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Top Five Fridays: Public Health

Hey Folks,

The time has come in the week for a brand spanking new edition of Top Five Fridays, where I find a great and happening musical or otherwise artistically inclined cat to share a handful of their favorite records with the rest of us.  Last week found us for the first time ever in Melbourne, OZ, where the garage rockin’ shoe gazin’ genius known to the world as Steph Crase aka Summer Flake shared some of her top albums (you can check out that action over here).  Today we’re in Philly with Alex Moxam, the primary force behind Rock n’ Roll band Public Health.

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Alex Moxam of Public Health

 

I came upon Public Health’s stellar 2015 EP “Down” by hanging out on the wonderful Theory 8 Records home page.  The Nashville label/management company first came on my radar as they put out another of my favorite releases of 2015, Idle Bloom’s face melting “Some Paranoia” EP (You can check out Idle Bloom’s T5F over HERE). When you see that alums of Theory 8 include the likes of Caitlin Rose and Bully, you know they mean business.  Spending time on the Theory 8 page reminds me why true indie labels are so helpful to all of us out there scouring the interwebs for musical gold. Whether I am clicking through Theory 8, Stupid Bag, Salinas, Don Giovanni, Burger, or Infinity Cat, I feel like I can trust the musical taste behind it all putting out these records.  If I liked one release, chances are I’ll probably like the rest of the label’s output.

Anyway, listening to “Down” reminds me of one of the reasons I love Rock ‘n’ Roll so doggone much.  You can’t buy your way or gear your way to a great rock ‘n’ roll record.  You can have the most expensive producer, the best mixing board, and record the whole damn thing to tape, however if the songs and the spirit aren’t there, some group of cats who recorded their album in their living room with a handful of mics are going to come and blow you away.  On “Down,” Alex Moxam and his cohorts (album credits shout out to Kevin Kearney, Jordan Mrazik, Kevin Comly, Julien Rossow-Greenberg, Sam Combs and Ben Fra) deliver a handful of songs that are fun, raw, immediate, and totally thrive in the lo fi/home recording aesthetic of the record.  There isn’t a weak track amongst these five songs, but “Name of the Game” is a standout for me, where the urgency and introspection of the music drives home a lyrical expression of emotionally/intellectually fueled insomnia.

Read more…

Top Five Fridays: Summer Flake

Hey Folks,

Read more…

Top Five Fridays: Radiator Hospital

Hey Folks,

Read more…

Top Five Fridays: Justin and The Cosmics

Hey Folks,
It’s time for PART II of All The Day Sounds’ Great Nashville Adventure!  Last week we hung out with the layered guitar rocking goodness of Idle Bloom as they took us on a journey through five of their fav LPs, and this week we’re staying in good ol’ Music City to hang out with Justin Collins, the brains and all around ring leader behind the punk fuled glam garage outfit Justin and The Cosmics.
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Like Idle Bloom last week, I came upon the “punk-mericana” musical musings of Justin and the Cosmics due to their involvement with the farewell tour of now newly defunct Nashville Rock ‘n’ Roll outfit Those Darlins.  I can not say how thankful I am to the Darlins for always taking fantastic Nashville talent on the road with them.
Justin and the Cosmics 2015 release “Schooly Dreams” is one of those records that elegantly crosses the line between rock ‘n’ roll and singer/songwriter.  It is an album that is able to draw on Bowie/Lou Reed/T. Rex Glam Garage influences and harness them while twisting them into its own voice and sound, which is no easy feat.  Seconds into songs like “Rippin’ The Heart,” you feel like you’re listening to a record you’ve loved all your life, but you haven’t, and you’re glad as all get out that you’ve found it.  Justin Collins is a man who knows how to make a record kick, as evidenced by his excellent production work with Adam Landry as part of the production duo Cosmic Thug; producing kick ass records for the likes of rock ‘n’ rollers Diamond Rugs.
One of the reasons I enjoy Top Five Fridays is that I love listening to musicians talk and write about music they love, and today I am reminded of that all over again. Justin Collins has give me one of the most damn poetic run downs of albums I could have ever hoped for.  Seriously.  Any man who writes sentences like “Teardrops behind sunglasses in the sunshine and secret vices to pull you through the long night” gets my vote.  That line should really be in a song Justin.  Also I think I am going to get Justin to write my blog for me from now on.
Give it up ladies and gentleman for Top Five Fridays brought to you by Justin and The Cosmics!
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Top Five Albums (in no particular order) that NEVER GET OLD to me:
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Their first album. There have been times in my life since I first heard this album in the 1990’s that I wondered if I should keep my love for it in the closet because it was so personal to me. It was always like my secret girlfriend that I wanted all to myself and for no one else to have or even know existed. It’s gloriously depressed, the dreamiest of the dreamiest, with irresistibly intoxicating vocals and melodies and grooves that make you feel proud of being sad.  A true original record. Teardrops behind sunglasses in the sunshine and secret vices to pull you through the long night. I’ve probably listened to this album more than any other album in my life.
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An album produced by Phil Spector. Allegedly, Cohen hated making it, not unlike myriads of others who made records with the iconic lunatic. Cohen always delivers lyrically and has his own definitive style, but on this album his voice is stretched unlike ever before to a backdrop of nearly psychedelic doo-wop. Full of spiritual longing, deep heartache, life acceptances, and exaulted exhaustion. My kind of cocktail.
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Under the radar dude outside of  Asheville, NC. Raw and haunting home recordings with brilliant, soothing melodies and nearly tropical/ jungle rhythms. At times it’s almost classy with virtuoso chops and gospel tendencies, but that’s all over-coated with it’s low fidelity atmosphere, edgy substance, and sharp witted sensibility. More people need to know this album.
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Maybe the perfect rock n roll album? Iggy’s vocals are excruciatingly present and urgent and his soul sounds like its gonna blow your speakers up on this one.  Produced by David Bowie (who also produced Lou Reed’s shocking classic Transformer in the same era), perfectly crafted and recorded songs with wreckless abandon. It’s truly glamorous in a New York dumpster diving kind of way. Dark at times, yet utterly touching and uplifting. It makes you want to fuck off and dance and it makes you want to sell all of your shit and take off down the road.
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Nashville living legend. Maybe the only true country artist left in this town? He’s an absolute modern day wordsmith that plays country the right way. A “timeless classic” captured in bare bone form. The words are so omniscient and pure in expression that you find yourself perplexed at how he was able to put what is in your own head into one of his own songs so precisely and effortlessly. It’s deep, sad, redeeming, heartbreaking, hilarious at times, and real as a mug. Drinking and crying music.
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Thanks so much Justin!  Anytime I end up with a list that includes BOTH Iggy Pop and Mazzy Star I know I’m working with an artist with my kind of sensibilities.
You know the drill folks, be sure to check out Justin and The Cosmics on their official site, like ’em on facebook, follow them on twitter, and do the same on instagram.  For more info on gigs, check out their SHOWS.  Finally, Justin and his partner in crime Adam Landry are producing some great music over at Cosmic Thug.  I do recommend you go check that out over HERE.
Remember you can check out all the past Top Five Fridays (including last week’s Nashville adventure with Hard rocking guitar heroes Idle Bloom) in the ARCHIVES.
well peace out good people of the world,
Peter Winter
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Peter Winter will defend Batman vs Superman: Dawn of Justice.  Sure it had bad pacing, but there are undeniably great moments in that film.  He tweets that and other such nonsense @peterwinter38

Top Five Fridays: Idle Bloom

Hey Folks,
Today for Top Five Fridays, we’re off for the first time ever to  Nashville, Tennessee, where guitar rockers Idle Bloom will be taking us on a walk through five records they hold near and dear.  I am so incredibly excited to be working with this crew for T5F; their December 2015 cassette tape “Some Paranoia” released on Nashville label Theory Eight Records is basically surgically grafted into my tape deck and stands untouchable at the top of my “2015 Albums that would have been on the top of my year end list but I didn’t discover them till 2016” list.  I am just such a fan of how these cats are able to fuse melodic rock with crushingly heavy and urgent riffs.  It’s almost as if All Dogs and Black Sabbath made a baby, and that baby made a cassette tape that I can’t stop listening to.
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 Idle Bloom came on to my listening radar due to their part in the farewell tour of beloved Nashville rock ‘n’ roll outfit Those Darlins.  Given that Those Darlins have never brought a Nashville act on tour with them that did not melt serious face, I quickly purchased “Some Paranoia”and as mentioned before, I have been  unable to stop listening.  Although there is not a weak track among the 6 songs that make up “Some Paranoia,” I have to give a special shout out to the second to last track on the EP, “Pride Line.”  As one monster riff cascades over another, framing a defiantly memorable vocal line, one wonders if it is even possible for the track to rock any harder; then the 2:55 moment hits, and you realize it most certainly is.  With out further ado, give it up for Idle Bloom and their Top Five Friday!
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We chose an important album to us all + each of us chose either an influential album from way back or a current dig.
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Idle Bloom’s Pick:
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       We all have such diverse tastes which makes our tour soundtrack really interesting. This we can all get down to, especially on a sun filled long drive.
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Katie’s Pick:
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I was in a weird LA goth bar that made me feel like I was in either The Matrix or Blade. The DJ was playing High Functioning Flesh. It was a perfect setting for this album to be heard for the first time and I haven’t stopped listening to it since. The album is reminiscent of Alien Sex Fiend in the sense that the vocals are aggressively punk while the music itself falls somewhere between industrial rhythmics and danceable, cold synth-pop. They’re about to go on tour, so I highly recommend checking them out if they come through your city.
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Olivia’s Pick:
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Ok, this year marks the 20th anniversary of this iconic record. All of my friends know how much I love Tori Amos and I kind of have to pick this record. No other artist has impacted me so much. It’s so hard to just pick ONE record! SO yeah, I love lots of stuff but Tori Amos is in my personal holy trinity. She’s such an amazing composer and lyricist, it’s crazy to think that people even mock her (death to haters). This record is a concept record essentially, having to do with the fire goddess Pele and some experiences she had tripping on Ayahuasca…I probably haven’t grasped all the nuances and I’ve listened to this record a million times. Some of these songs are OUT THERE which makes them even more interesting. She’s a damn genius and this record is from top to bottom perfection.
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Weston’s Pick:
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I forget how I originally discovered Boards of Canada, but it was sometime early in high school. I’d heard a song here and there and was struck by the subtlety and feeling of nostalgia their songs invoked. I remember finally buying “Geogaddi” at Tower Records. When I put that CD on in the car as I pulled out of the parking lot, my perception of how music could affect me on an emotional level was forever changed. The ebb and flow of this record is as enigmatic and complex as the band themselves. Be it the melancholic psychedelia of the track “Sunshine Recorder,” the undulating, percussive fever dream of “Gyroscope,” or the mysterium and foreboding of “You Could Feel the Sky,” this album never fails to grab me in one way or another. I’ve since picked up the vinyl reissue which has me enjoying “Geogaddi” in a whole new light.
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Callan’s Picks:
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I was a junior in high school and was riding through the North Carolina mountains when I first heard Souvlaki. My friend put it on without any preface and I completely lost my shit. I felt swept away by it– the mix of textures and dynamics, the way the guitars swirl around themselves, the way the songs swell up and melt. I was so inspired by the different sounds they were able to get out of a guitar and that really influenced me as a musician. There’s such a melancholic beauty to the record that still moves me despite having listened to it a near-embarrassing number of times. Plus Eno co-wrote two of the songs and that’s cool as hell!
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Thank you so much Idle Bloom!  I would like to shout out to Aaron Hartley of theory eight records for helping get all of this together.  Check out that label folks, every artist is pure gold.
As mentioned before, Idle Bloom was out on the very last tour of Nashville legends Those Darlins this week.  I hope you were able to make one of the shows. They also have some dates of their own.
Idle Bloom has recently finished recording their full length debut record.  If that is not enough to make you excited, they worked with the man the myth the legend Kyle Gilbride himself.  This thing is going to slay.
Besides their official site, Idle Bloom is on facebook and twitter. Click all those links so as not to miss out on the LP announcement and other fun stuff!
well peace out good people of the world,
Peter Winter
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Peter Winter loves rock ‘n’ roll, tacos, beer and Star Wars.  You might have things in common. You might be friends. He tweets @peterwinter38

Top Five Fridays: The Plums

Hey Folks,

I’m excited to kick off another exciting season of Top Five Fridays, the part of the show where some fantabulous artist comes aboard this crazy ol’ website and takes us all on a magical mystery tour through five of their favorite records.  Our guides this week are a rowdy bunch of good time rock ‘n’ rollers from music central Philly PA, The Plums.

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I first heard tell of The Plums from their fellow York PA rockers The Ok-Oks (some of you repeat offenders to this blog might recall The Ok-Oks’ own T5F back in 2015).  Thanks to the incomparable Animal House Shows, I was finally able to catch the band live at a killer showcase in Harrisburg a couple weeks back, and from the instant I heard the opening riff of their banger “Bad Apples,” I was sold.  Seriously, I’ve had that song playing on a loop while I was writing this piece.  From the dueling lead guitar intro to its call to arms ear worm of a hook “Bad Apples” is as a great a slice of garage rock goodness as you’re going to find anywhere these days.  These gents are far from a group of one trick ponies though.  A listen through their live album “Live at Sign Of The Wagon 6/6/14” shows a band who is just as capable bringing out the meandering windy guitar jams as the blazing riff rockers.  These cats can play.  Perhaps the greatest sum up of their sound I could offer comes from the band itself: “What the Ramones would sound like if they had learned more than three chords.”

Today for their TF5, The Plums have offered up a selection of records as eclectic as their live show, and I’m excited to share it all with you…Give it up for The Plums!

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According to an old saying, bands with a name starting in “The” only listen to other bands with names starting in “The.” We’re still undecided. Here’s five of our most cherished LPs, thanks for tuning in.

The Plums

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The La’s : Self-titled 

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The go-to tape in our band van. Perfect blend of psychedelia, Mersey-beat and pop—if you haven’t heard any of their songs besides “There She Goes,” take a listen to some of their Timeless Melodies.

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The White Stripes : De Stijl

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We spent the early years of the band cooped up in friend’s basements, recording the weirdest songs on an 8-track cassette recorder. We’re not technophobes by any means—at the time we were just too broke to afford 21st century recording equipment. Most were original songs that ended up becoming our album, but a few didn’t make the cut—there’s a tape somewhere of us doing a Wesley Willis-esque cover of Fatboy Slim’s “Praise You” with a running time of 12 minutes. “De Stijl” is one of the best home recorded albums ever, and as a kid, it was A Boy’s Best Friend.

And did you see The Hateful Eight, when it cuts to “Apple Blossom” in the snow? Perfection.

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Dionne Warwick’s Golden Hits Volume 1 & Part 2

These recordings have influenced our songwriting in surprising ways. We try to crush dark chord progressions like these into our double-timed, electrified garage rock—what the Ramones would sound like if they had learned more than three chords. If you’re going through a bad breakup, Make It Easy on Yourself and take a listen.

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The Clash : Sandinista!

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What the world needs now, is triple albums, sweet triple albums…Jeremiah has a vinyl copy of this new wave odyssey. We used to drink endless pots of coffee and clean our old apartment to it and yes, it took 36 tracks to get things straightened up. We always ended up throwing a big party that same night and wrecking the place all over again—the seasonal ritual of sacrificing an acoustic instrument, broken ceiling tiles, wrestling, you name it—our landlord was a patient and forgiving man. I think we did it because deep down, we just wanted to listen to Sandinista! One More Time.

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Hartle Road : Self Titled EP

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Last but certainly not least is Hartle Road’s self-titled EP. We met these guys at our first show in Philly—these guys are “super-rad” musicians who play some of the meanest, most inventive psychedelic rock coming out of the South right now. We fell in love with the cut of their jib when they did a perfect note-for-note rendition of Television’s “Marquee Moon” and we’ve been fans ever since. Take a minute to check out their Bandcamp, they have some great tunes.

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Thanks guys!

I’m going to stand by any band that cites both The White Stripes and Dionne Warwick as influences.  Also late era Clash does not get enough love.  Combat Rock any one?

If you are aiming to have a good time and are roundabouts Philly Saturday March 19th, The Plums are playing Connie’s Ric Rac.  More info about that HERE.  I advise you go and experience this fine outfit for yourself.

These gents have some links across the interwebs, including Facebook, and Twitter.  Follow them/like them wantonly click on these links so you can see what they are up to.  Also keep checking their website for news of a full length album!

 

Thanks for reading folks and tune in next week for another exciting installment of Top Five Fridays!

well peace out good people of the world,

Peter Winter

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Peter Winter loves music, tacos and not exercising.  If you like these things as well, mayhaps you should follow him on twitter.

 

Jimmy John’s, Jock Jams Vol. 1, and Life’s Trajectory: An Interview with Laura Stevenson

 

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Hey Folks,

I’m a sucker for opening tracks.  Songs that make you sit up, press your headphones tighter to your skull, and hold your breath in anticipation for the record to come.  I’m thinking Patti Smith opening “Horses” with the slam poetry rock ‘n’ roll run away train of “Gloria,” or Bob Dylan bringing “Highway 61 Revisited” to a start with “Like A Rolling Stone” and the snare drum crack heard around the world.  With out question, one of my favorite album openers of 2015 was “Out With A Whimper” off of New York songwriter Laura Stevenson’s latest record “Cocksure” released on the incomparable Don Giovanni Records.  When an artist kicks thing off with a slow building song that questions whether they even want to continue making music and touring, or whether it’s time to just hang up the ol’ spurs and get a steady job and the stability that brings, you know that there is going to be something on the line for the remainder of the record.

 In addition to ramping up for a full band tour with Chris Farren and Crying, Laura will be playing some solo acoustic shows over the next few weeks, one of them being this Friday (02/19/16) at the Millworks in Harrisburg as part of Animal House Shows Showcase for Millenium Music Conference.  In the midst of rehearsing, Laura was good enough to take some time and have a chat about song-writing, well constructed records, and tacos.

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 I love the different aesthetics of your 2013 album “Wheel” and 2015’s “Cocksure.”  They both sound like Laura Stevenson, but “Wheel” has a folky freewheeling vibe to it while “Cocksure” has more of a punky power pop feel to it.  You do both so well.  What were you listening to early on that led you to be able to write so comfortably in these two veins?

Neil Young records were always on at my dad’s house and he would take me to see him play a lot, which makes me a VERY lucky person. I think Neil Young’s ability to bounce back and forth between being the quiet singer-songwriter on a chair to the front-person of a big messy rock band really inspired me to do the same. Both Neil solo and with Crazy Horse are just as big and powerful on recordings and in live shows- that to me is the mark of a really good writer, which is what I hope to be someday.

You’re going on a full band tour with Chris Farren and Crying (I’m so excited for that) however you’re currently playing a string of solo acoustic shows.   How do these two types of shows feel different to you?  What are things you like about each? Does one make you more nervous/excited?

I’m excited too, I think it’s going to be great! The solo stuff definitely makes me much more nervous, for sure. Especially the guitar solos that I always seem to want to play and bungle up if my hands are cold, and my hands are ALWAYS cold. Both types of shows have their merits, I have much more control of my voice in the solo setting so I’m really able to connect with it and use it as an instrument and feel more through it. If that makes sense. Also, I play a lot of quieter stuff which I don’t get to do too much of in the rock band setting… both shows are just as intense just in different ways I guess. The full-band stuff is so fun because all the melodies I have in my head can get played all at the same time, by amazing musicians who are also very fun to hang out with and play with. We had a practice last night and then had a pizza party and it got me very excited for the tour with them in March. They’re all such great musicians and we’re really close, I think that shines through and people like watching us play together because we like each other. I’m extremely lucky that I get to play with them.

I know sequencing an album is something that is really important to you.  On “Wheel” I know you actually wrote some tracks you thought the album needed.  What goes through your mind when you are sequencing an album? What do you look for? What are some albums that you think are sequenced really well?

That’s a tough one – yeah with “Wheel” I was feeling like there was something missing when we were putting it together. The songs were so all-over-the-place from one to the next, dynamically and with the instrumentation. I didn’t want the sequencing to be jarring but in a lot of places it is, which some people say is one of the record’s strong suits, so it definitely depends on the way people like to listen to records. It’s always hard… things make sense at the time and then you listen back to it a year later and you wish you put two songs back-to-back that you hadn’t thought of. But, then you get to play those songs together on tour… we’re doing that with some of Cocksure which will be fun. Songs that we didn’t realize were in the same key, or complimentary keys, whatever. I think I’ve had the most success with planning the sequencing before going into the studio- we did that with Sit Resist and with Cocksure. I’m most comfortable with that process- however, that means you’re kind of locked into having certain songs on the record despite whether or not you think they were your best performances. I mean, making a record on a very tight budget is scary, you can’t go back in afterwards and say, “let’s do that again” – you just have to trust the people you’re working with and yourself and your band and let go a little bit and hope for the best. Records that I think are sequenced well…. obviously “In the Aeroplane Over the Sea”, songs bleed into each other really beautifully on that record, you can tell he had that all worked out beforehand. What else… “Exile On Main Street”, “Comes A Time”, “Marquee Moon”… I’m bad at this because I always exclaim in the van “this record is perfect!” about so many records and I can’t think of any right now. Oh I always say it about “Is This It” by The Strokes haha.

In regards to having the track list and order before recording the album, when did the title “Cocksure” show up? How did you come up with the title and at what point did you make that decision?

The title came up way before the record actually. My friend, Ian Graham from Cheap Girls actually suggested it one night while we were on the Against Me! tour together, I think he was just trying to fuck with me. He was just like, out of the blue, “your next record? Cocksure.” I don’t know why it stuck with me, probably because it’s perfect, and I guess I had mentioned it to my friend Chris Farren somewhere along the way because while I was making the record I was going over possible titles with him and he was like “whatever happened to ‘Cocksure’?” I couldn’t get away from it but honestly, it’s so perfect for this record.

Could you talk a little bit about the Laura Stevenson song-writing process?  There are a lot of layers going on in your lyrics, will you spend a lot of time editing or re-working a lyric?

I never over-work lyrics, I feel like that’s kind of cheating. I just throw it all out there, in the end I’ll take out SOME of the garbage but I leave a lot of garbage in there for people to sort through if they want. I definitely think vague is a little better, it protects me or the subject of the song, which could be cowardly a little, but it also gives more people the ability to connect it with their own lives, and sometimes that helps people going through stuff they can’t really put words to.

I listened to your Spotify commentary for “Cocksure,” and I really liked how aware of other people’s songwriting styles you were.  You were saying how one song you thought had a Cars vibe, another felt a bit like a Wilco song, you even brought up artists like Buddy Holly and Roy Orbison.  Who are songwriters you really look up to in regards to their craft?

I look up to all of those people for sure. Who else… Leonard Cohen, Judee Sill, Townes Van Zandt…. the list is long. I’m friends with a lot of great musicians who all inspire me very much not just like, people from the 60s and 70s. I’m not like, some weird music historian snob or purist in any way. I also very much like everything on Jock Jams Volume 1.

You are very open about your struggles with depression.  How does your songwriting, your art, help as a weapon to battle those feelings?  How would you want your songs to help others who might be dealing with the same struggles?

Just singing alone in a room, that is the most cathartic thing in the world to me, I would do it every since I was little and I would cry while doing it… even if it was nonsense words, it was the best way for me to get something out… there was a lot of instability around me as a kid, a lot of chaos and everyone was either angry or very sad or both and it was confusing and, in turn, I was a very angry kid. That anger kind of turned inward when I got to middle-school age and I started going through depressions that would wax and wane until it got to a scary place when I was about 19. Anyway, after all that happened, I started singing again and writing songs that were definitely not good. And then I started writing songs that were kind of good, and my friends started pushing me to share them with people… doing this for real was never like, my big goal. I just kind of fell into it, Mike (the bass player in the band and now also my fiancee) was the one who pushed me to make my first record, and now we’re on our fourth, it’s kind of crazy. None of this was my intention, BUT it really makes me so glad I stuck around to help people – now people come up to me at shows and tell me that a certain song or record helped get them through the same stuff that I was battling/am battling… it’s amazing. When I’m low now or feeling myself dip back into it, I think about how I’ve contributed a little bit to other people’s lives, and it really helps me… that might be selfish kind of, I want to help people for sure, but them telling me I help them is what makes me remember it’s good to be alive so everybody wins.

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*Lightning Round*

What have you been listening to lately?

Let’s see… this morning I listened to “The White Album” and some Beethoven. That Notwist record “Neon Golden” has been a heavy play in my house for the past few weeks. The song “One With the Freaks” is the best song I’ve heard in a long time. I can’t stop listening to it.

Ok so I’m a huge Beatles fan and since you were listening to The White Album I have to know what some of your favorite songs off that record are. 
Hmmmm- well as a kid my absolute favorite songs were Ob-La-Di Ob-La-Da and Rocky Raccoon. Now I really like Mother Nature’s Son and I’m So Tired. Those might be my favorites. Bungalow Bill is still terrifying to me.

 

What do you like to eat when you’re on the road?

Jimmy John’s. Is that bad? I get very very excited about “The Vito” from Jimmy John’s. Also, McDonald’s oatmeal is not too bad if it’s the only option. Their coffee isn’t terrible, just don’t get it with milk or else it’s seriously just a glass of milk. I get excited about tacos from Texas through the northwest. I will eat breakfast tacos, lunch tacos, dinner tacos, until like, Spokane and then the dream is over and it’s back to Jimmy John’s. I’m not healthy I just realized.

What do you AVOID eating when you’re on the road?

Subway. I’m done with Subway. I will use their bathroom if I have to but I’m seriously done. And Dunkin’ Donuts. Their coffee tastes like lemons and I hate it.

Your favorite lyric from “Cocksure.”

Maybe from “Out With a Whimper” – “we’ll buy a car with a million miles on it, I’ll dig it out of the snow, and we’ll set alarms and breakfast while it’s dark, I will slow down and flicker and fall”   those words paint a very clear picture in my head and bring me to the place I was writing from… that whole song is about stopping making records and touring and just having a life with structure and quiet and a job that’s a sure thing and maybe that being the thing that will make me happy… that’s something I think about and I guess it’s good to think about that, it’s good to check in with yourself about the trajectory of your life, right?

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As was mentioned earlier, prior to her full band tour with Chris Farren and Crying, Laura Stevenson is going to be playing a solo acoustic show as part of Animal House Shows Millennium Music Conference showcase at the Millworks in Harrisburg this Friday February 19th.  Also on the bill are Keeps, The Plums, and Roger Harvey.  The gig kicks off at 9:00, has a $5 cover, and is 21+.  These are cool people.  Go to this show and meet them.

Remember to like Laura Stevenson on Facebook, follow her on twitter, and buy her music.

 

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Peter Winter gave up buying records for Lent.  He is going to break that rule and buy “Cocksure” though.  He is on twitter @peterwinter38

 

 

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