My Bloody Valentine produced one of the most memorable and historic albums of my music listening years, as well as for many others that have come to understand it’s significance and place in modern rock-n-roll. There were no hit singles on this record, the songs don’t necessarily stick in your head for days on end, but it felt like something that was completely different, but no so much to turn us off. By industry standards, it was a quiet statement by a band, that left a impact on music fans that has survived the test of time, and still resonates with many. Loveless was the record, and although some might argue differently, was the album that secured My Bloody Valentine’s place in music history for many of us.

The opportunity to see this band perform once again in it’s original conception, had pretty much vanished from my mind as happening in my lifetime, but despite years of separation and almost fading into ghost’s of music past, they have resurfaced. And they happened to pick Austin as one of the 5 U.S. dates to perform their glorious return.

What transpired this night @ The Austin Music Hall, almost escapes words. The band is legendary for their loud shows, and free earplugs at the door at the request of the band were in order if you didn’t already come prepared. With little to say to the audience or even amongst themselves, My Bloody Valentine proceeded to launch an all out assault on the senses. A visual, auditory battering that enraptured the audience and left many paused as to what they were witnessing. An experience so powerful, and moving, words cannot do it justice. I’ve been to many a live music event in my day, and what took place on the stage that night was the pinnacle of my experience. It wasn’t about the songs, or the band, but something lying deep within what the two combined was powerful on a completly different level. Music from a time less complicated, less contrived, unpretentious, and simply more fun. A smile on my face from start to finish. A constant check to see if I was really wearing earplugs, and possibly a tear or two. Beautiful!

Set list here

I didn’t think that I was going to be this excited for the show, but I’m pretty stoked. Part of it, is that my talented partner/photographer will be shooting the event. And it’s a rare opportunity to see a band that I might never have the op to see again. A band that put out a record, that was a staple for me back in the day.

MP3> My Bloody Valentine ‘I Only Said’
MP3> My Bloody Valentine ‘Blown A Wish’

I’ll admit that I haven’t been much of a fan of the solo work of the former front-man for the Smiths, who calls himself Morrissey. Some of the early solo material sets well enough, but over the past few years, I’ve chosen to relish in the genius of the collaborative effort called The Smiths. A simple name, which simply contradicts the incredible library of artist Brit-pop/indie-rock that these four lads accomplished over the time that they were together.

Lucky enough for me, and with the assistance of some, I found myself in attendance of the Morrissey show last night here in Austin. I had probably set myself up for some disappointment based on a few years of witnessing live performances via Internet and video, and was cautious as to what I might experience this evening. What I did experience, was an unrequested trip into youthful memories that moved my emotions and spun time backwards in an instant. That instant was when Morrissey and company took the stage and launched into “This Charming Man”. Not soon after that the rendition of “How Soon Is Now” steadied that trip, while the lingering feeling of wanting to have seen the original 4 on stage for these performances, tirelessly attempted to falter the pleasure of what I was watching.The classic “Ask” beckoned for a personal sing along, which..for those that know me, is not of character, but who could resist?

As the show continued, it was evident that Morrissey still has it, and still flaunts it, much to the delight of the past and present fans. The band sounded great, Morrissey strutted the stage, crooning to the audience and playfully bantering with them between songs. There were numerous changes of clothes, and a barechested moment, while he, the man known as Mozz these days, captured the audience and held them in his hand for the entirety of the set. This is where you might understand that the reason of the dismantling of one of the greatest bands on earth came about. November spawned a monster, and monsters cannot survive together.

I loved what I saw tonite on stage, but it only made me long for once what was. A talented group of musicians and poets that brought us a musical message that was not only morose, but whimsiclay comical, and musically as serious as music should be. Please take some time to listen to The Smiths. And see the Mozz on tour if you can. It’s a treat that shant be missed.

MP3> The Smiths ‘Ask’

My introduction to the great band The National. A friend recently mentioned that he knew folks that didn’t like The National because they thought Matt Berninger’s vocals sounded too much like the guy from Crash Test Dummies. I can’t say that I quite get that comparison, and will admit that I did own some Crash Test Dummies at some point. What struck me  the most when first listening to this record was Berninger’s lyrics. There’s an honesty in his poetic portrait of ordinary life that easy to relate to, and subsequently, is extremely comforting. The Devendorf and Dessner brothers (yes, 2 sets of brothers) do a fine job of complimenting the lyrical ambiance musically.  A fine introduction to what shall be remembered as one of the more talented bands of this era.

The band followed up with the critically acclaimed Boxer and is currently one driving force behind the most recently released Red Hot compilation Dark Was The Night.

There are some great moments on this record and these are just a few.

MP3> The National ‘Secret Meeting’

MP3> The National ‘Daughters of The Soho Riots’

MP3> The National ‘Mr November’

After the break-up of Austin’s noise rock/punk outfit Scratch Acid, David Yow relocated to Chicago and formed The Jesus Lizard with Duane Denison and former Scratch Acid bassist David Wm. Sims. Noise rock/post punk/alternative were used to describe the band’s music, which featured Yow howling like a tortured animal at times while forming lyrics that painted the darkest of images. The band was known most for it’s live shows, where Yow was known to flail around the stage recklessly, expose himself, and inevitably end up in the crowd.

The band’s career spanned a little more than a decade, and produced numerous albums on both Touch and Go and Capitol, while building a reputation as one of the best live shows around.

May 2009 finds all of the original members reuniting for a string of dates that begins with All Tomorrow’s Parties and ends sometime in November in the band’s hometown of Chicago. All that’s left is to fill those 7 months, and chances are good that Yow and company will return to the city where it all really began. I for one, am quivering with anticipation.

MP3> The Jesus Lizard ‘Gladiator’

MP3> The Jesus Lizard ‘Whirl’

I’ve have a history with music that goes back in years longer than I care to admit for fear of revealing my age, yet my affair with modern rock music has yielded years of experiences that I wouldn’t trade for anything. As I listen to much of what is being produced these days as modern rock, I can’t help to hear the various time periods of influences that shimmer and shine in the sounds of today’s music. Maybe a result of intention, unrecognized influence, or pure coincidence, it influences what I find interesting in today’s music scene. With all of these reminders of a past in this current, I find myself wanting to take time to look back and rediscover these sounds that existed in a time when there was more room for originality, more chances to surprise and leave a lifelong impression.

My first experience with the Cocteau Twins comes as some of my earliest experiences with music came about. I liked the album cover. When I was young, and had no resources available to inform my curiosity about music, I often took to an album because of the cover art, not knowing anything about what I was going to experience from the sound. The Cocteau Twins were probably one last band that I discovered through this simple, visual selection process as, by this point in my life there were more resources available for discovering music.  I was working at a music store at the time and doing everything in my power to utilize my discount to discover anything new and different. Remember now, I’m a music junkie, and always have been. I frequently rummaged through the sale bin, which was filled with the albums that just weren’t moving in the store. The music store in small town Texas. Something about this cover, from a band whose name I wasn’t even sure I could pronounce, intrigued me.

What I discovered on this piece of vinyl wasn’t anything too far removed from some of the other bands I had been discovering at the time, sounding a bit like early Cure or even Joy Division, but there was something strangely curious that kept my attention over the years. Eilizabeth Fraser’s unique singing style layered on top of Robin Gutherie’s shimmering guitars stabbed at my curiosity. I found myself investing time with subsequent releases that found the band discovering it’s own legs and growing into a group with it’s own unique and beautifully haunting sound.

As the years slide away, many bands that may have held my attention at some point, slide away as easily as the time seems to, but few remain a to remind me of discovery and brilliance. The Cocteau Twins remain one of those bands. The songs and sounds of the band lay down the backdrop for some of the most personal memories from some of the most trying and claimed times of my life, and the music still stands relevant. Blue Bell Knoll and Treasure are favorites amongst an 11 album history in 14 years. I listen to the music today and think as to how much impact the band were to have on the current scene if they were a band of now.

No band has better song titles than “Spooning Good Singing Gum”, “A Kissed Out Red Floatboat”, “The Itchy Glowbo Glow”, “Otterley”, or “Iceblink Luck”.

Cocteau Twins website

Cocteau Twins Wiki

MP3> Cocteau Twins ‘Pandora’

MP3> Cocteau Twins ‘For Phoebe Still a Baby’

MP3> Cocteau Twins ‘The Itchy Glowbo Blow’

I wrote this post the day my grandmother, Leda Doolan, was laid to rest. Why I didn’t publish it then, is as much a mystery to me as life itself. That’s me, my sister, my grandfather Michael Doolan, and my grandmother Leda in the photo.

I started this blog because music inhabits my soul. Music is as much a part of me as family, music is the soundtrack to my life, my thoughts, and an outward extension of my emotions and feelings. I didn’t seek it out, it found me, and we have been friends since I was old enough to turn the radio on. If you are at all like me, music is a part of your daily life, and as it sometimes is running as a necessary backdrop to the day, there are times when the moment, the emotions, the thoughts, the situation, and the songs come together in way that seems as if everything is perfectly in sync for a few moments that remain etched in your memory forever. Moments of pure clarity and peace. I have those moments, and they are beautiful. I hope to experience those moments for the rest of my life.

Leda Doolan, is my grandmother. The earth lost Leda Doolan, December 24th, 2007. It wasn’t an unexpected loss, but a loss nonetheless. She lived a full life, and will be missed greatly. My intention of this post, which may be odd or uncomfortable to some reading, is not to dwell on the loss of life of my grandmother, but to celebrate the most recent memories that I have acquired during this time of her last days. This is not to say that I don’t have fond memories of her from before, but when the harsh realities of life and it’s inevitable destiny are staring you in the face, your senses and awareness are heightened to a new level. As the situation began to unfold into the recognition of what was to be experienced over the next few weeks or months, the later of which turned out to be the case, several of my experiences during this time were secured forever in my mind and heart with thoughts and songs along the way. It also presented to me a reality of how quickly time really disappears, and what is happening now, as much as we take it for granted, will dissipate quicker than we care to acknowledge or understand until we get to these junctures in life.

If “seizing the day” means living each day the best way you know how, no matter how simplified yet caring you do, then Leda Doolan “seized the day” every day of her life. And that is what she will be missed for by everyone who knew her.

MP3> St Vincent ‘Landmines’

MP3> Tiny Vipers ‘Forest on Fire’

MP3> Minus the Bear ‘Part 2’

Photo: Spin.com

No Deliverance, the Toadies‘ first album in seven years, hits stores August 19. The title track is streaming over at Spin right now.

Tour Dates:
Jun 20 Sunset Station – San Antonio, Texas
Jun 21 Ridglea Theater – Fort Worth, Texas**SOLD OUT**
Jun 24 Masquerade – Atlanta, Georgia
Jun 25 Black Cat – Washington DC, Washington DC
Jun 26 Bowery Ballroom – New York, New York** SOLD OUT **
Jun 27 Middle East Underground – Cambridge, Massachusetts **SOLD OUT**
Jun 28 Trocadero – Philadelphia, Pennsylvania
Jul 5 CPR Fest – Biloix, Mississippi
Jul 29 Cain’s Ballroom – Tulsa, Oklahoma
Jul 30 Pageant Theater – St. Louis, Missouri
Jul 31 Annex Nightclub – Madison, Wisconsin
Aug 2 Lollapalooza – Chicago, Illinois
Aug 23 Northgate Music Festival – College Station, Texas
Aug 29 Verizon Wireless Theater – Houston, Texas
Aug 30 The Pavilion at Concrete Street – Corpus Christi, Texas
Aug 31 Dia De Los Toadies @ Possum Kingdom Lake – Graham, Texas
Sep 3 Stubb’s Waller Creek Amphitheatre – Austin, Texas [tickets]

X
La Zona Rosa
Monday June 2, 2008

By Luke N. Atmaguchi

photo : valerie@fremin.net

X turned the clock all the way back, leading with “You’re Phone’s Off the Hook, But You’re Not,” the first song on the first side of their 1980 debut album Los Angeles. Twenty-eight years on and not much worse for wear, the veteran punk quartet was warmly greeted by a sizeable crowd at La Zona Rosa on Monday night. (Celebrities in attendance: Gerard Cosloy.)

I’ll be straight with you: the best rock show I ever attended was X at the Peppermint Lounge in New York on September 18, 1981. (No, I wasn’t in a stroller.) They were touring behind their second album Wild Gift, and previewing songs from the forthcoming Under the Big Black Sun. All this is not to brag, but rather to admit that after all this time, I could write this review – and indeed X could play their show – with eyes closed and one hand tied.

That’s not to imply any lack of passion. Monday’s show – 28 songs over an hour-and-a-half – affirmed that X still rocks hard. Singer-bassist John Doe and drummer D.J. Bonebrake form a preternaturally tight rhythm section, well showcased on the stop-start tumble of “Because I Do,” from the five-song encore. And guitarist Billy Zoom, with his trademark wide stance and even wider shit-eating grin, still unfurls hot licks with aplomb – his rockabilly flash on “Johnny Hit and Run Paulene” still dazzles. And Exene is eternal, with her woozy warbling on “Year 1” and harrowing harmonizing with Doe on “The Unheard Music.” (Fashion bonus points for her knee-high gym socks.)

X unwaveringly adheres to the “give ‘em what they came for” philosophy of touring repertoire – they only play songs from the first four albums (Los Angeles, Wild Gift, Under the Big Black Sun, More Fun in the New World), and run through most of the first two. That’s why it was a pleasant shock when, four songs in, they rescued “My Goodness” from the ill-fated fifth longplayer Ain’t Love Grand. (Yes, I’m the guy who yelled “Ain’t Love Grand ain’t bad!” afterward. Such a wit.)

“The Have Nots,” one of the most overt displays of X’s wearied populism (yes they have politics), brings me to this point: you the fan will end up a have-not, so often do they go to the well. This is twice they’ve played Austin in less than three months, you can count on The Knitters to swing through once or twice a year, and maybe throw in an Exene poetry reading. Go and you’ll be rewarded, but you can skip a few and still be a true fan. Why not stay home and watch a Viggo Mortensen movie, and think to yourself, “Wow, it’s so weird he was married to Exene.”

photo : valerie@fremin.net

Luke N. Atmaguchi keeps a rarely-updated blog here. His alter-ego Stan D. Payne occasionally uploads badly-taken photos here.

Set List:
You’re Phone’s Off the Hook, But You’re Not
We’re Having Much More Fun
Beyond and Back
My Goodness
White Girl
Some Other Time
In This House That I Call Home
We’re Desperate
True Love
Back 2 The Base
The Have Nots
Los Angeles
The Hungry Wolf
I’m Coming Over
The New World
The Unheard Music
Sugarlight
Breathless
Year 1
Johnny Hit and Run Paulene
Motel Room in My Bed
The World’s a Mess It’s In My Kiss
Soul Kitchen

Encores:
The Once Over Twice
Adult Books
Because I Do
Devil Doll
It’s Who You Know

Stephen Malkmus is scheduled to play here in Austin @ La Zona Rosa on the 20th of this month, and I’m going to be in attendance. I guess I should say that Stephen Malkmus and The Jicks is playing this month, as that is the band that Stephen runs with these days. Quite honestly, I’ve chosen to attend this show against what my gut instinct is telling me I should really do. My gut instinct is telling me that my fond memories of Pavement are in danger of being smeared by seeing Malkmus sans his former band. I’m not claiming that Malkmus isn’t still talented and isn’t capable of entertaining anymore, the success of his solo career is proof of that, it’s just some of my favorite recordings from the 90′s belong to the band Pavement. As much as I loved the band, I just haven’t been able to bring myself to indulge in his solo efforts post Pavement.

Back in those days, discovering new music, especially indie bands, was usually through word of mouth, friends, and even MTV. Yes, MTV used to be a decent source for discovering bands in those days. The internet existed, but computers were just finding themselves common place in homes, and most of us didn’t understand the power of the internet at the time. Friends turned me on to Pavement, and the relationship I developed with their music has lasted for years after our initial introduction. For those of you not familiar with Pavement, an introduction is in order.

Of course you can find the detailed history of Pavement @ the Pavement (band) Wikipedia site, and being this many years since the band were ruling the indie-rock scene, I refreshed my memory with a quick trip to the site.

Founding members Stephen Malkmus and Scott Kanberg completed the original lineup of Pavement in 1992, which is also the year that the band released it’s debut album Slanted and Enchanted. Slanted and Enchanted was, and still is regarded as one of the more important and influential albums released in the 90′s, although it has yet to sell more than 200,000 copies in 16 years. The band’s debut initiated a cult following of fans in search of music that contradicted the grunge scene which had begun to dominate the music world, as well as popular culture. Crooked Rain, Crooked Rain was released in 1994 and secured the band as the darlings of 90′s indie-rock, while remaining the highest selling album released by the band to date. The band released 3 more albums, Wowee Zowee, Brighten the Corners, and Terror Twilight before they parted ways in 1999.

Pavement remains one of my favorite bands from the 90′s, and although I own 5 of the recording released during the bands existence, Crooked Rain, Crooked Rain remains my all time favorite and still gets regular play in my house. The appeal of Pavement was, as I mentioned earlier, the want for a sound that was unique and the opposite extreme of what was happening in the scene at the time. The band sounded so much different than anything that I had heard up until that point, although some may argue that they ripped off The Fall, I didn’t have that reference point to work with. The songs were fractured at times with odd tempos, interesting guitar hooks, and Malkmus not always singing quite in-tune. I know that doesn’t sound so unique by today’s standards, and maybe you can attribute some of that influence to Pavement. Lyrics were a large part of the appeal as well, while Malkmus didn’t tell stories in the traditional sense, he inspired this abstract imagery with lyrics like:

“so drunk in the august sun
and you’re the kind of girl i like
because you’re empty and i’m empty
and you can never quarantine the past
did you remember in december
that i won”t eat you when i’m gone
and if i go there, i won’t stay there
because i’m sitting here too long”

As far as the live shows went, it was always a crap shoot as to which band was going to take the stage that night. I saw the band when they completely nailed the songs, the energy was there, and they just rocked. There were other times when it was almost unbearable and you almost looked forward to the end of the show. It was Pavement though, and bad show or not, I remained a fan and still am to this day. They’re that band that came along at the right time with the right sound, that seemed to make perfect sense in their own unique way as their songs played out as the soundtrack to that time in my life. I love remembering Pavement.

I’m sure that Stephen will put on a great show, and change my attitude towards his solo material, but for now, I hang on to those “Gold Soundz” from Pavement.

MP3> Pavement Crooked Rain, Crooked Rain ‘Elevate Me Later’

Video for “Range Life”

I’m making an effort to trim down on regurgitating random news bits, but it’s Swervedriver, and I like Swervedriver. This is one band that I felt like I had missed my opportunity to see live, ever! Sure, Adam Franklin toured last year, and even made a stop here in Austin not long ago, and I just couldn’t bring myself to attend the show with the thought that it just wasn’t going to be Swervedriver. Not the smartest move understandably, after reading reactions to the performance. That’s in the past and the in the future lies Swervedriver dates, including a stop here in Austin @ Emo’s.

MP3> Swervedriver ‘Last Train to Satansville’

MP3> Swervedriver ‘You Find It Everywhere’

Swervedriver Tour

05/26 – Mon Seattle, WA Neumo’s Crystal Ball Reading Room *
05/27 – Tue Portland, OR Wonder Ballroom *
05/29 – Thu San Francisco, CA The Fillmore *
05/30 – Fri San Diego, CA Casbah *
05/31 – Sat Los Angeles, CA Henry Fonda Theatre *
06/03 – Tue Austin, TX Emo’s Alternative Lounging
06/05 – Thu Atlanta, GA The Masquerade
06/06 – Fri Carrboro, NC Cat’s Cradle
06/07 – Sat Philadelphia, PA Theatre of Living Arts
06/08 – Sun Washington, DC 930 Club
06/10 – Tue Boston, MA Paradise
06/11 – Wed New York, NY Bowery Ballroom
06/12 – Thu Brooklyn, NY Music Hall of Williamsburg
06/13 – Fri Toronto, ON, Canada Lees Palace
06/14 – Sat Chicago, IL Metro

* w/ Film School

I’ve been feeling a bit nostalgic the past few days, and with that nostalgia an urge to revisit some recordings that I felt like I’ve almost forgotten about. I started this blog almost one year ago, and to be quite honest, I had no idea what I was getting myself into. It’s like stepping onto a treadmill that doesn’t ever stop. I’ve been discovering music at a rate that boggles the mind at times, and as I’m introduced to great artists constantly, I feel like I’m starting to forget about some of the stuff that I was listening to previous to this venture. Maybe I’m just getting old, and am pining for the feelings associated with younger years. Whatever the case may be, I’ve decided to revisit some of these recordings and share them with you.

I start with Big Star.

I was introduced to Big Star years ago by a friend who faithfully believes that The Replacements are one of the best rock bands ever. I’m not one to argue that fact, as he just might be correct in that belief. Anyone who is a fan of The Replacements cannot ignore the existence of Big Star, as Paul Westerberg expresses his admiration of the band on several occasions, even writing an entire song about one of Big Star’s principal songwriters, Alex Chilton.

Named after a supermarket, the band started in 1971 with Chris Bell, Andy Hummel, and Jody Stephens. Alex Chilton would join the band soon after, sharing songwriting and singing duties in a collaborative style similar to Lennon and McCartney. By 1972 the band had released it’s first recording aptly named #1 Record, but label issues led to poor distribution and lackluster sales.

Soon after the release, Bell’s depression and disappointment in the lack of success led to his departure from the band, and the band itself disbanded for a short while. Big Star reunited without Bell, and released Radio City in 1974, once again failing to capture the commercial success they desired, although the recording received critical acclaim.

Big Star broke up once again in late 1974, saw the release of another recording Third, and have managed a few reunion shows here and there, but the success of the band lies in the memory of those who have come across the earlier recordings and the influence that they have had on some of today’s artists. Artists citing Big Star as a big influence include R.E.M., The Replacements, Primal Scream, The Posies, and Matthew Sweet, just to name a few. Their biggest commercial success would come compliments of the television sitcom That 70′s Show, which uses the re-recorded version of “In The Street” as it’s theme song, as well as featuring various other Big Star recordings in the show on occasion.

The crafty songs of youthful innocence, the simple pleasures, and the trials and tribulations of love remain timeless and effective 30 years later. The songs can be bluesy, they can be power pop, even somewhat psychedelic at times, but always distinctly Big Star.

MP3> Feel (#1 Record)

MP3> In The Street (#1 Record)

MP3> Thirteen (#1 Record)

MP3> You Get What You Deserve (Radio City)

MP3> I’m In Love With A Girl (Radio City)

Someone brought up The Young Ones to me the other day, and the memory of how much I enjoyed this British sitcom from the 80′s prompted a visit over to YouTube for turned out to be several minutes of me laughing hysterically. Let’s keep in mind that I wear a few more years that most you reading this, so my memories probably assisted with triggering the reaction.Never heard of The Young Ones?

The Young Ones first appeared on BBC2 in the 8o’s and quickly found it’s way into popularity amongst the youth of the time, as well as a regular time slot on MTV. Granted, this was a time when music dominated the airwaves at MTV, and a sitcom that appealed to the MTV generation was a welcomed addition. The show was based around the lives of 4 undergrad students that shared a house together: the violent punk rocker Vyvyan, pimple faced anarchist Rick, veggie lover/hippie Neil, and odd curiosity Mike. The offbeat, crass, dirty, foul, anarchist style of humor was considered by many to be complete rubbish, but paved the way for a lot of the similar style comedy that still exists today. Along with bizarre plot twists and surrealistic scene changes, the show also featured some popular music artists of that time performing on the set. Madness, Dexy’s Midnight Runners, Motorhead, and The Damned are among the few instilled in my memory.

I have compiled a video pile of some funny clips from the show. I hope that you enjoy.

The Young Ones – University Challenge

The Young Ones- Vyvyan Is Pregnant

The Young Ones- Summer Holiday Pt1

The Young Ones- Summer Holiday Pt2

The Young Ones – Summer Holiday Pt3

The Young Ones – Summer Holiday Pt4

Adam Franklin is no longer a part of Swervedriver and I’m not sure that Swervedriver exists as a band any more, but I always loved Mescal Head and look forward to checking out the solo work of a guy who was an intregal part of making this memorable recording. Adam is out touring in support of his most recent solo release Bolts of Melody, and you can look for future material from another one of Adam’s projects, ,The Setting Suns where he is joined by Interpol drummer Sam Fogarino. Adam seems to be a busy man, and in good company as well.

Mp3►►Swervedriver ‘Last Train To Satansville’

Adam Franklin Tour Read more

Why, why, why, why, why did you leave me Luna?? I know that I took for granted the fact that you just always seemed to be available when I needed you, and maybe I didn’t pay you enough attention in the later years, but my love for you didn’t change, I just became lazy in showing you that I really do care. You were one of the best things that ever happened to me, and I promise that I won’t forget that about you.

Sad, isn’t it? It took me watching the appropriately named DVD release from these guys Tell Me Do You Miss Me, for me to realize that I really do miss Luna, and to realize how amazing they really were. Pup Tent is possibly one of my favorite records of all time, and what makes it great for me is the lyrical world that Dean Wareham dream-weaves and integrates into the subtle sonic sultry landscape of music layered on that beautiful disc. If you have not heard this record, then I highly recommend that you take the 46.7 minutes required to experience Dean and Luna at what I think is their best. Don’t get me wrong, they have a lot to offer on everything that they have put out, but this one is a gem.

Back to the DVD Tell Me Do You Miss Me, it was a comfortable and unsettling reminder of how the industry has changed because of the emergence of digital media, and the casualties of that change. It features a coming of age band that got lost in the shuffle in a time when digital media was changing the landscape of the music business and labels struggled to make usable sense of the shifting industry while still supporting the bands. Luna stepped out as the first wave of a swelling sea of change that was about to take the industry by storm, and as much as I regret their departure, it may have been one of the smartest moves that they have ever made being veterans of the industry since the early 90′s.

Dean and Britta from Luna are still making records, but its not the same, nor will it ever be. Visit fuzzywuzzy.com for complete information on the band and it’s history, and watch Tell Me Do You Miss Me, as it is a wonderfully shot film that covers the band’s last tour on a level that will have you answering the question with a resounding…Yes!

Mp3►►Tracy I Love You

Mp3►►City Kitty

Mp3►►Fuzzy Wuzzy

Trailer for Tell Me Do You Miss Me