Independent's Day

Happy birthday to Dan Navarro, who recently joined us on a recent episode of the Independent's Day podcast! If you want to get him something nice for his big day, pick up a copy of his new album, Horizon Line. It comes in small and EXTRA LARGE. #dannavarro #birthday #independentsday #podcast #horizonline

Benjamin Jaffe on Independent's Day - 3.11.20

Benjamin Jaffe is our guest on Independent's Day this week! We're all very impressed by Jaffe's solo direction over here at the ID world HQ, and we think you will be too. Full episode tonight at 7pm PDT, with a preview interview and video of "Lazy Music" from his solo debut, Oh, Wild Ocean of Love available now at www.indepday.com. And be sure to check him out at Moroccan Lounge this Friday night at 9:30pm. 901 E 1st Street Los Angeles, CA Benjamin Jaffe spent over ten years as half of the Americana duo HONEYHONEY making acclaimed records and crisscrossing the country playing catchy and memorable songs for dedicated fans. But every band has a life cycle, and after more than a decade of steady grinding, HONEYHONEY’s indefinite hiatus left Jaffe in the challenging position of having not been the primary singer in his former outfit. But the lemonade in this situation is that Jaffe is an incredibly gifted singer, songwriter, and performer in his own right, and shedding the conventions and expectations of a band meant that he was standing at the threshold of a musical tabula rasa. Jaffe took the ball and ran with it, and his newfound freedom to explore any and all disparate influences is evident on his solo debut album, Oh, Wild Ocean of Love. With Jaffe playing nearly all the instruments himself, smooth crooning rubs up against aggressive electric guitars, pithy and clever lyrics delve confidently into subjects familiar to fans of the best of American songwriters, and a rich sonic palate may surprise fans more accustomed to hearing an Americana stomp out of Jaffe and Co. Benjamin Jaffe’s new solo direction places him in the company of Father John Misty's wry observations, Jeff Buckley's emotive vocal prowess, and Rufus Wainwright's compositional bonafides. For an Independent's Day preview, Jaffe played a brilliant song called "Lazy Music" accompanied by Drew Taubenfeld on the pedal steel guitar. Ben Jaffe's full episode will be available at www.indepday.com and

Geoff Pearlman and I both haunted the halls of Berklee College of Music once upon a time. (But mostly the pizza joint across the street on Mass. Ave.) Geoff and his band are playing a FREE show tonight at Harvard and Stone (5221 Hollywood Boulevard) - be there for some great tunes and hot guitar picking. Geoff is also our guest on the Independent's Day podcast this week, and in his episode we discussed his stellar new record (Lost in the Satellites), what it’s like playing with household names in the Echo in the Canyon documentary, as well as vinyl copies of new American citizen Neil Young’s After the Gold Rush record. www.indepday.com #geoffpearlman #berkleecollegeofmusic #supremepizza #boston #harvardandstone #independentsday #echointhecanyon #podcast

Robbie Fulks on Independent's Day - 11.27.19

Robbie Fulks is a sort of latter-day Renaissance Man. After spending his formative years in Pennsylvania, North Carolina, and Virginia, Fulks eventually settled in Chicago - where his fresh take on American roots music established his status as one of the progenitors of what would become the alt-country genre. Fulks’ fearless and uncompromising approach to his art is exemplified by a longtime association with insurgent country record label Bloodshot Records and a friendly working relationship with firebrand Chicago-based producer and engineer Steve Albini. Over the last twenty-plus years, Fulks has released thirteen albums of his own, as well as accompanied numerous other artists both onstage and in the studio. Fulks is also known as a music journalist, having penned a blog and had his writing published in GQ, Blender, Chicago Reader and elsewhere. When he wasn’t playing, recording, or writing, Fulks has hosted an XM satellite radio interview and performance program and spent twelve years teaching at the Old Town School of Folk Music. But it is Fulks’ whip-smart songwriting, high lonesome Buddy Miller-esque vocals, and facile and inventive guitar work that first earned him fans in Chicago’s underground country scene, and it's what keeps them coming back to shows across the country. For an Independent’s Day preview, Fulks played an uptempo, bluegrass-influenced stomp called "I'll Trade You Money for Wine." Robbie Fulks' full episode will be available at www.indepday.com and www.indepday.com/itunes at 7pm PDT on Wednesday, November 27th, 2019. New episodes of ID go live Wednesday evenings at 7pm Pacific Time, and are also available on iTunes. www.indepday.com www.robbiefulks.com www.indepday.com/episode/203.html www.indepday.com/itunes www.facebook.com/indepday www.twitter.com/indepday www.youtube.com/indepdayvideos

Monks of Doom on Independent's Day - 7.31.19

In the great and colossal tree of music there are many, many branches - and out toward the tall leaves on the side that faces the highway to psychedelic oblivion there exists bands and artists that truly follow their own sun regardless which way the wind blows. Monks of Doom grew out of the late-80s California experimental music scene that birthed one of the original indie rock juggernauts, Camper Van Beethoven . As Camper started to build a fan base and garner industry attention, it seems that the band’s peculiar blend of gypsies-on-acid folk and angular psychedelic pop weren’t quite experimental enough for Camper members Victor Krummenacher (bass), Greg Lisher (guitar), Chris Pedersen (drums), and Chris Molla (guitar) - the latter of whom was soon replaced by their friend, session musician and eventual member of Counting Crows, David Immergluck (guitar). Indicative of their fearless approach to creating music, Monks of Doom’s 1987 first album Soundtrack to the Film ‘Breakfast on the Beach of Deception’ was a mix of improvisational instrumentals and quirky songs from a movie that didn’t actually exist. After the dissolution of Camper Van Beethoven in 1990, Monks of Doom entered an artificially fertile period that saw the release of two albums and an EP in the span of less than a year. But even with a devoted fan base across the country, the grind of relentless indie-level touring and minimal label support took its toll and the band amicably split in 1992. Solo projects from Krummenacher and Lisher followed, and a 1998 send-off performance after Pedersen announced a move to Australia put the band once again in the same room, fomenting an atmosphere for Monks of Doom’s legendary chemistry. The good vibes were an epiphany for the band, and perhaps inspired by the reformation of Camper Van Beethoven in 2004, Krummenacher, Lisher, Immergluck and Pedersen figured out what they already knew - that Monks of Doom makes music on their own terms, when and where they want - an

Australian purveyors of top-notch blue-eyed soul The Teskey Brothers are our new guests on Independent’s Day - and they’re playing a show in LA tonight at Bardot on Vine! You don’t want to miss this show because I got a tip that the ghost of Otis Redding is going to be there. You may also listen to the full interview with Josh Teskey at www.indepday.com #theteskeybrothers #podcast #oldschoolrnb #bardot #indepday #joearmstrong #dogcameo

The Teskey Brothers on Independent's Day - 7.18.18

The Teskey Brothers have been grinding it out in the bars and festivals in their hometown near Melbourne, Australia for a decade. While it’s true that the four-piece is comprised of young devotees of the classic era of American soul and R&B, their reverence for the genre is far deeper than mere imitation. It’s simple enough to learn some tried-and-true chord progressions and lean hard on the blue notes, but to so faithfully capture the elusive vibe of the 60s Muscle Shoals sound exhibits a musical maturity far beyond their twenty-something perspective. The Teskey Brothers - two proper Teskey siblings, along with a pair of musical blood brothers accompanying them on bass and drums - recorded their debut album, Half Mile Harvest, in their own studio - utilizing vintage recording gear to add an extra level of realism to their take on old-school soul music. When singer Josh Teskey’s vocals distort - intentionally - on songs like “Pain and Misery,” it’s because he and his band mates took the time to learn the archaic manner in which Otis Redding’s microphone distorted on the kinds of classic recordings that made legends of artists like himself, Sam Cooke, Wilson Pickett, Aretha Franklin, Ray Charles and others. With this preternatural affinity for stylistic restraint and obvious inherent talent, it’s easy to see why The Teskey Brothers’ brand of soul music has transcended their home country and landed with a welcome triple-meter bang in America. For an Independent's Day preview, singer Josh Teskey played a modern classic called "Pain and Misery." The Teskey Brothers' full episode will be available at www.indepday.com and www.indepday.com/itunes at 7pm PDT on Wednesday, July 18th 2018. New episodes of ID go live Wednesday evenings at 7pm Pacific Time, and are also available on iTunes. www.indepday.com www.theteskeybrothers.com www.indepday.com/episode/200.html www.indepday.com/itunes www.facebook.com/indepday www.twitter.com/indepday www.youtube.com/indepdayvideos

Syd Straw on Independent's Day - 6.20.18

Syd Straw released her first album, Surprise, in 1989. The record was full of earnest, broken-hearted songs with an impressive range for a new artist. The album’s earthy tone landed Straw at the leading edge of the alternative country curve, and it led a seemingly open-ended invitation for Straw to lend her vocals to some of the best in the business. To name a few, Straw has been onstage and on records with Los Lobos, @Wilco, Dave Alvin, Loudon Wainwright III, Leo Kottke, Rickie Lee Jones, Matthew Sweet, Van Dyke Parks, Freedy Johnston, James McMurtry, Marc Ribot, David Sanborn, Was Not Was, Victoria Williams, The dBs, @Jimmer Podrasky, and The Golden Palominos. Subsequent albums followed in 1996, 2005 and 2008, and although releases may have been spread out, the quality of Straw’s output never suffered. Although Straw is perhaps best known for her vocals, the unique and indelible spirit that she brings to a song or a project is what makes her a legend. She is quirky, to be sure, but she’s also endearing, pleasantly sardonic and always creative - a perfect combination for a singular artist. For an Independent’s Day preview, Straw played a catchy new songs called "Casually" accompanied by Lyn Bertles on violin and Robert Lloyd on mandolin. Syd Straw's full episode will be available at www.indepday.com and www.indepday.com/itunes at 7pm PDT on Wednesday, June 20th 2018. New episodes of ID go live Wednesday evenings at 7pm Pacific Time, and are also available on iTunes. www.indepday.com www.sydstrawmusic.com www.indepday.com/episode/199.html www.indepday.com/itunes www.facebook.com/indepday www.twitter.com/indepday www.youtube.com/indepdayvideos

Davey Meshell and the TransAtlantics on Independent's Day - 4.18.18

When Davey Meshell recently started a new band, the name choice was obvious; the handpicked members of the TransAtlantics spent their respective formative years on opposite sides of the Atlantic Ocean - in places ranging from New York and Maine, to Scotland and the Isle of Man. But the thing that unites them under one flag is a shared love of the classic era of American soul music. Meshell is best known around Los Angeles for fronting his black-leather band, The Neighborhood Bullys, which has a raw and uncompromising approach to rock and roll music. Meshell is at once affable and intense, and he grew up in a musical family - establishing himself as a go-to bass player for a number of well-known artists both in the studio and on the road. But Meshell’s not-so-secret weapon is his powerful tenor voice, and it’s that soulful howling that provided the genesis for the TransAtlantics. Whereas the Bullys’ stock-in-trade is amped-up energy and catchy songs delivered at paint-stripping volume, the TransAtlantics turn down the amps to let the grooves and melodies shine. Most importantly, the TransAtlantics are a BAND. Each player was selected by Meshell specifically to complement both the songs as well as the other players. And like any soul band worth its mettle, the TransAtlantics lineup is comprised of tasteful and accomplished players that astutely cover the elements essential to the style. And as for that style, although the band uses classic soul as their guiding star, they’re not afraid to veer off and explore a bit of genre-bending stylistic territory in order to keep things fresh - both for them and for their fans. Rock and roll and soul music have always been kissing cousins, and Davey Meshell and the TransAtlantics are ready to testify that both are alive and well in the new millennium. For an Independent's Day preview, Davey Meshell and the TransAtlantics played a blue-eyed soul song called "Don't Wait for Fate." Davey Meshell and the TransAtlantics' full episod

Chris Stills on Independent's Day - 4.4.18

Chris Stills’ brand-new record, Don’t Be Afraid, plays like chronicle of a man who has forged his own identity out of a lifetime of unique experiences. Stills’ family business is music, but that doesn’t guarantee success or even acumen; stripes must be earned, and Stills doesn’t take anything for granted. Chris Stills’ parents are from two different continents with two distinct cultures, and he spent his formative years in both America and in France. After graduating from high school at the American School in Paris, Stills moved to Los Angeles and eventually to New York, playing in bands and honing his songwriting and performing chops. He garnered enough attention to get himself signed by Atlantic records and released his first album in 1998, after which he then hit the road - playing shows with The Jayhawks and Ryan Adams. Another album followed in 2005, and Stills found stage work in France - playing the role of Julius Caesar in a popular French musical, as well as landing a part in a 2010 French film. Between acting gigs, Stills kept himself busy by releasing an EP and recording yet another full album of his own music, but after a label shakeup he scrapped the entire project and returned to Los Angeles. Once again stateside after years of work in France, Stills released an EP in the U.S. in 2012 and found some TV work with a role in Season 4 of Showtime’s Shameless. But it’s his latest release, Don’t Be Afraid, which distills Stills’ experience into his most cohesive artistic statement to date. There are breezy, early 60s California pop songs, trance-like Laurel Canyon flower power meditations, stacked Woodstock-era vocal harmonies, a bit of Rufus Wainwright-style orchestral Broadway pop, Ryan Adams-influenced guitar rock, and an incisive indictment of the chaos of America’s divisive new-millennium identity crisis that only someone with an outsider’s perspective can capture with clarity. The record is anchored by Stills’ versatile and assured tenor - it’s the kin

Chihana on Independent's Day - 12.13.17

Chihana acquired her affinity for traditional blues and rock music from her parents’ music collection - which would be pretty orthodox if it weren’t for the fact that she grew up in Japan. She’s a rare bird to be sure, but her fans don’t listen to her solely because of the curiosity factor of being a young Japanese woman playing a traditionally western style of music - it’s because she’s good at doing so. To listen to her music, there are times when it isn’t immediately apparent if she is singing in English or Japanese, which is a testament to both the ability of music to transcend cultural barriers as well as Chihana’s obvious and considerable talent. Chihana’s next goal is to conquer the American music scene, which, given that she is devoted enough to regularly tour her homeland of Japan by public transportation, should provide a suitable challenge for this unique artist. For an Independent's Day preview, Chihana played a barn-burner of a blues rave-up called "Ace." Chihana's full episode will be available at www.indepday.com and www.indepday.com/itunes at 7pm PDT on Wednesday, December 13th 2017. New episodes of ID go live Wednesday evenings at 7pm Pacific Time, and are also available on iTunes. www.indepday.com www.chinaha.org www.indepday.com/episode/196.html www.indepday.com/itunes www.facebook.com/indepday www.twitter.com/indepday www.youtube.com/indepdayvideos

Jeff Crosby - Best $25 I Ever Spent on ID FFWD new

Jeff Crosby is a songwriter with a rambler's heart and an astute, natural feel for delivering his songs. His brand-new record, Postcards from Magdalena, plays like a travelogue, and Crosby knows it's the intimate details of his adventures and misadventures that make his listeners feel that they're part of the story. Crosby joined us on Independent's Day for episode 140 in September of 2014, and the last three years have been quite a ride for this Idaho-born musician who currently resides in Nashville. Crosby never lays his head in one place for long, and we're all the better for it. This Independent's Day exclusive performance of "Best $25 I Ever Spent" is a perfect example of the kind of songs Crosby is writing at this stage of his career. www.indepday.com/episode/ffwd/13.html www.jeffcrosbymusic.com www.indepday.com

Jeff Crosby - Best $25 I Ever Spent on ID FFWD

Jeff Crosby is a songwriter with a rambler's heart and an astute, natural feel for delivering his songs. His brand-new record, Postcards from Magdalena, plays like a travelogue, and Crosby knows it's the intimate details of his adventures and misadventures that make his listeners feel that they're part of the story. Crosby joined us on Independent's day for episode 140 in September of 2014, and the last three years have been quite a ride for this Idaho-born musician who currently resides in Nashville. Crosby never lays his head in one place for long, and we're all the better for it. This Independent's Day exclusive performance of "Best $25 I Ever Spent" is a perfect example of the kind of songs Crosby is writing at this stage of his career. www.indepday.com/episode/ffwd/13.html www.jeffcrosbymusic.com www.indepday.com

Leslie Stevens on Independent's Day - 11.1.17

Leslie Stevens has one of those voices - it’s a perfectly engaging throwback to Patsy Cline and the golden age of Nashville’s musical matriarchy. It’s the kind of voice that sounds good singing anything, and she’s a natural with a melody. But the thing that keeps people coming back to Stevens is her songwriting. In conversation, when she’s not giving a quick-witted running comedic commentary of the world we all share, Stevens can be almost quiet. Ask her about herself, and her sentences get shorter still. But when the topic of the art and avocation of songwriting comes up, Stevens lights up like a firefly - and for good reason, because behind all that elegant vocal phrasing is a powerhouse songwriter who has been known to teach advanced songwriting classes at Los Angeles College of Music. She’s amassed quite a resume over the last few years, including two albums with the backup band she calls The Badgers, lending her voice to projects with Brian Wilson, Father John Misty and Jonathan Wilson, several placements in television and movies - as well as a new album due in 2018. For an Independent's Day preview, Stevens and pedal steel guitarist Ben Peeler played a wonderfully timeless song called "Falling." Leslie Stevens' full episode will be available at www.indepday.com and www.indepday.com/itunes at 7pm PDT on Wednesday, November 1st 2017. New episodes of ID go live Wednesday evenings at 7pm Pacific Time, and are also available on iTunes. www.indepday.com www.lesliestevensusa.com www.indepday.com/episode/194.html www.indepday.com/itunes www.facebook.com/indepday www.twitter.com/indepday www.youtube.com/indepdayvideos

Loch & Key - Deep Space on ID FFWD

Loch & Key's hushed pop is a like a voyeur's peek into the artistic world of singer/lyricist Leyla Akdogan Hoffman and guitarist/producer Sean Hoffman. Akdogan's breathy, hushed vocals are reminiscent of what one might imagine an angel would whisper into your ear in order to gently coax you into making the right choice in life and love. And Hoffman's inventive production and deft guitar playing provides a perfect counterpart to Akdogan’s personal lyrics. Loch and Key first joined us for episode 14 in June of 2011, and we’re happy to have them back to talk about their new album, Slow Fade. Slow Fade, grooves more than their debut – 2010’s entrancing Jupiter's Guide for Submariners – and their new songs continue to push Loch and Key's sound beyond their acoustic folk origins by expanding in both whimsical and adventurous directions. Kip Boardman joins Akdogan and Hoffman on an acoustic version of the song, "Deep Space" from their new album.

Sam Marine on Independent's Day - 10.18.17

Sam Marine played in bands in his native Gainesville, Florida and New York City before landing Los Angeles a few years back. His brand-new Big Dark City EP is Marine’s third release, and on it he has perfected his particular brand of muscular, country-tinged rock and roll. Call it Americana if you wish, but the genre has always overlapped the straight ahead, cranked-amp jangle of the classic rockers. Marine knows this, and he smartly recruited Los Angeles’ rising star Brian Whelan to produce Big Dark City. The result pulls no punches and takes no prisoners. While he’s not on the road or gigging around town, Marine works as a bartender, and the cast of characters and late night lifestyle of the world’s second oldest profession provides him with ample inspiration for his songwriting. The title track is a swaggering mid-tempo rocker that sounds like a lost Steve Earle classic. “Dawn Come and Gone” serves up a ramped-up, four-on-the-floor stomp tempo and showcases Marine’s confident vocals with a bit of Sun Records-era slapback echo. Both of the first two songs are astute observations of American society’s late night outsider spaces that are often haunted by bartenders, artists, insomniacs and musicians - and it’s palpable that Marine knows them well. The remaining three tracks on Big Dark City take a page from Drive-By Truckers best work with narratives of hard luck situations set in any-state, any-year rural America. The only complaint about Big Dark City is that it is an EP rather than a full-length release - and it's fitting that he is getting some traction in the music scene, because Marine shares a bit of whatever is in the Gainesville water that made Tom Petty’s Heartbreakers one of the best bands in the world. For an Independent's Day preview, Marine and his band played a song that could be a lost Steve Earle classic called "Big Dark City." Sam Marine's full episode will be available at www.indepday.com and www.indepday.com/itunes at 7pm PDT on Wednesday, Oct

Davey and the Midnights on Independent's Day - 10.4.17

Davey And The Midnights are a band. Sure, Davey Allen’s name is featured front and center - and for good reason. His tight vibrato tenor and accessible songs are the focal point of the ensemble. But the Midnights are a band like Tom Petty and the Heartbreakers or Bruce Springsteen's E. Street Band. Something special happens when they get together and settle into a groove. And although their music is billed as a sort of countrified rock, there certainly is a pocket to what they do. Once they get going, the band sits somewhere in the middle ground between the Grateful Dead and Little Feat, with a bit of traditional west coast country mixed in. Allen strums the acoustic guitar while he sings, guitarist Gregg Cahill’s Telecaster picking owes more than a casual nod to Jerry Garcia without wandering off on extensive and meandering improvisational explorations, Brandon Conway’s pedal steel employs a bit of the shimmery Leslie rotating speaker effect - making his instrument sound akin to a Hammond B3 organ at times, Corey Dawson’s loping bass lines anchor the band and explores spaces for stepping out with an appropriate lick, and Allen’s childhood friend Mike “Mambo” Sanson’s snappy work on the drum kit provides an edgy rock and roll spark that keeps everything moving. These young players are fine instrumentalists, and the sum of their talented parts really does make a synergistic whole. Davey and the Midnights haven’t yet released their debut album, but they sound as if they’re long past their sophomore jinx. It doesn’t hurt that Allen’s day job is playing keyboards for the legendary Eric Burdon of the Animals. Allen obviously is learning from one of the best and carrying the torch with style and aplomb. For an Independent's Day preview, Davey and The Midnights played a throwback to early 1970s psychedelic country called "Easy Breeze." Davey and the Midnights' full episode will be available at www.indepday.com and www.indepday.com/itunes at 7pm PDT on Wednesday, October

Joe Armstrong - "Walls" (Tom Petty)

A poster of Tom Petty hangs in my dining room, which doubles as my recording studio for Independent's Day, looking down on all I do. There are a handful musicians that mean more to me, but none of them are more important than Petty was to how I go about my life in music. Petty was the North Star by which I navigated. WWTPD?, I asked myself on countless occasions when stuck on a lyric or putting together a band. Petty (and his stalwart band, including guitarist Mike Campbell, keyboard player Benmont Tench - both of whom are utterly incapable of playing anything but the exact right thing - as well as drummer Steve Ferrone, bassist Ron Blair, multi-instrumentalist Scott Thurston, as well as Howie Epstein and Stan Lynch) were the quintessential rock band. Loose, but tight. Loud and soft. Everyone, everywhere and solely themselves - which is why their appeal remains as big as it is. I've been playing Petty's song, "Walls" since shortly after I first heard it. He had numerous bigger hits over a decades-long career, but to me "Walls" is the perfect Petty song: instantly catchy, somehow simultaneously five miles deep and one foot wide and five miles wide and one foot deep, and every word and chord is in the exact right place. There is some love, some ache, some hope, and some understated philosophy. Petty and the gang were there when I was a quirky kid first listening to the radio, when I got my first car, when I lucked into my first kiss, when we danced around my living room in college, when I moved to the city, started a band, moved around the country and started another band, and then another. He was there last Monday night when I ended up seeing what would be their final show at the Hollywood Bowl. When I heard the news yesterday, I felt as if I'd been shot by a dozen arrows. My instinct was to invite some friends to come over and record a Petty song, and Cory Tramontelli, Jayson Lauden and Aaron Bakker showed up at seven. We recorded three takes of "Walls" and t

Mojo Monkeys on Independent's Day - 9.20.17

David Raven, Billy Watts and Taras Prodaniuk make their living making other people sound good. Their collective credits include albums and tours with Bruce Springsteen, Norah Jones, Dwight Yoakam, Bonnie Raitt, Keith Richards, June Carter Cash, Lucinda Williams, Mike Ness, Dixie Chicks, Richard Thompson, Jim Lauderdale, Peter Himmelman,Buck Owens, T Bone Burnett, and countless others. They’re journeymen in top form, they’re still on the journey, and they’ve been friends for decades. After spending so much time backing up other artists, they long ago decided to start their own trio, Mojo Monkeys, as a place to get their collective musical rocks off. The years of hard work shows in Mojo Monkeys. Unconstricted by a big name on a marquee, these guys can follow their own muse. There are funky grooves, and expert lines that duck in and out of a greasy and spicy New Orleans-influenced musical stew. For all their chops, the band never veers into ponderous wanking territory. Put another way, Mojo Monkeys isn’t a side project that provides a bleeder valve for gratuitous sideman musical eccentricities, it’s a place where three friends who happen to be expert musicians can share their common love for making music. Their mutual affection shines through, as does the reverence for the material they create together. Raven takes the lion’s share of the lead vocals, standing at a hybrid upright drum set that allows him to better engage the audience by not being confined to a drum riser back between the amps. Watts’ harmonic motion on his pale green Gretsch finds him delivering the perfect licks in all the right places, and Prodaniuk’s snaky bass lines provide counterpoint as well as doing an exemplary job doing what the most astute bassists do best - which is making sure that the whole thing hangs together. Their new record, Swerve On, continues the groovy, danceable tack that Mojo Monkeys have defined for themselves over the course of their several records, and throws in a bit of Th

Double Naught Spy Car and Joe Armstrong discuss their favorite...

Drop by www.indepday.com to hear our current episode with Double Naught Spy Car!