Meter by meter: Metric builds on its fan base, reputation

The Metric piece came out today in the Union-Tribune. You can read a portion of the interview I did with Emily Haines in Q&A form in a previous post. This is the third time I've spoken with Haines. She wasn't her most articulate, sounding a bit distracted. Walking around New York City on a cell phone will do that to you. But she's obviously in touch with the art world, name dropping Olivier Assayas (director of the movie "Clean," which Mteric appeared in) and Guy Maddin (whose films inspired Haines' solo disc "Knives Don't Have Your Back"). And she ended up giving me good quotes for the story, so it all worked out.

One thing I didn't include in the story or the Q&A: She talked a bit about warming up for the Rolling Stones at Madison Square Garden. When I asked what it was like to hang out with Mick and the boys, she said they met, but only briefly. "They run a pretty tight ship."

Here's the story:

Metric, and its fans, gets a gift from the past

By Chris Nixon
For the Union-Tribune
September 27, 2007

Nobody knows which street to take / He took the easy way / What was the easy way? sings Metric frontwoman Emily Haines in her sweetest voice on the title track from the Canadian quartet's long-lost debut disc. In terms of the music business and Metric's steady rise to fame, there is no easy way.

Splitting time between flats in London and Brooklyn, Haines and her partner, Jimmy Shaw, meticulously crafted and assembled the 10 tracks on “Grow Up and Blow Away.” Recorded in 2001, Haines (daughter of poet Paul Haines) and Shaw (who studied trumpet at Juilliard) thought the album would represent the first chapter in their careers as Metric. After six years of sitting on the shelves of the record label Rykodisc, “Grow Up and Blow Away” became the latest chapter instead of the first.

“This work symbolizes the innocent and naive period of beginning to try to be musicians for a living and all of the obstacles that we've encountered on the way,” recalled Haines in a recent phone conversation from New York City as her band prepared for a North American tour. “When I listen to that music, I think of how pure and sweet our vision was of how it could be. Since then, we've really taken matters into our own hands.

DETAILS
Metric, with Crystal Castles
When: Wednesday, 8 p.m.
Where: House of Blues, 1055 Fifth Ave., downtown
Tickets: $12.50-$14.50
Phone: (619) 671-3700
Online: www.hob.com

“We realized it's probably a blessing that we weren't handed (a contract) and then became recording artists in 1998. When I listen to ('Grow Up and Blow Away'), it's like listening to my little sister that I don't have.”

Metric purchased the album and released it on Last Gang Records this year, giving listeners a glimpse into the early, concentrated version of Metric. Recorded before the addition of drummer Joules Scott-Key and bassist Josh Winstead, “Grow Up and Blow Away” shines a light on Metric's roots. Wrapped in layers of synths and drum machine percussion patterns, Haines' seemingly effortless melodic sense and Shaw's ability to construct songs around her melodies carry the disc.

Along with providing the seeds for Metric's intellectual pop, the project also gave Haines a more realistic sense of the music industry. In other words, there is no easy way: “Those (were) the days that we thought we could just sit in our house and make music and other people would do the legwork for us. We quickly realized that was never going to be a life that we could handle. Instead of listening to people who said that we had to look for someone to help us realize our potential, we just did it ourselves. I'm really glad we made that decision.”

Since the recording of “Grow Up and Blow Away,” Metric has steadily grown a fan base through the infectious keyboard-driven pop of 2003's “Old World Underground, Where Are You Now” and the more guitar-oriented rock of 2005's “Live It Out.” After the disappointment of “Grow Up and Blow Away,” Metric has found itself in a nice groove: opening for the Rolling Stones at Madison Square Garden, the Juno Awards, spots at the Coachella music fest, solid record sales and enthusiastic crowds at shows. Recognizing the dangers of typecasting, Haines didn't want to get stuck in the groove.

“I see it all the time with musicians: You get stuck in a rut,” Haines said. “It's like playing a role in a sitcom. You become a one-dimensional character if the only way you function is in a particular role.”

In the past year, Haines released her first solo record, “Knives Don't Have Your Back” by Emily Haines & the Soft Skeleton, a somber, stripped-down affair highlighted by Haines' compositions on the piano. Winstead and Scott-Key formed the side project Bang Lime and released “Best Friends in Love.”

“It's part of the (band's) concept that everyone should be able to develop,” Haines said. “It just really worked out well this year. It gave everyone a chance to breathe and do some other things. And so coming back to start writing the new Metric record has benefited enormously from that.”

Chris Nixon is a San Diego music writer.

Street Scene '07 through the lense, part deux

I wanted to add a few more images from the Street Scene experience.

Clap Your Hands Say Yeah:



Air:



Louis XIV:

Street Scene '07 through the lense

Here's a collection of images taken over the weekend at Street Scene:

http://www.flickr.com/photos/12209388@N04/sets/72157602159960713/

Also, here are a few favorites from SS'07....

Clouds over Street Scene (day one):



Social D by Greg Meier:



Air by me:



More Air by me:



Spoon by me:



Clap Your Hands Say Yeah:



I should have more by the end of the day, and I'll share them with you as soon as their uploaded.

Street Scene, Day Two: Redemption, But Too Late?

If you book the bands, they will come. And you know what, people did come on Sunday to Street Scene. Maybe it's not the 50,000 people a night during the festival's heyday, but it's not the doomsday graveyard crowd which shuffled around Coors Saturday either. I'd say a good 15,000-18,000 people attended on Sunday. When you get past all the corporate trappings of the Live Nation-era of Street Scene ($10 for parking, crazy amount of sponsorships and no encores), there were a bunch of positives on Sunday.

First, the booking was much better on Street Scene's second day. Spoon (they should have headlined the mainstage). Steel Pulse (roots rock reggae at its best). Louis XIV (sounding more like a legit rock 'n' roll band than ever). Air (moody and a nice change of pace). Clap Your Hands Say Yeah (awesome indie rock). Arctic Monkeys (bringing British sneer and rock riffage). I didn't even make it to the early stage: Sondre Lerche, Brett Dennen, Dios and Elvis Perkins. (I'll be uploading a bunch of photos all day today). The bands in general were more interesting and better suited to pulling crowds by the scruff of their necks into music fest bliss.

Is Street Scene dead? After Saturday, I thought this was Street Scene's death knell. More eclectic booking on Sunday may have bought Street Scene another year. But please, can we call it something different?

Street Scene, Day One: Rain-soaked and lacking punch

When I spoke with Social Distortion's Mike Ness to help preview this year's version of Street Scene for the OC Register, Mike suggested that organizers just move the festival to Tijuana and let it live on streets again. I couldn't agree more. As their early Saturday set drew to a close, Honeycut's lead singer asked "So where's the streets? I thought this was Street Scene?" Exactly.

Instead, this year we have Rob Hagey teaming with Live Nation, filling the lineup with a bunch of whiney emo-pop bands and soaking festival-goers for every penny. Of course, this is me and my mood after walking two or three miles total to avoid paying $10 for parking. I mean, honestly, I can't remember any shows at Coors that I've paid 10 bones to drive by bored teenagers pointing me to dusty lots which allowed me to park 10-15 minutes walk from the front gate. Just when I thought the Coors parking/traffic situation couldn't get worse, they want to charge me for their crappy parking lots and ill-planned mouse mazes they call roads, the closest thing to a street this year's Street Scene will experience.

Inside, I didn't have too many qualms with Coors. The lineup completely sucked on Saturday. I won't go into the horrors of the band Shut Up Stella and Army of Me. On the bright side: B-Side Players were solid and Mad Caddies had their moments. I couldn't stick around for the "headliners" Muse, so I can't report on the mainstage.

The first four hours of Street Scene '07 were a complete bomb. I'm sure more people made it eventually, but I think there were about 5,000 people there through 4 p.m. Years past, this was always the best time to catch Street Scene. The afternoons always afforded get unexpected finds, courtesy of Rob Hagey and his booking crew. And varied too: gospel, blues, Brazilian, jazz, funk, soul, rock, punk. Around any corner, you could stumble on great things spanning a mind-boggling set of genres. Not so this year. Maybe it was all the walking, but I feel simply tired thinking on Saturday's SS experience. Tired of being milked of money, and most of all, tired of all the corporate meddling with San Diego's best music festival.

But hey, the rain was nice. With a clear sky emerging around 3 p.m., I could see the hills of Tijuana in the distance and think: only if...

Over the Rhine at Anthology

I have to admit something: Before my editor at the U-T suggested I write about Ohio band Over the Rhine, I had very little exposure to the husband-wife team of Linford Detweiler and Karin Berquist. In doing research about the songwriting team, I discovered a huge catalogue of great songs, with adept execution on vocals by Berquist and Detweiler on piano and guitar.

My wife Lisa and I haven't made it to Anthology yet, so we were excited to check out this show and this relatively new venue downtown on India and A. Nice venue, but probably too pricy and fancy to really make us feel at home. We got stuck on the second floor standing room only area, with an obstructed view of the stage. Drink prices were hefty ($11 dollars a glass for the cheapest red wine), but the waitstaff was attentive. The sound was flawless, but when you can't see the stage, the experience is like listening to a live CD with an awesome stereo. Over the Rhine are extremely talented and they put on a great show, equally at home with the traditional American songbook and classic country sounds. Detweiler told stories and Berquist was radiant and spot-on with her vocals. At Anthology, it's either pony up for the good seats or stay at home.

Here's the preview which ran on Thursday in the Union-Tribune:

Over the Rhine: Songs shaped by memory

By Chris Nixon
For the Union-Tribune
September 20, 2007

A conversation with Linford Detweiler feels like story time with a reclusive artsy uncle: filled with equal helpings of childlike wonder and hard-earned wisdom.

And the musician's stories lately revolve around his childhood. Specifically, he's been contemplating how our earliest memories can influence the work we chose to do.

“A couple of my friends who are also artists and I have talked about how our earliest memories have foreshadowed what we ended up doing with our lives,” Linford said in an interview from his home outside of Cincinnati, Ohio, an old farmhouse on a sprawling plot of land called Nowhere Farm.

“My friend, Michael Wilson, who is a black-and-white photographer and photographs a lot of musicians, his earliest memory is lying in his bedroom as a boy. When the headlights would go past his bedroom window, these black-and-white shadows would go around the top of his room. He would watch those black-and-white shadows and imagine a circus train going by. He ended up making black-and-white photographs for a living.

DETAILS
Over the Rhine
When: Saturday, 7:30 p.m. and 10 p.m.
Where: Anthology, 1337 India St., Little Italy
Tickets: $20-$30
Phone: (619) 595-0300
Online: www.anthologysd.com

“My earliest memory that I can really put my finger on is the sound of a trumpet. So, my earliest memory ended up being reflected in the title of this project.”

Detweiler is telling the story behind the 2007 album “The Trumpet Child,” his 11th studio work in collaboration with his wife, vocalist Karin Berquist. Together, they form Over the Rhine, named for a formerly tough neighborhood (now gentrified) in Cincinnati where the duo lived during the late-1980s: “It was considered a bad part of town and there were a lot of empty buildings. I was really drawn to it because there was a scary beauty down there.”

Since the early beginnings in the 'hood bearing its name, Over the Rhine's career has flown just below the radar of popular consciousness. Despite 18 years and 23 albums (including live recordings, compilations and Detweiler's three solo discs), the couple's brand of quiet coffeehouse country and dark Southern Gothic acoustic balladry never found a foothold on radio stations. Much like the Cowboy Junkies (with whom Detweiler and Berquist have toured), there isn't a radio format suited for well-crafted acoustic music.

But good music usually finds a home. In Over the Rhine's case, home comes in the form of a devout fan base and critical acclaim.

On “The Trumpet Child” – the latest OTR album to garner good reviews – Detweiler and Berquist choose lush horn parts along with bittersweet string arrangements to bring a classic, timeless feel to the entire album.

“We wanted to gather really interesting musicians in a room and really invite people to something that felt like an evening of music unfolding,” said the songwriter and multi-instrumentalist Detweiler. “We wanted to open the American songbook a little wider in terms of our influences on this record and reference a pre-rock 'n' roll era in the music: Cole Porter and Rodgers and Hart, where the language was kind of playful and interesting melodies with horns and strings.”

No matter if hit singles come or not, Detweiler and Berquist will continue writing and singing songs. Not because they need the trappings of pop stars, but because it makes them better people.

“Writing is something that if I stay engaged in, I live my life with my eyes more fully open,” said Detweiler, who performs two shows at the new jazz dinner club Anthology on India Street Saturday. “I think that's what we all battle, this sense of going through life half awake. So, songwriting is something that we've built into our lives that we hope enriches us and helps us to live more soulfully. It helps us to live more intentionally and just to be aware of the stories that we're writing with our lives.”

Chris Nixon is a San Diego music writer.

Street Scene invading town this weekend

It's not the same festival five years ago or even last year, but San Diego's signature music festival is coming to Coors Amphitheatre this weekend. The lineup isn't as strong this year, and the only street is the one that will be choked with traffic leading to the outdoor amphitheatre in Chula Vista, but Street Scene is here. I wrote previews for both the Union-Tribune and the OC Register, along with a slew of profiles for SignOnSanDiego.com's Street Scene feature.

I'll be there this weekend taking photos and joting down notes.

Here's the Union-Tribune piece:

Stop me if you've heard this one ...

... the Brits are coming! English bands – the Invasion, Take II

By Chris Nixon
For the Union-Tribune
September 20, 2007

It was 20 years ago today, Sergeant Pepper taught the band to play ... actually it was more than four decades ago.

The Beatles stormed America in 1964, launching the first British Invasion on these shores, and Brit bands have occupied the minds of music aficionados on this side of the pond ever since.

Enter Street Scene, San Diego's signature music festival.
As festival founder Rob Hagey skewed the demographic younger every year since 2000, the Brit indie pop quotient has increased. In 2005, Kasabian and Hard-Fi represented. The following year, Bloc Party, Editors, The Futureheads and Nine Black Alps all made the journey to San Diego to ply their wares.

This year, Birmingham's Editors returns, along with Arctic Monkeys, Simian Mobile Disco, Paolo Nutini and Saturday's headliners Muse.

DETAILS
Street Scene 2007When: Saturday, noon to 11:30 p.m.; Sunday, noon to 11 p.m.
Where: Coors Amphitheatre, Chula Vista
Tickets: $65 per day
Phone: (619) 220-TIXS
Online: www.ticketmaster.com

Every year, dozens of new bands come out of England, Scotland or Ireland, renewing the U.K.'s status as a mainstay of indie rock.

“It seems pretty vibrant, pretty colorful,” said Editors lead singer and guitarist Tom Smith during a recent concert stop in New York City. “There's a lot going on. A lot of people talk about the second coming of the golden Brit pop years. But I don't really believe that.”

Smith is right: There can't be a second coming. In fact, pop music from the U.K. never stopped influencing American bands.

British groups don't have the stranglehold on the charts as they did in the 1960s, but a constant stream of young talent continues to pour out of the U.K. And the admiration is mutual on both sides of the Atlantic: “I may not be the best person to talk to, because most of the indie bands that I take to heart or I fall in love with are American,” said Smith.

“I like Klaxons. I think they're a really interesting band. But I love The National's record. I think they're an amazing band. LCD Soundsystem, Arcade Fire, these are the bands from recent times that I've really fallen in love with.”

Arctic Monkeys, sharing the Street Scene bill with Editors this year, rocketed into mainstream success with the 2006 disc “Whatever People Say I Am, That's What I'm Not,” the fastest selling debut album in British music history. Despite a general downtrend in record sales for most British bands, opportunities abound for young bands trying to get their start.

“Record sales aren't doing as much as they were 10 years ago,” said Smith, whose own band just released its second record “An End Has a Start.” “But there are more and more people going to shows. A new band on their first record will get to play Brixton Academy in the U.K. now. Years ago, you wouldn't get to Brixton until your second or third record. So, people are hungry for new music and hungry for live music. It's a good time to be in a band.”

It's a good time to be a music fan, too. With touring becoming the driving force behind a band's success, more groups are coming to the U.S. from the U.K. to tour.

“It's so hard to get on the radio here; it's nearly impossible,” said Smith. “So, you have to bring it to the people. We enjoy coming here and we always have a good time. We're aware that we're in the very early stages of the new record here,” he said.

“Of course, we'd like to be successful here. And I think given enough time we feel that American audiences will get it. I don't expect it to happen with this record. Hopefully, we can continue doing what we're doing and eventually take a bite of the big American apple.”

Despite Smith's comments, the Editors have made inroads into the American market. The band's first album, “The Back Room,” was packed with heady New Wave-layered guitars and catchy choruses, reaching No. 14 on the U.S. Heatseeker Chart. And, bolstered by the singles “Smokers Outside the Hospital Doors” and the title track, “An End Has a Start” climbed to No. 1 on the same chart.

More bands gaining early acceptance in their careers makes for a healthier music scene in the United Kingdom, Smith said, and that trickles across the Atlantic to the U.S.

“I can understand when the music fans get disillusioned when there's a new band every few weeks. But if you don't read the NME and you don't take that kind of music journalism to heart and you make decisions for yourself, I don't think it can be a bad thing.

“As in any era of music, if the band is good enough and they have good songs, the test of time will sort the wheat from the chaff. Won't it?”

Chris Nixon is a San Diego music writer.

And here's the OC Register piece (please note that Mike Ness is a morning person, and like to conduct interviews at the crack of 9 a.m. when he's not on tour....Mike Ness!):

San Diego's Street Scene is on the move again
Pushed out of the city's downtown in recent years, the festival takes place this weekend at a new venue in Chula Vista.

By CHRIS NIXON
For the Register

For the past 23 years, Street Scene has gathered together the diverse musical interests of Southern California on the streets and open spaces of San Diego. The festival was originally located on the streets of the then-seedy downtown Gaslamp District and founder Rob Hagey helped define the area as an entertainment destination, bringing in bands such as R.E.M., Ben Harper, Wilco, Wyclef Jean and Black Eyed Peas to name just a few.

By 2005, the Gaslamp and East Village neighborhoods had grown into upscale entertainment districts and residential areas, and the residents weren't happy about loud music blaring through their windows one weekend a year. Forced out of downtown, Hagey moved the festival to Qualcomm Stadium's parking lot. The move provided easy access to the trolley and obviously ample parking, but festival goers complained about enduring the scorching hot pavement and unofficially dubbed the show "Parking Lot Scene."

This year Hagey teamed with the Los Angeles based Live Nation to help promote the show. Street Scene was originally scheduled to take play at the Del Mar Fairgrounds. But the failure to book a big-time headliner and sluggish ticket sales forced the festival south to Coors Amphitheatre. Live Nation owns the 20,000-capacity venue. Street Scene this year will feature over 60 artists on five stages, with headliners Muse anchoring Saturday's lineup and the Killers holding down Sunday.

One thing has been constant through all the changes: Orange County's Social Distortion. Mike Ness and company have played the festival for the past five years, starting in the Gaslamp Quarter, through the years at the stadium and now in Chula Vista.

"It's kind of cool, because it feels like we've become a staple in Street Scene, wherever it's held," said a deadpan Ness.

Like many Street Scene fans who have been visiting the festival over the years, Ness misses the feel of Street Scene when it lived downtown: "I just remember doing it on Friday at 11 o'clock downtown. It was overwhelming. It literally felt like the whole city of San Diego was there standing in the middle of the street. It was like the town square almost. It felt really surreal. I don't know the word for it. It just felt really awesome."

Ness knows what he's talking about on the subject of music festivals; he's headlined many over the years. The 45-year-old singer grew up in Fullerton before forming Social Distortion in 1978. Alongside other young punks like the Youth Brigade and the Adolescents, the band quickly became nationally known in the underground punk scene.

Mixing traditional punk with country and rockabilly influences, Social D found a home on alternative radio stations in the '90s with songs like "Ball and Chain" "Story of My Life" and a cover of Johnny Cash's "Ring of Fire."

Social Distortion started playing Street Scene at the height of its popularity. The festival was drawing over 100,000 people in 2004.

"Unfortunately, things change and you have to adapt," said Ness. "I think it's a great event. And when it finds its final place, I think it will be a long-lasting thing. But it's so important where it's held. To me, if I lived in San Diego I would want to go to a cool place and see cool bands. Unfortunately, stadiums and parking lots are sterile.

"A rock vibe is hard to create. You throw a stage up anywhere and bring in a P.A. system and some lights and you have a show. Technically that's true. But it's always nicer if you have something with a vibe."

Hagey and Live Nation are hoping Coors provides Ness' definition of "vibe." Traditionally, Street Scene's lineup came from all over the musical map: reggae, world music, funk, rock, punk and soul. Since the record setting crowds of 2004, Hagey has booked acts that appeal to a younger demographic: AFI (2004, 2006), Ludacris (2004), the Used (2005), Yellowcard (2004, 2006), Method Man (2005, Kanye West (2006) and Matchbook Romance (2006).

This year's lineup includes a slew of young rock bands that appeal to even younger audiences: Panic! at the Disco, Augustana, The Academy Is…, The Rocket Summer, Brand New Tiger Army and Gym Class Heroes. You also have a select few mainstream hip-hop acts like T.I., Too and T-Pain. Throw in some reggae and world beat (B-Side Players, Eek-A-Mouse, Steel Pulse, Ozomatli, Pepper) and a few annual favorites (Social D, G. Love & Special Sauce, Slightly Stoopid) and you have the general thinking behind this year's Street Scene.

For Ness, Street Scene marks an annual string of shows running through Southern California and the Southwest. No matter the venue, Social D pencils in the music fest every September: "We look forward to it every year. It's nice playing outdoors and the weather is usually pretty nice. It's just a show that we always look forward to."

Matt Sharp comes to town

I wrote a little piece on the real Return of The Rentals (also the name of the band's debut disc) for the U-T, who are in the midst of a comeback bid with a new EP and a new full-length on the way. The leader and former Weezer bassist Matt Sharp and I talked a few weeks ago. He spoke about cleaning out the cluttered tour van, his hiatus from the music industry and his days back in Weezer. The piece isn't my best and the folks at Night&Day chopped the end of the story. My only defense is the story came amongst one of my busiest weeks as a freelancer (five stories due).

I had a chance to check out the show at HOB with my friend Greg. Copeland warmed up, but they were a little too whiney for me. Matt Sharp and The Rentals sounded good, but the crowd was super small and some of the band members looked a bit bored (including bassist/vocalist Rachel Haden, who appeared to be searching for the nearest fire exit during the show).

Anyway, here's the Night&Day piece:

After stepping back, Rentals step forward

By Chris Nixon
For the Union-Tribune
September 20, 2007

After forging a name for himself as the bassist-songwriter in Weezer and the architect behind the retro-keyboard outfit The Rentals, Matt Sharp needed to step away from the bright lights and surreal life of a modern rock star.

So, he packed up and moved to the tiny town of Leipers Fork, Tenn., an hour southwest of Nashville.

“There was a feeling of wanting to be completely disconnected from the whole lifestyle that I had inherited,” Sharp said recently. “I wanted to disconnect from not just the music industry, but everything in general. It was time to rethink things and start over, not just with music, but with life. I wanted to get a better understanding of how to be a better person.”

So, Sharp retreated from Los Angeles to the rural South. He released a solo album of acoustic tunes. He held low-key concerts, using the Internet and postering to promote shows. Little did he know: Stepping away from the mainstream music business for five years would make this year's Rentals reunion that much sweeter.

DETAILS
The Rentals, with Copeland and Goldenboy
When: Tonight, 8 p.m.
Where: House of Blues, 1055 Fifth Ave., downtown
Tickets: $22
Phone: (619) 299-BLUE
Online: HOB.com

Sharp first came to the spotlight through the indie rock-gone-pop quartet Weezer, co-writing the band's breakthrough “The Blue Album” along with popular singles like “Say It Ain't So” and “Undone (the Sweater Song).” Much like Kim Deal's success with The Breeders proved her worth to Frank Black and the Pixies, Sharp's achievements with The Rentals shed light on his major contributions to Weezer. While they are a fine rock 'n' roll band, Weezer has never been the same since Sharp's departure.

As mainstream music turned its eyes away from the metal-meets-punk of grunge, The Rentals' 1995 debut disc, “The Return of The Rentals,” marked an embracing of buzzing 1970s synthesizers and stripped-down pop sentiment. When Sharp started The Rentals with drummer Patrick Wilson (also of Weezer), Rod Cervera (guitar), Tom Grimley (keyboards), Cherielynn Westrich (vocals, moog), and sisters Petra and Rachel Haden (daughters of jazz bassist Charlie Haden and members of the indie rock group that dog), he had no idea the band would blow up like it did.

“When we recorded the first Rentals record, we didn't expect that there was going to be any audience at all,” recalled Sharp. “We didn't think it was even going to be released properly: maybe on some independent, maybe on some seven-inch singles. We didn't really have a big picture in mind for it.”

Fueled by the popularity of Weezer's “Blue Album,” Sharp and company found themselves riding a wave of attention.

“But by the time (the first Rentals record) was released, a lot of expectations were put on the album right away,” said Sharp. “The people who worked at the record company really thought it was going to be an instant success. The first Rentals album came out during the pinnacle of 'The Blue Album.' It came out just after 'Say It Ain't So' reached its peak and we'd already had multiple singles in Weezer. So, there were a lot of expectations for The Rentals.”

Along with a new lineup, Sharp is happy to have another crack at mainstream music.

Chris Nixon is a San Diego music writer.

Listening to an innocent version of you: A conversation with Emily Haines

It's been a couple of weeks since I posted, mostly due to a crazy hectic writing schedule and housesitting for a couple of friends. The fruits of all the hard work have started to be printed for public consumption, with three articles in today's Night&Day, an article in the OC Register, a blurb in the Phoenix New Times and numerous profiles for SignOnSanDiego.com. You'll be able to check out everything here, with some comments from me on each story.

Today, I'm cranking out a story on Metric for the Union-Tribune. I wanted to give you a glimpse of the conversation I recently had with lead singer Emily Haines. She was in New York getting ready for a North American tour, and she had a lot to say about the crazy year or two Metric and its members have experienced since the last time I talked with her (in the wake of 2005's "Live It Out).

Here's part of the conversation:

Nixon: Since it was recorded so long ago, what goes through your head when you think about “Grow Up and Blow Away’?

Haines: Everything that work symbolizes for us is the innocent and naïve period of beginning to try to be musicians for a living and all of the obstacles that we’ve encountered on the way. When I listen to that music I think of how pure and sweet our vision was of how it could be. Since then we’ve really taken matters into our own hands. We realized it’s probably a blessing that we weren’t handed (a contract) and then became recording artists in 1998.

It takes me back to the early days of how everything’s changed with the distribution of music and how people get the music they want. We had no real reason to release the record. But we finally got it back. We bought it back from the company that owned it. It was owned by Rykodisc. We just constantly got requests from fans, even though you can get everything free online. I’ve personally mailed out maybe a 1,000 CD-Rs in manila envelopes to pretty much anyone who wrote in to us and requested it. If they requested it, I would send it to them.

When I listen to (‘Grow Up and Blow Away’), it’s like listening to my little sister that I don’t have.

Nixon: A more innocent version of you…

Haines: Yeah. I have no regrets. Those are the days that we thought we could just sit in our house and make music and other people would do the legwork for us. We quickly realized that was never going to be a life that we could handle. Instead of listening to people who said that we’d had to look for someone to help us realize our potential, we just did it ourselves. I’m really glad we made that decision.

Nixon: Do you feel like you’ve songwriting has developed – in terms of lyrics, melodies and song structure -- since the first album?

Haines: I don’t really think about it. You do the best with the place that you’re in at the time. Some of the stuff on the album kind of cracks me up: the kind of R’n’B vocal stylings I was doing at the time. At some point down the road, I may look back at some of the stuff that I’m doing now and it may crack me up. But I’m O.K. with that.

Nixon: I know it’s been quite a ride for the band since the last time we spoke, in terms of selling albums and being generally embraced by fans with open arms at all the shows I’ve been to. How has that ride been for you from the inside looking out?

Haines: We often joke about the fact that we’ve been on a 20-percent incline since we’ve started. We’ve never dipped from that. And we’ve never gone vertical (in terms of popularity). We just do what we do. The four of us are music fans ourselves. Right now it seems like such an obsessive time about celebrity. I feel like people are constantly trying to complicate what we do for us, and that’s just made us clearer on what we do. It’s really not that complex at all. The four of us really love making music together and we have a lot of respect for people who can let loose and have a good time at a rock ‘n’ roll show. I go to other concerts and I’m like ‘We’re lucky, our fans are the best.’ It’s definitely a two-way thing. It’s a night of your life, let’s create a feeling.

Nixon: How important was it in terms of moving forward for the band to go and do a few music projects away from Metric?

Haines: It’s part of the concept of the band, I guess. I see it all the time with musicians: you get stuck in a rut. It’s like playing a role in a sitcom. You become a one-dimensional character if the only way you function is in a particular role. The reason why this clicked when we met was because everybody was really big music fans. I’d say Metric is probably the most pop thing in any of our record collections. Our tastes are more experimental and we’re all really open-minded about music. Everyone in the band has multiple skills. Jimmy went to Juilliard for trumpet and Joules is a great bass player and Josh is is a great singer and songwriter in his own right. It’s part of the concept that everyone should be able to develop. It just really worked out well this year. It gave everyone a chance to breathe and do some other things. And so coming back to start writing the new Metric record has benefited enormously from that.

Nixon: Were the songs for The Soft Skeleton kicking around a while for you?

Haines: It’s more like the sound of those songs was kicking around. I had established a relationship with Guy Maddin, the filmmaker, and I was inspired by his movie ‘The Saddest Music in the World.’ The imagery of the film informed how I wanted my record to sound. As a songwriter, piano has always been my first instrument and I’ve always been interested in doing more ambient soundtrack kind of stuff. It’s just a natural progression. Some of the songs have been around for a while. Most of them were written while everything was happening with Metric.

Nixon: And this current tour?

Haines: We haven’t toured the States in over a year. So we just wanted to come back and say hello and develop some of the new songs. We’ve written about 10 or 15 new songs and we’re going to play a bunch of them on this tour. It’s a really nice way to work. You write a song, and then before you get too committed to anything, you let it live and breathe as a song.

One monkey's opinion: Free is my favorite number

I'd like to speak on the concept of free for a moment. I can't tell you how many times greed has gotten the better of my better judgement and I've blindly followed pronouncements declaring free items: free credit report, buy one get one free, free shot of tequila if you just step inside. Most "free" experiences end with an intern at the bank spending a half an hour trying to earn a commission, or an evening of gluttonous chowing of mediocre food, or an evening surrounded by unspeakable debauchery in the haze of cheap tequila.

Even as freelancer, free from the life of commutes to work and 10-hour days living in cubicles, I'm saddled with the unsettling doubt of where the next paycheck is coming from and the crazy isolation of working from home (filling the void of the emotional roller coaster of office politics). That's what free gets you.

You see, people tell you nothing in life is free. And in general, I agree with them. "Free" just means you will pay with your patience, time and sanity. But last Saturday right next to Petco Park, I witnessed an afternoon and subsequent evening at the Belly Up of free music, no strings attached except maybe a few heart strings.

Celebrating its second birthday, the Southern Comfort Music Experience sounded too good to be true: Galactic, Black Rebel Motorcycle Club, Z-Trip, the Flaming Lips and an excellent local stage packed with SD-centric talent. Lis (my wife and eternal plus-one on the guestlist) and I went early to SCMX and secured a spot right on the barricades to check out Galactic (complete with MCs like Mr. Lif and The Coup's Boots Riley) and Black Rebel Motorcycle Club. The former sounded solid as always and lifted by Lif and Boots, The former looked like the aftermath of a tough night in Vegas but sounded gritty, raw and appropriately rock 'n' roll.

Just after BRMC's buzzing set, Lisa and I ran into an old friend, the verbose and wonderful Mr. Scott MacDonald. The knowledgeable Mr. MacDonald gave us two tix to Zap Mama later that same night at The Belly Up tavern in Solana Beach. We quickly accepted and scuttled home to eat dinner and prepare for even more free music.

After a rendezvous with Scott outside the Belly Up, Lis and I witnessed an incendiary set by Marie Daulne, complete with percussive vocals patterns and soul-tinged African funk jams. All in all, a very free-ing day on all fronts.

Marilyn Manson chases Alice

Shock rocker looks in the mirror and likes what he sees

By Chris Nixon
Union-Tribune
August 23, 2007

Marilyn Manson's adventures in Wonderland led him from the depths of despair, through the looking glass and the surreal world of red carpet celebrity and into a newfound period of growth and self-realization.

In the past five years, the singer-songwriter-producer-filmmaker survived a failed marriage to Dita Von Teese, the blinding lights of celebrity photographer flashbulbs and a general loss of direction in his music career. But it was during the writing of his upcoming film – a Hitchcock-esque psychological horror film titled “Phantasmagoria: The Visions of Lewis Carroll” – that Manson regained his identity as edgy rocker and boundary-pushing artist.

“This past year – before, during and after making this last record – made me realize a lot about self image and a lot about belief in yourself and identity,” said Manson recently from a hotel room in New York City. “I was in a period where I almost decided to not make music anymore. Then I started working on my script about Lewis Carroll.

DETAILS
Marilyn Manson with Slayer
When: Saturday, 7 p.m.
Where: San Diego Sports Arena, 3500 Sports Arena Blvd., Midway District
Tickets: $50
Phone: (619) 224-4171
Online: www.ticketmaster.com

“ 'Alice in Wonderland' in itself to me is a story about the search for identity: the girl getting smaller and bigger, and she doesn't know her name. I know now looking back that I was more than just fascinated with those things.”

Through retelling this tale of self-discovery in his own dark manner, Manson stepped away from the red carpets and the premières. He rediscovered his artistic mission: mixing mediums with his macabre take on Gothic, industrial rock.

“I started to stray from what was most fitting for me in life,” the 38-year-old singer said. “I was starting to feel obligated to fit into certain parts of the world that I don't want to. I wrote about that in a song called 'Red Carpet Grave.' It's no fault of my ex-wife's. I feel like I was expected to be more predictable or conservative in some strange sense, or just more tamed down and not being the person that I really am in order to signify my dedication and my love.

“I felt like I had to fit into this ideal role that is expected by society when you're married, and that's how you prove how you feel. The way I prove how I feel is by making music.”

Like the “shock rockers” and performance art musicians before him (Alice Cooper, David Bowie), Manson – who took his name from the buxom blond actress Marilyn Monroe and the guitar-strumming cult leader Charles Manson – used gender-bending attire and Gothic horror makeup to create an image to go along with his music in his striking videos and live shows. But for the past few years, Manson (the singer) had been in a rut. His marriage collapsed, and he went through a bit of a breakdown.

“There was a period when I didn't want to leave the house,” Manson said in his gravely voice. “I didn't really like being me. I started to feel like being me wasn't something that I had to do anymore. Maybe I didn't have anything left to say in music.

“A lot of the things that I represented seemed to become apparent to the rest of the world or seemed to become stylish to the rest of the world. It took me regaining my idea of who I was, essentially through making this record (this year's “Eat Me, Drink Me”), to realize I liked being me and I don't mind the idea of maintaining something important and powerful, in my opinion.”

Chris Nixon is a San Diego music writer.

Time Warped: Geezers beware, pt. 2

You have to plan out your schedule if you want to maximize your live music quotient when you visit festivals like the Warped Tour. Bathrooms, random puking teenagers, meandering shell-shocked parents, vendors, beer and BBQ can really slow you down. I usually try to have a vague plan when I enter the buzzsaw to your senses known as large music festivals.



For this year's Warped Tour, I wanted to check out Fishbone (re-united cause it feels so good), Flogging Molly ('cause Guiness tastes so good, as leader Dave King can attest) and Bad Religion ('cause they ARE the Warped Tour, aren't they?).



I also wanted to wander around and check out random bands, try to look cool backstage (I hung out with 94/9's Tim Pyles -- who seems to be at every show I go to) and check out the kids.



In general, the venue was hot and a little crowded. And too many of the bands sounded emo-whiney. But I did get to see my big three, along with Pepper.

OK, so Fishbone. They're a brilliant band mixing metal, ska, funk and rock. 311 wish they could be this good. Horns, funny lyrics and a general oddball sentimentality are a few of my favorite things, and Fishbone's. I don't think the Warpe Tour audience got it. They weren't even born when Fishbone started out in 1979. Hell, I was only eight years old. They sounded better than ever (but maybe not quite as good as when I saw Primus warm-up for them in the early '90s in Massachusetts).



Flogging Molly represented the pinnacle of the afternoon, taking into account my tastes and the audiences' tastes. The crowd lost it, and they put on a great show. They also graciously hung out after to sign and meet their fans.

As I Lay Dying: Amazing local band playing thrashy metal. I got some great shots of these guys. I normally don't listen to a lot of this kind of music, but they were the exception for me. The thing I like in my metal is musicianship, and As I Lay Dying has it. Plus their name refers to a novel by one of my favorite authors, William Faulker.



Bad Religion are pros, and they delivered a high intensity show that the crowd ate up. Pepper brought some island vibes. Overall, a good afternoon of music. The youngsters might be the Warped Tour's main demographic, but I dug it too.

Nick Hipa of As I Lay Dying

Time Warped: Geezers beware, pt. 1

Last Friday the Vans Warped Tour came through San Diego, making a stop on the sizzling asphalt of the Coors Amphitheatre parking lot. I had a few thoughts and photos I wanted to share.

First, the thoughts: The venerable tour celebrates its 13th birthday in 2007, making it the longest currently running annual touring festival (and also making it older than half the audience at the show this year).

It's hard to believe, but I went to my first Warped Tour nine years ago. I was living in Vermont then. So I made the trek 45 minutes south down to Northampton, Mass., catching Ozomatli on its first East Coast tour (I helped carry one of the big samba bass drums back to their tour bus). I also had a chance to talk with Deftones guitarist Stephen Carpenter and saw the crazed Aquabats for the first time.

When I was 26 (like I was for that Northampton show), the Warped Tour experience was entirely invigorating: tons of live aggressive music all day and into the night. Noe the Warped Tour is an annual reminder of my age and general softness.

Journeying to the Van Warped Tour for me now is a little like a stroll through the seven levels of hell for geezers like me, a 35 year old recovering from knee surgery two months ago. Again, for the second time in a eek, I found myself sitting in traffic to get entry to Coors (see my 311 review for more bitching about Coors). While talking a slow tour of the grounds around the amphitheatre en route to the parking lot, I witnessed a 16-year-old kid puking in the bushes. Listen, I'm not saying I never puked in bushes when I was 16. I'm sure I provided sufficient fertilizer for bushes around my small hometown in New Hampshire as kid. Anyway, I felt bad for the kid. And it set the stage for a day of hot sun, loud music, more traffic, dust, stale beer smell and tons of damn kids in my way with their rock 'n' roll music and such. All of which makes me feel old. Next stop: I'll be sitting on my front porch in a rocker with a shotgun full of rock salt chasing kids off my property. People who say "you're only as old as you feel," probably haven't been to the Warped Tour lately.

I think I'll finish this rant tomorrow, but first here's a link to the digital images I took at the festival. I especially dig the As I Lay Dying photos.

More words coming soon

I have all sorts of spanking new stuff brewing on the site. Coming soon: I'll have a review of the Warped Tour along with photos (see the preview which came out in the Union-Tribune below), and I'll talk about the epic weekend of music in San Diego (Southern Comfort Music Experience, Zap Mama at the Belly Up). And also I'll publish another preview from the U-T on Marilyn Manson (I really wanted to go check out the show Saturday at the San Diego Sports Arena, but I failed to make the proper sacrifices to the guestlist gods.

But first... hey check me out at the Phoenix New Times:

http://www.phoenixnewtimes.com/search/results.php?author=405398

I've done a few articles for Niki at the New Times, and I'm enjoying having another outlet for my rants. I'm writing up a preview on English R'n'B crooner James Hunter as we speak. More to come on him...

Warped Tour: A dash of pepper

North County trio to bring a special flavor to Vans Warped Tour

By Chris Nixon
Union-Tribune
August 23, 2007

Reggae, ska and punk will always be the natural soundtrack to an ideal San Diego day at the beach. The Hawaii-bred, North County-based trio Pepper knows this, bringing a perfect day at the beach to people all over the country and the world through its music.

“San Diego is the perfect place for our kind of music,” said Pepper drummer Yesod Williams during a recent Warped Tour stop in the Midwest. “It was the first place that really opened up for us as far as a major market goes. The beach culture and the surf culture go hand-in-hand with our music.”

Williams – along with Kaleo Wassman (guitars, vocals) and Bret Bollinger (bass, vocals) – formed a decade ago with no ambitions in Kailua-Kona, Hawaii, mixing ska and rock in a potent package set for popular consumption.

“We started in '97 in Hawaii, so we just actually hit our 10-year mark,” Williams said. “We started out for the first couple of years just playing parties and just having a band for fun. When we started, we didn't have an inkling of doing this for a living.”

DETAILS
Vans Warped Tour 2007, with Pepper, Fishbone, Bad Religion, Killswitch Engage, Flogging Molly, more
When: Saturday, noon
Where: Coors Amphitheatre, 2050 Entertainment Circle, Chula Vista
Tickets: $31.30-$33
Phone: (619) 671-3600
Online: www.ticketmaster.com

San Diego has played a key role in Pepper's development, giving Williams, Wassman and Bollinger a base on the mainland.

“The summer after we started the band, I took a trip to Southern California and hung out with some of our older friends who were going to college over there,” Williams said. “This is totally random, but I saw Buck O Nine play on the boardwalk in Mission Beach, and I just felt like maybe we should move the band over here and give it a crack.”

Now Pepper holds a spot on the Warped Tour's main stage, spreading the ska rock gospel to both coasts and beyond. But it wasn't always so cushy for the three guys in the band.

“We got our bearings around 2000 or 2001 when we went on the Warped Tour. I think we realized how hard it was going to be,” Williams said. “It was the longest tour we'd ever been on. We were driving ourselves in a van with no AC. We had to set up and break down the stage every day. But the Warped Tour was cool because it was the hardest thing we'll ever do in our lives, and it was all downhill from there.”

Pepper first struck with the 19 tracks of ska and roots reggae of “Give'n It” on Volcom Entertainment, followed by the breakthrough disc “Kona Town” in 2002 (heavily influenced by Sublime's success). Pepper employed more rock in 2004's “In With the Old,” recorded at 311's Hive Studios in L.A. The disc found the band exploring more varied territory, verging on the eclecticism of the Red Hot Chili Peppers.

Nick Hexum of 311, Tony Kanal of No Doubt and Sublime producer Paul Leary combined to help produce 2006's “No Shame.” In 2007, Pepper released a retrospective of outtakes titled “To Da Max,” providing a glance back to the group's straight-up ska and reggae days. With its roots in surf culture, Pepper knows that dues must be paid on a continual basis to be a success in life.

“We all grew up surfing,” said Williams, who helps Pepper co-headline the Vans Warped this Saturday at Coors Amphitheatre in Chula Vista. “It's one of those things like if you haven't eaten (it) real bad in a long time, you wonder when am I going to pay my dues. You have to pay your dues to Mother Nature every once in a while. It's the same in music.”

Chris Nixon is a San Diego music writer.

PEPPER STATS
Lineup
Kaleo Wassman – guitars, vocalsBret Bollinger – bass, vocalsYesod Williams – drums

Discography “Give'n It” (2000, Cornerstone Ras Inc.)“Kona Town” (2002, Volcom Entertainment)“In With the Old” (2004, Volcom Entertainment)“No Shame” (2006, Law Records)“To Da Max” (2007, Law Records)


'THE CIRCLE OF TRUST': PUNK GOES TO SUMMER SCHOOL
Since its inception in 1995, the Vans Warped Tour has been known by the bands as punk rock summer camp. A camaraderie builds among bands camping out for the summer together. For Pepper and a handful of bands this particular summer, there's a subculture among Warped Tour groups called “The Circle of Trust.”

“Basically, we call it 'The Circle of Trust': us and Bad Religion, Pennywise, New Found Glory and Flogging Molly,” said Pepper drummer Yesod Williams. “We set up all of our tents in a circle. When you're done with work, it's pretty much like you're at camp, like you're camping with all your heroes. So we're barbecuing and mixing cocktails with some legends that we grew up listening to and influenced us.”

Here's a breakdown of some of the bands in Pepper's “Circle of Trust” playing this year's Warped Tour:

Bad Religion: Despite the mileage, Bad Religion continues to radiate a youthful exuberance. Along with a co-headlining spot on this year's Warped Tour, Bad Religion released one of its finest records in 2007. The 14th album by the Los Angeles-based sextet – titled “New Maps of Hell,” marking the band's quarter century of contributions to punk rock – features songs penned by singer Greg Graffin and guitarist Brett Gurewitz. “New Maps of Hell” marks the third studio album with Gurewitz after he took a hiatus to run his label, Epitaph. A Warped Tour mainstay, Bad Religion continues to be the conscience of modern punk rock.

Pennywise: Pennywise's loquacious lead singer Jim Lindberg says on the band's Web site: “cogit ergo sum.” The short, clear phrase – “I think, therefore, I am” – sums up the SoCal punk band's 14-year history and mentality in three words. The members of Pennywise – Lindberg on vocals, guitarist Fletcher Dragge, bassist Randy Bradbury and drummer Byron McMackin – churn out hard, crunching guitars and machine gun drumbeats, staying true to their punk rock roots and their fans.

Flogging Molly: Irish rock and punk have been at home with each other for decades. This year, the Warped Tour gives another tip of the cap to Flogging Molly, a band melding sweet Irish acoustic sentimentality with sweaty, blue-collar punk brawn. The band's story begins appropriately at a pub, Molly Malone's on Fairfax Boulevard in L.A. After a few pints of Guinness, impromptu jam sessions would break out and an often-rambunctious Dubliner named Dave King would initiate the festivities. Born out of merry sing-alongs and Harp-soaked lullabies, King and the F.M. crew have exuded the same exuberance in their many shows since.

– CHRIS NIXON

311: One monkey has his say

I've always been on the fence about 311. They're definitely good musicians and proficient technically on their respective instruments. Their music always felt pretty good as background music at parties, but on closer listen the one word that comes to mind is "Lite." Metal lite. Rap lite. Rock lite. Dub lite.

But I went into last Saturday's show with an open mind, ready to give these Omaha transplants a chance. Plus they had English Beat and Matisyahu to bolster the lineup.

First, a few words about Coors. I know there's a back way to get to this venue, but I have yet to find it (if anyone has a tip to get there faster when there's a big crowd, give me a holler via a comment). Essentially, there's one way in, one way out. So it's always a headache to drive to this venue. After creeping along for a half a hour from the 805 to the parking lot, my wife Lisa and I sauntered up to the ticket window to grab our guest passes. A huge line awaited us, stretching about a football field long. I wanted to see English Beat (even though I know it's not '80 and it's not the original lineup), but instead spent 50 minutes in line with the sounds of Dave Wakeling's voice off in the distance. He plays locally pretty often (I believe Mr. Wakeling lives in North County), so I'll get another chance to see this band soon.

After fighting traffic and lines, Lis and I finally made our way into Coors. To their credit, they do carry a local microbrew now (Coronado), but it will cost you $13 for 22 ounces. I grabbed a beer scuttled to a spot in the general admission pit area just in time for Matisyahu. This is a solid reggae band, but lead singer Matisyahu is a bit preachy for my tastes. I get the whole link between traditional Hasidic Jewish beliefs and reggae (Zion and such), but I'd be better pleased if these guys let the music bring me to a spiritual place instead of long-winded diatribes and endless banter between songs. That said, Matisyahu is obviously a gifted MC and vocalist. Music with a message is fine (emphasis on music), but dub/reggae is the band's strength.

Now back to the headliners 311. I wanted them to be good. I really did. I admire their daring attempts at mixing rock, dub, funk, rap and reggae. I also admire their willingness to politicize lyrics and their non-ego-driven world view. I also enjoyed talking with Tim Mahoney to preview the show. He was a down-to-earth, easy-going person and is a talented guitarist.

As soon as lead singer Nick Hexum emerged donning a sleeveless muscle shirt emblazoned with "The Clash" (somewhere Joe Strummer is rolling in his grave), I knew we were in trouble. The crowd was really into it, and they should've been. 311 plays SoCal music.

But my biggest fears about 311 were confirmed. Not hard enough to be good metal. Not stoney enough to be good reggae. Not soulful enough to be good hip-hop. When I say "soulful," I'm referring to music born from strife and overcoming obstacles. While I'm sure 311 has hopped hurdles in its career, this is middle-class music made by the children of middle-class America.

RECAP
Venue: Lousy traffic control and ticket pick-up along with high beer prices, but I've come to expect that from Coors.

Sound: Actually quite good for a large venue. Coors usually gets bounce back from the brick wall at the back of the amphitheater, but I didn't experience any echo.

Crowd: Overly enthusiastic, but you can't ever fault the normally stoic San Diego crowd for getting into live music.

Performance: Disappointing. Simply, 311 are a bunch of well-meaning cheeseballs. Matisyahu was solid, but preachy. And English Beat gets a pass.

To quote Fishbone: Give a monkey a brain and he'll swear he's the center of the universe. Just one monkey's opinion.

311: 'Anything goes'

So I'm a bit behind in posting, but I have show reviews of 311 and the Warped Tour along with photos on the way. Here's the story on 311 which ran in U-T:

The members of 311 found success playing 'all the types of music we like'

By Chris Nixon
Union-Tribune
Aug, 16, 2007

Reggae, rock, rap and funk: 311 boldly goes where a lot of other bands have gone before. They just do it all in one song.

Since joining forces 17 years ago in Omaha, Neb., Nick Hexum (vocals, guitar), S.A. Martinez (vocals, turntable), P-Nut (bass), Tim Mahoney (guitar) and Chad Sexton (drums) have unabashedly melded diverse genres in their music.

“Our sound stems from all the types of music we like,” guitarist Mahoney said recently after the sound check at a festival in Saratoga Springs, N.Y. “Everybody (in the band) loves reggae music. Everybody loves Led Zeppelin. Everybody loves Bob Marley. And everybody loves funk and all types of good music. It basically stems from everybody in the band wanting to play the music that they love.

“It's like chocolate and peanut butter: two great tastes that taste great together. Reggae and rock. We're big fans of Bad Brains. Bad Brains was originally who turned me on to reggae. Everyone's been into these hybrid type of bands. Why couldn't we have rap over rock? It totally made sense to us to put a hard rock guitar riff over a dancehall groove. It's just an attitude of anything goes.”

DETAILS
Summer Unity Tour: 311 with Matisyahu and English Beat
When: Saturday, 7:30 p.m.
Where: Coors Amphitheatre, 2050 Entertainment Circle, Chula Vista
Tickets: $16-$37
Phone: (619) 671-3600
Online: www.tickemaster.com

After testing their hybrid formulas on fans in their hometown of Omaha, the quintet moved to Los Angeles. With the band's sunny harmonies between vocalists Martinez and Hexum and their hard-rocking reggae tunes, 311 always sounded like a Southern California band. So Los Angeles was a good fit.

“It was a good time to leave Omaha,” Mahoney said. “I was 20, and there comes a time when you need to leave your hometown. I love Omaha. I'll always have a place there. But it was good for us to get out of there as a group and as a band. We struggled when we got to L.A., eating ramen every day. But it was great.”

And that's when their career started to take off. Nashville-based Capricorn Records signed 311 to a record contract (with major label distribution), releasing the band's 1993 debut, “Music.” The album established 311's basic blueprint for writing songs and combing genres: Add hip-hop rhyme schemes to Mahoney's edgy rock riffs, include a bit of reggae soul and James Brown funk, and encapsulate it all with positive lyrics. Like the music itself, 311 crossed boundaries, drawing fans from the jam band scene and the burgeoning rap rock movement of the mid 1990s.

Ultimately, rap rock or nu-metal gave 311 its biggest boost into the mainstream market. Giving people a softer alternative to Rage Against the Machine and Korn, 311 found a home on alternative radio with 1995's self-tited disc (with hits like “Don't Stay Home” and “All Mixed Up”) and 1997's “Transistor.”
“We always want to improve and grow, as individuals and as a band,” Mahoney said. “I think we're fortunate enough to have fans that have stuck around and stuck by us. And we're really fortunate to have people who will follow us through wherever we end up meandering with the music.”

Although sales have dropped since the band's 1990s heyday, 311 continues to develop its songwriting with more intricate song structures and a more devout fan base through constant touring. Since 2000, the band has held annual concerts on 311 Day (March 11 or 3/11) in New Orleans (except 2006 after Katrina, in which the show migrated to Memphis). The 311 Day events are epic, stretching five hours and encompassing 60-plus songs.

“It's almost exponential after you've been playing with the same guys for a while,” said Mahoney, who plays as part of the Summer Unity Tour Saturday at Coors Amphitheatre with Matisyahu and English Beat. “It's pretty rare to find a group of people you can work with like that. It's been so long, it's really all we know. Everyone has their personal lives, but we've had this bond for 17 years.

“Each record, we continue to be inspired. As long as we continue to be inspired to play music, play music together and write music that we're honest about and that we love, we'll be all right.”

Chris Nixon is a San Diego music writer.

Putting the Squeeze back on

After trying the solo route, reunited band is back together, and back in the spotlight

By Chris Nixon
San Diego Union-Tribune
August 9, 2007

After performing to arena-sized audiences and selling millions of records in the 1980s and 1990s, the British pop band Squeeze returned this year to huge crowds and a growing legacy in popular music.

But it hasn't been all flowers and champagne since the band's breakup eight years ago.

Glenn Tilbrook and Chris Difford – the two creative forces behind the group – have fostered solo careers since the band's split in 1999. The two musicians have released largely unrecognized albums while playing small gigs in front of modest crowds.

During the transition from solo artists back into a band, the recent string of Squeeze shows has induced a bit of culture shock from both lead singer Tilbrook and guitarist Difford.

“I've been playing small shows mostly for the last eight or 10 years,” said Tilbrook, speaking a few days after a big reunion show at the Guilfest music festival in England. “Indeed, even before Squeeze split up, we were playing relatively small shows. But it was nice to play a show again like that. I'm in the fortunate position to enjoy all gigs, but I haven't had one of those sorts of gigs for a while.”

DETAILS
Squeeze, with Fountains of Wayne
When: Saturday, 7:30 p.m.
Where: The Park at Viejas Outlet Center, 5000 Willows Road, Alpine
Tickets: $65
Phone: (619) 445-5400
Online: www.viejas.com

“It's very peculiar,” admitted Difford from his home in England. “This weekend, I've got three solo shows, and I've just come off this massive stage playing an electric guitar in front of 22,000 people. I'm just about to go back to playing an acoustic guitar in front of 22 people. It's going to be very different.

“I'm not sure what these shows are going to teach me, but hopefully they'll teach me that there is balance.”

The main aspect separating this reunion from Difford-Tilbrook collaborations in the past is balance.

Traditionally, the division of labor in Squeeze broke down like this: Tilbrook wrote the music and Difford wrote the lyrics. Tilbrook has recorded two solo studio albums (2001's “The Incomplete Glenn Tilbrook” and 2007's “Transatlantic Ping Pong”), while Difford has recorded one (2004's “I Didn't Get Where I Am”) with another due for release next year.

With Tilbrook exploring his talents in his solo career and Difford releasing albums under his own name, both musicians have broadened their skill sets.

“I really love my solo career because it taught me a lot of things,” said the 49-year-old Tilbrook. “I realized I could do things I never thought I could do before, including writing lyrics. I never want to lose sight of that again.

'Tempted': A listener's guide to Squeeze
During their career spanning the past three decades, Chris Difford and Glenn Tilbrook have written a handful of classic pop songs: “Tempted,” “Take Me I'm Yours,” “Pulling Mussels (From the Shell).”

With their comeback in the works, it's time to take a look back at the albums that made these guys great. Despite yielding worthy pop songs like “Hits of the Year” (from 1985's “Cosi Fan Tutti Frutti”) and “Hourglass”/“Footprints” (from 1987's “Babylon and On”), the bulk of Squeeze's commercial and critical success originated in the British band's first five albums.

Let's take a look back:

“U.K. Squeeze” (1978, A&M Records)
Producer: John Cale/Squeeze
Lineup: Difford (guitar, vocals); Jools Holland (keyboards); Harry Kakoulli (bass); Gilson Lavis (drums); Tilbrook (guitar, vocals)
Singles: “Take Me I'm Yours,” “Bang Bang”
The gist: The first shot off the bow from Difford and Tilbrook, including the keyboard stomp of the classic “Take Me I'm Yours.”

“Cool for Cats” (1979, A&M Records)
Producer: John Wood/Squeeze
Lineup: Difford (guitar, vocals); Holland (keyboards); Kakoulli (bass); Lavis (drums); Tilbrook (guitar, vocals)
Singles: “Goodbye Girl,” “Cool for Cats,” “Up the Junction,” “Slap and Tickle”
The gist: The songwriting duo hones the art of the pop song, adding more guitars to the mix.

“Argybargy” (1980, A&M Records)
Producer: John Wood/Squeeze
Lineup: Difford (guitar, vocals); Holland (keyboards); John Bentley (bass); Lavis (drums); Tilbrook (guitar, vocals)
Singles: “Pulling Mussels (From the Shell),” “Another Nail in My Heart,” “If I Didn't Love You”
The gist: Equal parts nu-wave keyboard sheen and guitar-driven radio-friendly rock, “Argybargy” helped define infectious pop in the early 1980s.

“East Side Story” (1981, A&M Records)
Producers: Roger Bechirian/Elvis Costello
Lineup: Difford (guitar, vocals); Paul Carrack (keyboards); Bentley (bass); Lavis (drums); Tilbrook (guitar, vocals)
Singles: “Is That Love,” “Tempted,” “Labelled With Love,” “Messed Around”
The gist: With the addition of vocalist-keyboardist Paul Carrack, Squeeze scored the biggest hit of its career, the classic soul sound of “Tempted.”

“Sweets From a Stranger” (1982, A&M Records)
Producers: Squeeze/Phil McDonald
Lineup: Difford (guitar, vocals); Don Snow (keyboards); Bentley (bass); Lavis (drums); Tilbrook (guitar, vocals)
Singles: “Black Coffee in Bed,” “When the Hangover Strikes,” “I've Returned”
The gist: Tilbrook and Difford continue to explore accessible soul music with “Black Coffee in Bed.”

Best of the rest: “Cosi Fan Tutti Frutti” (1985, A&M Records); “Babylon and On” (1987, A&M Records); “Frank” (1989, A&M Records); “Play” (1991, Reprise Records); “Some Fantastic Place” (1993, A&M Records); “Ridiculous” (1995, Ark 21 Records); “Domino” (1998, Quixotic Records)

– CHRIS NIXON

“I never wrote lyrics when I was with Squeeze. And I've enjoyed writing with other people. I wrote with Steve Poltz (along with Ron Sexsmith, Chris Braide and Aimee Mann). Writing with other people has been fantastic. I never want to stop that. So, I want to maintain my solo career. I'm happy with it.”

Difford, 53, and Tilbrook met in London and formed Squeeze in 1974, gigging around Deptford (in southeast London) along with bands like Dire Straits while developing their trademark pop sound.

Pulling influences from the Mersey beat early Beatles sound, Motown 1960s soul and early 1980s nu-wave, Tilbrook and Difford penned commercially successful songs like “Up the Junction,” “Pulling Muscles (From the Shell),” “Black Coffee in Bed” and the Stateside smash “Tempted” (which featured the vocals of keyboardist Paul Carrack).

Although many of Squeeze's songs contain the pop appeal and musical sophistication of Beatles tunes, critics unfairly dubbed the songwriting partnership “the next Lennon and McCartney.”

As the hits subsided and Squeeze faded from the spotlight, the collaboration between Tilbrook and Difford became strained in the 1990s. The group went its separate ways in 1999.

Beginning a few years ago, a younger audience rediscovered Squeeze and rekindled interest in their music. An excellent book, “Squeeze: Song By Song” (released in 2004), documented the group's career. Universal (which now owns Squeeze's A&M catalog) decided to re-release all of Squeeze's albums in the U.K., complete with remastering and extra tracks.

To celebrate, Squeeze reformed with bassist John Bentley (the original bassist on “Argybargy,” “East Side Story” and “Sweets From a Stranger”) along with keyboardist Stephen Large and drummer Simon Hanson from Tilbrook's band to play a series of dates this summer.

This new string of shows might yield more than just a sold-out concert series.

“To be honest, we deliberately planned not to (write new material),” said Tilbrook. “Although subsequently in the past few weeks Chris and I have written another song together. And he's given me another bunch of lyrics, all of which I have to say are exceptionally good. I'm at a point where, why create barriers for yourself?”

Whether Squeeze ever records another album or not, Difford and Tilbrook have repaired their friendship and probably will continue to work with each other down the road.

“I don't think we quite know why we've come together on Earth to write such an amount of songs and to have a band called Squeeze,” admitted Difford. “I don't think we've ever had the opportunity to be as close as we are now, which is quite an achievement really.

“I think our younger years – speaking for myself – we spent touring but not communicating. And times have changed. We've grown up. We've both got children and we've been through different twists and turns in our lives. We've got our solo careers and we've both got Squeeze. It's something that we both love and respect.”

Chris Nixon is a San Diego music writer.

Ricardo Lemvo: Straight outta the Congo

Lemvo, following pioneers' footsteps

By Chris Nixon
Union-Tribune
August 2, 2007

Open Ricardo Lemvo's latest CD, “Isabela.” Just inside the front cover, you'll find an old photo of a dapper-looking man with the inscription: “1900 photo of grandfather Dom Joao N'lemvo, 1867-1938.” This image gives Lemvo's listeners insight into his 2007 release, along with his musical direction for the past two decades.

Born in the Central African city of Kinshasa (in the Democratic Republic of the Congo), Lemvo's grandfather, Dom Joao N'lemvo, hailed from the former Portuguese colony of Angola. The young Ricardo grew up speaking many languages, including Portuguese and Lingala (the language of the Congo). He also was enraptured by the music of the Congo, a blending of Cuban melodic sensibilities and African percussion.

“Cuban music has been popular throughout the continent of Africa since the late '30s and '40s,” said Lemvo during a recent interview from his current home in Los Angeles. “As a matter of fact, African musicians back in the '40s and '50s – in particular Congolese musicians – were already incorporating Cuban elements in the Congolese music. For example, they would take the piano line in Cuban music and then transpose it to the guitar. It yielded a sound or a style that is known to this day as the Congo rumba.”

DETAILS
RICARDO LEMVO & MAKINA LOCA
When: Tomorrow, 6 p.m.
Where: Pine Avenue Park, 3205 Harding St., Carlsbad
Tickets: Free
Phone: (760) 434-2904
Online: www.carlsbadca.gov

From that springboard, Lemvo came to the United States and launched his career in music, bringing the Congolese rumba to America. Lemvo burst onto the world music scene with his 1996 debut “Tata Masamba,” combining the big brassy melodies of Cuban son music with salsa's swing and Congolese percussive rhythms.

Along with his band, Makina Loca, Lemvo followed with two excellent releases on the popular Putumayo label: 1998's “Mambo Yo Yo” and 2000's “Sao Salvador.” The humble Lemvo gives proper respect to Franco & OK Jazz, Dr. Nico (Kasanda), Kalle and African Jazz, the musicians who created Congolese rumba: “I do not feel like I've created anything new. I'm just following in the footsteps of the pioneers of Congolese music.”

On “Isabela,” Lemvo sings in Spanish, Lingala, Kikongo, Swahili and the language of his grandfather, Portuguese.

“On my last album, I wrote a song called 'Serenata Angolana,' 'Angolan Serenade,' ” explained Lemvo. “Naturally, that song had to be in Portuguese because I am paying tribute to my beloved Angola, the land of my grandfather. I wrote that song the very first time I went to Angola in 2005.
“The journey for me was a spiritual one, on a personal level. Going there, I felt like I was going back home. And also, it was the very first time I had performed in Africa. So, it was fitting that I performed in the land of my grandfather.”

Ricardo Lemvo and Makina Loca will perform in a free concert tomorrow as part of Carlsbad's 2007 TGIF Jazz in the Parks schedule. Now in its 22nd year, the series – which features artists like Sue Palmer and Big Time Operator every Friday at 6 p.m. – is presented by the Carlsbad Cultural Arts Office and Rob Hagey Productions (the people behind Street Scene).

Chris Nixon is a San Diego music writer.

Chris Cornell: Smells like a euphoric morning

After dipping his toes into the water eight years ago, Chris Cornell returned to soloing

By Chris Nixon
Union-Tribune
August 2, 2007

After 13 years in the seminal Seattle band Soundgarden and six more in the band of refugees called Audioslave, singer Chris Cornell finally has time to focus on the one aspect of his musical path he's yet to fully explore: a solo career.

With its bombastic Black Sabbath inspired riffs and Cornell's signature pipes, Soundgarden helped launch the grunge revolution of the early 1990s. The group scored huge critical and commercial victories with 1991's “Badmotorfinger” and 1994's “Superunknown,” both albums rife with odd-time signatures and alternative guitar tunings.

In the midst of Soundgarden's success, Cornell collaborat ed with members of Pearl Jam in the Temple of the Dog project, which featured the duet with Eddie Vedder titled “Hunger Strike.”

Due to the band's hard-edged sound, record labels and music critics tried to pigeonhole Soundgarden into the metal scene. Through its six studio albums the band proved it had more artistic acumen and punk attitude than the run-of-the-mill hair-metal band, thus leading to a new genre labeled “grunge.”

DETAILS
CHRIS CORNELL
When: Saturday, 7:30 p.m.
Where: Viejas Concerts in the Park, 5000 Willows Road, Alpine
Tickets: $40
Phone: (619) 445-5400
Online: www.viejas.com

“Soundgarden struggled in the early '90s with the major labels not knowing necessarily who we were or what to do with us, at a time when there was a huge commercially successful metal scene,” said Cornell during a recent interview from his home in Los Angeles. “They started to try and run us down that pipe. And that didn't really work. We were in crisis, trying to stay away from it and carve out our own niche. Which we did, but it was difficult.

“Nowadays, it's easier for me. It's kind of like: Take the record or leave it.”

After the band's success petered out and the artistic focus of the band dwindled, Cornell launched his first crack at a solo career in the form of 1999's “Euphoria Morning” (though 1992's “Singles” soundtrack featured his acoustic song “Seasons”). Surrounded by bittersweet harmonies and acoustic instrumentation, “Euphoria Morning” exposes the quieter side of Cornell songwriter abilities.

“With 'Euphoria Morning,' it came after the end of my band, which was extremely important to me,” recalled Cornell. “I decided to start a solo career and that's that: done deal.

“But I always felt like since Temple of the Dog, I'm not ever going to be completely against the idea of collaborating with somebody else 'cause that was such a great experience. So, when the opportunity came up to do Audioslave, I was open-minded.”

Meanwhile, Rage Against the Machine vocalist Zach de la Rocha left his band in favor of a solo career in 2000, leaving guitarist Tom Morello, bassist Tim Commerford and drummer Brad Wilk searching for a singer. Cypress Hill's B.Real and Tool's Maynard James Keenan jammed with the ex-Machines, until producer Rick Rubin suggested Cornell.

Post-“Euphoria Morning,” three former members of Rage Against the Machine approached Cornell about collaborating on a new band called Audioslave.

“To a degree, I think people were surprised by the first record,” said Cornell, who just celebrated his 43rd birthday. “When we put out 'Like a Stone,' that wasn't new territory for me. I'd done things with Soundgarden and Temple of the Dog and the solo record that were melodic and mellow and psychedelic and trippy.

“For me, it was no big deal. For them, they were Rage, which was known for pretty much one thing. They were taking big risks.”

The big risks paid off.

Six years, three albums and millions of record sales later, internal interest in Audioslave faded. Morello focused on his solo project, “The Nightwatchman.” Rage Against the Machine actually reunited for a series of shows this summer, including a date at this year's Coachella Festival. And Cornell turned to recording his second solo disc, eight years after the release of “Euphoria Morning.”

“It ended up being a good thing and yielding some great music and some great tours, but it also put me back to square one with the solo career,” admitted Cornell. “It was a lot of time between solo records. There was a little bit of the perception: Oh, he's going solo after splitting up with a band – again.”

On the heels of Audioslave, Cornell has crafted an album of overt pop music on his long-awaited sophomore solo disc “Carry On,” released in June of this year. The album features an acoustic cover of Michael Jackson's “Billy Jean” and “You Know My Name” from the 2006 James Bond remake “Casino Royale.” Despite the radio-friendly soft rock that dominates “Carry On,” Cornell's voice remains one of rock's best.

“It's a little bit like starting over on a solo career,” said Cornell, who plays Viejas Concerts in the Park Saturday in support of “Carry On.” “That's sort of the give-and-take of (Audioslave): I got three great records out of it and the great experience of making records with these other three guys. “Where it hurt me is I had just started to develop a solo career and abandoned it. Now, I have to come back and start it over again.”

Chris Nixon is a San Diego music writer.

An artist ready to embrace change
Chris Cornell has paid his dues: navigating the underground music scene and signing with big labels in Soundgarden, exploring the world of arena rock with Audioslave and fostering his own solo career.

And each step has given him insight in the music business.

“Fortunately for me, I started making records in a time when there was a great U.S. indie scene,” said Cornell. “We came into it when it was really healthy. We were an indie band, so we made our own records. We drew up our own contracts with SST and SubPop. We sold our own T-shirts. We drove our own van that we owned. Then, we signed to a major label with the prior knowledge of how it's done. Then, we just started doing the same thing on a bigger scale.”

But as his popularity has grown and he's become a household name among the music-savvy, the industry has become focused on the bottom line more than developing artists.

“The music industry is not healthy,” said Cornell. “It's changing, and to a large degree it's dying. Ultimately, that's not necessarily a bad thing. It's transforming into something very different, but it can benefit the fans. And it can definitely benefit the artists, if the artists are willing or able to embrace the change. I think there will be an organic flow in the way people end up buying and supporting music.”

No matter the changes in the music industry down the road, Cornell will continue to be himself: a talented songwriter with a great voice.

“I'm not someone who's struggling to be known in the world of popular music: I am known,” said Cornell. “So, I'm just making records and writing songs. I'm not really worrying about how anyone might place it or how it's perceived. It doesn't really matter to me. – I'm just going to write songs, make records, tour and do what I do.”

– CHRIS NIXON

Projekt Revolution: Breaking out of the Box

When Linkin Park decided to 'write music that we feel like writing,' a new sound was born – and Projekt Revolution took a detour

By Chris Nixon
Union-Tribune
July 26, 2007

After surviving the trials and tribulations of a decade in the music business, Linkin Park is edging away from hip-hop in favor of radio-friendly emo pop. So is the festival they created.

Along with bands like Korn, Limp Bizkit and the Deftones, the six-piece rock outfit emerged from the Los Angeles suburb of Agoura Hills amid the nu-metal movement of the late 1990s, melding rhythms and rhymes of rap with the fierce guitar riffage of metal.

Led by Chester Bennington's charismatic vocals and the rhymes of Mike Shinoda, Linkin Park unleashed its debut disc, “Hybrid Theory,” in 2000. That catapulted the band into the spotlight, selling 4.8 million records in 2001 and earning Bennington and crew three Grammys along the way.

After releasing three more studio albums from 2001-2004 (including “Collision Course,” the interesting collaboration with Jay-Z), Linkin Park enlisted producer Rick Rubin in 2006 and headed into uncharted territory.

“On this record we went back to ground zero and really just decided that we're not going to write music that we think people want to hear from us,” said Bennington during a recent phone interview. “We're just going to write music that we feel like writing.

“I think that once we got out of that box we put ourselves into, it was very easy for us to just start writing music. We discovered that no matter what kind of song we wrote, if we all loved it, then it became a Linkin Park song.”

The result is “Minutes to Midnight,” 12-tracks released this year shifting from hard-edged rap rock to a radio-friendly, pop-oriented sound. Shinoda provides rhymes on only two tracks (“Bleed It Out” and “Hands Held High”), and the single “What I've Done” features Bennington on vocals surrounded by a softer overall sound.

While hip-hop still plays a small role in Linkin Park' sound, the shift away from rap is palpable in the latest album and the band's summer touring festival Projekt Revolution.

In past incarnations, rap artists like Snoop Dogg, Cypress Hill and Xzibit have shared the stage with Korn, Adema and The Used. In Projekt Revolution version 2007, the rock quotient has grown (My Chemical Romance, Taking Back Sunday and Placebo) while the hip-hop contingent has shrunk to one: Styles of Beyond.

Bennington explains the change: “I personally noticed in the past – with the exception of maybe Cypress Hill and Snoop Dogg – there was enthusiasm of the hip-hop artists, but there really wasn't a lot of overall excitement. I personally felt like the show kind of went into a lull in some cases. I want the band to be able to feed off of the crowd. I don't want to have to warm them back up after a show.”

So this year's 28-date tour, which lands at Coors Amphitheatre in Chula Vista Tuesday, comes loaded with emo-rock (My Chemical Romance), light Goth rock (H.I.M.) aggressive nu-wave (Mindless Self Indulgence) and accessible industrial (Julien-K).

Chris Nixon is a San Diego music writer.

FIVE STALWARTS OF THE REVOLUTION
When Projekt Revolution rolls into Coors Amphitheatre Tuesday, most kids will plunk down $14 for lawn seats to see tour organizers Linkin Park. But come early and get your money's worth. Spanning two stages, a total of 11 bands will play.

Here's a rundown of five Projekt bands worthy of your time:

MY CHEMICAL ROMANCE
Formed: 2001 in Jersey City, N.J.
Latest album: “The Black Parade” (2006, Reprise)
Why bother? Complete with lush strings, full horn sections and rocking songs, “The Black Parade” is one of the best concept albums created in the past decade.

TAKING BACK SUNDAY
Formed: 1999 in Amityville, N.Y.
Latest album: “Louder Now” (2006, Warner Bros.)
Why bother? With fierce guitars and Lazzara's emo-croon, these Long Islanders sit on the verge of mainstream stardom.

JULIEN-K
Formed: 2004 in Los Angeles
Latest album: “Death to Analog” (due in 2007)
Why bother? This electronic side project of Orgy creates slick infectious industrial music. Chester Bennington has collaborated with these guys, so look for a cameo.

MINDLESS SELF INDULGENCE
Formed: 1995 in New York City, N.Y.
Latest album: “Another Mindless Rip Off” (2006, Metropolis/Uppity Cracker)
Why bother? Devo on steroids. Need I say more?

STYLES OF BEYOND
Formed: 1994 in Los Angeles
Latest album: “Megadef” (2003, SpyTech Records)
Why bother? Keeping hip-hop alive at Projekt Revolution – Mike Shinoda will probably step onstage to share the mic on “Second to None” (“Transformers” soundtrack).

– CHRIS NIXON

TREE-HUGGERS SPREADING THE WORD – AND THE WEALTH
Linkin Park has made millions since the day its members first picked up their instruments in 1996, but Chester Bennington and his bandmates haven't been hoarding their earnings.

They've managed to spread the wealth to worthy causes. Along with helping people struggling in the aftermath of Hurricane Charley and Hurricane Katrina, the band started an organization called Music for Relief to help victims of the 2004 tsunami.

Recognizing the possible link between environmental causes, global warming and the recent crop of violent storms, Bennington and company have turned to helping raise awareness about global warming.

Through this year's Projekt Revolution and Music for Relief, Linkin Park has been working hard at making this event an environmentally conscious effort. Besides making the tour a “green” tour, Projekt Revolution and Music for Relief will be donating $1 from each ticket to give to American Forests for their Global ReLeaf program to plant trees to help reduce global temperatures.

“By raising awareness as much as possible, encouraging people to make simple changes in their life and showing them how by offering information at the tour, I think we can make a difference,” said Bennington. “If, at the end of the day, all we did was plant a bunch of trees, that's cool with me.”

– CHRIS NIXON

'United' they stand

This year's san diego lgbt pride celebration reaches out to 'our brothers and sisters' worldwide

By Chris Nixon
Union-Tribune
July 19, 2007

After 33 years of celebrating diversity and rights for the LGBT (lesbian, gay, bisexual, transgender) community in San Diego, the local Pride festival is adopting a new attitude: think globally, act locally.

By embracing this year's theme of “United for Equality,” the 33rd annual San Diego LGBT Pride Celebration hopes to lend support to LGBT communities locally and half a world away.

“Here, we can have the largest civic event in San Diego,” said Ron deHarte, executive director of San Diego Pride. “And our brothers and sisters in Eastern Bloc countries can't even go out in a group of 10 or 20 without being stoned and beaten up. So, there's a huge struggle in many places in the world still. So 'United for Equality' is a worldwide Pride theme this year.”

The celebration revolves around two popular events: a free mile-long parade along Sixth Avenue and a two-day music festival at Marston Point in Balboa Park.

Details
The 33rd San Diego LGBT Pride Celebration
When: Parade, 11 a.m. Saturday; festival, noon Saturday and 11 a.m. Sunday
Where: Parade in Hillcrest along University and down Sixth Avenue; festival in Balboa Park at Sixth Avenue and Laurel Street
Tickets: Parade, free; festival, $15
Phone: (619) 239-0512
Online: www.sandiegopride.com

The festival features headliners Erasure along with nearly 100 live performances, expanded beverage gardens, a food court and many informative booths to help people get involved with LGBT rights. According to deHarte, San Diego Pride made an effort this year to include more local bands. And the lineup reflects the effort: Cover Me Badd's Blasphemous Guitars, The Shambles, Manganista, Buckfast Superbee and Spell Toronto all will perform at the fest Saturday and Sunday.

“We're really trying to create a platform for independent artists here in town,” said deHarte. “We haven't really provided that in the past. For some people there's been this image that they couldn't play Pride because they weren't gay. So, we've really started to get the word out there and break down some of those barriers. We want to give the independent bands an opportunity to have a great audience like the Pride festival.”

DeHarte wants attendees to have a good time, but also walk away with a greater understanding of others in the bigger San Diego community: “It's more than just going to a festival and enjoying different music and food. It's sending a message of visibility. It's putting a face on a community that a lot of people may not be able to identify with. That's where some of the stereotypes start breaking down.”

Chris Nixon is a San Diego music writer.

STRUT IT ON SATURDAY
From drag queens to muscle-bound shirtless men, the Pride Parade allows the LGBT community a chance to strut its stuff. With more than 200 floats and organizations marching, the parade is a fun-loving spectacle to behold.

The parade draws 150,000 people each year to the streets between Bankers Hill and Hillcrest near Balboa Park, making it the largest annual civic celebration in San Diego. It gets packed along the route, so come early and wear comfy shoes.

This year's Grand Marshal is Bruce Michael Abrams, a well-known San Diego attorney and a commissioner of the mayor's San Diego Human Relations Commission.

“Bruce has a tremendous history of giving back to the community,” said San Diego Pride executive director Ron deHarte. “Whether it's with legal help or fundraising in his home, he's helped dozens and dozens of organizations, literally.”

Starting at 11 a.m. Saturday, the Pride Parade is free. With a course starting at University Avenue and Normal Street, the parade travels west to Sixth Avenue, then south to Balboa Drive.

– CHRIS NIXON

A 'positive message' and some good music
July 19, 2007

A few weeks ago, the True Colors show – a tour organized by Cyndi Lauper to benefit LGBT rights – swung through town at SDSU's Open Air Theatre. In introducing the synth-pop duo Erasure, show host Margaret Cho simply said: “Erasure has provided the soundtrack to our lives.” And the crowd was ecstatic.

Since 1985, vocalist Andy Bell and musician Vince Clarke have provided the soundtrack to the gay community with their dance-floor friendly pop. Clarke – also involved in the early incarnations of Depeche Mode and the British duo Yaz – brings his style of synth composition, while Bell served as a role model to many people by simply being himself.

Singles like “Ship of Fools,” “Chains of Love” and “A Little Respect” propelled Erasure into the spotlight in 1987. This year found the duo releasing a studio recording titled “Light at the End of the World,” with the singles “I Could Fall in Love with You” and “Sunday Girl.”

This year's Pride festival expects to draw 40,000 people over two days in Balboa Park. On Sunday, many festival-goers will be in Balboa Park to check out Erasure.

“From an entertainment standpoint, they're a fun band,” said Pride executive director Ron deHarte. “But also when you look at the members in the band and the place they've held in the LGBT community and in this civil rights movement over the past 20-plus years, they really have been a part of the growing movement of bringing about equality, justice, tolerance and diversity, not just in London, but worldwide. They're carrying a positive message.”

Erasure will perform at the San Diego Pride Festival at Marston Point in Balboa Park from 6:10 p.m. to 7:30 p.m. on Sunday. One-day tickets to the festival are $15, a two-day pass is $21.

– CHRIS NIXON