Last week was a bit of a whirlwind: four pieces in the U-T, nine band profiles for SignOn and a Padres spring training
feature for the Web site as well.
Here's a link to the Padres feature
Sleepy Jackson, Union-Tribune (3/11/04):
POP MUSIC
Wake-Up Call
The Sleepy Jackson mines country, rock and ballads for 'Lovers' everywhere
By Chris Nixon
March 11, 2004
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DATEBOOK
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The Sleepy Jackson, with Earlimart, On the Speakers
8:30 p.m., Saturday; The Casbah, 2501 Kettner Blvd., Middletown; $10; (619) 226-7662
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The Australian quartet the Sleepy Jackson unleashed the consummate melancholic pop album from last year, "Lovers." There are always stories that define an album's direction and the tone of the songs included, so how did a relatively unknown band on the international scene create an instant classic?
One of the clues to deciphering the story of "Lovers" reveals itself in the cryptic liner notes. The notes of the Sleepy Jackson's first full-length album contain all the necessary components: lyrics, credits, "shout outs."
One graphic element sticks out, just a blank business card with the name "Michael" and the digits "0418869998" jotted on it. In sloppy (yet different) handwriting, the card also reads "R.I.P., XO, Luke."
"Michael" is Michael Lock, a journalist-writer friend of the Sleepy Jackson's. The number refers to Lock's phone number, which, during the recording of "Lovers," singer-songwriter Luke Steele was going to call after he made a quick trip to Europe.
"I only knew him for two years before he died," said Steele from his hometown of Perth, Western Australia. "We became really good mates. He was one of those friends who challenges you every second you are speaking with him.
"You could never let a comment slide with him. He's probably the most intelligent guy I ever met. We were just finishing up the album, and the band went to Europe. While we were gone, he died. He overdosed on pills. You can still hear his voice on the answering machine."
The Aussie singer said Lock had a major influence on the lyrics of "Lover," a sweeping panorama of sad country tunes and breathy sing-along choruses. The album is dedicated to him.
After reading the lyrics to "Lovers," Steele sounds more like a blues songwriter rather than a writer of dreamy pop, and he comes by the blues honestly.
Steele grew up in a musical family. His dad, a respected blues player Down Under, held weekly jam sessions that featured musicians such as the internationally known harp player Charlie Musselwhite. With the lessons of his father fresh in his mind, the young Steele set out to conquer the music world in his own fashion.
"Growing up as the son of my dad – who was the president of a blues club – I would hang out there every Tuesday for like 10 years," said Steele. "I kind of got turned off blues, like the 12-bar blues. And I've kind of tried to make a distinct change through writing complete pop tunes. I think I was at a point then when I distinguished between styles a bit more. And now I'm coming back to (the blues)."
Named for a narcoleptic drummer in Steele's former jug band, the Sleepy Jackson combines country music, indie rock and acoustic balladry. After serving time in rock groups and jug bands, Steele fostered his own songwriting style: equal parts psychedelic pop and country twang with a touch of acoustic balladry.
Since releasing several EPs in Australia, the Sleepy Jackson released "Lovers" last year to critical acclaim. The disc reflects the geography it grew out of: It's a quiet pop album from the sleepy town of Perth on Australia's western coast.
Despite Steele's central role as main songwriter, the Sleepy Jackson becomes more like a band as time progresses.
"The drummer, Malcolm Clark, has been in the band for three years, so he's just as much a member of the band as I am," said Steele, who will perform at the Casbah Saturday. "I guess I'll always be kind of the captain, 'cause I know what the songs need to have.
"So, in a way, I guess I had to do it my way. Now we have two brothers playing bass and guitar, and Malcolm like a brother as well. It's more of a band than it's ever been."
Chris Nixon is a San Diego writer.
Flogging Molly/St. Patrick's Day in the U-T (3/11/04):
POP MUSIC
'You Can't Go Wrong with Family, Music and Sing-alongs' . . .
. . . as long as, like Flogging Molly, you've got the right mix of 'weird people' in the band
By Chris Nixon
March 11, 2004
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DATEBOOK
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Flogging Molly
7:30 p.m. Saturday; SOMA, 3350 Sports Arena Blvd. Suite I, Midway area; $20; (619) 226-7662
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Accordion player Matt Hensley has reason to pour his road rage into his music: He's currently commuting almost daily from Carlsbad to Los Angeles and back.
The San Diego native finds appropriate therapy in the City of Angels, where his band, Flogging Molly, is currently recording a new album. And his rage finds a good home in the band's music, a potent brew uniting Irish balladry and punk rock aggression.
"At the end of the day when I'm driving home, it feels like we're doing something special," says Hensley from his cell phone during one of his commutes back from Los Angeles, the hum of his speeding vehicle providing background noise. "Right now, it's Tuesday through Friday: I drive about four-and-a-half hours a day and practice five or six hours a day. So I'm basically a truck driver who plays accordion."
A truck-driving accordion player fits in with Flogging Molly, a band melding sweet acoustic sentimentality with sweaty, blue-collar brawn. The band's story begins appropriately at a pub, Molly Malone's on Fairfax Boulevard in Los Angeles.
After a few pints of Guinness, impromptu jam sessions would break out and often a rambunctious Dubliner named Dave King would initiate the festivities. Born out of merry sing-alongs and Harps-soaked lullabies, King and the Flogging Molly crew have exuded the same exuberance in their many shows since.
"If you pay attention to the music, it's very fast groovin' music," says Hensley, who doesn't try and hide his love for traditional acoustic music despite being raised on Southern California punk. "In every culture, people sit around and play music. But it seems specific to a couple of cultures: people get together, bring their kids and sing and play music together. You can't go wrong with family, music and sing-alongs."
In the past four years, Flogging Molly has progressed a long way from Molly Malone's, releasing two critically acclaimed albums: "Swagger" (2000) and "Drunken Lullabies" (2002).
While Flogging Molly came from traditional Irish music jam sessions, the band contains enough punk rockers to give it an edge.
"We're not a band full of Irish people," says Hensley, a former professional skater who started playing accordion at age 24. "I'm an American and I've lived in Southern California almost all my life. I've always surfed and skateboarded.
"The songs we're singing, all the lyrics are completely done by Dave (King), who is from Dublin, Ireland. He's singing about the harshness and the beauties of living in that country while he was growing up.
"Half our band is old punkers and skaters from different parts of California. So you just put all these weird people together: half the band are punks and the other are playing traditional instruments. And it's like, 'Let's do it, man.' "
St. Patrick's Day brings bread-and-butter gigs for Irish bands, so Flogging Molly will be taking a break from recording to play a series of shows. This Saturday, Hensley will be driving south instead of north, heading to a Flogging Molly show at SOMA to help San Diego celebrate.
But after the dates are done, it'll be time for the accordion-playing truck driver to hit the road once again until the album is finished. We'll have to wait to hear the album, but you can bet it'll be full-on Flogging Molly.
"We're always trying to ... make better music and make people smile more. That's what this is about," says Hensely. "We're trying to experiment with new things, but it will always be Flogging Molly."
Chris Nixon is a San Diego writer.
The monthly Localese column for the Union-Tribune (3/11/04):
ALBUM REVIEWS
Localese
March 11, 2004
This month's column focuses on three drastically different discs, giving credence to the growing diversity in San Diego's music scene.
Sunny afternoon at PB: Originally from Hawaii, now hanging in San Diego, ska-punk trio Pepper unleashes its third album on Volcom Entertainment, "In With the Old" (two and a 1/2), on March 30. Beginning with a rock vibe before easing into a few mellow ska/dancehall tunes, the varied album evokes a pleasing blend of ska, punk, country-tinged ballads and melodic rock. Recorded at 311's studio in Burbank, Pepper connects with its ska offerings, but comes off a bit weak on the "harder" tunes ("Keep Your Head Bangin' "). The acoustic "Your 45" showcases the band's ability to switch gears.
High speed through the desert on I-8: Hyperbole aside, John Reis is a high-quality San Diego musician putting out high-quality music: Rocket From the Crypt, Hot Snakes, Swami Records and the Sultans. Going under the nom de guitar Slasher, Reis joins forces with his brother Dean (aka Black Velvet) and RFTC drummer Tony DiPrima for a straight-ahead rock trio setup in the Sultans. The band's second release, "Shipwrecked" (four stars), finds the Reis brothers and DiPrima firing on all cylinders with 14 stripped-down, two-minute rock tunes. Simply put, "Shipwrecked" is one of San Diego's best '04 moments captured on tape.
Dark Gaslamp lounge: Equal parts downtempo, jazz chanteuse and neo-soul, San Diego vocalist Minga oozes sensual R&B on her debut EP, "Flipside" (three and 1/2 stars). When jazz and electronica are mixed, it's easy to slip into ill-guided smooth-jazz territory. Under the excellent guidance of producer Danny de la Isla, the five-song disc comes off sounding more like Everything But the Girl's electronica explorations than any cheesy elevator fodder. It's available to everyone online at Amazon.com and in local record shops. For fans of loungy downtempo, file "Flipside" under "must have."
Chris Nixon is a San Diego writer.
A CD review for the Union-Tribune (3/11/04):
ROCK
The Push Stars
"Paint the Town"
33rd Street
Two and a half stars
This Boston-based trio follows in the footsteps of matchbox twenty and Train, producing pleasing pop harmonies and easily digested songs. Singer-songwriter Chris Trapper, backed by bassist Dan McLoughlin and drummer Ryan MacMillan, plays it safe on the Push Stars' fourth full-length album.
From the orchestral overtones of the opening track, "Claire," to the jangly guitars of the album's first single, "Outside of a Dream," the Push Stars nail the pop-rock formula but fail to take lyrical and musical chances. The remainder of "Paint the Town" floats by almost without notice.
