View Full Version : Juliana Hatfield-This Girl Rocks!!!
28th July 2005, 12:16 PM
MY NAME IS JULIANA HATFIELD.
I grew up in a small coastal Massachusetts town. As a young girl, I was enamored of Olivia Newton-John and I saw Grease six times when it came out in theaters. But when I discovered the Replacements in high school, it was true love. With these as my two main inspirations (Replacements and Olivia Newton-John), I set out for the big city and the Berklee College of Music in hopes of starting a band. There I met John Strohm and Freda Love and we three teenagers formed the Blake Babies. We put out a few records, toured the country a few times and then broke up in the early 90’s. Since then I have been on my own, except for a Blake Babies reunion tour and album (God Bless the Blake Babies) last year.
My first album was Hey Babe. The title wasn’t a sassy ironic come-on (though it did land me on the cover of Sassy magazine) or a quasi-empowering take-back-the-phrase kind of thing. It was an earnest plea to be accepted into the rock-and-roll boys club continuum. And I thought I had made a rock-and-roll record. "Hey babe," sang Lou Reed. "Hey babe," sang J Mascis. I was just trying to continue the tradition but I knew that as a girl it was hopeless and that I would never be accepted on equal terms. The almost universal misinterpretation of the title and of my intentions was the first in a long line of misunderstandings.
Become What You Are was my first major label experience. It was a really simple concept: capture me and my touring band (Dean Fisher and Todd Philips) playing the songs we had been doing live over the past year or so. It happened to be a moment in time when girls with guitars were all the rage, and so, though the higher (than my) industry standards of (commercial) success were never something I aimed for, I was given a taste of it. The singles "My Sister" and "Spin the Bottle" broke through and I was swept up in a relative whirlwind of publicity and sold-out shows. But I was never comfortable with the attention. I thought it had come too soon. I hadn’t earned it yet.
Next came Only Everything. I turned up the volume and the distortion and had a lot of fun blocking out the world with some cryptic lyrics (including a song in crude French that I knew no one would understand) and sing-along melodies. It featured the single "Universal Heartbeat" ("A heart that hurts is a heart that works") and the accompanying video in which I play an evil aerobics instructor trying to push my students until they collapse.
For my next project I went to Woodstock and made what I called God’s Foot. I produced it and played a lot of the instruments myself. My record company at the time seemed underwhelmed by my masterpiece so I begged them to let me go. The bloom was off the rose and I didn’t want to stay where I wasn’t appreciated. After my weeklong hunger strike, they finally assented to my departure, with effusive tears and hugs and good wishes. But they didn’t let me take God’s Foot with me. They held onto it and never released it. "Mountains of Love" and "Fade Away" are from this album.
At first I was traumatized by the idea that God’s Foot would never be heard. Then disillusionment set in and I took to my bed trying to figure out what to do next. I knew from the early days in the Blake Babies that if no one wants to help you out, you do it yourself. So I booked six days in a studio in a converted firehouse in Providence and made Bed, the album. It sounds as raw as I felt. It has no pretty sheen. The mistakes and unattractive parts were left in, not erased. Just like my career. Just like life.
Beautiful Creature started as a bunch of demos for what I envisioned as an acoustic album, utilizing the myriad producers and musicians in Los Angeles during my year-long sabbatical there in 1999. As the recordings progressed, I realized the demos themselves could work as an album. But when I returned to Boston, I felt unsatisfied. I needed to express a darker side. This was my idea: a loud release of tension featuring a rock drummer and bassist (Zephan Courtney and Mikey Welsh) and lots of long sloppy guitar solos. And no love songs. The result was Juliana’s Pony: Total System Failure, a not-at-all attractive reaction to the ugly side of humanity, specifically American culture.
Gold Stars is my eighth full-length album. It contains songs from each of the previous seven plus two covers (one by the Police, one by Neil Young). Oh, and there’s a song from my 1997 Please Do Not Disturb EP. Got it?
In the past ten years, trends have come and gone, money has been made and spent, what went up came down, and I have continued to do what I love which is making music. Creating something out of nothing. Learning by doing rather than by calculating and strategizing. This is my own version of success, on my own terms and in my own time. I sort of tried to play the game for a while in the mid-90’s but I was disqualified because I wouldn’t smile for the camera. The pressure to be something I was not was constant and unrelenting. It was a battle to maintain a sense of authentic self when that self was still in the developmental stages.
I will continue to write, record, and perform my songs as long as I can and as long as it feels right. I am still motivated by the same things I was in the beginning. The goal has always been to just be myself.
28th July 2005, 12:17 PM
Agosto 9 sale su nuevo CDhttp://www.julianahatfield.com/jhimages/MICfrontcoversmall.jpg
28th July 2005, 12:19 PM
http://www.julianahatfield.com/MICdiatribe.html Las expresiones de Juliana acerca del nuevo disco y lo que piensa de la mujer actualmente en la musica.
28th July 2005, 12:27 PM
Hatfield gets raw with 'China'
Veteran indie rock artist Juliana Hatfield will return Aug. 9 with her eighth solo album, "Made in China," which will be the first release on her new label, Ye Olde Records. The singer/guitarist/songwriter tells Billboard.com the set was recorded quickly and represents more of the primal side of her music than its predecessor, last year's "In Exile Deo" (Zoe/Rounder).
"'Exile' was much more clean sounding," Hatfield says. "It was more edited and tailored and produced and rehearsed and well planned, and the new record is more haphazard, sound-wise and performance-wise, and it's a little more unconscious. I've bounced back and forth between the two ... both express parts of my personality, but I think its kinda more fun to be raw and sloppy."
The 12-track "Made in China" was recorded in Bellows Falls, Vt., and Cambridge, Mass., and features Hatfield alongside the Martha's Vineyard band Unbusted -- guitarist Joe Keefe, bassist Ben Smith and drummer Sebastian Keefe. Veteran Hatfield road rhythm section Pete Caldes (drums) and Ed Valuaskas (bass) also helped out, but the album is really about Hatfield, who took on all musical duties on the track "Oh," making her recorded debut as a drummer.
"It was really empowering to play all the instruments," she says of the experience. "I could make a whole album with no one else involved at all. It would be a total, unadulterated expression of myself. Because whenever you have others playing on a project, their influence becomes a part of it."
Tracks like tension-filled opener "New Waif," the caustic "My Pet Lion" and "Going Blonde" feature the punkier side of the former Blake Baby and Lemonhead, but the acoustic "Hole in the Sky" is more introspective. Closer "Send Money" is musically spare, but Hatfield's repeated chorus ("Save yourself / if you want to pray for me, tell God to send me some money") resonates powerfully at the record's end.
Hatfield plans to support the record with a short tour down the Eastern seaboard in August, followed by a West Coast outing as a power trio with Caldes and Valuaskas.
8th August 2005, 11:08 AM
Reprinted from the Charlotte Observer, by Courtney Devores
Made in China review
Boston-based alternative rocker Juliana Hatfield's career seems to play in reverse. Aside from her indie-pop beginnings with her late 1980s trio the Blake Babies, her 1990s solo material was slick and commercial enough to win over MTV and radio. But with each album she grows more independent.
"Made in China" is restless and slightly experimental. With her voice and arrangements often stripped raw, she sounds like she's abandoned commercial aspirations for simple, lo-fi recording techniques the same way P.J. Harvey did on "4-Track Demos" and "Dance Hall at Louse Point."
Sometimes the approach works. On "Oh" her guitars crunch with masculine distortion like mud is imbedded in her strings. She sometimes plays like a battered blues player. The near naked, acoustic "Hole in the Sky," which some interpret as her response to 9-11, benefits from layered harmonies.
At times the lo-fi approach is too spare, especially with Hatfield's little girl vocals. She redeems herself with poignant lyrics, a snotty attitude and a level of intimacy rarely heard on rock records.
9th August 2005, 12:57 PM
Acabo de regresar de Borders y ya esta en mis manos!!!! Aqui les va otra reseña!!!Reprinted from the Associated Press, by Matt Moore
Made in China review
Forget Juliana Hatfield the waif. Ditch that memory of her song "Spin the Bottle," the one that seemed to emanate from the film "Reality Bites." Forget the Massachusetts girl who made up a third of the Blake Babies.
She's gone. And that's a good thing.
Hatfield has eviscerated her past, exorcised her previous pure-pop lyrics and dumped the foundation of her previous recordings in the dustbin.
On "Made In China," her eighth LP, Hatfield emerges scarred and smarter, playing a collection of biting, angry but oh-so-melodic songs that herald the indifference of not fitting in and, frankly, not giving a damn about even trying.
The 37-minute, 12-song disc is a collection of defiant yet personal songs and music that is more Hüsker Dü than Blake Babies or Lemonheads. Lust, addiction, the hurt of betrayal and the sting of loneliness emanate from the songs, including standout singles "Digital Penetration" and "Stay Awake," which could rip out the floor if the volume is high enough.
Maybe it's being victimized by rants from critics jaded by her failure to be the pop queen she was supposed to be. Or it could be the state of music today, where women are resorting to near striptease and selling sex rather than singles.
It doesn't matter. Her rage, indifference and edginess are in full effect on "Made in China," and her damnation has brought salvation. This is her best album ever.
11th August 2005, 03:50 PM
Reprinted from Billboard, by Troy Carpenter
Hatfield Taps Into Her Subconscious On New CD
Since the start of Juliana Hatfield's solo career 15 years ago, the artist's music has swung on a pendulum between polished expressions of beauty and innocence and raw, primal rock'n'roll. In 1999, she even went as far as releasing two simultaneous albums, "Beautiful Creature" and "Total System Failure" (Zoe/Rounder), one a collection of plaintive demos and the other chock-a-block with punk guitar missives.
With her new album "Made in China," the first release on her new label Ye Olde Records, Hatfield has swung back toward the visceral side of the spectrum. The set was recorded quickly with minimal editing and features the ragged playing of Hatfield and the Martha's Vineyard group Unbusted (guitarist Joe Keefe, bassist Ben Smith and drummer Sebastian Keefe). It marks a stark contrast to Hatfield's 2004 release "In Exile Deo," whose expansive, polished sound fulfilled a two-album label deal.
"My contract with Rounder/Zoe expired after my last record," Hatfield says, "and I just decided it was an opportunity to start my own label, which was something I've been thinking about for years. And it's exciting to just have total freedom. I wanted to see how self-sufficient I can really be."
Ye Olde Records has a distribution deal through RED, and Hatfield is also taking orders for the new album via her official Web site. The artist recently used that site to post a lengthy open letter to fans about her mindset making "Made in China," the cover of which shows Hatfield's naked torso, and the title of which refers to the inevitable commercialization of art. She muses in the letter, "What does it mean to a person whose identity is very wrapped up in the music she makes, if her worth is measured by how many records she sells?"
Hatfield experienced a good deal of commercial success as an artist early on in her solo career, when singles "My Sister" and "Spin the Bottle" hit it big in 1992. She references the dichotomy of her past and her place in music now on "Made in China" tracks like "What Do I Care," with its chorus "What the f*** / it's a miracle / I'm even here / you're over me / but I'm alive / so what do I care?"
"That one was written unconsciously," Hatfield says, "and I figured it out later -- I'm talking about my place in the world and my culture and the industry. And my place right now is a lot different from the place it was 10 years ago. As much as I try to ignore that fact, I can't ... and as much as I say and really believe that I'm much more comfortable being out of the public eye, it affects me. It hurts to be ignored sometimes."
Especially on this new record, Hatfield has tried to capture her honest feelings in song, without clouding the writing process with too much conscious thought.
"I still have the basic [songwriting] process," she explains, "which is sitting down with a guitar and playing around, getting a chord progression and then adding words to it. But with lyrics, I've been trying to get out of the way more. In the past I'd spent a lot of time trying to say something and trying to whittle down the words to the specific. Now, I'm much more open to letting the unconscious come out without stopping it, and once I have all these words I don't edit them as much. I just let them be. It's letting me really try to access that conscious or give it an outlet."
But as much as this process would seem to overexpose personal feelings, Hatfield's theory is that her songs actually become more universal through tapping her own unconscious.
"I think everyone's pretty much the same underneath," she says. "The collective unconscious is a real thing. There's only a few emotions, and we all have them. There's like seven emotions. So personal is universal. Everyone experiences confusion, joy and pain, just in different forms."
Hatfield is happy that with "Made in China," she's going to get to experience an album release on her own terms, and is looking forward to simple things like selling her own records directly to fans from the Web site.
"It just gets me more in touch with the aspect of what I do," she says. "For so many years I ignored the aspect that I'm a product and there's money involved and there's people buying the record. It's good and empowering to be directly involved with the people. There are people who would rather buy it from me than from a chain store. I like that people have that choice, and they will be directly helping me ... I can take the money and put it into my next project. They can feel like they're directly supporting the work of an artist. They're my patrons."
11th August 2005, 03:52 PM
Excerpt reprinted from the Boston Phoenix, by Jon Garelick
Island songs: Juliana Hatfield, Vineyard Vibes, ans Bill Frisell
It’s difficult to say what’s the bigger news for Juliana Hatfield right now, that her new album, “Made in China,: just came out this past Tuesday, or that it’s being released on her own label, Ye Olde Records.
"It was just sort of the perfect time," she tells me as we sit outside the Hot Tin Roof club on Martha’s Vineyard, a few hours before she’s scheduled to headline as part of Berklee’s annual Vineyard Vibes festival. "The perfect opportunity, the timing opened up, and I couldn’t think of any reason not to do it myself this time."
“Made in China” is Hatfield’s eighth full album of new material since the break-up of her band the Blake Babies in 1990. At 38, she’s made the same trip a lot of talented artists of her generation have made over the past 15 years — indie upstart, rising star riding the wave of the post-punk explosion in alternative rock, major-label signing, then back to the indies again as the bottom fell out of the record business and major labels slashed rosters and regrouped. For a while there, the modern-rock stations who had championed artists like Hatfield, Kristin Hersh, Björk, PJ Harvey, and Aimee Mann stopped playing female artists altogether. Hatfield did her own major-label dance with Atlantic Records, had hits like "My Sister," "Spin the Bottle," and "Universal Heartbeat," then slipped into respectable cultdom with albums released through Rounder Records’ Zoë imprint.
Hatfield had considered calling her new album "The Island," in part for the Vineyard itself, where she was spending a lot of time in a romance with another musician from the area, and also because the word represented feelings she had about herself. "Even my career is sort of a story of not belonging, not fitting in. That’s how I see it, anyway. The commercial success I had was a fluke."
Ye Olde Records (distributed by Redeye) is, she says, a way for her to start "making money at the first record that’s sold rather than having to recoup for a label." Her experience with Atlantic left her "commitment-phobic," and so she began making records on her own, "fast and cheap," and licensing them to labels, first to Bar/None with the EP Please Do Not Disturb and eventually to Zoë. Her immediate goal is "self-sufficiency, to keep making a living. And really that’s all I want. Just to be able to make music and have some people hear it. And not have to get a day job. Simple goals. And of course I’d like to create a masterpiece some day. I don’t feel I’ve done that yet."
Some would argue she’s come close a few times, 2004’s “In Exile Deo,” her final album for Zoë, being the most recent. Hatfield has a knack for delivering nasty inner turmoil in sweet pop hooks accompanied by indie-bred guitar rock. The best example might be "My Sister" (from 1993’s “Become What You Are”), where those feelings of isolation that she talks about suggest inadequacy, even self-loathing. The feelings are mopy, self-involved, messy, but — as in any successful art — the strength of the artistic voice mitigates the emotions. Hatfield’s voice — girlish, pure, defiant — and those melodies save her from bathos. She’s "lived to tell," as the saying goes. Her sarcastic/ironic sense of humor doesn’t hurt either.
“Made in China” is more guitar-heavy than “In Exile Deo.” Hatfield’s own guitar playing on the CD has been compared with Neil Young’s, and that comes through later at the Hot Tin Roof show, in her bent paraphrases of the melody. But on "Oh," her six-string mimics the hard-edged, chunky syncopations of Gang of Four. Elsewhere on the disc, Joe Keefe of the Unbusted (the former island paramour, and a co-author of two of the disc’s tunes) supplies the fancy classic-rock licks.
The good news is that Hatfield sounds as big a mess as ever. And she’s just as funny. The verse of "What Do I Care" mimics "Smells like Teen Spirit." When Hatfield sings off-key over nasty bent guitar notes, "I feel funny/Is it over?/Am I dead or a asleep on the sofa?", you can follow along singing, "Here we are now/Entertain us." She follows up with "Look at me there/I’m a rock star," with references to "posers who fake it," and the Kurt channeling is complete. The chorus goes, "What the fuck/It’s a miracle/I’m even here/You’re over me/But I’m alive/So what do I care." She could be writing about a romance or the vagaries of pop stardom.
"Stay Awake" has one of her best lyric turns on a great bridge, "You think you’re the only one with a chemical imbalance." The melody of "Send Money" is like a Middle Eastern drone, finally delivered as chant: "Save yourself! Send money!" Hatfield says it’s a retort to religious proselytizers who say, "I’ll pray for you," to whom she’s saying, "Look at yourself, and if you really want to help me, send money." But her double-tracked vocals and raspy guitar have an incantatory power that is in itself a prayer.
"I think that the few times that I felt happy, I didn’t feel the need to make music," she tells me. "And I remember I was feeling kind of happy six months ago and I was thinking, you know, I could just be a girlfriend, I could sort of like hanging around and be a loving girlfriend, and I could learn how to cook and maybe have a baby, and then I caught myself, like, what was I thinking? That wouldn’t be a satisfying life. I wouldn’t be happy doing that because I still have these things that I’m struggling with and working out with my music."
When I suggest that she was in love when she was making the record, she says, "But there are no love songs on it, which is odd, because there are lots of them on all my other records. So I guess that shows that I’m still sort of flailing and trying to figure out what to do with myself, and the only thing that gives me any kind of feeling of being grounded consistently is music. I can’t depend on anything as much as I can depend on music."
The Vineyard Vibes event of which Hatfield was a part (she’s a Berklee graduate with a songwriting degree) mixes performances by Berklee faculty, students, and alumni that the college hopes will interest the parents of future students as well as possible donors. So it was painful to watch her bite the hand that was feeding her and almost self-destruct on stage. She followed Keefe’s Unbusted, who played punk pop that occasionally soared (especially when Keefe and bassist Ben Smith sang harmonies on the choruses) and was always tight and well played. The local contingent of teenage girls shrieked happily.
But it was a small crowd to begin with. At approximately 500 capacity, the roadhouse-style Hot Tin Roof is the biggest club venue on the island, and the Saturday-night show was booked as all-ages — which in Vineyard terms means no alcohol served. At all. Hatfield, with bassist Ed Valauskas and drummer Pete Caldes (who are both on the album), followed up the Unbusted with a couple of Hatfield’s prettier tunes, "Daniel" and "Sellout," the latter with some of Valauskas’s fancier McCartney-esque grace notes. But the band couldn’t get traction with the thinning crowd, even as Hatfield moved into rockers and unleashed more hell-for-leather vocals. She slowed the momentum down by chatting with the few fans in front of the stage and tossing offhand insults at her benefactors. When she said, "This is how they taught me to play guitar at Berklee," and then went into a wrong-note soliloquy as Caldes and Valauskas tried to play along, one wanted to stand and shout (for the benefit of the Berklee administrators present): "It’s a joke! She’s just kidding!"
After a particularly ardent vocal performance near midnight, she offered a perfunctory "Good night" and walked off. She’ll be in Boston at the Paradise a week from Saturday.
14th August 2005, 02:46 AM
Reprinted from allmusicguide.com, by Johnny Lotfus
Made in China review
Around the summer 2005 release of Made in China, Juliana Hatfield posted a gutsy, revealing letter on her website. In it she writes proudly of the album's ragged feel, of her role as producer, of having released it through her own Ye Olde imprint. But there's also a weird, rambling defensiveness to the note. "People can buy this record or not," she writes. "I don't care. Or at least I pretend not to care. But I do care." She goes on to condemn artistic greed, industrial pollution, and the pressure on female artists to market themselves sexually. And then in her usual cynical fashion Hatfield winks at the whole notion, putting a photo of herself in a bathtub into the album's booklet. Made in China is as honest and unadorned as that letter. It unmasks her empty feelings on love (the slithery, dispassionate breakup song "On Video") and hate for a poisoned world ("Rats in the Attic," which musically is this record's closest amalgam to her past work), and in its strikingly direct recording quality it reacts to 2004's In Exile Deo, which despite being her strongest album in a long time was a little over-produced. For all these things China is terrifically rewarding. It's raw — like a home-recording genius blistering the dry wall with four-track recordings, the solo confessionals "A Doe and Two Fawns" and "Send Money" shatter silence with twining tones and sly lyrics. ("If you want to pray for me, tell God to send me some money," goes the latter.) It bashes — "What Do I Care" features the Boston band Unbusted and mulls over Hatfield's alternative rock darling past. And she considers whether any of it mattered, whether she was exploited, and whether or not she even cares in retrospect. She's accepting of those days, but rightly pissed that she'll be compared to them forever. In Exile Deo was her arrival as a mature, seen-it-all-and-still-wondering songwriter. But China is the truly unguarded version of that idea in both sound and song. Opener "New Waif" establishes that. As the music builds and bristles, Hatfield sings of love and missed chances, and the filter on her voice makes a total nonfactor of that girlish quality everybody used to fawn over so much. She's the new version of herself, the now version, and what does she care if you don't like it? But you will.
Thanks, pixiepunk! http://some-girls.com/forum/html/emoticons/hi.gif
14th August 2005, 08:50 PM
Julianna tiene su sonido bien definido. Ademas es una guitarrista hecha y derecha.
Kudos a Julianna yo tambien estoy tecato porque salga el disco.
Ademas de que estoy enamorado de ella desde el 1993:p.
14th August 2005, 10:19 PM
Juliana era la novia del cantante de Lemonheads? :confused:
22nd August 2005, 11:30 AM
Reprinted from the Bostonist.com, by Mary Tomer
Juliana Hatfield Charms the Paradise
Bostonist was a rockin’ this weekend, even before the Rolling Stones took the stage at Fenway. Juliana Hatfield commanded a faithful audience at the Paradise on Saturday night, following Boston locals Furvis and The Gentlemen. Hatfield, backed up by The Gentlemen’s drummer and bassist, offered a refreshing dose of thoughtful, introspective rock and roll.
A native of Duxbury, Ma and trained at the Berklee College of Music, Hatfield is best known for her dabbles with the mainstream a decade ago. Her first two solo efforts, Hey Babe (1992) and Become What You Are (1993), were met with early critical acclaim and commercial success. “Spin the Bottle” on the Reality Bites sound-track (1994), a memorable cameo as a runaway on My So-Called Life and the September 1992 cover of Sassy Magazine established Hatfield as an icon to a young Bostonist.
Saturday night’s concert, however, was by no means an empty throw back to early 90s stardom. Hatfield demonstrated that she’s been busy making good, meaningful music for the past 10 years and didn’t need the limelight to do so. A lengthy set including notable selections from Become What You Are (1993), Only Everything (1995), Please Do Not Disturb (1997), Beautiful Creature (2000), In Exile Deo (2004) and Made In China (2005) satisfied seasoned fans while introducing the artist’s talent and range to a younger fan base as well. Her first encore included Become What You Are’s “My Sister” eliciting the most boisterous Bostonist reaction of the night.
Hatfield, with a grown out pixie cut to match her pixie frame, is hard not to adore. As she told her Bostonist crowd “I love you more than I’ve ever loved a single person. You’re too good to me.” She has a genuine sweetness that makes her sometimes heavy sound accessible. Made In China was released in this month under Hatfield’s own label Ye Olde Records; Bostonist encourages you to take a listen. Thanks to Stereogum for reintroducing Juliana Hatfield to all of us.
Also to note: Furvis, whom Hatfield deemed “The Future of Rock and Roll,” played a delightful rendition of the Flaming Lips “Vaseline." Rough around the edges and sporting spotty facial hair, Furvis is young but undeniably talented. Bostonist looks forward to following their development. They return to Boston on Saturday, October 1 for the Nemo Showcase at the Abbey Lounge in Somerville.
22nd August 2005, 11:35 AM
Reprinted from the Boston Herald, by Linda Laban
Hatfield rocks the Paradise
"Never trust a woman over thirty who wears pink," Oscar Wilde reputedly said of the feminine urge to hang onto youth.
Juliana Hatfield was not wearing pink for her performance at the Paradise on Saturday, quite the opposite. The Cambridge-based rocker looked everyday street chic in old jeans, a black tank and a wicked-cute new haircut.
But her rake-thin elfin physique and wide-eyed gaze recalled a teenager, not a 38-year-old veteran of the late-'80s indie rock scene. And the raw punk tone of her just-released album, "Made in China," rattles with the rancorous turmoil of youth. Heck, she even sings about not wanting to go to school.
But Hatfield's unself-conscious delivery seems more a heartfelt reminisence and a still-burning desire . . . for something. Far from lost though, this savvy survivor formed her own label, Ye Olde Records, to release her album. And she hit the road at the beginning of the month for nine Northeast dates, which culminated at the Paradise.
Hatfield was backed by bassist Ed Valauskas and drummer Pete Caldes, the same rhythm section that made up her last touring band. The pair had performed earlier in their regular spots with The Gentlemen, whose Replacement style barroom rock set included a cover of the Rolling Stones' late-'70s romp "When the Whip Comes Down."
Hatfield dispelled reports that the night's openers, Furvis, had been signed to a major label. The Boston slacker indie pop quartet was still available, Hatfield corrected.
Despite a few too many so-so slower songs early in her set, Hatfield spiked those duller stretches with often stunning numbers such as "What Do I Care," whose discordant nonchalance reimagines Nirvana's world-weary "Smells Like Teen Spirit," and the contrasting sweet "Sunshine," from 2004's singer-songwriter set, "In Exile Deo."
Hatfield encored with a swift dip back to crowd-pleasing oldie, "My Sister," her voice a perfect blend of bitch and benevolence, her guitar riffs pure rock graft. As another English bard once said, "All's well that ends well."
22nd August 2005, 11:37 AM
Reprinted from the Boston Globe, by Marc Hirsh
Hatfield puts new in an old light
It has been a scant two weeks since the release of ''Made in China," but Juliana Hatfield treated her latest album almost as an afterthought at the Paradise on Saturday, so much so that she admitted she didn't even have any copies to sell at the merchandise table. Waiting until her set was four songs deep before playing anything from it, Hatfield instead covered nearly her entire solo career, touching on ''China" but not emphasizing it.
Although that approach ran the risk of disappointing some of Hatfield's more loyal fans -- who over the years have likely heard most of these songs live already -- it served to place her new material in the larger context of her catalog. The sprightly ''Sunshine" (from last year's ''In Exile Deo") rubbed elbows with the grunting riff of ''Dumb Fun" (from 1995's ''Only Everything"), which was followed by the brief and speedy new ''Going Blonde." The juxtapositions made for a more unpredictable show than if she had simply played most of ''China" with a handful of older songs.
Backed by bassist Ed Valauskas and drummer Pete Caldes from openers the Gentlemen, Hatfield's songs were sometimes sharper and less delicate than their original recorded versions, especially on ''Beautiful Creature" songs ''Hotels," ''Choose Drugs," and ''Somebody's Waiting for Me." Her own guitar was more hit-or-miss, with an indistinct warmth that generally worked better for the slower atmospheric numbers such as ''Dying Proof" than for full rock-out songs such as ''Oh."
By the time she reached ''Robot City" (from her Some Girls project) about halfway through, Hatfield seemed tapped out and sluggish. But she not only acknowledged the lull, she turned it around, with ''What a Life" and ''Swan Song," upping the energy once again and carrying it through to the end. She began the first of her two encores with a cover of Kelly Clarkson's ''Because of You" that worked surprisingly well, proof that after nearly 20 years in the industry, Hatfield doesn't need a stunning voice to get to the heart of a song.
22nd August 2005, 11:38 AM
yo amo a esa mujer y a Lisa Loeb, son mis dark sides
22nd August 2005, 11:45 AM
pues claro que rockea, si es la hermana de James Hetfield :rolleyes: :rolleyes:
25th August 2005, 02:52 PM
http://s88596283.onlinehome.us/gallery/index.php?currDir=./Juliana_Hatfield/Made_In_China Tremendas fotos aqui de la gira 2005.
25th August 2005, 02:54 PM
Mira Que Linda!!!!!!!
26th August 2005, 02:47 PM
Una vez mas Juliana es nominada en los Boston Music Awards(female singer/songwriter)para votar por ella aqui:http://www.nemoboston.com/bma/2005ballot.htm Voten tambien por el productor de su ultimo disco Paul Kolderie!!!!!
4th September 2005, 06:51 AM
The Rock Show (http://www.garageradio.com/modules.php?name=News&file=categories&op=newindex&catid=19): Juliana Hatfield With The Gentlemen http://www.garageradio.com/images/topics/shows.jpg It has been a dozen years and 5 plus releases since Become What You Are broke Juliana away from Evan Dando's shadow. And while she's enjoyed moderate success, she just never was comfortable with the rock star status that she felt was prematurely assigned to her after that LP. Yet it was that springboard release that provided the backdrop for this 21 song set and the cover for the uncomfortable ness that the Boo created for the main attraction.
Juliana Hatfield with The Gentlemen
Story and photos by G. Gone (http://www.independisc.com/) A boo rose from the crowd just after Juliana Hatfield's 5th song to a maximum capacity gathering at Café 9. Out of context, it was somewhat out of place. The 100+ people that were sandwiched between the bar, stage and tables against the far wall (where many stood on the benches for a glimpse of this anti-rock star babe) were loving everything that Juliana and her band was giving them, as were the unfortunates who were listening to this sold out show from outside on the sidewalk.
http://www.garageradio.com/images/juliana/j14.jpgThe Gentlemen, from Juliana's native Boston, MA, opened the show with a tight, ripping, 40-minute set of English blues rock straight out of the early days of The Rolling Stones, with a dash of New York Dolls swagger. Their rhythm section, Ed Valauskas (bass) and Pete Caldes (drums), pulled double duty backing Juliana. It was here, during her introduction of the band, that the boo sounded out. Up until that point it was just straight ahead rock – five songs in succession that were highlighting the fact that Juliana was getting into rockin' her guitar, hitting her vocals to a T, and thoroughly enjoying trading it off with the band, who were jammin'. The trio quickly established a zone in this intimate setting and was working the crowd into a small frenzy.
It has been a dozen years and 5 plus releases since Become What You Are broke Juliana away from Evan Dando's shadow. And while she's enjoyed moderate success, she just never was comfortable with the rock star status that she felt was prematurely assigned to her after that LP. Yet it was that springboard release that provided the backdrop for this 21 song set and the cover for the uncomfortable ness that the Boo created for the main attraction.
You see, it was the first break in the music, and Juliana, who in the past took much of her reclusive ness on stage with her (some guitar leads were still played with her back to the audience), was addressing the fans. She asked how The Gentlemen were and apologized for not seeing their set, as she was wrapped up in the Red Sox game. She said they were going to play a new song, and then proceeded to introduce Ed and Pete, when someone shouted out "Which one you sleeping with?" – that's when the Boo came out; the crowd didn't approve. Here was, granted, a rock star sex symbol, playing her own music for an appreciative crowd, and while there may have been many in the crowd who secretly desired her, who envied her, who lusted after her, and who may or may not have been jealous of her lover/lovers both past and present, they all respected her for what she was doing at the moment – playing a small intimate club, and laying it all out for her art, for her music, for her fans. And these fans did not like what they had just heard emit from their masses.
http://www.garageradio.com/images/juliana/j12.jpgPerplexed and a bit confused, Juliana asked what the Boo was for, and one of the faithful relayed the comment. With a toss of her short bob she said something to the band and launched into "Supermodel," "5000 dollars a day / Is what they pay my baby / For her pretty face." Maybe it was a rebuttal, but I think it was the familiar territory of the words and music that allowed Juliana to vent without a direct response, because from here on out the show caught fire. Whereas before the trio laid down an intense groove, here they just smoked it. The sound, which earlier was a tad blues jam muddy, exploded with the excellence of rock. Segueing right into another Become What You Are song allowed Juliana to take flight. The light soaring vocals of "Mabel" only confirmed the great sound, and when she proclaimed "Check out that lady/ Check out that lady," you knew she wanted you to see her for what she is.
A couple of new songs, followed by "Houseboy" and "Dame With A Rod," continued to drive home the fact that Juliana doesn't give a fuck who you think she's sleeping with, it's none of your fucking business, so shut the fuck up and listen to the music, maybe you just might get it.
It was non-stop from there, mixing songs from all her releases, playing to an ever enamored crowd and delivering beautiful, soul touching, spot on vocals to such show stoppers as "Sunshine" and the Encore "My Enemy" off last year's underrated and subtly great CD, In Exile Deo. The full set and encore totaled an hour and 20 minutes and when, during the final song, Juliana's amp cut out, she simply said "Goodnight everyone," and the crowd understood. This seemed to please her, so she whacked her amp a few times and was able to finish the song. Without roadies, it was up to her and the band to break down the stage and while they did Juliana herself sold copies of her latest CD, Made In China, released on her own label, straight out of the manufacturer's box.
It has been 12 years since Become What You Are came out. At one time Juliana was concerned about how the public perceived her. Unfortunately, the machine that is the music industry has spawned those with preconceived notions, those who are molded to be what someone else wants them to be and those like the ass that was booed. But Juliana has persevered and has fulfilled her prophecy; she has become what she is and she out there telling it. I for one am glad I was listening.
VISIT JULIANA HATFIELD ONLINE (http://www.julianahatfield.com/)
4th September 2005, 07:13 AM
Una de mis guitarristas favoritas.
Qué pena que sea anoréxica. Ella piensa que es fea y que la comida es mala. Y pensando así sea puso fea de verdad. Busquen el video de Temptation Eyes, de Blake Babies, o cualquier foto de ella en Blake Babies para que la vean "gorda e indeseable".
No está siendo sarcástica cuando canta Ugly, de Hey babe.
Wow, pero qué arpegios. Me gusta más su estilo guitarril que el de casi cualquier otro/a guitarrero/a. No come cuento con una SG, y menos con una Les Paul.
4th September 2005, 07:32 AM
El que este libre de pecado que tire la primera piedra,ella es valiente y no teme hablar de sus debilidades e inseguridades,por eso la admiro y respeto.Que bueno oir de gente que saben lo buen guitarrista y compositora que es y por si acaso ella siempre ha dicho que puede mejorar y todavia no ha compuesto su obra maestra(musicalmente hablando)de perdedora no tiene un pelo aunque Rolling Stone le haga pensar a los tontos que asi es.GOD BLESS JULIANNA HATFIELD!!!!! www.julianahatfield.com (http://www.julianahatfield.com) www.dyingproof.com (http://www.dyingproof.com) www.some-girls.com (http://www.some-girls.com)
4th September 2005, 07:33 AM
www.blake (http://www.blake) babies.com(los comienzos!!!)
4th September 2005, 07:35 AM
Oops www.blakebabies.com (http://www.blakebabies.com) (ahora si)
4th September 2005, 10:05 AM
Lo siento, pero quien tenga una "enfermedad" que se base en no comer, o peor en vomitar lo que comió, porque se ve "fea gorda" no merece mi respeto aboluto.
Gran guitarrista. No se lo quita nadie. Tengo 30 años. Conozco su trabajo desde que estaba en high school, hace más de 12 años, cuando casi todos los que escriben aqui estaban en kinder (literalmente). Aprecio mucho su música. Puedo reconocer la belleza de Ugly, a pesar de ser un testamento de su vida real. Puedo identificarme con la manifestación de un fuerte deseo en pausa en Temptation Eyes y quisiera que No Outlet no me recordara tantas cosas intensas de mi propia vida. Y las guitarras, una vez más, impecables.
Pero vomitar por que se siente gorda? Uy no. Hasta ahí llego. Tengo muchas estudiantes universitarias (soy profesor) y una sobrina. Me escanadliza esa "enfermedad". No puedo decir "ay bendito es que ella tiene una condición, un defecto. Ay pobre nena". Gente muriendo de hambre y ella vomitando mientras le suplica a Beyonce que no sea superficial? Lo siento, no soy tan fanático.
Que coma. La comida es buena.
Pero claro, esa es sólo mi opinión. Quizá soy un viejo anticuado. Quizá la anorexia es buena.
17th September 2005, 06:32 AM
Inside Juliana Hatfield’s Reliable Ride
WHAT SHE LIKES BEST: Its dependability. I've put 130,000 miles on it and never had any major problems. Oh, and I can take it around corners and curves really fast and it won't tip over like an SUV would.
WHAT SHE LIKES LEAST: It's not aging very well, cosmetically or aesthetically. It has nicks, scratches, dents and lumps all over it and pieces of the body are falling off and there’s some rust here and there. But I don’t really care that much—it’s what’s inside that counts, and the heart/engine is just fine.
CDS CURRENTLY IN ROTATION: Kelly Clarkson, Furvis, Bronson Arroyo, Annie, M.I.A., RTX, John Doe, live Jefferson Airplane bootleg, my new record.
WHAT’S THE MOST MEMORABLE THING THAT’S HAPPENED IN THE BACK SEAT? My dog bled all over the back seat once. She had a blister or a cut or something that opened up and leaked and the dog was moving around a lot and there was blood everywhere.
HOW MANY AMPS CAN IT HAUL? Unfortunately, it can’t haul much big gear. There’s limited space. If there is no one riding in the backseat, I can fit maybe two amps—one in the backseat and one in the trunk. I think I squeezed a Marshall cabinet into the backseat once.
HAS IT EVER INSPIRED A SONG? No. It’s too boring and functional. My former car, though, was a total inspiration. It was a 1968 Chevy Impala. So beautiful and so cool. But I had to drive across the country and I didn’t think she would make it so I sold her.
IF FORD IS AN ACRONYM FOR “FOUND ON ROAD DEAD” WHAT IS VW SHORT FOR? Very Whitebread
DOES YOUR CAR HAVE A NAME? No. If it did have a name, it would probably be something like Gerta or Helga—something no-nonsense and German. But I don’t subscribe to the point of view that says that your car must express your personality. If I were trying to express my personality with this car, that would mean that I am boring and out-of-style. But, also, solid and resilient. Oh my God. I think I am unconsciously expressing my personality with my car.
Juliana Hatfield’s new album, Made in China, is available now on Ye Olde Records.
17th September 2005, 06:37 AM
17th September 2005, 06:41 AM
Girls with Gibson Guitars RULE!!!!http://harpmagazine.com/img/articles/200510_064e.jpg
17th September 2005, 06:44 AM
17th September 2005, 06:46 AM
She can drive,sing and play guitar better than any guy!!!!http://harpmagazine.com/img/articles/200510_064a.jpg
17th September 2005, 07:12 AM
Vean sus videos!!!! http://www.dyingproof.com/heavy/video/perform.html
25th September 2005, 07:41 AM
1st October 2005, 06:33 PM
Juliana Hatfield is more than just a prominent voice in the indie-rock scene. She is also a member of Red Sox Nation. A singer/songwriter/guitarist who has received critical acclaim both as a solo artist and as a member of the Blake Babies, Hatfield has a special place in her heart for her hometown team. Born in Boston and now a resident of Cambridge, Hatfield performed at this year's Peter Gammons' Hot Stove, Cool Music benefit. Her most recent solo album, "Made in China," was released in August.
On her history as a Red Sox fan: "My dad used to bring me to games back in the '70s. What I remember is the crowds; the fans converging into Fenway Park. That and the players -- the great players -- like Yaz and Fisk and Tiant and Rice. But I don't remember a lot of the details. Then I completely lost interest for awhile. But I guess I'm a late-bloomer in a lot of things, and baseball was one of them. Suddenly, a few years ago, it was, 'Oh my God, what a beautiful thing!' Baseball is such a metaphor for life, and I wondered why I wasn't getting that before. This year, I've gone to more games than I ever have."
On baseball as a metaphor: "Baseball is more than a game. It's like life played out on a field. There are so many baseball metaphors: 'An even playing field,' 'striking out,' 'getting to second base with a chick.' And I love beautiful moments. David Ortiz hitting a home run in the bottom of the ninth…great endings to games have made me want to cry. Actually, I have cried. You experience them, and dream about beautiful winning moments of your own."
On some of her favorite players: "I love Edgar Renteria's face. It's such a great face: beautiful eyes and such smooth skin. I like Lenny DiNardo's form. His wind-up and his extension are balletic. I know he's not the fastest guy out there, but speed isn't everything, is it? And David Ortiz is a genius. He's incredible to watch. Over and over, he hits home runs that are simply transcendent. I also love the guys who do great work but aren't flashy. Guys like John Olerud and Bill Mueller. Tony Graffanino is another one. I actually didn't like him at first, because he replaced Mark Bellhorn. I guess that was kind of like not wanting to like the girl that your old boyfriend left you for. You want to hate her, but it turns out that she's way too cool to hate. Graffanino is kind of like that for me."
On Mark Bellhorn: "I really liked Mark Bellhorn. I felt like I could relate to him in some ways. He was a guy who didn't always get credit for all of his good things, and sometimes I feel underappreciated myself. People seemed so willing to forget what he did last year. Instead, they'd just boo, and I didn't think it was fair. I think that reaction shows that a lot of people lack faith. I have a lot of faith…maybe even in lost causes sometimes. But I think he's probably happy where he is now. I'm sure he's going to be okay."
On the Red Sox championship last year: "When we lost the first three games to the Yankees, I thought that it was over. I was thinking, 'I'm breaking up with the Red Sox! I can't take the pain anymore! We're done!' But then they proved me wrong, just like it happens sometimes in real life. I was at Flat Top Johnny's in Cambridge when we won the World Series. I was there with Lenny and Ed and a bunch of other friends. There was an eclipse that night, wasn't there?"
On getting involved with Hot Stove Cool Music: "I started playing with Ed (Valauskas) a few years ago, and he got me into it. I think maybe he suggested me to the people putting it together. Ed and Bill Janovitz and a few other local musicians know some of the guys on the team. I was on tour with Ed and Pete (Caldez) last summer, and they introduced me to Lenny and Bronson in Atlanta. They were in town at the same time and came to our show. Then we went on to San Francisco, and the team was there, too. That was how my whole connection to the Red Sox and Hot Stove started."
On her latest, and future, music projects: My new album is called "Made in China," which came out in August. I released it on the label I just started, "Ye Olde Records." The contract with my old label had expired, so I thought it would be easier just to start my own. I also have a new record with my side project, which is with Freda from the Blake Babies and Heidi Gluck. We're called Some Girls. Next, I think I want to do an acoustic album...a pretty one."
19th October 2005, 11:21 AM
Juliana Hatfield interview and performance ('Hole in the Sky') from the Main Event on NECN 10/14/05
Juliana Hatfield on the Main Event on NECN
(8:17, 24196260 bytes, WMV) (http://cheapandplastic.com/jh/main_event_necn/NECN_20051014204237.wmv)
Andrew Kieschnick (email@example.com)
19th October 2005, 11:24 AM
Juliana estara de opening en algunos conciertos de los legendarios punks X (su babysitter le puso una vez sus discos y ahi comenzo todo).
12/02/05 The Masquerade, Atlanta, GA
12/04/05 The NorVa, Norfolk, VA
12/06/05 Sonar, Baltimore, MD
12/08/05 Theatre Of Living Arts, Philadelphia, PA
24th October 2005, 01:01 PM
Juliana will be opening at all of X's shows in December:
12/02/05 The Masquerade, Atlanta, GA
12/03/05 Tremont Music Hall, Charlotte, NC
12/04/05 The NorVa, Norfolk, VA
12/05/05 9:30 Club, Washington, DC
12/06/05 Sonar, Baltimore, MD
12/08/05 Theatre Of Living Arts, Philadelphia, PA
12/09/05 Roseland, New York, NY
12/10/05 Avalon, Boston, MA
23rd November 2005, 04:32 PM
Juliana tiene nuevo "Message Board" en su pagina oficial. http://www.julianahatfield.com/forum/
2nd December 2005, 02:08 PM
Sneaking into the mainstream
During the mid-1990's alternative-rock boom, singer/guitarist Juliana Hatfield was an unassuming, alt-rock starlet, a fixture of Boston's exploding indie-rock scene. She was one of the city's biggest breakouts with videos for "My Sister" and "Universal Heart-Beat" in rotation on MTV. Another, "Spin the Bottle," from the 1994 film, "Reality Bites," cracked the Top 40. She even appeared as a homeless girl on the cult drama "My So-Called Life."
"Somehow I found myself sneaking into the mainstream," the petite Hatfield said during a phone call from her mother's home in Cape Cod. "There are a lot of people who only know me from 'Spin the Bottle' or 'My So-Called Life.' Those people don't know I'm still around."
Despite a lack of recent mainstream exposure, she's still a critic's darling with a loyal fan base. She performs Saturday at Tremont Music Hall with cowpunk originators X.
Never sticking to one style for long, her catalog ranges from intimate singer/songwriter fare to indie-pop to the blistering, bluesy guitar rock of 2005's "Made in China," which she released on her own Ye Olde Records after her contract with Rounder/Zoe Records ended.
Operating her own label allows her to monitor records sales closely and sell the album directly through her Web site. Of course, Ye Olde lacks the promotional power of a major label, but Hatfield is more interested in making a living than having hits.
"I can't compete in today's marketplace anyway," the 38-year-old said. "Mainstream culture is gross. People with the most amazing talent are taking their clothes off to sell their music. I find it disgusting and I'm not a prude. Aretha Franklin never put on a bikini to sell records. Would she have to if she was starting out now?"
Hatfield came up during a time when women were leaders in the indie-rock movement. In Boston alone, her female peers included Belly's Tanya Donelly, Throwing Muses' Kristin Hersh, the Breeders' Kim Deal), Mary Lou Lord, and Letters to Cleo's Kay Hanley.
"As far as I can remember none of those girls were taking off their shirts," she said. "Not that there is anything wrong with taking your clothes off, but there should be other models of successful female singers. What are young girls modeling themselves after now?"
As far as her own role models go, she's on the road with one now -- X's Exene Cervenka.
"She's one of my musical idols. You could tell this woman had self-respect. She was obviously very intelligent," she said of her first impression of the X singer. "She kept something to herself. She didn't exploit every part of her being."
Opening for the seminal '80s punk poets is a career high, she said.
"They were so important to me at an impressionable time when I realized I wanted to make music," she added. "This is my teenage dream. I can quit now."
2nd December 2005, 02:19 PM
Videos from the 5/15/04 shows at the Windham, Bellows Falls, VT (http://cheapandplastic.com/jh/windham/)
Interview from 5/19/04 on the Globe at Home on NECN (http://cheapandplastic.com/jh/globe_necn/)
Videos from the 12/11/04 show at The Ark, Ann Arbor, MI (http://cheapandplastic.com/jh/the_ark/)
'Hot Stove, Cool Music scenes' clip from 7/17/05 NESN broadcast (http://cheapandplastic.com/jh/hscm_nesn/)
Interview and performance from 10/14/05 on the Main Event on NECN (http://cheapandplastic.com/jh/main_event_necn/)
2nd December 2005, 02:23 PM
Mas videos de esta genial artista!!!! http://www.dyingproof.com/heavy/video/perform.html
9th December 2005, 05:02 AM
Red-letter night for fans of X
By Scott Galupo
December 7, 2005
What's this about punk being a game for inspired amateurs?
No one, apparently, told X, the seminal Los Angeles band that released a handful of luminous punk LPs in the 1980s and then splintered into a million different side projects.
The original quartet -- singer Exene Cervenka, singer-bassist John Doe, guitarist Billy Zoom and drummer D.J. Bonebrake -- still tours occasionally, however. A pair of L.A. House of Blues gigs from last year yielded the "Live in Los Angeles" CD and DVD package.
"Live in Los Angeles," released last spring, is a fair enough document, but as a number of famous fans such as Flea and Henry Rollins have testified, one really has to see X to appreciate the full brunt of its power. A sizable, though short of sellout, audience braved the season's first snow and trekked to the 9:30 Club Monday night to do just that.
For a gloriously tuneful hour, X did its inimitable thing, not much changed since the Reagan era. Miss Cervenka, in black boots, checkered stockings and pink skirt, harmonized with Mr. Doe in their hectic, not-quite-harmonic style. Mr. Zoom, wearing a biker jacket and with his hair slick and frosty, churned out a torrent of punkabilly surf rock on his sparkly guitar as nonchalantly as a man walking his dog. And Mr. Bonebrake demonstrated why he might be the most proficient drummer who ever has played in a so-called punk band.
The 20-song set list was basically a jumble of that assembled on "Live in Los Angeles," which was no bad thing: It has all the X goodies -- the menacing "White Girl," the hangover anthem "Nausea," propulsive rave-ups such as "Your Phone's Off the Hook, but You're Not," "Johny Hit and Run Paulene" and "Los Angeles," plus over-in-a-flash miracles such as "Year 1."
Mr. Doe and Miss Cervenka, who were married for a time, exchanged good-naturedly apathetic political banter before getting to "The New World," a stomp of disaffection that became something of an anti-Bush anthem on the campaign trail last year when Pearl Jam and actor Tim Robbins covered it during several Vote for Change concerts.
X closed up shop with another articulation of poetic fed-uppery, "The World's a Mess, It's in My Kiss," but avoided the stump speeches that are, alas, typical of the current punk and indie-rock generation.
"Less talk, more music," Mr. Doe had said earlier in imitation of the empty slogans of many a rock radio station.
Opening for X was the ever-underappreciated Juliana Hatfield. Like her X heroes, Miss Hatfield writes hooky melodies and gleefully sabotages them with howling electricity. The Boston-based singer wielded a hulking, semi-hollow-body electric guitar and shambled up and down its neck as her hard-charging rhythm section kept a steady backbeat.
Miss Hatfield duetted with Mr. Doe for the early college rock favorite "Everybody Loves Me but You" and culled "Stay Awake," "Oh" and "On Video" from her compellingly raw new album, "Made in China."
"Necessito," an offering from Miss Hatfield's side band, Some Girls, was the kind of song the Bangles might have written once, if they were cooler.
14th December 2005, 10:06 AM
Fotos de X y Juliana con John Doe en tarima N.Y. http://www.eicher.org/gallery/view_album.php?set_albumName=X-and-Juliana-Hatfield
14th December 2005, 10:09 AM
Fotos del show en Boston. http://www.flickr.com/photos/djdurutti/sets/1562970/
20th December 2005, 10:32 AM
Otra interesante entrevista con Juliana quien ahora se prepara para una pequeña gira europea luego del exito de sus conciertos abriendole a los legendarios punks X.Reprinted from Magnet magazine, by Matt Ryan
Q&A: Juliana Hatfield
With Made In China, Juliana Hatfield transforms her trademark pop songs into rough-cut guitar jams. The eighth solo record for Hatfield, formerly of late-’80s alt-rock darlings Blake Babies and bassist on the Lemonheads’ It’s A Shame About Ray, is a marked departure from the more polished, singer/songwriter feel of 2004’s In Exile Deo. “Going Blonde” is a perfect example of this loose ethic; at just more than a minute, the song is the perfect pop/punk rave-up, combining Hatfield’s squealing “nah-nah”s and squalling guitars. In contrast, the equally raw but considerably darker “Send Money” grinds along on a guitar riff that’s as thick as boiled lead. Issuing the grungy, stripped-down Made In China on her own Ye Olde Records label meant that Hatfield had only to meet her own expectations.
Are you still living in the Boston area?
Yep. I live in Cambridge. I’ve lived here for about four years.
Tell me about the open letter you posted on your Web site about the new record. It seems to be designed to confuse.
I was actually trying to clarify some things. Before I put the record out, people were starting to ask, “Oh, what’s the significance of the photograph on the cover? What are you trying to say with that?” I hadn’t even thought about it. And there were questions from people interpreting songs. I thought that maybe I’d just prevent any questions that people might have by explaining things. I guess I was just sort of talking about the record and what it means.
It’s full of contradictions, though.
That’s because I’m full of contradictions. I remember being very depressed when I wrote that. I was depressed and trying to explain things in that frame of mind and that’s what came out of me. I guess I was just trying to express some truths about how I feel about the record.
The cover (of the record) is provocative, yet you take the industry to task in the letter for their “sex sells” mentality.
I don’t really know if I’m taking it to task. I’m just telling it like it is. It is what it is. The way I see it, all the popular singers are strippers. That’s just how I see it, and I think a lot of other people see it that way. I’m not saying it’s right or wrong or bad or good. I mean, I’m entertained by some of it. I just think it’s a little bit sad and disheartening that really talented people have to play that game.
Do you think that’s anything new, though?
No, it’s not. I think I brought it up because of the photograph issue. People were starting to ask me. My manager was asking me, “How are you going to explain this naked torso on your album cover?” To me, it was almost like a cool art shot. I never really thought about it. It’s from a series of self-portrait photographs that I took of myself about two years ago. I find myself a fascinating subject. They were lying around. I dug them out of a drawer somewhere and thought it would be a cool album cover. There’s really no thought put into it other than that. So I kind of backtracked and thought about the meaning for it. People need meanings to everything. People want you to intellectualize every choice you make.
Let’s talk about the music. This record seems like a conscious effort to get back to basics.
Yeah. I just wanted to do it kind of fast, without too much thought put into the actual performances to capture the raw, early takes of everything. It just kind of gives it a good energy. It’s also cheaper that way. And easier. I’m pretty lazy. After my last album, which was a pretty involved, painstaking process in the studio, I wasn’t feeling up to the task of ironing out all the little flaws. I just wanted to play it fast and fun.
I see you recruited some youngsters (members of the Massachusetts trio the Unbusted, featuring Hatfield's ex-boyfriend, Joe Keefe) on this record. Was that part of the plan to get a raw sound?
Nah, they were just sort of around. I was hanging around them and I was a really big fan. They had been doing some shows with me. Their band opened for me on a tour and they were just kind of there, so I had them come in and do it. They were the best answer to the problem of who’s going to play on this album.
Why the self-release? Seems a lot of artists are doing it these days.
I think the industry is forcing them to, pushing everyone in that direction. For me, it just became the only answer and everything was leading me to putting out my own record. It’s gone exactly how I wanted it to go. I got the record out, it’s in some stores and we’re doing some mail-order business, too, which is great, because it’s really empowering to see exactly who’s buying it, where they’re coming from and I can see exactly how many copies I’ve sold. It’s not such a mystery to me now. I can audit the record company and see truthfully how many records I’ve sold. It’s just really cool to be hands-on with everything.
Is it something you’ll continue to do?
Well, for a while. I’m really not into the business side of it. It’s a business and that’s kind of a drag, because I don’t really care about money. I find money boring and accounting boring and so I’m probably not going to ever make a lot of money in it, because I don’t have the mind of a business person. To me, it’s not about maximizing profits, it’s about being totally independent. The benefit is the freedom of it, you know? I don’t have to go on tour if I don’t feel like it. There’s no label pressure to go on tour. I don’t have to do anything I don’t want to do. I can make all the choices.
Sounds like you’re pretty ambivalent about commercial success.
Well, of course I am. I mean, at this point, how can I possibly care about that stuff? To me, the commercial side of it now is about making a living. I never really cared about achieving commercial success. As soon as I was signed to a record company, I felt like I made it because I was able to quit my day job. To me, success was just not having to have a boss and not having a day job. So I’ve been living my own version of success since the early ’90s when I first got signed and I haven’t had a job since then. I’m pretty happy about that. When I did have a little bit of commercial success, it really didn’t suit my temperament at all. I’m a terrible public person. I’m happier where I am now.
It seems like you consider yourself an outsider.
Yeah. I never really expected to win the hearts of the masses.
How do you look back on that whole early-’90s era? Any regrets?
I probably did too many interviews. I said too many stupid things. Seriously, I wish I would have just kept my mouth shut and refused to do any interviews. I was just so young and naïve and stupid. I had no filter. I had no media coach like bands do today. I was just like, “Yeah, I’ll tell you whatever you want to know.” I wasn’t very articulate and I didn’t think things through. I probably should have just kept my mouth shut and let the music speak for itself, but you have to promote, so I promoted.
Back to the new record, is “Send Money” autobiographical or is there a specific incident that inspired it?
I wasn’t writing about a particular instance, but more than once I’ve been approached by overeager Christians offering to help me to be saved. They’re just like overeager proselytizers trying to open me up to the joys of their belief system. I’m just a very private person. So I’m just kind of offended whenever someone tries to impose their belief system on to me. It’s like when people offer to pray for you, like there’s something wrong with you. As if you need to be prayed for? I find that really offensive. It’s like, “If you want to help me, give me money, then you’ll really be helping me. My soul is fine, thanks.” A lot of so-called Christian souls are not fine. People need to look inside themselves and look at the lives they’re leading and fix themselves before they try to fix other people. A perfect example is the Catholic priests, who we all found out last year were raping little children. These spiritual leaders who are telling people what is right in wrong. Those are the people who should really be fixing what’s wrong inside themselves instead of trying to fix everyone else. You know what I’m trying to say, right?
I’m with you on all counts.
I’m sure it’s the way a lot of people feel. Are you Catholic?
I was raised Protestant, but my current belief system reflects everything you just said.
Have you read Under The Banner Of Heaven?
No, I haven’t. Tell me about it.
It’s by this guy named Jon Krakauer, who wrote Into The Wild and Into Thin Air. It’s partly a history of Mormonism. It’s also telling the story of these fundamentalist Mormons who have been compelled by god to kill some fellow Mormons. They kill, in very vicious ways, Mormons of their group who they claim god said were bad people. It just sort of feeds into what I already said. The most rabidly religious people are the most rabidly evil.
And it continues today.
It never stops. As long as there are religions, there are going to be people who are hiding their rottenness behind the veil of religion.
20th December 2005, 10:35 AM
3/2/06 Ancienne Belgique, Brussels, Belgium (http://www.abconcerts.be/concerts/concertinfo.html?c=101262)
3/4/06 Paradiso small, Amsterdam, Holland
3/8/06 Bush Hall, London, England (http://www.ticketweb.co.uk/user/?region=gb_london&query=detail&event=146987&interface=bushhall)
3/9/06 Bush Hall, London, England
24th December 2005, 04:14 AM
4AD fans rejoice!!!!50FOOTWAVE | 'FREE MUSIC'
Official Press Release, 15 December 2005:
50FOOTWAVE is proud to announce "Free Music!" -- a 5 song Ep of new studio recordings to be given away via the band's website www.50footwave.com/freemusic (http://www.50footwave.com/freemusic/) or www.throwingmusic.com/freemusic (http://www.throwingmusic.com/freemusic/) as well as several partner sites including Archive.org (http://www.archive.org/details/50FOOTWAVE50FOOTWAVEFreeMusic) and the sometimes controversial BitTorrent tracker DimeADozen.org (http://www.dimeadozen.org/).
The band will be offering FLAC (Free Lossless Audio Codec) files as well as hi-resolution mp3 files. The band is also encouraging fans to seed BitTorrents and set up CD burning trees to ensure that people without time or technology may also receive the free music.
The tracks will include Creative Commons "Some Rights Reserved" licenses (for more info on Creative Commons, see www.creativecommons.org (http://www.creativecommons.org/)) http://www.throwingmusic.com/freemusic/FreeMusicPhotos/FreeMusicPhoto2small.jpg
The band states its goal as simply to circumvent the 'money cycle' and get high quality (free) recordings into the hands of a maximum number of people for evaluation at their leisure.
The band's manager, Billy O'Connell, says, "The capacity for reaching new ears with unknown music has become so diminished that we felt we had to try a new approach. It has become prohibitively expensive to reach people via traditional marketing means (radio, press, retail promotion) - lately, CD distribution costs and even touring costs have gone through the roof.
"This project is simply attempting to tap the power of the network -- we're asking individuals for their enthusiasm rather than their money. It's an experiment we're eager to see play out."
The band's founder, Kristin Hersh, explains, "Money has so polluted the music world that my overwhelming urge right now is to divorce money from recorded music. Over the last 2 years we've been relying on standard 'industry' channels to help us educate listeners about 50 Foot Wave and we've met resistance every step of the way -- caused by little other than money -- and to an extent I've never seen before.
"So we're sending free recordings off into the world to do their work. If people enjoy these songs and are excited by them, we ask that they share them with others. The music business is about fame and huge profits -- egos and greed -- music itself, is not."
FREE MUSIC (http://www.throwingmusic.com/freemusic/)
TOUR DATES (http://www.throwingmusic.com/tourdates.html)
MESSAGE BOARD (http://www.throwingmusic.com/jive/forum.jspa?forumID=2)
PHOTOS / GRAPHICS (http://www.throwingmusic.com/photosgraphics.html)
ARTIST INFO (http://www.throwingmusic.com/artistinfo.html)
© 2005, ThrowingMusic
24th December 2005, 04:29 AM
I love KIM DEAL!!!! http://www.broszkowski.com/tv/pixies/pixiesvideodownload.html
31st January 2006, 12:43 PM
A finales de la primavera se espera el lanzamiento del 2do disco de la otra banda de Juliana (Some Girls). www.julianahatfield.com (http://www.julianahatfield.com) http://ec1.images-amazon.com/images/P/B0000AINL4.01._SCLZZZZZZZ_.jpg
3rd February 2006, 01:37 PM
http://myspace.com/thesomegirls (http://myspace.com/thesomegirls) Es posible que en un futuro cercano las chicas estrenen algo de su nuevo material en su nueva pagina.
27th February 2006, 02:54 PM
Freda Love(ex-Blake Babies) y Some Girls,tiene 2 canciones nuevas en la pagina de su otro grupo Mysteries Of Life.at the Mysteries' Myspace page (http://www.myspace.com/themysteriesoflife)
27th February 2006, 04:48 PM
she's hot. i enjoy her music a lot i have to say.
1st March 2006, 10:51 AM
http://cheapandplastic.com/gallery2/v/Juliana-Hatfield/Lizard-Lounge/ Algunas fotos recientes (Feb 27).
1st March 2006, 10:53 AM
March 1, 2006Liege, Belgium
SoundstationMarch 2, 2006Brussels, Belgium
Ancienne BelgiqueMarch 3, 2006Den Bosch, Holland
W2March 4, 2006Amsterdam, Holland Paradiso, supporting Caesar (http://www.excelsior-recordings.net/artists/caesar.php)March 5, 2006Münster, GermanyGleis 22March 8, 2006London, EnglandBush HallMarch 9, 2006London, EnglandBush Hall
1st March 2006, 01:58 PM
la nena de la vocecita??
3rd March 2006, 11:33 AM
Here's the Brussels setlist
- Waiting for Heaven
- Somebody is waiting for me
- Hole in the Sky
- Girl in a box
- The Prettiest Girl
- Slow Motion
- Fleur de Lys
- Because we love you
- My Sister
- Spin the Bottle
- On my back
- Spin the Bottle
3rd March 2006, 11:42 AM
http://flickr.com/photos/lieve/sets/72057594073398779/show/ Excelente Slideshow de Juliana en Europa!!!
3rd March 2006, 11:45 AM
http://users.skynet.be/fa224292/juliana/ (http://users.skynet.be/fa224292/juliana/) Fotos y Videos del show en Bruselas.
3rd March 2006, 11:48 AM
http://flickr.com/photos/lieve/sets/72057594073958974/show/ Slideshow Bruselas.
3rd March 2006, 01:37 PM
sorry to hijack, but Linda Strawberry ownz Juliana Hatfield..
4th March 2006, 03:54 PM
http://flickr.com/photos/lieve/sets/72057594074659156/show/ Slideshow del 3er show en Europa.
4th March 2006, 04:03 PM
que fea es pu~neta
6th March 2006, 05:01 PM
http://www.flickr.com/photos/carstenwohlfeld/show/ Germany(March 6) Slideshow w/ opening act.
9th March 2006, 11:03 AM
http://www.flickr.com/photos/memloss/tags/julianahatfield/show/ Slideshow de su presentacion anoche en Londres ante casa llena,hoy repite.
10th March 2006, 03:52 PM
Bush Hall, London, 09 Mar 06
Anyone who thinks being a music hack doesn't constitute "proper" journalism should spent 48 hours trying to track down Juliana Hatfield.
The one-time poster-girl for sensitive American indie rock's star has inevitably fallen somewhat since the heady days of Become What You Are and copping off with Evan Dando. But it seems she's dropped so far off the radar that not only does no one in the music industry know who represents her, but quite a few of them claim to have never heard of her.
No wonder there's some dramatic ranting on Juliana's website about the industry that seems to have abandoned her, but at least the soppy indie boys haven't forgotten her. They're here in force for the second night running, outnumbering the girls by about ten to one, all crowded down the front with their camera phones aloft and their utter besotted-ness worn very much on their sleeves.
And, true, there is still much to love about the girl ranked Number Four on the All-Time Dream Indie Girlfriends List (after Jenny Lewis from Rilo Kiley, Tracey Tracey from The Primitives and Lisa Bonet in High Fidelity, obviously). Her on-stage confidence doesn't seem to have improved much since the mid-Nineties but as she faces down the boys alone but for her guitar, the constant fluffing of guitar riffs, forgetting of lyrics and endearingly unrehearsed between-song banter (at one point she goes into a bizarre rant about car park designers) comes across as charmingly scatty rather than incompetent.
But it's the songs that are the key to Juliana's appeal. Tonight's sprawling set encompasses everything from the "hits" from her brief period of indie stardom (My Sister, Nirvana) to angry new tunes from the recommended Made In China album, from Blake Babies classics (Girl In A Box) to songs from her Some Girls side-project (Robot City). And that's more than enough to make you realise that her angsty vocals and wordplay have become quietly influential on the likes of Gemma Hayes and that new Yeah Yeah Yeahs single.
Not that Juliana would make such claims for herself. This is a fanboy's set and, accordingly, there is much affectionate banter between her and the crowd, some personal dedications and even a few intimate revelations (eg she drives a 1998 Volkswagon) for the hardcore to note down in their stalkers' handbooks. In the unlikely event that anyone arrived at this gig not in love with her, they surely would have left that way.
Oh, and it turns out that her "people" are a nice bloke called Fergus from the distribution company, stood at the back doing a roaring trade in copies of Made In China for a tenner. She's coming back in September with a full band, apparently - which gives us plenty of time to ensure she gets a proper welcome next time.
13th March 2006, 04:14 PM
http://www.purelivegigs.com/forums/showthread.php?p=24527#post24527 Audio de su reciente concierto en Londres(2nd nite).
17th March 2006, 11:23 AM
RECUENTO DE UN FAN EN LONDRES march 2006
Wednesday 8th & Thursday 9th
Back in Europe after an absence of - by her own account - something like 12 years! A short 7 gig tour passing through Belgium, the Netherlands and Germany before finishing up in great style with 2 consecutive shows at Bush Hall in London. I managed to refrain from doing the full road trip thing but of course I had to get on a plane for London to witness those final events.
Bush Hall is not your typical small club - originally a dance hall built in 1904 it features high ceilings, chandeliers and elegant ornaments all over the place. You'd think that all the plaster works might be bad for the acoustics but no - the sound was really good.
The openers - Hilken Mancini & Chris Colbourn trio
On my tickets it says loud and clear: "This is a co-headline show" but who are they kidding? No one - including Mancini/Colbourn themselves were ever in doubt about exactly which co-headliner the audience had come to watch. On the first night it didn't really begin too promising. With Chris starting out saying that "we're going to play 10 songs cause that's all we know" and then Hilken really messing up the first couple of songs I couldn't help starting a count-down from 10. I've got their album and apart from a few Hilken songs I'm not too crazy about it. On stage they tried to make it a bit noisier but that experiment sort of turned weird. The second night however wasn't bad at all - they also joked about everything finally coming together at their last show.
And then - Juliana
Apart from a few encores here and there I'd never experienced Juliana as a solo artist before. Judging from what I had heard my expectations were high but she had no problem meeting them. Juliana and her guitar alone on stage really shows off both her skills as a musician and the superb quality of her songs.
In many ways it would be more accurate to describe what happened on those 2 days as one big show with a really large break between the 2 sets. Obviously Juliana had figured out that she would be playing for pretty much the same crowd both Wednesday and Thursday and accordingly she came up with 2 very different set lists. They both had a common core of some of the more recent stuff but in between that she sprinkled all sorts of rarities.
The set lists looked like this:
Waiting for Heaven
Girl in a Box
Down on Me
Everybody loves me but Lou
Because We Love You
The Prettiest Girl
Somebody is Waiting for Me
Let's Blow it All
Spin the Bottle
When You Loved Me
If I Could
Cry in the Dark
Somebody is Waiting for Me
Girl in a Box
Live on Tomorrow
Because We Love You
Ten Foot Pole
Hole in the Sky
I Got No Idols
To avoid going on forever and ever I'll just mention what was the absolute highlights for me:
Outsider: Actually thought I knew how to play this but she proved me wrong. As was the case for many other songs too - even though she tends to describe herself as being a bit lazy when it comes to practicing the guitar it's striking to watch how many non-obvious and not so easy fingerings she comes up with on stage.
Let's Blow it All: Instant goose bumps really and then in the middle of the song she comes up with some totally awesome chords and vocals!
Raisans:(DINOSAUR JR.COVER) Had I not been warned beforehand I'd probably had a hard time believing my ears. Not only did she play it both nights but especially the first night it was simply fantastic.
When You Loved Me: The recorded version was never a favorite of mine - it's like this song was recorded before it found it's final form. Live it tends to be much better and this time it was brilliant.
If I Could: Same thing really - the download version didn't impress me at all but it made for a perfect ending of the Wednesday night show.
Live on Tomorrow: Someone actually requested this at the first show - this made her go back and rehearse and give it to us the night after. This is another case where the recorded version doesn't do the song justice at all - the live version was simply spectacular!
http://www.onlyeverything.dk/Images/March2006Small/IMG_1388_sm.jpgAll in all she served up no less than 33 different songs during those 2 shows. quite a feat in itself. And yes she did mess up stuff here and there but in her case it's almost like the messing up comes out as an added bonus. She's very relaxed about it and it often leads to some extra chatter with the audience.
Interesting to note how much she used her new toy - the sampler pedal that enables her to play along with herself, many times with very good results. It did of course choose to act up on the very first song of the first show but Juliana persisted and after asking us to rewind twice we did end up getting the solo part for Hotels.
One thing that can really ruin a solo performance like this is an audience that doesn't care much about what goes on at the stage and just stand around talking to each other during the songs. Well nothing to worry about there - at times, especially at the second show, it was almost eerie how silent the crowd could be during the breaks. Not that they didn't manage to show their appreciation - plenty of applause after each song. It was obvious that most really had been waiting for those 12 years or so and they weren't going to miss a second of it now that it finally came around.
All in all a very generous treat from Juliana in front of a group of totally dedicated fans. She mentioned several times that she really wanted to come back and bring her band - possibly in the fall. Now of course whether that will actually happen remains to be seen, but I'm pretty sure that more than a couple of fans will make sure to be there if it does!
If I should come up with one critique about the venue I'd say that they might want to get some better stage lights. Especially from where I found myself at the first show it was pretty hard to get a good result - having to work with ISO1600 and shutter speeds around 1/8 sec is not a lot of fun. Things looked a lot better on Thursday though. You can find the galleries here:
Wednesday (http://www.onlyeverything.dk/Images/March2006_1/) Thursday (http://www.onlyeverything.dk/Images/March2006_2/)
Several of the Thursday shots actually turned out good enough that they look OK in larger sizes so I've made a separate gallery for those who want to make prints or have really large monitors:
Thursday - full size images (http://www.onlyeverything.dk/Images/March2006_2f/)
Yeah it's a mess having to look in 2 different galleries for different sizes of the same images - I'll try to straighten this up one of these days!
Oh and for the photo geeks - equipment used was my Canon EOS 350D (that's what you US guys may know as a Digital Rebel XT) with a 28-135mm IS lens.
23rd March 2006, 03:30 PM
The Big Star tribute album Big Star Small World, which was supposed to have been released all the way back in 1998 but never was, is finally coming out May 23rd on Koch Records.
1. Nightime - Afghan Whigs
2. Ballad Of El Goodo - Matthew Sweet
3. Back Of A Car - Gin Blossoms
4. Jesus Christ - Teenage Fanclub
5. Hot Thing - Big Star
6. Thirteen - Wilco
7. What's Going On? - The Posies
8. Don't Lie To Me - Juliana Hatfield
9. Give Me Another Chance - Whiskeytown
10. When My Baby's Beside Me - Kelly Willis
11. You Get What You Deserve - Idlewild
24th March 2006, 07:51 PM
Escuchen lo nuevo y vean videos de "THE ONLY CHILDREN" el grupo de la bajista del otro grupo de Juliana "SOME GIRLS".Heidy Gluck junto a su esposo ex integrante de "The ANNIVERSARY".Influencias Neil Young,Guided By Voices,Modest Mouse y otros. http://www.sonicbids.com/epk/epk.asp?epk_id=12691
28th March 2006, 01:17 PM
http://www.julianahatfield.com/downloads.htm Por tiempo limitado una vez mas pueden escuchar y bajar mucho material inedito de Juliana.(Pueden hacer una donacion a traves del sistema Pay Pal).
28th April 2006, 01:56 PM
Muchos MP3 "live classics" de Juliana aqui,Enjoy Choky!!!
28th April 2006, 02:48 PM
http://music.yahoo.com/ar-268935-videos--Blake-Babies Juliana con los Babies!!!
2nd May 2006, 02:23 PM
Y Freda Love(baterista de Juliana con Blake Babies y Some Girls no se queda atras con sus otras bandas The Mysteries Of Life y The Gentleman Caller(tienen nuevo CD)http://delb.myspace.com/html.ng/site=myspace&position=leaderboard&page=11021002&rand=166295297&friendid=thegentlemancaller0&acnt=1
2nd May 2006, 02:26 PM
2nd May 2006, 02:26 PM
2nd May 2006, 02:29 PM
http://cdbaby.com/gif/menubar_525-2.gif http://cdbaby.name/g/e/gentlemancaller.jpgGentleman Caller
Until We are Missing
This CD has a 10% discount if you buy more than one copy of it today! © 2006 Affirmation Records
CD Baby Price: $12.97http://cdbaby.com/gif/cart_add_to_cart18.gif (http://cdbaby.com/add/gentlemancaller)
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Childers shape-shifts from song to song, mourning and assessing with the ménage of guitar, drums, organ, piano, and percussion. Each story is crafted in shades of beautiful pop – chiming guitar lines and interweaving harmonies. TRACKShttp://cdbaby.com/gif/play_all_songs.gif (http://cdbaby.com/allmp3lofi/gentlemancaller.m3u) lo-fi: dial-up
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2. Mascara Lines (http://cdbaby.com/mp3lofi/gentlemancaller-02.m3u)
3. Jamie All My days (http://cdbaby.com/mp3lofi/gentlemancaller-03.m3u)
4. Baby's Gone to Bed (http://cdbaby.com/mp3lofi/gentlemancaller-04.m3u)
5. Time to Get Carried Away (http://cdbaby.com/mp3lofi/gentlemancaller-05.m3u)
6. Bomb the Castle & Sell the Stones (http://cdbaby.com/mp3lofi/gentlemancaller-06.m3u)
7. We Danced all Night (http://cdbaby.com/mp3lofi/gentlemancaller-07.m3u)
8. Crossing Guard (http://cdbaby.com/mp3lofi/gentlemancaller-08.m3u)
9. Broadripple Nightclubs (http://cdbaby.com/mp3lofi/gentlemancaller-09.m3u)
10. Until We Are Missing (http://cdbaby.com/mp3lofi/gentlemancaller-10.m3u)
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(Click a song name to hear it in lo-fi MP3. Need help? (http://cdbaby.com/help#audio).)
LINKSCheck out the
Gentleman Caller website (http://www.myspace.com/thegentlemancaller)
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Those Young Lions (http://cdbaby.com/cd/thoseyounglions)
Jensen Bell (http://cdbaby.com/cd/jensenbell)</B>
GENRES you need to try
ROCK: Folk Rock (http://cdbaby.com/style/108)
FOLK: Folk Pop (http://cdbaby.com/style/167)
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Until We are Missing
You know that tendency to scribble mental notes about people at the corner or a couple in the back booth, 2 am diner? Songwriter Kenny Childers does just that. As Gentleman Caller he manifests morsels of human nature, those spider-web corners, into songs exploring the obsessive qualities of gutted and love-bitten emotions. With an evolving cast of musicians, Childers builds stunning story-line tension of whodunit and whodid with arrangements echoing the chamber qualities of Galaxie 500, Big Star’s complex build, and the aching truth of contemporaries Okkervil River or Rilo Kiley.
Until We are Missing is Gentleman Caller's second album, the one begging for further exploration and scrutiny. Each song is layered in unforeseen meanings (all the birds mentioned are buzzards) and characters fighting, dying and already dead – Leonard Cohen would surely approve. "Summer Dresses" is where you realize what a love has meant to you only as the car door closes and the tail lights disappear. Childers shape-shifts from song to song, mourning and assessing with the ménage of guitar, drums, organ, piano, and percussion. Each story is crafted in shades of beautiful pop – chiming guitar lines and interweaving harmonies – with minor, ramshackle edges. “Mascara Lines” is sung from 6-feet under by the murdered lover to his villainous killer. "Well you reached but not for me. Bang bang bang!!" "Shut that thing off ¬ – it's your smile that I can't take." And you know, that thing could be the life-support machine ¬– he sees her smile and realizes she's not going to miss him. And then there is the dead honeymoon couple in "Time to Get Carried Away" who are caught in the nether world. Childers is their medium.
During the past two decades Childers has been a member of Mysteries of Life, Velo-Deluxe and currently Brando, three of Indiana's most significant lyrical and soma-like gushing groups. Gentleman Caller was formed in 1999 with multi-instrumentalist Derek Richey (Brando), who lends his guitar, keyboards and drums here and the debut Ice Water was relesaed a year later. The rest of Until We Are Missing’s musical cast, as directed by Childers, is Chris Kupersmith (Uvula, Fabric), Freda Love (Blake Babies, Some Girls, Mysteries of Life), Jim Robertson (Brown Betty) and contributors Richard Edwards (Margot and the Nuclear So & So's) and Dale Lawrence (Gizmos, The Vulgar Boatmen, Mysteries of Life).
Affirmation Records is Paul Mahern’s resurrected imprint which has issued The Master Tapes, 1983’s notorious Midwest hardcore comp, and recent recordings from John Wilkes Booze (Kill Rock Stars), Courtney Kaiser and Those Young Lions.
4th May 2006, 02:27 PM
What's a Summer Without "Crushing Love" From Some Girls?
New Album From Juliana Hatfield's Girl Group Set for Release on July 11th, 2006
NEW YORK, NY -- (MARKET WIRE) -- 05/03/2006 -- Some Girls featuring Juliana Hatfield return this summer with their new album "Crushing Love" to be released July 11th, 2006 on KOCH Records.
"Crushing Love" is the second album by Some Girls, the iconoclastic trio consisting of singer, guitarist and esteemed solo artist Juliana Hatfield plus drummer Freda Love, previously Hatfield's bandmate in seminal indie combo the Blake Babies and now a member of the Mysteries of Life, and bassist/multi-instrumentalist Heidi Gluck, formerly of the Pieces and currently of the Only Children.
The 14-track collection expands the provocative, hook-laden songcraft of its 2003 predecessor "Feel It" into compelling new directions, while maintaining the same balance of electric energy, melodic craft and emotional nuance that made the prior disc so resonant. With Hatfield, Love and Gluck sharing vocal and songwriting duties, the songs boast subtly irresistible hooks and pointedly punchy performances, as well as deceptively plainspoken lyrics that navigate thorny personal territory with unflinching truthfulness and barbed humor.
"Some Girls is a really open, creative atmosphere, and it feels totally different from what I do in my solo thing," Hatfield asserts. "In my head, Some Girls is an outlet for certain songs that I feel like I can't do justice to without Freda. Her drumming is so effervescent and groovy that some songs seem to call out for it. And Heidi is such a great musician and singer that she kind of makes it all jell."
1. Is This What I've Been Waiting For? (written by
Freda Love and Jake Smith)
2. Poor Man's You (Juliana Hatfield)
3. Partner in Crime (Love/Smith/Childers)
4. Hooray For L.A. (Hatfield)
5. Social Control (Hatfield)
6. On My Own Again (Heidi Gluck)
7. Stars in My Dreams (Hatfield)
8. Rock Or Pop? (Hatfield/Smith)
9. Live Alone (Gluck)
10. Just Like That (Joe Keefe)
11. He's On Drugs Again (LonPaul Ellrich)
12. Never Really Mine (Love)
13. Kill the Bottle (Hatfield/Love/Smith)
14. Magnetic Fields (Smith)
6th May 2006, 10:41 AM
Live MP3'sBLAKE BABIES / JULIANA HATFIELD
LIVE COVERS 1990-2002 http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/bb1.gif http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/jh.jpg
Disk 1 (64:18)
1. I Am A Rock (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/101%20Blake%20Babies%20-%20I%20Am%20A%20Rock%20(Simon%20&%20Garfunkel)%20(Apr%2017th,%201990).mp3) (Simon & Garfunkel) (Apr 17th, 1990)
2. Farmer John (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/102%20Blake%20Babies%20-%20Farmer%20John%20(Harris-Terry)%20(May%2013th,%201991).mp3) (Harris/Terry) (May 13th, 1991)
3. Drinkin' My Blues Away (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/103%20Blake%20Babies%20-%20Drinkin'%20My%20Blues%20Away%20(Robert%20Johnson)%20(May%2013th,%201991) .mp3) (Robert Johnson) (May 13th, 1991)
4. All I Need (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/104%20Blake%20Babies%20-%20All%20I%20Need%20(Dance%20Mix)%20(J.%20Strohm,%20D.%20Summer)%20(July%20 30th,%201991).mp3)(Dance Mix) (J. Strohm, D. Summer) (July 30th, 1991)
5. Over And Over (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/105%20Blake%20Babies%20-%20Over%20And%20Over%20(Neil%20Young)%20(August%201991).mp3)(Neil Young) (August 1991)
6. Taxman, Mr. Thief (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/106%20Blake%20Babies%20-%20Taxman,%20Mr.%20Thief%20(Cheap%20Trick)%20(Sept%2012th,%201991).mp3) (Cheap Trick) (Sept 12th, 1991)
7. Temptation Eyes (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/107%20Blake%20Babies%20-%20Temptation%20Eyes%20(Grass%20Roots)%20(Sept%2012th,%201991).mp3) (Grass Roots) (Sept 12th, 1991)
8 Walkin' With Jesus (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/108%20Blake%20Babies%20-%20Walkin'%20With%20Jesus%20(Spacemen%203)%20(Sept%2012th,%201991).mp3) (Spacemen 3) (Sept 12th, 1991)
9. Outdoor Miner (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/109%20Blake%20Babies%20-%20Outdoor%20Miner%20(Wire)%20(Sept%2012th,%201991).mp3) (Wire) (Sept 12th, 1991)
10. Raisans (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/110%20The%20Juliana%20Hatfield%20Three%20-%20Raisins%20(Dinosaur%20Jr.)%20(July%2017th,%201992).mp3) (Dinosaur Jr.) (July 17th, 1992)
11. It's A Shame About Ray (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/111%20Juliana%20Hatfield%20-%20It's%20A%20Shame%20About%20Ray%20(Lemonheads)%20(Oct%2017th,%201992).mp3 ) (Lemonheads) (Oct 17th, 1992)
12. You Don't Own Me (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/112%20The%20Juliana%20Hatfield%20Three%20-%20You%20Don't%20Own%20Me%20(Leslie%20Gore)%20(Sept%2017th,%201993).mp3) (Leslie Gore) (Sept 17th, 1993)
13. Bring It Down (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/113%20The%20Juliana%20Hatfield%20Three%20-%20Bring%20It%20Down%20(Madder%20Rose)%20(Nov%2030th,%201993).mp3)(Madder Rose) (Nov 30th, 1993)
14. He'd Be A Diamond (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/114%20The%20Juliana%20Hatfield%20Three%20-%20He'd%20Be%20A%20Diamond%20(Bevis%20Frond)%20(Dec%2017th,%201993).mp3) (Bevis Frond) (Dec 17th, 1993)
15. Her Shovel (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/115%20Juliana%20Hatfield%20-%20Her%20Shovel%20(Jason%20Hatfield).mp3) (Jason Hatfield)
16. Pink Moon (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/116%20Juliana%20Hatfield%20-%20Pink%20Moon%20(Nick%20Drake)%20(1995).mp3) (Nick Drake) (1995)
17. Ride With Me (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/117%20Juliana%20Hatfield%20-%20Ride%20With%20Me%20(Lemonheads)%20(Feb%2016th,%201997).mp3) (Lemonheads) (Feb 16th, 1997)
18. There's Always Tomorrow (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/118%20Juliana%20Hatfield%20-%20There's%20Always%20Tomorrow%20(Johnny%20Marks)%20(Feb%2016th,%201997).mp 3) (Johnny Marks) (Feb 16th, 1997)
19. So I Fucked Up (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/119%20Juliana%20Hatfield%20-%20So%20I%20Fucked%20Up%20(Lemonheads)%20(Feb%2021st,%201997).mp3) (Lemonheads) (Feb 21st, 1997)
20. Fuckin' Up (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/120%20Blake%20Babies%20-%20Fuckin'%20Up%20(Neil%20Young).mp3) (Neil Young)
Disk 2 (67:14)
1. Say It Ain't So (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/201%20Juliana%20Hatfield%20-%20Say%20It%20Ain't%20So%20(Weezer)%20(Apr%203rd,%201997).mp3) (Weezer) (Apr 3rd, 1997)
2. Every Breath You Take (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/202%20Juliana%20Hatifled%20-%20Every%20Breath%20You%20Take%20(Police)%20(1997).mp3) (Police) (1997)
3. The Unheard Music (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/203%20Juliana%20Hatfield%20-%20The%20Unheard%20Music%20(X)%20(1997).mp3)(X) (1997)
4. Hope (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/204%20Juliana%20Hatfield%20-%20Hope%20(Descendents)%20(Nov.%201997).mp3) (Descendents) (Nov. 1997)
5. Come Back DA (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/205%20Juliana%20Hatfield%20-%20Come%20Back%20D.A.%20(Lemonheads)%20(Dec%2020th,%201997).mp3) (Lemonheads) (Dec 20th, 1997)
6. Blue (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/206%20Juliana%20Hatfield%20-%20Blue%20(Jayhawks)%20(Apr%2025th,%201998).mp3) (Jayhawks) (Apr 25th, 1998)
7. Cheap sunglasses (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/207%20Juliana%20Hatfield%20-%20Cheap%20sunglasses(ZZ%20Top)_Baby%20gets%20high(Madder%20Rose)(Oct%2023, 1998).mp3)(ZZ Top)/Baby gets high(Madder Rose)(Oct 23,1998)
8. Loose (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/208%20Blake%20Babies%20-%20Loose%20(Stooges)%20(New%20Years%20Eve,%201999).mp3) (Stooges) (New Years Eve, 1999)
9. Severed Lips (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/209%20Blake%20Babies%20-%20Severed%20Lips%20(Dinosaur%20Jr.)%20(New%20Years%20Eve,%201999).mp3) (Dinosaur Jr.) (New Years Eve, 1999)
10. Goddess on a Hiway (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/210%20Juliana%20Hatfield%20-%20Goddess%20on%20a%20Hiway%20(Mercury%20Rev)%20(June%209th,%202000).mp3) (Mercury Rev) (June 9th, 2000)
11. Have You Ever Seen The Rain? (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/211%20Juliana%20Hatfield%20-%20Have%20You%20Ever%20Seen%20the%20Rain%20(Creedence%20Clearwater%20Reviva l)%20(June%2017th,%202000).mp3) (June 17th, 2000)
12. No Feelings (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/212%20Juliana%20Hatfield%20-%20No%20Feelings(Sex%20Pistols)_My%20Sister(Juliana%20Hatfield)(June%2030,% 202000).mp3)(Sex Pistols)/My Sister(Juliana Hatfield)(June 30, 2000)
13. Drive (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/213%20Juliana%20Hatfield%20-%20Drive%20(The%20Cars)%20(2000).mp3) (The Cars) (2000)
14. Heart Shaped Box (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/214%20Juliana%20Hatfield%20-%20Heartshaped%20Box%20(Nirvana)%20(2000).mp3) (Nirvana) (2000)
15. Cinnamon Girl (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/215%20Juliana%20Hatfield%20-%20Cinnamon%20Girl%20(Neil%20Young).mp3) (Neil Young)
16. Passionate Kisses (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/216%20Juliana%20Hatfield%20-%20Passionate%20Kisses%20(Lucinda%20Williams).mp3) (Lucinda Williams)
17. Juliana Hatfield - Like a Rose (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/217%20Juliana%20Hatfield%20-%20Like%20a%20Rose%20(Lucinda%20Williams).mp3) (Lucinda Williams)
Disk 3 (73:41)
1. I Didn't Like You Anyway (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/301%20Juliana%20Hatfield%20-%20I%20Didn't%20Like%20You%20Anyway%20(Donnas)%20(Oct%2012th,%202000).mp3) (Donnas) (Oct 12th, 2000)
2. Walk A Thin Line (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/302%20Blake%20Babies%20-%20Walk%20A%20Thin%20Line%20(Fleetwood%20Mac)%20(Mar%209th,%202001).mp3) (Fleetwood Mac) (Mar 9th, 2001)
3. Barstool Blues (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/303%20Blake%20Babies%20-%20Barstool%20Blues%20(Neil%20Young)%20(Mar%2017th,%202001).mp3) (Neil Young) (Mar 17th, 2001)
4. I Wanna Be Sedated (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/304%20Blake%20Babies%20-%20I%20Wanna%20Be%20Sedated%20(Ramones)%20(Mar%2017th,%202001).mp3) (Ramones) (Mar 17th, 2001)
5. Gone (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/305%20Juliana%20Hatfield%20-%20Gone%20(Madonna)%20(May%201st,%202001).mp3) (Madonna) (May 1st, 2001)
6. Let Me Roll It (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/306%20Blake%20Babies%20-%20Let%20Me%20Roll%20It%20(Wings)%20(Jun%206th,%202001).mp3) (Wings) (Jun 6th, 2001)
7. Tomorrow Never Comes (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/307%20Juliana%20Hatfield%20-%20Tomorrow%20Never%20Comes%20(Dot%20Allison)%20(2001).mp3) (Dot Allison) (2001)
8. Love Went Away (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/308%20Juliana%20Hatfield%20-%20Love%20went%20away%20(Tania%20Bowers)%20(Studio%20recording).mp3) (Tania Bowers) (Studio recording)
9. Yeh Yeh (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/309%20Juliana%20Hatfield%20-%20Yeh%20Yeh%20(Jon%20Hendricks)%20(Studio%20recording).mp3) (Jon Hendricks) (Studio recording)
10. Sad Girl (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/310%20Juliana%20Hatfield%20-%20Sad%20Girl%20(Scott%20Thomas).mp3) (Scott Thomas)
11. Birdbrain (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/311%20Blake%20Babies%20-%20Birdbrain%20(Buffalo%20Tom)%20(Mar%205th,%201991).mp3) (Buffalo Tom) (Mar 5th, 1991)
12. Taillights Fade (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/312%20Blake%20Babies%20-%20Taillights%20Fade%20(Buffalo%20Tom)%20(Mar%205th,%201991).mp3) (Buffalo Tom) (Mar 5th, 1991)
13. Sex Beat (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/313%20Some%20Girls%20-%20Sex%20beat%20(Gun%20Club)%20(Aug%205th,%202002).mp3)(Gun Club) (Aug 5th, 2002)
14. Only love can break your heart (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/314%20Some%20Girls%20-%20Only%20love%20can%20break%20your%20heart%20(Neil%20Young)%20(Aug%205th,% 202002).mp3)(Neil Young) (Aug 5th, 2002)
15. Malted Milk (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/315%20Some%20Girls%20-%20Malted%20Milk%20(Robert%20Johnson)%20(Aug%205th,%202002).mp3) (Robert Johnson) (Aug 5th, 2002)
16. (unknown song) (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/316%20Blake%20Babies%20-%20unknown%20title%20(Mar%205th,%201991).mp3) (Mar 5th, 1991)
17. Girl in a Box (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/317%20Juliana%20Hatfield%20-%20Girl%20In%20A%20Box%20(John%20Strohm)(Oct%2023rd,%201998).mp3) (John Strohm)(Oct 23rd, 1998)
18. Blake Babies (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/live/318%20Blake%20Babies%20-%20Tom%20and%20Bob%20(Blake%20Babies)%20(WERS%20radio).mp3) - Tom and Bob (Blake Babies) (WERS radio)
7th May 2006, 04:04 PM
Allmusic now has 30 second samples (http://www.allmusic.com/cg/amg.dll?p=amg&token=&sql=10:fbz1z81a6yvj) from Crushing Love.
11th May 2006, 10:46 AM
www.myspace.com/somegirlsband (http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=52698634) Ya pueden escuchar Hooray For L.A.en la pagina de my space de las chicas.ENJOY!!!
11th May 2006, 08:47 PM
http://www.liveontomorrow.co.uk/ Nueva pagina(european style) dedicada a Jules-audio y video!!!!!
26th May 2006, 08:03 PM
www.myspace.com/somegirlsband (http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=52698634) Ya pueden escuchar Hooray For L.A.en la pagina de my space de las chicas.ENJOY!!!Ya tambien pueden escuchar "Just Like That". http://www.myspace.com/somegirlsband
26th May 2006, 08:06 PM
Amazon (http://www.amazon.com/gp/product/B000FTCFAO/) is indicating Crushing Love includes a bonus DVD.Un bonito de 15 minutos de las chicas.
29th May 2006, 01:09 PM
http://www.youtube.com/watch?v=Er3HUGQop0k&search=juliana%20hatfield Un flashback de Juliana en el show de David Letterman(note ex-boyfriend Evan Dando-Lemonheads- on guitar.)
1st June 2006, 03:05 PM
21st June 2006, 07:43 PM
A new song & A sneak peak at the DVD!!!Check out the 3rd track we posted.
Hope you like it.
This CD/DVD July 11th release will feature exclusive live Some Girls concert footage plus excerpts from life on the road and in the studio.
Sneak a peak via the revised eCard
Spread the word. The street date is fast approaching.
21st June 2006, 08:44 PM
THE TOP 12 HOTTEST FEMALE GUITARISTS EVER In the Klingon sense, there is no honor in loving Jewel.
Sure, it may be a little sexist, but this list had to be created. It took lots of back and forth emails between editors, heated arguments over a week’s worth of happy hours and brutal rounds of scissors-paper-rock, but I, with the help of Alex V. Cook whittled down the list. Behold, the world’s 12 Sexiest Female Guitar Players ever. You know where to send the hate mail.
In the Klingon sense, there is no honor in loving Jewel. What started out as a sweet Lisa Loeb upgrade invading the pop scene, things went quickly downhill with her accepting her inner poet and then her inner pop tart. But, much as I might be loathe to admit it, those first couple songs of hers always warm my heart when I hear them on the piped-in at the grocery store. And frankly, those snaggle-teeth totally do it for me.
Weapon of Choice: an array of Martin acoustics
Career Highpoint: her first album and its sweet folky country-ish songs, and her later rampant insane stage persona
Fun Fact: Hmmm, she doesn't seem all that fun actually.
http://www.outsideleft.com/i/stars/jett.gif11. Joan Jett
Band: Joan Jett and the Blackhearts
C'mon. When Joan Jett came on the scene everyone was turned on. She was the quintessential rocker chick, and that was before we were, as a people, aware of her past in the Runaways. I mean, her songs were either covers or aggro pop dross, and actually I don't know what she's been doing for the last quarter century, but none of that matters. She is the hot chick David Johansen wanted to be in the New York Dolls but couldn't acheive, so he had to give it up for Buster-dom and that folk-singer shit he did.
Weapon of Choice: Gibson Les Paul
Career Highpoint: She informed us decades ago that she indeed loved Rock-n-Roll and despite having only two other hits, every adult in the US probably has a clear idea who Joan Jett is.
Fun Fact: Is impossibly hotter now that she was 25 years ago. And though I am not a lesbian, I would still wear a W.W J.J.D. t-shirt.
10. Poison Ivy
Band: The Cramps
Surely it's her choice of guitars that make Ivy so hot -- sure, any chick can pick a Les Paul or a shitty Stratocaster, but you have to know your shit to pick a decent arsenal of guitars and have the ability to play them.
Weapon of Choice: A plethora of vintage Gretch hollow body guitars, but her vintage 1958 Gretch Chet Atkins 6120 is her go-to ax.
Career Highpoint: None yet, but were all still waiting.
Fun Fact: Played her first gig in a mental hospital. She once accidentially kicked off a high heel, narrowly missing Alex V. Cook's head at a show in New Orleans. Fortuneately, Lux had an extra pair in his stage kit.
9. Juliana Hatfield
Band: The Blake Babies, The Juliana Hatfield Three, Solo
It must have been the summer of 1993 – I was working at a Tower Records in Anaheim and a copy of Hatfield’s “Become What You Are” was in the promo bin. While the manager was on a cocaine break in her office, I stole the promo disc. Coincidently, I was in my strange female-guitarist phase and instantly fell in love with Hatfield’s endearingly thin voice. Plus, she looked a little like Jamie, a girl that had just ripped the still-beating heart from my chest and dropkicked it in the toilet. A stalker/musician relationship was born that day and even though she only charts in at number nine, there’s still a small bit of me that thinks she may have made top five.
Weapon of Choice: The Gibson Les Paul Standard and the SG
Career Highpoint: It’s a tie: The cover of Sassy magazine/her guest stint on the melancholy teen-cult hit, “My So-Called Life.”
Fun Fact: Although she maintains she was a virgin in her early years as a rockstar (up until the mid-90’s) she forgets to mention that she and fellow Bostonian Even Dando used to bang all the time.
http://www.outsideleft.com/i/stars/gg08.jpg8. Kathleen Hanna
Band: Bikini Kill, Le Tigre, The Fakes, Helter Skillet, Viva Knievel, Wondertwins, Suture, The Troublemakers
It’s obvious Kathleen has absolutely no sense of humor whatsoever and she’d surely be pissed off if she knew she was on a “hottest female guitarist” list, but oh well. She’s cute and smart and Le Tigre gets better with every release – I just wouldn’t want to date her. Lighten up, baby – it’s only rock and roll and yes, I like it. Is it any wonder why her current boyfriend, Beastie Boy’s Adam Horovitz, is always on tour?
Weapon of Choice: Kathellen's been known to use a 1965 Gibson Melody Maker.
Career Highpoint: The whole Riot Grrrl thing -- she didn't start the movement, but she was the most famous person to come out of it.
Fun Fact: While they were backstage at the Lollapalooza music festival in Washington, D.C. on July 4, 1995 Courtney Love flicked a cigarette at Hanna, pelted her with candy, and punched her in the face. Hanna pressed charges and Love ultimately pleaded guilty to assault later that September.
7. Ruyter Suys
Band: Nashville Pussy
I’ve never heard a Nashville Pussy song in my life and frankly, I really don’t ever want to either. But I will tell you one thing, Ruyter Suys is one of the hottest and filthiest female guitarists ever. She fulfills my woman jailbreak fantasy.
Weapon of Choice: The Gibson SG
Career Highpoint: The point of every live Nashville Pussy gig when lead singer Blaine Cartwright pulls Ruyter’s head back – while she’s on her knees mind you – and forces a bottle of beer down her throat as she proceeds to guzzle its entire barley-based contents.
Fun Fact: She claims that the reason why she plays guitar is because of Courtney Love – not because Love’s her idol, but for the opposite reason. "Courtney gives women a bad name in rock ‘n roll and uses her guitar as a necklace not as an instrument." She follows that statement up with this: "Being a woman in a band can be hard sometimes because people will never look at me for my musicianship, they'll always look at the boobs.” Did I mention she only plays gigs in lace bras and leather pants and the leather pants usually come off mid-set? Contradictions are incredibly sexy.
http://www.outsideleft.com/i/stars/gg06.jpg6. Kelley Deal
Band: The Breeders, The Amps, The Kelley Deal 6000
Obviously the more destructive of the two Deal sisters, Kelley has been in and out of rehab ever since the Breeders’ gentle decline from the charts. Her technique isn’t all that great (Kim her sister taught her basic chords of each song the day she needed to record them), but amidst all the drugs and booze, this little lady has kept her looks – unlike her ravished sister who’s now just a shell of her former self.
Weapon of Choice: The Gibson Les Paul Deluxe
Career Highpoint: While opening for Nirvana in Miami sometime in 1994, she missed the tour bus to the next venue. Finally realizing that her sister wasn’t at the gig, Kim Deal drew a life-sized picture of Kelley with a bottle of Jack Daniels in one hand and a cigarette in the other. The sisters both admit it was the best the Breeders had ever sounded.
Fun Fact: Our Kelley got busted for heroin when she had a FedEx package of horse was delivered to her house. Unfortunately for her, the package was sent as a covert sting operation courtesy of Ohio’s chapter of the FBI.
http://www.outsideleft.com/i/stars/gg05.jpg5. Corin Tucker
Corin would surely hate the fact that she’s on a hottest anything list due to her feminist leanings, but it’s not her choice, is it? Her technique is sloppy at best, but there’s something about her I really like – I might have to do with the fact that she’s the spitting image of my ex-girlfriend’s sister, Melissa, who I always had a major crush on.
Weapon of Choice: A cherry-red or black Danelectro DC59
Career Highpoint: When Sleater-Kinney released “Dig Me Out” in 1997, the band was being called the greatest punk band in the world by the likes of the Village Voice and Rolling Stone even though they never really delivered the goods.
Fun Fact: Although this feisty feminist firecracker was once a lesbian (she used to date fellow band member, Carrie Brownstein), she’s left the sapho lifestyle and married filmmaker Lance Bangs. Confused sexual identity? That’s hot!
http://www.outsideleft.com/i/stars/gg02.jpg4. Emma Anderson
Band: Lush, Sing-Sing
A completely underrated guitarist and songwriter. Sure, she's not the most proficient guitarist of the bunch – I’ve been known to winch during her solos – but what she lacks in ability, she makes up for in songwriting. She was one of the pioneers of the fabled shoegazer (a term I hate, but what are you gonna do?) phenomenon that came out of Camden. It’s a little heartbreaking she has to work a 9 to 5 job again while her new band is second banana.
Weapon of Choice: 1972 Fender Telecaster Thinline
Career Highpoint: Dropping acid with the boys from the Jesus and Mary Chain while driving cross-country on the Lollapalooza tour.
Fun Fact: Now works a day job (when she's not touring with Sing-Sing) as a road manager for - gah - Duran Duran.
http://www.outsideleft.com/i/stars/gg04.jpg3. Cristina Martinez
Band: Boss Hog, Pussy Galore, Honeymoon Killers
Maybe the most elusive musician on this list – what do we know about Christina? Me? I know nothing other than the fact that she’s been known to pick up a guitar while in the art-noise band, Pussy Galore and really then, all she did was bang her guitar around and create feedback. Still, in my rulebook, it a girl has at anytime strapped a guitar to her back while on stage, that right there constitutes as being a female guitar player.
Weapon of Choice: Whatever guitar is lying around at the moment.
Career Highpoint: The night Boss Hog debuted at CBGB in 1989, Cristina performed the entire set completely naked. Nice.
Fun Fact: Married to indie heartthrob, Jon Spencer.
http://www.outsideleft.com/i/stars/gg03.jpg2. Liz Phair
Band: This bird flies solo
C’mon, this one’s obvious, isn’t it? Love her or loathe her, she’s still head and shoulders above the rest – she only didn’t make first because I’ve never met her and this is after all, an extremely biased list. Some say she just started getting shit after she released her latest self-titled LP which was produced by the Matrix (Avril Lavigne’s hitmakers), but it started way before that. I think her cover on Rolling Stone in 1993 when they dressed her in a tiny nightgown sealed her fate as all style and no substance. I say bullshit to that – “Exile in Guyville” is one of the few perfect albums of the ‘90s.
Weapon of Choice: A plethora of Fenders: several Mustangs and a couple Telecasters.
Career Highpoint: The aforementioned “Exile in Guyville” – flawless.
Fun Fact: She used to sell her charcoal drawings while in college at Wicker Park for beer money.
http://www.outsideleft.com/i/stars/gg01.jpg1. Miki Berenyi
Easily the hottest of ‘em all: half Japanese, half Hungarian, former art student, one-time ‘zine publisher – this one has it all. Plus, she’s the guitarist that inspired me to buy my first guitar – a battered gold Fender Jaguar that I bought off a meth user in San Dimas, which refused to stay in tune. First song I learned was the simple three-chord “Thoughtforms” off her band’s 1989 EP, Scar and it’s been half-assed musicianship for me ever since.
Weapon of Choice: A six-string Gibson 335 and a Gibson Firebird
Career Highpoint: Never bothered figuring out how to tune her guitars “That’s what roadies are for,” she once joked while backstage at Lollapalooza in Irvine, California. Personally, I agree with her.
Fun Fact: She and I enjoyed drinks with Weezer after Lush’s aborted concert at Prince’s now defunct Glam Slam club in Los Angeles (Lush blew out the house’s PA system after three songs because Prince’s system was poorly put together).
7th July 2006, 03:07 PM
Crushing Love review
Solidifying the pop smarts unleashed on their 2003 debut, the trio of Juliana Hatfield, her former Blake Babies partner Freda Love, and their friend Heidi Gluck turn their sights toward a more aggressive sound on Crushing Love. Songs such as “Hooray for L.A.” and “Stars in My Dreams” set Hatfield’s girlish soprano in a bed of crunchy riffs and smoldering backbeats, while the sinister groove of “Rock or Pop?” brings to mind the Alice Cooper Group circa 1971. On the anthemic “He’s on Drugs Again” Hatfield even takes a stab at some Hendrix-like pyrotechnics. The album has its breezy moments as well, best exemplified by Gluck’s strummy “Live Alone” and Hatfield’s bubble-gum-y “Social Control.” An abundance of‘50s-style girl-group harmonies adds to the pop flavor.
7th July 2006, 03:08 PM
Crushing Love review
There used to be a joke that Juliana Hatfield looked completely different in every picture: Her Spin cover shot bore little resemblance to any photo run in Rolling Stone, and neither looked much like the unlikely model posing her way through a Sassy fashion spread. But that chameleon thing had nothing to do with the typical rock-star penchant for reinvention. In fact, if there were a “Least Likely to Reinvent Herself” superlative in the early-90’s rock yearbook, Hatfield would’ve been a shoe-in.
Like all of her eight solo records, Crushing Love — the sophomore album from Some Girls, Hatfield’s collaboration with bassist Heidi Gluck and drummer/fellow ex-Blake Baby Freda Love — is full of super catchy, guitar-driven odes to the aloof men, dangerously perfect girls, and rock gods who can only break your heart.
But Some Girls reveal more of a pop sensibility than the solo Hatfield, pairing her alternately jangly and snarly guitar work with '60s girl-group touches like shuffling drumbeats and candy-coated vocal harmonies. The trio even verges into “Leader of the Pack” territory with “He’s On Drugs Again,” a Sardina cover that Some Girls rework as epic elegy — equal parts tender piano ballad and high-drama headbanger.
As always with Hatfield, it’s the lyrics that really slay. She’s got a way of spinning even the most awkward, potentially clunky lines into something to get stuck in your head for hours on end (see the deceptively breezy “Social Control,” with its improbably sing-song chorus: “He needed to be controlled / And I wanted to discipline him / Free people need social control / La la la la”). And the more pop-perfect lines are more abundant than ever, as on “Poor Man’s You” (“This song is a poor man’s ‘Love Me Do’ / And I am a poor man’s you”) and Gluck’s [sic] “Never Really Mine” (“She wrote a song about the good life / And he wrote one back explaining his side”). It’s those stab-in-the-heart moments that make us hope Hatfield never changes her act. She needs to keep on writing songs that turn heartache into something shiny and lovely, just so we can feel good about feeling bad for at least three-and-a-half minutes.
11th July 2006, 05:23 PM
SOME GIRLS -- CRUSHING LOVE (KOCH)
http://www.citybeat.com/current/musicshorttakes4-1.jpgSOME GIRLS -- CRUSHING LOVE
Side projects from solo artists can be problematic affairs, but Juliana Hatfield has rarely had any difficulty compartmentalizing her various creative identities, from the Blake Babies to her solo excursions to her latest diversionary project, Some Girls. Hatfield, Blake Babies drummer Freda Love and Only Children bassist/multi-instrumentalist Heidi Gluck turn out groovy Indie Pop with a sharp edge and self-deprecating humor on their sophomore album, the follow-up to 2003's Feel It. "This song is a poor man's 'Love Me Do'/And I am a poor man's you," sings Hatfield on "Poor Man's You," a gentle tribute to the young, unsung songwriters who wait in the wings. Later she makes like a more precocious Sheryl Crow on the shambling Stones Blues of "Hooray for L.A." and Gluck follows suit on the laconic "On My Own Again." And Hatfield weighs in on the subject of whether or not any of the agonizing we all do over music amounts to a hill of shit on the brilliantly simple "Rock or Pop?" ("Does God read the liner notes?/Does God watch the award shows?/Or is everybody just wasting their breath/On energy that is better spent?"). That's the one trait that runs through all of Hatfield's creative outlets -- her uncanny ability to write serious Indie Pop music that doesn't take itself too seriously.
12th July 2006, 02:13 PM
Crushing Love review
Though Some Girls' second album may be full of warm riffs reminiscent of Liz Phair, John Mellencamp, or Sheryl Crow, Crushing Love shouldn't be considered a cheerful record. The major chords played by fuzzy guitars and clean four/four rhythms from the drums really just act as a cover-up for the uncertainty and sadness that sits indiscreetly in the lyrics sung by Juliana Hatfield. It's a record of questions that doesn't try to come to conclusions. Rather, it chooses to explore basic human emotions and avoid definitive statements, leaving room for interpretation and pondering. But don't think that all this means that instead it's a slow, pensive album, either. The catchy pop hooks of the Blake Babies (and also of Some Girls) are still here, the electric guitar grins its way through riffs and progressions, and Hatfield's friendly, intimate voice acts as the guide through the album's 14 tracks. Crushing Love is that welcome combination of reflection and fun, made for people who know things might get bad, but aren't quite ready to give up just yet. It's inquisitive, not resigned ("Does God read the liner notes?/Does God watch the award shows?" Hatfield asks in the '70s-inspired "Rock or Pop"), and though there may be moments of sadness, there are just as many of strength. "Just Like That," which was written by an ex-boyfriend of the frontwoman, about her, is compelling in its simplicity and honesty, "Partner in Crime," with its "Sunny Came Home" intro, is sweetly plaintive, while "Kill the Bottle" speaks of an untraditional kind of support and acceptance. But perhaps it's the title song — which, incidentally, was written by drummer Freda Love's husband, Jake Smith, and closes the album — that truly conveys what Some Girls are trying to touch upon. "When bodies move in tandem/Life doesn't seem so random/...Magnetic fields, crushing love." It's about the dual nature — the pain and the pleasure — of love and companionship, and it's also about the heartbreak that can accompany it. And if that's not something that everyone's thought about, it's hard to say what is.
16th July 2006, 04:36 PM
Reprinted from PopMatters, by Will Layman
Crushing Love review
July 14, 2006—Some Girls is a trio of female pop-rockers that is, inevitably, dominated by Juliana Hatfield. Crushing Love is their unpretentious and terrific second album. This is the kind of pop music—quirky and witty but also melodic and accessible—that deserves some of the record sales that are routinely earned by Jessica Simpson or Christina Aguilera. That’s not going to happen, but can you blame me for rooting for great songs played and sung with plainspoken ease?
Juliana Hatfield can be a divisive and divided figure. Some people find her little-girl-voice and la-la-ooooh choruses to be cloying; others hear a bad girl attitude in it all and love the sweet ‘n’ sour combination. And her career—which started with The Blake Babies (along with Some Girls drummer Freda Love) and reached a commercial peak when one of her songs “hit” and was featured in the movie Reality Bites—seems to move between sugary pop gems (In Exile Deo from 2004) and rebellious squeals of feedback (Made in China from 2005). Some Girls is a project dominated by the sunny version of Ms. Hatfield, though it is not without its shadows.
Some of the pleasure and leveling of Juliana’s temper is surely due to the punchy-pop drumming of Ms. Love and the light touch coloration of Heidi Gluck’s voice and glistening guitars and keyboards. While Ms. Hatfield’s solo-career bands have recently emphasized her punkier side, Some Girls is a tight group but one shot-through with jangle-y sunshine. With all the songs—whether written by Hatfield, Love, Gluck or someone else—dominated by the Juliana Formula of whispery pop singing and guitar-hook melodies, this feels like the best kind of collaboration. The strengths of Ms. Hatfield’s collaborators give her just what she’s missing on her own: middle ground.
This album is keenly aware of tradeoffs. The Hatfield-penned “Rock or Pop?” puts it clearly enough. It starts with a Stones-y guitar riff, then asks: “Are you writing for an audience or are you writing for yourself? Very willing to go straight to hell? Ooooh, rock or pop? Choooooose pop or rock.” Here, the sound is usually pure pop pleasure, but the lyrics rarely let you (or the musicians) off the hook. “I don’t want you to clean it up. I like it if it’s kind of fucked up. You’re so uptight, you can’t relax—you’ve got to get to the chorus fast.”
Thankfully, Some Girls writes tasty verses as well as choruses. On Ms. Gluck’s “Live Alone”, the melody and chords move with Beatle-esque surprise well before the tambourine-and-steel-guitar-driven chorus. Heidi’s voice is soft and breathy like Juliana’s but also different enough to provide George Harrison-style relief. And this is hardly the only place on the album where you might be thinking Fab Four. Juliana’s “Poor Man’s You” addresses a lover thusly: “I wish I could tell you with a better song how much I love you / ... This song is a poor man’s ‘Love Me Do’, and I am a poor man’s you.” Which sums up the Some Girls / Juliana Hatfield ethic perfectly—Hey, I’m not much, but then again have you noticed how brilliantly I just put myself down? And so the songs are often tales of heartbreak that make you desperately want to beg all three of the Some Girls for a date.
Part of what makes Crushing Love work so well is how the careful arrangements are kept from seeming fussy by the nearly lo-fi recording sound. On the devilishly catchy “Hooray for L.A.”, for example, the tune is given a meticulous arrangement including a prominent synth bass line, a simple and repetitive piano figure, harmonies on the out-chorus, and some added percussion elements. But the guitar and drum mixes sound essentially live and dirty, undercutting any sense that the tune may be fussy. “Social Control” finds use for a ringing little keyboard figure on the chorus, which turns into a Rickenbacker-ish guitar line the next time around, and then a combination on the last chorus. It’s a great touch, but nothing else about the tune is glossy or slick. So when Juliana sings about being in a bar against her will and how a guy “spilled his beer in my cleavage / So I slapped him in the face,” well, the whole thing sounds like it probably really happened to her in a crappy bar.
Crushing Love comes with a “bonus” DVD containing a sloppy and fun home movie of the Girls in the studio and on tour. It’s a throwaway thing and something you may only watch once, but it underlines the appeal and genuine quality of the band. Even when their harmony singing is sweet and delicately lovely, Some Girls remains a modest garage rock band with just three musicians traveling through the low-end clubs of Columbus, Philly, Boston and the like. Audience are small, the rooms are dingy, their hair is mussed, and their stage clothes look no different than what they wear when they are asking directions from the band van. Ms. Hatfield—thin and shy and still little girl beautiful at nearly 40—looms over the microphone with her whispery voice and then turns to her amp and wrings a hell of feedback from her Gibson SG. This is the same Lilith Fair star who did a cameo part on the TV show My So-Called Life and famously proclaimed herself still a virgin in her mid-to-late twenties?
But that is the fun and fascination of Juliana Hatfield and of Some Girls. Tough-sweet women making tough-sweet music. It seems simple and complex at the same time. It’s the music, I suppose, that real people would make if they didn’t have to sell the music to a billion people just to pay the rent. If Some Girls make it all look too easy, I think that’s part of the complexity too. This modest little album is actually an amazing achievement.
Now, do your best not to spill your beer in Juliana’s cleavage and, if asked “Pop or Rock?” answer: both. Just like Some Girls.
http://julianahatfield.com/forum/templates/softmetal/images/lang_english/icon_quote.gif (http://julianahatfield.com/forum/posting.php?mode=quote&p=3585) Reprinted from the Boston Herald, by Christopher John Treacy
Some Boston Girls
If Juliana Hatfield’s brilliant “Made in China” wasn’t toe-tapping tuneful enough for you, try “Crushing Love.” More than a Blake Babies rehash, this girlie garage trio’s second voyage contains wonderfully melodic indie-pop. Memorable choruses get doused with Hatfield’s all crunch and no polish guitar power chords, while bassist Heidi Gluck and drummer Freda Love diligently hammer out crackerjack rhythms. Framed by a collective sense of romantic disappointment, sarcastic humor prevails in the deadpan “Social Control” and “Rock Or Pop.” And the CD’s melancholy latter half just reveals another winning aspect of what’s becoming one of the most fruitful side projects in recent memory. The package includes a low-budget DVD with concert footage and amusing studio antics. Download: “Poor Man’s You.”
http://julianahatfield.com/forum/templates/softmetal/images/lang_english/icon_quote.gif (http://julianahatfield.com/forum/posting.php?mode=quote&p=3586) Reprinted from the Boston Globe, by Jonathan Perry
Crushing Love review
July 14—Call this either the best Liz Phair album in years or what Sheryl Crow might have sounded like had she been an indie-rocker writing big hooks on a small budget. Some Girls, a semi-supergroup comprised of singer-guitarist Juliana Hatfield, drummer Freda Love (Hatfield's Blake Babies bandmate), and ex-Pieces bassist Heidi Gluck, avoids any hint of sophomore slump with a second disc of terrific little tunes about breakups, crack - ups, and screw ups. The beautiful bummers bloom all over: ``On My Own Again," ``Live Alone," and ``Never Really Mine" are near-perfect pop snapshots of life in transit. Other highlights are about the pure pleasure of sound. ``Poor Man's You" sports the kind of self-doubt and coolly clipped guitar growl that made Phair's ``6'1 " " such an addictive buzz back in the day. ``Just Like That" (written about Hatfield by her ex-boyfriend) carries along a breezy, SoCal vibe, speaking of which, the hookalicious ``Hooray For L.A." is an outsider's slice of La-La Land sarcasm. Hatfield may be its frontwoman, but Some Girls sounds very much like the collaborative democracy it was meant to be: three musical friends bashing out pop with panache and trading hooks, harmonies, and heartbreak along the way.
ESSENTIAL TRACK: ``Poor Man's You."http://julianahatfield.com/forum/templates/softmetal/images/spacer.gif
http://julianahatfield.com/forum/templates/softmetal/images/lang_english/icon_quote.gif (http://julianahatfield.com/forum/posting.php?mode=quote&p=3587) Reprinted from RetroLowFi
Crushing Love review
"Is This What I've Been Waiting For?"
Yep. It's the second album by Juliana Hatfield's don't-call-it-a-supergroup. She's flanked by Freda Love of Blake Babies fame and Heidi Gluck of... a band I don't know much about. Don't expect the restrained sound of 2003's "Feel It". This time around the gals are sounding more confident and unified.
Let's just get this out of the way: if Juliana Hatfield sings on it, it sounds like a Juliana Hatfield song. I totally respect that this album was written/crafted by three able-bodied musicians and Freda's husband, but the bulk of this 49 minute piece of plastic sounds just like a very polished Juliana record. That ain't a bad thing either, mang.
Let's see, songs... you're gonna go ga-ga over "Poor Man's You". "Social Control" wouldn't be a bad start to a mixtape. Heidi's "On My Own Again" is pretty strong contender for Adult Alternative radio play. A few tunes, ("Hooray For L.A.", "Rock Or Pop"), get a bit monotonous with the title being sung over and over. Usually this'll get a song stuck right in your head, but at times it can be a bit grating.
Certain copies of the album come with a bonus DVD that promises a lot more than it delivers. There are no complete songs and the live snippets are barely listenable. Not really sure what the intent of the short film is, but hey... it's a bonus feature. A bit more bang for your buck doesn't hurt, right?
"Crushing Love" shows that Some Girls have found their feet but leaves you with the impression that their ultimate statement could be just around the corner. Or not. After all... it's just three people that like to make pop songs together. Take that fact into consideration and Some Girls already have a good portion of your favorite fly-by-night indie bands beat at their own game.
16th July 2006, 04:42 PM
how come I never heard from you? jualiana dePandi?
20th July 2006, 09:29 AM
Reprinted from The Phoenix, by Matt Ashare
Is it last call for Freda Love and Juliana Hatfield?
It’s early evening on a sweltering Sunday in Somerville’s Union Square, and though it’s been years, the waifish figure sitting hunched in front of P.A.’s Lounge isn’t hard to identify. Freda Love, drummer for Boston’s long-gone Blake Babies in the late ’80s, is on a short van tour with the indie band Gentleman Caller from Indiana, her home state for the past decade. Thanks to the heat, the humidity, and a night spent sleeping on the floor after playing a house party in Providence the previous evening, she looks as if she hadn’t seen home for at least in month. In fact, tonight’s gig will be only the third in a tour that started two days ago. “I used to be able to get into a really good groove with touring, but I just can’t anymore,” she admits with bemused resignation. She’s not complaining, just explaining. And she’s pretty sure that one of the last apartments she rented before leaving town for Bloomington with fellow Blake Baby John Strohm (guitar) was just down the street from where we’re standing. It’s the first of many questions that get settled when Juliana Hatfield, the third and most prominent piece of the Blake Babies puzzle, shows up at P.A.’s. Love did indeed live just a few blocks outside Union Square before moving to Indiana.
Hatfield also feels Love’s pain when it comes to touring. “Did you ever read Diary of a Rock and Roll Star by Ian Hunter? It’s so funny because the life of a touring musician is the same for everyone. It’s like everyone goes through all the same stuff. I used to thrive on it. But I definitely understand burnout now.”
Later that night, after dinner and talk, Hatfield and I will watch from a corner of P.A.’s as an upright Love pounds on bass and snare drums Mo Tucker–style, inspiring a small crowd of indie-rockers to, yes, dance. But things could and indeed should have been so different. Love has arrived in Boston on the eve of the release of Crushing Love (Koch), the second and possibly final album by Some Girls, a trio that reunites Hatfield and Love for the third time since 2000, in this case with bassist/multi-instrumentalist Heidi Gluck. “We were going to play at the Hot Stove, Cool Music show,” Hatfield explains, referring to the July 12 Fenway Park extravaganza that included sets by Buffalo Tom, the Gentleman, and Kay Hanley as well as a quick cameo by James Taylor. “And then we would have booked a few shows around that just to let people know that the new record is out.”
But immigration issues got in the way of that plan. As Hatfield explains over dinner at the Independent, “Heidi’s Canadian, and she didn’t get her working papers in order in time. She’s eventually going to get a visa, but her previous visa had run out, and it became apparent that the new one wasn’t going to be available in time for the album to come out. We briefly considered replacing her. But it just didn’t make sense because she’s such an important part of the vibe and she’s so hot and . . . ”
“She sings a lot and she has two songs on the album,” Love interjects.
“Yeah, it just wouldn’t have worked,” Hatfield agrees.
Which is a shame, because Crushing Love is among the best recordings the prolific Hatfield has been involved in since 2000, when the Blake Babies reunited to record the surprising God Bless the Blake Babies (Zoë/Rounder, 2001), a disc that featured the original trio along with cameos by Freda’s husband, Jake Smith, and Hatfield’s long-time friend Evan Dando. The return of the Blake Babies might have come as a surprise to many, but it made sense in light of developments in Hatfield’s solo career. After flirting with mainstream alt-rock success on Atlantic, she’d hit a creative impasse surrounding an album the major label wasn’t happy with. And singles like the frothy, polished, somewhat saccharine “Spin the Bottle” had alienated some of the core indie-oriented Blake Babies fans she seemed determined to win back beginning with 1998’s Bed (Zoë/Rounder). That disc signaled a major step back to where the Blake Babies left off — a brand of bittersweet jangle and buzz pop that offset her girlish vocals — as well as a move forward toward more alluring grooves and more telling lyrics.
“Knowing about rock and pop and distinguishing between the two is important to me because a lot of words and categories have been thrown at me,” she says when I mention the lyrics to Crushing Love’s spare yet raw, feedback-filled “Rock or Pop?” “I just think I’ve been misrepresented because people can’t get past the way my voice sounds — the delicate girly sound of my voice. They can’t get past it so they label me as something that I’m not. They think that that’s geared to please the masses. But making music for me has always been a very personal and crucial part of my mental health and existence. I’ve always just had to do it. I’ve never tried to write hits for the radio. And there are people who are disappointed in me for not taking that path. I’ve just always been more inspired by rock music, even though I do love pop music in its own way.”
Later, she’ll call to clarify her thoughts. “I just wanted to say that I think that what I’m trying to do in that song is implicitly make the case that I am rock as opposed to pop. I’m not just trying to define what rock is and what pop is. I’m trying to make the case that I’m rock and not pop.”
More than a definition of terms, “Rock or Pop?” is an indictment of what pop music has become in the era of faux reality-TV bands and manufactured hits. “Does god read the liner notes?/Does god watch the awards shows?”, Hatfield asks over a slinky guitar line, the sparest of backbeats, and no bass. “Think of the difference/Are you writing for an audience?/Or are you writing for yourself?/Very willing to go straight to hell.” This from an album that opens with Hatfield crooning “This is not a movie baby/A happy ending is not guaranteed/And this is not one of those songs for radio/You’re not going to write this one so easily” against an innocent backdrop of strummed acoustic guitar, handclaps, and a pleasant melody. When she sings, “I’ve been thinking for hours about it,” you get the sense that she’s been thinking about her role as a musician for days, months, maybe years.
The tension between Hatfield’s introspection and the outgoing personalities of Love and Gluck may be what makes the band, who really aren’t a band in any traditional sense, work so well. Their chemistry is palpable on Crushing Love, even though Hatfield and Love have a long-distance friendship and hadn’t seen each other in more than a year when we meet outside P.A.’s. Most of the work on the album was done via tapes sent back and forth in the mail. And then it all came together in an Indiana studio with little effort.
“It was never something we ever thought of as an ongoing thing,” Hatfield says of Some Girls. “I mean, the only reason we even made this second record was that Koch picked up our option for a second record.”
“Yeah, we were trying to decide if we should,” Love quips, “but we didn’t know how we were going to pay for another record, and it didn’t seem very feasible until Koch asked. And it all came together really fast, right before Heidi moved back to Canada.”
Unfortunately, the future of Some Girls and the Blake Babies is very much up in the air. Strohm is now a lawyer, and Love, who’s developed a kind of joint pain that makes it difficult for her to play drums in the normal, seated position, is planning a big move to England with her husband and kids at the end of the summer. In the meantime, Hatfield is planning to release a live solo album this fall on her own label. “I know that we’ll get together again at some point,” she muses. “I mean, England’s just as far as Indiana. So, maybe we’ll do some shows in England. I don’t know. We’ve really never had a plan.”
20th July 2006, 09:31 AM
Most artists evolve over the course of their careers, changing band mates, songwriting styles, etc. But Juliana Hatfield has woven a particularly complicated web since she formed the Blake Babies with fellow Berklee student John Strohm and his then girlfriend Freda Love in 1986.
Back then, Hatfield sang and played bass, a role she retained when the Blakes reunited in 2000–2001. She also played bass on what many consider to be the best all-around Lemonheads disc, 1992’s It’s a Shame About Ray (Atlantic).
Meanwhile, Love was carving out a niche in Indiana, first playing with Strohm in Antenna and then forming the Mysteries of Life with her husband, Jake Smith, though the Indiana indie-rock family tree is so extensive that there’s a Web site devoted to it. Hatfield could use one of those herself. Here’s a tripartite overview of her career.
A classic post-punk indie-pop trio who’d pick up a couple of second guitarists along the way, the Blakes were still finding their sound on their 1987 debut, the nine-song Nicely, Nicely (reissued by Mammoth in 1994). Their two classics from the pre-alt-rock era are 1989’s Earwig and 1990’s Sunburn (both Mammoth), two discs that balance complex arrangements, well-crafted hooks, dystopic lyrics, and a mix of jangle and hum that Hatfield would return to a decade later, after a couple of near-miss hit singles. She’d also reunite with the Blake Babies for 2001’s God Bless the Blake Babies (Zoë/Rounder), on which the original members are joined by Evan Dando on a couple of tracks.
Hatfield’s career as a “solo” artist began on Mammoth with 1992’s Hey Babe, a disc that split the difference between the low-key indie pop of the Blake Babies and the leaner, meaner, tougher sound of 1993’s Become What You Are, a disc credited to the Juliana Hatfield Three (with Dean Fisher on bass and former Bullet LaVolta drummer Todd Philips). It featured polished alterna-rock tunes like “Spin the Bottle” and “My Sister.” The same approach prevails on 1995’s Only Everything (Atlantic), a grungy album that took her farther from her indie-rock roots.
All of that came to an end when Atlantic refused to release her subsequent album, and the next phase of Hatfield’s solo career began with the promising Bed (Zoë, 1998), on which she stripped down her sound and got more personal with her songwriting. That trend continued on 2000’s Beautiful Creature, a collection of wistful, reflective songs offset by the simultaneous release of the loud, punkish, belligerent Total System Failure, a disc credited to Juliana’s Pony. With that out of her, uh, system, she returned to singer-songwriter mode on 2004’s In Exile Deo (Zoë/Rounder) and last year’s Made in China, which she released on her own Ye Olde Records label.
The band name can’t help conjuring Mick and Keith, especially since this project began with an album, Feel It (Koch), that included a Robert Johnson cover (“Malted Milk”) and the bluesy tenor of Hatfield’s guitar. But Hatfield and Love, reunited from their Blake Babies days, affirm that the Stones were the farthest thing from their minds when the name was suggested to them. A trio completed by multi-instrumentalist Heidi Gluck on bass, Some Girls began as just another outlet for Hatfield’s singing and songwriting. Then when they reconvened in the studio last year to record Crushing Love (Koch), a full-length that comes with a bonus DVD of live and in-the-studio footage, Love and Gluck became more involved in the songwriting. And in addition to providing background harmonies, Gluck took over lead vox on a couple of tunes.
11th August 2006, 02:45 AM
Criminally Overlooked : 005 : Juliana Hatfield
It's a real shame when an artist gets unfairly lumped in with a 'movement' or a 'scene', because there's a good chance that their commercial shelf life is going to be cut short the minute that journalists run out of nice things to say about their particular fad. In the case of Juliana Hatfield, the press came up with some silly notion that women hadn't made rock music until the early 1990's and exploited every woman with a distortion pedal who mentioned their libido in any form at all. Back in 1993, she was in every magazine's sidebar when they wrote their inevitable "1993 - Year Of The Woman" article, next to PJ Harvey, Bjork and Liz Phair. And sure, those are all decent artists in their own right, (or at least they were at the time... right Liz?), but besides their recording contracts and genitalia, they couldn't have been further removed from each other. When the mainstream press did give her a proper article they were preoccupied with Juliana's unusually high voice, her virginity and her relationship with Evan Dando... everything but the fact that she was one of the best musicians and songwriters to eek out of the nineties alternative rock boom.
From her early days in the Blake Babies until her recent sojurn with the Some Girls side project, Juliana has concurrently exceeded and confounded the expectations of her loyal fan base. When we expected another jangly pop hit like 1993's megasuccessful "My Sister", we got the dark heaviness of the Only Everything album. On the same day in 2000 we got the gorgeous, laid-back and mostly acoustic Beautiful Creature... as well as the mangled and deafening Total System Failure record. When Atlantic refused to release her 1997 album God's Foot for no discernible reason, Juliana went on an unsuccessful hunger strike. When the critics hailed her as the Next Big Thing, she refused to 'smile for the camera', because she felt she hadn't 'earned it'. She's unpredictable for sure, but she can also bust out with some of the most innovative guitarwork since J Mascis.
Most critics (and some stubborn fans) don't want to look past her major label heyday, but it'd behoove any fan of well crafted pop/rock to do so. If you want some slicker-than-turtlewax pop sheen, you gotta check out In Exile Deo. Want some loud, first-take rock with seriously bipolar lyrics? Man, come over and I'll play you Bed from 1998 and follw it up with last year's insidious Made In China. You won't leave my house the same, I assure you.
If it exists in the rock spectrum, you can bet that Juliana Hatfield has tried it and likely improved upon the formula. So why is she so consistently overlooked? As far as I can tell, the cardinal sin of commercial success is following your heart and writing to please yourself, in which case Juliana will continue to be passed over for artists that will show cleavage and flirt with reporters. You'd think that sticking to your guns, being yourself and having an impeccable resume of records under your belt would be enough to set the world on fire. Nope, the world at large will have to settle for hearing "My Sister" and and the jangly hit "Spin The Bottle" on every 'old school weekend' that Modern Rock stations like to do when they are out of ideas. The rest of us will just have to settle for Juliana Hatfield being our little secret.
Official Juliana Hatfield page (http://julianahatfield.com/)
Tons of official Juliana Hatfield MP3's (http://julianahatfield.com/downloads.htm)
A veritable cavalcade of early Juliana Hatfield bootlegs (http://www.getoffyourknees.com/mp3s.html)
Oodles of live Juliana Hatfield cover songs (http://www.cayla.us/DCweb/onlinedocs/Entertainment/juliana/mp3s.htm)
30th August 2006, 03:49 AM
Crushing Love review
After Juliana Hatfield released the grimy, purposefully uncatchy Made in China last year, Crushing Love, the second effort from her indie-pop trio Some Girls, feels like a fall breeze in muggy August. She’s still dating drug addicts—guess what the gorgeous, atmospheric ballad “He’s On Drugs Again” is about?—and taking no shit, slapping guys who pour beer on her boobs at a lame party (“Social Control”). But she does it with such rhythm! Such jauntiness! Such harmonies!
This isn’t solely The Juliana Hatfield Show, though it’s being marketed as such. One of the record’s strongest tracks, the driving, banjo-tinged “On My Own Again” was written and is sung by guitarist Heidi Gluck, with the dopest beat this side of “Gold Lion,” courtesy of Hatfield’s Blake Babies mate Freda Love, who provides an upbeat counterpart to Hatfield’s downer attitude.
Crushing Love reveals something new and exciting with each listen, including na-na-na singalongs, the harmonica stomp of “Stars in My Dreams” and cranky songs like the obligatory Hatfield industry rant (“Rock or Pop”) and the ironically titled “Hooray for LA,” in which Boston native Hatfield bitches, “They got sunshine in my eyes/every fucking day.”
A trio of top-notch musicians with nothing to prove, Some Girls has delivered a record free of pretension and full of awesome.
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