Thursday, November 20, 2008

8 Questions With: Tally Hall

Following Friday's rousing set at Rehab, the Michigan based quintet dropped by The Rugby Store, where Jen got a chance to chat with Ross F. (percussionist) about a variety of topics.

1. What have you learned from being in the business?

Also, can you offer any advice to bands starting out?


It's really easy to get lost if you're caught up in too much of the "business" of everything. However, it's important to consider that of course, and to do everything you can to be active in promoting yourself and your music. The toughest part seems to be that the nature of the industry is such that things are always changing around, and the right move to make one month may be the wrong one the next. At that point, you need to just trust in the music you're making, and do what you really want to do. And if you succeed in that, the rest should fall into place.

2. How important is it for a band to come & play conferences like CMJ & SXSW?

Any opportunity to join in with your peers and perform, watch shows, converse, etc. it always a good. And there's no denying the fact that there are fun times to be had as well.

3. You were invited to play Lollapalooza this year which must have been amazing.

What is it like playing a festival that large?


It was certainly different than any other festivals we had played before. I was most impressed with how well coordinated everything was, and how well the festival was run in general. And of course it offered the opportunity to play for thousands of people who were all there because they wanted to spend their entire day enjoying music. I personally had a blast, got to talk to some artists that have been huge inspirations!

4. You recently made the move from Ann Arbor to New York. How are you finding it?

So far it has quickly become a very comfortable and exciting place to live and work on music. We found a great practice space that we enjoy spending time in and enjoy writing in, and what more could you ask for while embarking on your next album.

5. I've heard that you're currently writing your 2nd album. How is that going?

So far so good. I am confident that we will have a proud collection of songs to present.

6. Rugby likes to highlight different social action causes.

Do you have any special interest in a certain charity or cause?


It being almost election time, I should say I am always supportive of any organizations, bipartisan or otherwise, that move people to vote. It's tough sometimes when the electoral college system makes your vote seem meaningless, but everyone really should be making their voice heard. Our entire system of government is based on that fundamental principal, and we can't let laziness or apathy towards politics take anything away from that.

7. Tell me about your colors (each member has a different trademark tie which they wear at all gigs and in all press shots), how did that come about? Do you think it is important for a band to have a specific look?

The colors came up as a way to set ourselves apart from all of the other bands playing around campus. The idea of doing a little branding can go a long way in making your presence known. I don't necessarily think it's important that bands have a specific look, but something that people can refer to and say: "oh, it's the band that does this this this, or wears that". It can really help how well they remember you.

8. What was the highlight of CMJ 2008 for you?

For me it's really been the fact that so many of our friends our in town, be it bands or otherwise. It's nice that there was a reason for everyone to come in town the same weekend and play music together.

Visit Tally Hall on MySpace.

MP3: Tally Hall - Good Day

Tuesday, October 21, 2008

'Gossip Girl': the Music Grows Up -- OMFG!

In anticipation of this week's episode of Gossip Girl, I spent a few minutes surfing its music channel on YouTube, where the featured songs of each episode are posted along with a short description of the various scenes (e.g. "Chuck and Nate lounge in grass"). A great tool for finding music, the channel has the added bonus of making songs available Monday morning, so you can hear the vibe before you watch the show.

This week, Snow Patrol provide the obligatory party track. And the Virgins' "One Week of Danger" returns as Blair and Chuck's unofficial theme (first heard last season over flashbacks of the infamous limo scene).

But the three other tracks set an uncharacteristically brooding tone, from the Black Keys' banjo-tinged blues ("Psychotic Girl"), to Guillemots' eerily tortured "Sea Out," to White Apple Tree's "Snowflakes," an emotive electro-ballad that could be a sped-up version of Craig Armstrong's "This Love" (best known from its place on the Cruel Intentions movie soundtrack). These moody, down-tempo numbers -- a departure from the lively pop often featured on the show -- testify to the show's maturation from unadventurous radio-chaser to astute musical curator.

Gossip Girl's early episodes featured radio-friendly tracks from the likes of Rihanna, Sum 41, Joss Stone, and Will.i.am. But about halfway through the first season, ears in charge discovered the Virgins, a blasé, cynical, and distinctly Manhattanite band with a talent for pop hooks. The show featured all five songs from the band's self-released 2007 EP in the episode "Seventeen Candles," a full seven months before Atlantic released their official debut. While the Nelly Furtado and Vanessa Carlton returned in the following episode, Gossip Girl had made its first significant move towards branding itself as a musical tastemaker.

The final episodes of last season, and the six aired so far in season two, have featured buzz-heavy acts like Ting Tings, Santogold, Crystal Castles, and MGMT. And that's a good thing. But, as SPIN's Phoebe Reilly points out about the Nick and Nora's Infinite Playlist soundtrack, it's not enough for a song to be good, it also has to serve the emotional significance of an on-screen moment.

And that's something Gossip Girl still needs to improve on. Case in point: the show's new soundtrack album, OMFGG No. 1 (Original Music Featured on Gossip Girl, to be released next week). The collection rightly focuses on the less recognizable -- though no less catchy -- tracks from Season 1. But it also points out that many of these great tunes play during the show's impersonal montage sequences rather than its more emotionally memorable scenes.

Compare this to the Cruel Intentions movie soundtrack, one of my favorites. The intrigues-of-teen-aristocrats-in-New-York forebear to Gossip Girl splits its musical time between bouncing, scene-setting pop (Blur's "Coffee and TV," Placebo's "Every You Every Me") and tender, poignant ballads (Counting Crows' "Colorblind," and the above-mentioned "This Love") that highlight, and deepen, the characters' adolescent emotional vulnerability.

Tonight's featured Gossip Girl songs seem to take a step in the right direction, by alternating modish singles with affecting atmospheres (also introducing a reoccurring theme with the Virgins track, a great move in my opinion). Here's hoping that the show's music supervisors continue down this path, and that OMFGG No. 2 reflects that change.

Saturday, October 18, 2008

Allen Toussaint :: On Your Way Down

In continuuing with the sporadic New Orleans posts until Fat Tuesday here is the fourth installment in the series; the music of one Mr. Allen Toussaint. Like many fans I originally became acquainted with Toussaint's music in the late '90s through his production work with The Meters, Dr. John and the Nevilles. Upon further investigation it was no surprise Toussaint is super fly funky in his own right. Just listen.

Two of the songs below can be found on Toussaint's 1972 album, Life, Love And Faith, while "From A Whisper To A Scream" is off of his album of the same name. "Whisper" is also happens to be one of my favorite soul songs ever recorded -- the lyrics, mood and production make you believe the man's every word. I saw Toussaint live last July in the French Quarter with Elvis Costello -- you can read about that here.

Elsewhere: The class act that is the Home of The Groove blog has been profiling rare Toussaint tracks and covers the past month. Go dig 'em up,

Friday, September 5, 2008

Allen Toussaint :: On Your Way Down

In continuuing with the sporadic New Orleans posts until Fat Tuesday here is the fourth installment in the series; the music of one Mr. Allen Toussaint. Like many fans I originally became acquainted with Toussaint's music in the late '90s through his production work with The Meters, Dr. John and the Nevilles. Upon further investigation it was no surprise Toussaint is super fly funky in his own right. Just listen.

Two of the songs below can be found on Toussaint's 1972 album, Life, Love And Faith, while "From A Whisper To A Scream" is off of his album of the same name. "Whisper" is also happens to be one of my favorite soul songs ever recorded -- the lyrics, mood and production make you believe the man's every word. I saw Toussaint live last July in the French Quarter with Elvis Costello -- you can read about that here.

Elsewhere: The class act that is the Home of The Groove blog has been profiling rare Toussaint tracks and covers the past month. Go dig 'em up,

Tuesday, August 26, 2008

"Time" Tries To Rack Up The Pageviews With A List Of 10 Songs That A Writer Happened To Hear This Summer [Yay, Journalism!]

keepbleeding.jpgNot that I expect the lumbering newsmagazine Time to be cutting-edge or anything, but its oddly timed package "The Songs Of Summer 2008" sure does provide an argument in favor of the microcriticism service Blippr. The list, which is presented in the time-honored "listicle spread out over ten separate Web pages so as to maximize clicking" form, basically collects 10 songs that have nothing in common except for their having been played on commercial radio sometime this year. (Maybe even as early as February!) You'd think that a publication that fancied itself to be Web-savvy would have been all over some of these songs by now, but apparently Time's overlords need a few more day-late, dollar-short, annoyingly designed packages before they rethink their online culture strategy for the 48,627th time in the magazine's online existence. The mag's list of top songs after the jump.




1. Kid Rock - "All Summer Long"

2. Rihanna - "Disturbia"

3. Usher - "Love in This Club"

4. Estelle - "American Boy"

5. T.I. - "No Matter What"

6. Leona Lewis - "Bleeding Love"

7. Lil Wayne - "A Milli"

8. Pussycat Dolls - "When I Grow Up"

9. Coldplay - "Viva La Vida"

10. Katy Perry - "I Kissed a Girl"

"A Milli" and "I Kissed A Girl," sure. But "Love In This Club"—oh, you mean the song that hit No. 1 back in March? "Bleeding Love"—which also peaked in May? "When I Grow Up"—which sucks? I'm not even going to get into the part where the writer claims that "No Matter What" is underperforming because T.I. is still under house arrest and unable to do promo, since he might have been as confused by the midmorning scheduling of TRL—on which the MC appeared earlier this month—as I was at first. (And I don't really expect a Time writer to have 106 & Park on their TiVo season-pass list.)

The Songs Of Summer 2008 [Time; HT Rap-Up]






Saturday, August 23, 2008

Allen Toussaint :: On Your Way Down

In continuuing with the sporadic New Orleans posts until Fat Tuesday here is the fourth installment in the series; the music of one Mr. Allen Toussaint. Like many fans I originally became acquainted with Toussaint's music in the late '90s through his production work with The Meters, Dr. John and the Nevilles. Upon further investigation it was no surprise Toussaint is super fly funky in his own right. Just listen.

Two of the songs below can be found on Toussaint's 1972 album, Life, Love And Faith, while "From A Whisper To A Scream" is off of his album of the same name. "Whisper" is also happens to be one of my favorite soul songs ever recorded -- the lyrics, mood and production make you believe the man's every word. I saw Toussaint live last July in the French Quarter with Elvis Costello -- you can read about that here.

Elsewhere: The class act that is the Home of The Groove blog has been profiling rare Toussaint tracks and covers the past month. Go dig 'em up,

Thursday, August 21, 2008

"Fashion Rocks" Serves Up Anna Wintour's Vision Of A Music Magazine [Rock-critically Correct]

fashionrocks.jpgOnce again, we present Rock-Critically Correct, a feature in which the most recent issues of Rolling Stone, Blender, Vibe, and Spin are given a once-over by a writer who's contributed to many of those magazines, as well as a few others! In this installment, he looks at the Condé Nast-produced, music-centric one-off Fashion Rocks:







Let Your Boy get something out of the way immediately: the main reason he chose to assess this particular publication this week is simply that it is likely that many, many more Idolator readers will have access to it than the printed versions of the magazines he normally considers in this space.

Which is to say that Fashion Rocks was mailed in the last couple of weeks to subscribers of Vanity Fair (of which it is nominally a supplement), Wired, and probably a few other magazines published by Condé Nast. Which is also to say that Condé Nast succeeds in producing publications that bespeak heft and significance and thus are less expendable to readers who would otherwise forsake printed matter entirely for the options presented by the Device You Are Currently Gazing At. Discriminating readers... like you!

Like last year's Movies Rock, a supplement sent to GQ and Vanity Fair subscribers, Fashion Rocks is clearly intended to attract additional revenue from many of Condé Nast's advertisers and also pimp a TV special by the same name that will be broadcast on CBS on Sept. 9.

But unlike Movies Rock, this issue is produced under the auspices of Vogue. (Previous iterations were produced under the auspices of GQ.) Which is yet again to say that it's more than likely that editor-in-chief Jonathan Van Meter had very little leeway as to what sort of content would constitute the issue and essentially carried out the wishes of Anna Wintour, the editor of Vogue since 1988.

About the best thing YB can say about Ms. Wintour is that she demonstrated a previously disguised sense of humor about herself by attending a high-profile screening of a movie premised on the persistent perception that she is, frankly, a cunt. Unlike virtually every woman he's ever known, YB is not fascinated with Vogue, the instrument with which Ms. Wintour preys on the insecurities of women. Wintour has been so good at making females feel like they're worthless unless they spend money on material goods proffered by Vogue advertisers for so long that, in terms of the publishing milieu, she's indestructible.

And so she's charged with producing a one-off magazine that is intended to promote a television special that involves famous music figures. Fashion Rocks is best understood as how Ms. Wintour contends with music culture. This means that Justin Timberlake, a guy with no new music on the horizon but whose fashion imprint, William Rast, will put out its fall line next month, is an appropriate cover choice.

It is beyond doubt that Wintour is familiar with Timberlake. But had she heard of the Kills, who are profiled herein via an article entitled "Band of Outsiders"? The London duo certainly bears a certain Velvet-esque élan that stands them in stood stead with runway habitués, but there's one aspect that's sure to get Wintour's attention: Kills guitarist James Hince is Kate Moss' latest pale, leather jacket-clad stunt dick. If pint-size hesher icon Ronnie James Dio found himself as Moss' dragon-slayer (or fellow dragon chaser) du jour, then he'd be profiled herein, no questions asked.

Writers and personalities that are only vaguely in Wintour's orbit are called in for pieces that are each headlined with a startling lack of flair. In the issue's de facto introduction, "Sound and Fashion," longtime Village Voice fashion scribe Lynn Yeager explains that "music and style have always been in sync," an idea which doesn't need explaining; Joan Jett talks about her own style aesthetics in "Born to be Bad"; in "Dirty Pretty Thing," Liz Phair is described as "the rock equivalent of Carrie Bradshaw"; the part of ex-label honcho Danny Goldberg's mem-wah, Bumping into Genius, concerning Courtney love and "that dirty little man she married that the younger people think is so wonderful" is excerpted in "I Am Legend"; "Hearts of Darkness" explores "emo" culture now that designers have taken note of it; "Fine and Dandy" examines André Benjamin and his Benjamin Bixby line; and finally, in "Hit Man," profilee Mark Ronson, a DJ at several events that Ms. Wintour has surely attended, is described as the son of "socialite Ann Dexter-Jones" and incorrectly as the stepson of "the singer of Foreigner, Mick Jones."

Ultimately, the writing in the mag does not address the point of Fashion Rocks. But the photographs accompanying the articles cited in the previous paragraph are lensed by the likes of Terry Richardson and Steven Meisel. And a marquee photo package, featuring several performers that will probably drop out of the accompanying special by the time it's broadcast, involve the contributions of Meisel, Norman Jean Roy, and Jean-Baptiste Mondino. Pretty pictures, after all, are the point of Fashion Rocks and of any endeavor involving Ms. Wintour.

(YB should say that an essay appending Meisel's shot of Mariah Carey includes the single, solitary example of memorable, insightful scribbling in the entire issue, courtesy of Michael Joseph Gross: "...Carey is Long Island's answer to Dolly Parton, a woman whose bodacious bod and over-the-top style have distracted many people from her rare and substantial talent...Carey's aspiration to G4 style seems an effort to make up for her bridge-and-tunnel background." True dat, and thus it's the one of very few ways someone with that kind of background can matter to Ms. Wintour.)

So clearly, YB finds Fashion Rocks to be a fairly vile proposition. But one photo essay therein is particularly ghoulish, and is the other reason he chose to write about the mag.

"Here Comes the Son" finds Dhani Harrison sporting a mustache and styled in the manner associated with his father George in 1967-1968. He also cavorts with one Sasha Pivovarova, one of those Eastern European wraiths models that Wintour often employs. This young woman is clearly cast as Patti Boyd, the woman pere Harrison was married to in the late '60s and early '70s—although Harrison disingenuously describes her look in a caption as being based on Stones muse Anita Pallenberg. Dhani's mother is Olivia Arias, who no doubt is thrilled to not only see her son pantomiming his father, but to witness him hugging up to a representation of her husband's first wife.

Harrison's new band thenewno2's album apparently will be released soon. YB can only assume that young Harrison or someone (poorly) advising him believes the record faces nigh-unto-impenetrable barriers, since somebody in a relevant position thinks there's something to be gained by breaking the rule observed by all Beatles progeny: "I will not be judged based on my dad's legacy—or at least I will avoid the appearance of doing so."

But Van Meter quotes Harrison in his editor's letter as a way to justify this bizarre exercise: "It's very hard to take a step in any direction musically without referencing something The Beatles have done." Van Meter adds, "In every way, our ten-page layout with Dhani and Sasha perfectly captures what Fashion Rocks is all about."

Precisely. It all makes perfect sense and is very high concept to vampires like Ms. Wintour and her underlings.






Blue FixSim_112007 index