WNYC's Soundcheck

Tig Notaro: Live In The Greene Space

WNYC, New York Public Radio — Mon, 08 Jul 2013 00:00:00 -0400

Tig Notaro traded in a career in the music business for one in comedy. Notaro found success both with her stand up and with recurring television roles such as on The Sarah Silverman Program. But her career took an unexpected turn in 2012 with a series of traumatic events, including her mother's death and being diagnosed with cancer. It culminated in a now-legendary set at Los Angeles nightclub Largo. The emotionally raw and funny performance that became Notaro’s second comedy album, LIVE, and was originally released by the comedian Louis CK last year.

Currently Notaro writes for the comedy show Inside Amy Schumer, and co-hosts of the weekly podcast Professor Blastoff.

Watch Notaro deliver a sprawling and hilarious set on Soundcheck, recorded live at WNYC's Greene Space on June 12, 2013.

BeauSoleil: Sunny Cajun Boogie, In The Studio

WNYC, New York Public Radio — Thu, 20 Jun 2013 00:00:00 -0400

BeauSoleil means "beautiful sun" in French, and the Cajun group lives up to its name by crafting upbeat and danceable songs. The undisputed "Kings of Cajun music" -- led by fiddler Michael Doucet -- are back with From Bamako to Carencro, a record unlike any the band has done before. The record covers delta blues, John Coltrane jazz, and a piece that traces a connection between Bamako, Mali and the Cajun country of Louisiana. And yet, you will still want to dance.

Set List:

Two-Step de Port Arthur
Carencro
You Got To Move

BeauSoleil plays tonight at City Winery.

Gig Alert: Shannon and the Clams

WNYC, New York Public Radio — Wed, 19 Jun 2013 00:00:00 -0400

ARTIST: Shannon and the Clams

DOWNLOAD: "Rip Van Winkle"

SHOW: Wednesday at DBA ($7)

The girl group sound is one that just keeps coming back around. But the Oakland-based band Shannon and the Clams give it their own saucy twist. The lo fi trio makes a sound where girl group meets surf rock and garage, plus a little bit of doo wop. Get ready for a punk rock sock hop.

Download "Rip Van Winkle," above, and watch a video, below.

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JP Jofre: 'Hard Tango' With Bandoneón

WNYC, New York Public Radio — Wed, 19 Jun 2013 00:00:00 -0400

Don't be fooled by what you hear: Argentinean musician JP Jofre isn't an accordionist. He plays the bandoneón, a member of the concertina family that's known for being an essential part of tango ensembles in South America. Now based here in New York City, Jofre and his squeezebox (and his band) drop by the Soundcheck studio to play songs from his latest album, Hard Tango.

For more photos, visit Soundcheck's Tumblr page.

New Music: Kanye West's 'Yeezus', Primal Scream, And Mavis Staples

WNYC, New York Public Radio — Tue, 18 Jun 2013 16:28:25 -0400

Last month, Kanye West fans got a sneak peak at his new album, Yeezus, when he performed "Black Skinhead" on Saturday Night Live.

But this past weekend, Kanye-lovers stole a listen to the entire album when Yeezus leaked a few days before its official release date. The album is officially out today, and music writer, Lizzy Goodman, says that despite the singer's oft-maligned bravado, West has created another classic record.

“[Yeezus] samples every musical genre that we’re currently into," says Goodman. "But it’s still a traditional hip hop record in a lot of ways. Maybe he just needs to pump himself up and we need to tolerate that process in the meantime."

Lizzy Goodman, on Kanye West’s "Blood On The Leaves," which samples Nina Simone's recording of "Strange Fruit":

He's willing to go where you think no one should go musically. But it’s also reverential. He holds himself in such high regard [that] what he borrows is then also elevated. Everything is respectful by association with the greatness that is Kanye.

Goodman also gives her preliminary opinion on two other new releases from Scottish alternative rock band, Primal Scream, and gospel and soul legend, Mavis Staples.

On Primal Scream’s nine-minute epic, "2013":

Subtlety is not a primal scream specialty. This is among the first tracks that were released from this album, and that’s what I love about them. It's like, “Yes, this is our tenth record. Yes, we are us. And yes, we are imperious enough to release a ten minute epic among our first singles.” But the song is great.

On Mavis Staples’s “Can You Get To That,” a cover of a Funkadelic song that showcases the singer’s latest reinvention:

This record and the one before it — both of which she’s worked [on] with Jeff Tweedy from Wilco — has unlocked something new in her. It’s really interesting to see.

'20 Feet From Stardom': Shining The Spotlight On Backup Singers

WNYC, New York Public Radio — Tue, 18 Jun 2013 15:20:39 -0400

In David Bowie’s song, "Young Americans," Bowie's distinctive voice is easy to pick out. Yet if you listen closely, you can hear another famous singer wailing on the track in the background: Luther Vandross. Vandross was the rare backup singer who achieved fame all his own.

It's a subject addressed in 20 Feet From Stardom, a new documentary focusing on those oft-overlooked singers. The film is filled with fascinating interviews with stars like Mick Jagger and Bruce Springsteen, rare footage of backup singers at work, and goosebump-inducing clips of the supremely talented vocalists who support big-time artists.

Morgan Neville, who directed the film, and singers, Darlene Love and Merry Clayton, join Soundcheck host John Schaefer in the studio for a lively conversation about the previously obscured world of backup singing.

Morgan Neville, on the difficulty of making a movie about people who stay in the background:

It was actually incredibly difficult to research this because nobody ever notices the backup singers. Nobody ever says, "I've got great photos of backup singers." It’s always, "I’ve got a great photo of Tina Turner." And then in the background there happens to be a great setup of backup singers. I had to do all this research of the stars that had backup singers to then actually find the footage, and every time I would find one of these nuggets, it was just incredible.

Darlene Love, on learning how to sing through the church:

Early in our lives, we learned how to blend. Nobody’s voice could stick out. We had to listen to one another and do inflections together, do little runs — we had to do that together. It became a joy. Actually, it ended up being fun because we could to those kinds of things. And then record producers ended up depending on us to do those kinds of things when we went into recording sessions.

Merry Clayton, on the current state of backing singers:

There are no backup singers anymore. It’s over. That started going away about the mid-80s. They're all on the road now backing people. They’re making a fantastic living by doing that. Somebody like [Rolling Stones live backup singer] Lisa Fischer can demand unbelievable payment for what she’s doing.

Watch Judith Hill, a young backup singer and one of the stars of the film, perform on The Voice.

Gig Alert: Laurie Anderson

WNYC, New York Public Radio — Tue, 18 Jun 2013 00:00:00 -0400

UPDATE (6/18, 3:45pm): Due to inclement weather, the show has been moved indoors to Stuyvesant High School at 345 Chambers St. Tickets will are first come, first served starting at 6:30pm. We've updated all information below.

ARTIST: Laurie Anderson
DOWNLOAD: "Flow"
SHOW: Tuesday at 8:00pm in Stuyvesant High School (no cover)

Laurie Anderson wears many hats -- violinist, vocalist, electronic musician, songwriter. But above all, she’s a storyteller. And tonight, Laurie Anderson devotes an evening to the idea of stories. She’s joined by guest artists and writers for a bill of music, literature and the spoken word.

Download "Flow," above.

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Julie Feeney: Irish Chamber Pop, In The Studio

WNYC, New York Public Radio — Tue, 18 Jun 2013 00:00:00 -0400

When Irish singer-songwriter Julie Feeney first visited Soundcheck two years ago, she impressed us with her charming chamber pop and her snazzy hat. Now, she's returned with a new album called Clocks -- which debuted at Number 1 on the Independent Irish Music Charts and was the Irish Times’ 2012 Album of the Year. Out next week in the US, Clocks focuses on some fascinating discoveries that Julie made while researching her family tree.

For more photos, visit Soundcheck's Tumblr page.

Set List:

Galway Boy
Dear John
If I Lose You Tonight

'20 Feet From Stardom'; 'Yeezus'; Julie Feeney’s Colorful In-Studio Set

WNYC, New York Public Radio — Tue, 18 Jun 2013 00:00:00 -0400

In this episode: A new film, 20 Feet From Stardom shines the spotlight away from the headliners and onto their backup singers. We talk with the director of the documentary, Morgan Neville, and two backup singers who star in the film, Darlene Love and Merry Clayton.

Plus: It’s Yeezus Day! We get an early take on Kanye West’s brand new album — as well as two other new releases — from music writer, Lizzy Goodman.

And: Irish singer-songwriter and snazzy dresser, Julie Feeney, joins us to perform a live set of songs from her new album, Clocks, in the studio.

Pandora Launches Shot in War Over Music Royalties

WNYC, New York Public Radio — Mon, 17 Jun 2013 17:39:12 -0400

The sale of a radio station in Rapid City, S.D., normally wouldn’t turn heads here at the Soundcheck cubicle farm. After all, stations change hands all the time. But last week, KXMZ 102.7 FM ("Today’s Best Hits Without the Rap!") was purchased by a newcomer to the broadcasting industry: the digital radio giant Pandora Media.

With the purchase of a terrestrial outlet, the company aims to lower the royalty rates its pays to songwriters and music publishers like ASCAP and BMI. (A station owner like Clear Channel, for example, pays lower rates to stream music via the digital iHeartRadio service -- a Pandora rival.) In the wake of the announcement, BMI has filed suit against Pandora over the rate issue.

Paul Resnikoff of the website Digital Music News joins us to talk about performance rates, Pandora's programming plans for the station and what role Apple's new streaming-radio project might be playing in the situation.

MTV's First VJs Tell All: A Chat With Nina Blackwood And Mark Goodman

WNYC, New York Public Radio — Mon, 17 Jun 2013 17:13:05 -0400

Sex, drugs and rock 'n' roll – that pretty well sums up the early years at MTV, at least according to some of the station’s earliest on-air personalities. Two of the station’s original VJs -- Mark Goodman and Nina Blackwood (respectively "the hunk" and "the video vixen," according to each other) -- talk about the new oral history, VJ: The Unplugged Adventures of MTV’s First Wave.

Nina Blackwood, on what she expected going into her role as a VJ:

When I went to MTV, that was what I was expecting -- to be a disc jockey, only on camera. I envisioned it to be like a really, really cool FM station, only on TV. I didn't go there wanting to be 'Miss TV Star' at all. I really thought that video music was going to catch on. I thought combining two of America's favorite pastimes, music and TV, would probably work.

Mark Goodman, on how he felt about MTV's reluctance to play music by black artists:

I don't think that they were racist, I don't think it was 'they're black people, we're not going to play them.' But, the error in the logic happened when J.J. [Jackson] pointed out to me, we're playing Culture Club and Spandau Ballet, and all these white bands that are basically singing R&B music. Why don't we play people who are black singing R&B music?

Nina Blackwood, on whether she and Martha Quinn were treated differently as female VJs:

I personally didn't ever feel that way. I didn't feel it was a boy's club as far as the work went, that stuff was given to Mark or J.J. or Alan because they were a guy. But, of course, the nature of rock and rollers are to try and pick up girls, no matter who the girls are. So in that regard, it was just kind of more of the same.

Mark Goodman, on whether MTV would have continued playing music videos had the original VJs stayed on:

Whether the five of us stayed or didn't stay, MTV made a decision in terms of their future, and that was: We will not grow old with our audience. This is what our demo is. This is what we will do to superserve them.... They probably would have gone in the same direction, and maybe we would have been behind the scenes, or maybe we would have been in the news department, or more than likely we would have been out.

Gig Alert: Hanson

WNYC, New York Public Radio — Mon, 17 Jun 2013 00:00:00 -0400

ARTIST: Hanson

DOWNLOAD: "Tonight"

SHOW: Monday at Irving Plaza

The band of brothers known as Hanson burst on the pop scene with their 1997 chart topper "MMMBop.” Their latest album is out Tuesday, June 18th -- and it’s called Anthem. Download "Tonight" -- a pretty anthemic sounding song from the record.

Download "Tonight," above, and watch a video, below.

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Cristina Pato: Galician-Tinged Bagpipes, In The Studio

WNYC, New York Public Radio — Mon, 17 Jun 2013 00:00:00 -0400

The bagpipes typically conjure images of rotund, bearded men in kilts playing traditional Scottish songs. Yet Cristina Pato, the sensational bagpiper from Galicia (the Celtic region of northern Spain), shatters that stereotype. Pato is perhaps most famous for her collaboration with cellist Yo-Yo Ma, and brings that unique sound of Galicia to the Soundcheck studio.

Set List:

"Muiñeira for Cristina"
"Muiñeira da Carmen"
"Pandeirada Bestia"

MTV’s First VJs Tell All; Pandora Goes Terrestrial; Cristina Pato’s Pipes

WNYC, New York Public Radio — Mon, 17 Jun 2013 00:00:00 -0400

In this episode: Sex, drugs and rock and roll – that pretty well sums up the early years at MTV, at least according to some of the station’s earliest on-air personalities. We talk with two of the station’s original VJs – Mark Goodman and Nina Blackwood – about their new oral history called VJ: The Unplugged Adventures of MTV’s First Wave.

Plus: Last week, the online music streaming service Pandora purchased KXMZ 102.7 (“Today’s Best Hits Without the Rap!”), an FM station in Rapid City, South Dakota. Why? We find out from Paul Resnikoff, publisher of the website Digital Music News.

And: Bagpiper Cristina Pato hails from the Celtic nation of Spain. Yes, Spain. The province of Galicia was originally inhabited by Celts, and echoes of Celtic music can still be heard there. Cristina Pato joins us to play live with her band The Migrations.

Plus: an excerpt from Efterklang's Tiny Desk Concert at the NPR Music offices in Washington, D.C.

Gig Alert: Grupo Fantasma

WNYC, New York Public Radio — Fri, 14 Jun 2013 00:00:00 -0400

ARTIST: Grupo Fantasma

DOWNLOAD: "Montañozo"

SHOW: Saturday at The Bell House ($15)

The Grammy Award-winning Latin funk orchestra Grupo Fantasma has been making their blend of new cumbia, psychedelia and rock for the last decade. The group has found a following in fans, and also fellow musicians -- their collaborators range from salsa pianist Larry Harlow to indie rock band Spoon to Prince.

Download "Montañozo," above, and watch a video, below.

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Peter Hook On Joy Division; Trixie Whitley's Powerhouse Blues

WNYC, New York Public Radio — Fri, 14 Jun 2013 00:00:00 -0400

In This Episode: Longtime New Order bassist Peter Hook reflects back on his first band: the short-lived yet influential post-punk group Joy Division. The band existed for less than three years -- and its story is tragic. But its influence on music over the last thirty-odd years has been enormous.

Plus: the powerful blues singer Trixie Whitley, daughter of the late musician Chris Whitley, brings her triumphant debut album to the studio. Watch a video of her performing the song 'Gradual Return.'

This is an encore edition of Soundcheck.

Scoring A Myth: Superman's Sonic History

WNYC, New York Public Radio — Thu, 13 Jun 2013 15:54:55 -0400

Although John Williams wrote his Superman: The Movie score forty years after the creation of Superman in 1938, his iconic music has become inextricably linked to the entire Superman myth.

"You could apply that theme to any of the things that had come before or even since," says Michael Matessino, who co-produced a CD box set called Superman: The Music [1978-1988]. "Any time you see anything with that character you think of John Williams' theme."

Matessino's set pulls from the early sounds of Superman that preceded Williams' score -- from the music that accompanied the animated shorts and radio programs of the 1940s and '50s to the music written for the Broadway show It's A Bird... It's a Plane... It's Superman!

Then, he talks about composer Hans Zimmer's completely revamped score for the new Man of Steel Superman film -- the first completely original score for a Superman film in 35 years. (Hear our interview with Hans Zimmer about his score here.)

On why John Williams wasn't the first choice to score Superman: The Movie:

Richard Donner, the director, had just done The Omen. The score for that was composed by the great Jerry Goldsmith. The Omen was his one Oscar win... and that was really who Donner was trying to get. But Superman was so long in its pre-production period that availability changed. Finally, the production schedule lined up in such a way that John Williams became available and he signed for it.

On John Williams' iconic score for the 1978 film Superman: The Movie:

It almost feels like he didn't just score the movie that Richard Donner made, but he actually scored the entire mythology to such a degree that you could apply that theme to any of the things that had come before or even since. Any time you see anything with that character you think of John Williams' theme.

On how the music of Superman shifted modes from major to minor back to major throughout the 20th century:

There's been a Superman for every decade and every generation. When the movie was made in the late '70s, the mood of the country and of the world was in one particular place, and it would not have necessarily been the same as where we were in the late '40s, where I think people were more open to something a little bit darker and moodier. Whereas in the late '70s, we were coming out of a very low era, and we were ready for some escapism and some optimism.

On what he thinks Superman fans will think of the new Hans Zimmer score for Man Of Steel:

I think it's going to work wonderfully in the film, but it's a very very different approach. I think that the modus operandi of this film is to present Superman for new generation as a character without the crutch of anything that had come before it. So to sabotage that with any association musically with what had come before would not work. So I think it's a very wise choice to do it.

Hans Zimmer Goes For 'The Hope Thing' In ‘Man Of Steel’

WNYC, New York Public Radio — Thu, 13 Jun 2013 15:41:07 -0400

Like Superman's ever-changing portrayal in his now-75 years, the music behind the character has also evolved over time -- beginning with the early animated shorts and radio programs of the 1940's, and continuing on throughout the 20^th century. But since that iconic John Williams fanfare first heard in Richard Donner-directed Superman film in 1978, the soundtrack hasn't received much of an update -- until now.

Grammy and Academy Award-winning composer Hans Zimmer — renowned for his score work on The Lion King, Rain Man, and more recently Christopher Nolan's The Dark Knight trilogy — is behind a completely revamped score for the latest Superman film, Man Of Steel. In an interview with Soundcheck host John Schaefer, Zimmer says it's music that helps to tell a "very different version of the myth and the legend" than the one that he grew up with.

Hans Zimmer, on his comic book superhero fandom as a child:

Growing up in Germany, everything I knew about America came from Spaghetti Westerns made by Italians or reading comic books. And it was Batman and Superman who were my favorites. My parents wanted me to read Goethe and Schiller and decent literature. And I had my pile of comic books under the bed and just loved it.

On composing a Superman theme in the shadow of John Williams:

John is the master. He’s one of a handful of the great living composers that we have. I grew up with it. I’m a huge fan. It’s in my DNA somehow. He casts a large shadow.

On waiting until the very end of Man Of Steel to showcase the movie’s main musical theme:

If you think about the Dick Donner and John Williams version, they declare themselves in the first note. This is a superhero. I kept thinking, we know he’s a superhero, but wouldn’t it be interesting if we did it the other way around? How can a stranger in a strange land become part of humanity? And… for movie, the question is that there is an endless search. You have one DNA. Do you have free will to become a human, or do you have to stay a Kryptonian? As a foreigner, it’s something I’m somewhat familiar with.

Gig Alert: Ice Choir

WNYC, New York Public Radio — Thu, 13 Jun 2013 00:00:00 -0400

ARTIST: Ice Choir

DOWNLOAD: "Teletrips"

SHOW: Thursday night at Cameo Gallery for the Northside Festival ($12)

Ice Choir is the brainchild of drummer, keyboard player and programmer Kurt Feldman -- who is also known for his work keeping the beat for Brooklyn indie pop band The Pains of Being Pure at Heart. For Ice Choir, he makes swoony, 80s influenced techno-pop.

Download "Teletrips,"above, and watch a video, below.

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Bernhoft: Looped Soul, In The Studio

WNYC, New York Public Radio — Thu, 13 Jun 2013 00:00:00 -0400

Considering he performs solo with simply a looping pedal, it's perhaps fitting that Norwegian soul singer, Jarle Bernhoft, only uses his last name. Bernhoft's 2010 album, Solidarity Breaks, brims with the kind of upbeat and layered songs that could be difficult to replicate on stage with a full band, let alone by himself. Still, he more than compensates with a perennially silky voice and inventive looping arrangements, both of which add a massive jolt of electricity to his live show.

Set List:

"So Many Faces"
"Cmon Talk"
"Come Around With Me"

Watch Bernhoft's viral music video for "Cmon Talk:"

The Sounds of Superman; Hans Zimmer's 'Man of Steel'; Bernhoft Loops Live

WNYC, New York Public Radio — Thu, 13 Jun 2013 00:00:00 -0400

In this episode: With a new Superman film in theaters this weekend, we hear about the music that’s accompanied the legend since its advent in the late 1930s -- from the early sounds of the animated TV shorts and radio programs to the 1966 Broadway musical to John Williams' iconic 1978 theme.

Plus: Grammy and Academy Award-winning composer Hans Zimmer talks about providing a completely new score for the new Christopher Nolan-directed Superman film, Man of Steel.

And: The Norwegian singer, multi-instrumentalist, and looping wiz known as Bernhoft performs in our studio.

Yo La Tengo Says Goodbye To Maxwell's

WNYC, New York Public Radio — Wed, 12 Jun 2013 13:59:30 -0400

Sometimes certain musicians are not only associated with a city or a particular scene, but with a specific music venue. In classical music, it happens all the time: The New York Philharmonic is always associated with Avery Fisher Hall, while the Los Angeles Philharmonic means Disney Hall.

Still, you don't see so much of it in the rock world. Perhaps that’s why the imminent closing of Maxwell’s, a club in Hoboken, N.J., is making such big headlines.

The venerable music institution was one of the rare places where a rock band could be closely associated with. And the group most closely linked to Maxwell's was the veteran indie rock band, Yo La Tengo. For the band, Maxwell’s was a musical home, a place where they apparently felt they could play anything — even a sacred Beatles song like “Eight Days A Week,” which the band covered in 2007 during their annual Hanukkah concert series.

Watch Yo La Tengo perform "Season of the Shark" at Maxwell's in 2012 for their annual Hanukkah series:

Ira Kaplan, the guitarist and singer of Yo La Tengo, goes almost all the way back to the beginning of the club. He reminisces with Soundcheck host, John Schaefer, about visiting Maxwell’s for the first time, running the soundboard for the club, and playing Yo La Tengo’s debut gig at the historic venue in 1984.

We also hear a some of your stories about the venue, and our technical director, Irene Trudel, emerges from the control room to talk about her favorite Maxwell’s Moments.

And, we want to hear yours. Tell us about your favorite shows and moments from Maxwell's in the comments section below or on Twitter (@Soundcheck).

Ira Kaplan, on the closing of Maxwell’s:

I’m sad that it’s closing. I’m close enough to the situation that I understand that it might be time. Obviously, our group has made it abundantly clear that we’re all about keeping things going for a long time, but you also want to recognize when it’s time.

On his first Maxwell’s experience:

I just remember the first time I went there to see The Individuals. Probably my first time on the PATH train [that runs between New York City and New Jersey]. Just that lonely walk up Washington Street, past fast food outlets that I never heard of. It felt like you were somewhere else. That was a nice feeling.

On Steve Fallon, the original owner of Maxwell’s, creating a positive atmosphere for bands:

He was feeding bands meals when a lot of those bands had probably never been given a free meal at another venue. It wasn’t necessarily economically driven. If the door didn’t do that well, he’d throw in extra money rather than to finding ways to cheat you out of the money that you’d earned.

On Yo La Tengo’s debut as a band, which happened at Maxwell’s:

Prior to that [we] had played parties there for our friends under different names doing cover songs. I don’t think I was really prepared for how different is was going to be. About half of the songs were songs we had written. A cover song instrumental was our first song, and then we launched into our first original song. I literally opened my mouth and nothing came out. I was so terrified.

Listen to our Maxwell's Spotify playlist:

Tig Notaro, Jeff Richmond, Robert Randolph And The Family Band, Live In The Greene Space

WNYC, New York Public Radio — Wed, 12 Jun 2013 11:00:00 -0400

Soundcheck is joined by comedian Tig Notaro, 30 Rock composer and producer Jeff Richmond and the high energy, pedal steel-led ensemble Robert Randolph & The Family Band, live in WNYC's Greene Space.

Tig Notaro traded in a career in the music biz for one in comedy – a choice that took an unexpected turn in 2012 when a series of traumatic events culminated in a now-legendary set at Los Angeles nightclub Largo. That performance became Notaro’s second comedy album, called LIVE, which was released by the comedian Louis CK last year. Notaro is also a co-host of the weekly podcast "Professor Blastoff."

Jeff Richmond has been working in show business for three decades – most recently, as the composer for the NBC sitcom "30 Rock" (starring his wife, Tina Fey). He is a former musical director and songwriter for "Saturday Night Live" and is currently developing the musical adaptation of the 2004 film "Mean Girls."

Robert Randolph, pedal-steel guitarist, has been described by legendary record producer Don Was as "equal parts street-corner church and Bonnaroo." Before Robert Randolph & The Family Band release their Blue Note Records debut Lickety Split on July 16, the group joins us for a preview of their rollicking new material.

It's Not Just About The Fights: The Zambonis Get Me To Love Hockey

WNYC, New York Public Radio — Wed, 12 Jun 2013 09:00:00 -0400

Tonight is game one of the Stanley Cup finals, and with my local team, the Boston Bruins, going up for the Cup against the Chicago Blackhawks, I can't turn in any direction without encountering someone who loves hockey.

But here's the thing: There are very few things I truly hate more in life than ice hockey: Chewing gum, glitter, and golf. Residing just a few rings of hell above these items is hockey. Why do we need another league locking out its players, bamboozling cities into building arenas, and contributing to the growing tide of concussions? All for a confusing swirl of dudes on ice in lumpy sweaters and socks. Besides I can't make sense of a winter sport that has its finals in June.

But have I missed something? Just in time to watch the Bruins continue its pretty phenomenal run, can someone convince me that hockey is worth paying attention to?

Dave Schneider is the lead singer and founder of The Zambonis, a band that writes and sings songs about hockey and hockey only.

Formed in 1991, The Zambonis have released six albums and performed at the 2002 and 2011 NHL All-Star games.

(P.S.: For those of you who are guitar players, Dave Schneider is also famous for this. Warning: This video contains graphic content for people who love Gibson guitars.)

So if there is anyone who can convince me to give the sport another chance, I've determined it's Dave. I reached out to him via Skype chat to see if he could get me to like hockey. Let's watch him try.

Dave Schneider: Good morning, fun seeker.

Erin McKeown: Hey there! I'm ready. You?

DS: Sure.

EM: Okay, first, thanks for doing this. I imagine you will take the task seriously.

DS: I am a serious person who, is not so serious. So, yes.

EM: Your job in this conversation will be to convince me why I should like ice hockey. Do you want to share how you'll do it or should we just start?

DS:We've already begun.

EM: Very zen of you!

First, so you know something about me, I love sports. I am a big baseball fan. I like pro football and most basketball. I grew up a Redskins and Orioles fan. Now I also love the Red Sox. I swam and played tennis growing up. I also played a lot of field hockey in high school. But, I have never liked ice hockey.

DS: Well, this makes no sense. With you loving and participating in all of those sports, there must be a mental block on why you don't like hockey. You obviously also love music. If you like jazz, if you like dance, then that's what real hockey is. Hockey is free-form and formed dance on ice with pucks, sticks... all of this while skating on a razor blade.

EM: That's quite poetic! Say more.

DS:I don't understand how you could like field hockey and not move into ice hockey.

EM: Well, I think this is probably one of my fundamental issues with liking hockey. I grew up in a small town in Virginia, and we didn't have ice. Even living in New England for the last 15 years, I have been on ice skates only once.

DS:: Let's move onto seeing the actual game. Have you ever gone to a college hockey game or semi-professional, or a Bruins game?

EM: I've never been to a hockey game.

DS: Ah. That's the beginning of this problem. There are many advantages to actually going to a hockey game. You don't have the typical, obnoxious fans that go to football games. You don't have the music playing all the time, like they do at basketball games. What you do have are passionate and for the most part, intelligent, fans (especially at the Harvard vs. Yale game) while watching a fantastic, high-speed, endurance sport.

EM: It's true. Baseball fans (especially at my beloved Fenway) are so obnoxious. These are good points in hockey's favor. Let's talk about endurance because it brings up another issue I have with hockey. I know there are different "lines" of players, but don't they play for just a minute at a time? Can you explain that?

DS:There are 3-4 lines on a team. When a line hits the ice, they are basically sprinting for 1-3 minutes. While sprinting they're thinking and working as a unit and gelling. Out of nowhere, as their tank is emptying, they have to somehow get to the bench to be replaced by the next line. If a player leaps over the boards to the bench for replacement at the wrong time, he leaves an opening for the other team to capitalize on his mistake. Timing is poetic. I hope you understand that no sport, to my knowledge, has this perpetual motion. When you see these guys get off the ice, the first thing you see is their head go down to catch their breath. Some guys do double shifts. They're the guys that think they can carry the weight. I find this inspiring.

EM: I can really appreciate that. It sounds like the players have a lot more responsibility on their shoulders and need a lot more awareness of their teammates than, say, a football player executing plays or a basketball player deciding to just drive to the basket. Another point in hockey's favor.

Let's return to the question of childhood. Did you grow up playing hockey? I imagine this also makes a difference. I grew up with the Washington Capitals in the Dale Hunter era, but it just never caught with me (See: aforementioned lack of ice).

DS: I played hockey semi-professionally (or what some call "mite" hockey) when I was nine and ten. I was actually a very good athlete and adapted quickly to all sports. I loved all the equipment the goalie had, so I wanted to be a goalie. Finally, late in my short career in hockey, I got to be the goalie.

A pumped up ten-year-old, I get in goal and I was completely afraid of the puck, a real puckin' neurotic. The guy took his first shot and as the puck approached, I went left -- about two feet away from the puck. I continued to avoid any contact with the puck for ten goals. At the end of the game is when I first realized I should pick up an instrument. This is a true story.

EM: Are you a Connecticut native? Were the Whalers your team growing up?

DS: I am a Connecticut native, and I was a huge Whalers fan. As a matter of fact, I'm wearing a Whalers t-shirt as I type. Actually, the Whaler logo is one of my favorite logos in all sports history. But at the time you liked the Capitals, their jersey with the stars going down the sleeve (I owned a Dale Hunter jersey from that era) was really cool.

EM: I agree, the Whalers' logo is amazing. It has actually been one of the only things I have liked about hockey. I wish more teams really dug into the aesthetic opportunities of their logos. Design meets marketing meets fashion meets fandom. It's a very unique opportunity. I remember those Caps jerseys well. They were much better than that awful blue and gold eagle thing they did for a second after. I know it's not politically correct, but I also thought the Bullets was a much better name for a team than the Wizards.

DS: Without being sly, or blatantly plugging, I do want to tell you that coming to hockey from the music side has been very successful for me and the band as far as bringing non-hockey fans to the game. One of the best things that happens when we play shows is meeting people who say "I never liked hockey until I heard your band."

EM: I think the idea behind your band is brilliant. I am all about mixing metaphors, formats, cultures, and getting people to rethink their assumptions through art. Music is really such a great way for that to happen. The Zambonis just seem a natural.

Besides that Whalers logo, the only other thing I have liked about hockey is the gear. I am a sucker for gear. Though I like the "nakedness" of baseball or soccer or basketball, I am also fascinated by what happens when you layer yourself with protection. Kind of like a mask, yes?

DS: The very first song I wrote for The Zambonis is called "Take Off That Mask". It was about the whole idea of freeing yourself, being you, and of course that sad goalie tale I just told you. Very funny, cute and to me, touching.

EM: So is that a reason to like or dislike hockey, that players are "hiding" under padding and masks?

DS: The gear has improved over the years, and it has to be that way. If you had a rock-hard, heavy biscuit coming at you at 100 mph, I think it's completely valid to cover up flesh and bone. In football or basketball, no one is being hit with a puck. Even with the hockey gear, there are still open spots where the puck can hit your body: Behind the leg, parts of the rib cage, the neck. I don't see the progress in pads as cowardly or hiding, I see it as common sense, a necessity.

EM: You knew this question was coming, so I imagine you are prepared. I think the fighting in hockey is contrived and therefore dumb.

DS: I did not prepare anything. So. The fighting.

EM: Everybody knows it's coming. Everybody knows what's going to happen. Players circle, they threaten, they punch, then they get penalties. Plus teams have to waste a roster spot on an "enforcer." I was quite moved by the New York Times' series on Derek Boogaard.

This is probably my chief reason for not being able to get into hockey. Though thinking of it as poetry is helping. But still, that seems at odds with the fighting, which again, to me, feels contrived.

DS: First off, I was the on-ice MC for the New York Islanders' farm team, the Bridgeport Sound Tigers. That means, I was the guy on the ice, pumping up the crowd, having some fun and trying not to be the douchebag, morning radio guy persona. Having that job, I became friends with the players. All of the players. Not just the skaters, but the so called goons, too. As a matter of fact, one of the "enforcers" was my roommate for three years, Jody Robinson.

To say it's contrived, or fake, is a huge error on your end. The purpose of an enforcer really came to play from the 1970's Philadelphia Flyers who figured out that if they had guys who physically beat the opposing team down, they would win the game. They won the Stanley Cup playing as such. The only thing that teams could do in defense, was bring on a couple of guys that could stand up to them. This works.

The only way a team can put up with a bully, is to put another bully up against him to say cut the shit. Over the years, fighting has waned. It's part of the game. And it's the part that some fans like. That might be sad to some, but in a 60-minute game, there might be a two-minute fight. That's it. Most of it is pushing, shoving, and words, which equates to a mental challenge. Not a physical fight. It's simply using intimidation as offense.

There are obviously sad stories. Absolutely. Being an enforcer is not an easy life to live. Hands are human and so are brains. But, these are guys who dreamed of playing hockey. For some, the fight is just part of the game. Some can get their head around what they do.

I want to share one more song: It is about a "goon," an old friend [who was] semi-pro: Alcoholic...drugs...downward spiral....as low as one can go... gets together...gets on the horse...NHL again...wins the Stanley Cup in 2009. Dream comes true. It is called "Whirlwind (The Ballad Of Godzy)" about Eric Goddard.

EM: That song is beautiful. I'm gonna have to think about your explanation about fighting for awhile.

You really got me with the "poetry/jazz/freeform" as a different way of looking at hockey. I imagine you are referring more to the process of making music than the final product, but is there a piece of music or a poem that you could point to that make you feel/hear/see something analogous to hockey?

DS: I love and could go for the more obvious songs that have the raw energy and speed of the sport like "Sabotage" by The Beastie Boys, "Ace Of Spades" by Motorhead or any Ramones or Andrew W.K. song.

But, a song by a man who has been an inspiration to me since I was 15 is a guy named Jonathan Richman. He has a song called "New England".

I'm from New England and just mentioning those words for make me feel either comfortable in fall or, chilled in the winter. It is obviously not about hockey but for me, it could be. I think of a frozen pond and a crew of kids playing hockey on it. Off the top of my head, that's the song that makes me feel, hear, see, smell and want to be either playing the game or at least writing more songs either vaguely or blatantly about the sport I stand by.

EM: Well, I think you've done your job. I'm willing to spend a little time trying to see hockey differently. Where should I start -- besides listening to The Zambonis, of course?

DS: I am going to let my wife answer this one, meet Katie.

Kate Lynch Schneider: Hey Erin. I'm not a hockey fan either! I see it and hear it all the time, but I haven't committed to liking it, really, even though I can sit there and watch the French Open for hours at a time.

I also played field hockey like you. Also, swim and tennis. I do know how to ice skate. I think I'd like to try to play hockey because it would really kick ass, but watching it isn't my thing. It's too fast, the puck is too small. To answer your question, going to a game at the Yale Whale is the way to start up as a fan and we'd like to invite you!

EM: That sounds like a ton of fun. Okay, I'm in.

The Zamboni's play June 15 at The Rock Shop in Brooklyn. Complete tour dates here.

Erin McKeown is a musician, writer, and producer. Her latest album is MANIFESTRA, out now on TVP Records. Follow her sports podcast “ * ” (@AsteriskPodcast) when it debuts in the summer of 2013.

Gig Alert: Air Waves

WNYC, New York Public Radio — Wed, 12 Jun 2013 00:00:00 -0400

ARTIST: Air Waves

DOWNLOAD: "Horse Race" (Demo)

SHOW: Wednesday at Union Pool ($8)

Some bands are open about their creative process -- so open that they’ll share demo versions of the songs they’re working on. The Brooklyn band Air Waves does just that, with this demo of the song “Horse Race.” There’s a rawness and melancholy running through -- it’s a window into a song in its most vulnerable state.

Download "Horse Race," above, and watch a video, below.

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Yo La Tengo's Ira Kaplan On Maxwell's; Your Maxwell’s Memories; Kendrick Scott Plays Live

WNYC, New York Public Radio — Wed, 12 Jun 2013 00:00:00 -0400

In this episode: The operators of the storied Hoboken, N.J. music venue, Maxwell’s, will close up shop at the end of July. Yo La Tengo’s Ira Kaplan, a veteran of the Maxwell’s stage (understatement of the year), joins us to talk about the club. Plus: Your Maxwell’s moments, and stories of the beloved music venue.

And: Drummer, Kendrick Scott, once described himself in an interview as a “pretty boring guy.” But we found out that Scott and his jazz quintet, Oracle, are also a crack basketball squad. We hear a live set from the band, whose new album is called Conviction.

Waylon, Willie And Kris: The Outlaws Of Nashville

WNYC, New York Public Radio — Tue, 11 Jun 2013 17:04:49 -0400

Let’s play a name game: Waylon, Willie and Kris. If you're a country music fan you can supply the last name, no problem. But it wasn’t always the case for these three music icons. And it wasn’t always the case that they were accepted as icons -- in fact they were originally outsiders.

A new book from the writer and documentary producer Michael Streissguth called Outlaw: Waylon, Willie, Kris and the Renegades of Nashville, traces the rise of the three country music upstarts -- Waylon Jennings, Willie Nelson and Kris Kristofferson -- and the way their lives and musical careers intersected.

Michael Streissguth, on the definition of a country outlaw:

The Outlaws were people who made music according to their own vision. They broke with the formula in Nashville. They decide they wanted to use their own songs. They wanted to use the studio musicians that they chose, not the musicians that the producer chose. They wanted to choose their own producers.

On the importance of Nashville as an incubator for the Outlaws:

People don’t always give Nashville credit for having this underground artistic scene that found a home in the West End of Nashville. That was like a glint of San Francisco in the Bible Belt. Lots of experimentation…. That freedom is very important. The times are very important. The neighborhood — the West End in Nashville — is very important.

On the frequent collaborations between Jennings, Nelson, and Kristofferson associated with the Outlaws:

You began to see particularly Waylon and Willie showing up together on record. It happened all the time. But also, the three of them showed up on concert bills as well. It became very common for them to show up, even when Kris was in Hollywood. He always loved having that experience of performing with Waylon and Willie.

On whether the outlaw archetype exists in country music today:

Living outside the written law has always been part and parcel of some people in country music. But I think [the Outlaws] put their own spin on it. It’s very much a cowboy Western thing with a bit of a dark side. We still see that archetype alive today in people like Zac Brown and Jamey Johnson.

Gig Alert: Ayako Shirasaki

WNYC, New York Public Radio — Tue, 11 Jun 2013 00:00:00 -0400

ARTIST: Ayako Shirasaki

DOWNLOAD: "Far Away"

SHOW: Tuesday at 12:30pm in Bryant Park (no cover)

When we hear "jazz piano” we tend to think of late nights and clinking glasses at dimly lit bars. The jazz pianist Ayako Shirasaki is no stranger to New York’s famously dark and brooding clubs. But today, she is bringing some sunlight into the equation when she plays an afternoon concert at Bryant Park.

Download "Far Away," above, and watch a video, below.

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La Santa Cecilia's Musical "Exhaust Valve"

WNYC, New York Public Radio — Tue, 11 Jun 2013 00:00:00 -0400

Los Angeles-based Latin pop band La Santa Cecilia recently released a new album, Treinta Dias (Thirty Days). It's all over the genre map – there’s cumbia, reggae, soul, tango and much more. But on the track "El Hielo," La Santa Cecilia enters the world of the protest song. In Spanish, "El Hielo" means "ice," and for many undocumented workers living in the United States, that word carries a double meaning; ICE also stands for Immigration and Customs Enforcement.

“El Hielo” tells the story of three immigrants living in fear of the law enforcement agency, and for the band La Santa Cecilia, it hits close to home. La Santa Cecilia's lead singer La Marisoul (the stage name of Marisol Hernandez) and accordion/requinto player Jose “Pepe” Carlos talk with Soundcheck producer Katie Bishop about the personal nature of the song -- and about other protest singers who have inspired them.

Laura Stevenson: Emotive Folk-Pop, In The Studio

WNYC, New York Public Radio — Tue, 11 Jun 2013 00:00:00 -0400

Singer-songwriter Laura Stevenson crafts emotive folk-infused pop songs with just the right amount of jangle, and a finely honed sense of storytelling. She plays selections from her new album, Wheel.

Set List:

"Runner"
"The Move"
"Renee"

The Renegades Of Nashville; Singing About ICE; Laura Stevenson’s Emotive Folk Pop

WNYC, New York Public Radio — Tue, 11 Jun 2013 00:00:00 -0400

In this episode: Author Michael Streissguth, joins us to talk about the Nashville game-changers profiled in his book, Outlaw: Waylon, Willie, Kris, and the Renegades of Nashville.

Plus: Soundcheck producer Katie Bishop talks with members of the Los Angeles Latin pop band La Santa Cecilia about “El Hielo,” the group's song about undocumented immigrants that’s become an anthem for the immigration reform movement.

And: Folk-pop singer-songwriter Laura Stevenson plays songs from her new album, Wheel.

That Was A Hit??! Extra Helpings of 'Sukiyaki'

WNYC, New York Public Radio — Mon, 10 Jun 2013 18:37:17 -0400

Brooklyn-based writer Paul Ford returns to our studio with the story of Kyu Sakamoto's “Sukiyaki,” in a new installment of our series about improbable chart success.

The story begins with "Ue o Muite Arukō," a Japanese pop song recorded by Sakamoto in 1961. When it was released in the U.S. two years later, the song was renamed "Sukiyaki," even though its lyrics have nothing to do with the hot pot dish. It became the only Japanese-language song to hit No. 1 on Billboard's Hot 100.

But that was just the start of Sukiyaki's catchy reign. "This thing got into the culture and held on," Ford says. "If you start googling 'Sukiyaki' and doing some research, there's no end in sight. There are dozens of covers on Spotify."

Best-known cover: Taste of Honey's ultra-smooth, English-language version, which went to No. 3 on the Hot 100 in 1981.

Best-known shout-out: Slick Rick and Doug E. Fresh's "La Di Da Di."

Creepiest reference: In a scene from the second season of Mad Men, "Sukiyaki" plays in a restaurant as Don Draper reflects silently on the death of a character's father in a plane crash. Kyu Sakamoto, the pop star who recorded the original version in 1961, died in the crash of Japan Airlines 123 on Aug. 12, 1985.

It’s The Economy Of Ticket Scalping, Stupid!

WNYC, New York Public Radio — Mon, 10 Jun 2013 13:53:01 -0400

Let’s talk about ticket prices -- for big concerts, big shows, big sporting events. Here's a new idea: ticket prices are just too low.

That got your attention, didn’t it? Well good, because Adam Davidson, co-founder and co-host of NPR’s Planet Money, wants to shine a light on a dark corner of the concert world: ticket scalping. He wrote a recent article about it for the New York Times and he’s come to some surprising conclusions. He joins us to explain.

The Perils Of Picking Just Three

WNYC, New York Public Radio — Mon, 10 Jun 2013 11:30:00 -0400

You may have noticed that we have a recurring feature on Soundcheck called Pick 3, where we invite a guest -- often someone from outside the music world -- to play three favorite songs for us. These segments are fun (or so I thought) and often tell us as much about the guest as they do about the music.

But recently, the tables were turned: I was asked to come up with my own three-song playlist for an online audio and video project called simply Three Pieces. Here, various musicians and related folks, including guitarist John McLaughlin, Kronos Quartet founder David Harrington, and Russian composer Vladimir Martynov, offer three favorite works and explain, on camera, why they're important.

So now I had to wrestle with a list of songs, trying to whittle it down to just three; and suddenly, I felt a pang of guilt for putting all our Pick 3 guests through this ordeal. Three songs?!? How do you distill a lifetime of listening down to three songs?

Well, I came up with a list I was relatively happy with -- and in this context, "happy" is a very relative word indeed.

And then I saw that Kronos' David Harrington had somehow gotten away with a list of, like, a gazillion songs. Okay, seven. And the Three Pieces folks seem to have posted videos of him talking about only three. Still, Seven Pieces would've been a helluva lot easier.

So, what would be on your list of three songs? Tell us in the comments section, or on Twitter.

Jon Hopkins: Subtlety, Depth, And Thick Beats, In The Studio

WNYC, New York Public Radio — Mon, 10 Jun 2013 10:52:27 -0400

Jon Hopkins has worked with both songwriter King Creosote and collaborated with legendary producer Brian Eno. But as a producer and electronic musician in his own right, Hopkins has released several solo records of heady atmospheric music brimming with sound that can fill the headphones. With his new album, Immunity, Hopkins plays off of that subtly and depth to create intelligent dance beats that are also bona fide club bangers.

Set List:

"Open Eye Signal"
"Abandon Window"
"Breathe This Air"

See more photos from Jon Hopkins' session at Soundcheck's Tumblr page.

Jon Hopkins performs at MoMA PS1 Warm Up on on Saturday, August 31.

Gig Alert: Poncho Sanchez

WNYC, New York Public Radio — Mon, 10 Jun 2013 00:00:00 -0400

ARTIST: Poncho Sanchez

DOWNLOAD: "Son Son Charari"

SHOW: Monday at BB King Blues Club & Grill ($32)

It’s time for a little salsa, courtesy of Poncho Sanchez. The Grammy award-winning jazz musician and congo player has been making imaginative and highly danceable records for thirty years -- but the best way to experience his high octane music is live and up close.

Download "Son Son Charari," above, and watch a video, below.

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The Economy Of Ticket Scalping; That Was A Hit?!?; Jon Hopkins Plays Live

WNYC, New York Public Radio — Mon, 10 Jun 2013 00:00:00 -0400

In this episode: Adam Davidson of NPR’s Planet Money podcast talks about his recent New York Times story on ticket scalping, and explains why economists are finding that ticket prices for concerts are often much too low.

Also: Brooklyn-based writer Paul Ford joins us for another edition of “That Was a Hit?!?” to tell us the story of 1963’s “Sukiyaki,” the only Japanese-language pop song to ever hit No. 1 on Billboard’s Hot 100.

And: English electronic musician and producer Jon Hopkins plays songs from his new album Immunity. And, he explains how Brian Eno changed his approach to music.

Erykah Badu: The Queen Of Neo-Soul Takes On A New Role, Artist-In-Residence

WNYC, New York Public Radio — Fri, 07 Jun 2013 13:28:47 -0400

People have called Erykah Badu the "Queen of Neo-Soul" for years. But now, she has another title: Artist-in-residence with the Brooklyn Philharmonic. This weekend in New York, Badu will join the Brooklyn Phil and conductor Alan Pierson, for two groundbreaking concerts unveiling new orchestral versions of her music. The genre-melding program pairs the Four-time Grammy Award winner with Brooklyn composer Ted Hearne, and features collaborative rearrangements of songs from the singer's ambitious 2008 album New Amerykah Part One: 4th World War, along with new music by Hearne.

The collaboration with Hearne began when he flew to Badu's home in Dallas, where she says the two "talked and chose songs, went through photographs and pieces of art, and tossed around lots of ideas."

Earlier this week, leading up to Saturday's debut at BAM's Howard Gilman Opera House, the singer and the large ensemble convened for the first time together at the DiMenna Center -- a rehearsal space in Midtown Manhattan -- to run through the orchestral hip hop works. It was also the first Badu had heard Hearne's arrangements performed with full orchestra. For Badu, the experience has been, even on that first day, "comfy."

"It's more than I expected and thought," Badu tells Soundcheck host John Schaefer. "You know, I'm pretty mutable when it comes to music, especially with a frequency that is familiar to me. Having a chance to hear this body of work done in a totally different remixed way, it's really cool. The different movements we go through are kinda what the process or the route that my mind was taking almost. So I just love it. And it's funky!"

Badu says that the songs on New Amerykah Part One were chosen in part because the themes and motifs are "a bit more social, analytical, politically speaking."

"The second one [New Amerykah Part Two (Return of the Ankh)] is a little more right brain -- emotional," Badu explains. "So I would call this my left brain part. And it's kinda me standing on an apex, looking around, shifting from one part of the world to the other, comparing what we're all going through."

MORE INTERVIEW HIGHLIGHTS:

Erykah Badu, on her approach to composing and songwriting:

"[It's] more of [me] throwing a big piece of clay on the table, carving away intuitively, and a piece is left on the table for you. You know? Just carving away, feeling your way through it."

On what she hoped to get out of working with the Brooklyn Philharmonic and what she's learned:

"Money. Some monty. Pay my bills. [laughs] But no, seriously, I was just hoping to learn and enjoy the experience. It's a whirlwind: I'm in the middle of, or the eye of this beautiful storm right now, looking around and learning. And a little out of my element, because I don't read music. And even as a composer, you can kinda catch on: The sheet music was put in front of me and I could follow it and understand it and I thought I really couldn't understand the language. So this experience has given me confidence in this area and wings in this area."

On what it it was like to stand in front of the ensemble for the first time:

"It felt like I was Curtis Mayfield, or Stevie Wonder, or someone in an analog experience that was able to actually manifest what was actually in their mind. When we're writing, I actually do hear strings and sweeping choruses and timpanis and clarinets and bass saxophone, and things. We don't always have access to all that stuff. And you don't even know that's what you're hearing. But once it's out, you know, in the atmosphere, and the frequencies there, it can only say: 'That was it. That's what I wanted to hear, that's what was meant to be.'"

On the possibility of a new record being in the works, and if this project may inspire new music:

"Yeah, it's gonna come out at some point in time, I'm sure. You know as a writer, there's always this downloading period which some people call writer's block. Which is really, to me, kind of a period to learn and to grow and to become, so that you have something to write about or something to say."

"I am so super excited. I have a million ideas. I've already written a record between walking from the rehearsal to right here. I got so many ideas just from sitting in the room with the musicians."

Gig Alert: Naomi Shelton & The Gospel Queens

WNYC, New York Public Radio — Fri, 07 Jun 2013 00:00:00 -0400

ARTIST: Naomi Shelton & The Gospel Queens

DOWNLOAD: "Am I Asking Too Much"

SHOW: Sunday at Plymouth Church ($20)

Juneteenth is coming soon -- the annual celebration commemorating the end of slavery in America is on June 19. This Sunday, in anticipation of the 144th anniversary of emancipation, gospel and soul singer Naomi Shelton will perform at the Plymouth Church in Brooklyn Heights -- a historic place in the struggle for abolition.

Download "Am I Asking Too Much," above, and watch a video, below.

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Yellowbirds: Expansive Pop, In The Studio

WNYC, New York Public Radio — Fri, 07 Jun 2013 00:00:00 -0400

Yellowbirds, the Brooklyn-based psych pop band led by songwriter Sam Cohen, returns with a second album, Songs Fom The Vanished Frontier. With big hooks drenched in layers of guitars and synths, it's a fitting follow-up to the band's expansive sound on its first album, 2011's The Color.

Yellowbirds has a residency at Rockwood Music Hall each Wednesday night in June.

See music videos for "Young Men of Promise" and "The Ceiling":

Erykah Badu And The Brooklyn Philharmonic; Yellowbirds; Napster Gets “Downloaded”

WNYC, New York Public Radio — Fri, 07 Jun 2013 00:00:00 -0400

In this episode: The Brooklyn Philharmonic has made an inspired but unexpected choice for their new artist in residence: Erykah Badu. We catch up with the Grammy Award-winning neo-soul singer and songwriter.

Plus: Brooklyn-based psych pop band Yellowbirds, led by songwriter Sam Cohen, returns with a new album called Songs from the Vanished Frontier. We hear some of it live.

And: Remember Napster? A new documentary called Downloaded explores the history of the controversial and now-defunct music-sharing service. We talk with the filmmaker/director, Alex Winter.

Colum McCann Wants Language To Operate Like Music On A Page

WNYC, New York Public Radio — Thu, 06 Jun 2013 16:50:32 -0400

Critics have called Colum McCann’s novel, Let The Great World Spin, the best post-9/11 novel yet — though most of the story takes place before September 11. The book starts with a brief but powerful prologue describing the sights and sounds of one morning in 1974, when high-wire artist, Philippe Petit, stood on the edge of one Twin Tower preparing to walk across to the other.

Now, McCann is back with a new novel, TransAtlantic, and it’s even more ambitious. It crosses the Atlantic, zigzags through centuries of time, and blurs the lines between fact and fiction. "The real is as imagined as the imagined is real," McCann explains. "A fact, when too deeply held, can often become its exact opposite: A lie."

We asked Colum McCann to join us with three songs -- but the writer, and avid music fan, came in with much more. He tells us about the music that he listens to while writing (ranging from Irish rock band Thin Lizzy to Argentinian pianist Martha Argerich), a racy album cover from his youth that he turned inside out, and music from Dexys Midnight Runners that name-checks a number of writers, including McCann's own father. Along the way, we hear about his new book too.

For all his love of music, McCann tells us that try as he might he can't carry a tune: “My biggest problem in life is that I do sing, but I can’t,” he says. "I’m the world’s worst at a party. I’m the bloke who stands there in the corner saying, ‘Wait ‘til you hear this one!’”

Colum McCann's Pick Three:

Sting and the Chieftains - "Mo Ghile Mear (My Gallant Darlng)"

Van Morrison - "Madame George"

Dire Straits - "Lady Writer"

Gig Alert: Nate Wooley

WNYC, New York Public Radio — Thu, 06 Jun 2013 00:00:00 -0400

ARTIST: Nate Wooley

DOWNLOAD: "Seven Storey Mountain III" (excerpt)

SHOW: Thursday at Issue Project Room ($10)

Trumpet player and composer Nate Wooley has been working on a seven part song cycle called Seven Storey Mountain for the last five years. The epic showcases Wooley’s flair for straddling post-bop, free jazz and experimental noise. Tonight, he performs with a lineup that includes drummer Chris Corsano, violinist C. Spencer Yeh and vibes player Matt Moran.

Download an excerpt from "Seven Storey Mountain III," above, and watch a video, below.

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Eleanor Friedberger's 'Personal Record,' In The Studio

WNYC, New York Public Radio — Thu, 06 Jun 2013 00:00:00 -0400

Most know Eleanor Friedberger as one half of The Fiery Furnaces, the art rock duo she formed with her brother Matthew more than a decade ago. While that duo is on hiatus, both Matthew and Eleanor have kept busy with solo projects; Eleanor Friedberger's low-key and highly listenable first album, Last Summer, was an introspective and nostalgia-filled collection that made our best-of list for the year.

She's now returned with a follow-up, Personal Record, which she co-wrote with John Wesley Harding. And like Last Summer, Personal Record is another album that waxes nostalgic -- but this time, it's pulls from the pop-rock sounds of the 1970s.

Set List:

"I Don't Want To Bother You"
"Stare At The Sun"
"Other Boys"

Colum McCann Picks Three; Eleanor Friedberger's 'Personal Record'

WNYC, New York Public Radio — Thu, 06 Jun 2013 00:00:00 -0400

In this episode: The award winning Irish novelist, Colum McCann, whose new book is called TransAtlantic, joins us to discuss some of his favorite music in a Pick Three.

Plus: Eleanor Friedberger — singer, songwriter, and one half of the band, Fiery Furnaces — returns with a new solo album, Personal Record. We hear some of it when she plays live in our studio.

And: A sneak preview of our conversation with the Grammy Award-winning neo-soul singer and songwriter Erykah Badu.

Digital Music News You Can Use

WNYC, New York Public Radio — Wed, 05 Jun 2013 18:02:40 -0400

Eliot Van Buskirk, founder of Evolver.fm, fills us in on the latest digital music news, including Google's new digital music service, the problem of collecting music in 2013 and how self-driving cars might affect the music business.

Jane Lynch Jumps Off A Creative Cliff In 'Annie'

WNYC, New York Public Radio — Wed, 05 Jun 2013 15:33:20 -0400

Jane Lynch is best known as the tracksuit-wearing tyrant, Coach Sue Sylvester, on the TV show, Glee. She’s also taken comedic turns in The The 40 Year Old Virgin, the cult comedy Party Down and Christopher Guest films like Best in Show and A Mighty Wind. But her latest role has her flexing her on-stage muscles, as she portrays the orphan-wrangling Miss Hannigan in the Broadway revival of Annie.

"It was kind of a jump off a creative cliff," she tells Soundcheck host John Schaefer. "But when this came up, I realized that all of the excuses that I was coming up with were pure, unadulterated fear."

It’s Lynch’s first time on Broadway, but her voice was ready; she's honed her skills singing on Glee and has been a fan of musical theater since childhood. Now, she's smitten by the stage and hopes for another Broadway turn after her short guest run in Annie. "I love it," Lynch explains. "I got the bug. I got it bad!"

On what appeals to Lynch about the role of Annie's Miss Hannigan:

This is somebody who hates where she's at, and thinks she deserves better things. I love playing people who are put in situations where they have no business. Like Miss Hannigan has absolutely no business being around children. Like Sue Sylvester too. I'm kind of getting those roles lately!

On learning how to rap Nicki Minaj’s "Super Bass" for Glee:

When I started out, it was terrible. Just awful. It was so hard to get past, “It’s awful, you have no business doing this, but in two to three days you’re going to be so much better and you’re going to actually enjoy this.” And indeed, I got much better. I can do it right now. I love it."

On the career goals she set herself when she started out:

I didn’t set out to do anything. I just wanted to work. There was a part of me that thought I should work at being a repertory actor, where I could do a variety of roles. I never saw myself as the star. As I started to work a little, I saw that I’m good at comedy. My goals for myself were nowhere near as grand as they ended up being.

Hear Jane Lynch sing in three videos below.

Annie is currently running at the Palace Theater. Jane Lynch will appear as Miss Hannigan through July 14.

Gig Alert: Frank Bango

WNYC, New York Public Radio — Wed, 05 Jun 2013 00:00:00 -0400

ARTIST: Frank Bango

DOWNLOAD: "Knowing You're Around"

SHOW: Wednesday at The Bell House ($10)

The New York songwriter and guitarist Frank Bango has been making his meticulously constructed pop songs for the better part of the last 15 years. Think of the great songwriting teams of the Brill Building in the 60s, but with Elvis Costello’s acerbic edge. Listen to "Knowing You're Around" from Frank Bango’s latest album, called Touchy/Feely.

Download "Knowing You're Around," above, and watch a video, below.

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Japanther: Throttling Punk Meets Wild Art Project

WNYC, New York Public Radio — Wed, 05 Jun 2013 00:00:00 -0400

Japanther was originally supposed to be an art project, and maybe they still are. Formed in 2001 by Matt Reilly and Ian Vanek while students at Pratt Institute, the brash Brooklyn duo has won people over with wild unconventional live shows: The band has performed with synchronized swimmers and marionette puppets, on the Williamsburg bridge and on the back of a truck. Yet at the heart of those bizarre art experiments, Japanther's hooky punk songs are sure to get a crowd flailing and dancing with abandon.

With buzzy guitars, blurry vocals, and a steady throttling pulse, songs like "Stolen Flowers" -- from the band's latest album, Eat Like Lisa Act Like Bart -- are short and sweet bursts of energy meant to be played fast and loud. Together, it's this mix of fierce immediacy and atypical high concepts that makes Japanther such an irresistible force.

Set List:

"Stolen Flowers"
"More Teachers Less Cops"
"The Drums Deliver"

For more photos, visit Soundcheck's Tumblr page.

Jane Lynch Just Keeps Getting Eviler; Google's New Music 'Play'; Japanther Gets Loud

WNYC, New York Public Radio — Wed, 05 Jun 2013 00:00:00 -0400

In this episode: Emmy and Golden Globe Award-winning actress, Jane Lynch (Glee, A Mighty Wind), joins us to talk about taking over the role of meanie Miss Hannigan in Broadway’s revival of Annie. We revisit some of her music-filled past roles on screen — and we talk about the songs that make her cry.

Plus: From time to time, we turn to Eliot Van Buskirk, founder of Evolver.fm, to fill us in on the latest digital music news. We pick his brain about Google's new digital music service, the problem of collecting music in 2013 and how self-driving cars might affect the music business.

And: The duo Japanther was supposed to be an art project, and maybe they still are. But they're definitely a band. They channel their inner Simpsons on a new album called Eat Like Lisa Act Like Bart.