kings’ work on Winehouse’s Back to Black carries a distinctly pop sheen, 100 Days takes wood stripper to that glossy finish, leaving behind raw trumpets, gritty rhythms and the classic two-beat guitar stabs from Motor City faves like one-time Kings’ cover “Uptight (Everything’s Alright).” The lazily upbeat “Tell Me” comes closest to what would have been considered a pop hit in the days of Martha and the Vandellas, but that’s not to say that the midtempo groove that dominates the album won’t get asses on the floor. Of course, the real star here is Jones and her bluesy, ballsy alto, which wails away on tracks like the reproachful “When the Other Foot Drops, Uncle.” Maybe she isn’t likely to become the household name that Winehouse and Lily Allen are on their way to becoming. But since Jones and her band are bringing home plenty of green via their extracurriculars, Amy and Lily are welcome to their celebrity; just occasionally leave this crew to their own devices, and if they keep turning out records like 100 Days, 100 Nights, everyone wins.
Oct 1st, 2007 by DJ Hostettler
