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.
Tuesday, September 04, 2007
Saturday, September 01, 2007
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.
“ '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.
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.
Friday, August 31, 2007
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.
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.
Wednesday, August 29, 2007
Tuesday, August 28, 2007
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.
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.
Monday, August 27, 2007
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...
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...
Sunday, August 26, 2007
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
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
Friday, August 24, 2007
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.
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.”
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.
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.
Tuesday, August 14, 2007
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.”
“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.
“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.
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.
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