By: David Schultz


Chuck Berry who’s also featured in The T.A.M.I. Show, has his own documentary floating around the nether regions of the cable universe. In Hail! Hail! Rock ‘n’ Roll, Taylor Hackford, the director of Ray, focuses on the preparations for a 1986 concert at the Fox Theater in St. Louis, Missouri to celebrate Berry’s 60th birthday. Filmed almost a quarter century ago, it features a fascinating round table between a now-deceased Bo Diddley, a now-incoherent Little Richard and Berry discussing the good-old-days in a calm, unembellished manner. It also features Berry going into a slow burn as he instructs an increasingly irritated Keith Richards on the correct way to play “Carol.” All of originators of rock and roll know what gets a crowd going and the concert footage, especially “Little Queenie,” captures Berry doing just that.

Howlin’ Wolf, one of Berry’s label mates from Chess Records, is the appropriate subject of Don McGlynn’s 2003 documentary, The Howlin’ Wolf Story. Popping up sporadically on Ovation, this one is a must DVR as it’s riddled with lengthy commercial breaks. The black and white footage from Wolf’s TV appearances, reminiscences from peers like Hubert Sumlin and Wolf’s own voice from archival footage make this worth the time. Among the voyeuristic moments, footage of a gathering of old blues musicians that gets a little edgy when Son House has too much to drink and, to Wolf's consternation, becomes a bit of an irascible and annoying presence in the room.

Beyond The Sea, Kevin Spacey’s biopic of Bobby Darin, falls at the other end of the spectrum. Using nearly all of the musical biography staples mocked in Walk Hard, Spacey fails to make Darin captivating or show why his career was worthy of the feature film treatment. The actor’s version of “Mind Games” blew people away at a 2001 John Lennon benefit, overshadowing many of the actual musicians on hand that night. He doesn’t recapture that glory in his embodiment of Bobby Darin. Stay away from this one and just watch The Usual Suspects again.

Although none of them play a note of music, rock stars dominate Jim Jarmusch’s 2003 gabfest Coffee & Cigarettes. Consisting of conversations between smokers sipping Java, the offbeat director gets the most out of his musical actors. Meg White says more in her one scene with her brother/husband/houseboy Jack and a Tesla coil than she has in a decade on stage. The GZA and RZA, who are the only ones in the film to neither light up or imbibe caffeine, more than hold their own in their absurd interlude with Bill Murray as they convince him to gargle oven cleaner as a homeopathic remedy. The piece de resistance is Iggy Pop and Tom Waits engaging in an uncomfortable conversation in which Waits consistently rebuffs all of Pop’s overtures of friendship while they both chain smoke their way through a found pack.

Labels: Chuck Berry, Howlin' Wolf, James Brown, The Rolling Stones, White Stripes

By: David Schultz

When you've gone through the whole record-release-tour- develop side project cycle enough times that you can do it on auto-pilot, how do you go about keeping things fresh? It seems that the answer is: star in your own documentary. The White Stripes will accompany the March 16 release of Under Great White Northern Lights with an Emmett Malloy directed documentary of the same name. The songs and the footage come from The Stripes' 2007 jaunt across Canada with Under Nova Scotian Lights, their 10th Anniversary concert, getting a separate DVD release treatment.

Labels: Allman Brothers Band, Drive By Truckers, White Stripes

By: David Schultz

For Heroes, the compendium of covers whose proceeds go to War Child International, an organization dedicated to aiding children worldwide afflicted by war, Beck completely reinvented Bob Dylan’s “Leopard Skin Pill Box Hat.” After listening to it for about the 50th time over the past few weeks, it prompted me to start discussions over whether Beck’s version of the Blonde On Blonde classic was the best Dylan cover ever. Of course, whenever such a subjective question comes up, it can mean only one thing: it’s list time.

Some artists have made their careers out of covering Dylan: Peter, Paul & Mary, Richie Havens and The Byrds rode Dylan’s coattails for many years at the expense of writing their own material. Even when Dylan retreated away from anything close to memorable music, his words and music were kept alive. For much of the 80s, the Grateful Dead rarely let a live show go by without a Dylan cover.

However, a comprehensive list of Dylan covers is not a novel exercise. Right around the time of Heroes’ release, Paste Magazine offered their all-inclusive, though relatively conservative, take on this idea. For this list of 5, we’re skipping the obvious: Jimi Hendrix’ take on “All Along The Watchtower” will always take the prize for best Dylan cover ever and the joyless droning version that The Dave Matthews Band included in a decades worth of shows just loses out as worst cover to the horrifying version of “Forever Young” that will.i.am cut for that Pepsi commercial.

What follows are the five Dylan covers that never seem to get the praise and discussion they deserve.

The Jimi Hendrix Experience: “Like A Rolling Stone”

From Hendrix’ revelatory set at Monterey Pop in 1967, his version of “Like A Rolling Stone” usually gets overlooked as his closing take on The Troggs’ “Wild Thing” pretty much blew everyone away even before he ritualistically set his guitar on fire. Despite forgetting a verse, something he acknowledges in the midst of the song, Hendrix found the same streetwise state of mind from which to deliver the song as Dylan. In Hendrix’ hands, it still feels like gospel . . . only with awesome guitar solos.

Warren Zevon – “Knockin’ On Heaven’s Door”

Engaging in an unsettling bit of gallows humor, Zevon covered “Knockin’ On Heaven’s Door” while dying from mesothelioma. What might have been a sobering take on Dylan’s contribution to Pat Garrett & Billy The Kid, retains a bit of the song's gravitas but turns into a relatively uplifting affair as Zevon hardly seems afraid of death. Near the end of the song, he demands that the doors open up, cause he's coming. Facing his own mortality, Zevon's interpretation is one many wouldn't have the fortitude to try.

Denzel Washington – “The Mighty Quinn”

This cover can only be found within The Mighty Quinn, one of the more underrated Denzel Washington films. A different version appears on the soundtrack, a light peppy reggae take that pales in comparison to the delivery in the film. Playing a detective in a small Caribbean village, coincidentally named Quinn, Washington ambles into a bar and starts Taj Mahal's "Cakewalk Into Town" on the piano before a hushed crowd. The rest of the band has other ideas and to Washington's character's initial dread, they slowly sabotage the song and amble into “The Mighty Quinn,” ultimately sucking Denzel into joining in.

The White Stripes – “Love Sick”

Never recorded in the studio, The White Stripes incorporated the latter-era Dylan classic into their live sets with relative frequency. Jack White’s frantic yawp works wonders with "Love Sick," turning Dylan's wizened delivery on its head and giving the song a hyperactive sheen and a manic edge. As White is want to do, he also adds some guitar pyrotechnics that light up the otherwise patient and deliberate opener to Time Out Of Mind.

Bryan Ferry – “A Hard Rain’s A-Gonna Fall”

Adding a jaunty hop to The Freewheelin Bob Dylan classic, Ferry's "A Hard Rain's A-Gonna Fall" seems more like a haughty, breezy taunt than a foreboding warning. From These Foolish Things, Ferry's 1973 coverfest, Ferry chops through the songs concisely poetic descriptions and observations without the sense of sorrow of the original. Like everything Ferry touches, he makes "Hard Rain" distinctly his own.

Labels: Bob Dylan, Bryan Ferry, Jimi Hendrix, Warren Zevon, White Stripes

If Jack and Meg White weren't an intriguing enough pairing of musicians, The White Stripes have made a valiant effort to try to and up the interest factor for their upcoming tour in support of their soon-to-be-released Icky Thump. Hot on the heels of the announcement that the Cold War Kids would support the Stripes on the west coast and Midwest legs of their fall tour comes the news that Grinderman, Nick Cave's latest project, will join Porter Wagoner in opening up for the Whites when their make their headlining debut at Madison Square Garden.

Labels: Cold War Kids, Grinderman, Porter Wagoner, White Stripes

My Morning Jacket is set to give a thrill to some young musicians as the band revealed plans to bring the Chicago Youth Symphony Orchestra onstage at this year's Lollapalooza performance. MMJ previously jammed with the orchestra, which contains musicians as young as seven years old, last fall. Frontman Jim James is quoted as saying, "It is hard to even think of them as youth. Their playing is so grown-up and professional. They hit with diamond-like precision." Should be interesting to see!

Prince has been holed up in Vegas performing on the strip, but his Purpleness will leave Sin City behind later this year for a string of 21 dates in London. Prince is set to begin his London "residency" on August 1st with a seven night stint at the O2 Arena, but is reportedly going to hold many of the other 14 shows at smaller venues around London.

Jack White says the White Stripes are sticking together and that Icky Thump is not their last record. White apparently is growing tired of being asked if he's leaving Meg behind. He's quoted as saying " "We get asked all the time, 'How long do you think it's gonna last?' I'd venture to say that in 90 per cent of interviews, someone has asked us, 'Is this the last record?' It's almost as if people want us to stop! "Then The Raconteurs came along and people thought, obviously, we're done. But then with this new album people are saying The Raconteurs are done. That was a side project!"

Since I'm obviously biased, I'll be looking for others to tell you about the
Pawnshop Roses in the coming weeks and months. DigPhilly has the first preview of Let It Roll: "Philly's Pawnshop Roses offer up a fine testament to downhome Americana on their debut album." You can read the rest of the review at DigPhilly.com. Important Pawnshop Roses dates: regional cd release party tomorrow night at the Trocadero Theater, national digital release party June 8th at Milkboy Coffee and the international digital relase is set for July 30th.

Mp3 Offerings:
Clap Your Hands Say Yeah: Love Song No. 7
Licorice w/ DJ Logic: In a Silent Way / What's Your Status in London
The Clientele: Bookshop Casanova
Astrid Swan (covering The Killers): When You Were Young
The Basement: I Just Caught A Face

Tori Amos is set to give musical theater a try. BuzzSugar has the scoop and has a Tori Amos giveaway contest going. The red headed songstress also recently shared a nice moment with the PS22 Chorus in New York City by leading them in a performance of "Father Son."

The Information Technology and Innovation Foundation says the "March 2007 decision by the Copyright Royalty Board (CRB) to more than double the rates that webcasters pay to stream music over the next three years will have a disastrous effect on Internet Radio" and that a "careful review of the CRB decision reveals that not only is this rate increase unfair and undeserved, but it reflects a fundamentally broken system for determining copyright royalty rates." The ITIF will present a forum tomorrow in Washington DC to offer an "alternative to the current system which would allow copyright owners to establish fair and competitive rates for their music." Information on the event can be found here.

Labels: Mp3s, My Morning Jacket, Pawnshop Roses, Prince, White Stripes

Jack & Meg White are blaming an Internet hoax for last week's announcement that they are embarking on a massive American tour later this year. Although they will tour in support of their upcoming Icky Thump, the dates that have appeared on a number of sites are not correct. A statement from their management reads, "The White Stripes have yet to confirm their North American routing as of yet. But we are happy to say that it will include all 10 provinces and 3 territories of Canada, as well as the remaining 16 states of the United States the band have yet to play."

The hoax should have been clear on its face as it seemed to be missing the creepy, patronizing tone that White uses for his missives to his fans. Right children?

Labels: White Stripes

Given the success of Jack White's "side project" The Raconteurs there was some speculation that perhaps Jack wouldn't do further recordings with Meg White as the White Stripes. Stories circulating on the net now say otherwise. Reports have the Whites close to a new record deal.

Warner Brothers is reportedly close to signing the duo to a one record deal. No word on when the said project may commence but the deal could garner the Whites a $3-4 million dollar guarantee. Not a bad haul in today's market before selling a single disc. Although I have no doubt that if the Stripes can recapture their former magic they'll move some units.

Labels: Jack White, The Raconteurs, White Stripes

What's a great way to spruce up a music video? Get Kate Moss up on a stripper pole.



Maybe next time Meg will give it a whirl?

Labels: White Stripes

Pete Townsend says he can outplay the White Stripes all by himself. Ok, so we have absolutely zero context for this statement...but what the hey, we'll talk about it anyway.

Pete is obviously a rock legend. The White Stripes are quite good in their own right, but compared to The Who they are mere upstarts. Typically its the upstarts who take on the venerable rockers to get a little extra attention. But, once in awhile a cantankerous elder statesman of rock will hit out at some of the new kids. Pete took his swipe at the White Stripes.

Pete claimed, "I could probably outdo The White Stripes with a guitar and a f**king drum machine." He further aptly noted, "Whether I would ever be as much fun, or as gorgeous, is another story."

I'm not sure about the first part of his statement, but I certainly agree with Pete that Meg White playing the drums is much more fun to watch than anything Pete does with his guitar these days.

Labels: White Stripes

A producer who worked on the first White Stripes recording says he helped shape the "White Stripes' sound" and is suing for royalties. Meg and Jack White, say they paid him for the time they spent at his studio and that should be the end of it.

Well kids that's why you need contracts ahead of time - even if you're just making your first demo. Bands and producers can contact me and I'll help you avoid this kind of stuff.

Labels: Jack White, White Stripes

By: David Schultz

Success can do strange things to a band. It can also do strange things to the band's fan base. The White Stripes have always had a following amongst discerning listeners who pride themselves on their exceptional taste in music and concomitant ability to detect talent long before the rest of the world catches on. Fans who picked up on the stripped down, minimalist sound of the Stripes' eponymous debut and sophomore effort De Stijl watched like proud parents as White Blood Cells, Elephant and their latest release Get Behind Me Satan skyrocketed the band to credible success. Unfortunately, as evidenced by the crowd at this Sunday's show at Coney Island's Keyspan Park, there is a dark side to this story. The Stripes' popularity has spread to the high school level, causing a crowd more apropos to a Blink 182 show to come screech their little brains out. In the general admission atmosphere of the ballpark, the younger concert-goers lack of concert "etiquette" became mildly distracting as the evening wore on.

Striding onto the stage constructed in dead centerfield, the Stripes, clad in jauntily matching white outfits with red trim, looked like a pair of villains from the campy TV version of Batman. With Meg White quietly and demurely taking her seat behind the drum kit, brother, ex-husband, passing acquaintance and local hobo Jack White prowled the stage in a manically possessed state taking self photos with a Polaroid camera and then dismissively flinging them into the audience. Launching into When I Hear My Name, the Whites proceeded to speed through an intense 90 minute set showcasing Jack White's distinctive ability to adrenalize blues riffs into a menacing mélange of noise. With the stage basically to himself, Jack bounced like a child with ADD between different sets of keyboards, the marimba and several strategically placed microphones all while unleashing a devastating aural assault from his guitar.

In concert, the Stripes do not expand or significantly deviate from the studio versions of their songs. However, they hardly recite them note for note either. The most notable difference came during Denial Twist, forgoing the piano accompaniment for electric guitar, Jack managed to give the song additional swagger. The Stripes touched on their current hits, racing through Blue Orchid and My Doorbell and used Meg’s admonishing Passive Manipulation as a bridge to a foot-stomping version of Dead Leaves In The Dirty Ground. Perpetual motion personified, Jack White rarely stood still, stopping only momentarily at the keyboards for an intriguing cover of Bob Dylan's Love Sick and pausing at the marimba for The Nurse.

There is nothing fancy about Meg White's drumming, but then again the same could be said could be said for Maureen Tucker. There was also nothing fancy about the featured opening act, The Shins. They may not have changed anyone's life this evening but they did prove deserving of the hype surrounding them. In their tight 45 minute set, the Shins gave their songs a looser workout relieving them of the mopey mood that permeates much of Chutes Too Narrow.

The Stripes saved their most intense onslaught for the end. Saving the hardest and the funkiest for the end, the White's interjected the howling Red Rain into The Hardest Button to Button before revving up the blues on Ball and Biscuit and bottoming out the bass on Seven Nation Army. Anticlimactically, the show finished on its slowest note with Jack beseeching the audience to sing along with him on the last verse of Brook Benton's Boll Weevil. White's attempt to end the show on a sentimental note fell slightly flat, owing to the fact that he usually evokes more emotion with his aching heart on his sleeve and the amplifiers cranked to 11.

The Stripes' popularity presents problems to their core fan base. As each new album pushes past the boundaries set by the previous one, they attract a wider audience. Much like Pearl Jam in the early 90's, the Stripes are outgrowing their old haunts and trying to find their comfort zone in newer ones. While outdoor shows usually disappoint due to the difficult acoustics, Keyspan Park, home of minor league baseball's Brooklyn Cyclones, the Stripes turned it into a surprisingly intimate venue. The crowds will grow as the arenas get larger and it will be interesting to see how the Stripes broaden their stage show to match their popularity while still making the same connection with the audience.

Labels: Jack White, White Stripes

The White Stripes have kicked off a global tour to support their new cd, Get Behind Me Satan, which was released in the U.S. on June 7th. No word on whether Jack White's recent bride Karen Elson is traveling with the group.

The tour began in Brazil, and is followed by a few dates in Europe. Then the White Stripes come back to the states, progressing up the West Coast, and then back down, eventually making their way to Chicago. More dates will likely be added.

06-24 Pilton, England - Glastonbury Festival
06-26 Moscow, Russia - Mekanika
06-27 St. Petersburg, Russia - Manezh Kadetskogo Korpusa
06-29 Tallinn, Estonia - Club Hollywood
06-30 Riga, Latvia - Dream Factory
07-01 Kaliningrad, Russia - Vagonka
07-03 Prague, Czech Republic - Archa
07-05 Zagreb, Croatia - Stara Klaonica
07-06 Ljubljana, Slovenia - Krizanke
07-09 Gdynia, Poland - Heineken Open'er Festival
07-10 Novi Sad, Serbia - Exit Festival
07-12 Thessaloniki, Greece - Theatro Gis
07-13 Athens, Greece - Olympic Beach Volleyball Stadium
07-29 San Diego, CA - Street Scene
08-06 George, WA - The Gorge
08-07 and 8 Vancouver, British Columbia - Orpheum
08-10 Portland, OR - Keller Auditorium
08-12 Berkeley, CA - Greek Theatre
08-15 to 18 Los Angeles, CA - Greek Theatre
08-19 Phoenix, AZ - Dodge Theatre
08-22 Denver, CO - Red Rocks
08-23 Kansas City, MO - Starlight Theatre
08-24 St. Louis, MO - Fabulous Fox Theater
08-26 Minneapolis, MN - Orpheum Theater
08-27 Minneapolis, MN - Orpheum Theater
08-29 to 31 Chicago, IL - Auditorium Theater

Labels: Jack White, White Stripes