Radio Radio has the Born Again Floozies and Kelsey Smith tomorrow evening.
The Vollrath features The Great Big Oh No and Denny Denny Breakfast tonight and Blind Pilot with the Seedy Seeds tomorrow. Also, a belated welcome to the Vollrath to the rolls of this blog - your calendar is now current and wonderful.
Deano's Vino has Luke Austin Daughtery tonight. Tomorrow, you can enjoy New Augusta.
And finally, there's live jazz tonight at Maria's Pizza. Enjoy.
So the new Zune HD will likely include an HD radio, which is an interesting feature. There's some interesting content out there on HD radio, including the offerings on the HD channel the IMN podcast broadcasts on Thursdays at 4pm. It's still not something that would make me switch from the iPhone because:
- It's not a phone.
- At least in the case of WFYI HD2, the programming is streamed live over the 'net.
So it may be a good upgrade for Zune fans - let me know if you have any questions or comments about it when it comes out. I'll wait and see.
So there are eight or so additional songs to be added to the canon of the $1.99 Millers, and a plurality of them needed bass lines. That's what I did this weekend.
For at least a portion of it, that is.
Some of the material was quite familiar, as it made its debut to the world under the aegis of Kit Malone and the American Arsonists. The feel was a little bit different on record, but the results were satisfying. The other material was both familiar and tricky (the common trait of all $1.99 Millers material - can there be math-alt-country?), but I believe it'll all turn out quite well. Head $1.99 Miller Eric Musall predicts a June release for the additional tracks, so stay tuned.
Radio Radio has the Hillbilly Hellcats and Creepin' Charley and the Boneyard Orchestra this evening. Fine, aggressively fun music. Have fun with this.
Big Car Gallery presents Ever So Slightly Saturday with e.a. strother, Laura K. Balke and Lovely Houses. Fine, significantly less aggressive music. Have fun with this as well.
Deano's Vino has the Last Drop Juggers tonight and Wilson and Company tomorrow.
And for the jazz folks, there's big band swing at the Fountain Square Theater tonight and a smaller combo at Maria's Pizza.
Enjoy the new IMN podcast by downloading it here or listening on the site or at WFYI HD-2 Thursdays at 4pm. Also, please add Fez Fest '09 to your calendars (if you haven't already) - tomorrow night's show at the Melody Inn features extraordinary basement punk, throwback indie rock, Tuvan throat singing goodness, and sitar frenzy. All drawn together by the fez. There might even be extras, should you somehow forget to bring yours to the party.
My good friend Eric Musall has tossed some more music online, and I'm pretty sure I appear on at least three of these four albums. Just a few short years ago, there was a drunken, rabid bender of recording (minus the drinking) that produced these albums. The $1.99 Millers saw some live shows and album sales, but I believe the other two are just now seeing the light of day. Enjoy them in the spirit of good music and exploration.
P.S. I think there's more alt-country and some death metal on the way after this.
Radio Radio has the HETO benefit this evening with We're Not Squibnocket and The Roosters. The money goes to help educators working in less-fortunate areas - good cause. Tomorrow, The Hot Seats and The Cousin Brothers hit the stage.
Deano's Vino features Mr. Take It Easy tonight, with the jazz of the John Harden Project tomorrow. There's also live jazz tonight at Maria's Pizza.
That's enough. Enjoy the weekend.
I just got my hands on my copies of "Google Small Business All-In-One For Dummies," and my first impression is that it's huge. Over 750 pages of huge. But it's a good kind of huge, so I'm fairly proud of it. Not proud enough to charge this much for it, though. If anybody wants the book badly enough RIGHT NOW to pay $99,999.99 for it, send me an email, and I'll cut you a much better deal. Fifty percent off, at least. Also, the new IMN podcast is up - you can download it here or listen at the site or WFYI. It's totally free, so think of it as an added bonus while you read the book.
Looks like iTunes and Amazon have the Wup Bup tracks available for download, so feel free to download them at your leisure. Also, the CD can still be purchased at Indy CD and Vinyl and Luna Music here in Indianapolis.
We're still working out the live aspects of the show, but it's looking like Reason is going to be playing a large part of providing the sounds and loops for the show (including, hopefully, my bass). Since I love the program personally, then, I'm a little geeked out about the company (Propellerheads) releasing an audio recording program to work in tandem with the soft synth and sequencing capabilities of Reason. It's going to be a little hard to wait until September for the final product, but it does make my decision to choose a new audio recording software a little more complicated. At least on my laptop, Pro Tools and Logic have another competitor.
Twice this weekend, I was brought out of a movie's story line to confront some less-than-stellar music choices. One was simply unfortunate, and one was egregious. They're both lessons to music supervisors to choose carefully.
The simply unfortunate was the use of the Beastie Boys track "Sabotage" in "Star Trek." The scene had a too-young-to-drive (even in the future) James Kirk cruising along in car screaming along to the track - a track that would have been hundreds of years old by the time of the shooting. Would a young child appreciate (or even have access to) music that old? It was a misstep in an otherwise decent movie. At least they managed to avoid the trap of putting in generic-sounding nu-metal to signal the dark, dystopian future.
The egregious example came from Rosie O'Donnell's documentary "All Aboard." In one scene, following the touching marriage of two gentleman aboard the cruise ship, we're treated to Harry Nilsson singing . . . "Sail Away." Yes, that Randy-Newman-penned song that extols their new country to groups of African slaves, sung from the perspective of the slave merchant. They conveniently left out the part about watermelon and buckwheat cakes, and they never put into context the arrival of the ship in Charleston Bay - home of the slave auctions. The whole point of the song is glossed over for this one moment. Using the song in this way totally undercuts the message of tolerance and acceptance the documentary is trying to communicate. Everything I'd seen up to that point was ruined by one song.
Please, music supervisors - be careful. The wrong choice can be just distracting, or it can take down the entire project.