Tampa Calling

Google “gypsy punk” and most of the dozen or so results relate back to Gogol Bordello. Search the band specifically and you’ll find more than a million pages that mention it. While Gogol’s Ukraine-born visionary/composer Eugene Hütz isn’t interested in taking credit for spearheading a whole new movement in American music, his band’s influence is undeniable.

Gogol grew from NYC’s underground music scene, just as much a melting pot as the city itself. Hütz immersed himself in it and assembled a motley crew of talented, multi-ethnic musicians to create his gypsy punk orchestra and make his vision of infusing East-European culture into Western music a reality.

The nine-member band represents seven nationalities all told. Their sound combines gypsy and Slavic music traditions with punk rock, dub reggae, metal, rap and even some funk and grooves, and the lyrics are delivered in English sprinkled with Spanish, Ukrainian and Italian verses. Since 1999, they have released four LPs; the most recent, 2007’s critically acclaimed Super Taranta!, fully launched Gogol into the international spotlight.

Many of Gogol’s songs (including “Wonderlust King, below”) are about living a roving, responsibility-free lifestyle, though various other topics are touched upon, from the absurdly catchy “Start Wearing Purple,” about letting loose and being silly, to “American Wedding,” which pokes fun at our country’s stuffy wedding traditions (“Where is the vodka, where’s marinated herring? / Where is the supply that gonna last three days?”), to the hilarious God vs. Science debate in “Supertheory of Supereverything.”

http://cltampa.com/content/Wonderlust_King.mp3

Everyone contributes vocals to the boisterous, colorful music, like violin virtuoso Sergey Ryabtsev, capable of some of the fastest and most furious fiddle playing I’ve ever witnessed; accordion player Yuri Lemeshev, who also moonlights with the studio band on Late Night with Conan O’Brien; and attractive lady entertainers and pandemonium makers Pamela Jintana Racine and Elizabeth Sun, who alternately sing, dance, and play marching band-style percussion throughout the live shows.

Hütz is the captivating and unpredictable center of it all. He sings lead, plays forceful acoustic guitar, and, usually shirtless with sweat dripping from his thick handlebar mustache, marches back and forth encouraging playful unruliness and leading spirited singalongs. He pilots the vigorous musical spectacle and keeps both his band and the audience as amped-up as he is.

Leilani: So, tell me about the role you play in the band as ringleader. How much of your songwriting goes into what happens on stage?

Eugene: I think it’s quite obvious (laughs robustly) that I write all the songs. (VIDEOS AFTER THE JUMP) Read the rest of this entry »

Ten days after his death, Michael Jackson is the biggest story in the entertainment world. Some of you may be crying overkill, but I’m still keeping tabs. Here’s a series of the latest links I’ve come across.

Video of Jackson at his last rehearsals.

Jackson’s public memorial confirmed for L.A.’s Staples Center on Tuesday, July 7.

TV networks planning coverage of Jackson memorial.

Billboard: How Michael Jackson’s Thriller changed the music biz.

Billboard: Jackson will likely set more chart records.

Billboard: “Michael Jackson and MTV — The M once stood for Michael.”

Madonna honors Jackson during a show at same arena in London that he was to perform 50 shows.

Former L.A. Times music critic Robert Hilburn, who probably had more access to MJ than any other scribe, writes a remembrance.

Jackson news coverage touches on the tawdry side.

It used to be that MTV would overplay videos to such a degree that it was impossible not to know the latest singles by Madonna, or Prince, or Michael Jackson (may he RIP). Those artists blew wads of cash to make miniature movies for their songs. (Michael and sister Janet’s 1995 acclaimed video duet, “Scream,” cost $7 million alone to produce.)

Nowadays, MTV doesn’t play videos so much as it airs clips of them during the closing credits of its neverending reality TV programming, so many artists have turned to YouTube to get the vids out and are likely alot more budget conscious when making them. The results vary from fun and inspired to downright garbage. Here’s a look at two Moby videos created in support of his ninth album (out today on Little Idiot). I’ve also included a preview clip of Bjork’s live Voltaic CD/DVD release. (Complete clips from the DVD would be nice but sadly, there are leaked or uploaded as yet.)

Artist: Moby
Album: Wait for Me
Songs: “Shot in the Back of the Head,” “Pale Horses.”
Both of Moby’s new singles have intrigued me with their raw electro-meets-organic feel. The video for “Shot in the Back of the Head” is David Lynch’s dark and abstract translation of the song, which is rather gloomy all on its own; and “Pale Horses,” the second single with haunting female vocals by Amelia and melancholy overtones, is directed by Elanna Allen and follows a lonely alien who takes a train to the moon to find some companions. Both are animated, but in very different styles.
Grade: A for both; the music was good and the videos compelling enough to make me want to check out Moby’s new album. (CHECK OUT THE VIDEOS AFTER THE JUMP). Read the rest of this entry »

A dear friend of mine is in the midst of the arduous, exhilerating, terrifying and liberating process of coming out. She recently wrote to me about the central role certain music has played in helping her to interpret and cope with her whirlwind emotions. I’ve combined her suggestions with a few of my own favorites to create a soundtrack that is guaranteed to make anyone’s coming out possible, bearable and even totally awesome.

Prince, Cream: I’ve chosen this raunchy classic primarily for the obvious reason, but also for its subtext of affirmation and empowerment: “Do your dance / Why should you wait any longer? / Take your chance / It can only make you stronger.” So true.

Bruce Springsteen, Rosalita (Come Out Tonight): I don’t think Bruce knew he was writing the following lines for me and gay people everywhere, but we should still thank him for them: “Closets are for hangers. Winners use the door / So use it, Rosie, that’s what its there for!” Although set in a fairly cliche heterosexual context, this song is all about sexual defiance, transgression and freedom. It resonates with queer audiences in a profound way.

Ani DiFranco, Shameless: This spunky jam about a clandestine same-sex love affair was critical in my own coming out journey. Ani communicates the experience of being closeted in characteristically clunky couplets like “We’re in a room without a door and I am sure without a doubt / They’re gonna wanna know how we got in here and they’re gonna wanna know how we plan to get out.” Check out a rousing performance (complete with a full-throttle audience sing-along) after the jump.

Read the rest of this entry »

This Saturday marks the second annual Record Store Day, a national salute to the more than 700 indie music stores located across the country and the positive impact they make on their communities. In honor of the event, several Bay area stores are offerings specials and carrying limited edition, exclusive Record Store Day releases.

Daddy Kool gives 10 percent off all new albums and 20 percent off all used inventory, and hosts some yet-to-be-announced activities.

Other area stores, like Sound Exchange, Mojo Books & Music and Vinyl Fever, have stocked up on an array of exclusive Record Store Day releases available only at indie stores. Amid the offerings are an array of split 7”-ers, including a double 7” of live tracks from Atlanta and Edinburgh by Tom Waits and Lucinda Williams, and a split 7” featuring covers of songs from Warner Bros.’ back catalog – Flaming Lips with Stardeath and White Dwarfs performing Madonna’s “Borderline,” and The Black Keys doing Captain Beefheart’s “Her Eyes Are a Blue Million Miles.” Guided By Voices re-releases its Hold On Hope LP with three bonus tracks, My Morning Jacket offers a limited run CD and double 10″ vinyl release recorded live in Louisville at Ear X-tacy record store, and Wilco makes its forthcoming concert DVD, Ashes of American Flags, available solely to indie stores and on its website on Record Store Day. Other exclusive RSD vinyl releases come from Bruce Springsteen, Leonard Cohen, Mastodon, Bob Dylan, Radiohead, Jane’s Addiction, The Stooges, Modest Mouse, Slayer, The Decemberists and Black Kids, among many others. Read the rest of this entry »

What musical artist made the most dough in 2008? Madonna. How much?

How ’bout — ta-da! — $242,176,466.

The rest of the Top 5 goes like this:

2. Bon Jovi: $157,177,766
3. Bruce Springsteen: $156,327,964
4. The Police: $109,976,894
5. Celine Dion: $99,171,237

To see the remainder of the Top 20, click here.

Pretty much any time a music critic of my, um, seasoning takes a stand against something trendy, he (she) runs the risk of being labeled an old fart. But I don’t think I’m succumbing to old-fartism when I say that the rampant use of Auto-Tune in today’s pop music is a scourge that I hope ends up in the dustbin of bad fads after a few more mouse clicks.

Auto-Tune? You may know it by its previous incarnations as a Vocoder or Talkbox. It’s an audio processor developed by Antares Technologies that corrects vocal pitch, but its trademark effect is the robotic sound it can add to singing.

The main perpetrator of the scourge is T-Pain, a hack who sings, near as I can tell, everything through Auto-Tune. He’s been highly rewarded for this gimmickry with several hit albums and a bevy of guest vocal appearances on hip-hop singles. In fact, Diddy reportedly paid T-Pain a royalty to work Auto-Tune “magic” on his new recording.

If Auto-Tune was relegated to a well-compensated clown like T-Pain and a few hooks on hip-hop songs, no problem. But it’s spreading like Ebola. Kanye West uses the effect throughout his new disc 808s & Heartbreak, which means that he’s doing a fair amount of singing, which is not good. Britney Spears, Madonna, Justin Timberlake and other pop artists have used it, which suggests it’s getting more and more entrenched as mainstream practice.

Read the rest of this entry »

The Material Girl recently surpassed The King of Rock ’n’ Roll on the list of most Top 10 singles with her ditty “4 Minutes,” reports Billboard.com, giving Madonna 37 to Elvis Presley’s 36. Justin Timberlake is featured on the Madge number and Timbaland co-wrote it, which means the track could have been a smash for just about anybody — even Elvis , whose resurrected vocal worked nicely for the hit 2002 Junkie XL remix of his song “A Little Less Conversation.” But I digress. The point of this blog post is to see if anyone would pick Madonna over Elvis on a list of most important pop stars of all time. Consider:

• Cultural impact: Elvis came first, started rock ‘n’ roll (if you believe the simpletons writing such nonsense), influenced everyone from Dylan to The Beatles, altered history, etc. But it took the Material Girl to destroy the double standard applied to women, who were allowed mostly to only be girl-in-a-cage sexy before the whip-wielding Madonna came along.

• Sex symbol: Both were the most sexually brazen artists of their era. Both were hot. Seriously. Young Elvis might have been the sexiest man to ever walk the earth other than maybe a young Marlon Brando. Madonna wasn’t born with his natural beauty, but she’s known how to work it, and keep her body immaculate, since the get-go, making many adolescent boys like me stay up late into the morning in the 1980s hoping to catch her latest video on MTV.

• Vocal talent: Elvis is about 100 times better than Madonna as a singer. There’s no debate on this one. If you think Madonna can hold her own with Elvis in the vocal department it might best serve you to jam pencils in both ears.

• Songwriting: Despite what the crooked, Colonel Parker-dictated songwriting credits might read, Elvis, by most reports, never wrote a verse. Madonna, on the other hand, has played a significant role in the songwriting and production of her entire output. For instance, she wrote or co-wrote every track but one on her 1983 self-titled debut album. Yeah, her new disc, Hard Candy, relies on more outsourcing than perhaps any release in her career, but at age 49 she’s allowed to let some young bucks lend a hand. (Presley was dead at age 42).

Madonna vs. Elvis: Most important pop star?