Tallahassee is the seventh studio album by the Mountain Goats. It was the band's second new album to be released in 2002, it marked quite a few changes. First of all, after releasing records on small record labels such as Shrimper and Emperor Jones, Tallahassee was the first Mountain Goats album to be released on a known independent label, the British alternative rock label 4AD, it was the first Mountain Goats album to have an official single released, for the song "See America Right." Most however, is that this is the first record on which the Mountain Goats is more or less a full "band," with fuller instrumentation and a percussion section. Up to this point, most recordings under the Mountain Goats name have either been solo recordings by leader John Darnielle or higher-quality recordings featuring Rachel Ware on bass, other supporting instrumentalists. On Tallahassee, Darnielle is joined by two past collaborators, multi-instrumentalists Peter Hughes and Franklin Bruno, it was co-produced and mixed by producer Tony Doogan at Tarbox Studios in Cassadaga, New York, assisted by Michael Ivins of The Flaming Lips.
The album was recorded in six days. Tallahassee is devoted to two of Darnielle's recurring characters, a married couple on the edge of divorce; as such, the lyrics tend to focus on the dysfunction in their relationship. The couple is known to fans as "the Alpha Couple," as many of the previous songs about them have titles beginning with the word "Alpha"; the final song on the album is titled "Alpha Rats Nest" as a nod of sorts to the other songs. In the songs on this album, the Alpha Couple move into a house on Southwood Plantation Road in Tallahassee, Florida; the house is falling apart. Sick of themselves and each other, yet unwilling to part, they begin drinking themselves to death; the album's liner notes written from the husband's point of view, add another dimension to the story, as does the album's promotional website, written by Darnielle and designed by his wife Lalitree. The music online magazine Pitchfork gave Tallahassee a 6.7 out of 10 when it first released, as well as putting it at number 176 on their list of top 200 albums of the 2000s.
The album received positive reviews from websites such as PopMatters and Dusted. The songs, "No Children" and "Old College Try" were featured in the Moral Orel episodes, "Numb" and "Help" respectively. "Tallahassee" – 4:42 "First Few Desperate Hours" – 3:03 "Southwood Plantation Road" – 2:45 "Game Shows Touch Our Lives" – 3:48 "The House That Dripped Blood" – 2:53 "Idylls of the King" – 3:32 "No Children" – 2:46 "See America Right" – 1:54 "Peacocks" – 3:44 "International Small Arms Traffic Blues" – 2:50 "Have to Explode" – 3:21 "Old College Try" – 2:52 "Oceanographer's Choice" – 4:08 "Alpha Rats Nest" – 2:10 John Darnielle: guitar, bells, xylophone, harmonica Peter Hughes: bass, harmony vocal, keys, shaker Franklin Bruno: guitar on "See America Right," piano on "Have to Explode" and "No Children" Michael Ivins: tambourine on "Southwood Plantation Road" Official album website Complete liner notes and lyrics Tallahassee at MusicBrainz Tallahassee Turns Ten: a Mountain Goats Cover Album
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Rolling Stone is an American monthly magazine that focuses on popular culture. It was founded in San Francisco, California in 1967 by Jann Wenner, still the magazine's publisher, the music critic Ralph J. Gleason, it was first known for political reporting by Hunter S. Thompson. In the 1990s, the magazine shifted focus to a younger readership interested in youth-oriented television shows, film actors, popular music. In recent years, it has resumed its traditional mix of content. Rolling Stone Press is the magazine's associated book publishing imprint. Straight Arrow Press was the magazine's associated book publishing imprint, Straight Arrow Publishing Co. Inc. was the publishing company that published Rolling Stone. Rolling Stone magazine was founded in San Francisco in 1967 by Ralph Gleason. To get it off the ground, Wenner borrowed $7,500 from his own family and from the parents of his soon-to-be wife, Jane Schindelheim; the first issue carried a cover date of November 9, 1967, was in newspaper format with a lead article on the Monterey Pop Festival.
The cover price was 25¢. In the first issue, Wenner explained that the title of the magazine referred to the 1950 blues song "Rollin' Stone", recorded by Muddy Waters, Bob Dylan's hit single "Like a Rolling Stone": You're wondering what we're trying to do. It's hard to say: sort of a sort of a newspaper; the name of it is Rolling Stone which comes from an old saying, "A rolling stone gathers no moss." Muddy Waters used the name for a song. The Rolling Stones took their name from Muddy's song. "Like a Rolling Stone" was the title of Bob Dylan's first rock and roll record. We have begun a new publication reflecting what we see are the changes in rock and roll and the changes related to rock and roll."—Jann Wenner, Rolling Stone, November 9, 1967, p. 2 Some authors have attributed the name to Dylan's hit single: "At Gleason's suggestion, Wenner named his magazine after a Bob Dylan song." Rolling Stone identified with and reported the hippie counterculture of the era. However, it distanced itself from the underground newspapers of the time, such as Berkeley Barb, embracing more traditional journalistic standards and avoiding the radical politics of the underground press.
In the first edition, Wenner wrote that Rolling Stone "is not just about the music, but about the things and attitudes that music embraces". In the 1970s, Rolling Stone began to make a mark with its political coverage, with the likes of gonzo journalist Hunter S. Thompson writing for the magazine's political section. Thompson first published his most famous work Fear and Loathing in Las Vegas within the pages of Rolling Stone, where he remained a contributing editor until his death in 2005. In the 1970s, the magazine helped launch the careers of many prominent authors, including Cameron Crowe, Lester Bangs, Joe Klein, Joe Eszterhas, Ben Fong-Torres, Patti Smith and P. J. O'Rourke, it was at this point that the magazine ran some of its most famous stories, including that of the Patty Hearst abduction odyssey. One interviewer, speaking for a large number of his peers, said that he bought his first copy of the magazine upon initial arrival on his college campus, describing it as a "rite of passage".
In 1977, the magazine moved its headquarters from San Francisco to New York City. Editor Jann Wenner said San Francisco had become "a cultural backwater". During the 1980s, the magazine began to shift towards being a general "entertainment" magazine. Music was still a dominant topic, but there was increasing coverage of celebrities in television and the pop culture of the day; the magazine initiated its annual "Hot Issue" during this time. Rolling Stone was known for its musical coverage and for Thompson's political reporting. In the 1990s, the magazine changed its format to appeal to a younger readership interested in youth-oriented television shows, film actors and popular music; this led to criticism. In recent years, the magazine has resumed its traditional mix of content, including in-depth political stories, it has expanded content to include coverage of financial and banking issues. As a result, the magazine has seen its circulation increase and its reporters invited as experts to network television programs of note.
The printed format has gone through several changes. The first publications, in 1967–72, were in folded tabloid newspaper format, with no staples, black ink text, a single color highlight that changed each edition. From 1973 onwards, editions were produced on a four-color press with a different newsprint paper size. In 1979, the bar code appeared. In 1980, it became a large format magazine; as of edition of October 30, 2008, Rolling Stone has had a smaller, standard-format magazine size. After years of declining readership, the magazine experienced a major resurgence of interest and relevance with the work of two young journalists in the late 2000s, Michael Hastings and Matt Taibbi. In 2005, Dana Leslie Fields, former publisher of Rolling Stone, who had worked at the magazine for 17 years, was an inaugural inductee into the Magazine Hall of Fame. In 2009, Taibbi unleashed an acclaimed series of scathing reports on the financial meltdown of the time, he famously described Goldman Sachs as "a great vampire squid".
Bigger headlines came at the end of June 2010. Rolling Stone caused a controversy in the White House by publishing in the July issue an article by journalist Michael Hastings entitled, "The Runaway General", quoting criticism by General Stanley A. McChrystal, commander of the International Security Assistance Force and U. S. Forces-Afghanistan commander, about Vice President Joe Biden and oth
Spin is an American music magazine founded in 1985 by publisher Bob Guccione, Jr. The magazine stopped running in print in 2012 and runs as a webzine, owned by the Billboard-Hollywood Reporter Media Group division of Valence Media. Spin was established in 1985. In its early years, the magazine was known for its broad music coverage with an emphasis on college rock, indie rock, the ongoing emergence of hip-hop; the magazine was bold, if sometimes haphazard. It pointedly provided a national alternative to Rolling Stone's more establishment-oriented style. Spin prominently placed newer artists such as R. E. M. Prince, Run-D. M. C. Eurythmics, Beastie Boys, Talking Heads on its covers and did lengthy features on established figures such as Bob Dylan, Keith Richards, Miles Davis, Lou Reed, Tom Waits, John Lee Hooker—Bart Bull's article on Hooker won the magazine its first major award. On a cultural level, the magazine devoted significant coverage to punk, alternative country, electronica and world music, experimental rock, jazz of the most adventurous sort, burgeoning underground music scenes, a variety of fringe styles.
Artists such as the Ramones, Patti Smith, Blondie, X, Black Flag, the former members of the Sex Pistols, The Clash, the early punk and New Wave movements were featured in Spin's editorial mix. Spin's extensive coverage of hip-hop music and culture that of contributing editor John Leland, was notable at the time. Editorial contributions by musical and cultural figures included Lydia Lunch, Henry Rollins, David Lee Roth and Dwight Yoakam; the magazine reported on cities such as Austin, Texas, or Glasgow, Scotland, as cultural incubators in the independent music scene. A 1990 article on the contemporary country blues scene brought R. L. Burnside to national attention for the first time. Coverage of American cartoonists, Japanese manga, monster trucks, the AIDS crisis, outsider artists, Twin Peaks, other non-mainstream cultural phenomena distinguished the magazine's dynamic early years. In late 1987, publisher Bob Guccione Jr.'s father, Bob Guccione Sr. abruptly shut the magazine down despite the fact that the two-year-old magazine was considered a success, with a newsstand circulation of 150,000.
Guccione Jr. was able to rally much of his staff, partner with former MTV president and David H. Horowitz, locate additional new investors and offices and after missing a month's publication, returned with a combined November–December issue. During this time, it was published by Camouflage Associates. In 1997, Guccione sold Spin to Miller Publishing. In 1994, two journalists working for the magazine were killed by a landmine while reporting on the Bosnian War in Bosnia and Herzegovina. A third, William T. Vollmann, was injured. In February 2006, Miller Publishing sold the magazine to a San Francisco-based company called the McEvoy Group LLC, the owner of Chronicle Books; that company formed Spin Media LLC as a holding company. The new owners replaced editor-in-chief Sia Michel with a former editor at Blender; the first issue to be published under his brief command was the July 2006 issue—sent to the printer in May 2006—which featured Beyoncé on the cover. Pemberton and Spin parted ways the next month, in June 2006.
The following editor, Doug Brod, was executive editor during Michel's tenure. For Spin's 20th anniversary, it published a book chronicling the prior two decades in music; the book has essays on grunge and emo, among other genres of music, as well as pieces on musical acts including Marilyn Manson, Tupac Shakur, R. E. M. Nirvana, Nine Inch Nails, Limp Bizkit, the Smashing Pumpkins. In February 2012, Spin relaunched the magazine in a larger, bi-monthly format and expanded its online presence, which covered reviews, extended editorials and features on up-and-coming talent. In July 2012, Spin was sold to Buzzmedia, which renamed itself SpinMedia; the September/October 2012 issue of Spin was the magazine's last print edition. In December 2016, Eldridge Industries acquired SpinMedia via the Hollywood Reporter-Billboard Media Group for an undisclosed amount. In 1995, Spin produced its first book, entitled Spin Alternative Record Guide, it compiled writings by 64 music critics on recording artists and bands relevant to the alternative music movement, with each artist's entry featuring their discography and albums reviewed and rated a score between one and ten.
According to Pitchfork Media's Matthew Perpetua, the book featured "the best and brightest writers of the 80s and 90s, many of whom started off in zines but have since become major figures in music criticism," including Rob Sheffield, Byron Coley, Ann Powers, Simon Reynolds, Alex Ross. Although the book was not a sales success, "it inspired a disproportionate number of young readers to pursue music criticism." After the book was published, its entry on 1960s folk artist John Fahey, written by Byron Coley, helped renew interest in Fahey's music, leading to interest from record labels and the alternative music scene. Contributors to Spin have included: SPIN began compiling year-end lists in 1990. Note: The 2000 album of the year was awarded to "your hard drive", acknowledging the impact that filesharing had on the music listening experience in 2000. Kid A was listed as the highest ranking given to an actual album. 1994 roadside attack on Spin magazine journalists Anon.. "Bibliography". In Ray, Michael.
Alternative, Hip-Hop and More: Music from the 1980s to Today. Britannica Educational Publishing. ISBN 1615309101. Mazmanian, Adam. "Library Journal". In White, William. Buyer's Guide. Bowker. Johnston, Maura. "Never Mind The Anglophilia, Here's The Queens Brothers". Idolator. Retrieved Jul
Folk rock is a hybrid music genre combining elements of folk music and rock music, which arose in the United States and the United Kingdom in the mid-1960s. In the U. S. folk rock emerged from the folk music revival and the influence that the Beatles and other British Invasion bands had on members of that movement. Performers such as Bob Dylan and the Byrds—several of whose members had earlier played in folk ensembles—attempted to blend the sounds of rock with their preexisting folk repertoire, adopting the use of electric instrumentation and drums in a way discouraged in the U. S. folk community. The term "folk rock" was used in the U. S. music press in June 1965 to describe the Byrds' music. The commercial success of the Byrds' cover version of Dylan's "Mr. Tambourine Man" and their debut album of the same name, along with Dylan's own recordings with rock instrumentation—on the albums Bringing It All Back Home, Highway 61 Revisited, Blonde on Blonde —encouraged other folk acts, such as Simon & Garfunkel, to use electric backing on their records and new groups, such as Buffalo Springfield, to form.
Dylan's controversial appearance at the Newport Folk Festival on 25 July 1965, where he was backed by an electric band, was a pivotal moment in the development of the genre. During the late 1960s in Britain and Europe, a distinct, eclectic British folk rock style was created by Pentangle, Fairport Convention and Alan Stivell. Inspired by British psychedelic folk and the North American style of folk rock, British folk rock bands began to incorporate elements of traditional British folk music into their repertoire, leading to other variants, including the overtly English folk rock of the Albion Band and Celtic rock. In its earliest and narrowest sense, the term "folk rock" refers to the blending of elements of folk music and rock music, which arose in the U. S. and UK in the mid-1960s. The genre was pioneered by the Byrds, who began playing traditional folk music and songs by Bob Dylan with rock instrumentation, in a style influenced by the Beatles and other British Invasion bands; the term "folk rock" was coined by the U.
S. music press to describe the Byrds' music in June 1965, the month in which the band's debut album was issued. Dylan contributed to the creation of the genre, with his recordings utilizing rock instrumentation on the albums Bringing It All Back Home, Highway 61 Revisited, Blonde on Blonde. In a broader sense, folk rock encompasses inspired musical genres and movements in different regions of the world. Folk rock may lean more towards either folk or rock in instrumentation and vocal style, choice of material. While the original genre draws on music of Europe and North America, there is no clear delineation of which other culture's music might be included as influences; the term is not associated with blues-based rock music, African American music, Cajun-based rock music, nor music with non-European folk roots. There are some exceptions; the American folk-music revival began during the 1940s. In 1948, Seeger formed the Weavers, whose mainstream popularity set the stage for the folk revival of the 1950s and early 1960s and served to bridge the gap between folk, popular music, topical song.
The Weavers' sound and repertoire of traditional folk material and topical songs directly inspired the Kingston Trio, a three-piece folk group who came to prominence in 1958 with their hit recording of "Tom Dooley". The Kingston Trio provided the template for a flood of "collegiate folk" groups between 1958 and 1962. At the same time as these "collegiate folk" vocal groups came to national prominence, a second group of urban folk revivalists, influenced by the music and guitar picking styles of folk and blues artist such as Woody Guthrie, Lead Belly, Brownie McGhee, Josh White came to the fore. Many of these urban revivalists were influenced by recordings of traditional American music from the 1920s and 1930s, reissued by Folkways Records. While this urban folk revival flourished in many cities, New York City, with its burgeoning Greenwich Village coffeehouse scene and population of topical folk singers, was regarded as the centre of the movement. Out of this fertile environment came such folk-protest luminaries as Bob Dylan, Tom Paxton, Phil Ochs, Peter and Mary, many of whom would transition into folk rock performers as the 1960s progressed.
The vast majority of the urban folk revivalists shared a disdain for the values of mainstream American mass culture and led many folk singers to begin composing their own "protest" material. The influence of this folk-protest movement would manifest itself in the sociopolitical lyrics and mildly anti-establishment sentiments of many folk rock songs, including hit singles such as "Eve of Destruction", "Like a Rolling Stone", "For What It's Worth", "Let's Live for Today". During the 1950s and early 1960s in the UK, a parallel folk revival referred to as the second British folk revival, was led by folk singers Ewan MacColl and Bert Lloyd. Both viewed British folk music as a vehicle for leftist political concepts and an antidote to the American-dominated popular music of the time. However, it wasn't until 1956 and the advent of the skiffle craze that the British folk revival crossed over into the mainstream and connected with British youth culture. Skiffle renewed popularity of folk music forms in Britain and led directly to the progressive folk movement and the attendant B
Alternative Press (magazine)
Alternative Press is an American music magazine based in Cleveland, Ohio. It provides readers with band interviews, information on upcoming releases, music charts, it was founded in 1985 by Mike Shea, the president. Joe Scarpelli is the general manager. Jason Pettigrew is editor in chief; the first issue of Alternative Press was a photocopied punk rock fanzine, distributed at concerts in Cleveland, Ohio beginning in June 1985 by AP's founder, Mike Shea. He disliked the music, being broadcast on radio stations and believed that bands playing underground music should be given more media coverage "all in the same spot", he said; the name for the magazine, Alternative Press, was not a reference to the alternative rock genre, but referred to the fanzine being an alternative to the local press that wasn't covering the music that Shea felt deserved to be heard. He said, "It has always been about covering music for the misfits". Shea began working on his first issue in his mother's house in Ohio. Shea and a friend, Jimmy Kosicki, targeted the Cleveland neighborhood of Coventry.
"I offset print. I'd walk into these flower shops and Hallmark shops, I'd say'We're going to put out an entertainment publication, it's going to be for kids and only $25.' And they'd look at my high school newspaper and say,'It's professional...' That's how we got enough money to make the first issue". Financial problems plagued AP in its early years. Of the fledgling magazine's struggles in 1986, Shea said: "After the last few punk concerts we promoted that year failed to make any money to help finance the magazine, I had to start begging my mom for money to keep AP going: $1,500 here, $2,500 there. My mom was super-supportive of the whole endeavor, she seemed to enjoy having a bunch of punkers over at all hours of the night putting together issues on her dining-room table and getting spray mount all over her nice tablecloths and on the carpeting, which resulted in our socks getting pulled off as we walked over it". However, by the end of 1986, publication had ceased due to its financial problems, not resuming until the spring of 1988.
With the growth of alternative rock in the early 1990s, circulation began to increase. AP's covers included bands such as Red Hot Chili Peppers and Soundgarden, prior to each band's mainstream success. By 1994, the magazine was doing cover stories on Henry Rollins and Love and Rockets. Norman Wonderly, now the publisher, was credited by Shea as having "made most of these happen and the more Norman got what he wanted, the more artists wanted their cover shoots to look the way Norman wanted, so on, it wasn’t always easy. Did we sometimes protest too much? Maybe, but we were up against a lot. Nobody takes you unless you take yourself and that's what Norman brings to his position to this day". By the early 2000s, after resisting attempts to purchase the magazine, Shea shifted the focus of Alternative Press to the newer punk music associated with the Warped Tour; when asked the magazine's audience, Shea said, "It went from heartfelt emo, to screamo, to post-hardcore, to metalcore… but, there will always be a suburban kid full of angst.
They will always want music". At the time of its 20th anniversary in 2005, AP had grown to an average size of 112 pages per issue averaging between 198 and 220-plus pages a month; the magazine's current monthly columns include "The AP Poll", "In the Studio", "AP&R", "Chalkboard Confessional", "Musician of the Month", "My Favorite Gear", "Next Exit", "Gig Bag", "1000 Words", "Beauty and the Band" and "10 Essential." AP sponsored a radio show aired on XM Radio, a podcast featuring in-depth discussions on various topics with people such as Fall Out Boy's Pete Wentz and Kevin Lyman, a compilation CD, has been a major sponsor of tours including Warped Tour, Taste of Chaos and its own "The AP Tour." Official website The AP Tour
Franklin Bruno is an American singer-songwriter and writer from Upland, California. He has been a member of Nothing Painted Blue since its inception in 1986. Bruno has written print publications such as The Village Voice, he received a doctorate in philosophy from UCLA and has been a visiting professor of philosophy at Bard College. In addition to his own recordings, Bruno worked on The Mountain Goats albums Tallahassee and The Sunset Tree, he records with The Mountain Goats frontman John Darnielle as The Extra Lens. Jenny Toomey and Calexico released Tempting, a collection of Bruno's songs, on Misra Records in December 2002. Civics, the first album by Bruno's new band, The Human Hearts, was released by Tight Ship Records in 2007. Suggestion Box Etudes for Voice and Snackmaster A Bedroom Community Kiss Without Makeup A Cat May Look at a Queen Martial Arts Weekend Recorded with John Darnielle as The Extra Glenns Civics Local Currency Undercard Recorded with John Darnielle as The Extra Lens (Merge Records, November 2010 Another Hermetic Geometry The Irony Engine A Sand Dollar Relief Map La Radia Participant Set of Pipes "Clean Needle", from Winky Dog cassette "Love Tap", from Capgun cassette "Hey Jude", from Back To The Egg, Asshole cassette "Lifetime Seance", from the Ghost of A Rollercoaster 7" "Rhythm Buddy", from Pawnshop Reverb cassette "The Irony Engine", from I Like Walt!
7" "Sleeping Through The Jane Pratt Show", from Working Holiday! Bonus disc "What Are You Doing New Year's Eve?", from The Wedding Record 7" "Cat Scratch Fever", from Our Salvation Is In Hand "Pony Song", from Chutes and Ladders cassette "Purity Test", from Green Light Go! "Chiliagon", from Childhood Friends cassette "Winter's Just A Word", from the Songs From A Room 7" "Missed The Point", from Go cassette "The Rice King", from The Basement Tapes vol. 2 "MGM", from the Exhibit B cassette "Invisible Mistletoe", from The Tarquin Records All Star Holiday Extravaganza "Linoleum", from From The Bullpen "Bronze Me", from We Can Still Be Friends "Your Inarticulate Boyfriend", from IPS "Shooting Past Me", from I Stayed Up All Night Listening To Records "Nickname Stuck" "A Cat May Look at a Queen" Elvis Costello's Armed Forces The Role of Intentional Action in Artifactual Representation Franklin Bruno, official website nervous unto thirst, Bruno's blog konvolut m, Bruno's old blog A Cat May Look at a Queen - PopMatters review