An EXCLUSIVE interview with ELIZA DOOLITTLE!

Pack Up Your Troubles:

An EXCLUSIVE Interview with

ELIZA DOOLITTLE

 

By Stephen SPAZ Schnee

     First things first: Eliza Doolittle’s self-titled debut album is about as enchanting as an album can get. Filled with charm, wit, intelligence and hooks galore, it’s no surprise that this platter has taken the UK by storm. It’s the most uplifting album you’ll hear all year, but it’s not lightweight. And if things go as they should, by the end of 2011, Eliza should have many other countries under her spell.

     This young British singer/songwriter has been one of the hottest musical properties in the UK since her single “Skinny Genes” was released in April of 2010. By July of that year, the album was making it’s way up the charts and by the end of the year, she had her biggest hit single (so far) with the magical “Pack Up”.

     Now, after a long wait, Eliza has just released that very same self-titled album here in the States and it’s already causing quite the stir. It’s nearly impossible to ignore the album’s confidence and charm. There’s enough great tunes on this album to attract Pop fans’ interest, yet she also has enough street cred to keep the Alt-Rock/Pop crowd satisfied. She’s nothing like the artists she’s commonly compared to (Lily Allen, Kate Nash, Amy Winehouse, Duffy), yet if you enjoy those artists, you’ll love Eliza. Even if you don’t care for those artists, you’ll love Eliza.

     A day before her 23rd birthday and her debut appearance on The Tonight Show With Jay Leno, Eliza dropped by the office to play a couple of tunes and, most importantly, to have a chat with our very own Stephen SPAZ Schnee, the man who knows too much yet so very little…

SPAZ: Now that the album is ready to drop in the U.S., how are you feeling about your musical journey up to this point?

ELIZA DOOLITTLE: Amazing! I mean, obviously, I know I’ve got a lot of hard work to do and I’ve got to try and spread the word… I know it’s a difficult one (the U.S. market) because of how big it is, but so far, things have been going amazing. I can’t believe we’re doing Jay Leno, we’ve just done Austin and South By Southwest, and we’re going to do Coachella… I’m really happy to be getting the opportunity. It’s been really nice so far but I know that there’s a lot more work to do.

SPAZ: The album is filled with intelligently written and arranged pop songs that show a lot of depth and soul. Are you happy that they’ve connected with so many people? You’ve already got a few hits under your belt and there’s plenty more to come…

ELIZA: Obviously I’m happy. I’m not complaining (laughs). I’m loving it! I didn’t know for sure whether it would connect… obviously, you have NO way of telling. But the minute that the album came out, it did so well in the chart… I didn’t even know that people knew who I was, to be honest. It’s such a nice surprise. It was definitely a bit of a shocker. I didn’t really think it would do as well as it’s done in the UK and a couple of other countries.

SPAZ: It’s been a year since the album’s first single, “Skinny Genes”, was released. Have things changed much for you since then?

ELIZA: Things obviously got much busier. I think around that time is when it started getting really busy and it’s been non-stop since then. I had some time off at Christmas, but it’s been busy every day, basically. I had a day off the other day, which is nice, but that’s really rare. At the same time, I like working and while I’ve got this opportunity to get my music heard, I’m going to do everything I can to get it out there.

SPAZ: With such a great selection of tunes, how difficult has it been to pick and choose the singles? When I first heard “Pack Up”, I knew it was magic, but the whole album sounds like wall to wall hit singles…. And usually, an album has the big hit as the first cut, but “Pack Up” is buried deep in the album!

ELIZA: (laughing): The only reason why it’s so far back is that I didn’t even think it was a single! I was so close to the songs, I have no idea which ones are the best, so I just thought I’m going to pass this one over to the label. I don’t know what is the best or the most “radio friendly” or the “big hit”. I just love them all and, to me, it’s just an album. I’ve never been about the singles. I’ve always been about making a great record, a whole album. I thought it doesn’t matter which one comes out. I’m gonna let them do what they do best and pick which one. And by that time, it was already track 11 on the album. I’ve got no perspective on what the big hit would be at all.

SPAZ: You’ve got an amazing selection of collaborators on the album including Greg Kurstin, Craigie Dodds, Jonny $ and many others. With these collaborations, where do the songs usually start? Do you bring the initial ideas and they flesh them out…. Or is it different with each song and collaborator?

ELIZA: It’s always different. I wrote with Craigie first… and Johnny $, who passed away, unfortunately, while we were still making the record. Craigie and Johnny, we wrote “Rollerblades” together, the first song where I really felt like I’d found my sound. And then there’s a song called “So High” on the record, too, that I wrote with Jimmy Napes, who I’ve written with since I was 12 and I’m still writing with him, that one was written before “Rollerblades”, but that just managed to fit in because it fits into the album quite well. But “Rollerblades” was the one that I really thought was something new and I hadn’t heard it before and this is ME. I’d been experimenting with music for years and I was so happy to find that with Craigie and Johnny. So I carried on working with Craigie a lot, and Johnny, sometimes, when he was feeling good enough to work, and, basically, we’d written a few songs, probably about 6 or 7 songs we really loved. So when I would work with anyone else, it was easy because I would just tell them what kind of thing I wanted to do. They had their songs; they could see the project as a whole and see the vision with me. After that, it was really easy. Sometimes, they’d make a little beat or track and I’d write to it, or sometimes, I’d come with an idea and we’d build from scratch. Something could start with a guitar or piano… we’d build it from anything, really.

SPAZ: There’s a plethora of influences on this album, especially classic Soul music. Were you exposed to a lot of different kinds of genres growing up?

ELIZA: My mum and dad both didn’t have much influence on me musically, because my dad just listened to classical music. My mum kind of listens to whatever’s in the charts or musical theater… I wasn’t into what they were into as much. I kind of found my own music that I was into, whether it be friends talking about things in school… or whether it was my big brother, who used to play me UK Garage a lot, and I was really into that growing up. I loved Pop/R&B records like Destiny’s Child and Janet Jackson… that was when I was like 10 or 11, 12 years old. Before that, my mum said I was obsessed with Michael Jackson. I used to play this one video, I think it was a live video from his Bad album, over and over again. As I grew up, I got into loads of different music. I went to a new school and everyone was into Rock music there. I was hearing it all the time. I got into Radiohead, Ben Harper, Jeff Buckley… and I remember hearing Prince for the first time at that school as well, who I now love to bits. I used to listen to a lot of old songs as well: Stevie Wonder, Aretha Franklin, Carole King... I love Joni Mitchell. Anything with ‘soul’ and great songs. People just being honest and spilling their heart out… I just love it.

SPAZ: Do you remember the exact moment when you realized that you wanted to make music for a living?

ELIZA: I don’t remember a specific day, but I remember it being on my mind a lot. I used to do a bit of drama: I love performing and entertaining people. I was singing all the time… and I remember it being on my mind, thinking that I could do acting because I liked acting but I LOVED singing. I kind of gave up the acting to properly focus on singing. My mum said “Start writing if you want to be a singer because that’s where the money is!” I obviously took her advice, but I’m glad I took it. I love to write and be involved in my music rather than just singing other people’s songs. As much as I love singing them, I just don’t feel the connection as much. I love the songs we can all relate to, but I love writing just as much as singing now.

SPAZ: At this stage, what’s the most rewarding part for you: writing, performing, recording…? I’ve heard making videos isn’t much fun…

ELIZA: I love making videos! I quite like performing that way and getting a great visual across. Nowadays, it’s so important with YouTube and everything… The visuals are just as important as the songs…. and sometimes even better the songs with some videos I watch! (laughs). But for me, it’s still not as good as performing live. That’s like the ultimate buzz. That’s what I live for, definitely. I also get an amazing feeling from finishing a song that I’m really excited about. That feeling is nothing like performing but its something else as well…

SPAZ: Because you are from the UK and you are female, do you think it’s lazy for journalists to just sort of lump you in with Amy Winehouse, Kate Nash, Amy McDonald, Lily Allen and the like?

ELIZA: It depends how they do it because, if someone goes, “if you like this, then you might like Eliza,” I think that’s an easy way of doing it. But this is why I like your interview so much, because I can tell that you’ve listened to my music and so you know exactly the influences and samples like the Fleetwoods and everything… and I love that because I think that’s really important. If someone’s gonna be critical of something, I think they need to know the ins and outs, ya know what I mean?

SPAZ: Are there any contemporary artists that either you enjoy or you might align yourself with?

ELIZA: Yeah, I mean, I don’t think I’m like anyone, definitely. Obviously, there will always be comparisons. I got this accent, so I do sound like some of the other British artists out there! (laughs). There are tons of artists I admire and love. I’m loving Adele. I love Plan B. They are artists that I really love, and I’ve been listening to a lot recently.

SPAZ: Now, your album is a year old. Does it feel strange that you’re still out there promoting it when, by this time, you should already be planning your second album?

ELIZA: Yeah, I’m always looking to write more and always thinking about what’s gonna come next. I am yearning to get back into the studio, but at the same time, I haven’t got that “I’m sick of my songs” feeling yet, which is great because I’ve got a lot more touring to do. Right now, I’m still content to keep touring and playing my songs, and we try to change it up a little bit for the live show and keep it fresh

SPAZ: Have you played any of the festivals in the UK yet? What are the festivals like over there?

ELIZA: You always think it’s gonna be scary big crowds, and you’re gonna be stuck and stuff… it’s actually not really like that. I kind of didn’t know what to expect the first time I went to a festival, but actually, you can always get into a space where nobody is.

SPAZ: This album has been attracting a wide array of listeners of all ages, from grade school kids to hardcore music fans in their 50s and 60s. What was your mindset going into the studio? Who were you recording the album for?

ELIZA: I think I must have done it for myself; because I didn’t think about who it was gonna get out to. I do what I like to do. (laughs) I hope it’s just good and then, if it’s good, people will like it, no matter what age group. But, it’s something I hadn’t really thought about.

SPAZ: What is next for Eliza?

ELIZA: Getting it heard out here, more. Getting heard in Asia: I’m gonna try to get to Japan and Singapore, and as many places as I can. Australia a bit more, I’m still kind of, I’ve only been there once, it would be good to get out there again. I think I’m gonna spend a lot this year kind of really reaching out to as many places as I can. And then, whilst I’m out and about, I’m gonna record. I’m really up for just jamming things out and you know, just having fun with it while I’m on the road. Otherwise, I’ll get to the end of my tour and my promotion and be like “oh my God, where’s my second record? I need my second record!” I want to keep the momentum rolling, and I don’t want it to kind of come to a halt

SPAZ: I’m sure you’ve heard it a million times: you’ve got a lifetime to write your first album, and you’ve got six months to write your second.

ELIZA: Yeah, well, that’s kinda what I’m gonna do. I’ve got some songs I wrote when I was younger that are definitely good songs for a record?

SPAZ: What’s currently spinning in your CD/DVD player?

ELIZA: I just bought Chet Baker, his greatest hits. Someone was playing “My Funny Valentine” and I was like “Whoa, who is that amazing voice?” Then I got his picture and I was like, “Wow! How could someone be that gorgeous and also sing like that? And play the trumpet too?” At the same time, as a complete coincidence, I also bought Anita Baker, because I heard her voice is amazing, but I haven’t heard it yet. It’s literally in my hotel room now, about to be uploaded onto my iTunes, but the Chet Baker one I left it to upload when I came here….. I’m gonna get into that this trip!

Thanks to Eliza Doolittle

Special thanks to Jacki Feldstein, John Bowen, Charlie Morton, George Roberts-Bascombe, and Dana House

An EXCLUSIVE Q&A with TWO DOOR CINEMA CLUB

It’s Showtime:

An EXCLUSIVE Q & A with

TWO DOOR CINEMA CLUB

 

By Stephen SPAZ Schnee

     Since the early ‘60s when The Beatles kicked open the doors, there’s been a constant flow of bands making their way from the UK, Scotland and Ireland to America. Every 10 years or so, there will be chatter and hype about a ‘new British Invasion’, but music fans are well aware that great music has been landing on these shores for decades, and there doesn’t seem to be any signs of it stopping, thank goodness.

     For every big band that scales the top of the charts or becomes press darlings (Beatles, The Clash, Depeche Mode, Blur, Oasis), there are dozens of other bands that are just as worthy of your attention and hard earned dollars. Some of the newer bands that are revving their engines and are poised to do big things in the U.S. include One Night Only, The Wombats and Ireland’s very own Two Door Cinema Club.

     When TDCC released their debut album, Tourist History, in 2010, music fans instantly fell in love with their Pop smarts and Post-Punk influences. This wasn’t a band playing jagged, angular and experimental music for a select few: TDCC play big, glorious Pop that instantly grabs the listener and takes them on a trip filled with soaring choruses, delectable guitar riffs and melodies that stick in your head and heart.

     Unlike some of their contemporaries, the band’s popularity continues to rise. Their debut album has just been released on vinyl in the U.S.; the band put in a roaring live set at Coachella in April of 2011 and is planning to make another trek across the U.S. in September.

     Stephen SPAZ Schnee managed to catch up with the band and was able to slide a few questions their way. TDCC member Alex Trimble was gracious and patient enough to spend a few moments answering them…

SPAZ: The album has been out a year and the excitement and interest in the band continues to grow. How are you feeling about things up to this point?

ALEX TRIMBLE: We feel great. It’s incredible to have so many people liking what we do.

SPAZ: Have you been surprised about the universally positive reaction to the album? Everybody I know that has heard it seems to love it, including myself…

ALEX: Yes, of course. When you set out to write some music, you never really think how people will react to it, you just do it for your own pleasure… Anybody liking it it’s a massive plus.

SPAZ: The album is a brilliant mix of Pop hooks and Post-Punk intelligence. Did you all share similar influences growing up or is the band’s unique sound just a happy accident?

ALEX: Well, we all grew up together; all our influences are shared influences. But we all are very individual, and the way we play our instruments reflects that.

SPAZ: What’s the normal songwriting process for the band?

ALEX: There isn’t one. It’s pretty random.

SPAZ: Do you feel that your surroundings in Ireland have a distinct effect on your songwriting?

ALEX: Where you grow up, your roots, will always influence what you do, whatever you do.

SPAZ: It’s always been said that you have a lifetime to write your debut album and only a matter of months to write your sophomore album. Did you have any songs from the Tourist History sessions that you are holding over for the 2nd album, or are you going to start with a clean slate?

ALEX: We have loads of songs and we write all the time. It’s not going to be a clean slate; it will be a progression… we hope.

SPAZ: Have you had any input on what singles get pulled from the album or do you leave that up to the label? There seems to be a large percentage of bands these days that let the label choose them….

ALEX: We have a close relationship with everyone around us. The choice of singles is generally dictated by what the fans want to hear on radio. We hope that, all together, we made the right choices.

SPAZ: In regards to your contemporaries in the charts, do you feel a kinship or competition with many of them?

ALEX: We feel kinship with the bands and artist we respect; massive competition with the ones we think are fucking rubbish.

SPAZ: You’ve toured in many different countries, in different sized venues, even recently playing Coachella in Southern California. Is it a bit surreal to go from playing to a few hundred people in a club, then go play a festival gig to thousands and then back to a club again?

ALEX: Well yes , but that is the beauty of it. You still have people really getting to know you, you get a buzz out of it. You get a bigger buzz when you see 20-30-40,000 that actually do know you and love what you do.

SPAZ: A year on, the vinyl edition of the album is being released in the States. Are any of the band members avid vinyl collectors?

ALEX: We all are. We love limited editions and rare stuff... We love the fact that artwork has got a bigger canvas on 12” than CD or a digital packshot. Lots of young people are getting into it and I love that.

SPAZ: Although you were playing Coachella on Record Store Day and probably couldn’t partake in this music-oriented ‘holiday’, has the record/CD shopping experience been an important one in the band members’ lives? Do you try to collect a lot of music while you are out on tour?

ALEX: Always!!! Far too much!!

SPAZ: What’s next for Two Door Cinema Club?

ALEX: Summer festivals. We are looking forward to playing Lollapalooza, a U.S. September tour, a second album, marriage , kids , death, and........

SPAZ: What do you currently have playing on your record, CD and DVD players?

ALEX: On DVD is Curb Your Enthusiasm. On CD… far too many to mention.

Thanks to Alex Trimble

Special thanks to Kevin Farrell, YiPei Chen-Josephson and Michelle Gayhart

An EXCLUSIVE Interview with DONNY & MARIE OSMOND!

A LITTLE BIT DONNY,

A LITTLE BIT MARIE:

An EXCLUSIVE Interview with

DONNY & MARIE OSMOND

By Stephen SPAZ Schnee

     For decades now, the Pop/Rock landscape has been littered with one-hit wonders, disposable popstars and manufactured teen idols that come and go at an alarming rate. While the names and faces have constantly changed over the years, very few of these artists have broken the mold and had a lasting effect on the music scene. The Osmonds are one of those rare acts that have transcended genres, time and space and have become true Pop icons.

     From their pre-Donny days as a quartet known as The Osmond Brothers in the ‘60s to their massive success throughout the ‘70s, The Osmonds came in many shapes and sizes. There was The Osmonds (Donny, Merrill, Wayne, Jay and Alan) plus Donny’s enormously popular solo career, followed by sister Marie with little brother Jimmy getting in on the act, too. But perhaps the most popular Osmond act was the collaboration between Donny and Marie.

     From their first appearance on vinyl to their hit TV show, Donny and Marie became the most popular brother/sister duo in music history. (OK, so The Carpenters may have sold more records, but their names and faces are not as instantly recognizable.) The brothers Osmond may have set the stage so many years before, but Donny and Marie brought the Osmond family name into more households than any AM radio was capable of doing. Donny and Marie became the faces of a generation.

     Now, 30 years since they last entered a recording studio, Donny and Marie Osmond are back with a live show in Las Vegas and a new album, simply titled Donny & Marie. Stephen SPAZ Schnee caught up with the duo and found them both to be as humorous and down-to-earth as ever…

SPAZ: Your new album is just about ready to hit the streets. How are you feeling about things at this point?

MARIE OSMOND: Happy that it’s finally available to the tons of fans who have asked for a new Donny & Marie album….since, well…1980, when I was three years old!

DONNY OSMOND: I am very excited about this album. It is one of the most important albums of my career as Marie and I make a comeback.

SPAZ: It’s been roughly 30 years since you last recorded an album together. What took you so long and why did you feel that now was the right time?

DONNY: It took 30 years for our lawyers to come to an agreement! Marie wanted top billing, but its Donny & Marie - hello!

MARIE: After my older brother’s did their 50th Anniversary Celebration tour, which all of us performed at, Donny and I were given the opportunity to do a show for six weeks in Las Vegas. We both agreed to it, thinking that it would be a one-time only type of show. The tickets flew out of the box office and we got an offer to extend for a year, and then another year. Many of the audience members started requesting that we do another album together, so this is for all of them.

SPAZ: The album features a slew of great songwriters including a track written by Carol King, Babyface and Carole Bayer Sager. How did you go about choosing the songs for the album?

DONNY: We chose the songs based on the fact that they were great songs written by great songwriters.

MARIE: Donny & I both put in our two-cents about the songs we’d love to record. There was no shortage of great music to choose from, so we picked the songs we thought went best with that unique sound that is a “sibling” thing, kind of like The Carpenters… you have a more natural blending on the harmonies.

SPAZ: There’s a great version of the Country and Pop chestnut, “I Swear”, written by Frank Myers and Gary Baker. You also do a handful of other tracks co-written by them. How did that come about?

DONNY: The songs were chosen by three people, Marie, (producer) Buddy Cannon, and myself. We narrowed the list down from 200 songs and "I Swear" made the cut.

MARIE: We wanted to record a couple of the big classics, like “I Swear.” Gary Baker played bass and Frank Myers played guitar for years with me when I toured with Country music. In fact, they wrote “I Swear” when they were on the road with my show. I remember when they played it for me, backstage one evening. I said, “That’s a fantastic song.” I tease them now by saying “If touring with me was your muse for that song, then you should have let me record it first!” They are both really good friends of mine. Friends of Donny’s, too, I guess, but they like me a whole heck of a lot more!

SPAZ: The album is a true collaboration between the two of you, yet there are moments that are purely Donny and purely Marie. Were there songs that one of you felt strongly about that didn’t make the album because it didn’t musically fit in with the rest of the tracks?

MARIE: No, we both got to have our favorites on the album. I was thrilled to be able to record a song that my son, Stephen James, wrote: “I Can’t Wait to Love You.” Buddy Cannon brought us the best possible selections.

DONNY: Marie wanted more Marie songs and I of course, wanted more Donny songs. Thank goodness Buddy Cannon was there to be the arbitrator.

SPAZ: You both sound great on the album, perhaps the best you’ve ever sounded. Do you still try to challenge yourself, vocally, when you record and perform?

MARIE: All of our earlier recordings together were done when we were teenagers. Our voices have definitely matured over the years. We’ve also both done extended-run Broadway shows and tours. We’ve had to stay vocally in shape to keep performing and that’s been a great blessing to me.

DONNY: Every album is challenging in its own way, but recording with Marie was a pleasure because our voices blend so well. It's almost like we're related.

SPAZ: While the album definitely leans towards a modern Country sound, there are elements of Rock, Pop and Soul on the album as well. What was your mindset when you went into record the album?

DONNY: A little bit Country, a little bit Rock and Roll. Wait...that sounds familiar!

SPAZ: You have an enormously popular show in Las Vegas. Were you tempted to do a glitzy, Vegasy album before settling on the idea of a Country Pop album?

DONNY: You never know how an album is going to turn out until you start making it. The concept, right from the beginning, was to make a record that appeals to a large audience.

SPAZ: There’s talk of you taking your show on the road. Will it be doing essentially the same show you do in Vegas or will you be shaking things up a bit?

DONNY: The show we perform on the road this year will be a variation of the Vegas show, but from a big picture view, our show at the Flamingo is still the flagship.

MARIE: We decided that the new album was a good way to offer something new to the many fans who couldn’t make it to Vegas to see the show. We did a Christmas version of the show on Broadway last December and will take a new holiday version of the show to the Oriental Theater in Chicago this December, as well as New Year’s in Detroit. This summer, the Vegas show tours to Toronto in July for two weeks.

SPAZ: How much of the new album are you incorporating into the live show?

DONNY: The live show has a way of evolving over time, so more and more of the album will be put into the show as time goes on. Right now we are opening the show with "Vegas Love."

MARIE: We just added in two songs from the album: “Vegas Love” and “Good Life.”

SPAZ: While both of you have made albums over the past three decades, how do you feel about the modern recording process? Does it seem easier than 10, 20, 30+ years ago?

DONNY: The recording process can change as much as it wants to but at the end of the day, it's the song that matters. As the old saying goes, "If it's' not in the grooves, you don't have a hit record."

MARIE: There’s no doubt that new technology has made recording more cost effective. If you have to, you can lay down the tracks instrument by instrument. However, I miss the feeling that there was when you were all together in the studio and recorded live. It’s hard to match the feeling of singing along with the strings, horns, percussion and the musicians all there next to you. It was a more emotion-filled way to record. So now an artist has to be mindful of keeping the true intention of the song when it is produced with modern technology.

SPAZ: Most of your chart contemporaries from the early ‘70s have faded from public consciousness. What do you attribute your longevity to?

MARIE: Donny and I are both hard workers and I think we understood, early on, right after the ABC variety show, that to have longevity in a career an entertainer needs to be flexible and reinvent themselves and grow. If I do anything that’s unique, it’s that I sing many styles of music: from Pop to Country, Rock to Broadway, inspirational to operatic, which is my latest passion.

DONNY: I would like to think that we give our audiences a lot of variety. Many people have told me after seeing our show in Vegas that it's more that what they expected.

SPAZ: Much of the Osmonds legacy seems rooted in strong family ties plus the fact that you two, as well as your brothers, have remained very honest, open and down to earth. Would you agree?

DONNY: Family is so important. In this business it is necessary to stay down to earth and grounded.

MARIE: Our parents gave us a strong work ethic and mutual respect was always a part of that. Donny and I can work with each other five nights a week because of that respect. Our mother demonstrated that love and compassion for your family, friends and fans was top priority and our Dad was a perfect role-model on delivering what you promise to your co-workers and to your audience.

SPAZ: How do you feel about the crop of young talent that has come in your wake including everyone from Hanson and the Jonas Brothers to Miley Cyrus and Justin Bieber? The entire Osmond clan set the bar pretty high all those years ago…

DONNY: Enjoy the roller coaster ride. It's going to get bumpy!

MARIE: There are a lot of very talented people in the world who never get a national/international platform. So, for anyone to get their shot, I hope they consider themselves blessed. Sometimes, you don’t realize it until you can look back a bit. Donny and I consider ourselves so fortunate to have shared the stage with the most incredible performers of their time: Andy Williams, Frank Sinatra, Lucille Ball, Paul Lynde, Tina Turner, on and on.”

SPAZ: What’s next for Donny & Marie?

MARIE: You can find us in Vegas for this summer and fall, and then on to Chicago for our holiday show at the Oriental Theater in December.

SPAZ: What is currently spinning on your CD and DVD players?

MARIE: I have a playlist on my iPod of my favorite songs and they encompass a variety of styles from the 60’s through today. Some of the greats like: “Killing Me Softly,” by Roberta Flack, “Sailing,” by Christopher Cross, Judy Garland, The Bee Gees, Gladys Knight, Barbra Streisand, Garth Brooks, Christina Aguilera, Lady Antebellum, Adele. The stage songs of Kandor & Ebb. Music brings back great memories.

Thanks to Donny & Marie Osmond

Special thanks to Kevin Farrell, Michelle Gayhart and Dana House

DONNY & MARIE OSMOND

DONNY & MARIE

5.3.11

THE CARS: Roaring back into action with MOVE LIKE THIS

THE CARS

MOVE LIKE THIS

Stephen SPAZ Schnee waxes poetic about one of the most anticipated band reunions in recent memory.

Like many of you, I was there at the beginning.  Well, the 'beginning' for many of us means the release of their self-titled debut album in 1978.  There are plenty of folks out there in Boston, who were supporters of the band before their first album, but most of us first heard of The Cars when "Just What I Needed" broke the band on FM radio.  And what a glorious trip it has been...

While some initially lumped the band in with the New Wave scene, it doesn't take a genius to realize that The Cars were a band that straddled genres many genres so it was difficult to pigeonhole them into any specific one.  Like Cheap Trick, they were loved by the Classic Rock crowd, the Power Pop lovers, New Wave fans and those who followed the Top 40.  The Cars's unique style mixed a love of Rock 'n' Roll (from the '50s up through the '70s) with all the modern conveniences of the late '70s and early '80s music scene.  They were Queen without the Pomp, Elvis without the swiveling hips, The Clash without the political punch and The Osmonds without the sparkling teeth.  The Cars were one of the few bands that crossed over from Post-Punk cool to commercial superstardom without losing any street cred. In a nutshell, The Cars rocked and everyone listened.

While Ric Ocasek, Ben Orr, Greg Hawkes, David Robinson and Elliot Easton may have seemed like a bunch of ordinary guys: together, they made an extraordinary sound.  There were many 'quirky New Wave bands' that followed in their wake, but non possessed the magic that helped this Rock quintet become one of the most successful American bands of their era.

THE CARS 1979: (l-r) Orr, Ocasek, Hawkes, Robinson and Easton

While I loved their debut album, I was blown away by their 1979 sophomore album Candy-O.  That was when my infatuation with their music blossomed into true love. For me, that was when they truly gelled and created their own little musical universe. Every song on that album reminds me of a wonderful time in my life: young love, great music, few responsibilities (I was 16) and filled with optimism.  Here we are, over 30 years later and I may have plenty of responsibilities and I'm not so optimistic, yet every time I listen to the album, I can still remember and FEEL like I did way back then when I first heard tracks like "Double Life", "It's All I Can Do" and "Let's Go".  The album remains in my Top 25 albums of all-time.

Every subsequent Cars album was a joy. From the dark quirkiness of Panorama to the commercial sheen of Heartbeat City, the band continued to play with their sound, never sounding stale. I may be in the minority here, but my second favorite Cars album was their final release, Door To Door, released in 1987.  "You Are The Girl", "Leave Or Stay" and "Coming Up You" are a few of my favorite tracks in the band's entire catalog, although only "You Are The Girl" was a hit.  The band broke up shortly after the album's release and that was that.

While Ocasek continued to release solo material and produce other acts, the other four Cars members spent time out of the limelight. While they were away, their legacy began to grow but the band never seemed interested in reuniting. Unfortunately, bassist/co-vocalist Ben Orr passed away in 2000 and the idea of a Cars reunion seemed more unlikely than ever.  That is, until 2010....

When the band's four surviving members first started posting pictures and audio clips on their Facebook page in 2010, it seemed almost unreal. Could it be?  Was Rick Ocasek really involved?  Was that really David Robinson?  And Greg Hawkes?  And Elliot Easton?  Together? Thankfully, the answer was YES!

THE CARS 2011: (l-r) Hawkes, Ocasek, Easton and Robinson

On May 10th, 2011, The Cars release Move Like This, their first studio album in 24 years. From the opening track, "Blue Tip", it's obvious that the band have picked up where they left off so many years ago.

While their final release, Door To Door, may not have been a huge success back in '87, it found the band stepping away from the programmed sound of Heartbeat City and returning to the raw and organic feel of their earlier albums. Move Like This takes that same basic idea and gives it even more breathing room. This is an album that is very much a modern piece of work, yet it is firmly rooted in their past.  It's exactly what you'd expect from a new Cars album, yet offers so many surprises.

Ocasek has written a great batch of songs that are as timeless as anything in The Cars' back catalog. Yes, they sound like Cars songs, but they stand on their own feet.  In the past, Ben Orr would have handled lead vocals on at least a third of the tracks, but Ocasek sounds better than ever and he's more than capable of handling the tracks that Orr would probably have sung ("Soon", "Take Another Look" and possibly "It's Only" and "Free).

The album's first two singles, "Blue Tip" and "Sad Song", are absolute stunners and stand shoulder to shoulder with any single released during their heyday.

Every track here is filled with all the hallmarks that made The Cars one of the greatest Rock bands of our generation including Hawkes' keyboard swirls and blips, Easton's tasty licks, Robinson's steadfast beat and Ocasek's unique musical vision.

The buzz is already building on this release and the album more than lives up to the hype.  Welcome back, boys.  The world has needed new Cars music for years and now we finally have it. I only hope this reunion lasts and we get more new music in the future.

A FLOCK OF SEAGULLS/Dream Come True: Spaz reviews the EXPANDED reissue!

A FLOCK OF SEAGULLS

DREAM COME TRUE 

(Expanded Edition)

Available NOW!

The great Cherry Records offshoot, Cherry Pop, has just reissued an expanded edition of A Flock Of Seagulls' fourth album (from 1986) and here is what I had to say about it over at All Music Guide.

"After a genre-defining debut, a satisfyingly somber sophomore album and a third full length that combined the best elements of the first two, things were amiss within the AFOS camp. After three hectic years of non-stop touring and recording, stress-laden guitarist Paul Reynolds promptly quit. Since Reynolds’ unique guitar playing was an integral part of their sound, the band chose not to replace him and they continued as a trio. Moving in a more danceable, Fairlight-driven direction, Dream Come True heralded a new sound for the band. While many critics and fans panned it upon release, the album has plenty of merit. More than half the album’s nine original tracks are worthy of your attention including the singles “Who’s That Girl (She’s Got It)” and “Heartbeat Like A Drum” plus other key cuts like “Cry Like A Baby”, ‘A Whole Lot Of Loving” and “Say So Much”. Musically, while the album was sonically ahead of it’s time in 1986, it has become the band’s most dated sounding release. For the first time in their short career, it seems as if they allowed then-modern production techniques to dictate the direction of the album, creating a clinical sound that was devoid of personality. The band’s unique style was completely gone, replaced by funky guitars, female backing vocalists and clumsy R&B/Dance rhythms. While Mike Score’s lyrics on their previous album, Story Of A Young Heart, were a conscious step away from sci-fi futurism of old, this album found him focusing exclusively on love and, ahem, sex. In the past, his occasionally banal lyrics were hidden behind the charm of the song’s melodies, but on Dream Come True’s musically weak tracks, Score’s limitations as a lyricist are often times more embarrassing than his hairstyle of old. “Love On Your Knees” is downright juvenile and just plain stupid. “Hot Tonight” lacks any sort of melody and is, ultimately, the worst track in the band’s entire catalog. The heavy handed “Better & Better” starts out fairly strong but ends up losing steam a little over halfway through, which is not a good sign since it’s the album’s opening track! In hindsight, Dream Come True is essentially a Mike Score solo album with occasional musical appearances from bassist Frank Maudsley and drummer Ali Score. And while the album is far from a total disaster, it doesn’t even come close to reaching the same heights as their first three albums. Still, it’s a nice addition to their catalog and is due for reappraisal right about now. This Cherry Pop reissue include remixes and edits of the album’s two singles plus the controversial non-album track “(Cosmos) The Effects Of The Sun”."-Stephen SPAZ Schnee/All Music Guide

A FLOCK OF SEAGULLS: Their debut album REISSUED!

A FLOCK OF SEAGULLS

A FLOCK OF SEAGULLS 

(Expanded Edition)

Available NOW!

The great Cherry Red Records offshoot, Cherry Pop, has just reissued the 1982 debut album from A Flock Of Seagulls including four bonus tracks (five if you count the song "Tokyo", which was not on the U.S. version of the album).  Here's what I had to say about it over at All Music Guide!

"Nearly 30 years after the release of this debut album, Liverpudlian quartet A Flock Of Seagulls are still best remembered for Mike Score’s aviation-approved hairstyle, which is an absolute shame. While it earned the band plenty of attention back in the heady days of MTV, it ended up hurting their musical legacy in the long run. Thankfully, when their biggest hit “I Ran” was used for the video game Grand Theft Auto: Vice City, it renewed interest in the band and a whole new generation of AFOS fans were born.

When their debut album was released in 1982, they had already released the “Telecommunication” single and the “Modern Love Is Automatic” EP, which had already laid the groundwork for their unique style.  Mixing mood-inducing synth work with delay-laden guitar licks, A Flock Of Seagulls straddled the line between the cool coldness of early OMD and the bold bravado of U2, bringing both worlds together while adding a bit of sci-fi imagery and immediate commercial pop hooks.  When the single “I Ran” was released (before Score’s hair grew wings), the timing was perfect and AFOS’ career began to soar.  But apart from that big hit, did the band have much else to offer? Oh, yeah. Much, much more.

With this self-titled album, Mike Score, Ali Score, Frank Maudsley and Paul Reynolds set the bar extremely high, both for themselves and for their contemporaries. The band may have been lumped into the ‘Synth Pop’ category, but Reynolds’ guitar work was just as important to their sound as the keyboards and Score’s voice and futuristic lyrics. Take a listen to the glorious “Space Age Love Song”, for example.  It’s a guitar and synth instrumental that just happens to have vocals. These four musicians created their own musical world and for a few years, they were untouchable.

From the building synthetic swell of album opener “Modern Love Is Automatic”, these four young musicians and producer Mike Howlett took listeners on a trip through a world that was cold but not without feeling.  While the lyrical imagery was firmly rooted in the ‘space age’, the emotions were timeless. From the early days of Rock ‘n’ Roll, there have always been love songs and on this album, it’s no different.  Mike Score sings of love and isolation in a modern world, albeit one that is inhabited and ruled by technology only dreamed about back in Elvis’ day. AFOS, at their core, were really just a rock ‘n’ roll band with big dreams and bigger imaginations. On this debut, they were creative without being pretentious. 

When an album boasts a few hit singles, it’s considered a success and this album sports two instantly recognizable hits in the aforementioned ‘I Ran” and “Space Age Love Song”.  But this album has more than just those genre-defying classics: no less than eight of the album’s 10 tracks were on constant rotation on U.S. Alternative and college radio that year and the instrumental “D.N.A.” won the group a bona-fide Grammy.  Not many bands in the last 30 years can put that down on their resume!

A Flock Of Seagulls’ debut is a true classic: an album that defines an entire era, not just the band that recorded it. It has all the hallmarks of a classic album, from the songwriting to the production to the unrestrained creativity of its makers. It’s an exciting and timeless piece of pop that stands up three decades after it was created. It remains one of the absolute best albums of the ‘80s.

While the U.S. version of this album has been available on CD for years, the UK version of the album only appeared briefly on CD and has been out of print for ages. This excellent reissue takes the UK tracklisting (including the song “Tokyo”, which was NOT available on the U.S. album) and then adds four bonus B-sides including “Pick Me Up”, “Windows” and two instrumentals that give “D.N.A.” a run for it’s money: “Tanglimara” and “Intro”."-Stephen SPAZ Schnee/All Music Guide

ELIZA DOOLITTLE: Self-Titled debut album available April 19th, 2011

ELIZA DOOLITTLE

ELIZA DOOLITTLE

4.19.11

U.S. debut album from the British singer/songwriter. Informed by the stresses of modern city life, teenage aggro, classic Pop, old Soul and the appeal of simple, strong melodies built from clanking percussion and jazzy licks, Eliza’s eponymous debut album is bursting at the seams with life and enthusiasm and vigor: just like its creator. On her debut album, Eliza marries breezily beautiful melodies and witty, erudite lyrics with a delightfully off-kilter twist and a knack for a killer hook. The album has been a run away success in the UK where it spent nine weeks in the Top 10, peaking at #3 and already achieving Platinum status. The album has been propelled by 'Pack Up', which spent numerous weeks in the Top 10, peaking at #5 and achieving Gold status

RECORD STORE DAY: When a picture says a thousand words...

We can rant on and on about how important RECORD STORE DAY is... or we can just go to our favorite local indie record store and put our money where our mouth is!  David Rayburn may be a quiet guy in person, but his proven support of RSD speaks louder than words.... Here he is in 2010 at Fingerprints in Long Beach...

RECORD STORE DAY; April 16th, 2011: SPAZ Speaks!

RECORD STORE DAY

4.16.11

If you happen to visit a record store on Saturday, April 16th, 2011 in honor of the 4th annual RECORD STORE DAY, then THANK YOU in advance! If you are a record store who is participating, then THANK YOU! If you are a label that is supporting RECORD STORE DAY, then THANK YOU!

Ever since I was a child, record stores have fascinated me.  Being raised on many types of music (The Beatles, The Monkees, Neil Diamond and Glen Campbell to name a few), I was always excited about songs that really struck a chord with me... long before I even knew what a chord was!

In the beginning, mom and dad satisfied my musical appetite by handing down copies of Beatles albums or buying me albums on my birthday and Christmas.  Every note was magical, every melody was an audio dream that unfolded in my tiny little mind...

I was so excited when I finally started getting an allowance.  OK, maybe the first year or so, I spent all the money on candy and comic books, but when I was old enough to walk to any local record store (Licorice Pizza), my allowance was spent on seven inch singles and LPs in the cut-out bins.  At that time, I couldn't afford a full priced album and if I wanted a new album, I had to add it to my want list for future gift-recieving holidays.

But then, when my allowance went up a little or when I'd get money from grandma and grandpa (or other relatives), it was straight to Licorice Pizza I'd go.  While my tastes may have been limited at that exact moment, there was still so much to choose from.

But in 1977, when I was 14, I saw The Jam and The Clash on TV and my limited view was shaken to it's core and broken wide open.  "There IS a musical world outside of my transistor radio!", I thought to myself.  Little did I know that, 33 years later I'd still be excited and inspired by music, both new and old.  In fact, I think I've only gotten worse!

Anyway, as I came to my awkward teens, music became a way to communicate with people.  If I had friends that were going through hard times, a mixtape could surely cheer up their day.  If I had a girlfriend and couldn't find the right words to say, a Paul McCartney album would always do the trick.  If I couldn't think of the perfect gift for a family member's birthday, why not buy 'em The Eagles' Greatest Hits or Hotel California?

People who know me know that I am never short on words, so if I was handing out mixtapes or albums to people, that meant that those particular albums or songs meant something to ME and I wanted them to mean just as much to THEM.  I would head up to Licorice Pizza and spend my own money just to try to add a little bit of sunshine into their day.  To be honest, sometimes it worked sometimes it didn't... but at least I tried.

I spent so much time at Licorice Pizza during the late '70s that I could have actually worked there.  Then, as I got older and had friends that could drive, it was on to Tower Records, Beggar's Banquet, Music Plus, The Wherehouse and any other record store within a 5 mile radius.  Almost every day.  Definitely every weekend.  We just wanted to experience the sights, sounds, smells and vibes of any record store that stocked a good amount of LPs and singles.  Sometimes we had money, sometimes we didn't... but we ALWAYS heard good tunes and had a great time.

While I did OK at school and had a great family, music spoke to me louder and clearer than any book or teacher.  In fact, some of the most influential people in my young life were those record store employees who would introduce me to new music, either suggesting something or just by playing it in the store.  I didn't read the music rags of the day because I wanted to spend every penny on something new and exciting.  After all these years, it's still the same.

Many of my long-lasting friendships have been made in a record store.  Apart from my school buddies, I'd meet new folks with similar musical tastes and we'd make suggestions back and forth.  I still talk to many of these folks today and I'm still sharing my latest musical passions with them. 

My life would not have been the same were it not for the record stores (and CD stores) that I would frequent during this very important time in my life.  It pains me to no end when I think that the youth of today don't bother with experiencing the joys of seeking out new music in their local record stores.

Two and a half decades ago, there was so much on offer here in OC in regards to record stores: Music Market, Camel Records, Music Plus, Licorice Pizza, Record Trading Center, Pepperland, The Wherehouse, Beggars Banquet, Up Another Octave, Tower Records and many others that are swimming around in my memory banks. Of all those great spots, only Pepperland remains. The others disappeared over the years (and many of them long before downloading began replacing the shopping experience).

In a perfect world, I'd be shopping in one of them now.  But, I really don't mind taking a long drive to L.A. to hit Amoeba every now and then.

Now, I'm not one who is against the idea of legal downloading (I've done the odd track here and there myself), but at the end of the day, after you've paid your money, what do you have? NOTHING! There are files in your computer that seemingly play the music for you, but is that really enough? Can you hold it? Can you feel it? Can you smell it? Can you see it? You didn't buy anything tangible: there are nothing but files on your hard drive made up of numbers, letters and codes. Where is the fun in that? What kind of memories will that leave behind?

An imperfect (and slightly offensive) analogy would be: does internet porn REPLACE an intimate physical relationship with someone? I think not. Same with music: how can someone possibly be satisfied with a download of an entire album when they can actually own a physical piece of product? As I stated before, I am NOT anti-downloading; I am pro-record store! I must admit that the internet IS a great place to LISTEN to new stuff and make your purchasing decisions, though.

In terms of buying your item, the ideal situation is to go to your local indie record store and buy it. If it's not in stock, then have them special order it. It may not be instant gratification, but within a few days, you'll have what you need and you will enjoy the heck out of it. You'll be able to hold it, look at it, listen to it, read the liner notes, etc. You can then load it into your computer and enjoy listening to it that way as well, but the important thing is that you own it. It is yours. It is something you can show to your friends. It is something physical... something REAL.

For many of us, music is more than just a hobby... it was an emotional experience that is hard to describe. There are those of us who LIVE for music. It's not just something that is played in the background: it is the soundtrack to our lives!

About a decade ago, I came up with a motto that fits me to a T: "Some of my best friends are three minutes long"! And that still rings true.

Even today at the age of 47, I listen to music in the morning, afternoon and evening. I write about music all day long. I still get together with friends on a regular basis and discuss music, play music and hear new music that they share with me. I'm not the only one like this: there are others! Perhaps even YOU! But are there places for all of us to meet anymore? The record store was (and is) more than just a place to spend money: it was a place to spend time, meet like-minded people and learn about new music (or even older releases you may have missed first time around).

There are still plenty of sports bars around for all the sports fans to gather and enjoy a game together and that is awesome. There are upscale coffee shops everywhere where folks can get together and be arty and pretentious, and that, too, is awesome. But all the record stores I remember from my youth have closed down.

It is up to US to support the ones that are still left standing. And if you visit one of them on RECORD STORE DAY, then THANK YOU again. Visit them again tomorrow... or next weekend, too! Perhaps the kids of today and tomorrow will one day realize that the record store experience is amazing indeed. It is up to US to show them the way.

To paraphrase the great Roy Wood and Wizzard, "I Wish It Could Be Record Store Day Everyday"!

Stephen SPAZ Schnee

The views and opinions expressed in this posting are strictly those of the author. And possibly of other people as well.  But I can't name names.  You know who you are.

SONGS FOR JAPAN: Two CD benefit release available NOW!

SONGS FOR JAPAN

Available NOW

In what stands as a major global music relief effort to benefit those affected by the earthquake and tsunami in Japan, over 30 of the biggest names in contemporary music have joined together for the worldwide release of "Songs for Japan," an unprecedented compilation of 38 chart-topping hits and classic tracks. Proceeds from the album's sale will benefit the disaster relief efforts of the Japanese Red Cross Society.


Tracklist:

1 John Lennon "Imagine" 
2 U2 "Walk On" 
3 Bob Dylan "Shelter From The Storm" 
4 Red Hot Chili Peppers "Around The World" 
5 Lady Gaga "Born This Way" 
6 Beyonce "Irreplaceable" 
7 Bruno Mars "Talking To The Moon" 
8 Katy Perry "Firework" 
9 Rihanna "Only Girl (In The World)" 
10 Justin Timberlake "Like I Love You" 
11 Madonna "Miles Away" 
12 David Guetta "When Love Takes Over" 
13 Eminem "Love The Way You Lie" 
14 Bruce Springsteen "Human Touch" 
15 Josh Groban "Awake" 
16 Keith Urban "Better Life" 
17 Black Eyed Peas "One Tribe" 
18 Pink "Sober" 
19 Cee Lo Green "It's Ok" 
20 Lady Antebellum "I Run To You" 
21 Bon Jovi "What Do You Got" 
22 Foo Fighters "My Hero" 
23 REM "Man On The Moon" 
24 Nicki Minaj "Save Me" 
25 Sade "By Your Side" 
26 Michael Buble "Hold On" 
27 Justin Bieber "Pray" 
28 Adele "Make You Feel My Love" 
29 Enya "If I Could Be Where You Are" 
30 Elton John "Don't Let The Sun Go Down On Me" 
31 John Mayer "Waiting On The World To Change" 
32 Queen "Teo Torriate (Let Us Cling Together)" 
33 Kings Of Leon "Use Somebody" 
34 Sting "Fragile" 
35 Leona Lewis "Better In Time" 
36 Ne-Yo "One In A Million" 
37 Shakira "Whenever Wherever" 
38 Norah Jones "Sunrise"