The Squid and the Whale

A feather of a movie. The matter-of-fact, laid-back, middle-class microcosmic manner in which writer/director Noah Baumbach lays out the drama is so undramatic, and the humor is so anti-jokey and deftly delivered, that a half-decent wind threatens to blow it all away.

Yet it all hangs together, and I can’t come across this movie on cable without once again watching it to the end.

THE WHITEFRONTS – “6 BUSES”

Hey, I know this isn’t a pic of the band or their album – I can’t find THE WHITEFRONTS’ 1985 album “Roast Belief” in my cluttered garage (actually I’m too lazy to look), so you just get a pic of this lovely honking bird instead of a scan of the record. It’s also rare enough that there’s virtually nothing about it online. Who were the WHITEFRONTS? Well, when I started college at UC-Santa Barbara in 1985, they were sorta my hipster cousin & his pals’ favorite local band down there. I never got to see them; I think they graduated or got kicked out or something around ’86 and moved to San Francisco, where they gigged around for a bit and then called it a day a couple of years later. My cousin used to play me some great “cassette tapes” of their stuff, which ranged from Velvet Underground-inspired freakouts (like the track I’m posting here, the fantastic “6 Buses” from the “Roast Belief” album) to Hawaiian slide guitar weirdness to hippie bongo workouts to Meat Puppets-style fake hardcore punk. And lots of genres and styles in between. When you hear this track, perhaps you’ll wish to start the Whitefronts revival with me?

Download THE WHITEFRONTS – “6 Buses”

Daisy Spot

                      

 Daisy Spot has been one of Sacramento's most interesting and exciting bands for the past fifteen years now even though they've released only one CD to date. Fortunately, their self-titled debut album was well worth the 13-year wait. Co-lead singers Mike Farrell and Tatiana Latour manage to maintain a sensuous vibe throughout as they seductively croon in unison on most of the tracks. Despite the consistent tone, the band touches on a variety of styles, including bossa nova, country, rock, and soul. The album won a SAMMIE (Sacramento Area Music Award) in 2006 for "Best Local CD," although I believe it could've been in contention for the best among any released nationally that year had it reached more ears. Tatiana also won for "Best Female Vocalist," and she could've easily earned it just for her breathtakingly-beautiful performance on "All I Wanna Know." Although the CD's an instant classic, it doesn't quite prepare the uninitiated for just how exhilarating their live shows can be. Bassist Brian Latour and drummer Alex Jenkins always provide reliable and steady support, but the adrenaline really kicks in whenever guitarist Farrell launches into one of his incendiary solos while Tatiana dances languidly as though in a trance. I remember being mesmerized by this pair of former lovers the first time I saw them perform in a club, and they continue to work their magic together many years after introducing themselves as a rock 'n' roll couple.

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You can find Daisy Spot for sale here.

Gallery & Studio

Yours truly and the book I’m writing receive a kind mention in the February/March 2007 issue of Gallery & Studio, a magazine devoted to “The World of the Working Artist.”

Managing editor Ed McCormack’s essay, “Andy’s Aura, Patti’s Power, My Sister’s Boxes, My Father’s Press Clippings, Paul Nelson’s Withering, and Other Aspects of Art and Fame, Obscurity and Loss, Death and Resurrection,” an extremely personal meditation (which, at six pages, is almost as long as its title) on life and death, where we come from, where we’re going, and what we encounter along the way, at its heart seeks to find the answer to this conundrum:

Why Patti Smith matters so much to those who take rock & roll more seriously than McCormack does.

And while he wishes he could call upon the late rock critics Lester Bangs (whom, in an otherwise painstakingly researched piece, he misidentifies as “the dean of American rock critics,” a title belonging to Robert Christgau) or Paul Nelson to provide the answer, Nelson probably couldn’t have helped him, as Patti Smith’s attraction was lost on him, too.

About her first album, Horses, pretty much a universally acknowledged classic, Nelson in 1976 wrote that “I never want to hear it again…” In the years that followed, he avoided writing about Smith at all and, the few times he did, struggled to resist the cheap shot.

All of which is neither here nor there, as McCormack, himself also an ex-writer for Rolling Stone (as was Patti), does a fine job addressing, in a heartfelt and often humorous manner, the considerable cult that belongs to Smith.

As far as the bit about me, McCormack deftly demonstrates the importance of remaining open to influence in one’s art. Had I not e-mailed him late last year while researching my book, I wouldn’t be writing this piece today; and McCormack might never have referenced Paul Nelson and certainly not me and the article he happened to be writing would have ended up being that much shorter.

33 1/3: The Notorious Byrd Brothers by Ric Menck (Continuum Books)

Medium Image

I’ve been particularly looking forward to reading this long-promised contribution to the series of little books about great albums. I adore the record—in fact, it was on my own shortlist of potential subjects, usurped when series editor David Barker encouraged me to poke a nose out of the comfortable sixties psych basement and write about Neutral Milk Hotel instead. If you’ve read more than a couple of 33 1/3 books, you know that they’re all very different, with each writer taking their own path to revealing the mysteries of their chosen favorite LP. As a working musician who once had his creative heart broken when a band on the way up suddenly crashed and burned, Velvet Crush drummer Menck has a rare capacity to recognize the emotional state likely effecting the individual Byrds in the years leading up to Notorious, arguably their best album, and also the most volatile. Coop-flown Byrd Gene Clark was hanging around the studio again, David Crosby left the band before it was completed, and increasingly inadequate drummer Michael Clarke was subject to terrible verbal abuse during the sessions (a brutal excerpt is on the CD reissue). The first half of the book is a mini-Byrds bio, so by the time the members are reaching around producer Gary Usher to rip each others’ bangs off, the reader has an intimate understanding of the tensions in the room, and can marvel all the more at the sonic beauties unfurled in so toxic an environment. The second half of the book is a track-by-track accounting of the album (and related outtakes), with all the geeky session notes a geeky fan could want. But with the biographical material and Menck’s interesting perspective, this one would be enjoyable for Byrds fans or neophytes alike. And drummers will especially appreciate Menck’s observations on this oft neglected part of the rock and roll sound.

Do I still love the music?

Oh, I do. The daily repetition of these songs threatens my quality of life.

The Hidden Hand – “Purple Neon Dreamâ€Â

Alabama Thunderpussy – “Void of Harmonyâ€Â (note: Due to the awful name and horror regarding anything billed as “Southern Metalâ€Â, I’ve never heard this band. The easy access promo cardboard sleeve and a long drive worked to introduce this catchy blaster. True to the cover art, it sounds a little like Molly Hatchet, but nothing like Bolt Thrower.)

Primal Scream – “Higher Than The Sunâ€Â

Dead C. – “Worldâ€Â

Ponys – “Small Talkâ€Â and “1209 Seminaryâ€Â

Amerie – “1 Thingâ€Â

Metallica – “Motorbreathâ€Â

Wedding Present – “Suckâ€Â

Ween – various numbers from The Pod

Gene Clark – “Because of Youâ€Â

Witchery – “Disturbing The Beastâ€Â

Rein Sanction – “Creelâ€Â

Jackson C. Frank – “My Name Is Carnivalâ€Â

Can – “Fall of Another Yearâ€Â

Salem 66 – “Postcardâ€Â

Bongwater – “The Drumâ€Â

LCD Soundsystem – “Someone Greatâ€Â

Norman Greenbaum – “Alice Bodineâ€Â

Manfred Mann’s Earth Band – “For Youâ€Â

Terry Reid – “Superlung My Supergirlâ€Â

More History Gone


There it goes: another piece of Berlin history is biting the dust.

That’s right, folks: by the time I get back from the States, the Tränenpalast will be no more. Apparently Deutsche Bahn has decided that this memory of the old East-West border has to be demolished immediately, the easier to excise the memory of what the building used to be.

I know for a lot of people, the Tränenpalast was a curiously-named entertainment venue, one which, if the experience my friend Gary Lucas had when he was booked there a few years ago is anything to go by, was horribly managed. In fact, practically from the day it opened in that incarnation, I heard sordid tales about the management, and the new managers didn’t seem to be any better than the first ones.

My first time there, though, wasn’t exactly for entertainment. The building’s name, “Palace of Tears,” came from its use as the processing terminal for Western visitors leaving East Berlin on their way back home. In retrospect, this seems like an odd name: Friedrichstr. station was an international checkpoint (the other being Checkpoint Charlie, further down Friedrichstr.), not a German-German one (which were scattered all over town), so the story that it saw the tearful separation of families who had come over to visit doesn’t hold water unless these families were from countries besides Germany.

When I made my first visit to East Berlin, it was in the company of a guy who apparently had raised some red flags at Checkpoint Charlie, and had suffered a cavity search on his last time over. He decided it might be easier to try Friedrichstr., and indeed it was, so my first view of East Berlin was the Admiralspalast theater. We quickly headed on to the Pergamon Museum, Alexanderplatz, and Frankfurter Allee, where we marvelled at the grandiose Russian-style apartment buildings.

But our ultimate destination was Prenzlauer Berg, where we met up with a guy named Norman. Norman was part of a group of vegetarians who met occasionally in East Berlin with some folks from the West, including some British and American soldiers, who were also vegetarians, for big dinners. Apparently (by which I mean maybe, see below), the day before, Norman had seen one of these guys on the street and waved to him. The morning of the day we met him, he’d been awoken by the Stasi secret police and interrogated for six hours. By the time we met up with him, Norman was a wreck.

Our solution to this was to get him as drunk as possible. This was also the solution to another problem: the 25 Marks one had to exchange one-for-one at the border. Eastmarks were worth nothing, and there was nothing much you could buy with them, but you weren’t allowed to take any back with you, either. To burn them up, we bought Norman dinner and found a bar where we drank ourselves silly. Finally, it was almost midnight, the time by which we had to be out of East Berlin, and we were just about out of money. We slipped Norman our spare change, and headed to the checkpoint in the building which is now called the Tränenpalast. Norman was still traumatized by his treatment at the hands of the Stasi, and was begging us to find him a black Jewish woman to marry. “That way, if the state tries to keep us apart, I can charge them with racism and anti-Semitism!” We tried to explain that black Jews of any gender were thin on the ground, let alone ones who might be inclined to marry him, but he told us we were lying, covering up for our unwillingness to help him.

On the one hand, Norman was being ludicrous, but on the other, I never forgot this rather intimate view into life in East Berlin. The guy I went over with later published a rather icky book called Once Upon a Time in the East, detailing the wacky fun he and his friends had had travelling in the East Bloc before the Wall came down, eating bad — but cheap! — vegetarian food in places like Romania and Czechoslovakia and generally behaving like the boorish British tourists they were. Norman’s story was in there, too, along with an interesting postscript. When the border to Hungary opened up, Norman was one of the first to leave East Berlin, and travelled the long way around, through Czechoslovakia, Austria, West Germany, and then back to West Berlin, a trip of hundreds of miles to achieve a journey from Prenzlauer Berg to Schöneberg. But once he was there, he began acting very strangely, and there are some among that circle who think, today, that Norman was a Stasi agent keeping track of them, and that it’s not impossible that the whole interrogation story he told us that day had been made up.

I have no idea, but I do think of Norman, who was last heard of living with his mother back in Prenzlauer Berg, when I walk past the Tränenpalast.

Or, as with so many other things here, maybe I should put that in the past tense. Once again, an uncomfortable souvenir of Berlin’s past is extirpated. In two years, no doubt, there’ll be a little pocket park there (to compensate for the one on the other side of the station, on which rose yet another untenanted office building), or maybe a Tränenpalast Museum sponsored by Deutsche Bahn, where the story the exhibits tell might not jibe exactly with the memories a bunch of aging people seem to have of the reality. The Palast der Republik is pretty much down by now, the Tränenpalast is going down…What’s next?

On Sunday, one of the tabloids had a headline screaming that Deutsche Post is going to tear down the Fernsehturm. It’ll take a little more than the Berliner Kurier to convince me of this, but after what I’ve seen here, I’m not ruling it out, either.