Her child-like voice has been compared to everyone from Kate Bush to Lisa Simpson. I fancy it as a quirky cross between Latka Gravis' wife Simka on "Taxi" (played by Carol Kane) and Melanie (who sang "Brand New Key"). Even more unique than her voice, however, is her instrument of choice, a full-sized harp just like the kind you've heard in orchestras or will hear at the pearly gates (if you've been good). On her new five-song, 55-minute EP, Ys (pronounced "ees"), Newsom coos, howls, shrieks and cheeps in all her baroque glory, backed by her gentle, bouncing harp and a whole slew of strings, woodwinds and brass. It's weird, wonderful and mysterious, like the soundtrack to your last puffy-clouded dream.

Column 99: Local Heroes
These four Omaha releases are keepers.

If the folks at The Reader are telling the truth, this will be the last time that this column will be dedicated to album reviews, as plans call for reintroducing a page of CD reviews sometime in the very near future (Hooray!). What better send-off then to review four just-released local albums, all of which deserve your hard-earned rubles.

Bright Eyes, Noise Floor (Rarities: 1998-2005) (Saddle Creek Records) -- This compilation of junk drawer b-sides, limited-pressing EPs, unreleased tracks and other obscura is worth it (to me, anyway) if only for rereleasing "Drunk Kid Catholic" -- a song that reminds me of my favorite live BE moment from spring of 2001 when Conor and crew opened for Low at Knickerbocker's. Originally released as a UK single, I've only found this track as an illegal download. Now I'm legit. Add to that the inclusion of his Britt Daniel collaboration "Spent on Rainy Days" from the split EP Home, which, before it was reissued by Post Parlo, was going for a pretty penny on e-Bay, along with just about every other out-of-print Bright Eyes rarity. Thematically, all this old stuff (though, thankfully, nothing released before '99) dwells heavily on drinking and women and the pain that comes with both. In the end, the rocking tracks out-gun the teary acoustic numbers (but isn't that always the way?). So yeah, it's a no-brainer for Bright Eyes fans, but taken as a whole, the collection stands up with the best of his stuff. Now when is Saddle Creek going to rerelease that Water cassette?

Simon Joyner and The Fallen Men, Skeleton Blues (Jagjaguwar) -- Forget all that talk about his wonky voice and his brilliant lyrics, first and foremost, this is a band album. Standing alongside The Fallen Men, Joyner has finally released his inner-rock star, emerging cautious and slightly broken in a cloak originally tailored for the likes of Dylan. In fact, in a lot of ways this one reminds me of Dylan's last couple of albums, cluttered and dense with musicians allowed to do their thing while their master tells tales of dark nights and loneliness. Easily the most tuneful collection Joyner's ever released, the best moments come when the band's allowed to stretch out, like on opening track "Open Window Blues" with its rolling bass that recalls The Doors, and the gorgeous string-laden "The Only Living Boy in Omaha," wherein Joyner sings "Jimmy says there's no God in the sky holding him for ransom," in a way that instantly recalls Lou Reed. It's not all roses. Just to remind us where he came from, Joyner ditches the band for the 10-minute closer "My Side of the Blues," which is a struggle no matter how you slice it. Should have kept the band in the room, Simon. Maybe you should from now on.

Hyannis, Hyannis (self released) -- It seems appropriate to follow Oberst and Joyner with a band that surely was influenced by both, though they may not know it. No question that these youngsters are a product of the Omaha indie scene circa now. Acoustic songs like "Ronnie" and "People Just Love" have that same acoustic hippy lilt that we've come to know from Neva Dinova, whereas "Timeline" and "Colorado" are pure modern-day Bright Eyes (without the lyrical depth). But maybe more than the usual club of Omaha indie scenesters, Hyannis recalls an aesthetic more in common with early Pink Floyd and Haight-Ashbury psychedelic rock that precludes their existence by, oh I don't know, a couple decades. With 13 tracks and over 40 minutes, it may be a tad bit too ambitions for a debut (which is a nice way of saying that it gets kind of boring toward the end). Are they the next generation of Omaha indie? Time will tell.

Shelter Belt, Under the World Awhile (self released) -- Maybe the biggest surprise so far in a year desperately in need of some surprises, Under the World… is a giant leap forward for a band that could easily have been written off after 2004's overly long cheese factory called Rain Home. This time, frontman/vocalist Jesse Otto loses any and all comparison to Kenny Loggins, purposely throttling back his vocals so as to not get in the way of songs that reflect a sound that's more modern than anything they've tried before. You could argue that tracks like the hand-clap-powered "Dry" and Timberlake-esque "So Sweet (I Have to Dance to Keep You Crying)" too obviously target radio except for the fact that these guys know they'll never make it to nationwide FM without a miracle (though FM could do (and almost always does) much, much worse).

Oct. 30 -- The Twilight Singers featuring Greg Dulli and Mark Lanegan w/ The Stars of Track and Field & Jeff Klein, Sokol Underground, 9 p.m. $15. -- The perfect rock instrument, Greg Dulli's voice can make you cower or cry or stand up straight right alongside him, testifying to love both good and bad, a dark love that Dulli has seen and wants you to see with him. For this tour, the former Afghan Whigs frontman is teamed with Mark Lanegan, the growling, gut-punching genius behind Screaming Trees. Together, they've released a five-song EP called A Stitch in Time with former Whigs Joseph Arthur and Rick McCollum that includes a brazen, nasty cover of Massive Attack's "Live With Me." The last time Dulli was in town (Nov. 6, 2003), his nearly two-hour set wound up being on everyone's best-of list. Expect nothing less.

Column 98 -- The Temple of Simon
What does genius sound like?

It was 10:30 on Sunday night. The Tigers had just got their last out, balancing the series at one game apiece. And the last thing I wanted to do was drive all the way downtown and pay $5 to stand in a smoke-filled club for two hours to be jostled and bumped and told to get out of the way. I had to work the next day, ferchrissake. And I was bone tired. And dammit, it was cold outside.

But this was a Simon Joyner show, and you always have to think twice before deciding to go or not to go to see Simon. The occasion was the "CD release party" for his new album at The Goofy Foot Lodge, and I couldn't miss it. Simon really is a genius in our midst, but here's the deal:

In last week's issue of The Reader, there's a terrific feature written by Jesse Stanek about Simon and his new album. If you haven't read it, it's still online at The Reader website. Find it. Jesse did an impeccable job capturing what went into the new record. But there's one point that Jesse kinda sorta failed to mention whilst calling the new record "poignant" and "nothing short of spectacular." And it's an important point. See, you can tell people how much of a genius Simon is, how brilliant and brave and true every word of his lyrics are, you can place every brick you can find and carefully build your temple to Simon Joyner, but at the end of the day, when you take one of his records and play it for your ma or pa or Joe Lunchbucket who lives out in West Omaha Wonderbreadland, the reaction will always be pretty much the same: "Who in the hell is this guy, and where'd he learn to sing?"

To forget to mention that Simon's voice is an acquired taste is like forgetting to mention that little detail about steak tartar. When the plate arrives, there's going to be some explaining to do. If you're honest, you can't not explain that Simon's voice can be -- and often is -- painfully off-kilter. You can either get by that little fact, or you never will.

Case in point, whilst standing next to a local musician at one of Joyner's last O'leaver's shows -- a musician who has always admired Joyner's music -- we listened as Simon climbed one of his quivering-Dylan-drunken-man-stumbling arpeggios, wondering if he'd make it to the top, and the musician turned to me and smiled and said, "I don't get it. The guy cannot sing." I told him -- firmly but gently and half-joking -- "You're not listening. You can't hear the genius with that smile on your face. Simon's trying to tell you something, about his life, about your life, and you're going to miss it if you keep concentrating on the fact that he's completely out of tune."

Simon disciple Conor Oberst has a similar style. You can play his early works for just about anyone out-of-the-know and you'll get the same "braying sheep" comments about his voice. I realize it's sacrilege to say that in this day when Conor has been thrust on stage with Stipe and Springsteen and Emmylou, but folks, his early genius was heard in the voice of a bleating, fuzzy farm animal. Joe Sixpack who works down at the Kum and Go doesn't get it. And never will.

But here's the rub: I provide the above confession whilst rubbing the red marks on my knees after kneeling at the temple of Simon Joyner most of my music-loving life. I'm one of those devotees, those followers, and have been since back in the day when Simon was a local teenage heart-throb that caused the little girls to rush the stage, their hearts a-swoon (I've seen it, at The Howard St. Tavern circa 1994).

I have listened to almost everything Joyner has recorded, starting with his cassette-only release, Umbilical Chords, to his masterpiece The Cowardly Traveller Pays His Toll to the droll, tiring Heaven's Gate to the twangy rapture of The Lousy Dance, and now, to his second high-water mark, the just-released ensemble record with his band, the Fallen Men called Skeleton Blues. And in all of it, I've always found something that was impossible to forget. But I had to get past his voice first. It wasn't easy, but I did it. And you can, too. You've done it before, for Dylan and Petty and even Conor. You've seen beyond the awkward croon and found the genius that touched your lives. Joyner's music can do that, too. But you can't hear it if you don't listen.

Column 97: YouTubed
Videos are relevant all over again.

Overheard while out and about last weekend, talk of the new Ladyfinger (NE) video, the one featuring a slouched and beaten Matt Bowen -- local legend and music hustler, former member of too many bands to list -- pushing a broom in his role as a school janitor. I had to see it. But where?

Music videos have been around for what seems like forever, but they've never been a serious endeavor for local indie bands. What's the point? You could spend thousands of dollars and hours making a video that ultimately will never be seen by anyone but your family and friends. MTV? Who do you think you are? A-Ha?

YouTube has changed all of that. Located at www.youtube.com, the website is one of technology's ultimate time wasters right along with Madden '07 and the Blackberry. Go there now and you'll find linked off the homepage videos like "Sweet Tired Cat" -- 27 seconds of a cat falling asleep, and "Chad Vader," a 6-minute video that imagines Darth Vader as a grocery clerk at "Empire Market." Funny? Well, sort of.

You'll also find that aforementioned video of Ladyfinger's "Too Cool for School" in all its cheesy glory. In fact, you'll find just about any music video that you can remember seeing on MTV. Robert Plant's "Big Log" circa 1983? It's there. The A-Ha classic "Take on Me"? Of course. Cursive's "Dorothy at Forty"? Yup, right along with every other video made by Saddle Creek artists, including The Faint's "Agenda Suicide," arguably the best music video ever produced by a local band.

Saddle Creek Records exec Robb Nansel likes YouTube. "It seems like a great way to get some additional exposure that bands may not have had access to before," he said, adding that the website's crappy Flash-based video technology is so poor that it won't impact the label's video sales. "But we have never viewed the music videos that we make as a revenue stream. We think of them as promotional materials for our bands, so the more people that see the videos, the better."

Greg Edds, guitarist for local rock band Little Brazil, couldn't agree more. Edds emailed me a link to their video for "Stretching Skin," which captures the band playing in a well-lit practice space. He said the video has been viewed more than 1,300 times since it was uploaded to YouTube in September.

"(YouTube) definitely allows us and other bands to reach a world market without touring to those lengths," he said. "It's another avenue for bands to try something new… and free, creatively."

But even more prolific than band-made music videos is live footage captured by fans -- thousands of hours of it. You cannot go to a rock show these days without seeing those kids and their tiny palm-corders, capturing a performance that will be uploaded to YouTube the next morning.

The footage is clearly a breach of various copyright laws, but Nansel doesn't seem to mind. "I think technically, people should ask permission," he said, "but we have never asked anyone to take anything down."

Those amateur indie-rock videographers certainly came in handy last Friday night for Saddle Creek band Two Gallants. Over the weekend, a number of outraged Houstonites emailed me to recount how Two Gallants were busted by the HPD during a performance at club Walter's on Washington. They told stories of police brutality that bordered on Gestapo tactics, of people being thrown to the ground and 14-year-olds being "tazed." However, the only mainstream coverage of the event, by Houston ABC affiliate KTRK, seemed to counter their claims, stating band members attacked the officer, who efficiently restored order. Who to believe? In the "old days," most would rely on the ABC account.

But within hours of the confrontation, videos of the incident wound up on YouTube, capturing the frantic melee as it happened. One video clearly shows a cop taking down a band member on stage and calling for back-up. Another appears to capture a patron being pushed by the cop to the floor. Since they went online Saturday, the videos have been viewed more than 80,000 times. And that KTRK report has been updated, no longer stating the band attacked the cop.

In the end, the videos don't capture how the scuffle began -- that'll be for a Houston court to determine (talk about your return engagements). As of Tuesday morning, the story had been covered by more than a dozen online news outlets, including Rolling Stone.com -- many include links to the YouTube footage. You simply cannot buy publicity like that. And for a band that's known in the indie music world for their song about spending a night in a "Las Cruces Jail," they can now add a line about a real night in a Houston jail. Hopefully someone captured it on video.

Column 96: What's the Point?
The trouble with lists.

The core problem with creating a special "music issue" of The Reader that includes a "list" of the 20 "best bands" in the Omaha/Lincoln area is obvious. You're forced to answer the question: "What's the point?" Why place bands in a pecking order based on the (hopefully, though unlikely) well-informed opinion of a group of faceless critics who feel compelled to tell the public what is good and what isn't?

The argument against such a list gets down to one undeniable fact: When it comes to art, competition sucks. It serves no purpose. It makes friends enemies. It creates pride, envy and doubt in the heart of the artists. It discourages as much as it encourages new art, new ideas, risk-taking.

And yet, "best of" lists and the endless string of award shows have become an acknowledged method of recognizing art and music in our culture, even though the determination of what's good and what isn't ultimately rests solely in the eyes and ears of the beholder. You can tell me a thousand times that something is great or something sucks, but in the end, I'll decide for myself (Unless, of course, I'm a sheep).

So why do it? Why make a list of the best and a list of runners-up (and, by default, a list of those that didn't make the lists)? The most obvious reason: Because it's fun. It's controversial. And most importantly, because people love their lists and awards. They need to have their opinions validated, to affirm that they, indeed, have "good taste." So I guess it all comes down to ego, and doesn't ego fuel all art? Perhaps, perhaps…

What I can tell you with extreme confidence is that no matter how Editor Andy and the rest of the staff cut it, the list will piss people off. Hell, I don't even like the list. Where's Mal Madrigal and Outlaw Con Bandana? Where's Brimstone Howl? WHERE THE HELL IS THE MONROES?

But let's start with the obvious complaint: Of the top 20 "best bands" 40 percent of them are Saddle Creek Records artists -- Neva Dinova, Tilly and the Wall, Cursive, Criteria, Bright Eyes, The Faint, Ladyfinger and The Good Life. The discussion whether to include Saddle Creek bands was -- to say the least -- heated. The core arguments against it: They're not local bands, they're national bands that happen to live in Omaha. They've already "made it." They're mentioned constantly in the national press, why do they need any more recognition? Aren't they all millionaires? Hell, they rarely even play in Omaha. And so on.

But to not include Saddle Creek artists would have made the list more pointless than it already is. Cursive and Bright Eyes and The Faint are Omaha bands -- they live here, they interact with other local musicians, they go to local shows, they drink booze at O'Leaver's and Sokol and The Brothers like the rest of us. They love Omaha or else they would have moved away a long, long time ago. But the most obvious argument: They're the sole reason the Omaha music scene is recognized east of the Missouri River and west of Elkhorn.

Yeah, they're successful, and they don't need any more pats on the back. And I can pretty much promise you that the one-sheet included with Bright Eyes' next release will not include the accolade, "Named one of Omaha's top-20 bands of 2006 by The Reader." But one-sheets for Anonymous American and Prospect Avenue and Jazzwholes might. How valuable is it for those bands to be on the same list as Saddle Creek acts in terms of just capturing the attention of an out-of-town club owner or small indie label?

Look, there's no way The Reader was going to completely satisfy anyone with this list. And from that standpoint, it's a failure before it was ever printed. But will it get people thinking, arguing, debating the music scene, defending their favorite band, discussing the merits of another, discovering a new band that they never heard before? Perhaps, perhaps…

So don't get mad. Relax. It's all in good fun. You already know that your favorite band is good, whether the idiots at The Reader know it or not. And maybe next year those asswipes will remember The Monroes and Mal Madrigal and everyone else that didn't make the list. But somehow, I doubt it.

Had enough of those guitar-and-drum acts? You know, The White Stripes, The Black Dice, Two Gallants, and on and on? How 'bout an organ-and-drum duo? Now there's a new twist. The Benevento-Russo Duo are just that. Organist Marco Benevento and drummer Joe Russo can go from loungy jazzy interludes to all-out cacophonous rock anthems in no time flat. The duo started out playing a weekly residency at The Knitting factory in NYC, and have since played everywhere from the Fuji Rockfest in Japan to SXSW to Bonnaroo. How did a Wurlitzer ever get so cool? $10, 9 p.m.

On how all cities have both a good music scene and a crappy music scene: "You can't have a good scene without a crappy scene, they feed off each other. Sometimes when you're on tour you just end up in the crappy scene, which is usually the people who are willing to give out their shows. About a week afterward, you heard from someone from that town who says, 'Oh, you really should have played with this band or at this club.'"

On chicks at shows: "There aren't any. If we were all gay guys, that would be awesome, because there's not a whole lot of babes at our shows."

On the fact their their new record is a "concept album": "It turned into a concept album accidentally, a concept that doesn't make sense. It's kind of about things and people or animals that are two conflicting things at the same time. It's not like one of those weird, unwieldy Pete Townsend or Pink Floyd concepts. I don't want people to think we're Tool or the Mars Volta."

On text messaging during shows: "We opened a show for a friend of ours and it was a much different crowd than we're used to. There was this dude up front texting on his phone, three or four rows back. I just wanted to get that phone and throw it against the wall. We're a loud, crazy, out-of-control band and you're sending a text message? NO TEXTING!"

On owning his first house in Minneapolis: "It's weird. You end up at weird times of the day thinking 'I own this house? I'm in my kitchen. I own all this crap.'"

On Prince: "He's still very much in the mindset in Minneapolis. Prince was at one of our shows, but when I say he was at one of our shows, it was more like he ended up at 7th St. Entrance after we finished playing." He went on to say Grant Hart is another local legend that still hangs out around town. "You see him all the time."

Column 95: The Smell of Rock
Is smoking part of rock 'n' roll?

Before we move forward, we must understand and agree on this one conceit: Smoking holds no value in a human being's life. None. It is not essential for your continued existence. In fact, it's unquestionably destructive. It shaves the very essence of life away from the individuals that imbibe in its behavior.

Anyone who smokes cigarettes knows this, and has known it from the first puff. Just like those who drink bottle after bottle of beer and/or wine know that their lives are in no way being enhanced by the activity. There is no argument for drinking alcohol, especially when the endeavor taken to excess results in inebriation, loss of reasonable judgment and motor skills, and a painful hangover. Anyone who drinks knows this, and has known it from their first under-age beer.

To say that second-hand smoke is more dangerous than the secondhand effects of a drunk smashing into your car is to ignore the fact that more people are killed driving than by almost any other activity, and that a huge number of those deaths are the result of drunken driving.

That said, smoking and drinking are a part of rock and roll right along with sex and drugs. Always have been. Always will be? Who knows, but probably, in some form or another, regardless of any awkwardly developed citywide ban that says it's okay to smoke in some bars but not in others.

Part of the experience of going to rock shows for as long as I can remember has been going home afterward and stripping off my tar and nicotine-soaked clothing so as not to contaminate the sheets before passing out, then picking up my t-shirt in the morning and smelling the previous night's stench. Now that's rock and roll. And it's going to become a thing of the past, eventually.

No one knows this more than the people who make a living performing in the smoke dens, but even among them, there is no agreement that the smoking ban is good or necessary.

Take Matt Whipkey, lead singer/guitarist of Anonymous American (Who, by the way, will be releasing a new album by the end of the year). Whipkey's down with the smoking ban. "In terms of my personal dexterity, you smell better after you get done," he said of playing gigs in smoke-free bars. "When playing out of state or at smoke-free places like The Zoo Bar (in Lincoln), I'm not absolutely disgusting afterward."

Whipkey says the smoking ban might even bring more people to gigs, people who have avoided going to shows because they can't stand the smoke. "Times are changing," he said. "You can't do it in Minneapolis, Lawrence, New York, Madison, California or Lincoln. I assume you can't do it in most cities. It's just how it goes."

And then there's Dave Goldberg, guitarist/keyboardist/drummer/vocalist of The Terminals (Who, by the way, have a new record coming out on Cleveland's Dead Beat Records). "It's like taking the smut out of Time's Square," he said of the ban. "I'm against it. Rock and roll is supposed to be bad for you. Smoking has been a part of it since its inception. And this is coming from a non-smoker."

Forget about the sanitized confines of a smoke-free lounge. A punk from back in the day, Goldberg prefers the grime. "I'm partial to a seedy atmosphere, and smoking is definitely part of it," he said. "I've gone to blues clubs for years now, and it seems to go hand-in-hand. Smoky rock clubs -- it's almost like that's how it should be."

Unlike Whipkey, Goldberg thinks the ban will have a negative impact on audiences. "In Lincoln, you noticed the effects immediately," he said of the Capitol City's ban, which has been around for almost a year. "Duffy's, for example, has a beer garden, and a lot of times a band will be playing to a partially full or worse-sized audience on account of everyone being outside smoking."

The one thing Whipkey and Goldberg do agree on: Playing in smoky bars has never impacted their performance quality, or so they think. "Part of my vocal style is the accumulation of secondhand smoke caked on my lungs over the years," Whipkey said. "Maybe now I'll sound like a choir boy." Let's hope not.

Goldberg, who just finished touring the country as drummer for theater-rock legend Thor, has played in both smoke and smoke-free environments. "I've never noticed a difference," he said, "but I spent a lot of time in smoky bars, perhaps I'm used to it."

So who's right? Smoking is indefensible. Banning it in clubs like Sokol Underground will only save lives and keep my clothes and hair smelling better after a night of noise. But you know what? I'm still going to miss it.

Column 94: Museum Makes Music
Can music explain art?

I recently was asked to serve as a "judge" for the Joslyn Art Museum's Art for Your Ears program. But before I continue, let me say that you, too, can be a part of the series. Just go to art4yourears.org, click on the "Podcast" button and download the mp3 files listed there. Plop them into your iPod, put it in your pocket and drive to the Joslyn at least until Oct. 11 (when the winners are announced). Tell the folks at the front desk that you're there for the show. They'll take it from there. You'll be glad you did.

The program's concept is simple: Local musicians were asked (via an open call for entries) to compose original songs responding to artworks in the special exhibition, Art on the Edge: Modern and Contemporary Art from the Permanent Collection. The basic premise is to explore the connection between music and art.

I have to admit that I was a bit skeptical. Certainly music has inspired art from back in the days when men scrawled on cave walls while their buddies aimless pounded on drums made of stretched stomach linings up to the "gallery" of concert posters that covers the back wall of Sokol Underground. It's rarely the other way around. How much music has been inspired by art?

So I said yes. And a couple weeks ago, I traipsed off to the Joslyn over my lunch hour, borrowed one of their mp3 players, took evaluation form in hand and critiqued seven compositions on overall quality, level of difficulty, emotional response to the artwork, originality, its influence on my experience or appreciation of the artwork, and the composer's spoken introduction to his or her composition.

Among the composers was recent Omaha transfer (from Wichita) Matt Beat, who along with his brother, Steven, make up the band Electric Needle Room. Matt visited the Joslyn with his wife, Shannon, a few weeks after moving to town and found out about Art for Your Ears. "I thought the program would give me a purpose in my song writing," he said. "This seemed challenging and fun, and it would force me to be a little more creative."

The art that stuck in Beat's creative mind was Bedroom Painting # 25 by Tom Wesselmann. Anyone who's ever been to the Joslyn remembers it as "the giant tit next to the phone" painting. It would stick in anyone's mind -- that tit is huge.

"I thought about it for a couple weeks, and then a song just popped into my head," Beat said. His composition "You Make Me Feel Sunny," is your run-of-the-mill yet catchy low-fi indie pop song in the vein of Flaming Lips or Pet Songs-era Beach Boys, with lines "You make me feel special / Like I'm number one / You hang out with me and pretend like you're having fun." It's childlike and bouncy, infused with keyboards and guitar riffs, and has nothing to do with large breasts and telephones.

Beat said he wasn't trying to interpret the art, he was merely inspired by it. "It's just a mood," he said. "It's like, there's a phone right by the bed. He could have just finished making whoopee, or you could say it's an innocent breast. Nudity doesn't have to be sexual."

This was typical. When it came time to explain the connection between the music and the art -- especially for the more abstract pieces -- the explanations became somewhat contrived. In their intros, musicians would say things like, "The two instruments in my piece represent the white and the black in the painting. The snare drum represents the converging lines." See what I mean?

Beat said he did the song to get his name and his music out there, as well as to get in touch with fellow musicians. In fact, one of the reasons he accepted his job transfer (Beat is a valet parking manager at Methodist hospital) was to get involved in the Omaha music scene.

"That was the most exciting thing about it," he said. "I knew about the usual Saddle Creek stuff -- Bright Eyes and Cursive -- but I didn't know about the wide variety of music here," said the KU grad. "I want to be able to do music for a living instead of parking cars."

You can't blame him for that. And Art 4 Your Ears ain't a bad first step in that direction (He's certainly getting the exposure). Now if he could just line up a few gigs in town.

In the end, whether you draw a direct line between the music and the art, Art for Your Ears has provided a well-thought-out soundtrack for an exhibition that can only be interpreted in the eye -- or ear -- of the beholder.

Butch Walker and the Let's-Go-Out-Tonites!, The Rise and Fall of… (Epic) -- I knew I was in for a treat upon reading the first line of the band's one-sheet. Let me share it with you: "If you want a peek at Butch Walker's speed dial, the most recent copy of Billboard might do the trick." Ugh.

I'll get back to that after a few words about the actual music. The Rise and Fall of… is the third solo album to come out of Butch Walker, a man who has more credits to his producing career than most people could garner in four lifetimes. For this endeavor, he involved a seven-piece band affectionately titled the "Let's-Go-Out-Tonites!" Together the ensemble produces an incredibly tight sound with keys, organs and horn sections weaving in and out of the album. But no matter how tight the band, the bottom line is the song writing. Or in this case, the lack thereof. Cheese-ball chord progressions and elementary school vocal melodies just don't cut it in my book. It is everything that has been done before and I've got a good idea where it came from.

The included one-sheet focused on Walker's producing credits. Did you know he is producing Avril Lavigne's next record? Or that he flew to Las Vegas for a one-night session with the All-American Rejects? Neither did I, nor did I really care. This is a case of someone trying to dip his hand into other's pockets. Good thing mine are empty. Rating: No -- Brendan Greene-Walsh

Tim sez: The opening line to the band's theme song says it all: "I'm tired, I'm bored, Where's the cocaine?" Walker sounds like a '70s rock vaudevillian stuck between gigs with Sweet and Nick Gilder. Sure, he's a braggart, a boaster, a bullshitter. What Brendan doesn't understand is that a certain amount of rock cocksmanship is not only expected if you're going to plow this sort of ground, it's required. It won't work without it. Especially if you're going to do songs like "Bethamphetamine" (You're pretty strung out for a girl). And "Hot Girls in Good Moods" (My love is just a teen-age bullet belt). The complete lack of effort to update the songwriting style (Is that a cushion of strings on the stereotypical schlock ballad "Dominoes"?) makes it an homage to an era best remembered for its muscle cars. Is it cheeseball? It sure is, and I don't mind at all. Rating: Yes.

Column 93: What's in a Name?
The high cost of being Ladyfinger…

Before we get started, go read the feature on Ladyfinger on page __. We'll wait. We always do….

Waitaminit... Did I say Ladyfinger? I should have said Ladyfinger (NE). After all, that is their legal name these days, despite how wonky it sounds, right? Look, no one I've talked to, including the band, likes the name Ladyfinger (NE). The added parenthetical albatross is awkward, confusing and just plain strange looking. But the cost of doing business without it could be higher than the retail, which in this case, is around $8,750.

Let's start from the beginning: The Omaha punk rock four-piece who we fondly know as Ladyfinger has been using the name since their conception in August 2003. Over the past three years, Ladyfinger has played gigs all over the country with no incidents, warnings, or threats of reprisals, legal or otherwise.

Everything seemed hunky-dory until Saddle Creek Records agreed to release Ladyfinger's debut LP. The band had already done their share of Googling and MySpacing and all the other Internet-related research, and couldn't find another band by the name. Things seemed copasetic. "The only thing we didn't do was check the trademark registry," said Ladyfinger frontman Chris Machmuller. "Why would we think to when we couldn't find a band by that name?"

But just for the heck of it, they decided to check the trademark registry of the United States Patent and Trademark Office. And that's when the problems started. Seems there actually is another band called Ladyfinger based out of Los Angeles that apparently has owned the name for years.

Drummer Pat Oakes said the LA band has no viable interest in the name Ladyfinger and hadn't even been playing anywhere. "It seems like they decided one day to trademark it," he said. "We thought maybe they'd be understanding, since they weren't functioning as a band."

In an e-mail dated May 16, 2006, Omaha's Ladyfinger reached out to LA's Ladyfinger, saying yes, they had found mention of the LA Ladyfinger, but couldn't find any contact information or active website. Since they thought it was no longer a functioning band, they went ahead and named their band Ladyfinger. "We'd really like to release our record under the name Ladyfinger," the email said. "To do so we would need to purchase the trademark from you to avoid infringement."

So Omaha's Ladyfinger made an offer, which the LA Ladyfinger, of course, immediately turned down. "If you want to buy the trademark, we would consider a reasonable offer that makes more sense for us…" the LA band said in a reply.

Incidentally, a few days after Omaha's Ladyfinger made contact, Ladyfinger.org -- the LA band's website -- curiously went online. Hmm…

Anyway, Omaha's Ladyfinger upped the ante -- considerably -- taking into account things like registration and lawyers' fees. The LA Ladyfinger wasn't biting. Instead, their counter offer included a detailed price list:

-- $1,000 for all fees necessary for the LA band to come up with a new trademark (license and legal)
-- $500 to cover legal fees to transfer the existing name to the Omaha band.
-- $500 for new artwork
-- $2,000 to repress their two CDs
-- $1,000 for printing new T-shirts
-- $200 for 2,000 stickers
-- $50 for registering a new website domain.
-- $3,500 for their perceived personal value of the name, derived by charging $500 per year for the seven years they've been in existence

The grand total: $8,750, not including $500 "for our time and effort."

The price was too high. Omaha's Ladyfinger considered fighting the claim. "And we could have won," Oakes said, citing trademark abandonment as a defense. But there simply wasn't time for a drawn-out legal battle.

Instead, the band considered the alternatives. Ladyfinger Jr., Ladyfinger UK, adding "The" or an "s" or a period or exclamation point. Purposely misspelling the name. Adding "Inc." or "Ltd." They even wrestled with new names like Bad Marks, Burger Time and Ages. Nothing seemed to work, Oakes said.

Time ticked by. The promo CD already had been held for a couple weeks at the plant. Decisions had to be made. "It got to be such a burden," Oakes said. "We just wanted it to end so we could move on with our lives."

Finally in June while on tour, the band sat down over coffee in an mall in Indianapolis and decided to add (NE) to their name -- representing Nebraska. "We thought it would be the most unobtrusive option," said bass player Ethan Jones.

"We were at the point where you could call us whatever the fuck you wanted," Oakes said.

And so, the band was rechristened Ladyfinger (NE), for better or worse, for richer or poorer, til death do they part. And if you don't like it, do what I do. I'll continue to call Pat, Chris, Jamie and Ethan "Ladyfinger," because that's who they are. And if those guys in LA don't like it, they can sue me.

A weekend in Lincoln; Gillian Oberst tonight at the Rite… – Sept. 15, 2006 –

I'm looking at the calendar and other than tonight's Gillian Welch / David Rawlings / Conor Oberst concert at The Scottish Rite Hall (which, curiously, is still not sold out, according to the One Percent Productions website, where you can by tickets for $15) there ain't a whole lot happening in Omaha this weekend. Actually, I don't see a single show here in town worth commenting on, which is yet another indication that Lincoln Calling should have a banner year. I talked about the line-up yesterday and included a full schedule. Jeremy Buckley, who runs the event, lost the rights to lincolncalling.com -- the festival website -- but has since established a new site -- lincolncallingfestival.com -- which one would believe would have the most up-to-date schedule (although they failed to add the last-minute Gillian Welch afternoon show at The Zoo Bar yesterday that I hinted at in my column).

If I were going to the festival tonight, my first inclination would be to head to Duffy's for the Ideal Cleaners/Virgasound/Domestica show, which starts at 9 and is a measly $5. But considering that 2/3rds of this lineup is bound to play at The Brothers in the coming weeks, I'd probably end up at Knickerbocker's for The Show is the Rainbow / Heiruspecs ($9, 9 p.m.). Tomorrow's early show choice is Jake Bellows and McCarthy Trenching at The Zoo Bar ($3, 5 p.m.). Buckley tells me this version of Trenching won't be of the Oberst/Taylor variety, but should be just as good. My late show would be Neva Dinova, Little Brazil and The Golden Age at Knickerbocker's ($8, 9 p.m.). The Golden Age will likely be hampered by the Husker game, but things should get rolling after that.

<Got comments? Post 'em here.>

Column 92 -- Lincoln Calling (starts tonight); Live Review: Black Squirrels… – Sept. 14, 2006 –

Not mentioned in the Lincoln Calling schedule (at the end of the column) are the movies scheduled at Mary Riepma Ross as part of the event. Tonight it's I Am Trying to Break Your Heart (Wilco documentary), Friday it's Fearless Freaks (Flaming Lips documentary) and Saturday it's Disc 2 of Pink Floyd's Pulse, the full Dark Side of the Moon concert. All screenings are at 11 p.m. and are free.

Big crowd last night at The Dubliner for the debut of Black Squirrels. Right from the start, the band's Darktown House Band heritage was obvious and appreciated. The four-piece played a nice, laid-back set of bluegrass-flavored torch songs that were as relaxing as your favorite blankie and a glass of hot Irish coffee. If you ever went to a Darktown show, you'll recognize Kat Smith's coffeehouse vocals, singing lyrics that were timely, local and pretty funny (in the right way). And then there was that spot-on cover of REO Speedwagon's "Take It On the Run," ratcheted down as only the Squirrels can. Drummer Doug Kabourek sat in on the last four songs, and his addition helped pep things up (even though he only played with brushes). Yes, this is a mellow crew, and quite a contrast to Gael Sli, the neo-traditional band from Dublin, who played afterward. I've seen my share of Irish folk bands (Hey, I went to Ireland last year, remember?) and these guys are right up there with the best of them, giving the usual fiddle-and-accordian traditionals a modern spice, thanks to a chopped-and-slurred acoustic guitar that recalled Luka Bloom.

<Got comments? Post 'em here.>

Lunchtime update: Welch and Oberst tonight at Mick's… – Sept. 13, 2006 –

Tonight's music calendar just got a bit more crowded: Mick's in Benson will be hosting Gillian Welch tonight along with Conor Oberst, Sarah Benck and Korey Anderson. The show starts at 9 p.m. and is free. Better get there early if you want in!

<Got comments? Post 'em here.>

This week's feature: White Whale; Black Squirrels, Race for Titles tonight… – Sept. 13, 2006 –

This week's feature is a short one. Short, mainly because the cell connection sucked. Cell phones have become the blessing and bane of interviewers. They're great because you can get ahold of bands much, much easier (usually from the back of their van) and they suck because it's like talking to someone on a walkie-talkie (from the back of a van). I don't own a cell phone, by the way (*readers cringe in disgust*), so let me let you folks who own one in on a secret -- you sound like shit from a land line and we're not hearing the first word of most your sentences. And you drive like shit. And you're annoying in elevators...

Anyway...

Here's this week's feature on White Whale (read it here). Bassist Rob Pope, formerly of The Get Up Kids, does a bit of compare-and-contrast between the two bands, about their music and their careers. Though I interviewed them back in 2002, I never much cared for The Get Up Kids, whereas I much dig White Whale's debut on Merge Records. And as for Pope's question to me in the story, my reply was, "Yes I do. When you grow up in the country (in my case, Fort Calhoun) all you ever listen to in high school is Led Zeppelin. Maybe a little Pink Floyd and Van Halen, but mostly just Led Zeppelin." Pope said I was lucky, that he didn't get into Zeppelin and Floyd until he was in in his 20s. He obviously didn't grow up listening to Z-92.

A couple marquee shows tonight. I already talked about Black Squirrels at The Dubliner (in yesterday's blog entry -- You really should come down there tonight and buy me a Guinness). That one starts at 8:30 and will cost you $5. Also tonight, down at O'Leaver's, our old friends Race For Titles is playing with Back When. I hear those RFT boys will be hitting the studio hard over the next week, working on a new album. It's about time. $5, 9:30.

<Got comments? Post 'em here.>

New meat: Thunder Power tonight at O'Leaver's, Black Squirrels tomorrow at Dubliner; Oberst added to Friday show… – Sept. 12, 2006 –

Remember that column where I asked 'Where are all the new bands going to come from?' (read it here, if you missed it)? Well, two new promising bands are making their debuts this week.

Tonight at O'Leaver's is the debut of Thunder Power, a supergroup of sorts consisting of members of Life After Laserdisque, Watch the Stereo and the Davenports, specifically Matt Hutton, vocals, guitar; Jason Koba, synth, vocals; Ian Simons, sax; squeeze box; Brendan Walsh, drums; and Will Simons, clarinet. Their myspace is here. With Pontiak and The Pistol Brothers.$5, 9 p.m.

Then tomorrow night at The Dubliner is the unveiling of Black Squirrels, consisting of two former Darktown House Band employees -- Kat Smith, vocals/guitar and Kate Williams, accordion/vocals/keyboards -- and former Fizzle Like a Flood-ers Travis Sing, bass/vocals and Doug Kabourek on drums. Check out their myspace at www.myspace.com/blacksquirrelsomaha. The Squirrels will be opening for Gael Sli, a neo-traditional band from Dublin. $5, 8:30. If anything, it's just a great excuse to get down to The Dubliner!

By the way, One Percent Productions announced that the "mystery guest" for Friday's Gillian Welch show at Scottish Rite Hall is (ta-da!) Conor Oberst a.k.a. Bright Eyes. Expect the show to now sell out quickly. It should have sold out with Welch alone. Tickets are still available at onepercentproductions.com. I'm hearing rumblings of a second (even maybe a third) Welch show sometime this week. I'll pass on the details when/if I get them.

<Got comments? Post 'em here.>

Live Review: Thor, Zolar X... – Sept. 11, 2006 –

When someone asks me "How was Thor on Saturday night?" it's kind of like asking "How was meeting the Pope?" or "What was it like to witness the parting of the Red Sea?" or "What did Santa Claus say when you met him at the North Pole?" The phrase "bigger than life" just doesn't cut it. Nor do words like "miraculous" or "biblical" or "Godlike." This wasn't just a concert, it was a life-changing event, like watching the birth of your first child or waking up from a 10-year coma (neither of which, admittedly, I have ever done).

I knew I was in for the heights of rock theater when one of the band's roadies opened up a large plastic container next to the stage filled with skull masks and plenty of plastic battle weapons (axes, swords, etc.). Oh yes, there would be blood.

But first, there was "Rock and Roll Nightmare," a film narrated by the man/god himself. I walked into the Saddle Creek Bar about halfway through what appeared to be a soft-porn horror flick complete with rubber monsters, fake blood and boobs. On screen was a younger, more muscular version of Thor with a huge head of blond hair and pecs the size of your thigh (a version of Thor, incidentally, that's long gone). Nothing feels quite as uncomfortable as watching a movie of a woman taking a shower and then getting humped by Thor while surrounded by a 100 or so folks who you will likely see at The Brothers on any given night.

After someone tripped over the projector chord -- bringing the film to a close before we could find out who was responsible for all that fine cinematography -- Zolar X, a science-fiction punk band from the '90s that I'm told are friends with Jello Biafra, took the stage. Dressed in blond wigs and skin-tight Lycra space suits, these scrawny guys weren't "brothers from another planet" as much as "geezers from another era." Their music was punk merged with '60s garage rock played by a trio that looked like they've lived through every bad moment of the last four decades (and have the wrinkles to prove it). It was like watching My Favorite Martian's Ray Walston fronting an effeminate version of The Buzzcocks dressed in Star Trek costumes. Things got off to a hairy start when the band was assaulted with ear-splitting feedback from the monitors (I couldn't hear it from the floor). After the first song, the drummer threw his sticks down and yelled, "The fucking feedback is killing us. FIX IT!" before storming off the stage. Someone apparently did, and he came back a few minutes later, looking a lot more relaxed. Their set was fun, if not too long. Or maybe it just seemed too long because we were all waiting to see the Thunder God.

We got our wish moments later, when Thor and his band of merry warriors took the stage, tearing into a set of heavy metal that would make Spinal Tap proud. Donning a huge black (plastic) chest plate and a series of gruesome rubber masks, Thor had the crowd in the palm of his mighty fist, proudly belting out one heavy metal ditty after another. Whether standing tall with shining crossed swords or looking for evil amidst the audience holding forth an electric Coleman lantern, Thor filled the crowd with a sense of awe and wonder. As the crowd pressed the stage, shaking their devil-horns high above their heads, I felt for a brief moment like I was back at Fat Jacks circa 1985, an era when touring heavy metal bands ruled the club circuit (Ah, those were fun times indeed. Where have they gone?).

Without his hood/masks, Thor's graying locks betrayed the aging God, and he sort of looked like a buff version of Kenny Rogers (albeit, with a broadsword). Whether he was singing about Thunderhawks or about to behead a goblin or just making friends with a monstrous ogre, everything about Thor's stage show was pure entertainment, right down to the band, which featured Omahans Dave Goldberg, Steve Jacobs and Jeff Decker, all of whom definitely are earning their money on this tour. As I mentioned before, I've seen some of the best touring heavy metal bands from the '80s era, and these guys definitely could hold their own with any of them, showing an incredible respect for a genre that I have to believe peaked well before their time.

Saturday night was another success for the Saddle Creek Bar, bringing in a crowd that was even larger than that On No! Oh My! show the weekend before. Yeah, there were a few technical difficulties again (the Zolar X feedback episode, Thor's microphone cut out on the first few songs), but overall the sound was first class. Unfortunately, I'm not aware of any other shows slated for the venue worth mentioning. The folks at One Percent Productions tell me they don't have anything planned at the SCB in the future. And though I've talked to three or four local bands who want to play there, nothing has been scheduled that I'm aware of. It would be a shame if this stage didn't get utilized to the extent that it could/should -- it's a perfect venue for shows too big for O'Leaver's and not big enough for Sokol Underground. And damn, it's so close to home.

<Got comments? Post 'em here.>

A perfect weekend for a Thunder God... – Sept. 8, 2006 –

The show with the biggest buzz this weekend is without a doubt Thor at The Saddle Creek Bar Saturday night with Zolar X. I've heard nothing but freaked-out praise about Thor's July 3 Shea Riley's gig -- we're talking costumes, bodybuilders and full-on heavy metal riffage. And I know from talking to Saddle Creek's Mike Coldewey that the band will be building special staging for Saturday night's carnage. The whole thing starts at 8 p.m. with a Thor movie, followed by Zolar X, then Thor, backed by the same band that backed him in July -- Omaha's own Dave Goldberg (The Terminals), Steve Jacobs (Diabolic Possession and The Filthy Few) and Jeff Decker. You can save a couple bucks by buying advance tickets today for $8 from angel.ammpp@yahoo.com (according to Slam Omaha). Tomorrow the door will be $10. In addition to first-rate zany entertainment, you'll get a chance to see and hear the reopened Saddle Creek Bar. Don't forget your broadsword.

Before all that (specifically, tonight), Little Brazil will be playing at O'Leaver's with Casper & The Cookies (ex-Of Montreal) and the somersaulting Poison Control Center. $5, 9:30 p.m.

Those not headed to The SCB for Thor may want to drive downtown to Sokol Underground Saturday night for Cloud Cult with Shinyville and Noah's Ark Was a Spaceship. Cloud Cult puts on an elaborate stage show, with painter/artists on stage and other weirdness augmenting their Modest Mouse-esque pop indie sound. $8, 9 p.m.

The capper for the weekend is Outlaw Con Bandana at O'Leaver's Sunday night with Francois and Rachel Dadd. $5, 9:30 p.m.

<Got comments? Post 'em here.>

Live Review: McCarthy Trenching/Shelley Short/M Ward; Gillian Welch "and special guest" Sept. 15... – Sept. 7, 2006 –

The McCarthy Trenching "supergroup" took the stage last night opening for M Ward at a packed Scottish Rite Cathedral show. I thought there was more people there last night than at that Jenny Lewis show last March, but the promoter tells me there were actually 100 fewer tickets sold. You wouldn't know it in the balcony, where I sat and where almost every seat was taken. I just have to add this comment one more time for those who haven't heard it: Scottish Rite is a first-class performance hall, an old-time theater environment that rivals Liberty Hall in Lawrence. I don't know why the facility isn't used more often. It's old-style stage with the draped velvet curtains gave last night's performances a Prairie Home Companion-feel. Certainly the music would have been appropriate for that radio show, well, most of it.

First off was Dan McCarthy and his latest version of McCarthy Trenching featuring Maria Taylor on drums and a Castro-hatted Conor Oberst on guitar, keyboards, recorder and backing vocals. At first I couldn't tell that it was Oberst, thanks to that big blocky hat. There may even have been a few there in the crowd last night that never knew it was him. Oberst merely lent a hand as an accompanist on the set of twangy folk songs and honky-tonk rousers. McCarthy's voice and style is a cross between a Windham Hill folky (David Massengill or John Gorka comes to mind) and Neil Young. The band provided a subtle backdrop on the lilting waltzes and just enough chutzpah to power the tweedy rockers. Nice set, and well-received. Could McCarthy be headed to Team-Love? Wait and see.

Not so well-received (judging by all the chit-chat-ruckus both in the lobby and behind me in the balcony) was Chicago's Shelley Short, who played a set of twangin' two-step music accompanied by three musicians including violinist Tiffany Kowalski. Short's voice is an acquired taste, sounding like a reedy, nasal Loretta Lynn or Dolly Parton. A little goes a long way.

Last up was M Ward, though it seemed like forever for his set to get rolling. Maybe there was a technical problem that caused the delay. During McCarthy's set, a lightbulb (or something) fell from one of the overhead rigs. As a result, two large lighting rigs were lowered after his set and hand-checked, I assume for safety reasons. I have no idea what caused the delay between Short's and Ward's sets, though waiting for his band to take the stage felt like an eternity, which wasn't helped by the between-set house music -- a seemingly endless set of recorded traditional blues standards that no one should have to be subjected to. Let's leave those Blind Willie Johnson CDs at home next time, guys.

Finally, Ward and his ensemble hit the stage and set the bar for the night's performance accompanied by a band that included two drummers (one that also played vibes). I've never been an M Ward fan, his recordings always sounding a bit too wilted for my taste, but last night he tore it up, taking his flavor of rootsy rock to a new level. Big guitar licks and plenty of stomp.

If you missed the show and still haven't seen anything at Scottish Rite, a last-minute show was announced for next Friday, Sept. 15 -- folk singer-songwriter Gillian Welch with David Rawlings and a "very special guest." If you know some of Welch's biggest fans, you'll have a good idea who that guest will be. Needless to say, the guest's name will be announced Monday and will likely result in a quick sell-out, which means if you're at all curious you better buy your tickets ($15) when the go on sale Saturday. Watch the One Percent Productions site for details.

<Got comments? Post 'em here.>

I'm back; prelude, Column 91 -- The Return of Saddle Creek Bar, postscript; live reviews; M Ward and Oberst tonight... – Sept. 6, 2006 –

So I'm back and the hiatus is over and I can tell you that Cape Cod hasn't changed and I have the sunburn to prove it. Thank you for your patience in my extended absence.

I have a load of catching up to do, and I realize that there's no way you're going to read all of this, perhaps the longest blog entry in the history of the Internet, but I have to get this all down now or it'll never see the light of day. So let's start off with the column.

By now, you may already have read it in The Reader that came out last Wednesday night. But I'm writing this portion of the blog entry from the seat of my Midwest Airlines leather seat, so I haven't seen what was published. I do know via e-mail that portions where changed, including the ending, which was deemed too harsh by the publisher, who was probably right. I had no intention of throwing any bombs with the column, and certain comments quoted from Mike Coldewey may have sounded purposely confrontational. They weren't meant that way; they were merely Coldewey's way of voicing the facts, his motivation behind the reopening of the club and the competitive nature of the Omaha live music scene. Regardless of publisher John Heaston's timidity, I've included the column in its entirety here, knowing that Coldewey meant no harm in his assessment of the plethora of West Omaha bars.

What didn't make the column by my own volition was the back story behind the reopening of the Saddle Creek Bar. It's a story that the editors of The Reader told me had already been told in the paper, so it may be old hat to you. I'd never heard it until Coldewey told me, and in many ways, it's more interesting then the column that got printed.

To understand the full story, you need to know who Mike Coldewey is and how he comes off in an interview situation. I met him at the bar after I got off work a couple weeks ago. There was no one in the place but a bartender and a couple bar flies cooling their heels, waiting for the happy hour crowd to get started. Coldewey is a wiry guy, a youthful 42 who looks like he could hold his own as a bouncer. He's a quick talker, articulate, and isn't afraid to speak his mind even with a guy sitting across from him, typing up every word on a PowerBook.

Coldewey's story actually starts five or six years ago. He was a regular at the Saddle Creek, where he said he used to get hammered - it was a convenient watering hole since he lived right up the street. "There was this snotty cocktail waitress named Tricia Jameson…" Coldewey didn't think much of her back then. She was just a waitress that brought him drinks, nothing more.

She worked part-time with the Army National Guard as a medic. It was a job that eventually became full-time and an experience that changed her life. Meanwhile, Coldewey was going through some changes of his own. He opened a restaurant in North Omaha called Mother's Good Food that consumed his life and forced him to clean up his act. "I quit drinking because you can't work like that and be fucked up," he said.

Mother's quickly garnered a reputation for its well-made Cajun cuisine and became a destination spot for those willing to travel north of Dodge. Many did, including Tricia. "She came into my place as a customer, and she looked better than she ever did slinging drinks," Coldewey said. "I made her food, and gave her some extra sauce and told he it was complements of the chef. She didn't have any idea who I was."

He told her about knowing her from her days at The Saddle Creek, the two quickly became reacquainted and began dating. "We fell in love and we were going to get married," Coldewey said. But duty to her country got in the way of all that, and on July 14, 2005, Tricia Jameson was killed in Iraq. I didn't press Coldewey for the details. He said it was all there if I wanted to know, just do a Google search. The story had been covered extensively in the media. I haven't had the heart to look it up.

Coldewey said Tricia's death threw him into a downward spiral. He closed Mother's Good Food because he couldn't work. His life had come to a standstill. But a funny thing happened at Tricia's well-attended military funeral. Coldewey ran into the owner of The Saddle Creek Bar -- an old friend and Tricia's old employer. Coldewey said the meeting was strangely serendipitous. "Before then, I had been talking to him on and off for years, asking 'Do you really want a million dollars for this place?' There was something going on here that was pushing it my way."

The owner of the then vacant bar reconsidered Coldewey's offer. They did the deal over the course of a couple months and the place started operating again a year ago Labor Day as a bar and package drive-thru joint - a business that Coldewey had to learn on his own. It seemed everyone wanted him to reopen Mother's at the Saddle Creek location, and finally, he decided it was a good idea. Coldewey built a new kitchen in the back of the place, adjoining the old one and opened the restaurant in January. The rest of the story is in the column, below.

Like I said earlier, Coldewey doesn't mince words. It's nothing personal, but if he thinks you're an amateur and your band sucks, he's going to tell you, and apparently has, judging by some of the feedback I heard from people who I talked to before writing the column. There are those who don't (or won't) like Coldewey's cut-and-dried ways. He's a businessman, not an artist. And though he wants to make the Saddle Creek Bar a special destination spot for live music, he holds no allusions toward "supporting the arts." It doesn't matter what praise your band has received, if you can't draw a crowd, you're not likely to play the Saddle Creek more than once. And if Coldewey hasn't heard of you, well, you're going to have to prove yourself regardless of the press. "We want the bar business, we want people to spend money here," he said.

"I'm not a concert promoter and I don't want to be a concert promoter. I don't have the connections with the media or with the venues. I resent the fact that in the Midwest clubs have to do all the promotions and the bands set up and play and walk away with all the money. If they're going to be successful, they're gonna have to try to be successful."

Coldewey pointed to how live music is handled on the West Coast -- where bands have to pay to play, or at least hustle to sell tickets to their shows. He knows that won't work here, but the last person I heard describe that strategy was The Ranch Bowl's Matt Markel, and in a lot of ways, Coldewey reminds me of him, though he has no intention of filling Markel's shoes as a music mogul (that's Leibowitz territory).

So will Coldewey's Plan B for the Saddle Creek work? Time will tell. The possibilities are endless. I think Coldewey sees the same potential for that part of Saddle Creek Rd. that the guys from Saddle Creek Records saw when they proposed to build the Slowdown project just west of the Homy Inn three years ago, but were driven away by a neighborhood association that wasn't going to allow it. Three years later, and that proposed location for Slowdown is the same blighted corner with no development in sight. Coldewey said Slowdown would have never worked there because of the backward-thinking neighbors and business owners, not because it was a bad idea.

Had Slowdown happened, he said, it would have revitalized the entire area. New businesses would have opened all along old Saddle Creek - restaurants and bistros. "This area would have become what Benson would like to become, but never will." But that's for another column…

Back to the present...

Actually, I've been back in town since Saturday afternoon, which means I had a chance to go to a couple shows last weekend, including that Oh No! Oh My! show at The Saddle Creek Bar, which was a make-or-break event for the venue. The consensus -- it was definitely "make" not "break."

A respectable crowd of around 100 turned out, including some of the scene's more notorious figures and lots of people connected to that "other Saddle Creek." Though I'd gotten a gander of the bar when I interviewed Coldewey, the dynamics of the place wasn't as clear until show night. The Saddle Creek Bar really does have all the accouterments to become a first-class venue, and a comfortable one at that. There's tons of seating. Directly across from the stage (and the empty dance floor) are dozens and dozens of tables. While across from the bar is high-chair seating along a rail, which extends along the back of the bar where there's even more seating. The place seems to go on and on. In addition to the tables, people hung out in back by the pool tables and stood along the bar. Capacity of 250? Something like that, yeah… The site-lines from any location were terrific -- no metal beams or poles in the way.

Then there's the sound system. Coldewey indeed tweaked it and the results are impressive. It's a meaty PA, with two large banks of two-way speakers on either side of the stage and a battery of subs beneath the stage. Coldewey himself runs the sound board and overall it was well-balanced from act to act. I would find out later that there were some problems with the stage monitors (The bands apparently weren't too pleased about it) and a few other technical difficulties which were unnoticeable to the average beer-drinking patron.

In addition to all the plusses, there are few other minuses worth mentioning. The biggest is probably that dance floor. Regulars of rock shows know that part of the deal is standing in front of the band when they perform. The SCB stage is a good three feet above the dance floor -- nice. The problem is that no one was willing to stand on the dance floor during the set, probably because they didn't want to block the view of everyone sitting at the tables. This result: Too much distance between the band in the crowd -- very noticeable when you consider we're used to having the band practically play in our laps at places like O'Leaver's and The 49'r. I don't know how they'll fix this, maybe move the tables closers to the stage? But if you did, people would likely congregate behind the tables, taking them even further from the bands. This problem, of course, will be alleviated at a show that draws a capacity crowd-- which we might see this coming Saturday when Thor takes the SCB stage.

The performers seemed to dig the place. First up was Whispertown 2000, which in this incarnation was essentially a solo performance by frontwoman Morgan Nagler, accompanied a couple times by a drummer (was it Rilo Kiley's Jason Boesel?). You might remember her from opening for Rilo Kiley at Scottish Rite back in March. Well, she sounded better (maybe because she left her lousy band at home), but seemed just as uncomfortable. At the end of her set, she begged people to dance to a number that included pre-recorded rhythm tracks on an iPod, which improved her sound immeasurably. Sure enough, about a dozen scenesters took the floor and did a sort of indie-dance, which looked as awkward as you can imagine.

Somebody Still Loves You, Boris Yeltsin was next, and though they sounded more polished then when I saw them a few months ago at O'Leaver's, their music sounded more vanilla, more generic, with a few Wheezer licks thrown in for good measure.

Finally, the headliner, Oh No! Oh My!, and oh my, what a band they were. There's a well-deserved buzz going around about this Austin, Texas, 6-piece, whose make-up includes numerous keyboards and a trumpet. Clearly, the band was influenced by our old friends The Pixies, but managed to take that sound in their own direction, thanks to the instrumentation. They even got a couple people to dance without having to ask! Their eclectic style and rambunctious stage presence makes them the perfect fit for opening for The Flaming Lips this Thursday in Burlington VT. Yeah, I think you'll be hearing a lot more from this band in the future.

One more show of note -- I went to The Like Young/ Landing on the Moon show at O'Leaver's Sunday night (I had Monday off, so what the hey?). The Like Young is/was a Chicago-based drum-and-guitar husband-and-wife duo a la The White Stripes, though they sound nothing like them. Instead, frontman/guitarist Joe Ziemba comes off like a young, angry '70s-era Elvis Costello, complete with punk snarl. They tore into a set of 20-plus songs that lasted well over an hour. It's a shame that they're hanging it up after this tour. Turns out that they both have regular jobs that they've decided to dedicate themselves to instead of spending the next part of their lives slogging it out on the road. Despite a deal with Polyvinyl, the duo never reached the levels they hoped to reach. Here's hoping they don't give up on music altogether. Landing on the Moon sounded as strong as ever, and continues to be one of the fullest-sounding bands out of Omaha these days. Drummer/vocalist Oliver Morgan said the band is working on some new material as they forge ahead with their plan for world domination. As for O'Leaver's, I talked to a couple of folks who work there, and none of them are terribly concerned about the advent of The Saddle Creek Bar, though it has their clientele directly in its crosshairs. Why should they be? They have 18 shows scheduled for the remainder of September and 16 already lined up for October. If anything, they probably need someone to take a few shows off their hands. Fact is, simply looking at how these venues differ, I don't see them directly competing with one another.

Which brings us to tonight's M Ward show at Scottish Rite Hall with Shelley Short and McCarthy Trenching. I have yet to get 100 percent confirmation that the McCarthy Trenching line-up will be an all-star cast that includes Conor Oberst and Maria Taylor. One Percent Productions wouldn't directly confirm it, but hinted at it in their weekly e-mail "...Dan put together an all-star band for this show. That's really all I can say about it, but that should be enough..." The venue alone is worth the price of admission. Scottish Rite Hall is an undiscovered gem of a venue in the heart of downtown (here's what I said about it after the Jenny Lewis show). 8 p.m., $15.

It's good to be back!

<Got comments? Post 'em here.>

Everything and nothing this weekend/next week; Lazy-i goes on a brief hiatus... – Aug. 25, 2006 –

That's right, it's time for another hiatus for Lazy-I And I'll be out of town during one of the better weekends for shows this summer. What a drag! In fact, I'm going to miss what could be one of the best shows of the year tonight in Council Bluffs, with Sonic Youth, Flaming Lips and Magic Numbers (of the three, the band I actually would be most excited to see). Judging by its lack of listing on the stir.com site, I assume the show is sold out.

Then tomorrow night is Frank Black at Sokol Underground with Kyle Harvey opening. While I think The Pixies is the most influential band of the '90s, Frank's solo material has always been somewhat lacking, especially his new double-CD. That shouldn't prevent this from being a landmark show. Tickets are still available for $15... for now. Meanwhile also tomorrow night, Randy Cotton's band, Members of the Press, are doing a set down at O'Leaver's with The Shanks and The Lepers. $5, 9:30 p.m.

But if I was here tomorrow night, I'd be making the trek down to Lincoln to see Domestica with Head of Femur, Ideal Cleaners and The Killigans at Duffy's. That show starts at 8 p.m., and Domestica will be on first, so get there early. No idea on the cover; whatever it is, it's worth it.

Moving on to next week, Tuesday night is Gays in the Military with Shinyville and Plack Blague (I got the band's name wrong in the story because I took it off the O'Leaver's site -- stupid me). Should be theatrical/flamboyant. $5, 9:30 p.m.

Next Friday night, The Bombardment Society (with new bass player Lincoln Dickison of The Monroes) plays Sokol Underground with The Stay Awake and The Free Radicals. $7.

And then Saturday night, Sept. 2 is a special show at The Saddle Creek Bar -- yes, that Saddle Creek Bar, the one on 1410 Saddle Creek Rd. -- featuring Oh No! Oh My!, Someone Still Loves You Boris Yeltsin, and Whispertown 2000 (who opened for Jenny Lewis back in March). Next week's Lazy-I column will focus on the Saddle Creek Bar and its emergence as a new music venue that could be a formidable player in the Omaha music scene. Look for it in The Reader -- it won't be online until I get back in town (though I plan on attending this). This will mark the first One Percent Productions show at this venue, and will be make-or-break on a number of levels (in my opinion). Let's hope it's "make."

One more bombshell to drop before I leave... Though it's no secret to those who are close to the Omaha music scene, there could be a "supergroup" of sorts opening the Sept. 6 M Ward show at the Scottish Rite Hall. Rumor has it that performing as part of McCarthy Trenching will be Conor Oberst and Maria Taylor. Now, I haven't been able to confirm this with the band, but I've been told by people close to this show that it's a done deal. As far as I know, Oberst will only be playing as part of McCarthy Trenching, he won't be doing any of his own music. Maria will likely be behind the drum kit. I wouldn't be surprised, however, if Oberst doesn't help out Mr. Ward on a couple numbers, either. If I hear more about this, I'll pass it on when I get back in town.

Enjoy the shows, and I'll see you when I see you...

<Got comments? Post 'em here.>

Column 90 -- Speed! Nebraska update; Cursive in Pitchfork... – Aug. 24, 2006 –

While I like the new name of Heidi Ore and Jon Taylor's band, there could be a few who might consider it an homage to Cursive instead of a reflection of their home life (which it probably isn't, either). Gary had mentioned the couples' new band way back when we did the Speed! Nebraska cover story, but nothing was definite, which now it obviously is. Saturday night's show, part of Duffy's week of showcases celebrating the tavern's anniversary, also includes Head of Femur, Ideal Cleaners and The Killigans. Wish I could be there, but I can't, for reasons that I'll explain tomorrow.

The long-awaited Pitchfork review of the Cursive's Happy Hollow went online yesterday here. A 6.7 -- not bad, not great. The author draws the distinction between Cursive's earlier outings and the new one based on Tim Kasher's annunciation, saying "They're officially a words band, more interested in meaning than feeling." Kind of reminds me of how Michael Stipe went from being a full-time mumbler on the early R.E.M. discs to a clearly understood vocalist at around the time Document came out. There were those who didn't like that, either. I prefer understanding the lyrics vs. unintelligible screaming. But that's just me. All-in-all, a positive review with a few jabs thrown in for good measure.

<Got comments? Post 'em here.>

Welcome to Shinyville... – Aug. 23, 2006 –

The first new feature on Lazy-i in a month went online this morning, an interview with Omaha/Lincoln band Shinyville (read it here). Two of the guys from the band were kind enough to drive to Omaha from Lincoln for the interview last Saturday, while the third, Omahan Jaime O'Bradovich, corresponded via e-mail from a swanky film festival. One of the bigger surprises (to me, anyway) was that the band was formed via SLAM Omaha -- that's right, they met through the site's music board. Just another example of how SLAM used to be a vital part of the Omaha music scene. The band says they still visit SLAM occasionally. "It's not the resource that it used to be for me," said frontman Scott Scholz, who went on to philosophize, "The way SLAM decayed reflects issues we deal with all the time. Technology has developed faster than people's ability to incorporate it into their lives." Drummer Brian Alt had a more down-to-earth take, saying the site could become vital again "if someone took an active interest and steered off people who want to talk about boobs." I agree with Brian, and I think SLAM is in the process of trying to do that now.

I suspect Shinyville's show next Tuesday at O'Leaver's will be a packed event, partially because of the name of the headlining band, Gays in the Military. If that doesn't bring out the throngs (and thongs) what will?

<Got comments? Post 'em here.>

Drop day at Saddle Creek... – Aug. 22, 2006 –

It's drop day for two of Saddle Creek's biggest releases of the year. Cursive's Happy Hollow and Eric Bachmann's To The Races both officially go on sale today. Will there be big parades or fanfare of any kind? "Not really anything that comes down to one day or a blitz," said Saddle Creek Records executive Jason Kulbel in an e-mail. "The blitz is really spread out in the three months prior to a record coming out. By the time the record-release day comes, most of the work is done. After that, we start focusing on tours, etc."

Well, there may be no parades down 13th & Webster, but there appears to be the beginning of a a parade of reviews for Happy Hollow, including this one posted today at punknews.org which calls the record "Cursive's most complete work to date and arguably its best," giving it 4 1/2 stars. The Washington Times chimes in with this comment, stating, "Like the middle-American tensions and anxieties portrayed in the lyrics, it's a swirling, sometimes violent collision of sounds and styles." I'm not sure if that's a rave or a pan. Even MTV.com mentions the release here as part of a "new releases" wrap-up, asking "...could even bigger and better things be in store for Tim Kasher and company?" You've seen my take on both records (the Cursive profile is here; the Bachmann review, here). I talked to a certain Omaha retail music executive who told me that he thought Happy Hollow could be Creek's biggest seller ever -- and that includes Bright Eyes. We'll see.

Incidentally, I tried to pry some info from Kulbel about Creek's upcoming 100th release (Ladyfinger (NE)'s debut, locked in for Sept. 26, is LBJ-98 (Creek fans know that "LBJ" stands for Lumberjack, the label's old name)). Asked if something special is in store for 100, Kulbel only said, "Yeah, something. Just not sure what that will be yet." Sure you don't, Jason...

<Got comments? Post 'em here.>

Getting people to land on the moon – Aug. 21, 2006 –

A few mental notes from the Landing on the Moon show Friday night: First off, the crowd, or should I say the lack of a crowd -- only 30 people, despite the fact that the OWH did a large-ish feature on LotM in last week's Go! section. And the fact that there were three touring Lawrence/KC bands on the bill. There appears to be no formula that will guarantee a turnout at any show, except maybe having a Saddle Creek band on the bill. A couple months ago, I wrote a cover story for The Reader on Speed! Nebraska Records (here) in support of a label showcase down at Sokol, which also got hyped in the OWH. The result: only 30 people...again. Ah, the power(lessness) of the press... (on the other hand, I can point to the recent Cursive show at Sokol Auditorium that almost sold out and say, "It's all because of my cover story...") NOT!

Anyway, the turnout was a disappointment for LotM after having just spent the last couple weeks on the road. It's safe to say they expected people to show up not only to welcome them back, but because of the strength of the bill. I missed The Only Children (ex-Anniversary) but caught Ghosty, who never sounded better, and 1090 Club, who's bass-less, violin-driven indie pop was mixed a bit too brightly for my delicate ears (good thing I had ear plugs). Their music was sweet and fluid, but I would have liked some low-end in the mix...

Last came Landing on the Moon. I've seen them play at least a half-dozen times, and last Friday's show was probably their best performance. They managed to create plenty of energy despite playing for a near-empty room. The most notable diff, however, was vocalist Megan Morgan, who in the past seemed to struggle with the dynamics of a rock presentation despite putting everything she had into her performance. Any uncertainty or wavering in her voice was gone on Friday night as she belted out her numbers like a young Pat Benatar. Funny what two solid weeks of live performances will do for your vocal style. Same held true for hubby Oliver, whose vocals never sounded better. Pity so few were there to hear it.

Well, if getting press is a curse, I've probably just jinxed Shinyville, who is the subject of a lengthy feature that'll be online at Lazy-i Wednesday morning in support of their O'leaver's gig next Tuesday with Gays in the Military. Sorry guys.

<Got comments? Post 'em here.>

Landing on the Moon, Sarah Benck tonight... – Aug. 18, 2006 –

It's the weekend? Already?

Two shows to ponder this evening: Down at Sokol, the return of Landing on the Moon. I wrote a brief "calendar item" hyping the show for The Reader that went something like this:

Meanwhile at O'leaver's, Sarah Benck and The Robbers headline a show with Des Moines twang rockers Why Make Clocks and Wisconsin folkie Noah Lekas, all for $5 at 9:30 p.m. Bring your cowboy hat.

Saturday's looking like a Brother's night. Sunday night, Kill Rock Stars artist Mika Miko are at O'Leaver's with Eagle's Blood and Noah's Ark Was a Spaceship.

Skull Fight! at Sokol, An Iris Pattern at O'Leaver's, Bright Eyes on Broadway... – Aug. 17, 2006 –

A couple quickies…

-- Bright Eyes has made it to Broadway, sort of. The cabaret review "Kiki & Herb: Alive on Broadway" involves a boozy drag queen and her sidekick pretending to be showbiz wash-ups. The duo perform a number of modern ballads, including covers of songs by The Scissors Sisters, Public Enemy, Dan Fogelberg, The Cure and our very own Bright Eyes, specifically "First Day of My Life" off Wide Awake. The show's getting mixed reviews, judging from this review from broadway.com.

-- The upcoming Cursive tour is getting tons of exposure. I've seen it mentioned on a half-dozen music sites, including this item in livedaily.com. Their publicist, Nasty Little Man, is definitely earning its keep. Hey, where's the Omaha date?

-- Personal writing guru/inspiration Robert Christgau has posted another "consumer guide" at his home rag The Village Voice (read it here) He digs the new Towers of London disc (as did I), but files the new Coco Rosie and Liars discs in the ol' "Duds" category. I couldn't agree more.

So tonight there's a couple very interesting shows: At Sokol Underground Skull Fight! (formerly known as The Cuterthans) opens a bill that includes mad-cap hip-hop singer-songwriter performance-artist punk-stud The Show Is the Rainbow. Nintendo cover artist The Advantage is the headliner. $8, 9 p.m. Meanwhile, down at O'Leaver's, An Iris Pattern is sandwiched between Civic Minded and the evening's headliner, Anvil Chorus from Kansas City. $5, 9:30 p.m.

Column 89 -- Elvis would never approve... – Aug. 16, 2006 –

In honor of Elvis' "so-called" death day anniversary (some say he's still alive...) I'm drinking from my Elvis-in-a-karate-robe coffee cup this morning, which was purchased at the Graceland gift shop. Elvis certainly wouldn't have approved of giving away his records to adoring fans, which is the subject of this week's column.

Passing out copies of CDs at shows is nothing new, but it seems to be happening more and more lately, what with MySpace acting as a simple way to hear a band's music. Are we approaching an age when recorded music will simply be given away as a promotional tool for a band's tour? Maybe, maybe...

A few things that didn't make it into the column below: Someday Stories guitarist Joe Provil said their recent disc give-away was mostly his idea. The recording has been sitting around for a while, having been mastered three times -- and the band still isn't satisfied with the sound. Joe says he got the idea from Little Brazil, who gave away their first demo recording. "After about four months they were charging three bucks for them and had tons of people coming to their shows," Provil said. Is lack of radio support another reason for the freebie? The former member of Gauge said his old band's song, "Waiting Around," got heavy play in The River. "You don't have that outlet anymore," he said. "It's impossible to get music out there that way." And while MySpace is an convenient home for bands on the 'net, "It's become so polluted with bands spamming everyone, it's hard to get discovered that way," he said. "If you search 'Omaha' on MySpace there are hundreds of bands, but only a few play shows. It's impossible to find what you want."

Go! Motion frontman Albert Kurniawan was on the other end of the spectrum. He said the web is helping bands sell CDs and that MySpace is helping them get heard. He also said the current state of radio isn't making things tough for new bands: "If your music is good and you're not lazy, your music will be heard eventually," he said. Go! Motion no longer is giving away their disc at shows, but Albert said if you can't afford one, talk to him and he'll see what he can do. Otherwise, you can buy them from their MySpace page or send a request via email to gomotion@gmail.com. The cost is $5 (but only $2 at shows).

<Got comments? Post 'em here.>

Finally... Yo La Tengo... – Aug. 15, 2006 –

We all have a list of "dream shows" that we'd love to see, those bands that for whatever reason -- whether it be that they've never come near Omaha or the ticket price was too high or the band no longer exists -- we've never been able to see perform live. Yo La Tengo has been on my list for almost a decade. I first interviewed the band way back in March 1998 (the story is online here). I had just started working with John Heaston and The Reader after a few years writing for The Note out of Lawrence Kansas. And one of the things I promised myself at this new paper was that I'd try to write about bands that I love -- not because they have a new record coming out or because they were coming through town -- just because I loved their music and wanted to interview them. Modest Mouse was one of those bands. So was Yo La Tengo. And John, much to his credit, ran the stories even though at the time few people had ever heard of those bands. As part of that interview, I remember asking Ira Kaplan why his band never came through Omaha, and he said he didn't know. The idea had never occurred to them and that he'd have to remember Omaha on the next tour.

Well, more than eight year later Ira has apparently remembered Omaha. One Percent Productions has posted on their site that Yo La Tengo will be playing Sokol Underground Oct. 8. Tickets go on sale Aug. 19. Big fans of the band may wonder "why Underground, why not the auditorium?" but the fact is, there are fewer of us "big fans" around here than we realize. I doubt that Yo La Tengo's music has ever been heard on Omaha airwaves, ever. I'm sure that the band is an unknown commodity to most people, including a lot of young indie music fans who have yet to discover them. For me, the show is a dream come true. Better get in line for those tickets, folks.

<Got comments? Post 'em here.>

No shows; Reviews Matrix updated; The real Lincoln Calling prelim announced... – Aug. 14, 2006 –

No shows attended this weekend so no live reviews. Drat. You have a show you want to talk about? Post a review on the webboard. The Reviews Matrix has been updated and formatted for '06. The '05 Matrix is here, while the '04 Matrix is here. Both are linked off the current Matrix. With intern Brendan lending a hand on reviews, look for this to be updated more often.

I heard from Jeremy Buckley, the organizer of Lincoln Calling, over the weekend and this year's event -- slated for Sept. 14-16 -- sounds like it's coming together rather well. If you haven't already seen the preliminary line-up on Starcity Scene or SLAM Omaha, here it is:

Criteria
Maritime
Tie These Hands
Heiruspecs
The Show is the Rainbow
Neva Dinova
Little Brazil
The Golden Age
Eagle*Seagull
The Prids
Her Flyaway Manner
Spring Gun
Ladyfinger
Ideal Cleaners
Axes to the Sky
Tijuana Gigolos
The Jazzwholes
Forty Twenty
The Killigans
Mezcal Brothers
56 Hope Road
The Speech Impediments
Deformities
This Is We
Boycaught
Youth In Asia
Jaeger Fight
Once A Pawn
Bloodcow
Westside Proletariat

Jeremy tells me they'll be splitting up the three Saddle Creek bands to help spread the crowd around (instead of having a one-venue, one-night Creek showcase). I suspect there will be more bands added in the near future. It looks like One Percent Productions is helping out again this year as well. Keep an eye on the Lincoln Calling website, which he promises will be updated soon.

<Got comments? Post 'em here.>

An early Lincoln Calling weekend... – Aug. 11, 2006 –

Apologies to Rent Money Big for missing their show last night at O'Leaver's. I fully intended to come, but figured it might not look too cool to be sitting at the bar with wads of toilet paper sticking out my nose. My allergies are slowly, surely killing me. That said, I soldier on as the weekend approaches, but judging by the looks of things, all the very hot shows will involve a trip to the Star City for a three-day line-up that could rival their annual Lincoln Calling fest next month.

Starting with tonight: Of Montreal takes the stage at Knickerbockers with The Minders. $10, 9 p.m. But waitaminit, that's not the only hot show of the night. Neva Dinova frontman Jake Bellows is playing at O'Leaver's with Madison Wisconsin superstar Charlemagne. If you like Neva, you'll love this band. This will be a big show (look for the guy with toilet paper sticking out of his nose and say hello).

Tomorrow night at Knickerbockers, the return of Ladyhawk with Coke Dares and Spring Gun. Ladyhawk just played at Sokol July 25 and I missed it (out of town). Wish I hadn't. Their new disc on Jagjaguwar has been burning up my i-Pod for the past few weeks. $8, 9 p.m. Cross town (or more like, across a few streets) in Lincoln Eagle*Seagull is playing at Duffy's with The Choral Sea and Jumbling Towers. What else? Blood Cow is tearing it up over in CB at a place called Goofy's (807 S. 21st St.). $5, 9 p.m.

Finally, Sunday night, again in Lincoln at Duffy's, The Willowz take the stage with Rent Money Big and Wires on Fire. Make the trip down to Husker town this weekend and catch a show. It's only 50 miles away.

<Got comments? Post 'em here.>

Some interesting clips; The return of Rent $ Big tonight... – Aug. 10, 2006 –

Clicking around the ol' Internet, found a couple interesting things this morning. Nothing ground-shaking, but noteworthy:

-- Here's one of the first reviews of Cursive's new Happy Hollow record (at least that I've seen) from thespacelab.tv. The writer clearly doesn't like the CD -- saying the songs sound bland, that the horns don't work, that Kasher has nothing to say -- then goes on to give it 3.3 out of 5 stars. Gretta certainly has her fans. We're all just waiting for that Pitchfork review. What are they waiting for? (And didn't it seem strange that Pitchfork ran this piece on Film Streams yesterday?).

-- Speaking of Cursive, they seemed to be mentioned in a good share of the Lollapalooza coverage, including this piece from Chart Attack that comes with a pic from the show and the line, "Happy Hollow is shaping up to be one of the better albums of 2006." From everything I read and heard on the tele, Lolla was a huge success. They should just host it in Chicago every year.

-- Here's a long profile of Andy Lemaster that talks about his connection to R.E.M. and reviews the new record and the live show, from The Independent Florida. Now It's Overhead is a band that's ready for a live album with lots of "special guests." This, of course, will never happen, but as I've said before, the band is 10 times better live than on their most recent recording.

Tonight at O'Leaver's, the return of Lincoln's Rent Money Big. Asked on the Webboard if they changed their name back (after trying out, what as it, Super Virgin?), "Drew" replied. "Yes, we are R$B. We have a fifth member now. Jim Schroeder, from Mr. 1986, The Show is the Rainbow, Stratosfear, and other such nonsense is playing guitar and synth with us. We are writing new songs with him. He also learned some of our old songs. www.rentmoneyhuge.com has mp3s w/o Jim. He is too lazy to record." Also on the bill tonight is San Francisco's Tenebre and A Passing Feeling from Huntington, New York. $5, 10 p.m.

<Got comments? Post 'em here.>

Column 88 -- You know it when you hear it... – Aug. 9, 2006 –

This column was borne out of a question that appeared on my webboard, of which I posted a rather long, wandering response that helped make up the first half of the missive below. And it still didn't get to the heart of the poster's original question. This won't, either.

Wednesdays at Lazy-i are usually dedicated to whatever band I've interviewed for a preview feature for The Reader, but I haven't had an assignment come through in a few weeks (much to my and the newspaper's chagrin). Efforts to contact both Ladyhawk and Gus Black proved unfruitful. Next week's not looking too promising, either, but I'm keeping my fingers crossed that something comes up. We're entering something of a late-summer lull in shows. That'll all change as September rolls around...

<Got comments? Post 'em here.>

Live Review: The Stay Awake; Black Heart Procession tonight – Aug. 8, 2006 –

This show actually happened Sunday night down at O'Leaver's, where I stopped in not only to see the band but to get comments for this week's column which tries to define what "indie" is and how it's perceived these days. Look for that column on Thursday (or maybe tomorrow if I don't have anything else going on).

I showed up just before opener The High IQ's took the stage. They sounded like a British '80s pop band fronted by a guy with a mean swagger reminiscent of Psyche Furs' Richard Butler. The guy standing next to me said they reminded him of Taco. They were fun, though generic, and quite a contrast to The Stay Awake, a punk trio fronted by Steve Micek on guitar and vocals/screams/yells. I've talked about The Stay Awake here before, but that was over a year ago. They've honed their sound to a razor-sharp point since then. For me, it boils down to bassist Robert Little's roving bass lines acting as a foundation for Mario Alderfer's precision drumming and Micek's guitar shard-riffs, distortion and noise, along with his occasional barked vocal. When they're at their peak, the sound roars with a hypnotic frenzy and confusion. For my money, they're one of Omaha's front-running punk acts.

Tonight at Sokol Underground: The Black Heart Procession with Devics and Castanets. I just listened to "Not Just Words" from their new Touch & Go release The Spell. I figured it would be dark and brooding, but it's not nearly as grim as I was led to believe by various media accounts. There's no question that this is a late-night recording, but the chugging rhythms and keyboards are hardly depressing. $12, 9 p.m.

<Got comments? Post 'em here.>

Live Review: Now Archimedes!, The Protoculture, Bombardment Society, Brilliant Red Lights; X vs. The Stay Awake tonight… – Aug. 6, 2006 –

It was hot, it was smoky, it was sweaty, it was loud. O'Leaver's looked, sounded and smelt like a rock club last night circa 1995. Appropriate considering the line-up that drew one of the largest crowds I've seen down there in a long time. No idea as to who was the main draw, maybe all the bands equally, considering that the crowd was large from the start and stayed even through a fourth, unbilled band.

Now Archimedes! is Bob Thornton's trio that includes former members of Fischer, Solid Jackson and Raymond Nothing. As heavy as they were the last time I saw them, they were even heavier and more confident last night. What they do is what I love, which is play a searing brand of '90s Omaha punk that takes me back to an era of bands like Mousetrap, Culture Fire, Ritual Device, all the usual suspects. And they do it unbelievably well, probably because these are the guys that were part of the group that invented that sound in the first place. I can't get enough of the extreme distortion, the screeching guitar, the throaty, thick-limbed rhythms, a sound that is brash and painful, raucous, dirty fun.

Their take on punk is so wonderfully dated, that I don't know how it'll go over to anyone other than those of us there last night who absolutely thirst for this style and continue to wonder why it never exploded during its original era. I always thought that it was only a matter of time until Mousetrap and Ritual Device and all the others would be featured on the cover of national magazines, but it never happened, probably because people didn't "get it" back then, and the bands themselves could only do so much with their limited resources. Now I have to scratch my head and wonder if that time is long past, except for the fact that, other than a small circle beyond those at the show last night, few have heard this style of music, and to a new, young generation, it could very well be viewed as being as fresh and new as it was when it first was heard on the stages of The Howard St. Tavern and The Capitol Bar & Grill and The Cog Factory and the various hall shows back in the mid-90s. In this era of prefabricated, overproduced, supersweet pop-punk that the mall youth consider to be daring and rebellious, imagine how a gritty act like Now Archimedes! would go over… Maybe huge, or maybe not at all. Will we get a chance to find out?

Next was the new version of The Bombardment Society, featuring The Monroes' Lincoln Dickison on bass. How different did they sound? It's impossible for me to compare the two line-ups as the band was playing all-new material and I haven't seen Bombardment in over a year at least. That said, Dickison doesn't just play an incidental rhythm line -- he makes his bass as prominent as any guitar in carrying the counters and energy of the songs. It seemed to overpower (in a good way) everything, including the drums which needed to be brought up in the mix in a show of punk one-upmanship. Guitarist Jason Ludwick's vocals are just as intense as I remember. Providing more of a chopping bark than a melody, it becomes another layer or rhythm in a band that's already whiplash raw.

The Protoculture continue to get stronger and stronger and tighter and better, playing the same songs every set, but more confidently, more cohesively. Like Now Archimedes! these guys are a throwback to an Omaha sound that thrived in the late '90s, but taken to another level thanks to blending new (at the time) influences from bands like Lawrence, Kansas' Zoom (one of my all-time faves). Can they make a run with a modern audience? Time will tell, but wouldn't it be great? The highlight for me: a flawless version of "My New Laugh" where nothing got broken or lost.

Finally, added to the night's lineup at the last minute was Sacramento band Brilliant Red Lights, who stayed in town after playing the night before at O'Leaver's. The trio is centered around their crazy, Animal the Muppet-style drummer -- a tall blond guy who thrashes his kit with absolute gusto, a blur of hair, arms and drumsticks. Their sound was all about those drums along with the frenetic bass lines, while the frontman/guitarist/vocalist added mathy guitar lines and punk vocals. The post-hardcore sound was complex and calculated but always willing to jar with a quick u-turn or break-down. Thornton, still in the lovely dress he wore on stage at the beginning of the evening, said they reminded him of long-forgotten Chicago band Trenchmouth, yet another band whose heyday was in the mid-'90s, and whose style hasn't been heard since -- a fitting capper to an evening devoted to making the old new again.

I talked to more people last night who are going to see The Stay Awake along with The Photo Atlas and Hot IQ's at O'Leaver's than people going to X, Rollins Band and Riverboat Gamblers at Sokol Auditorium, which isn't surprising considering the low-rent clientele that O'Leaver's draws. Both shows are worth their respective ticket prices ($24 for X, $5 for The Stay Awake). You can't go wrong either way. Me, I'll probably just stay home and recover from last night...

<Got comments? Post 'em here.>

Live Review: Coyote Bones, Someday Stories; Now Archimedes!, The Protoculture and Bombardment Society Saturday… – Aug. 4, 2006 –

The first time you see a band (or in this case, the first time the band has ever performed in front of an audience) you naturally try to make comparisons to bands you think influenced their sound. Such was the case last night at O'Leaver's when Coyote Bones celebrated its stage debut in front of a packed house of notorious Omaha music scene Glitterati. Talk about pressure. Are comparisons straight-out-of-the-box fair? No, probably not. So I won't go into detail about the conversation I had with the guy leaning along the rail next to me about how the lead singer's pained (in a good way) howl reminded me of a certain blond lead singer of a seminal
'90s grunge band (my cohort thought his howl reminded him of Greg Dulli, and that was right on as well) or how their songs had an essence of '90s alt-pop rock a la Buffalo Tom and, for me anyway, laid-back Nirvana as in their classic MTV Unplugged album (and a band out of Kansas called Vitreous Humor, who my cohort knew all too well but didn't recognize in their sound).

No, making a list of comparisons wouldn't be fair. Instead, let me describe them this way: Coyote Bones had a distinctive Midwestern '90s indie rock sound that comes from growing up around here, whether the band members did or not. The line-up included a shaggy front man on acoustic guitar, an electric guitar player who also added keyboards to a couple songs, a bass player and drummer. That acoustic guitar, however, was the essence of the ensemble, along with the singer's tweedy, earthy rasp. Favorite song of the night was a tune titled "39 Forever," which epitomized a style that mixes that acoustic guitar with a strong, central bass line (again, I'm reminded of that famous acoustic Nirvana set).

One other characteristic that I think was absolutely central and essential: Their songs were all short, only two to three minutes long. No drawn-out solos, no repetitious rhythm orgies, just well-crafted tunes played long enough to get the point across. I can't tell you how much I dug the fact that their songs were so well-contained and complete.

For the final number, our frontman put down the acoustic and strapped on a bass, while the bass player picked up another electric guitar for a rock song that was tough and sweaty like something right out of the '70s.

I stayed long enough to see Someday Stories' take on angular indie rock. Their first two songs had that same 1-2-THREE, da-da-WOMP da-da-WUMP sound that Criteria is known for, in fact the frontman even sort of sounded like Stephen Petersen. The Criteria comparison waned as they continued with a set of very heavy, very indie-sounding rock clearly influenced by bands like Cursive, Fugazi and Archers of Loaf. They were at their best when they strayed from the usual convention and allowed themselves to stretch out, like on their set closer.

I headed home before the touring band took the stage (some of us had to work in the morning). By then, half the crowd had left, too. I guess you could say The Living Blue had been Omaha'd.

So what's in store for the weekend? The highlight is Saturday night, again at O'Leaver's, where the lineup includes Now Archimedes!, The Protoculture and Bombardment Society, who are unveiling their sound with new bassist Lincoln Dickison -- yes, that Lincoln Dickison, the one in The Monroes. For $5 (and starting at 9:30) this will be SRO.

Sunday night at O'Leaver's is almost as good, with The Photo Atlas, Hot IQ's and The Stay Awake. The draw could be hampered by X and Henry Rollins down at Sokol Auditorium.

<Got comments? Post 'em here.>

Column 87 -- The Generation Gap; Coyote Bones debut tonight... – Aug. 3, 2006 –

People who have read drafts of this column have pointed out a couple argument-points: 1) There are a number of all-ages venues currently in operation, including The Mosaic Center, The Rock and Ted & Wally's. That's true, but none of them are really anything like The Cog Factory. Mosaic Center and Ted & Wally shows are few and far between. The Rock has a rep for being a Christian club. Is there a venue around town that runs regular (as in three or four a week) all-ages indie/punk shows? 2) I seem to have overlooked a lot of bands that play at other clubs around town. No, I haven't. For the most part, those bands aren't indie bands and would probably be insulted if they were grouped with indie bands, judging from their comments on a couple local webboards. And let's be honest, we all know they don't fit into this discussion.

Interesting show tonight at O'Leaver's. Minty Fresh Records band The Living Blue headlines with Someday Stories and the debut of Coyote Bones, which, according to their Myspace account, consists of ex-members of Jet by Day. Since Now It's Overhead's Andy LeMaster helped record their three-song demo, expect the usual cadre of Saddle Creekers at the club this evening. You may just want to leave your comb at home. 9:30 p.m. $5.

<Got comments? Post 'em here.>

On its 25th birthday, remembering the only two hours of MTV that mattered... – Aug. 2, 2006 –

There have been -- I don't know -- 1.1 million stories written and broadcast within the last 24 hours about the 25th anniversary of MTV, and of those 1.09999 million complained that the channel, which (lest we forget) was created to air television commercials for record companies, was no longer a "music station." Most of the reports devoted a lot of time to MTV's current reality-show programming -- like the sickening My Super Sweet 16 -- and then pondered if it was "the right thing for our kids to be watching." Even the OWH's former music reporter, Christine Laue, did sort of an "overview" story about MTV (here).

In every thing I've seen, heard and read, the reporters completely missed what I consider to be MTV's biggest impact not only on today's national music scene, but on the Omaha music scene as well. Since there's nothing else going on today -- no music feature to post this week (X ain't doing interviews, at least not with me), no shows tonight worth pimping -- let me explain…

Growing up in Omaha, the only music I heard was whatever records my parents owned (the usual collection of Broadway soundtracks and lounge music, plus my dad's copy of the Original motion picture soundtrack to the movie Grand Prix (blared as loud as possible on his then-cutting-edge Telefunken stereo system) along with whatever was on Z-92. When we moved to Fort Calhoun and I was in high school, the music of choice came in two flavors -- Led Zeppelin and Pink Floyd... And, of course, whatever was played on The Z (Van Halen, Journey, REO Speedwagon, you know the drill).

Just like today, Omaha didn't have a college radio station that played real college (i.e. "underground") music. You had The Z, Rock 100, Sweet 98 and a boatload of country stations. You could not hear what was going on in the then-infant world of alternative music. The raciest thing I remember hearing on the radio was The Z's Slats Gannon playing a track or two off U2's War album, which seemed bold and experimental.

Then along came MTV. It'd been around for years, but no one I knew had cable TV until I was in college. Suddenly all the lousy music you heard on the radio now had pictures to go with it. That awful Jefferson Starship song or the ubiquitous ZZ Top song off Eliminator that Z-92 played into the ground could now be both seen and heard. Who remembers Gina Tomasina? Sure, MTV played videos by a few bands that we (thankfully) hadn't heard of, like Men Without Hats or The Thompson Twins or Duran Duran, which eventually would cross over to the radio, but that was about it for any breakthroughs. MTV was there for those brain-dead moments, it was something you had on before you went out that night or when you were sitting around your friends' house drinking beer after class. Completely inconsequential, except for one single program, and I think everyone who reads this blog knows what program I'm thinking of (and no, it wasn't Yo! MTV Raps).

For two hours every Sunday night, MTV aired a show called 120 Minutes, a program dedicated solely to college music in the early days of indie. For the first time, many of us who had been shielded from that weird alternative music were hearing bands like The Smiths, Joy Division, The Cure, Husker Du, Echo & The Bunnymen, Public Image Ltd, The Psychedelic Furs, Siouxsie and the Banshees, Depeche Mode, Aztec Camera, World Party, Lloyd Cole and the Commotions, The Alarm, The Connells, Syd Straw, The dB's, Buffalo Tom, Chapterhouse, The Stone Roses, Inspiral Carpets, Galaxie 500, Cocteau Twins, The Sundays, The Jesus and Mary Chain, Sonic Youth, Mazzy Star, Pixies, Jane's Addiction, Nine Inch Nails… the list goes on and on throughout the early '90s until the Grunge bands brought alternative to the surface.

120 Minutes was the only place to hear this kind of music broadcast in Omaha other than the short-lived cable-only KRCK. Sure, the show skipped over entire genres of underground music (There was no hardcore on 120 Minutes, for example -- bands like The Butthole Surfers, Black Flag and other SST acts were too harsh for television or didn't make videos), but at least it was something. I can say without hesitation that the program had an impact on my current taste in music.

And I can tell you from interviews with a number of local bands that 120 Minutes impacted their taste in music, too. Yes, most of the '90s-era Omaha musicians became aware of the music that influenced their sound from places like The Antiquarium, Drastic Plastic, The Cog Factory (see tomorrow's column) and their network of friends, but most of them also watched 120 Minutes every Sunday night. It was a cool show, chock full of cool music and the occasional cool interview by Dave Kendall -- I still remember seeing Johnny Rotten complain about The Cure was ("It's all done in minor key. It's boring!").

I have to believe that Omaha wasn't the only city or town inwhich 120 Minutes was the only avenue for college music. Think about all the indie bands out there now and ask yourself how many of them watched that show. It's probably more than you think.

Anyway, in its ongoing evolution to become an electonic pile of shit, MTV cancelled 120 Minutes in 2003, but the show still lives on in a different format on MTV2 -- the 60-minute-long Subterranean, which I Tivo every week. The sad truth is that, to this day, Subterranean is still the only place to hear real college music in the Omaha area other than Dave Leibowitz's two hours on The River, which is also broadcast on Sunday nights. It's sad that we still don't have a college radio station that plays college music in this town and ironic that Subterranean played Saddle Creek videos years before any radio station in Omaha played them. The more things change, the more they stay the same…

You can read more about 120 Minutes here on the altmusictv.com site.

<Got comments? Post 'em here.>

Live Review: The Go! Team; the Dying move downstairs... – Aug. 1, 2006 –

So the guy next to me turns around during The Go! Team's final song last night -- while the 300 or so on hand were jumping up and down to the beat with their hands in the air -- and he says "I'm proud of Omaha tonight." Yeah, people actually danced at last night's show. But really, how could they not? Not only does the Go! Team's flavor of trip-hop meets indie meets School House Rock good-time music produce involuntary "bounce" spasms, there also was Spice Girl-style front woman Ninja yelling for people to "show their best moves" while she waved her arms like a hip-hop aerobics instructor. The crowd wanted her to like them, and judging by her comment -- "Best American crowd evah!" (which I'm sure she says to all the guys) -- she did.

Lots of surprised last night:

The turnout, for example. Says Ninja, "We were afraid no one here would know who we were and that we'd be playing to an empty room."

The music, for another example. While I knew it was going to be different than the records, I didn't expect it to be as hip-hop heavy (and at times just plain heavy) as it was. Six people constantly changing instruments, including two drum sets, glockenspiel, keyboards, recorder, guitar and bass. I have no idea how the samples -- a Go! Team staple -- were handled. Some horn samples were programmed into one of the keyboards. But for the most part the sample effects from the recordings were reinterpreted by the instruments.

And finally, the dancing. I warned them that they could be playing in front of a crowd of arm-crossed zombies. That wasn't the case. The last time I saw that kind of pogo-ing was at a 311 show.

It wasn't all dance music, though. The band played at least four unreleased songs, and two or three of them were somber instrumentals. The first one sounded like an Arcade Fire offshoot. Another sounded like it came from the motion picture soundtrack to '70s thriller The Parallax View (the part where Warren Beatty is brain washed -- you remember don't you?). The instrumentals brought the crowd down. But each was followed by another roaring dance number that usually involved Ninja prompting the crowd to yell-spell GO! TEAM or scream "OH Yeah!" which the crowd was more than happy to do.

Tonight, a first for One Percent Production -- the As I Lay Dying show that was slated for Sokol Auditorium has been moved downstairs to Sokol Underground due to poor ticket sales. Also on the bill are Black Dahlia Murder, Terror, Evergreen Terrace, Through the Eyes of the Dead and Cellador. The show still starts at 6:30 (it would have to considering the number of bands) and still costs $15. I'm guessing this will now sell out...

<Got comments? Post 'em here.>

The Go! Team tonight; smoky the bear says... – July 31, 2006 –

I don't think I mentioned it before but Little Brazil has been added to tonight's Go! Team show with Eagle*Seagull. It has all the makings of being one of the better shows of the summer... if anyone shows up. And they should, even if it's 110 degrees down in Sokol Underground (They do have some sort of air conditioning down there, right?). $12, 9 p.m.

And speaking of Sokol's air quality, a couple weeks ago I noticed that they posted signs over the bar that said they were going to start enforcing the upcoming smoking ban beginning Aug. 1 instead of the law's Oct. 2 start date. I asked One Percent about the change, and they said they have no intention of enforcing the ban until October and that those signs were coming down. Regardless, it's only a matter of time before Sokol becomes smoke free since it fits within the description of facilities that must enforce the city's new smoking ban. The thought of no longer coming home from Sokol Underground shows smelling like an ashtray seems almost surreal. You read a lot about how these smoking bans impact businesses, but I can't see it having any impact at all on Sokol turnout one way or another. You either want to see the bands or you don't, and everyone I know who goes to shows has always understood that smoking was part of that environment. If anything, the ban could have a positive effect on attendance, especially from younger patrons whose parents are smart enough to monitor the conditions of where their kids go after dark. We may never find out, of course, since a lawsuit was filed against the City of Omaha by the folks that run the Marleybone on Leavenworth, saying the ban gives special preference to some businesses, such as Horseman's Park, keno parlors and stand-alone bars, all of whom are granted a 5-year grace period from the ban. It could get ugly. It also begs the question of whether O'Leaver's falls under that exception -- it's a stand-alone bar, but everyone knows they have a kitchen in there that's been known to serve food (though I've never actually seen anyone eat anything in O'Leaver's other than Taco John).

Anyway, make sure you get to the show early tonight to catch the openers. It will be interesting to see if anyone dances during the Go! Team set. I've warned the band that they may be disappointed by Omaha audiences' inability to "move to the beat" during rock shows. I don't think Ninja is going to put up with it...

<Got comments? Post 'em here.>

It's looking a tad quiet this weekend... – July 28, 2006 –

If you have any ideas, please plug them in on the webboard...

There's no show that I'm aware of tonight at O'Leaver's. Sokol is doing a hip-hop show. That's it, folks. If you're lucky enough to live in Lincoln you can check out Ideal Cleaners and The Monroes at Bob's Tavern (no idea where it's actually located, just find it).

Saturday there's a little more going on. Sokol Underground is hosting Denver combo Devotchka. I like what I heard on their myspace page -- acoustic balladry featuring accordion, stand-up bass, pre-Soviet Union melodies and Roy Orbison-style vocals. Opening is Outlaw con Bandana and Fine Fine Automobiles. $9, 9 p.m. Also Saturday night, Columbus, Ohio, indie pop band Miranda Sound plays at O'Leaver's with The Upsets, Dead Man's Hands and Shanks. $5, 9:30 p.m.

Sunday there are... no shows worth mentioning. The River Riot is going on at Westfair with a line-up that 100 percent sucks. I'm sure it'll be a huge hit.

<Got comments? Post 'em here.>

Column 86 -- Reviews again; Live Review: Bill Latham, Fishboy... – July 27, 2006 –

I originally intended to write about the Breckenridge music scene for this week's column. Here's the result...

I dropped off a handful of CDs last night for intern Brendan at O'Leaver's (he wasn't there anyway) and walked in half-way through Bill Latham's set. Bill Latham a.k.a. Bill Donuts formerly Cog Factory staple Corporate Donuts was standing alongside the bar with his guitar, serenading the audience with his clever old-school folk ditties. There was a time when a number of local musicians were doing this sort of Woody Guthrie-esque folk. Now it seems there's only Latham, who has more than enough story-telling firepower to fill the gap by himself. Energetic, funny.... and smart. After one of his political numbers, he turned to the crowd of a dozen people or so, many of them his friends, and said, "If any of you sign up (for military service) I'll fucking kill you." Who needs Conor Oberst for pithy political commentary? Why doesn't this guy play more often (or why don't I know about it when he does)?

Mr. Donuts was followed by Fishboy, a Denton, Texas, 4-piece fronted by Eric Michener, who looked like a young, thinner version of Jason Schwartzman (the guy from '90s classic film "Rushmore" and the woefully overlooked "I Heart Huckabees"). Eric and Co. sounded like a modern (and better) version of Violent Femmes (a band that I never liked despite trying). They rocked, thanks to their amazing drummer, their multi-instrumental keyboard player (Is that a French Horn? Is that a trumpet? Is that a cow bell?) and Michener's fetching nasal croon and windmill-kick acoustic guitar licks. I dug Fishboy, and so did the tiny crowd. I should have bought a Fishboy T-shirt, but I don't think they had any (I didn't see any)... You Chicago readers should check him out as he'll be in your town for the next few days. Check out his tour schedule, listen to a few tunes and read some funny comix (including one that recaps the origin of his name) at his cool website.

<Got comments? Post 'em here.>

The Go! Team huddles up; Fishboy tonight... – July 26, 2006 –

Just placed online, an interview with The Go! Team mad scientist Ian Parton (read it here). Ian talks about the band's short ride to the top... in Europe, their relative obscurity in the states, their stage show (festivals vs. Sokol Underground), and working on their new album. It's all there in the story, except for his comments about Omaha ("I don't know.... It's the Midwest, middle of the country, I imagine it being flat and rural."). The show is next Monday night with Eagle*Seagull and could be a good one if anyone shows up. Looking at some of their live footage on YouTube, they like to turn their shows into dance parties. Good luck with that one, folks.

A couple shows worth mentioning going on tonight: Denton, Texas nerd folkie rockers Fishboy are playing at O'Leaver's with local talent Bill Latham. 9:30 p.m., $5. Down at Sokol Underground Sarah Benck and the Robbers play with Anonymous American and Zack Hexum (brother of 311's Nick). $8, 9 p.m.

<Got comments? Post 'em here.>

Magnolia Electric Co., Ladyhawk tonight – July 25, 2006 –

I'm listening to the new Magnolia Electric Co. album, Fading Trails on Secretly Canadian Records, as I write this. I'm thinking dusty Crazy Horse-era Neil Young sung by Roy Orbison. Simple boom-chuck rhythms, nice piano, glowing pedal-steel rise. Laid-back, mid-tempo, rural songs about regret and similar such things. If you don't know it, MEC is Jason Molina's Songs: Ohia, renamed back in '03. Molina has worked in the past with producer Mike Mogis and has grown a sizable national following. Opener Ladyhawk is more of the same, only louder, with more electricity thrown in the mix, kind of reminds me of Swearing at Motorists. "Teenage Love Song," off their self-titled Jagjaguwar debut, sounds like Silkworm doing a Richard Thompson song with an extra helping of anguish. Opening the festivities is Omaha's own No Blood Orphan. $9, 9 p.m. at Sokol Underground...

Tomorrow here at Lazy-i, look for a feature/interview with The Go! Team's Ian Parton. And the column is back Thursday with a handful of CD reviews...

<Got comments? Post 'em here.>

Live Review: GO! Motion – July 23, 2006 –

First off, their name. I don't dislike it because it's lame, but because it looks like they ripped off The GO! Team (Note the use of the word "GO", note the similar use of exclamation points). Who had the idea first? I have to believe it was the band from England, who are quickly becoming a worldwide phenomenon (Don't believe me? Check out their mini-documentary on their myspace page or see them when they drop by Sokol Underground July 31, wedging dirty ol' Omaha between Red Rocks and Lollapalooza).

I can hear what you're thinking: The name of a band is inconsequential. Ah, but it isn't, especially if the band intends to make a name for itself outside of Omaha, and judging from what I've heard so far, this band has the potential to do that. If they tour larger cities, they will be harangued about their name from music writers who know what's going on in the indie scene.

Ironically, the fact that their name appears to be lifted from another band seems appropriate, since GO! Motion takes styles from a variety of bands and mashes them into something that sounds exactly like something you've heard before. Part of the fun is picking out their references. The vocals? Pure Robert Smith circa Boys Don't Cry (one patron was agog over the similarity, especially considering that frontman Albert Kurniawn is Asian and speaks with a charming Asian twang). The guitars? Hmmm… early U2 circa Boy or War, maybe The Alarm or Midnight Oil -- just fill in your favorite post-punk band from the '80s whose guitars featured tons of delay. The overall style? Underground dance, in an upbeat Interpol vein, definitely VHS or Beta (but with less Duran Duran overtones), certainly retro. You getting the picture?

All that said, I liked what I heard from the five-piece, though the mix was muddy, jumbled, with entirely too much low-end. GO! Motion prides itself as a dance band, driven by fast backbeat drums and throbbing bass. Their charm comes from both the soaring guitar lines and Albert's Cure-esque vocals, as well as his endearing between-song patter. He wants to see you dance. Really! But only a handful of the 100 or so did (This is Omaha, remember?). So desperate was he to generate a dance party vibe that he invited some of the girls in the crowd to join them on stage for the last song -- always a cheesy moment, always a mistake because the chosen girls never know what to do and end up looking like a pack of strippers.

At the end of the set, the band gave away copies of their new CD, Kill the Love -- a marketing ploy that's becoming more and more common these days. Might as well put the music in the peoples' hands and let word of mouth do the rest (if the music is any good, that is). The CD sounds way better then last night's live set, probably because it was recorded at Smart Studios in Madison and Blacklodge down in Eudora, and superstar engineer Doug Van Sloun mastered it. The CD allows you hear all the little parts that you missed during the muddy live performance, even The Faint-inspired synth riffs (Fun, but ultimately a mistake that wasn't replicated on stage).

There are a lot of bands doing this sort of rock-dance these days (VHS or Beta, Interpol, Franz Ferdinand, etc.). GO! Motion belongs in the conversation. The only thing that could hold them back is their inability to distance themselves from their influences, allowing them to reveal their own unique voice. There is a voice in there, somewhere, waiting to get out. Until then, GO! Motion will be content just trying to get you to dance, and that isn't such a bad thing… Now if they could just do something about that name...

<Got comments? Post 'em here.>

Tonight: Gris Gris/The Terminals at The 49'r, the rest of the weekend... – July 21, 2006 –

The last time Gris Gris came through Omaha I arrived at the venue just in time to catch their last song, and have been slapping myself for it ever since. This trippy Oakland band records for indie powerhouse Birdman Records (Twilight Singers, The Warlocks, Paula Frazer). Their music is a slice of '60s psych reminiscent of Aftermath-era Stones. Cool. Check out their myspace. Opening is the always-entertaining Terminals. $5, 10 p.m. Terminals' keyboardist Dave Goldberg tells me that his recent tour of duty with Thor (along with Steve Jacobs (Diabolic Possession and The Filthy Few) and Jeff Decker) was so well-liked by the Norse God that he's asked them to join him on an upcoming tour. Nice. Wish I would have caught that show... but it sounds like there's a good chance that they'll be coming through Omaha again soon.

Tomorrow night, Outlaw con Bandana is at O'Leaver's with Ed Gray and Peter and the Wolf. Mr. Gray, who hails from Iowa City, wrote to say that he's got a 7-inch out on Unread Records and has a new one coming out in the fall "that was done in O-town last year w/ Joyner, Deden, McManus, Tulis, etc.etc." Check out his myspace. $5, 9:30 p.m.

Also Saturday night, Landing on the Moon is opening for local band Go! Motion (their CD release show) at Sokol Underground. $7, 9 p.m.

That's all I got. Don't forget to swing by Horsemen's Park for the annual track meet (Live racing! Real horses! Big bucks!).

<Got comments? Post 'em here.>

CD Review: The Channel; The Sword, Poison Control Center tonight... – July 20, 2006 –

Another submission from our intern, and another disagreement in the rating department...

I may disagree, but Brendan passed the audition. Look for more from him in the future.

Tonight at Sokol Underground, The Sword returns with Saviors and Those Peabodys. Lot of people are excited about this show. The Sword represents the new young turks of indie metal. I saw them the last time they came through, opening for Trail of Dead, and was less then impressed. 9 p.m., $8.

If metal ain't your thing, head down to O'Leaver's for the somersaulting hi-jinx of Poison Control Center with Emperor X. PCC never fails to entertain. $5, 9:30 p.m.

<Got comments? Post 'em here.>

Live Review: Art Bell, An Iris Pattern, Now It's Overhead – July 19, 2006 –

First off, thanks for coming back after a week of nothingness. My report concerning the Breckenridge music scene is that there is no music scene. Going to Colorado is like going to Hawaii or Ireland -- you pretty much get what you expect -- '70s-era acoustic hippy tunes a la John Denver or The Grateful Dead. The radio stations play one polyester hit after another, as if you've been transported to a land whose music never evolved past Poco, Firefall, Seals & Crofts, Bread, America and England Dan & John Ford Coley. Thank god for iPods. As far as live music goes, everything seems to revolve around Jimmy Buffett. Oh well, you go to Colorado for the mountains, not the music.

So, anyway, thanks for your patience. The headliner at Sokol Underground last night was Now It's Overhead, but the crowd of around 200 was there for Art Bell, the new Saddle Creek-powered supergroup featuring Orenda Fink on lead vocals and guitar. Backing her was half of Mayday -- Dan McCarthy on keyboards, Ryan Fox on bass, Steve Bartolomei on guitar -- as well as drummer Corey Broman (Little Brazil, ex-Kite Pilot, ex-Son, Ambulance) and an unknown blonde woman on keyboards and harmony vocals. Quite a powerhouse line-up. Together, they sounded like Neil Young's Harvest-era band backing Orenda on Azure Ray-style songs. It was laid-back, restrained and somewhat introspective, a natural progression for Fink, a change in direction from the haunting, tribal flow of her recent solo album. No idea who the blonde woman was, but she complimented Orenda's vocals as well as Maria ever did, but in her own way. They played seven or eight songs, including one rather heavy rocker toward the end (the best of the night), and one song featuring McCarthy on accordion. A solid set that would please any Azure Ray or Orenda Fink fan, though I would have loved it if the band played harder and looser instead of being content merely backing up Orenda's pretty melodies. I assume the name will be changing shortly, as Orenda introduced the group as "The band formerly known as Art Bell." Methinks Mr. Bell caught wind of the name, or Orenda is having second thoughts about the moniker.

An Iris Pattern continues to evolve into the rock band it wants to be. Greg Loftis looked comfortable on stage, and the band never sounded better. Joining the group was April Twist from Paper Owls on keyboards and harmony vocals adding a needed delicate touch to the usual rock proceedings. Something tells me these guys could be going places sooner than we think.

Last up was Now It's Overhead, and my only comment is that the live version their new album hands-down blows away the recording (which isn't due in stores until August). Stripped down and raw, songs that limp along in the usual, dreamy mid-tempo pace on CD turn roaring and angry and amazing. Andy LeMaster may be a studio genius, but after last night, I'm convinced all that knob-turning wizardry is merely holding him back.

Tonight at O'Leaver's, it's the battle of the two-piece noise bands as The Lepers host Columbia, MO's Megazilla. $5, 9:30 p.m.

<Got comments? Post 'em here.>

Column 85: The rest of Ted; see you next week... – July 13, 2006 –

For a record that doesn't come out for another month, a lot of people have heard Happy Hollow, and all of them have an opinion. It's a CD that must be played loudly on first listen. You won't get it if you listen to it on your computer while you pay your bills. Ted sounds kinda here, but he was smiling through most of the interview (even though I wasn't there to see it).

After all this Cursive love, I'm gonna miss the big show Saturday night as I'll be out of town through next week. Look for an update next Wednesday. Have a good weekend.

<Got comments? Post 'em here.>

Cursive's Kasher and Stevens on Happy Hollow and everything else... – July 12, 2006 –

Just placed online, a detailed interview with Cursive's Tim Kasher and Ted Stevens (read it here). They talk about the band's new CD, Happy Hollow, the role of faith in their lives, the concept of concept albums (and why theirs isn't one), the musical convergence with The Good Life, the making of the record, those crazy horns, and breaking up and getting back together again. It's looong. It's also the cover story of this week's issue of The Reader, which should be stacked around town later today. I don't have much else to say, other than go read it. Again, you won't be able to pick up the new CD until Aug. 22 (I doubt there will even be copies available at Saturday's Sokol Auditorium show).

And if you haven't had enough Cursive, tomorrow's column (which will actually be online late tonight) compiles more comments from Ted's interview that didn't make it into the cover story. Ted talks about criticism of the new record (and criticism in general) as well as the future of Mayday (sort of).

<Got comments? Post 'em here.>

Introducing Brendan Greene-Walsh; Virgasound tonight... – July 11, 2006 –

Over the years I've brought on interns to help out with CDs. The results have been surprisingly good, though never enough to ever get me caught up on the CDs stacked on my floor. I'm bringing on another intern today -- Brendan Greene-Walsh. You may know him as the soundguy at O'Leaver's or "that hippie-looking dude wearing the suspenders." He's also in the band Life Without Laserdisque, but you knew that already. Brendan asked if he could help out with reviews, and so, here's his first effort. The caveat remains as it was with the other interns -- you'll receive Brendan's take on the CD, but you'll also receive my comments. Here goes:

More reviews to come. Tonight, Brendan will be busy working the O'Leaver's board as Omaha's Virgasound takes the stage with Mountain High. $5, 9:30 p.m.

<Got comments? Post 'em here.>

The Reader is trying to kill me; An Iris Pattern, faux-Conor tonight... – July 10, 2006 –

This is the second time that The Reader has dropped a bomb on me. "That story you're doing on Cursive... we're thinking cover." There goes my weekend. I'm getting burned out, dudes. Regardless, it's done and it'll be online Wednesday morning, all 2,500 words of it. Meanwhile, tonight, for those of you like me who missed An Iris Pattern on Saturday night here's your chance to see them again, this time at O'Leaver's with In Praise of Folly and Shipwreck. $5, 9:30 p.m. Meanwhile, way across town at The Rock (225 South Washington, Papillion), everyone's favorite Conor Oberst impersonator, An Angle, is playing a gig with three bands I'm unfamiliar with -- Controlling the Famous, Go!Motion (not The GO! Team) and Push to Talk. When An Angle first emerged a few years ago, their Bright Eyes schtick was like vaudeville - so aped that people had to hear it to believe it. Judging from their myspace page, little has changed. Well, they say imitation is the greatest form of flattery. Maybe Conor will swing by and see for himself... $8, 8 p.m.

<Got comments? Post 'em here.>

Dave Dondero/Simon Joyner tonight, An Iris Pattern tomorrow... – July 7, 2006 –

Seems like it's been forever since I've been to a show when in fact it's only been a week (I was at the Speed! Nebraska showcase last weekend). Things have slowed down a bit at the venues over the past few weeks. I blame summertime. This too will change. Here's what we got for this weekend.

Tonight at Sokol Underground, singer/songwriter/Team Love recording artist David Dondero is at Sokol Underground with Omaha's own Simon Joyner (I don't know if this gig will include his band, The Fallen Men, or not) along with Seattle's Sonny Votolato (Blue Checkered Record Player). This could well be a solo acoustic night. The One Percent site doesn't say. Regardless, it should be a scenesters' paradise. $8, 9 p.m.

Also tonight, Lawrence, Kansas, improvisational noise band This Is My Condition plays at O'Leaver's with The Lepers and The Shanks. $5, 9:30 p.m.

Tomorrow night is draped in mystery. Scheduled for Sokol Underground is Brandston w/An Iris Pattern, Desole, The Umbrellas and Rochester, but for whatever reason the show no longer appears on the One Percent Productions' show schedule (though it's still listed on their calendar sans (that means without) Brandtson). The Brandtson site still lists the date, and I haven't heard from anyone that this show has been changed or canceled. Update: This show is going on without Brandtson, who canceled due to a personal emergency. $10, 8 p.m.

Sunday night The Goofy Foot is hosting the acoustic folk hip-hop of Malcolm Palmer with fellow folkies Fork in the Road and Boston's Hi8us. $3, 8 p.m. Nice.

See you at the show...

<Got comments? Post 'em here.>

Column 84: A Loftis Pattern; Stay Awake tonight... – July 6, 2006 –

There's a lot that was left out of this column about Greg Loftis due to space. Like the part about his relationship with Idlewild's Roddy Woomble (They're old drinking buddies), and the part about his girlfriend Anna also being a medical doctor and former clothes folder (which is how she met Hilfiger), and the part about how the recent Iris Pattern sessions were the last recordings by A.J. Mogis at the legendary Presto! Studios in Lincoln ("He popped open a bottle of Champaign."), and the part about how, despite spending so much time in Poland, Loftis can't speak a word of the language ("They think it's cute and no one gives me shit as long as I keep my mouth shut."), And the part about what needs to be done to improve the Omaha scene ("It needs to be more organized; we need more professional-sounding venues."). And so on. What, will come of An Iris Pattern (whose lineup also includes James McMann (Grasshopper Takeover), Ben Zinn, Lincoln's Lars Gallagher and Dave Collins)? An early incarnation that included Kyle Harvey and Reagan Roeder imploded, partially because Loftis doesn't like to stay in one place for very long -- he's been known to miss band practices because he's flown to Spain with Anna on a whim. It's not the kind of thing that record labels (especially majors) want to hear about their artists. Regardless of what happens with Warners and Atlantic, Loftis says An Iris Pattern CD will be released soon, even if he has to press it himself. In addition to Saturday's show at Sokol Underground, the band will also be playing with In Praise of Folly and Shipwreck next Monday at O'Leaver's, and will be opening for Now It's Overhead and Orenda Fink's new band, Art Bell, at Sokol Underground July 18.

If you're looking for a good show tonight, check out the punk stylings of The Stay Awake when they open for Hunters Run and Ari.Ari at O'Leaver's. Just $5! 9:30 p.m.

<Got comments? Post 'em here.>

OWH's own Slam Omaha? More from Fun City... – July 5, 2006 –

So what is the Omaha World-Herald myspace all about? It was brought to my attention in an e-mail that said, "Well, there goes SLAMOmaha." The OWH's "new" Omaha.com site will feature a database that will "include band descriptions, photos, rosters, MP3s and discographies, and the entries will also cross-reference upcoming performances of each band, which will also be displayed in a new calendar section." Hmmm... sounds like SLAM to me, without the "discussion boards." And judging by the number of bands on their myspace "friends" page, bands are eager to sign up.

There was a time, not so long ago, when SLAMOmaha.com was thee online destination for local bands and music fans, sporting one of the most up-to-date gig calendars anywhere, thanks to the bands themselves, who were responsible for maintaining the calendar. Will the new Omaha.com "bands" site be maintained by the bands, too? I have to believe that's the only way it'll work if it's going to be kept up-to-date. I can't imagine the OWH is eager to dedicate a warm body to taking phone calls whenever a band changes drummers or lines up a gig at O'Leaver's.

Regardless of how they maintain it, the idea is an interesting step taken by a newspaper that's been accused of being out of touch with the city's youth -- a demographic that they're going to have to attract eventually if they want to keep printing papers, right? Right?

Come on. Reading the OWH is a rite of passage, an affliction that occurs after you get married, have kids, change your political affiliation and quit listening to good music. For years acquaintances at the paper have told me about management's ongoing concern that OWH readership is "dying," and that the next generation has no interest in reading a printed newspaper. The Internet and cable TV are their preferred sources for news (if they're interested in news at all). What they fail to understand (or admit) is that kids didn't read the OWH in the '60s, '70s, '80s or '90s, either. Their parents did. But after they moved out, got married and had kids of their own, they found themselves with a whole lot more time around the house, and suddenly that newspaper looked a bit more interesting.

Will the advent of new technology break that circle? I don't think so. But the OWH does, and that's why you're seeing them develop databases for rock bands as a desperate attempt to attract young eyeballs, to get next-geners comfortable with going to omaha.com for information so that maybe -- just maybe -- they'll start picking up a newspaper, too. They certainly can't be doing it for the ad revenue.

Though it's not mentioned on their myspace page, I have to assume that the new omaha.com will also host discussion boards. If not, this ain't gonna work. It may not work anyway. All the old-time Slammers who lived on the music and "cool talk" boards migrated away from the site a long time ago, preferring to take their chatter to Live Journal. And I can't imagine the Herald allowing unmonitored discussions on their server.

… and speaking of the OWH… Yours truly made it into the pages again for the first time since he was the editor of The Gateway 100 years ago. Yesterday's issue included an editorial titled "The Quest for Coolness," that refers to "a local blogger" who is "beside himself that anyone could possibly consider Omaha a Fun City." They went on to quote from my Fun City column. Pity they didn't have the stones to either mention The Reader (where the column also appeared) or my website's address. It's common knowledge that The OWH doesn't acknowledge any non-OWH-controlled local media sources in print. You will never see the words "The Reader" mentioned in them thar pages, nor KETV or 1620 The Zone. Ain't happening. Strange policy. Despite what their paranoid editors may think, the OWH ain't in competition with The Reader, local television or even "local bloggers." In the minds of 98 percent of their readers, they own the Omaha news hole. So what are they afraid of?

As for the editorial (located here): If the paper and the Chamber of Commerce think the answer to Omaha's "quest for coolness" is to bring in more national-chain retail outlets like Cheesecake Factory and Williams-Sonoma, then so be it. They get what they deserve. I guess we all should take the approach of the Omaha World Herald and self-help guru Stuart Smalley and just keep saying to ourselves "I'm good enough, I'm smart enough, and, doggonit, people like me!" And for god's sake, enough with the "misguided grumbling." After all, we do live in FUN CITY!

Back to music tomorrow with a profile of An Iris Pattern's Greg Lofits.

<Got comments? Post 'em here.>

The Third Men/Anonymous American tonight; some homework for later discussion... – July 3, 2006 –

July 3rd should always be a busy night for shows -- we don't have to work tomorrow. So tonight there's The Third Men and Anonymous American at Shag. AA is a regular there, but The Third Men is something of a departure for the lounge. $5, 9 p.m. Also tonight, Thor featuring help from Dave Goldberg (The Terminals), Steve Jacobs (Diabolic Possession and The Filthy Few) and Jeff Decker at Shea Riley's. $8, 8 p.m. Meanwhile, One Percent is hosting Damiera w/ Barter the Trigger, Cordova, & Leaving Lafayette at Sokol Underground. $7, 8 p.m. While Someday Never is hosting Asian Man Records artist Monkey at O'Leaver's. $5, 9:30 p.m. Pick one and enjoy.

Now take a look at this Myspace page, and we'll discuss it together tomorrow: http://www.myspace.com/omaha_dot_com. What's the World-Herald up to now...?

<Got comments? Post 'em here.>