Aly Raisman: I have no idea who this is, but the official ABC site informs me she “captained the U.S. Women's Gymnastics Team to its first team gold medal since the 1996 Olympic Games.” Athletes shouldn’t even be allowed on this show, as they have proved themselves capable of coordination.
Andy Dick: Andy Dick is a sentient line of cocaine you found sitting atop a public urinal. It is believed by some that he was the unwitting catalyst for the eventual murder of the much-beloved Phil Hartman, so much so that Jon Lovitz beat him up for it. I had to interview him once. He seemed lonely.
A career music journalist and historian born in Memphis, Gordon grew up during a crucial boom when the whole world wanted a piece of the blues, and he's closely followed its ups and downs ever since. Representing 20 or so years of research, intentional and otherwise, ICFM tells the story of a group of artists, musicians and other misfits 10 to 20 years Gordon’s senior, whom he calls “the witnesses.” This designation comes from a conversation quoted near the end of the book, which I’ll reproduce below for context. (Whether or not you know the rest of his catalog, you probably know Jim Dickinson as a contributor to The Rolling Stones’ sessions for Sticky Fingers in Muscle Shoals, Ala.):
While on a world tour with Ry Cooder in 1983, Jim Dickinson reunited with Memphis entrepreneur Isaac Tigrett in London. In the course of the day, Tigrett played a tape by a since-deceased Memphis barrelhouse piano player, Big Sam Clark. "I made some sort of bitter remark," says Dickinson, "and Isaac got furious. 'You have no right to be bitter,' he told me. 'You were fortunate enough to witness the end of something truly great, and intelligent enough to understand some of it.' On the road, alone in a hotel room, I thought about that a lot. He is absolutely right. I’m not bitter anymore. I may remain pissed off, but I’m not bitter."
When it began back in 2009, Mercy Lounge and BMI's Road to Bonnaroo band-competition series pulled in some rather big local names. But now that your Features, How I Became the Bombs, Caitlin Roses, Tristens and PUJOLs have either played and won the series or earned coveted 'Roo performance slots without the aid of the band battle, the competitors have become more obscure, and the competition less of a sure thing for any clear standout. And so, balancing both our Spin hat and our judge's hat and unsure who the dark horses might be, we strapped in for a long fuckin' Monday night at the Lounge.
Long before he was serving as Record Store Day 2013's official ambassador, winning Grammys, talking to Baba Booey or even opening his Nashville-based record shop and label Third Man Records, Jack White was a struggling musician. And like any struggling young musician, White took the occasional super-bizarre gig in order to supplement his income. Gigs like, say, playing a generic "rock band" guitarist in an ad for Infinity speakers. As you can see above, the ad in question was recently uploaded to Third Man's official YouTube page and features White rocking along on his now-iconic JB Hutto Montgomery Airline guitar to the cheesy strains of a song called "Close to the Edge." Also featured in the "band" are White's fellow Detroiters Marc Fellis (The Go), Kevin Peyok (The Waxwings) and Dave Buick (Italy Records). The ad was filmed in December 1999 (six months after the release of The White Stripes' eponymous debut via Sympathy for the Record Industry) "and shown exclusively at the North American International Auto Show in January 2000."
A Third Man representative sent along the link, along with a full release (see it after the jump) detailing how exactly Mr. White landed the cameo. Long story short: Dan Miller (who played in bands like Blanche and Two Star Tabernacle with dudes like White and "Little" Jack Lawrence) was working on an ad to be featured at the North American International Auto Show, and he asked White to serve as a production assistant and to round up some pals to play in the ad's featured "band." In a perfect Detroit storm of the auto industry and garage rock, the damn thing happened. And it resurfaces now. Not only that, but some additional footage also shot on that same fateful day ended up appearing in Joe Pullin's recently uploaded video for the John Oates-co-written and Peter Frampton-featuring song "I Will Wait for You." That's after the jump as well. Classic stuff. And weird.
On Saturday, local self-described surf-metal duo Hurts To Laugh debuted the brand-new video for their tune "Meet You Underground." The Spin had its hands full checking out Count Bass D over at The Stone Fox and thus could not make it, but luckily, H2L uploaded the Elvis Wilson-directed video to the 'Tube. It's a "nihilist vision of the 'rad-life' in the face of 'death after death'" (OK, sure!), and you can watch it above. It's got a flaming skateboard and a circle of flames and ... just a good assortment of flames, really.
While I'll certainly grant Hurts To Laugh the "metal" half of that "surf-metal" mantle they've placed around their own shoulders, I'm not sure I fully agree with the "surf" bit. Anyway, the guitar is sludgy and low (what is that tuned to, drop-Z? Har har), and that's a good, mean riff. You can also stream "Meet You Underground" below, or purchase it for $1 via H2L's Bandcamp page. Dig in.
The Spin loves when artists get comfortable with their surroundings — there’s nothing quite like the feeling that they’ve invited you to hang out in their living room. Saturday night at The Stone Fox, Bohemian Hype Cult took this sentiment to the next level, setting the stage with their own ornate chairs and a rather tasteful end table. Artistic collaborator Trillbee the Hooligan — responsible for some of the group’s hazy, altered-state videos — participated by doing a live painting during the show, while projecting his visualizations (an Everything Is Terrible!-style mash-up of animation, warped graphics and treated footage from nature docs and monster movies) on the Fox’s projector screen.
It seems like just last week that we finally found our way home from the sun-scorched fields of Manchester, Tenn.’s Great Stage Park — the 700 acres that for one long tune- and booze-laden weekend of every year we call home. And then, BLAMMO! Preparations for Bonnaroo 2013 have already begun. Last week, the festival announced its lineup, and tonight, Mercy Lounge will host the first installment in their annual Road to Bonnaroo 8 off 8th series, wherein 24 local would-be ’Roo artists battle each other for one of three slots in the festival’s lineup. Round One will see performances from eight contestants: swingin’ soulsters Alanna Royale, retro-soul revivalists Magnolia Sons, ’70s-channeling pop peddler Dylan McDonald, indie-folk folks Grass Roots Kids, Bowling Green rock ’n’ rollers Schools, genre-smushing indie rockers Sol Cat, alt-rockers The Young International and self-described psychedelic experimentalists Linear Downfall. It’s a lineup that includes an awful lot of fresh blood, and unlike in years past, there are no clear favorites — your guess is as good as ours. Well, not quite as good as ours. We’re judges, so our guess counts for just a tiny bit more. Get there and pick up your audience ballot. As always, the 8 off 8th is free. —D. PATRICK RODGERS
Who has the edge? Magnolia Sons? Sol Cat? Anyone's game, I'd say. That one starts at 9 p.m. Meanwhile over at The End, some Arkansan metal courtesy of Little Rock's Pallbearer. Scene contributor, onetime Middle Tennessean and current Alaskan wildman Matt Sullivan wrote a feature on Pallbearer, and here's a little excerpt:
The Features, "This Disorder"
Exciting news for fans of longtime Middle Tennessean rock 'n' roll champs The Features: They just premiered a track by the name of "This Disorder" via Rolling Stone. Drummer Rollum Haas tells RS that the song kinda-sorta may have been inspired by the ubiquity of smartphones, and the creatures that such technology turns us into. As noted on The Features' site, the single will officially be available Feb. 26, but you can already download it via that Rolling Stone link. "This Disorder" is an unsurprisingly substantial blast of power pop, with a four-on-the-floor beat, a rubbery bass line, some spare but angular bursts of guitar, and some characteristically sundry and sweet key tones. It's pretty damn good, so give it a listen.
There was a man named Jimmie Rodgers once.
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