Q&A: Brett Ralph of Brett Eugene Ralph's Kentucky Chrome Revue

Q&A: Brett Ralph, leader of the Kentucky Chrome Revue, interviewed by LEO's Kevin Wilson

LEO: Tell me a little bit about your formative years...your first exposure to music...what led you to create your own ...

Brett Ralph: Most of the records around the house when I was growing up were my mom's: Barbra Streisand, Perry Como, Englebert Humperdinck, that kind of stuff. My dad had a few Buck Owens and Hank Williams records, but they didn't grab me until I got a bit older.

The one record that totally mesmerized me from the start — and that I played over and over — was Bobbie Gentry's Ode to Billie Joe LP. It was funny, it was dark, it was funky, it was sad, and it suggested complex stories with a minimum of words. That record, more than any other, shaped the songwriter I would become — minus the "minimum of words" part.

I probably never would've made music of my own, however, if not for punk rock, and I'll be forever indebted to Chris and Mark Abromavage for taking a chance on me, as well as Irvin Ross for hooking me up with Malignant Growth in the first place, not to mention driving me to practice three times a week until I got my driver's license.

I initially approached Mark as a songwriter, suggesting that the band might want to use some of my lyrics. "If you wrote 'em, you oughta sing 'em," he said. That was all I needed to hear.

LEO: Why is it that the difference between punk and country (when either is at its best) is smaller than most folks would imagine?
BR: Maybe because most good music has certain classic elements, like energy, authenticity, adventurousness and attitude. And, of course, most all of the finest country musicians were rebels and mavericks: Hank, Merle, Cash, Loretta, Waylon. They definitely shook up the Nashville status quo as surely as the Ramones or the Pistols shook up the rock landscape of the mid-1970s.

Let me say this, though: The last thing on earth I want to do is to make "cow-punk" music, crap like Jason & the Scorchers, where you just take a country song and speed it up so that it becomes a parody of Southern expression, a cartoon cowboy on crank. I prefer the trail blazed by my bandmate Catherine (Irwin) in Freakwater — take fairly straightforward country songs and update them by introducing contemporary lyrical themes or more bombastic arrangement elements. Or just play them with such simmering ferocity that it feels like punk rock even though, on the surface, it's quiet and sad.

LEO: How is this project different from your previous work?
BR: Well, ever since I saw footage of Dylan's Rolling Thunder Revue, I'd dreamed of leading a big band. Wink O'Bannon thinks that this is an attempt to create a maelstrom of music into which I can disappear. There's probably some truth to that — I definitely see my primary role as the songwriter, providing the blueprint for the gleaming cathedrals (or raggedy shacks) to be built by the musicians at hand.

This band represents the first time I've had free rein to realize my vision as a songwriter without having to wrestle with my bandmates over the direction of the project. Now, of course, we don't do every song I write, and if someone in the band hates a song, or simply isn't into it, we won't do that one. I don't mean to suggest that the songs aren't shaped by the contributions of the players. When we're working up the songs, everyone contributes to the arrangement, the approach we take to the song. But the band is called Brett Eugene Ralph's Kentucky Chrome Revue for a reason, you know?

LEO: How were you able to piece together such an impressive cast of like-minded musicians?
BR: I'd like to think that it's because I'm fun to work with, and that people like my songs and are excited about singing and playing them. But I am awed and humbled by the quantity and quality of musicians who have been willing to play on my record and/or in the live band.

Watching Will Oldham and Peter Searcy — who had never sung on a record together before — sing whoo-whoo-whoo's on "Grandpa Was a Hobo" was a magical moment. Being able to sweet-talk Jolie Holland into coming out to Shelbyville to lay down some fiddle mere hours after I'd met her amazed even me. Getting an approximation of the full breadth of Wink O'Bannon's lyrical gifts as a guitarist onto tape — not just the bad-ass gun-slinging he's famous for — is something I'm proud to have elicited. I guess I can be pretty persuasive when it comes to getting the music in my head out into the world.

LEO: Who will be in the ensemble for next week's show?
BR: Mark Hamilton: lead guitar. Catherine Irwin: acoustic guitar, vocals. Kirk Kiefer: keyboards, vocals. Brett Eugene Ralph: lead vocals, guitar. Chris Reinstatler: drums. Daryl Sullivan: bass guitar, vocals.

Catherine, of course, also plays in Freakwater and releases solo records on Thrill Jockey. Mark Hamilton does session work and plays with virtually everyone in Louisville; I most recently saw him backing Tyrone Cotton. Kirk Kiefer plays in Bad Blood and the Uncommon Houseflies; his primary creative endeavor, Yardsale, just released its third CD. Chris Reinstatler played in VRKTM until its recent demise and also plays with the Pet Pervs, Bad Blood and The Hired Hand. Daryl Sullivan has played previously with Dead City Rejects, Cherub Scourge and Sean Garrison's Five Finger Discount.

LEO: What does the future hold for Ky. Chrome?
BR: After replacing two members in our first six months, the new band really seems to be settling in. I think we all really enjoy playing together. I'm excited to keep exploring different rhythms; recent songs have had a Latin feel to them, mixed with a kind of circular Joy Division pattern. For the first time in my life, songs are coming to me as rhythms as much as melodies or lyrical ideas. I attribute this to working with Chris, whose drumming I've totally internalized by this point. I'm also hoping to do more with the vocals in the future — get everyone in the band to sing and turn Kirk loose to start coming up with arrangements for layered background vocals. He's got a really great melodic sense, and we haven't really taken advantage of Daryl's abilities as a singer yet. Hell, I've never even heard Mark sing! And I'm eager to get an electric sitar into Catherine's hands. We've been toying with the idea of "going electric" — that is, having both Catherine and I switch to electric instruments. Then we'll truly be in the grand three-guitar tradition of Love, Skynyrd and Moby Grape, though I imagine that we'll leave the soloing to Mark.

Also, I'm in negotiations with MayApple Records, an Americana label in Springfield, Mo., and it looks like they'll be releasing Brett Eugene Ralph's Kentucky Chrome Revue. Incidentally, MayApple was started by Mark Bilyeu, leader of Big Smith, who we're playing with at Air Devils Inn, along with my favorite Louisville band, Virgin Flame.


Catch Brett Eugene Ralph's Kentucky Chrome Revue, Big Smith and Virgin Flame on Saturday, Jan. 5, 2008 at Air Devil's Inn.

Top 10 Quotes of ’07

--1. ''Don't tase me, bro.'' -- Andrew Meyer, a senior at the University of Florida, while being hauled away by campus police during a speech by Sen. John Kerry.

--2. ''I personally believe that U.S. Americans are unable to do so because some people out there in our nation don't have maps and I believe that our education like such as in South Africa and Iraq and everywhere like such as and I believe that they should our education over here in the U.S. should help the U.S. or should help South Africa and should help Iraq and the Asian countries so we will be able to build up our future for us.'' -- Lauren Upton, South Carolina contestant in the Miss Teen America contest, when asked why one-fifth of Americans cannot find the U.S on a map.

--3. ''In Iran we don't have homosexuals like in your country.'' -- Iranian President Mahmoud Ahmadinejad, speaking at Columbia University in New York.

--4. ''That's some nappy-headed hos there.'' -- radio personality Don Imus, referring to the Rutgers University women's basketball team.

--5. ''I don't recall.'' -- former Attorney General Alberto Gonzales' repeated response to congressional questions about the firing of U.S. attorneys.

--6. ''There's only three things he (Rudolph Giuliani) mentions in a sentence: a noun and a verb and 9/11.'' -- Sen. Joseph Biden, speaking during a debate for Democratic presidential candidates.

--7. ''I'm not going to get into a name-calling match with somebody who has a 9 percent approval rating.'' -- Senate Majority Leader Harry Reid, a Democrat, referring to Vice President Dick Cheney.

--8. ''(I have) a wide stance when going to the bathroom.'' -- Sen. Larry Craig, explaining why his foot touched the foot of an undercover police officer in an airport men's room.

--9. ''I mean, you got the first mainstream African-American who is articulate and bright and clean and a nice-looking guy. I mean, that's a storybook, man.'' -- Sen. Joseph Biden referring to rival Democratic presidential candidate Sen. Barack Obama.

--10. ''I think as far as the adverse impact on the nation around the world, this administration has been the worst in history.'' -- Former President Jimmy Carter, referring to the Bush administration.

R.I.P Joel Dorn

JOEL DORN
(April 7, 1942 - Dec. 17, 2007)

Joel Dorn, a multiple Grammy Award-winning record producer who first made a name for himself while at Atlantic Records in the late 1960s and early '70s, died on Monday, December 17, from a heart attack, in New York City at the age of 65. One of the most prolific producers of his time, Dorn's discography stretches from the multi-platinum soul sounds of Roberta Flack to the black classical music of Rahsaan Roland Kirk. He helped introduce the world to Bette Midler's diva swing and the funky New Orleans' R&B of The Neville Brothers. His name can be found on the back of classic recordings by Les McCann and Eddie Harris, Mose Allison, Yusef Lateef, Leon Redbone, Peter Allen, Don Mclean, The Allman Brothers Band, David "Fathead" Newman, Donny Hathaway and Mongo Santamaria to name just a few. "It's impossible to pick a highlight," Dorn once said. "If one record was a highpoint because of great sales, there's another to match it for the incredible fun that went into making it and another that achieved its intended artistic vision."

From an early age, Joel Dorn knew he wanted to be in the music business, and not just anywhere in the business; Dorn knew he wanted to work specifically for Atlantic Records. At 14-years old, he began correspondence with the label's co-founder Nesuhi Ertegun. "I'd send letters telling him who I thought they should have duet with Ray Charles, what talent they were missing out on, all sorts of critiques and suggestions," remembered Dorn.

In 1961, he officially began his career as a disc jockey at the pioneering Philadelphia jazz radio station WHAT-FM. "The DJ gig was a great way to get to know all the record companies, and get involved in the business, but I had my heart set on producing the entire time," remembered Dorn.

Nesuhi Ertegun, who'd now been corresponding with Dorn for six years, finally began to take those opinions seriously. "My show had become popular in the Philly market, and I think Atlantic realized that I was becoming instrumental in breaking records for them on a regional level,” figured Dorn. "Before long the letters turned into telephone calls and I eventually met Nesuhi."

As fate in 1963 would have it, Ertegun offered Dorn the chance to produce one record by an artist of his choice for Atlantic Jazz. Dorn chose Hubert Laws, a young flutist he had seen in Philly performing with Mongo Santamaria's band. The resulting album, The Laws of Jazz, would become the first of countless record production credits to follow.

By 1967, Dorn joined Atlantic Records full-time as Nesuhi Ertegun's assistant. He was given the opportunity to sign artists, produce their records and become intricately involved with the promotion and marketing. Rising quick through the ranks, Joel, along with Nesuhi and Ahmet Ertegun, Jerry Wexler, Arif Mardin and Tom Dowd became part of the most formidable record producing team of all time. Focusing primarily on jazz and R&B recordings, Joel developed a production style that was unique to the time period. "I brought pop techniques and pop sensibilities to jazz and R&B records,” recalls Dorn. "As a producer I had two gigantic influences: Lieber and Stoller and Phil Spector. To this day before I go in and make a record, I'll throw on 'Be My Baby' or a Coasters' record."

His work at Atlantic Records with Roberta Flack on "The First Time Ever I Saw Your Face" and "Killing Me Softly" won two consecutive Grammy Awards for "Record Of The Year." Additional Grammies were soon to follow including "Jazz Record Of The Year" for Keith Jarrett and Gary Burton. Joel also went on to sign Bette Midler and co-produce her debut album The Divine Miss M. "Some of the best times I've ever had involved recording artists who were completely unknown at the time like Roberta and Bette, and then watching them ascend to national prominence," Dorn exclaims. "It's a great feeling to put your faith in a young artist who you believe in and see them flourish."

In 1974, after accumulating ten Gold albums, five Platinum albums and seven Gold singles, Joel Dorn left Atlantic Records. He'd produce for a variety of labels and artists during this period, including albums by Leon Redbone, Lou Rawls, Don McClean, Peter Allen, Mink Deville and The Neville Brothers. He was awarded yet another Grammy for "Best Country and Western Instrumental" with Asleep At The Wheel's "One O'Clock Jump," and received two more Gold records for the Leon Redbone albums On The Track and Champagne Charlie.

In the mid-1980s, Dorn scaled back the hectic production schedule he'd maintained for the previous two decades. He took time off to travel the United States from ‘86 through ‘89, and in the process gathered hours upon hours of previously unreleased "live" recordings from many of his favorite artists. Four collections documenting Cannonball Adderley, Rahsaan Roland Kirk, Les McCann and Eddie Harris were subsequently released on Joel's own label, Night Records. He later referred to these albums as "audio verite." It was through this short-lived venture that Dorn began to reinvent himself within the industry. He was soon asked to consult for the likes of Rhino, GRP and Columbia, which were in the process of updating and reissuing their catalogs on CD. Joel produced a 13-CD historical overview of the Atlantic Jazz years for Rhino. His production on the 7-CD John Coltrane box set entitled The Heavyweight Champion earned him an additional Grammy-nomination, while collections by Ella Fitzgerald, Billie Holiday and Oscar Brown, Jr. cemented Dorn's reputation as a preeminent audio documentarian and reissue producer.

In 1995, the Smithsonian Institute added Joel Dorn's works and papers to its collection in honor of his accomplishments as a record producer. By the end of that year, Dorn decided it was time to take another shot at running his own record label. He subsequently formed 32 Records, which focused on reissuing albums from the classic Muse and Landmark jazz vaults, as well as select titles from Atlantic Records. In the four years spent with the label, Dorn reissued over 250 titles, and produced the critically acclaimed Individually Twisted by the Jazz Passengers with Deborah Harry. His biggest commercial success of this period came after developing the Jazz For A Rainy Afternoon compilation series, which went on to become one of the best selling jazz sets in the history of the genre. "I'm proud of what we accomplished with 32 Records in such a short period of time. There was the continued effort to get all of Rahsaan Roland Kirk's albums back in print. There was a terrific Judy Garland box set and personally fulfilling Clyde McPhatter set. For better or worse, the Jazz For… series turned the industry on its ear, completely reshaping how jazz is marketed in this day and age," Dorn explained at the time. "I go into the record shops now and all these cats like Sonny Criss, Zoot Sims and Sonny Stitt are being reissued with intelligent price points and new packaging. To a certain extent, 32 tested the waters on that front and proved that these artists have an undying appeal. Nobody else was going there and now it's like every company in the world is looking for old jazz catalogs to reissue."

2007 marked Joel Dorn's 47th year in the record business. In a great loss to both American culture and music fans everywhere, it would be his last. Over the past decade, he'd produced albums by Jane Monheit, Jacob Fred Jazz Odyssey, Leon Parker, Janice Siegel and The Frank and Joe Show (featuring guitarist Frank Vignola and percussionist Joe Ascione). In 2003, Dorn helped create HYENA Records. The independent label forged an identity with an intriguing mix of new and archival recordings, including those by Bobby Darin, Thelonious Monk, Dr. John and Joe Williams.

At the time of his death, Dorn was completing a five CD box set for Rhino Handmade entitled Homage A Nesuhi, serving as a tribute to his mentor Nesuhi Ertegun and their years together at Atlantic Records. He was also the voice of Sirius Satellite Radio's "Pure Jazz" channel and was producing a series of music infomercials for Time Warner.

"I don't know how to do anything else. It's like if I don't do this what am I going to do? Sit in the park? I love doing stuff with music, with records. I enjoy it," Dorn once said about being a producer. "I know that might not be the great spiritual answer, but I really love making records."

Dorn leaves behind three sons, Michael Dorn, who operates his own furniture store in Philadelphia, David Dorn, Sr. Vice President New Media for Rhino Records, and Adam Dorn (aka Mocean Worker), a musician, and his longtime girlfriend Faye Rosen.

Special thanks to Kevin Calabro for this announcement.—MH

El Roostars Taking Elm Street to Nashville

El Roostars will perform The Rolling Stones double album, Exile on Main Street, Jan. 5 at the Mercy Lounge in Nashville. This is a reprise of their Oct. 27 show in Louisville.

Martin Sexton tickets on sale now

Martin Sexton, who last performed during the AAA nonComm conference/listener appreciation concerts at the Brown Hotel/Theatre this past May, plays Headliners Music Hall on Sunday, Jan. 20. Doors open at 7 p.m., show starts at 8 p.m. Tickets for the 18-and-over show are $20. David McMillan opens.

Tickets are on sale now, and can be purchased at all Ticketmaster outlets, Ticketmaster's website or charge by phone via 502-361-3100.

Famed Amoeba Music store/label offers free Gram Parsons, Brandi Shearer downloads

Beginning today, Dec. 17, Amoeba Music, the famed record store-turned-label, will offer users the chance to download two songs every two weeks free of charge from Brandi Shearer and Gram Parsons.

The download series kicks off with Shearer's unreleased version of Parson's "Hickory Wind," which was recorded live at Amoeba's record store in L.A., as well as "Close Up the Honky Tonks," the lead-off track from cut from "Gram Parsons Archives Vol. 1: The Flying Burrito Brothers Live at the Avalon Ballroom, 1969."

Future downloads will be taken from Shearer's 'Close To Dark' and disc one of the Gram Parson Archive Vol. 1.

Drive-By Truckers return to Louisville March 1; Tickets on sale this Friday

Drive-By Truckers will return to Louisville Saturday, March 1, at Headliners Music Hall. Doors open at 8 p.m., show starts at 9 p.m. Tickets are $25 and go on sale this Friday, Dec. 21, at 10 a.m. 18+ welcome. Tickets can be purchased at ear X-tacy Records or Ticket Web. The Truckers are touring in support of their forthcoming album, Brighter Than Creation's Dark, due out Jan. 22. —MH

Philly Inquirer puts Krekel in Top 10 Country Albums of ’07

Philadelphia Inquirer Music Writer Nick Cristiano named the Tim Krekel Orchestra's album Soul Season one of his top 10 country and roots records of the year.

"Tim Krekel, Soul Season (Natchez Trace). Long an underappreciated singer, writer and guitarist, Krekel outdoes himself with this horn-fired rock-and-soul gem that can stand with the best of Eddie Hinton and Delbert McClinton. It narrowly edges out the suave, world-weary country-soul of Nick Lowe's At My Age."

Read the entire list here.

Jon Ashley's Walking Free CD release set for Dec. 28

Jon Ashley & the Little Triggers will be at Air Devils Inn in Louisville on Friday, Dec. 28 to celebrate the release of their new record, Walking Free. The show starts at 10 p.m. They also play an in-store at ear X-tacy records (1534 Bardstown Road, 452-1799) at 6 p.m. on Saturday, Jan. 5.

The October, back from showcasing for Universal/Motown, plays Main Street Lounge

Calvert City, Ky., group The October is returning to Louisville’s Main Street Lounge (104. W. Main St.) Friday, Dec. 14, this time with with Johnny Walker’s Dead Horses and Von Guarde. The 18-and-over show starts at 8 p.m.

The October recently released its new EP, Lost Since Graduation, played a showcase in New York City for Universal/Motown, as well as a gig at Arlene’s Grocery.

More on them can be found here—MH

Read it and weep

ITUNES BEST-SELLING ALBUMS OF 2007

1. Maroon 5 It Won't Be Soon Before Long
2. Amy Winehouse Back To Black
3. Kanye West Graduation
4. Daughtry Daughtry
5. Colbie Caillat Coco
6. Linkin Park Minutes to Midnight
7. Various Artists High School Musical 2 (Original Soundtrack)
8. Timbaland Shock Value
9. John Mayer Continuum
10. Various Artists Hairspray (Soundtrack to the Motion Picture)


ITUNES BEST-SELLING SONGS OF 2007

1. Fergie "Big Girls Don't Cry (Personal)"
2. Gwen Stefani "The Sweet Escape"
3. Plain White T's "Hey There Delilah"
4. Avril Lavigne "Girlfriend"
5. Fergie "Glamorous"
6. Kanye West "Stronger"
7. Maroon 5 "Makes Me Wonder"
8. Akon "Don't Matter"
9. Timbaland "The Way I Are (feat. Keri Hilson & D.O.E.)
10. Shop Boyz "Party Like a Rock Star"

XM hearts WAKY

XM Satellite Radio is paying tribute to the city of Louisville and WAKY radio this Friday, Dec. 14, when it will dedicate their Sonic Sounds Salute and new show to WAKY from the 60’s!

DJ Terry “Motormouth” Young, will be interviewed, and there will also be chatter from WAKY in the 60s, as well as local news, commercials, high school news and music from back in the day.

Subscribers, tune into Channel 6 – The 60’s. Non-XM-subscribers visit listen.xmradio.com to check out the show online via a free three-day trial. Special thanks to Jaymie Presberg at Grand Communications for the heads up. —MH

Sharon Jones & The Dap Kings: Tickets on sale this Saturday, Dec. 15

Sharon Jones & The Dap Kings will play Headliner's Music Hall (1386 Lexington Road, 584-8088) on Friday, Feb. 1. The concert is being put on by Production Simple Concerts & Events, LLC. Ivan Milev Band and DJ Kim Sorise open the show.

Tickets for the 18-and-over show are $12. They go on sale this Saturday, Dec. 15, at 10 a.m., and can be purchased at Ear X-Tacy Records, (1534 Bardstown Road, 452-1799) or at Ticket Web. —MH

Nov. 8 My Morning Jacket show at Beacon Theatre (NYC)

My Morning Jacket's Nov. 8 appearance at New York City's Beacon Theater to celebrate the release of Todd Haynes's Dylan film, I'm Not There, is now available for free streaming at www.wolfgangsvault.com. —MH

El Roostars YouTube

El Roostars, the blues band behind the Exile on Elm Street concert at Headliners in October, has footage on youtube now.

Click here. —MH

2008 Bonnaroo Festival dates announced

2008 BONNAROO MUSIC AND ARTS FESTIVAL DATES ANNOUNCED

June 12-15, 2008 at the same, beautiful, 700-acre farm in Manchester,
Tennessee, 60 miles southeast of Nashville.

"Halfway to Forecastle" benefit concert for Jimmy Levan

From J.K. McKnight, founder of the annual Forecastle Festival

"I’m proud to announce that "Band of Horses" will headline the 1st ever “Halfway to Forecastle” mini-fest Jan. 26th @ Headliners Music Hall in Louisville, KY. All ticket proceeds will benefit Louisville BMX legend and FBM-owner Jimmy Levan, currently recovering from serious injuries sustained after a recent skate boarding accident in New Jersey.

The line-up includes Band of Horses, Cass McCombs, Catfish Haven, How I Became The Bomb, Early Day Miners, Ferdinand Fox, Coltrane Motion, Jesse Jamz, and many more. Tickets will go on-sale Saturday, Dec. 15th @ 10 a.m. through Ticketweb, Ticketmaster and ear-X-tacy Records. 91.9 WFPK and Band of Horses will begin pre-sales next week, for what is an expected sell-out. For performance times and ticket information, please visit: http://www.forecastlefest.com/halfway

In addition to music, Red Bull North America will sponsor an outdoor skate park, with exhibitions from local and regional athletes who shared the ramp with Jimmy. Additional silent auction activities will take place inside, with all proceeds benefiting his rehab fees and road to recovery.

The Forecastle Festival, named "One of the Top 101 things to do in America" by SPIN Magazine, will take place July 25th – 27th on the Riverfront Belvedere. The 2008 event will blend dueling East / West stages with a regionally-curated art exhibition, fifty environmental organizations, speakers, panels, films, expanded extreme sports park, eco-business expo, outdoor industry demos, and plenty more along the mighty Ohio River.

Thank you for your continued support of this growing, grassroots network ~ jkm"

"Louisville Punks: A Radio History" debuts

WPFK's Marion Dries unveils the first installment of her history of Louisville punk rock tonight! Listen to at 91.9 FM or stream the show, "Louisville Punks: A Radio History," at www.wfpk.org. Tonight's show features interviews with Tara Key, Tim Harris and Chip Nold from No Fun and The Babylon Dance Band. —Mat Herron

Contact the writer at mherron@leoweekly.com

Review: Rough Guides by World Music Network

Rough Guides: Salsa Clandestina, Latino Nuevo, Latin Funk
Various Artists
(WORLD MUSIC NETWORK)

I tend to anticipate the new crop of World Music Library’s Rough Guides with the same enthusiasm I anticipate the ripening of blood oranges. Unlike blood oranges, the Rough Guide series discs seldom taste like fruity toothpaste when unripe.

Sweet Jesus, the latest batch is no exception. These three selections focus on contemporary Latin music with an emphasis on danceable, modern, urban style. Thematically, they don’t stray too far apart, and there’s significant crossover in the artists included. Ozomatli, Bakú and the Spam Allstars provide common ground.

All the material is pretty consistent and accessible without sounding too commercial, so choosing a favorite is tough. Choice boils down to geography. If I had to throw a dart, I’d aim for “Latin Funk,” because I happen to be partial to Joe Bataan and Up, Bustle and Out.

¡Que Chevere! —Michael Steiger

Spottiswoode & His Enemies celebrate 10 years with east coast tour, Louisville stop

Spottiswoode & His Enemies
Spouse
D.W. Box & One Long Song
------------------------------
Tuesday, Dec. 11
Pour Haus
1481 S. Shelby St.
Louisville, Ky.
9 p.m.

By Mat Herron

Jonathan Spottiswoode has issues. Not drugs or drink, caffeine addiction or gambling.

“I can’t listen to very much music,” the Briton turned New Yorker says by phone. “If I listen to something that I like, I’m gonna write another 12 songs, and that’s not necessarily very good for me.”

The namesake of New York impresarios Spottiswoode & His Enemies isn’t kidding. For the band’s album, Salvation, Spottiswoode estimates they recorded 33 songs in six days, and 29 made the cut. That’s a healthy dose of music for a market dominated by iTunes and iPods.

“It really is a problem actually, and I’m thinking about getting counseling for it,” he says, his dry British wit searing through the conversation. “There are so many songs out there in the universe, and now with MySpace, everybody’s got at least four or five songs. It certainly doesn’t make a whole hell of a lot of sense.”

Once an intern for Foreign Policy Magazine, Spottiswoode lived in D.C. and spent six years in a band called The Zimmermans before relocating to New York and starting up his own project. Ten years into their career, the group is embarking on a tour with Massachusetts band Spouse, whom Spottiswoode met when the two shared a bill at the now-defunct New York club Brownie’s eight years ago.

Spottiswoode’s collective has been characterized as a quasi-jazz group, but he says whether they tap into that vibe depends on how they feel on a given night. “There are several jazz players in the band — the two horn players; the drummer went to Berklee School of Music (in Boston). There are definitely some jazz influences on some songs; probably right now, there are slightly less. I’d say it’s still there …”

D.W. Box & One Long Song joins Tuesday’s bill at Pour Haus in Germantown. Look up myspace.com/pourhaus for more information.

Contact the writer at mherron@leoweekly.com

Peter Bjorn & John w/ The Besnard Lakes

Peter, Bjorn & John
w/ The Besnard Lakes
Headliners Music Hall
Louisville, Ky.
11.30.07

By Roxann Slate

A year ago, the most pretentious boy I’ve ever known showed me an animated music video that included whistling and bongos. “This song is so now,” he said. The song played on repeat for days. Then we were done.

If my old friends knew that I was seeing Peter Bjorn & John, they would forget our initial enthusiasm and snub them as old news.

Putting my pretentious past behind me, I went with new friends to their Headliners show last Friday. The scene was the usual Louisville spectacle of “casually dressed up” couples with single males standing along the edges of the room. By the end of the evening, the place was so packed that the awkward special gap most people use to get to the bathroom or bar was filled in.

The opener, The Besnard Lakes, a six-piece group from Canada, struck me as a sign that maybe everyone in Canada is part of a large band that plays songs that grow exceptionally loud. Live, they came off as a generic, wall-of-noise band, but I do believe that perhaps on their albums, the instruments are more defined, and the songs have more character.

Watching Peter, Bjorn & John perform was fun in a playful, innocent way that only Swedish men in suits can pull off. The kind of glee I experienced made me feel that, if they had signed to a different label, they could have easily been targeting the ever-growing “tween” market. (How you would say teeny-bopper in Swedish?)

As performers, they ate up the crowd’s energy, jumping about the stage. They had come an awfully long way to play from their 2006 album Writer’s Block, and a few songs from their self-titled debut and second record, Falling Out.

My new friends and I had a great night. I kept most of my critiques to myself and instead of picking the band, apart I worked on my shoulder-based dance moves. The next time I speak with a snooty old friend, I’ll remember this show as an untold guilty pleasure.

Contact the writer at leo@leoweekly.com

Ja Rule this Saturday at Club Villa Fontana

Murder Inc./Mpire/Universal Motown artist Ja Rule brings his 15-date club tour to Club Villa Fontana in Theatre Square this Saturday night (12/8). The two-story club is across the street from the Brown Hotel in the 600 block of South Fourth Street.

Ja Rule is out promoting his forthcoming album, The Mirror.

All things Rule at: www.jarule.com. The site says he's not on tour right now, but we just got word from Universal/Motown today saying otherwise. —MH

Universal Records' 90-Second Rule

According to the website MediaPost Communications, Universal Music Group, which runs Universal Republic and Universal/Motown, is prohibiting MySpace from streaming entire songs of artists on its label. Instead, UMG is only permitting 90-second samples of songs to stream.

MediaPost reported today in its "Just an Online Minute" e-release/blog that UMG actually instituted this policy several months ago, but only now is the media finding out, thanks in part to Wired magazine.

Wired posted a note from Colbie Caillat, a California singer-songwriter who played Nov. 28 at Headliners Music Hall in Louisville, to her fans, in which she says: "Due to circumstances beyond my control, I have to swap the songs out on my page for 90 second versions instead of full length versions." Full versions are on her website.

Universal handles distribution for the local Label X/Toucan Cove (www.labelx.us). the label, which releases for local groups Digby, The Muckrakers, Peter Searcy and Code Red, says its artists are not affected by this decision.

UMG is in litigation with MySpace, which it is accusing of copyright infringement.—MH