He’s My Brother, She’s My Sister/Caught a Ghost/Song Preservations Society (Club Dada): I’m hoping that the headlining folk pop act, He’s My Brother, She’s My Sister, takes promotional photos featuring a member with a little top hat only during Halloween, or because their newest album came out last October. Otherwise I’m pretty annoyed already. Next to that promo photo, there is this gem of a quote from LA Weekly, though I’ll include the full quote for context:
Rob and Rachel Kolar’s voices mingle like glamour in the desert. Steeped in the 1920’s and the 2000’s, this band makes party music for coyotes drunk on champagne.
I’m guilty of some pretty extreme metaphors and analogies, but can someone explain to me what the hell that means? Though it’s not the band’s fault that a critic wrote something inane about them, I still encourage them to please feel free to gather some coyotes together and feed them champagne and see how well that works out. It would likely be a better watch than this music video which appropriates Dia de los Muertos, but we’re pretty used to that around here. Something else we’re used to around here? Tap dancing as percussion, which the group also utilizes, much like Dallas band, Home by Hovercraft.
Now that you’re armed with that info: Folk pop, top hat, champagne coyotes, tap dancing—I think you can make an informed decision on whether or not this show is for you. Is it any wonder that I waste precious time wishing I still lived in an era where Thunderheist is cool? These people are nostalgic for the 20s, an era in which they never lived, and I’m just longing for thirty seconds ago.
Michael Nesmith (The Kessler): I remember reading an interview where Bob Mould was declaring his admiration for the songwriting genius of former Dallas resident, Michael Nesmith, and I would have to agree. Though the Monkees tended to smother Nesmith’s contributions with gimmickry, his work shone in the hands of others. One such example is “Different Drum,” which has been covered by everyone from the Stone Poneys to the Pastels. Both versions are just perfectly charming, gorgeous examples of single-based pop. Seeing Nesmith’s own interpretation of his work should prove fascinating.
Paul Slavens (Crown and Harp): Paul Slavens is, literally, the only musician nominated in the Dallas Observer’s music awards this year and in 1988, the first year the ceremony was held. As such, he’s written a lengthy article for the paper, which offers some singular insight and history on the milestone. While that’s worth a read, I fully admit to nearly having a panic attack when I thought of how much time that really is to spend in a place that has not always been exactly kind to its arts community.
Update: I just received a message from the Observer’s Jesse Hughey, who offered this welcome correction regarding the music awards:
Dennis Gonzalez was nominated for best jazz in 1988 and his band was this year too. Also [Jeff] Liles’ old band DDT [Decadent Dub Team] was nominated in 88 and the Kessler was nominated this year too. So not a nomination for music, but he’s still in a way a musician who was nominated.
I even noticed Gonzalez’ name when I read the archived ballot from 1988, so that’s my mistake.
Wanz Dover (Bryan Street Tavern): Judging by the virtual flier, this will likely include some Lou Reed.
Image: He’s My Brother, She’s My Sister’s album art, for Nobody Dances in this Town. It was released last October, on Park the Van Records.