Archive for February, 2007


Posted: February 28, 2007 by dillion in Uncategorized

My first A to Z post at this new site, and maybe my last A to Z. These are a crapload of work! But no sacrifice is too great for this “job,” eh? But first, get ready for a rave review of KW’s upcoming release . . .

How good is Keller Williams? First, take the best parts of deep-think new-wave, like The Talking Heads, Laurie Anderson, and Thomas Dolby. Now, add two heaping tablespoons of Americana, a la The Grateful Dead’s country-style tunes or Fred Eaglesmith. Now sprinkle in pop and jazz for flavor, but make sure you get the hip-hop jazz (you know, the kind you’d hear from DJ Guru). Mix well, and you’ve got an artist who’s so good he defies classification. He’s a pure original.

Keller’s new release, Dreams, is a testament to the genius of variety. A simple, country-blues ditty like “Cadillac” sits between the borderline electronica single, “Celebrate Your Mouth,” and the ska-flavored “Ninja of Love.” Loose allegories based on food (“Cookies;” “Kiwi and Apricot”) are stored on the same shelf as the metaphilosophical, “Life.” I love this record, and I love this artist so much I’m giving you this site’s first A to Z.

Live, Keller is a jam-bander who clearly loves the Grateful Dead. For me, that’s not a problem. For you, don’t hold it against him. He eschews random musical wandering in favor of fast finger picking and celebrations of tightly written songs. And tons of covers, from rap to hillbilly.

Drop me a comment, lemme hear what y’all think….

A is for

American Girl (tom Petty)-Keller Williams

B is for an original, studio cut: Best Feeling-Keller Williams

B is also for another cover: Burning Down the House (Talking Heads)-Keller Williams

And the B’s don’t stop! B is for Black Peter (Grateful Dead)-Keller Williams

C is for another studio version, an original tune called Chillin’-Keller Williams

D is for Sultans of Swing (Dire Straits)-Keller Williams and Doin’ That Rag (Grateful Dead) into Down Under (Men At Work)-Keller Williams

F is for Funky Town (Lipps inc)-Keller Williams

G is for Gate Crashers Suck into Shakedown Street (Grateful Dead)-Keller Williams

G is also for Goof Balls-Keller Williams

H and J are for Jimmmmmmmmmi Hendrix! Wind Cries Mary (Jimi Hendrix)-Keller Williams

K is for Kiwi and the Apricot-Keller Williams

L is for Low Rider (War)-Keller Williams

It’s also for Love Bazaar (Sheila E)-Keller Williams. Remember Sheila? Bandleader of The Magic Johnson show?

M is for The Message (Grandmaster Flash)-Keller Williams

O is for Once in a Lifetime (Talking heads)-Keller Williams

P is for Prince! Darling Nikki (Prince)-Keller Williams

R is for Rapper’s Delight-Keller Williams. I used to cover this song myself, when I was in a band in college. That was not a pretty sight. Although I think I’m better looking than Wonder Mike.

S is for Stayin’ Alive (Bee Gees)-Keller Williams

T is for Tomorrow Never Knows (Beatles)-Keller Williams

U is for Up My Caddy-Keller Williams

V is for Moondance (Van Morrison)-Keller Williams

W is for Worthy-Keller Williams

Peace out! (Whew!)


Posted: February 28, 2007 by dillion in Uncategorized

Some folks had trouble with tracks 10 and 11 of the Interpol show I posted here. Please, in the future, if you like my blog, check in every day. I post every day, but links die quick for many reasons.


Stella Was a Diver-Interpol


Posted: February 28, 2007 by dillion in Uncategorized

It was with eager anticipation that I ran home with issue #7 of Marvel Comics’ mini-series, “Civil War.” Issues #1-6 had been revolutionary. For one thing, they represented the first series of its kind to be grounded on Earth. All the prior “everyone comes together and fights” series, from Secret Wars (which brought us Spiderman’s black costume) up through D.C.’s latest Crisis (which killed Superboy and renovated The Teen Titans and the JLA), have cosmic storylines that are hard to follow and usually aren’t true to the overall spirit of the fictional universe. Other than Iron Man’s quick decision to embrace what seemed like a fascistic proposal that all superbeings register with the government (and the decision of the X-Men—who’ve lived underground all their lives and, in a future, have been the sole source of anti-Sentinel resistance—to stay out of the fray), the Civil War series has not compromised the integrity of Marvel’s characters and, more importantly, has not changed their personalities to fit the storyline.

This remains true in book 7, but boy was I disappointed. I guess I’ve been trained to love a happy ending, which this doesn’t give us. But more than that, I never thought that Marvel—a company founded upon the principle that everything old must be broken and remade—would end the story by showing us that if these vigilantes would just register with the government everything would be okay. Within months, the world is on the brink of utopia. I know the House of Ideas will spend the next year or so breaking it all down and trying to rebuild the universe to something like what it once was, but absent global amnesia Peter Parker will never be a “secret” identity again. The charm of Spidey was the element of the average: A loving Aunt, an inept lovelife. They’ve slowly been “maturing” him, and the books haven’t gotten better as a result in my view. And the new Avengers are now a team of B-listers (including Ms. Marvel and The Sentry, not including Captain America, Hulk, Spiderman, Wolverine, which are Marvel’s flagship characters). Can they really be called “Earth’s Mightiest Heroes” if nobody who doesn’t read comics every month can pick them out of a lineup?

There’s something to be said for D.C. It doesn’t change much: Superman is still wearing tights with a red S (although he did flirt with a Jesus Christ hairdo for a while). Batman still has a utility belt. Martian Manhunter is still lame. But this consistency is what allowed the generation before me to pass its love of the funnybooks down and share the experience. It’s what allows me to sit down with my little boys and read Justice League to them. If Marvel takes too much of that away, it runs a serious risk of losing touch with what makes comics so great. It’s not the violence. It’s not the new costumes or the revolutionary issue that kills a major character. It’s that, time and again, we get to see Spidey put on a rubber costume and punch out Electro while doing a bad stand-up routine. It’s the expected, not the unexpected, that we ultimately look for in our books.

So, Marvel, please don’t take that away!


Posted: February 27, 2007 by dillion in Uncategorized


A former Pipette has a really cool new band with an awesome album cover.

Check ’em out.

Waiting For Pete Doherty to Die-The Indelicates

Julia We Don’t Live in the 60s-The Indelicates

Burn All the Photographs-The Indelicates


One of the greatest still-pretty-underground-but-recently-signed rappers around.

Cop it.

P.S.: I am sooooooooooooooo irritated with HypeMachine and Elbows.  Neither of them pick me up when they should.  Anyone out there know of any other aggregators/crawlers I can sign up with to get more readers?  I’m not in this just for the numbers, but it’s frustrating when the few sources of promotion I have don’t pick me up!


Posted: February 26, 2007 by dillion in Uncategorized

such great

I remember when my shorty came home one day and said, “What’s that song about the freckle in someone’s eye that you always listen to?”

To my dismay, I discovered that Iron & Wine had covered The Postal Service’s fantastic hit, Such Great Heights, and sold the cover to M&Ms. We should all note that Ben Gibbard himself didn’t do this. I don’t begrudge I&W their $, I guess, but it was a sad example of a great song being mainstreamed too quick. There was a time when all the hot indie bands were covering it, and then it all just ended.

Anyone for Tears for Fears? “Shout, shout, this song is played out . . .”

I still dig it, though.

Such Great Heights-Postal Service (John Tejada remix)

Such Great Heights (Postal Service cover)-Ben Folds Live

Such Great Heights-Ben Gibbard (acoustic, live)

Rilo Kiley-Such Great Heights (Postal Service cover)


Anyone here a Metric fan? I know I am (was?). Where are they now? Is anything coming soon from them? I see they’re playing Virgin Festival…I hope that doesn’t mean they’ve gone RI double A on my ass….

Well, if there is or if there ain’t, I have a live show from August of ’05 to share with y’all.

01 Intro
02 Succexy
03 The list
04 Slow night
05 Handshakes
06 Calculation theme
07 Combat baby
08 Dead disco
09 Credits

Cop it


Posted: February 25, 2007 by dillion in Uncategorized


The Raconteurs
Liverpool University
October 25 2006

01. intimate secretary
02. level
03. 5 on the 5
04. together
05. it ain’t easy
06. store bought bones
07. bang bang
08. broken boy soldiers
09. hands
10. yellow sun
11. blue veins
12. heading for the texas border
13. steady as she goes

Part one

Part two

Editors – Live at The Paradiso 2006

3.All Sparks
6.Find Yourself A Safe Place
8.You Are Fading
10.Open Your Arms
11.The Weight Of The World
12.Fingers In The Factories

Get it!


Posted: February 25, 2007 by dillion in Uncategorized


First things first: I’m a bit of a grammar nazi, although I try to loosen up for the blog. But the name of this band invites ambiguity, and I wanna know if it’s intentional: Are we hearing a band named drawn from listening to the radio early in the morning, or from the fact that the only boombox in their ‘hood can’t find an FM signal?

The music offers no answers. Nor do the liner notes. Not that there’s anything wrong with that.

In fact, it’s hard to find much wrong with
The One A.M. Radio’s third album, This Too Will Pass. For one thing, how many musicians out there are making songs that are heavily influenced by Simon and Garfunkle, Donovan, and Jefferson Airplane? While it’s true that the 2000 decade seems to be shaping up to be the new 1970s, what with so much psychedic rock and garage bands, but I rarely receiving submissions that seem happy to invite comparisons to the softer side of the early ’70s. Their songs are moody, and their lyrics are reflective, but they’re never maudlin, twee or cynical. The refrain for “In the Time We’ve Got,” for example, calls: “You hide the city in you.” It’s a love song about loving someone–not about losing them. While “Cast Away” tells of being jilted, it’s not sentimental or corny.

The formula doesn’t always work–“Lest I Forget,” for example, creeps so slowly you forget it’s there and “Mercury” sounds like filler. But when the songs do gel, they’re catchy and wonderful. A solid album, worth seeking out. Especially if you like The Postal Service or The Stars.

in the time we’ve got-the one a.m. radio