Valparaiso Men's Chorus Sails the Straits of St. Claude

Booking the Best of the Beat was one of the best parts of my time at OffBeat, and the Valparaiso Men's Chorus played one of its most contagious sets during my tenure. It was the end of the night and the Parish was thinning out, but everybody who was left stood as close to the stage as possible and sang along with woozy energy to the set of sea shanties. Their may have been 16 people onstage, but the line between band and audience had dissolved so that in fact, the Valparaiso Men's Chorus was 60 or so male and female drunken voices strong.

The Valparaiso Men's Chorus returns with its second album, The Straits of St. Claude, and it reaches through the speakers just as live they leave the stage. There are a few "subtleties" such as the shift in "John Kanaka," which shifts to a second line beat half-way through before closing at punk velocity, but the songs generally come straight at you. Alex McMurray leads the chorus with sensitivity to the songs, so his lead vocal on "Hanging Johnny" has moments of near-delicacy, but more often than not, he gives them an appropriately spirited yowl. The songs are all call-and-response, and he's answered by half of the Bywater music community, who holler as if they warmed up for a few hours in the Saturn Bar - the Chorus' live home on St. Claude Avenue - before the session.

For the most part, the band provides structure for the songs, keeping them moving without drawing attention to itself. The Tin Men are the core, and they're joined by a number of artists including Greg Schatz and Dave Rebeck on accordions, Carlo Nuccio on drums, and Joe Cabral, Rick Trolsen, Matt Rhody, Chris Lane and Janelle Perrine on horns, whistles and strings.  When they get a chance to show off on the familiar instrumental "The Sailor's Hornpipe," the sea and the second line once again meet without selling out either.

Because the Valparaisos sing sea shanties, the rough-and-tumble atmosphere not only works but is essential. The songs are bawdy drinking songs, and McMurray and Company keep them that way, favoring the more off-color lyrics. The communal, irreverent vibe is central to the band's appeal, and part of what makes it so inviting. If I have a complaint, it's that it's hard to hear The Straits of St. Claude and not want a beer.

Flaming Lips to Set Guinness World Record in New Orleans

[Updated] On June 28, the Flaming Lips will come to New Orleans to the House of Blues to break a Guinness World Record for the most live concerts in a 24-hour period in multiple cities. The eight-stop tour will begin in Memphis on June 27 and move through Clarksdale, Oxford, Jackson, Hattiesburg, Biloxi and Baton Rouge before concluding at a location yet to be determined in New Orleans. The official press release promises "a not-to-miss mini-set featuring many surprise collaborations and guests." Tickets for the shows go on sale tomorrow; here's the itinerary:


June 27 -- New Fumes  & the Flaming Lips  --  Memphis, TN @  Handy Park                                            
June 27 -- Gary Clark Jr & the Flaming Lips -- Clarksdale, MS @ Ground Zero Blues' Club            
June 27 -- Grace Potter & the Nocturnals & the Flaming Lips -- Oxford, MS @ The Lyric                                            
June 28 -- Neon Indian & the Flaming Lips -- Jackson, MS @ Duling Hall                                            
June 28 -- Hunter Hayes & the Flaming Lips --  Hattiesburg, MS @ Benny's Boom Boom Room      
June 28 -- TBD & the Flaming Lips -- Biloxi, MS @  Hard Rock Casino                
June 28 --  GIVERS & the Flaming Lips  --  Baton Rouge, LA @ Varsity                                              
June 28  -- Grimes & the Flaming Lips  -- New Orleans @ The House of Blues



 The shows coincide with the June 26 release of The Flaming Lips and Heady Fwends - an album that includes collaborations with Ke$ha, Bon Iver, Neon Indian, Yoko Ono, Jim James, Erykah Badu and more - and the O Music Awards, a 24-hour online celebration of web excellence. The O webcast will follow the Flaming Lips on their attempt to break the record onstage and off.

 The track listing for The Flaming Lips and Heady Fwends:
1.  "2012 (You Must Be Upgraded) "(w/ Ke$ha, Biz Markie & Hour Of The Time Majesty 12)
2. "Ashes In The Air" (Featuring Bon Iver)
3. "Helping The Retarded To Know God" (Featuring Edward Sharpe and The Magnetic Zeros)
4. "Supermoon Made Me Want To Pee" (Featuring Prefuse 73)
5. "Children Of The Moon" (Featuring Tame Impala)
6. "That Ain't My Trip" (Featuring Jim James of My Morning Jacket)
7. "You, Man? Human???" (Featuring Nick Cave)
8. "I'm Working At NASA On Acid" (Featuring Lightning Bolt)
9. "Do It!" (Featuring Yoko Ono/Plastic Ono Band)
10. "Is David Bowie Dying?" (Featuring Neon Indian)
11. "The First Time Ever I Saw Your Face" (Featuring Erykah Badu)
12. "Girl, You're So Weird" (Featuring New Fumes)
13. "Tasered And Maced" (Featuring Aaron Behrens of Ghostland Observatory)

My 2009 interview with the Flaming Lips' Wayne Coyne, and my 2006 interview with Michael Ivins.

Updated 12:27 p.m.
Since this story was first posted, the House of Blues has been announced as the New Orleans venue. The text has been updated to reflect this.

Curren$y on Wiz, Pharrell and The Stoned Immaculate

Saying Curren$y's back seems wrong because he never goes away. The Stoned Immaculate is his second Warner Brothers release, and like Weekend at Burnie's, it presents Spitta at his most accessible. The beats are still luxurious and he still obviously enjoys his own languorous flow, but it's all slightly more precise, 15 percent less weedy (except for "Showdown" - he's post-verbal by the end of the track). As usual, he's chasing paper and smoking as much as breathing, but while the isolation that's implied in his rhymes is touched on here ("Privacy Glass"), guest spots by Estelle and Marsha Ambrosius particularly counter that remote vibe as women enter his musical world.

Unlike former runnin' pardner Lil Wayne, his major label releases don't seem like the things that the mixtapes were building to. Tha Carter II and III pulled together all of Weezy's musical and conceptual obsessions, while The Stoned Immaculate and Weekend at Burnie's feel like ads one more gambit in the Jets Life branding effort, and the truest expression of Jets Life comes on the mixtapes.

Check out The Stoned Immaculate on Spotify.

    

The Weeknd to the House of Blues

Toronto-based R&B artist The Weeknd - Abel Tesfaye - will play the House of Blues Tuesday, June 12. You can download his last three albums at his website. Like Frank Ocean and Nostalgia/Ultra, he's on the cutting edge of music-making, using mixtapes and free releases as a way of sampling tracks that otherwise couldn't be cleared. Echoes of Silence starts with the excellent "D.D.," which samples Michael Jackson's "Dirty Diana" in an obvious tribute that traffics on the buzz of the Jackson sample but stands on its own as a distinctive composition.

Like fellow Canadian Drake, his subject matter is how hard it is being a playa, and like Drake, he makes it work. Tickets go on sale Wednesday at 10 a.m.

 

The T-P Rally & America's Petri Dish

On Monday afternoon, New Orleans protested in New Orleans fashion. The Save the Times-Picayune Rally in the parking lot of the Rock 'n' Bowl featured beer, costumes - including Joan of Arc and an accompanying knight - and music. Kermit Ruffins joined the Lonely, Lonely Knights to wing a new song, "Do the Times-Picayune," and Allen Toussaint played a set of his classics backed by Rod Hodges and Rene Coman of the Iguanas with Carlo Nuccio on drums. Pianist Bob Andrews finished his set with a version of Smiley Lewis' "Shame Shame Shame," taking a tip from Treme and rewriting it for the moment as "Shame Shame Shame Times-Pic'yune."

As rallies go, the event was more a chance for past and present Times-Picayune employees and paper supporters to vent their frustrations at the decision by Newhouse to make Nola.com the focus and cut staff, salaries, and the daily paper down to three days a week. "This is not a part-time city; we don't deserve a part-time paper," organizer Michael Tisserand said from the stage. Many in the crowd wore T-shirts that read: "The Times-Picayune: We publish come hell and high water" - T-shirts that were given to the paper's staff after its coverage Hurricane Katrina - to remind Newhouse of the implicit promise that it had made to them. "This [promise] is being broken in ways we couldn't have imagined," said Lolis Eric Elie, who wrote at The Times-Picayune until he took the buy-out and left in 2009.

Frustrations ran high. Nobody likes the current state of Nola.com and its emphasis on the newest news, which at the moment of this writing is:

1. Police morale support group

2. Shrimpers meet in Plaquemines to hear federal turtle protection plans

3. A seat belts are for law enforcement officials too editorial

4. Olsen twins win fashion prize

5. An op-ed piece on Gregory Aymond's killing

6. Cissy Houston to write a Whitney Houston bio

7. Report on woody debris in West Bank levee delayed again

8. Independence woman dies in traffic accident near Tickfaw

9. Navy renews charter of civilian-owned, state-operated ship

10. Kenner Mayor Mike Yenni should have sought bids before renewing garbage contract editorial

If you read your iPad at 8:30 a.m., those would have been your headlines.

The uncertainty about the future of jobs and the future of journalism was conversation topic number one. Some took the delay in informing staffers of their futures with the paper/website as a sign that the outcry was having an effect, while others figured the postponed announcement had more to do with mundane, bureaucratic housework and that nothing had changed. 

A regular question was "Why us?" There are less newsworthy towns to experiment on and ones with less loyal readerships, and that's the heart of my anger at this situation. The daily paper has been a part of my life since I clipped the funnies out of the papers on one cross-country and made my own book of comic strips in a photo album. I still read the paper on my back porch with the dog first thing in the morning, but Newhouse is not responsible for my routines. I'll start my day another way, and it will continue to start. 

Ultimately, I'm also not sold on anti-Nola.com argument. It sucks but it's solvable, and AnnArbor.com has already solved some of them. I'm conscious of the act of reading a paper, so I'm aware of the way I can be drawn to a story I wouldn't have chosen based on its headline, but I suspect that the more time I spend reading on Nola.com, the more I'm going to become conscious of other forms of opportunity reading (for lack of a better term). Writing on the web can be as rich and in-depth as writing for print if not moreso because of the possibilities that links make available. The younger readers who interact with Nola.com first aren't less intelligent for doing so, and they probably have their own nuanced reading experience that we'll discover when it becomes our primary interface with the news. 

The question is will it? Will Newhouse continue to value the news-gathering work done by The Times-Picayune's reporters? Will it still take 20-plus paragraphs-long stories? Will it create a context that values and encourages such work? Based on what we've heard so far including the plans to move the staff into new office space in the CBD, it sounds like they have other priorities. And to sacrifice jobs and cut salaries for people who have succeeded in ways most newspapers envy is cruel. 

What upsets me most is that once again New Orleanians are the guinea pigs for an experiment. Since Katrina, we are America's petri dish. Want to test theories on education? New Orleans is broken - go there. Want to test theories on public housing? New Orleans' projects have been emptied - go there. Now Newhouse wants to test its ideas about 21st Century publishing on us, and in each case, the realities of our lives are taken for granted. Our children are test subjects, our poor are simply a demographic in mixed income neighborhoods, and we're potential clicks for a publishing house. In each case, our lives are devalued and our interests discounted. The people who will lose their jobs are not abstract entities or job titles; they have families and car payments and lives. Our traditions (more likely habits) are what they are, and they're part of the fabric of our lives. For Newhouse to dismiss our lives and the impacts the decision will have so summarily is a profoundly hostile act that will not be forgotten.

Manufactured Beef?

It's hard to feel the reality in the Young Money Cash Money/G.O.O.D. Records beef. The story trickles along, but almost everybody involved is trying to back away from it, offering endorsements of their side without taking hard swings at the other.

The flashpoint seems to be Drake's lines, "Good ain't good enough / yo hood aint hood enough” in "Amen," the Meek Mill track with guest verses by Drake and Jeremih. "Good" has been heard as a reference to Kanye West's G.O.O.D. Records imprint, and it prompted G.O.O.D. recording artist Pusha T to respond with "Exodus 23:1"



Pusha T fired back not at Drake but at the top of the Young Money Cash Money roster - Lil Wayne. "Throw your flag up / you're hot shit / taking half of everything you get," Pusha says. "Contract all fucked up / I guess that means you're all fucked up / you signed one n***a that's signed to another n***a that's signed to three n***as / that's bad luck."

Lil Wayne responded with the menacingly titled "Ghoulish," which starts, "Fuck Pusha T and anybody that love him."




Beefs often bring out the best of their combatants, and the 1:30 running time for the song is wittier and less forced than most of Tha Carter IV. Still, it's hard to feel like his heart's in the feud. After the aggressive first line, Lil Wayne fights fire with weirdness. Besides, it looks like he had other priorities because only days later he dropped "My Homies Still" with Big Sean from his upcoming album, I Am Not a Human Being 2. Young Money exec Mack Maine also tried to downplay the beef, but he couldn't do with without taking a backhanded swipe himself:

if a gnat or a fly keep flyin' around you, eventually you gonna swing and swat it and just get it out the way," Mack said, using an analogy in which Pusha would play the insect. "Sometimes you swat it and the gnat dies; sometimes it just go away. ... You can keep flyin', just fly somewhere else, though. We chillin'.


Big Sean has done his part to dismiss the conflict. He is on G.O.O.D. "I feel like we need to come together and put all that aside," he said. "Because I work too hard!" Elsewhere, he said:

I think beef is weak. Crack is wack. I don't encourage that. Yeah, I'm cool with Pusha T, I'm cool with everybody. The thing is, people gotta understand that we got no point in beefing. We got families to take care of, we got moms to take care of. I ain't about to be over here arguing with nobody. We all on the same team. We all young men, black men, black, white, it doesn't matter, but just entrepreneurs trying to get it.

Pusha T hasn't made peace, but he hasn't stoked the fires either. Last night he was asked about the beef at the Hot 97 Summer Jam in New Jersey, where he didn't talk about it in interviews or onstage.

Behind the scenes, it's hard to imagine that there isn't a long-standing sense of rivalry, but someone's going to have to feed this thing if it's going to get musically interesting.

This Week's Soundtrack: June 4. 2012

When Carrie Brownstein was blogging for NPR, she wrote a post expressing her displeasure with the iPod shuffle feature:

most of us don't like the notion of random, even when the choices presented to us are culled from our own collections. It's like if there were a robot randomly selecting what we wear each day. Sure, it's our own closet and our own clothing, but we don't want to wear sweaters on 80-degree days, or to put on some magenta silk top that only looked good in the dressing room. With music, it boils down to mood and context, as well. 

I've never understood looking to your iPod to know your mood, though I'm always fascinated by Scott Tennant's efforts at Pretty Goes with Pretty to coerce iTunes into giving him what he wants through a process of grading and categorizing that exhausts me to think about.

I like to see what my iPod has in store for me. The first four songs on this week's soundtrack popped up last week during a bike ride, and they were so perfect for setting a mood that I decided to start with them. Here's this week's soundtrack:

1. "East of the River Nile" - Augustus Pablo: Maybe the funkiest track of the dub master's career.
2. "Bob Hope Takes Risks" - Rip, Rig & Panic: This post-punk band led by the Pop Group's Mark Stewart features a young Neneh Cherry on vocals. I'm curious about her upcoming collaboration with The Thing on avante-garde jazz and rock covers including Suicide's "Dream Baby Dream" and the Stooges' "Dirt."
3. "You Can't Beat Two People in Love" - James Brown feat. Lyn Collins: I'd dumped this James Brown comp on my iPod without listening to it, and I hadn't heard this track before it came up. Until I checked the title, I thought Collins was singing, "You can't be two people in love," which made the song my new favorite anti-schizophrenia anthem.
4. "Quasar" - Scientist: Dub producer Scientist was at his peak with a series of elaborately titled album, my favorite being Scientist Rids the World of the Evil Curse of the Vampire. This comes from 1981's Scientist Meets the Space Invaders.
5. "Small Talk" - Sly Stone: Some days the baby annoys me; on others, we're good.
6. "Buddy X" - Neneh Cherry: One things leads to another.
7. "Haunted Jukebox" - Saint Etienne: I'm not sure why I've been so curious about a new Saint Etienne album since they were never more than a casual affection in the past. This has the charming unassuming quality that I always liked about them.
8. "Girl Like Me" - Ladyhawke: At The Guardian, Matthew Horton wondered what 2009's class of '80s-centric synth-pop musicians were going to do for an encore. Since Ladyhawke lasted for one song for me - "Magic" is in my iTunes, though I can't remember it - I was intrigued by the hopes someone had for her.
9. "Monster Mouth" - the Popinjays: All this female-centric UK pop brought this to mind. I wish their Tales from the Urban Prairie was on Spotify.
10. "Came Out a Lady" - Rubblebucket: This regrettably named Brooklyn-based band plays Tipitina's on Tuesday night.
11. "Good Old Desk" - Nilsson: Nilsson's dissolute legend and often-woozy catalogue can overshadow how talented he was at his peak. This perfectly odd track from Aerial Pandemonium Ballet is a great reminder.
12. "Fading Into Obscurity" - Sloan: From the aptly titled Never Hear the End of It. I've never failed to reach the end of an album I enjoyed more, but there are so many ideas in each song that I can't process that much music. This is a great example - check how many songs has the band crammed into 4:10.
13. "Solid Gold" - Keith Moon: Nilsson made me think of this. Tony Fletcher's Moon: The Life and Death of a Rock Legend is great for its depiction of Moon, Harry Nilsson and John Lennon drunk and adrift in Los Angeles. They were among the first wave of musicians to discover how remarkably much money could be made through rock 'n' roll, and they were on the cutting edge of the corresponding indulgences. Rather than sounding sordid, their lives seemed pointless at that juncture.
14. "What the Hell I Got" - the Blue Shadows: I hoped to find this by Montreal's Michel Pagliaro, but Spotify says "non." Instead, I'll go with the rockabilly-ish version by Vancouver's Blue Shadows (which included . This is how the songs has generally been covered.
15. "Fiya Wata" - Edward Sharpe and the Magnetic Zeros: From the new Here. I'm still waiting to here it as rousing as their set was when the Big Easy Express visited New Orleans in 2011, but I didn't hear that kind of excitement on the previous album either, so maybe it's a live thing.
16. "O.F.Y.C. Showcase" - The Fall: Another iPod special. I put Your Future Our Clutter on my iPod without hearing it, and each time it comes on, I'm ecstatic. The world almost always needs a four-to-five minute-long interruption by Mark E. Smith.
17. "5 a.m. in the Morning" - Hannibal Buress: Comedian Hannibal Buress plays the New Movement Theater Wednesday night, and this is the first time I've been really excited to see a comedian in a while. He's got a distinctive, authentic voice that anatomizes his interactions with the world in scientific detail.

(Coming soon: MySpiltMilk.com)