Springsteen Live EP Due July 15 (Digital Only)

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* "Always a Friend" with Alejandro Escovedo (April 14, Houston)
* "The Ghost of Tom Joad" with Tom Morello (April 7, Anaheim)
* "Turn! Turn! Turn!" with Roger McGuinn (April 23, Orlando)
* "4th of July, Asbury Park (Sandy)" with Danny Federici (March 20, Indianapolis)

Damien Jurado's "Caught in the Trees"

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Jurado's new one will arrive on September 9. If the track "Gillian Was a Horse" is any indication, this is going to be a gem.

Tour Dates:

08/17/08
Crickhowell, South Wales
Green Man Festival

08/18/08
Manchester, UK
Trinity Chapel

08/19/08
London, UK
Bush Hall
w/ Bowerbirds

09/07 /08
Sacramento, CA
Harlow’s

09/09/08
Los Angeles, CA
Spaceland

09/10/08
San Francisco, CA
The Independent

09/12/08
Portland, OR
Doug Fir Lounge

09/13/08
Seattle, WA
Triple Door

09/25/08
Chicago, IL
Schubas

09/29/08
Cambridge, MA
TT the Bear’s Place

09/30/08
New York, NY
Mercury Lounge

10/01/08
Brooklyn, NY
Union Hall

10/02/08
Washington, DC
Rock and Roll Hotel

10/03/08
Philadelphia, PA
First Unitarian Chapel

10/04/08
Columbus, OH
Milo Arts

Kenny Roby

Bar None Records

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This man gave me my first job in music. It would be impossible to convey the feeling I had when I first walked into the Bar None office and was met with Wilco's "A.M." blasting through the speakers.

In addition to a fantastic gig, Bar None introduced me to such outstanding records as Yo La Tengo's "Fakebook", Kathy McCarty's "Dead Dog's Eyeball" and all the great Esquivel records.

It's now 13 years later and I'm still fortunate to work in the industry that I love. And in many ways, it's all thanks to Glenn Morrow.

Some Stories....

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I remember reading this article/obituary while sitting in my cubicle at MTV Networks in 1999. Similar to some of Grant Alden's writings in No Depression Magazine, it's one of those stores that I've never forgotten. I've shared/embellished the Luna/Pavement part with probably 25+ people since this story was published. It's a bit heartbreaking, but it's worth a read.

when i'm gone, i'm still at home

Josh Ritter with the Boston Pops

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The Bostonist reviews the show

Brent Best

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If we lived in a world where writers like Larry Brown were read by the masses and the films of Atom Egoyan graced theatres everywhere, then musically, Brent Best would be streaming through ipods the country over. In all likelihood, unless you're someone I likely know by name or face, you probably don't know Brent Best. Well, at a late-night party at South By Southwest in March, I declared to an entire room that, "Brent Best is a better songwriter than Paul Westerberg." Despite having 15+ beers in me at the time, I'd still stand by that statement.

In addition to his songwriting, Best is equipped with a spirit and passion that is absolutely absent in so many artists today. Almost every day there's a new Fleet Foxes or a new Burial, but the majority of these acts are flashes in the pan. Brent Best is not, and nor will he ever be. Whether it be records such as Slobberbone's Barrel Chested and Everything You Thought Was Right Was Wrong Today or The Drams' Jubilee Dive, Brent Best is slowly entering Neil Young and Bruce Springsteen territory. Just like Neil and Bruce, Brent was born with rock n' roll inside. He didn't take this route for ego and fame, and he certainly didn't do it for the money; he's done it because it's what's inside. And this spirit is something you see every single time he performs.

The Drams


Brent Best has stood front-and-center for some of the greatest shows I've ever seen. And hopefully he'll be doing so for many years to come.

Must See: HBO's Hard Times at Douglass High

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(via hbo.com)
Alan and Susan Raymond spent one year filming in Frederick Douglass High School, which has a rich history of successful alumni, including Supreme Court justice Thurgood Marshall. Shot in classic cinema verité style, the film captures the complex realities of life at Douglass, and provides a context for the national debate over the controversial No Child Left Behind Act, focusing on the brutal inequalities of American minority education, considered an American tragedy by many.

Douglass principal Isabelle Grant oversees a staff of teachers that is two-thirds non-certified, while many are substitutes unqualified to teach their subject areas. Threatened with sanctions, or even closing, unless student scores improve in annual standardized tests, the faculty tries to find workable solutions to chronic problems of attendance, lateness and apathy among students, many of whom come from poor backgrounds and broken homes, and lack the most basic reading and math skills.

Due to an achievement gap of four to five years below grade level, ninth grade students present the greatest challenge, requiring intensive intervention by the already overwhelmed teaching staff. By the end of the school year, 50% will drop out. Grant and her staff struggle to raise state assessment scores as a Maryland State monitor continually watches over Douglass with the threat of a state takeover.

At the same time, there are reasons for hope. The high school boasts an award-winning music program, named after Douglass graduate and jazz great Cab Calloway, that includes a choir, a drumline marching band, a jazz combo and an orchestra. The basketball team was Maryland State champion two of the last three years. And the outstanding debate team consistently wins trophies at the Baltimore Urban Debate League. Students Sharnae, Jordan and Matt tell stories of struggling to overcome the enormous challenges of splintered families and peer pressure as they navigate their high school days, offering a reminder that education is inevitably an achievement of people, not policy. With the support of Douglass, these students have demonstrated resilience in the face of formidable odds.

Eventually, Douglass fails to make the adequate yearly progress required by the No Child Left Behind Act and the city and state wrestle for control of the school. This is typical of inner-city schools that cannot meet the demands of the federal law. By 2007 one in four of the nation's public schools failed to show improvement under the No Child Left Behind Act and was threatened with sanctions.

Alan and Susan Raymond's other HBO and CINEMAX credits include "How Do You Spell Murder?," "Children in War" (Emmy® for Non-Fiction Prime-Time Programming), "I Am a Promise: The Children of Stanton Elementary School" (Best Documentary Feature Oscar® as well as Emmy®, DuPont and Peabody Awards), the Oscar®-nominated "Doing Time: Life Inside the Big House," "Into Madness" and "Elvis '56." The Raymonds are also the filmmakers of the 1973 PBS documentary "An American Family" and its follow-ups: 1983's "An American Family Revisited" and 2003's "Lance Loud! A Death in An American Family."

HARD TIMES AT DOUGLASS HIGH: A NO CHILD LEFT BEHIND REPORT CARD is a Video Vérité production; produced and directed by Alan Raymond and Susan Raymond; written and narrated by Susan Raymond; cinematographer and editor, Alan Raymond. For HBO: senior producer, John Hoffman; executive producer, Sheila Nevins.

Wilco Timeline

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1995



1997



1999



2002



2004



2007