on by

We asked the band for their “go to” albums; music they continually gravitate to for deep inspiration. Carla likes to draw a hot bath, crank the boom-box, and chill to John Coltrane’s “Giant Steps,” Chet Baker’s “Let’s Get Lost,” and two early discs from Van Morrison: “Astral Weeks,” and “Veedon Fleece.” Rich’s wide-ranging picks include the Brazilian singer Maria Rita’s first two albums, Clifford Brown & Max Roach’s “In Concert – L.A. 1954”, plus Erik Satie, Jascha Heifetz, Joan Baez, and The Beatles. Tim likes to put on his headphones and jam along with the Jack Bruce-driven, British-blues-based, psychedelia of Cream (“Disreali Gears,” & “Wheels of Fire”), and also “Clapton and Winwood Live.”  James is stuck on those late 60’s, early 70’s, Jimmy Miller-produced, Rolling Stones records, especially, “Exile on Main Street,” and Neil Young’s loose and dark-edged, “Tonight’s the Night.” He also zones out to the “Donnie Darko Soundtrack.”  “Why are you wearing that stupid man suit?” – Jammer

on by

We look at the world, and we do our best to see it as it is; at the same time, we envision a more enlightened reality. The first track on our disc 10+1 is called “Radio Man.” It swings, it moves, it sets the tone for the disc.  A change of consciousness comes in a flash, a flutter of a wing, a blink of an eye; instantaneous: no space, no time. Change a Mind/change a Universe. All in one fell swoop. And the damaged ones?  They can heal themselves, and they can heal others too. “Maybe, maybe, maybe, the bandaged hand can heal the dove…” – Jammer


on by

In retrospect, Pink Floyd’s 1975 album “Wish You Were Here,” is not only a beautifully cohesive sonic masterpiece, arguably their greatest achievement; it’s also a prophecy.  Roger Water’s acidic lyrics, (“hot ashes for trees, hot air for a cool breeze”), his corrosive vision, his dim view of humanity, are playing out in spades.  We are rolling along, harvesting the planet at an accelerating clip, hurtling towards a definitive Dark Green Doomsday Scenario.  We are that glad-handing, flaming fellow on the album cover; consumed by fire, even as we consume.  We are burning up, and we don’t even know it.  Will we awaken in the nick of time? Or do we emerge from our groggy state wondering if the greenery, the blue skies, the bounty of nature were all just a fever-dream? – Jammer

on by 1 Comment

When it came to working in the studio to record our CD 10+1, we brought in some examples of records we loved, records we listened to over and over, records we could play without wearing them out, without tiring our ears.  We wanted a record to use as our sonic template. Cat Power’s “The Greatest” was our number one choice. There’s something about the warm sound of the bass and the drums, about how the guitar and keyboards are layered, and how they all provide a great sonic foundation for Chan Marshall’s soulful vocals. Chan Marshall assembled an amazing band of Memphis musicians to create a joyful noise.  The sound is lush, dense, airy, and alive.  That was our target.  It’s good to have a target. – Jammer

on by

Someone once asked Townes Van Zandt, “How come most of your songs are sad songs?”  Townes answered: “I don’t think they are all that sad. I have a few that aren’t sad, they’re like… hopeless.  Totally hopeless situation, and the rest aren’t sad, they’re just the way it goes. I mean, you know, you don’t think life is sad?”  Yes, life is sad. And beautiful. Townes was an amazing songwriter. In our live set we often play a cover of Townes Van Zandt’s “Nothing.” We take it from a hushed whisper to a raucous roar. Our version was inspired by Robert Plant and Alison Krauss’ take on their glistening “Raising Sand.” Powerful, inspiring, radiant. Sad.

From TVZ’s Nothing:

Being born is going blind
And buying down a thousand times
To echoes strung
On pure temptation

Sorrow and solitude
These are the precious things
And the only words
That are worth rememberin’

– Jammer

on by

“Jesus Died for somebody’s sins, but not mine…”  Visionary poetry married to punky-garage rock. Rock and roll embodied by a flinty, knife-sharp, Black Raven-like girl, declaiming a deeply subversive and ecstatic vision. The collaboration between Patti Smith and Lenny Kaye; the perfect r&r template. The Poet and The Guitar Slinger. All fever-dream, stream-of-consciousness, and spit. Sam Shepard (Tooth of Crime) and Bob Dylan (Blonde on Blonde) in their boots of Spanish leather, and their mirrored shades, looking over Patti’s shoulder with cracked, sideways, grins. Cowboy Mouth! – Jammer

on by 1 Comment

Was this a touchstone record for us?  Yes, it was, for sure.  Richard and Linda Thompson – light and shadow. Yin/Yang energy throwing sparks. The Lovely Carla and I played the daylights out of our original vinyl copy back in the 80’s.  Some of that vibe has certainly seeped deep into our sonic DNA. Didn’t really think about it until someone mentioned it at the Ultra Lounge show. Nice reference. And yeah, no doubt, there’s a link there for sure. – Jammer

on by

Rehearsal today.  Planning on working in some cover songs for our upcoming show at the Ultra Lounge.  The list of covers we’re gonna try out tells a story: These Boots Are Made for Walking (Lee Hazelwood), Nothing (Townes Van Zant),  Stupid Girl (Neil Young), Stepping Stone (Boyce and Hart).  60’s sunshine, to Van Zant existentialism.  And Stepping Stone itself is a pop-culture  journey from the Monkees to the Sex Pistols! – Jammer