Podcasts about Robert Quine

Fosforo 1807: I brani della striscia numero 3 della settimana: Tandem Playlist; Djabe and Steve Hackett - The Lost Ship; Trayer Tryon and Uppy - AM; David Bowie - Queen Bitch; Napoli Centrale - Zanzibar; Robert Quine and Fred Maher - Stray; Jozef Dumoulin - Up and Down; Fosforo va in onda ogni giorno alle 01:20 e alle 18:00. Puoi ascoltare le sequenze musicali di Rufus T. Firefly sulla frequenza di Radio Tandem, 98.400FM, o in streaming e anche in podcast.Per info: https://www.radiotandem.it/fosforo

Fosforo 1763: I brani della striscia numero 3 della settimana: Captain Beefheart - My Head Is My Only House Unless It Rains; Joseph Arthur - Echo Park; Alex Seel - No Goodbyes; Mk.gee - Are You Looking Up; Pat Metheny - My Love And I; Robert Quine and Fred Maher - Fala; Ava Mendoza - The Shadow Song; Fosforo va in onda ogni giorno alle 01:20 e alle 18:00. Puoi ascoltare le sequenze musicali di Rufus T. Firefly sulla frequenza di Radio Tandem, 98.400FM, o in streaming e anche in podcast.Per info: https://www.radiotandem.it/fosforo

Fosforo 1737: I brani della striscia numero 1 della settimana: Audrey Powne - Sleep; Chocolate Genius Inc. - She Smiles; Mœbius and Plank - Feedback 66; Unthanks - In Winter`s Night; Gift - Wish Me Away; Creators - Drafted, Volunteered and Enlisted; Robert Quine and Fred Maher - Bluffer; Fosforo va in onda ogni giorno alle 01:20 e alle 18:00. Puoi ascoltare le sequenze musicali di Rufus T. Firefly sulla frequenza di Radio Tandem, 98.400FM, o in streaming e anche in podcast.Per info: https://www.radiotandem.it/fosforo

Fosforo 1738: I brani della striscia numero 2 della settimana: Tandem Playlist; Scrimshire - Blackthorn; Guru Guru - Salto Mortadella; Lauren Mayberry - Something in the Air; Lars and The Hands of Light - Me Me Me (Trentemøller remix); Mira Lu Kovacs - 84; Ikue Mori, Robert Quine, Marc Ribot - El Dorado; Fosforo va in onda ogni giorno alle 01:20 e alle 18:00. Puoi ascoltare le sequenze musicali di Rufus T. Firefly sulla frequenza di Radio Tandem, 98.400FM, o in streaming e anche in podcast.Per info: https://www.radiotandem.it/fosforo

Fosforo 1739: I brani della striscia numero 3 della settimana: Bobby Hutcherson - Maiden Voyage; Enzo Pietropaoli, Adriano Viterbini - Gondwana; Sissy Misfit - Gabber Sultan; Robert Quine and Fred Maher - Bandage Bait; Chastity - Summer All Over Again; Kayla Painter - Europa in Focus; Fosforo va in onda ogni giorno alle 01:20 e alle 18:00. Puoi ascoltare le sequenze musicali di Rufus T. Firefly sulla frequenza di Radio Tandem, 98.400FM, o in streaming e anche in podcast.Per info: https://www.radiotandem.it/fosforo

Fosforo 1735: I brani della striscia numero 3 della settimana: Tandem Playlist; Trentemøller - Trails; Matthieu Saglio and Camille Saglio - Strange Fruit; Piero Umiliani and Chet Baker - I soliti ignoti (A.K.A Lyda - A.K.A Movimenti Con Swing); Robert Quine and Fred Maher - 65; Enzo Pietropaoli, Adriano Viterbini - Time has made a change; Fosforo va in onda ogni giorno alle 01:20 e alle 18:00. Puoi ascoltare le sequenze musicali di Rufus T. Firefly sulla frequenza di Radio Tandem, 98.400FM, o in streaming e anche in podcast.Per info: https://www.radiotandem.it/fosforo

Fosforo 1734: I brani della striscia numero 2 della settimana: Robert Quine and Fred Maher - Summer Storm; Chinese American Bear - Yummy Yummy Yummy; Bodega - Dedicated to the Dedicated; Alessandro Cortini - I; Johannes Enders, Joris Teepe, Billy Hart - Seoul City Blues; Wire - Goodbye Ploy; Fosforo va in onda ogni giorno alle 01:20 e alle 18:00. Puoi ascoltare le sequenze musicali di Rufus T. Firefly sulla frequenza di Radio Tandem, 98.400FM, o in streaming e anche in podcast.Per info: https://www.radiotandem.it/fosforo

Fosforo 1731: I brani della striscia numero 3 della settimana: Tandem Playlist; Ikue Mori, Robert Quine, Marc Ribot - Painted Desert; Nico - Secret Side (John Peel Session 20th February 1971); Luísa Maita - Fio da Memória; Remy Le Boeuf`s Assembly of Shadows - Stop and Go; Rolling Stones - I Got The Blues (Live); Thiago França - Cabecinha no Ombro; Fosforo va in onda ogni giorno alle 01:20 e alle 18:00. Puoi ascoltare le sequenze musicali di Rufus T. Firefly sulla frequenza di Radio Tandem, 98.400FM, o in streaming e anche in podcast.Per info: https://www.radiotandem.it/fosforo

Fosforo 1729: I brani della striscia numero 1 della settimana: Robert Quine and Fred Maher - Pickup; Enzo Pietropaoli, Adriano Viterbini - Temporali; Malice K - Song for My Baby; Bloto - Shiitake; Nemahsis - Stick of gum; Youn Sun Nah - Circum and Girum; Mats Eilertsen - X; Fosforo va in onda ogni giorno alle 01:20 e alle 18:00. Puoi ascoltare le sequenze musicali di Rufus T. Firefly sulla frequenza di Radio Tandem, 98.400FM, o in streaming e anche in podcast.Per info: https://www.radiotandem.it/fosforo

El sonido del compositor, saxofonista e improvisador neoyorquino se expande en mil direcciones, y comprende desde el jazz heterodoxo y de influjo improvisatorio hasta el punk y el funk. Él es el motor del jazz moderno, experimentador incansable en la reinvención constante de su propia obra._____Has escuchadoCobra (1987). Guy Klucevsek, acordeón; Arto Lindsay, guitarra eléctrica; Elliott Sharp, guitarra; Zeena Parkins, arpa [et al.]. hat ARTFilmworks XIII: 2002 Volume Three. Invitation to a Suicide Moon Moods (2002). Marc Ribot, guitarra; Rob Burger, acordeón; Erik Friedlander, violonchelo; Trevor Dunn, bajo; Kenny Wollesen, vibráfono, marimba y batería. Tzadik (2002)IAO: Music in Sacred Light. Invocation. Beth Anne Hatton, Bill Laswell, Cyro Baptista, Greg Cohen, Jamie Saft, Jennifer Charles, Jim Pugliese, Mike Patton, Rebecca Moore. Tzadik (2002)New Traditions in East Asian Bar Bands. Hu Die (1986). Zhang Jinglin, narración en chino; Bill Frisell y Fred Frith, guitarras eléctricas. Tzadik (1997)Once Upon a Time in the West (The Big Gundown: John Zorn Plays the Music of Ennio Morricone) (1985). Melvin Gibbs, bajo eléctrico; Jody Harris y Robert Quine, guitarras eléctricas; Orvin Aquart, armónica. Tzadik (2000)_____Selección bibliográficaALARCIA, Óscar, Universo John Zorn. Libritos Jenkins, 2020BRACKETT, John Lowell, John Zorn: Tradition and Transgression. Indiana University Press, 2008—, “Some Notes on John Zorn's Cobra”. American Music, vol. 28, n.º 1 (2010), pp. 44-75*DRURY, Stephen, “A View from the Piano Bench or Playing John Zorn's Carny for Fun and Profit”. Perspectives of New Music, vol. 32, n.º 1 (1994), pp. 194-201*FÉRON, François-Xavier, Tzadik: L'esthétique discographique selon John Zorn. Les Presses de l'Université de Montréal, 2015GOLDBERG, Michael, “John Zorn”. BOMB, n.º 80 (2002), pp. 32-37*MARTÍN GONZÁLEZ, Pablo, “No disparen sobre el pianista: influencias de la novela y el cine negro en el jazz de John Zorn”. En: La expansión del género negro. Editado por Àlex Martín Escribè y Javier Sánchez Zapatero. Andavira, 2020TROYANO, Ela, “John Zorn's Theatre of Musical Optics”. The Drama Review: TDR, vol. 23, n.º 4 (1979), pp. 37-44*WINDLEBURN, Maurice, John Zorn's File Card Works: Hypertextual Intermediality in Composition and Analysis. Routledge, 2024 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

What's your most loved and least favorite song on Matthew Sweet's third album, Girlfriend?! We finally get back into power pop territory as Sam picks one of his big 90s favorites and we all tell tales of seeing Matthew live in California during the glory days. Extreme differing opinions abound and there's a first-ever in rank math history. Longtime Matthew Sweet Band member Paul Chastain, from the Velvet Crush & the Small Square chimes in as an expert guest ranker all the way from Japan. Rookie Card/Geezer drummer Nas Helewa offers an expert anime opinion as well. Edited by Sam. Listen at WeWillRankYouPod.com, Apple, Spotify and your favorite Sweet Shoppe.  Follow us and weigh in with your favorites on Facebook, Instagram & Threads and Twitter @wewillrankyoupod .   Altered Beast, alternative pop, anime, The Beatles, BMG Music, blues rock, breakups, Paul Chastain, Lloyd Cole, Cortez the Killer, Day for Night, Divine Intervention, Does She Talk?, Don't Go, Evangeline, Girlfriend, Goodfriend, guitar freak outs, harmonies, Susanna Hoffs, Holy War, I Want To Tell You, I Wanted to Tell You, Icicle Works, Indigo Girls, I've Been Waiting, jangle, the Jayhawks, Ivan Julien, Greg Leisz, Richard Lloyd, Looking at the Sun, Fred Maher, Ric Menck, New York, Nothing Lasts, 100% Fun, pedal steel, power pop, Robert Quine, rebound, Winona Rider, the Small Square, Matthew Sweet, Television, Thought I Knew You, the Velvet Crush, the Voivoids, Tuesday Weld, Winona, You Don't Love Me, Neil Young, Your Sweet Voice, Zoo Entertainment, 1990US: http://www.WeWillRankYouPod.com wewillrankyoupod@gmail.comhttp://www.facebook.com/WeWillRankYouPodhttp://www.instagram.com/WeWillRankYouPodhttps://www.threads.net/@WeWillRankYouPodhttp://www.twitter.com/WeWillRankYouPo http://www.YourOlderBrother.com(Sam's music page) http://www.YerDoinGreat.com (Adam's music page)https://open.spotify.com/user/dancecarbuzz (Dan's playlists)

RockerMike and Rob Presents: Lorne Behrman LORNE BEHRMAN IS A WELL-KNOWN BRANDING, ADVERTISING, AND PUBLICITY COPYWRITER WHO HAS WORKED FLUIDLY ACROSS INDUSTRIES.    Lorne is something of a sage when it comes to honing in on your brand identity. Give him 30 minutes and he'll have it all figured it out. His work pops with vibrancy, authenticity, and business and marketing savvy. With his signature story approach, he has branded hundreds of professionals, including authors, lawyers, doctors, yoga instructors, musicians, thought leaders, and event planners. Lorne holds a master's degree in journalism from NYU. His music criticism has been featured on MTV and appeared in The Village Voice, The Boston Phoenix, SPIN, Guitar World, Alternative Press, and CMJ New Music Monthly. Punk rock n' roll singer-songwriter Lorne Behrman's visceral and vulnerable sophomore album, Blue Love, out February 9th, on Spaghetty Town Records is a series of New York City vignettes haunted by shadows but guided by light. The songs feature stark and fluid guitar playing in the spirit of Television, The Stooges' James Williamson, Johnny Thunders, and Robert Quine with Lou Reed. http://www.lornebehrman.com https://youtube.com/@lornebehrman7566?si=_7spNrV30gtDo8r0 https://www.facebook.com/lorne.behrman?mibextid=LQQJ4d https://www.imdb.com/name/nm0067102/?ref_=ext_shr_lnk https://www.instagram.com/lornebehrman?igsh=MXJ2cTM0ZDJuNDBvMQ== #LorneBehrman #Musician #Music #Guitarist #Songwriter #Composer #MusicProducer #IndieMusic #SingerSongwriter #NewMusic #MusicDiscovery #LiveMusic #AcousticMusic Please follow us on Youtube,Facebook,Instagram,Twitter,Patreon and at www.gettinglumpedup.com https://linktr.ee/RobRossi Get your T-shirt at https://www.prowrestlingtees.com/gettinglumpedup And https://www.bonfire.com/store/getting-lumped-up/ Subscribe to the channel and hit the like button This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/rob-rossi/support https://www.patreon.com/Gettinglumpedup

Rick talks about the life and death of his friend guitarist Robert Quine. Quine was a legendary musician who was remains relatively unknown, but chances are you have heard his playing. His collaborators included Richard Hell & the Voidoids, Lou Reed (notably on The Blue Mask), Brian Eno,[2] John Zorn, Ikue Mori, Marc Ribot, Marianne Faithfull (Strange Weather), Lloyd Cole, Matthew Sweet and Tom Waits. Theme music by Freaky Wilderness

Introducing the Band:Your hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) are with guest Joshua Treviño. Joshua works and writes at the Texas Public Policy Foundation and spent the entire 1990s listening a lot to Matthew Sweet. Joshua's Music Pick: Matthew SweetFor listeners of a certain age, just the name Matthew Sweet will evoke a particular memory, and it's likely one that involves heartbreak. Breaking through with the power-pop masterpiece, Girlfriend, Sweet channeled the inner thoughts and emotions of Gen-Xers everywhere and married them to killer hooks and melodies. Of course, his career is more than just that.Matthew Sweet bridges the gap between sweet, melodic power pop and the edgy alternative rock sound of the 1990s, leveraging the guitar work of Robert Quine and Richard Lloyd on his best music. His influences are clear -- you hear some Beatles, sure, but also influences of Big Star, the Byrds, and even Neil Young in the guitar tones.  His run of albums from Girlfriend to In Reverse (or roughly 1990–2000) is what we focus on in this show, though additional time is spent on his first two solo efforts and some of his later-career output, particularly the trio of Under the Covers albums recorded with ex-Bangle Susanna Hoffs.It's great music and for many, including one co-host, it's essentially brand-new music for the ears. They say nothing is certain in life, but we can guarantee you 100 percent fun when you tune in for this Matthew Sweet edition of Political Beats.

On today's show, guitarist and songwriter Lorne Behrman explains how he weathered through the pandemic in New York City, has a conversation about marriage and fatherhood, and talks about sobriety, A.I. & Chat GPT, his new album and more. Lorne also performs a couple of songs: BARBARA and YOU DON'T KNOW ME LIKE THAT. GUEST OVERVIEW: Lorne Behrman is a Punk rock n' roll guitarist and singer-songwriter songwriter who has previously played in The Dimestore Haloes, L.E.S. Stitches, The Dead Tricks, and The Sweet Things. Lorne's most recent album - his second as a solo artist - BLUE LOVE (Spaghetty Town Records) is an 11-song collection featuring "a series of New York City vignettes haunted by shadows but guided by light." The stories on BLUE LOVE are literate and lacerating, recalling the street poetics of Lou Reed, Jim Carroll, Jesse Malin, Patti Smith, Hubert Selby Jr., and Tom Waits. The songs feature stark and fluid guitar playing in the spirit of Television, The Stooges' James Williamson, Johnny Thunders, and Robert Quine with Lou Reed. Previously, Lorne issued a critically-acclaimed EP and debut album that have garnered accolades and features in Classic Rock Magazine, Vive Le Rock Magazine, Metronome, Glide Magazine, New Noise, Goldmine, and taste-making punk mag Razorcake. Lorne has played shows with Richard Lloyd (Television), Jeremy & the Harlequins, Lenny Kaye (Patti Smith Group), Jonny Polonsky, Adam Masterson, Lulu Lewis, and Diane Gentile, among many others. https://www.lornebehrmanmusic.com/

Nailing down what exactly is "power pop" can be frustrating (we did a whole roundtable on it!), but the "power" end of it is usually found in the guitar section. From the big riffs of Cheap Trick's Rick Nielsen to Robert Quine's excited guitar leads on Matthew Sweet albums, just because it's "pop" doesn't mean it doesn't rock. For their second album, Fountains of Wayne duo Adam Schlesinger and Chris Collingwood recruited former Belltower guitarist Joey Porter and former Poises drummer Brian Young to complete the foursome. Two veteran players mean a tightened rhythm section and a bigger guitar sound that allows the band to expand their sound, touching not only on power pop from the 70s, 80s, and 90s, but elements of Britpop, psychedelia, and Queen grandiosity.   Songs In This Episode Intro - Red Dragon Tattoo 13:00 - Utopia Parkway 17:48 - Lost In Space 25:45 - Denise Outro - A Fine Day For A Parade   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Nailing down what exactly is "power pop" can be frustrating (we did a whole roundtable on it!), but the "power" end of it is usually found in the guitar section. From the big riffs of Cheap Trick's Rick Nielsen to Robert Quine's excited guitar leads on Matthew Sweet albums, just because it's "pop" doesn't mean it doesn't rock. For their second album, Fountains of Wayne duo Adam Schlesinger and Chris Collingwood recruited former Belltower guitarist Joey Porter and former Poises drummer Brian Young to complete the foursome. Two veteran players mean a tightened rhythm section and a bigger guitar sound that allows the band to expand their sound, touching not only on power pop from the 70s, 80s, and 90s, but elements of Britpop, psychedelia, and Queen grandiosity.   Songs In This Episode Intro - Red Dragon Tattoo 13:00 - Utopia Parkway 17:48 - Lost In Space 25:45 - Denise Outro - A Fine Day For A Parade   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Matthew Sweet, an American guitarist, has had a criminally understated career, marked by a sensational solo album, “Girlfriend”, three terrific albums with Susanna Hoffs from The Bangles, “Under the Covers” (Vols 1, 2 and 3) and some very tasty soundtrack work, including the Austin Powers movies. In 2014, he also appeared as Apu's singing voice in an episode of The Simpsons.   Our “Album you Must Hear Before you Die” is “Rid of Me” by P J Harvey.  We hated it and can't pretend otherwise!  She was, at one point, in a relationship with Nick Cave, who admitted that he “still had a certain amount of work to do on (his) understanding of the concept of monogamy.”    Jeff is totally impressed that Kid Rock's built his own personal copy of The White House, with a gold elevator right in the middle.  Of course, Kid Rock's claim to fame is that he had a hit single which sampled Warren Zevon's “Werewolves of London”.  We also try some of Mr Beast's chocolate – pricey but available at your local supermarket. Not very good, really. Enjoy.  ___________________________________________________________ References:  Michael Stipe, “Girlfriend”, “Evangeline”, “I've Been Waiting”, Girlfriend – musical/stage show, Robert Quine, Richard Lloyd, Television, Tuesday Weld, Susanna Hoffs, Under the Covers, “How Soon Is Now?”, “Austin Powers in Goldmember”, Lloyd Cole, "Chelsea Hotel", I'm Your Fan: The Songs of Leonard Cohen, “The Simpsons” P J Harvey Rid of MeGirlFriendUnder the Covers Mathew Sweet and Susanna Hoffs

This week, we delve into what many contend is the blue print for 1990's power pop, the 1991 LP by Matthew Sweet, Girlfriend. Things were not looking particularly up for Sweet as he worked on his third album. Professionally he had no label, and personally his marriage was falling apart.  Having released two competent, but commercial disappointing albums for 2 different labels, no one expected what came next. Tentatively titled Nothing Lasts, the album was rechristened Girlfriend after actress Tuesday Weld objected to her image being used for an album called Nothing Lasts. Having used a drum machine on his previous albums, Sweet decided to go with real drums and to record most of the album live in he studio. With the help of guitar virtuosos  Television's Richard Lloyd, and former Voidoid guitarist and Lou Reed sideman, Robert Quine, Girlfriend is equal parts loud and jangly. Its the perfect soundtrack for Sweet's sweet vocals and harmonies (pun intended) and an unparalleled guitar pop tour de force. 

  Ivan Julian has been one of music's most celebrated players and most in-demand collaborators for more than four decades.   Indeed, Ivan Julian has spent his life soaking up a wealth of experiences, musical and otherwise. The son of a Navy officer, he grew up in such exotic locales as Guantanamo Bay, Cuba, nurturing a sensitive, creative streak that quickly manifested itself musically. At the age of 13, while living in Washington, D.C., he became the singer in a Led Zeppelin  cover band; the following year, he began playing guitar. Having already studied bassoon and saxophone, Julian spent his high school years studying music theory as  a part-time student in a college program. At 19, his wanderlust led him to London, where he joined U.K. R&B hitmakers The Foundations, (Build Me Up Buttercup) with whom he toured throughout Great Britain and Europe. It was during one of these tours that he decided to stay on in Macedonia to absorb and study the musical scales and rhythms that would have a major influence on his playing.     Then Julian returned to the U.S. and settled in New York, just in time to become part of the emerging punk rock movement. A founding member of the seminal Richard Hell and the Voidoids, he was now playing alongside trend-setting punk poet Hell, fabled guitarist Robert Quine and drummer Marc Bell (a.k.a. Marky  Ramone). Julian's instrumental and songwriting contributions to the band's classic  album Blank Generation established him as one of the scene's most acclaimed and influential axemen.  After the Voidoids disbanded, Julian stepped out to form the Outsets as a vehicle for his own vocal and songwriting efforts. Combining rock, funk and  African rhythms, the Outsets became a beloved fixture on New York's burgeoning  club scene, winning considerable critical acclaim for such releases as the debut single  “I'm Searchin' for You”/”Fever,” a self-titled EP produced by Garland Jeffreys and  the posthumously released The Punk/Funk Voodoo Collection. Teaming up with Bush  Tetras singer Cynthia Sley Julian's next band, the Lovelies, won substantial  attention with the release of the Mad Orphan LP. Also, during this time he regrouped with former bandmate Richard Hell to do an extensive tour of Japan.  By this point, Julian's abilities as a collaborator had become sought after by a wide array of acts. He plays on “The Call Up” and “Ivan Meets GI Joe” with The Clash (on their Sandinista album), collaborated with Afrika Bambaataa and Bernie  Worrell of Parliament/Funkadelic. He also joined England's Shriekback for two  tours of North America and Europe. Julian spent much of the 1990s touring and recording with Matthew Sweet.   In recent years, Ivan has concentrated mainly on studio work, producing and/or recording artist such as Sean Lennon and producing three albums by The  Fleshtones. He's also developed his recording studio, SuperGiraffeSound into one of New York's hottest new recording facilities, working with numerous local, national and international bands.  His solo LP, The Naked Flame was named one of the best records of the year by several trade magazines in Europe and the states including Trouser Press. Soon after came The Fauntleroys EP, Below the Pink Pony, a collaboration with Alejandro Escovedo, Nick Tremulis and Linda Pittman.     His newest album ‘Swing Your Lanterns' is available on PRAVDA Records. The songs encompass his experiences of the past five years and more; Some of which, we have all lived through.  Ivan's Info Web site home Spotify  5jcYTu6SCsjZnl4AEL5Rc2    

Click Vortex comes to a close for 2022 with a real roaster of the Kenny Rogers variety. This episode finds Jason tracing the journey of NYC punk guitarist Robert Quine, from the underground to the power pop mainstream, with digressions into the work Matthew Sweet, Lloyd Cole, string arranger Paul Buckmaster, Kelly Clarkson (!) and Mike Watt. Then Sam spins the dial on the ole satellite radio and uncovers the saga of Dodie Stevens, who scored a hit with "Pink Shoelaces" just shy of her 13th birthday and went on to record an answer song to "Ruby, Don't Take Your Love to Town": "Billy, I've Got To Go To Town." And that's where Kenny comes in...Got a story to share with us? A strange story to confess? Anything else you want to share with the WASTOIDS crew? Just dial 1-877-WASTOIDS and leave a message.

Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Lou Reed, byname of Lewis Allan Reed, (born March 2, 1942, Brooklyn, New York, U.S.—died October 27, 2013, Southampton, New York), was a singer-songwriter whose place in the rock pantheon rests primarily on his role in guiding the Velvet Underground, a New York City-based quartet that produced four poor-selling but enormously influential studio albums under Reed's direction from 1965 to 1970.After quitting the Velvets, he reemerged as a solo performer in England, where he was adopted by admirers such as glam rock pioneer David Bowie, who produced and performed on Reed's breakthrough hit, “Walk on the Wild Side” (1973), and Mott the Hoople, who covered Reed's Velvets classic “Sweet Jane.” His albums embraced everything from rote pop to heavy metal and included an orchestrated song cycle about a sadomasochistic love affair, Berlin (1973), and a double album of guitar drones, Metal Machine Music (1975), that are among his most notorious works. At the onset of the 1980s, Reed recruited his finest post-Velvets band, including guitarist Robert Quine and bassist Fernando Saunders, and reimmersed himself in raw guitar rock on The Blue Mask (1982), addressing his fears, ghosts, and joys with riveting frankness. No longer bedeviled by his addictions, Reed adopted a more-serious if less-daring tone on his recordings, peaking with three releases that were less concept albums than song cycles: New York (1989), about the spiritual death of his hometown; Songs for Drella (1990), an elegy for his 1960s mentor, Pop art conceptualist Andy Warhol, done in collaboration with former Velvets bandmate John Cale; and Magic and Loss (1991), inspired by the deaths of two friends. A romantic relationship with American performance artist and musician Laurie Anderson rejuvenated him again in the mid-1990s, resulting in the playful Set the Twilight Reeling (1997) and the harder-hitting Ecstasy (2000).In 2000–01 Reed collaborated with director Robert Wilson to bring to the stage POEtry, which was based on the work of Edgar Allan Poe. The songs from the show were also packaged, with spoken-word interludes, on The Raven (2003)—an ambitious if critically panned experiment. It was followed by Animal Serenade(2004), an excellent live recording that echoed Reed's landmark 1974 concert album Rock 'n' Roll Animal. In 2006 Reed celebrated New York City in a book, Lou Reed's New York, which collected his photography. Reed was inducted into the Rock and Roll Hall of Fame as a member of the Velvet Underground in 1996 and as a solo performer in 2015.From https://www.britannica.com/biography/Lou-Reed. Previously on The Quarantine Tapes:“I'll Be Your Mirror”: https://www.youtube.com/watch?v=ZudHYTya-dQ“I'll Be Your Mirror Lyrics”: https://genius.com/The-velvet-underground-ill-be-your-mirror-lyrics“Lou Reed, 1942-2013”: https://www.nytimes.com/2013/10/28/arts/music/lou-reed-dies-at-71.html

Part 2 of my conversation with guest Phil Stacey about our favorite music of 1991. Show notes: - Phil's #5: The debut of an unknown band called Pearl Jam - Album had a slow build, didn't really get big until spring '92 - Jay's #5: Smashing Pumpkins' debut is a guitar feast - Phil's #4: Prince's last great album, according to Phil - Jay's #4: Under-the-radar power pop genius from Scotland - Gene Simmons sued over the album cover - That time Simmons covered "Firestarter" - Phil's #3: Lenny Kravitz peaks on this second album - Phil's #2: U2 changes their image and sound - Shifted from Americana to German electronic sounds - Jay's #2: Soundgarden blasts into the stratosphere - Pissing off old people - Jay's #1: Matthew Sweet breaks through with a power pop classic - Great guitarists guesting, including Robert Quine and Richard Lloyd - Phil's #1 and Jay's #3: Nirvana's revolutionary sophomore effort - Suffers from overexposure on classic rock stations now - Favorite songs: "Divine Intervention" (Jay), "Breed" (Phil) Completely Conspicuous is available through Apple Podcasts. Subscribe and write a review! The opening and closing theme of Completely Conspicuous is "Theme to Big F'in Pants" by Jay Breitling. Voiceover work is courtesy of James Gralian.

Throughout his genre-defying career as one of the most innovative musicians of our time, iconoclastic guitar player Marc Ribot has consistently defied expectation at every turn. Here, in his first collection of writing, we see that same uncompromising sensibility at work as he playfully interrogates our assumptions about music, life, and death. Through essays, short stories, and the occasional unfilmable film "mistreatment" that showcase the sheer range of his voice, Unstrung captures an artist whose versatility on the page rivals his dexterity onstage. In the first section of the book, "Lies and Distortion," Ribot turns his attention to his instrument--"my relation to the guitar is one of struggle; I'm constantly forcing it to be something else"--and reflects on his influences (and friends) like Robert Quine (the Voidoids) and producer Hal Willner (Saturday Night Live), while delivering an impassioned plea on behalf of artists' rights. Elsewhere, we glimpse fragments of Ribot's life as a traveling musician--he captures both the monotony of touring as well as small moments of beauty and despair on the road. In the heart of the collection, "Sorry, We're Experiencing Technical Difficulties," Ribot offers wickedly humorous short stories that synthesize the best elements of the Russian absurdist tradition with the imaginative heft of George Saunders. Taken together, these stories and essays cement Ribot's position as one of the most dynamic and creative voices of our time. Martin's interview with Marc Ribot was recorded on September 9th, 2021.

In 1990 Matthew Sweet - who was going through a divorce and was just dropped by his record label - assembled a band that included iconic guitarists Richard Lloyd and Robert Quine and released what would be his breakout album, 1991's 'Girlfriend'. Singer/songwriter Paul Roub sat down with Rob to discuss this stripped-down slab of noisy pop goodness. Songs featured in this episode: Be Human - Paul Roub; Three Little Pigs - Green Jelly; Blank Generation - Richard Hell & The Voidoids; Alive - Pearl Jam; Divine Intervention, I've Been Waiting, Girlfriend, Looking at the Sun, Winona, Evangeline, Day for Night, Thought I Knew You, You Don't Love Me, I Wanted to Tell You, Don't Go, Your Sweet Voice, Does She Talk?, Holy War, Nothing Lasts - Matthew Sweet; Undone - Weezer; Galileo - Indigo Girls; Wicked Little Town - John Cameron Mitchell; Hesitating Beauty - Billy Bragg & Wilco; Don't Stop Me Now - Queen; Marquee Moon - Television; Rape of the Vespers - The Holy Terrors; No Flowers - Paul Roub; Christmas - The Buzz of Delight featuring Matthew Sweet

The radio personality, bar owner (Circle Bar, Lakeside Lounge NYC), and rock ’n’ roll musicologist moved to the punk rock ground zero of 1977 Lower East Side at age 18, meeting the Cramps, the Ramones, Richard Hell, and Lester Bangs on his very first day in town. His original WFMU radio show (’85-’97) established an outlet for unhinged rockers, blues wailers, greaseball classics, and instrumental madness from his massive collection of 45s and 78s. His new The Hound NYC radio show and Hound Howl podcast carry on that same love of music from the edge. The Hound brings his unvarnished opinions and acerbic wit as he joins the Troubled Men for a stroll through the rubble of memory lane. Topics include a Susan Cowsill Christmas concert, Thanksgiving, a new variant, mob influence, Paterson, N.J., Bud Abbott’s FBI file, life in Florida, Miriam Linna, the Contortions, Lydia Lunch, Robert Quine, Bradley Fields, the Home for Teenage Dirt, record collecting, the Dead Boys, Alex Chilton, Ned Sublette, x-rated parrot training, legal shooting galleries, Burroughs and Ginsberg, the New York Dolls in Florida, punk cross-pollination, the Sex Pistols, a nickname, Dave Clements, Snake & Jake’s Christmas Club Lounge, Peter Holsapple, rare records, giving up, Jim Dickinson, Lou Whitney, Danny Fields, the Beatles “Get Back,” Gene Clark, and much more. Intro music: Styler/Coman Break music: "Justine" by Don and Dewey Outro music: "The Wind" by Nolan Strong and The Diablos Support the podcast here. Join the Patreon page here. Shop for Troubled Men’s Wear here. Subscribe, review, and rate (5 stars) on Apple Podcasts, Spotify, or any podcast source. Follow on social media, share with friends, and spread the Troubled Word. Troubled Men Podcast Facebook Troubled Men Podacst Instagram The Hound WFMU Radio Archive ('85-95) The Hound Radio Show Homepage The Hound Howl Podcast The Hound Facebook

The tribute to Robert Quine continues, with three songs where he plays guitar. Quine's guitar work is featured on songs from Andre Williams, Matthew Sweet, and Tom Waits. Meanwhile, Bob plays lo-fi indie rock from The Healthy Home, Peruvian garage rock from Los York's, and Japanese Krautrock from Minami Deutsch.

A few episodes of "Music Raygun" have had musical instruments as their themes, namely saxophone, bass and piano. Well, there are only a few instruments left to cover as long as we're talking about your basic rock band, so here's one about the bedrock of the genre: the guitar. We're talking about Link Wray, George Benson, J. Mascis, Wendy Melvoin, Kevin Shields, Robert Quine and plenty more. To see the videos featured in this episode, visit musicraygun.com/playlists.

JUNIOR ASPIRIN RADIO SESSION 22Hang on wait is this 7 hours of Sister Ray!? This is even more Ray than Steve Irwin done got. Collected, devised and selected by Thomas "Honey" Newth esq.SISTER RAY PODCAST HERE 0.00 (mystery extract)Who knows where this is from? It may even be elsewhere on this mix. Who can say? Bootlegs throw up funny things like this. They are also of, ahem, variable audio quality.2.13 The Gymnasium, NYC, April 7 or 8, 1967The song's about a year old now, having been trotted out in the summer of '66 according to a setlist, but they say this is the earliest recording. The Gymnasium, incidentally, was a real gymnasium that Andy thought was cool. The bootleg of this whole(?) show is really great. The Velvets are starting to form their Andy-less identity as a hard rock'n'rolling dance band.21.09 LP, NYC, mid-September, 1967 - alternate mixFamously, they did one take, with everything turned to 11. Masses of leakage. But no bass. 38.31 LP - Swan mixThere was a random compilation in the early 70s I think it was, with an ugly four-headed swan cover (and Lou billed separately)  and the songs remixed (or at least remastered). "Sister Ray" and "Lady Godiva's Operation" are strikingly different.55.54 LP - stereoActually, Moe says they did maybe two takes. And she was pissed that Tom Wilson forgot to turn on some of the mics, so there's no rimshot after Lou says "Who's that knocking at my chamber door?".There's a mono version too, but I think this'll do.1.13.14  Boston Tea Party  August 11 or 12, 1967The Velvets really liked to play the BTP. This is their third weekend there of 1967, and it would be their home away from home during a three-year more-or-less boycott of New York. They built an enthusiastic local following, including one J.Richman, who talked his way into opening for them a couple of times. This is the only time Andy went up there, with Paul Morrissey, and did the whole EPI thing. They shot a film at these shows, whence this audio, so it's rated A for Andy.1.26.45 Sweet Sister Ray, La Cave, Cleveland, April 30, 1968"Sister Ray" now has a part 1, apparently played quite a few times, as a lengthy, blissful workout before launching into the main bit. But there's only this one recording; and there's no recording of the slightly later part 3, "Sweet Rock'n'Roll", which got trotted out on a couple of occasions, by repute, heavier even than part 2. Actually, there was a recording in San Diego, but the tape got stolen right after the gig. The Velvets really did play a lot of shows, it's usually overlooked, and were a cooking band always ready to work up and rework their songs on stage, which is one reason the bootlegs are so important. And they liked to play for a long time.Also, it may be worth mentioning at this point that one of the reasons they sound so awesome is that for quite a stretch of the earlier days, after the Ostrich guitar got nicked, Lou was playing a 12-string Gretsch Country Gentleman with added preamp, speed, stereo and tremolo controls (and Fender pickups, and maybe an echo unit as well - Lou ended by fucking it up adding too much junk, and the guy who originally built for him wouldn' speak to him for a year; also, the band early managed to score endorsement deals on amps from Vox, then later Sunn; and Sterling and John would play with whatever effecgts pedals they could lay thier hands on.) Anyway, they say that at this point Lou could play 16 notes at once, and if that's not awesome I don't know what is.2.04.52 (not) Poor Richard's, Chicago, June-July, 1966 (excerpt)Sad to say, there's also very few recordings of John Cale playing on this song live ("Sweet Sister Ray" is the last one). This is not actually the first, tho it'd be cool if it were. The Poor Richard's stint marks the first time a song called "Searching" appears on an extant setlist. Sterl says it was still an instrumental jam at this point. Ingrid Superstar said it sounded like 12 million guitars and hurt her eardrums. Lou wasn't even there. It might be, in fact, that the song was mostly cooked up without him; apparently it only started to come together at this residency. After a busy first half of the year, Nico goes to Ibiza for the summer, Lou goes to hospital with hepatitis (not for the last time), and John, Sterl, Moe, and the whole EPI crowd set up shop in Chicago (also appearing at the Playboy Club). Actually, Andy didn't want to go either, so Ingrid played him in a strawberry-blonde wig. They seem to have no problem without Lou, and re-recruit percussionist-poet Angus MacLise, the original drummer. Moe plays bass. In fact, they go over so well the stay is extended by a week.This is totally not MacLise drumming. I can't remember where this snippet came from, nor the justification for its attribution. It too is probably nestled elsewhere in this mix.2.06.08 La Cave, Cleveland, October 4-6, 1968John's kicked out in September. Doug Yule is recruited rather randomly and within two days is on the road. The Velvets also play La Cave quite frequently and, as in Boston, could draw a good crowd enthusiastically familiar with the songs. Whatever the impact of the Cale/Yule swap, these two venues as much as anything else contribute to the Velvets' transformation from art noise to the "dance band from Long Island" as Lou would occasionally describe them.. Yule comports himself remarkably well.2.16.45 Music Hall, Cleveland, December 1, 19682.35.15 Boston Tea Party, December 12, 19683.01.03 Boston Tea Party, January 10, 19693.22.26 La Cave, Cleveland, January 31, 1969There's a few other gigs in between these, but none seem to have been bootlegged. Sister Ray is well-established as the set-closing rave-up by now, and Yule has settled right in. Best of all, Lou starts around now throwing in lyrics from "The Murder Mystery", which he'll do again from time to time. They never attempt the whole song live. Sterl said it was too hard.3.50.40 Boston Tea Party, March 13, 1969 A rare rundown of the characters from Lou (which you can't really hear). They are playing this right after "Jesus".4.13.22 Boston Tea Party, March 15, 1969 - Guitar AmpThat was Thursday and this is Saturday, and some enterprising fan puts a tape recorder right inside Lou's amp. This whole boot is one of my favourite recordings ever. Interestingly, it's not even all that helpful in determining which guitar is which on other recordings. That's really one of the many great things about the band, that the guitars weave together so beautifully that one ceases to care quite quickly who is playing what.Tho it's nice to know here. 4.39.20 Washington University, St Louis, May 11, 1969Despite the fact that even for those who wanted it, the recent LP (third) is really hard to get a hold of all over, a couple of thousand people turned up to this gig, to everyone's surprise. Perhaps this got Lou feeling playful, since "Foggy Notion" makes a neat cameo. Robert Quine taped it, as he would several other shows this year, before going on to shred guitar for Richard Hell and for Lou himself.5.08.02 Boston Tea Party, July 11, 19695.30.21 End of Cole, Dallas, October 19, 1969The Velvets played six nights on the trot here, apparently cos the rich kid owner was a fan. Two of the shows were recorded, rumour has it by an actual audio engineer, and this is where much of Live 1969 comes from. Sterl incidentally was a bit sniffy about that album cos he said the club was small - they would take this into account (to an extent) in arrangements and volume - but were at their best when they really felt free to let rip (obvs). Nonetheless, this is a particularly good rendition.5.43.31 The Family Dog, SF, November 7, 19696.07.33 The Matrix, SF, November 26 or 27, 1969Although the Velvets famously didn't get on with California (Bill Graham and Frank Zappa in particular) on their 1966 visit, they seemed happy enough to go back quite often. They had also played the Matrix the weekend between these two shows. It was another small club - capacity 100, but with a four-track hooked up to the soundboard. It was pressed into action for four sets over two nights of this stay (Quine also recorded some of the shows on his portable Sony; the Family Dog one previous is his too). Some of the Matrix soundboard cuts from the 19th got official releases (from hasty two-track mixdowns), but the whole set of tapes finally surfaced not long ago and it's absolutely stellar.6.44.25 Second Fret,Philadelphia, January 3, 1970This is actually a bit of a damp squib on which to end, but it seems to be the last recorded version - less than two weeks later she's vanished from all four setlists at the Quiet Knight in Chicago and (thankfully) doesn't appear on the Max's tapes from the summer. The Velvets are well-liked in Philly too, playing several times in this small club for which 200 was a definite squeeze. Here they're ending a ten-night stand that began on Christmas Day. But they are already showing signs of chilling out from their great '68-'69 run: another period of transition (i.e. The End). Moe's on pregnancy leave by April, and doesn't appear on Loaded at all, nor at the Max's summer residency. "Sister Ray" is well out of the set by the latter, tho for my money, without Moe it's no longer really the Velvet Underground at all. And the less said about the post-Lou band the better. There's a couple of live renditions from that era (now only Moe remains) but I am unlikely ever to listen to them.My obsession with the Velvets has been enabled by many things, first and foremost The Velvet Underground Handbook  by M.C. Kostek (Hyperion, 1992), a bible for years until superceded by the remarkable http://olivier.landemaine.free.fr/vu/; and most recently White Light/White Heat: The Velvet Underground day-by-dayby Richie Unterberger (Jawbone, 2009) which I feel like an idiot for taking so long to getting around to read, for it really is the last word. Amazing, and not really for the casual fan.

In this podcast guitarist and OutsideGuitar.com founder Aram Bajakian (Lou Reed, John Zorn, Malcolm Mooney of CAN) talks to Bill Frisell. What can be said about Bill except that everyone who has ever heard him has wondered how he's able to make the guitar sound so beautiful. During the course of his career, Bill has worked with  John Zorn, Paul Motian, Marianne Faithful, Jeff Buckley, Joe Henry, Hal Willner, Allen Toussaint and Richard Hell, just to name a few. His own albums take listeners into another plane, where time is stretched and the sounds emanating from his guitar are the other-worldly soundtrack. In this interview, Bill and Aram talk about guitars, particularly all the connections that emanate from one guitar shop in Manhattan, Carmine Street Guitars, where master luthier Rick Kelly makes his telecasters and stratocasters. They also discuss Jim Jarmusch, Voidoids and Lou Reed guitarist Robert Quine, the art of practicing and pedals, in addition to other questions asked by outsideguitar.com subscribers. Half the episode is here. Get the other half by subscribing at www.outsideguitar.com.   

Brian Cullman was born in New York City and caught in the web of music at an early age. At 17, he was London editor of Crawdaddy and continued writing about music for CREEM, ROLLING STONE, MUSICIAN, SPIN, CONDE’ NAST and, most recently, for THE PARIS REVIEW. He has won the ASCAP-DEEMS TAYLOR award for excellence in music journalism three times. He has sung back-up vocals with Sandy Denny, produced Lucinda Williams, recorded with Mark Knopfler, Robert Quine and Vernon Reid, and traveled across Siberia in search of shamans and flying saucer cults.  His new album, THE OPPOSITE OF TIME, released by SUNNYSIDE RECORDS on February 26 2016, is his finest work to date.   The Opposite Of Time will be released on Friday, February 26th, 2016 http://www.briancullman.com/#brian

Musician Michael Hays has come a long way since his formative years amidst the humid pines of southern Mississippi. Just about the time when many of his classmates clung to their roots and started families, Hays set out for Austin, Texas - the fertile musical mecca that doubles as the capital of Lone Star State. He did what nearly all young guitar players do… he started bands and worked odd jobs to keep himself fed. But Hays soon figured out that as cool and supportive as Austin was, he needed an even bigger pond to hold his aspirations, so he packed up his life and continued west to California. Los Angeles' complex and diverse music scene offered myriad opportunities and Hays availed himself of as many as he could find. He became a founding member of the venerable local band, The Larks, and taught guitar lessons and repaired accordions to pay the rent. One band led to another, and he wound up doing stints in the Neighborhood Bullys and We Were Indians as well as contributing to Richard Thompson's Sweet Warrior album. Recently, in the fall of 2014, Hays released his first proper, eponymously titled, full-length solo album. The twelve tracks that make up the record showcase Hays' considerable talents as both a guitarist and a writer of inventive Elliott Smith-meets-Wilco melancholy pop. Guitar tones veer from classic tube amp grit to 12-string jangle and then off to atonal Robert Quine atmospherics. Tight and inventive Big Star-esque chord changes give way to familiar and comfortable grooves with just enough country-flavored pedal steel to ground the whole hotwired experience. Also in 2014, Hays relocated back to Austin, but his new music makes it obvious that he has deep and enduring musical roots in Southern California.

Musician Michael Hays has come a long way since his formative years amidst the humid pines of southern Mississippi. Just about the time when many of his classmates clung to their roots and started families, Hays set out for Austin, Texas - the fertile musical mecca that doubles as the capital of Lone Star State. He did what nearly all young guitar players do… he started bands and worked odd jobs to keep himself fed. But Hays soon figured out that as cool and supportive as Austin was, he needed an even bigger pond to hold his aspirations, so he packed up his life and continued west to California. Los Angeles’ complex and diverse music scene offered myriad opportunities and Hays availed himself of as many as he could find. He became a founding member of the venerable local band, The Larks, and taught guitar lessons and repaired accordions to pay the rent. One band led to another, and he wound up doing stints in the Neighborhood Bullys and We Were Indians as well as contributing to Richard Thompson’s Sweet Warrior album. Recently, in the fall of 2014, Hays released his first proper, eponymously titled, full-length solo album. The twelve tracks that make up the record showcase Hays’ considerable talents as both a guitarist and a writer of inventive Elliott Smith-meets-Wilco melancholy pop. Guitar tones veer from classic tube amp grit to 12-string jangle and then off to atonal Robert Quine atmospherics. Tight and inventive Big Star-esque chord changes give way to familiar and comfortable grooves with just enough country-flavored pedal steel to ground the whole hotwired experience. Also in 2014, Hays relocated back to Austin, but his new music makes it obvious that he has deep and enduring musical roots in Southern California.

Musician Michael Hays has come a long way since his formative years amidst the humid pines of southern Mississippi. Just about the time when many of his classmates clung to their roots and started families, Hays set out for Austin, Texas - the fertile musical mecca that doubles as the capital of Lone Star State. He did what nearly all young guitar players do… he started bands and worked odd jobs to keep himself fed. But Hays soon figured out that as cool and supportive as Austin was, he needed an even bigger pond to hold his aspirations, so he packed up his life and continued west to California. Los Angeles’ complex and diverse music scene offered myriad opportunities and Hays availed himself of as many as he could find. He became a founding member of the venerable local band, The Larks, and taught guitar lessons and repaired accordions to pay the rent. One band led to another, and he wound up doing stints in the Neighborhood Bullys and We Were Indians as well as contributing to Richard Thompson’s Sweet Warrior album. Recently, in the fall of 2014, Hays released his first proper, eponymously titled, full-length solo album. The twelve tracks that make up the record showcase Hays’ considerable talents as both a guitarist and a writer of inventive Elliott Smith-meets-Wilco melancholy pop. Guitar tones veer from classic tube amp grit to 12-string jangle and then off to atonal Robert Quine atmospherics. Tight and inventive Big Star-esque chord changes give way to familiar and comfortable grooves with just enough country-flavored pedal steel to ground the whole hotwired experience. Also in 2014, Hays relocated back to Austin, but his new music makes it obvious that he has deep and enduring musical roots in Southern California.

A class sort of entirely on Marvell's Garden: sort of because we have occasion to talk about synecdoche vs. non-synecdochal metonymy, which naturally gets us talking about W.V. Quine, and therefore his nephew Robert Quine (guitarist who recorded the Velvets and worked with Lou Reed), and then Anthony and the Johnsons, because of course.

Movie Meltdown - Episode 263 This week we talk about movies, music and life in general with punk icon and actor... John Doe! John stars in the new independent film "Pleased to Meet Me", so we discuss his chemistry with co-star Aimee Mann, shooting movies in smaller cities, and playing someone in the music business vs. actually being in the music business. Plus of course we discuss his early days, his love of music, his decision to move to L.A., and the musical scene that formed the legendary band X. Then we round things out with Archie Borders, the director of "Pleased to Meet Me", as we find out about how this film came together and the challenges of directing indie films. Plus as we ponder the significance of the "O" in the Hollywood sign, we also mention… CBGB's, Wayne Wang, Illinois, doing accents, John Entwistle, Baltimore, The Screamers, Patrick Swayze, Katie O’Brien, California is epic, The Talking Heads, the East coast, Harry Dean Stanton, ex-NAVY SEAL, outlawing lead bullets, Max's Kansas City, Blondie, The Go-Gos, Tom Hulce, Jerry Lee Lewis, falling off the balcony, opera, Velvet Underground, The Weiroes, A.P. Carter, Rowdy Harrington???, Minute Men,  Oasis, Elliott Smith, John Waters, The Who, The Ramones, Hollywood Boulevard, digging to find your inner Jerry Lewis, Paul Westerberg, classical piano, Andy Warhol, Tom Petty and the Heartbreakers, Border Radio, I blew my knee out, Rocket Man, sarcastic, Divine, Joan Baez, Gary Snyder, The Germs, Allison Anders, hanging out with LAPD, Road House, Universal Amphitheater in L.A., Sid and Nancy, Roadside Director???, musicians from the classifieds, librarian, pop art vs. fine art, Green Day, Jewel, Georgia, shooting in your hometown, I can starve on my own... I can starve in music no problem , The Big Red One, self-depricating, David Hockney, Robert Quine, Mary Elizabeth Mastrantonio, Breathless, finishing a tour, Don Cheadle, the King Ad Rock, is it a musician or an actor, movie reality, Mink Stole,  Allen Ginsberg, visable holes even from the flatlands, Joe Strummer, bring that blue and white plaid shirt, Jennifer Jason Leigh, The Killer, Roadside Prophets, don't get off the boat... it's an f-ing tiger, Everyone Speaks Elton John, Nathanael West, Jim Thompson, Charles Bukowski, Diane Wakoski, a concrete structure somewhere where they can do very little damage,Ulu Grosbard, Winona Ryder, John Cusack, a big fish in a medium pond, Jon Langford and I wasn't afraid... for the first time - to rely on what I've done. "That was a total 'pinch me' moment... 'cause we're just hanging out, getting drunk at Sun Studios - playing Jerry Lee songs!"