Column 158: Better than the Beatles
A legendary band's long lost recordings resurface.

It dawned on me as I listened to their mechanical, dead-voiced interpretation of "Can't Buy Me Love" -- a reinvention of a free-wheeling love ballad into a robotic, bleating nightmare -- that there will never be another Better Beatles.

Thrust into the global consciousness for a few brief moments in the early '80s, The Better Beatles is one of the more colorful footnotes in Omaha's music history, remembered by only the tiny handful who were there. Like most of you, I'm just now learning of their existence, 26 years after their brief shining moment.

Consisting of Kurt Magnuson, Dave Nordin, Jean pSmith and Jay Rosen, The Better Beatles were four teenage punks who tried to tear down a cultural icon. Their weapon of choice was their 45-rpm interpretations of Beatles' classics "Penny Lane" and "I'm Down."

A review in Lincoln's Capital Punishment fanzine said it all: "As their name implies, they are better than the Beatles, reducing those time worn 'classics' to mechanistic rumbling. Gone are the 'Lets make love not War, everything's groovy' emotionalism of the '60s replaced by more realistic rhythms of repetition and emotionlessness. The synthesizer beats out a five-note sequence that makes up the whole song, while Kurt and Jay's instruments are barely audible. The real gem here is Jean's voice. She sings 'Penny Lane' in a stark staccato tone that is half frightening, half bored. This is the way the Beatles would sound if any of them were alive today."

Little did our heroes know that their record would get airplay all over the U.S. and beyond, including a spin by U.K. uber-tastemaker John Peel on his famous radio show. Even Village Voice music critic Robert Christgau gave the single a wizened nod.

The single was supposed to be only the beginning. The Better Beatles had recorded an entire album's worth of their New Wave anti-pop Beatles covers. But as quickly as their musical star rose, it faded. The rest of those recordings never saw the light of day. Until now.

Late last year, Oakland label Hook or Crook Records released the long lost Better Beatles recordings on a full-length album titled Mercy Beat. In addition to the single, that album includes the band's unique take on "Lady Madonna," "Baby You're a Rich Man," "Eleanor Rigby," and five more standards. You can pick up a copy at The Antiquarium record store.

Via e-mail from Berlin while on tour as the guitarist for The Legendary Stardust Cowboy, Better Beatles drummer/vocalist Jay Rosen told the story of the unlikely emergence of Mercy Beat. He said the last time all four members of the band were together in the same room was the November 1981 sessions that spawned the album. "Kurt and Jean moved to Seattle right after that in Kurt's old 1964 Chevy, driving across the frozen Midwest and Northwest," Rosen said.

Shortly after the session, a few record labels were interested in releasing the material. "There was a guy at Arista Records who was planning to put the record out," Rosen said. "The only problem is, that would have taken months! That is a long time when you are 19 years old playing in bands that are together for 10 or 12 weeks."

Instead, the band put out the single on their own Woodgrain Records label. "It seems like it was a minor hit on BBC and on some West Coast stations," Rosen said. "We were getting a lot of letters from Europe, due to John Peel playing the single." But the attention was short-lived, and the band members moved on. Years went by. Al Gore invented The Internet, and the next thing you know, new reviews of the single started showing up online. One review, Rosen discovered, included a comment posted by Jean pSmith. "A few days later, I got an e-mail from her," Rosen said. "I nearly fell off my chair. I had not heard from her since 1981."

All the web chatter piqued the interest of Hook or Crook's Chris Owen, who wondered about those lost sessions. "I had the tapes, but I was not sure they would still be intact," Rosen said. "There can be problems storing magnetic tape. It can come apart the first time you play it after years go by."

But the old Radioshack reel survived, Rosen said, and he and Jean set to work putting the album together. "I only had a cassette tape that was destroyed in 1984 by Krishna Copy center in Berkley, so I had not heard most of these for 23 years," Rosen said. "I'm glad to hear them again."

Despite the time that's passed, the recordings still hold their own as a critical comment on commercialism and idol worship from a band that considered The Beatles to be "an oppressive influence."

"I knew people that were riding Big Wheels when the Beatles broke up who still worshiped them like gods," pSmith said in an interview with the band by Jay Hinman from September 2007 (which is included in the album's liner notes). "Omaha has always been slow to change, being insulated by the rest of America's conservative bulk. I felt that the adoration of the Beatles had gone on quite long enough. Better Beatles stripped the songs of their sacred status, like saying 'We're not afraid of your gods!'"

She also said that the band didn't have any other material to play, "and this is just what we pulled out of our asses."

Regardless, the record is a reminder of a time when musical icons still existed for bands to denigrate. That time is long gone.

Column 157: The Quiet Revolution
A community gets a broadcast voice.

When word starts getting around about a new radio station that will actually focus on the community and its artists, people get excited. Very excited. Maybe too excited.

The rumor started leaking out about KIND FM a week ago -- a new radio station that would operate out of Benson and play local music -- yes, local music -- as well as other locally produced programming. For a community of musicians and artists that has been starving for such a broadcast voice for as long as I can remember, it seemed too good to be true.

And like all rumors, the story only got bigger and bigger. Before long, I was hearing that KIND would have a broadcast range of 50 miles. My god, you'd be able to pick it up in Lincoln! But wait a minute… that could only happen if one of the large commercial stations was to change format, and doesn't it seem unlikely that a money-generating FM station would switch to a non-profit community-based format?

The truth, while not nearly as big and bold, is still exciting in its own way.

The people behind KIND FM are Amy Ryan -- owner/operator of The Pizza Shoppe and PS Collective in Benson -- and WOWT senior writer/producer Shawn Halpenny -- the driving force behind the broadcast of the Omaha Entertainment and Arts Awards for the past two years.

For Ryan, KIND is yet another effort to turn Benson into what she calls a "self-sustaining, harmless community." Give her a chance and she'll tell you about dreams of mounting power-generating wind turbines on the roofs of Benson buildings, about creating an all-inclusive community that nurtures artists and musicians. Her performance venue, PS Collective, is about "experiencing all perspectives of the human condition," she said. "That's the power and magic of creativity!" She plans to eventually turn the Pizza Shoppe and PS Collective into nonprofit businesses that provide work training for "people in transition." Some might call her a visionary; others, a hippie with a cause.

Ryan shared her vision with her old pal Halpenny. "At an impromptu meeting a few Saturdays ago, Amy asked me about how we could get the word out about Benson, and how Benson resembled Haight Ashbury circa 1968…" Halpenny said. "It just clicked… a radio station."

Not your typical radio station, an FCC Part 15 station -- a low-powered FM broadcast that Halpenny said is allowed to operate by the FCC without a license. "You don't need a license if your signal's power doesn't exceed 100 milliwatts," he said.

So what kind of range are we talking about here? Fifty miles? Twenty miles? "It will cover 10 to 15 blocks in every direction, if we're lucky," Halpenny said. "It's truly a community radio station designed just for the people of Benson."

Halpenny said the $150 transmitter and 40-foot tower were donated by his radiohead colleagues at WOWT. The PS Collective building will be the station's headquarters, housing the studio and transmitter, with the tower mounted on the roof. Halpenny and his TV friends will be the technical brains behind the station, while Ryan will coordinate programming and the volunteer personnel who will run it all.

"The station is designed to promote local art and businesses," Ryan said. Operated as a nonprofit, KIND won't accept advertising. It also won't play music registered with ASCAP and BMI -- which is most of the music heard on college and commercial radio stations. That means KIND will only air locally produced original music. What about local bands on labels like Saddle Creek? Their music may be aired if musicians sign a release form. Needless to say, Ryan and Halpenny already have lawyers involved who are familiar with broadcast rules and regulations.

Beyond music, Ryan said KIND also will broadcast talk shows and live performances not only by bands but by local theater troupes who have voiced interest in producing radio plays. It sounds like a mish-mash, but there will be plenty of hours to fill. Halpenny said programming will be surprisingly automated, utilizing Vara broadcast software tools. "People will be able to build their own master show using Audacity (software) and e-mail it to me as an mp3 file," he said.

The studio will be used for live interviews, performances and talk shows, including Halpenny's own show for M.A.P.S. Omaha -- the Metro Omaha Paranormal Society, which he helped found. Got an idea for a show? Ryan and Halpenny are open to anything, as long as it follows the rules.

So when's all it going to happen? Ryan and Halpenny couldn't say for sure. KIND literally is in its infancy, though all the pieces are slowly coming together. They both say the station could be broadcasting in the next few months, depending on the amount of help they get from volunteers. Anyone interested in playing a role in KIND is invited to an organizational meeting to be held at PS Collective, 6056 Maple St., at 7 p.m. Jan. 31.

Before I left the interview, Ryan played an mp3 file on her MacBook -- a station promo created by WOWT's Dave Webber. Amidst a blur of noise, Webber's sterling voice announced, "KIND FM, the revolution has begun."

It's a small revolution, one with a tiny voice, but a revolution none the less. And in a city internationally known for its creativity, where its own artists' voices have been effectively kept off the airwaves, it's a revolution that's a long time coming.

Omaha punk trio The Stay Awake has been around for five years. So why is this the first time you've read about them?

Probably because the band has never done an interview before, nor has it ever really wanted to.

"We never did much to promote ourselves," said bassist Robert Little over beers at O'Leaver's last Tuesday night. "It's just how it is."

"It's all a fucking game," said frontman/guitarist/cynic Steve Micek. "I can't do shameless self-promotion."

"For me, our music is a take-it-or-leave-it thing," added drummer Mario Alderfer.

On the surface, they sound like they don't care -- about the band, you, or if people listen to their music. But that's not entirely true. "I could say that people liking our music isn't a motivation," Alderfer added, "but I like it when they do." (continued)

Daniel Tijerina, San Marcos, Texas

Courtney Anderson, Ohsweken, Ont, Canada

Christopher Van Buskirk, Omaha, NE

Column 156: Enter the Fray
Better than a letter?

And now a peek into the ol' mailbag... sort of.

Actually, I rarely get letters these days via the U.S. Post in care of The Reader. I'm sure The Reader gets plenty of letters (at least one hopes), but none of them are addressed to me and none of them are published. Most of the feedback from this column and other articles I write for the paper comes by way of a webboard linked from lazy-i.com -- the online repository (some might say, dustbin) for all my music writing (and yes, The Reader also has a website where my columns are posted).

Webboards have been around in one form or another for as long as there's been an Internet (and even before. Who remembers BBS?). They're the modern-day equivalent to the town square, where anyone in the world can read and react to whatever is on their minds, anonymously or otherwise. Webboards and blogs are replacing the old fashioned "letters to the editor" pages at most progressive newspapers and publications (which means you likely won't see them at Omaha.com).

Lazy-i's webboard is focused almost exclusively on indie music and the Omaha scene. By far, the most common posts -- or "threads" -- announce bands' upcoming gigs, CD releases or other music-related news that slipped through the cracks. Some posts point out typos or errors in my writing, of which there is a multitude. Some are kudos; others let me know what an asshole I am. I welcome both roses and rocks tossed in my direction.

Perhaps the most interesting posts are those that ask questions that strike at the heart of the music scene. Here are a few recent ones:

-- "JJ" posted on Dec. 28: "Who's the ONE Omaha band that is going to break through on a national level in 2008? Be honest."

Of the 24 replies, the most common response was Baby Walrus, whose debut album is about to be rereleased on Slumber Party Records -- a new Omaha label distributed by Saddle Creek. Capgun Coup, who records for Conor Oberst's Team Love label, and Noah's Ark Was a Spaceship also got nods. My take: The breakout band will be the one that gets off their asses and tours. Playing three days a week in Omaha will certainly get you noticed around town, but will keep you anonymous beyond the state's borders, regardless of your hundreds of Myspace friends. I know, I know -- but what band? My guess: Eagle*Seagull or Ladyfinger.

-- "Bartlett" posted on Jan. 6: "…Omaha has no real radio station representing the sound of the city and no real representation of good local music (outside of Planet O). What would it take to get a good radio station here in town?"

It's a question that's been asked for over a decade. "Boris" replied: "There are a few options: Someone buys a broadcast license for a few hundred thousand (million?) dollars and then invests another million more to establish a new radio station. Someone who already owns a broadcast license decides to change their format to indie rock. I'm not aware of any over-the-air broadcast commercial indie rock stations in this country. (Or) a college or university establishes an indie-themed public radio station. The options are UNO (not happening with classical KVNO already established); Iowa Western (They already have the shittiest radio station in town, which they consider "alternative"), Creighton (indie rock is the devil's music); KIOS (NPR affiliate that recently added a news staff of one, would never take the risk). In summary: It'll never happen." I wouldn't be so sure.

-- "JJ" (again) posted Nov. 28: "The Future of Omaha Music, hype or hope?" This simple question was one of the webboard's most popular threads, read more than 3,300 times with 91 replies. Most pointed to the Hotel Frank bands as being both the hope and the hype (or the overyhyped). Hotel Frank is a popular house show location. HF bands include Capgun Coup, Baby Walrus, Bear Country, Coyote Bones, Flowers Forever, The Family Radio, Hyannis, Talkin' Mountain, Dim Light, Honeybee, and a number of bands that never actually played there before but have been lumped in with them just the same.

My posted response: I don't know what people mean by bands being "overhyped." Too many people like them? Their fans/friends are too vocal? They're getting showered with undeserved press? There haven't been very many stories written about HF bands in the "formal press," certainly none in the OWH. The only place they get "hyped" is in blogs (and webboards) -- and why shouldn't the writers cheer on their favorite bands and friends? I prefer that over the endless discussion threads on certain webboards where people go on and on about how much they hate a specific band or scene or whatever…

Which brings up the downside to this new electronic town square -- its propensity to turn into a haven for bitching and whining. If it goes unchecked, the constant negative vibe eventually drives people away. That certainly has happened to a couple of local webboards. But it won't happen to mine -- criticism is fine, but outrageously hateful and/or slanderous comments are immediately deleted, and the person posting the comment is banned from posting again. When it comes to webboards -- especially the one that I administer -- the First Amendment doesn't apply.

So, you got something to add? Go ahead and drop a letter in the post or send me an e-mail. Or better yet, go to the lazy-i.com webboard and enter the fray.

THE DEADLINE IS TODAY to enter to win a copy of the coveted Lazy-I Best of 2007 Compilation CD! Just e-mail me (tim@lazy-i.com) with your name and mailing address and you'll be entered into the drawing. Tracks include songs by Stars, Interpol, Rilo Kiley, Wilco, Les Savy Fav, Justice, Baby Walrus, Bright Eyes, The Good Life, The Monroes, The Third Men and many more. Details and track order are right here. Enter now! Again, the deadline is today. The winners will be announced on tomorrow.

So are we going to get four inches, six inches or just a dusting tonight? I'm keeping my fingers crossed for the dusting, as there are a couple good shows going on around town. Over at O'Leaver's, those crazy somersaulting punk-rock wonders Poison Control Center are taking the stage along with Bazooka Shootout and El Diablos Blancos. Expect some microphones to get broken. $5, 9:30 p.m. Meanwhile, over at The Waiting Room, it's Scott Severin and his band, the Milton Burlesque, along with Omaha legend Dereck Higgins (The Family Radio, Digital Sex, etc.) and Electric Needle Room. $7, 9 p.m.

What else…

There's an interesting interview with The Good Life at prefixmag.com (read it here). Nothing really new, but the webpage also includes a video snippet from the interview. Strangely, the text reads as if this was written last summer, though it was posted online only yesterday.

* * *

Today and tomorrow and that's it! Get your entry in to win a copy of the coveted Lazy-I Best of 2007 Compilation CD! Just e-mail me (tim@lazy-i.com) with your name and mailing address and you'll be entered into the drawing. Tracks include songs by Stars, Interpol, Rilo Kiley, Wilco, Les Savy Fav, Justice, Baby Walrus, Bright Eyes, The Good Life, The Monroes, The Third Men and many more. Details and track order are right here. Enter now! Deadline is January 17. The winners will be annouced on Friday.

--Got comments? Post 'em here.--

It was nice to be back at O'Leaver's Saturday night. It's been quite a few weeks since I leaned against the rail inside everyone's favorite mid-town stinkhole. As the marquee says, "Voted Best of Nothing. Thanks Omaha!" It was, however, voted best place to see a live show by a certain dumb-ass who writes about music for The Reader. Yes, The Waiting Room has a superior stage, sound system, lighting, everything. Slowdown is an absolute marvel, a wonderland for live music. But O'Leaver's, well, you just can't beat it for its low-down, intimate vibe. You never know what you're going to get on any given evening. It could be absolute shit; it could be one of the best performances of the year. Saturday night's show was the former. Actors & Actresses, a three-piece that drove up from Kansas City, rifled through an amazing set of gritty, fuzzy, feedback-smeared slow-churners. Shoegazer on steroids. Someone referenced Sigur Rós. I was reminded of classic '90s Lawrence band Zoom, though at a much slower pace. This was head-trip music. As one guy said, "I should have taken that acid before the set." They were the first band in a long time that showed a video during a performance that actually enhanced the experience -- the collection of shots ranged from show-motion explosions to grainy b&w landscapes to atmospheric, decaying set pieces, all of which could have been used in a Joy Division video. Well-edited and always interesting, and a perfect compliment to their sound. And speaking of sound, the audio level also was perfect -- loud, but not painful. There was no need for earplugs. There also was no escaping its intensity, which is another thing I like about O'Leaver's. At TWR you can always retreat back to the bar for relief. Same with Slowdown. But there's no place to hide in O'Leaver's. You cannot escape the music, and as a result, you're forced to pay attention (for better or worse).

Actors & Actresses was followed by headliners Race for Titles. And as if on cue, just as the band was setting up, the place got packed like it always does at around 11:30. I haven't seen RFT in over a year because other than a couple very recent shows, they haven't played in a year. That hasn't stopped them, however, from writing new material. My main gripe about RFT always has been: 1) Their droning sound, while interesting, can become repetitive (and boring), and 2) the vocals are more like improvised three-note tonal wailing than singing. That's changed with this new material. The opening song featured drummer Matt Baum tapping out rhythms on the rims and cymbal stands. The riffage was most awesome, a departure from the usual semi-shoegazer Cure-ish minor-key wave-of-desolation dirge rock. Still, there was plenty of that, too, as if the band cannot escape their droning, ethereal past. I preferred the more up-tempo, riff-oriented rock. My guess is there will be plenty of both on their new album, which the band tells me is pretty much in the can. You'll get a chance to check out the new stuff when RFT opens for Neva Dinova at Slowdown Feb. 23 along with Noah's Ark Was a Spaceship.

* * *

I know, I know… After reading all that, you're feeling lonesome for a little O'Leaver's love. Well, you can get some tonight as Omaha's Favorite Stinkhole hosts Forbidden Tigers, Estrogen Highs and Fucken Snakes. The fun starts at 9 and will run you $5 clams.

* * *

On the news wire… Looks like Bob Mould has a new record coming out, according to CMJ (here). Says the article: "Mould somehow found time to craft what is being described as a return to his flying V-centric days. While Mould's projects always come with promises to his longtime followers that this one will please longtime followers, District Line may be the closest in sonic similarity to his catchy, Sugar/Husker Du guitar-based bash-aways." I'll believe it when I hear it. Looks like the closest he's coming to Omaha on this tour is Minneapolis (First Ave.) and Chicago (Metro). Something tells me he'll be through here sometime this year, though.

* * *

Seriously folks, the clock's ticking. The deadline is Thursday. Get your entry today in to win a copy of the coveted Lazy-I Best of 2007 Compilation CD! All you have to do is e-mail me (tim@lazy-i.com) with your name and mailing address and you'll be entered into the drawing. Tracks include songs by Stars, Interpol, Rilo Kiley, Wilco, Les Savy Fav, Justice, Baby Walrus, Bright Eyes, The Good Life, The Monroes, The Third Men and many more. Details and track order are right here. Enter now! Deadline's January 17.

Tonight: Stefanie Drootin, Outlaw Con Bandana, Bear Country, Neva Dinova.
Tomorrow: Baby Walrus, No Blood Orphan, Johnny Clash, Groove Gov'nors.
Sunday: Orenda Fink, Jake Bellows, Josh Audiss, Benjamin Komar, Derek Andersen, Matt McLarney, Michael Wunder, Joe Knapp, Dan McCarthy, Stefanie Drootin.

Column 155: Preconceived Notion
What are we missing?

So Saturday night rolled around and looking through the listings I saw that Lincoln Dickison was doing a rare solo acoustic show at Mick's. Dickison is renowned locally for his guitar playing in The Monroes, and within the last year as the bass player in Bombardment Society not to mention his work a few years back as frontman for the chaotic noise-punk trio Putrescine, which sadly no longer exists.

I'd heard about the show from members of The Black Squirrels a week earlier while backstage at the first OEA awards show at The Scottish Rite Hall. The Squirrels also were on that Mick's bill, and I made a mental note to clear my calendar for Saturday night.

Also on the bill was a guy named Brad Hoshaw, but looking at the band order on the listing, I figured if I timed it right I could miss Hoshaw altogether and just see Dickison and the Squirrels. Nothing against Hoshaw, he just wasn't for me. I was introduced to him briefly a few years ago by Matt Whipkey at a show at O'Leaver's. Hoshaw, with the well-groomed beard and the ponytail, looked like a cleaned-up, Midwestern hippy. Whipkey said he was one of the city's best singer-songwriters who played a lot at Mick's and other places around town that showcase acoustic music. He was a nice, affable person with an honest, warm smile, but I never bothered to check out his music. I'd seen more than my share of these guys who sing about their personal pain to the tune of the same boring, dusty acoustic chord progressions. Thanks but no thanks.

We're all guilty of bearing preconceived notions about people and music and places and things. Maybe not all of us. There are a few of you with an open mind who never make those prejudgments. But you're very rare. Most of us see something or hear something and write it off as more of the same ol' bullshit before we really get to know it. Nowhere is that more true than with music. We hear about a band or see their picture and immediately think, "Been there, done that, moving on." Let's face it, life is short and we don't have time to explore every path of discovery in search of that golden nugget of artistic relevance, especially after so many wind up being I-told-you-so dead ends. After all, aren't most stereotypes dead accurate? Aren't most first impressions absolutely true?

Somehow I managed to avoid Hoshaw ever since that first meeting. It wasn't hard to do. I rarely go to Mick's because while I love good acoustic folk, I generally enjoy listening to it in places that don't sound like German beer halls during Octoberfest. It's the height of irony -- Mick's showcases the quietest music performed in our scene, and it also has the chattiest crowds in a room with the worst crowd acoustics (i.e., you can hear every gory detail of Buffy-in-the-back-of-the-room's last date while sitting at the tables right next to the stage).

As it turned out (and often is the case) the band order didn't reflect what was printed in the paper. We got there at 10 and Lincoln Dickison already was on stage. We made our way to the only open table in the place -- on the floor to the left of the stage. I knew better than to expect Dickison to be spitting out rowdy, angry punk. Lost in his other projects is his quiet, personable voice and a songwriting style that's summed up by the cover he chose to play at the end his set -- a rambling version of Richard Thompson's "Cooksferry Queen."

Instead of the Black Squirrels, Hoshaw strolled onto the stage with his beat-up acoustic guitar. I turned to Teresa and said, "Good god, prepare for the worst. We can always sneak out of here between songs if this sucks, and I know it will."

Hoshaw took a moment to tell the crowd about that old guitar, how the crack in its back seemed to be getting wider, and I could see from my seat how its finish had been worn through from thousands of nights just like this one.

And then Hoshaw started playing, and I quickly realized what an ass I had been, and felt a pain of regret in the pit of my stomach.

Hoshaw's music was simple coffee shop acoustic folk but with a few important differences. His somber melodies were gorgeous, and his voice was honest and without affectation, similar in tone to Damien Jurado's but uniquely its own. He used the same introduction for a number of his songs: "This one comes from an album that was never released." Later he added, "That's what I'm good at, making albums that no one ever hears."

He took a sip from a shot of Johnny Walker neat and started playing "Powdernose" (the song's name I discovered afterward by scouring his Myspace page). More than just another lonely drinking song, it was a stunning portrait of liquefied regret, with the line, "I wonder what Jesus would think if he caught us alone with powdernose?" Hoshaw finished with a cover of a song by his pal Kyle Harvey; its delicacy lost in a sea of Mick's chatter.

I left that night depressed. I'd found the acoustic singer-songwriter that I'd been searching for, but who I had ignored because of my own jaded lack of vision. I wondered what else I'd been missing all these years because of assumptions. And what I'd never get a chance to hear or see again.

Hey, don't forget to enter to win a copy of the coveted Lazy-I Best of 2007 Compilation CD! All you have to do is e-mail me (tim@lazy-i.com) with your name and mailing address and you'll be entered into the drawing. Tracks include songs by Stars, Interpol, Rilo Kiley, Wilco, Les Savy Fav, Justice, Baby Walrus, Bright Eyes, The Good Life, The Monroes, The Third Men and many more. Details and track order are right here. Enter today! Deadline's January 17.

Hope y'all had a good, drunken New Year's Eve. Me, I never go out on New Years. It's never a good holiday for live music. Most venues book cover bands (or bands that sound like cover bands) because that's what the masses want, and who can blame them? One music-related resolution this year is to try to do better with CD reviews -- a difficult task under the already large pile of writing that I'm doing. I do listen to the CDs that come my way. I rarely write about them if they suck. This year I may begin to merely issue "No's" without comment on the lousy ones just to get through the pile. "Yes's" often are covered in feature stories and reviews, but they take more time. There's nothing less satisfying that reading a review that simply says, "Check these guys out." We'll do better next year.

Some catching up news-wise: A number of Minneapolis papers printed reviews of the Conor Oberst solo shows at the 400 Bar last week. Among them, this one from the Minneapolis Star-Tribune. Sounds like Oberst's band included Rilo Kiley drummer Jason Boesel and guitarist Nik Freitas, who opened the show. No M. Ward. "Musically or lyrically, the songs weren't a radical departure for Oberst, but they traded Bright Eyes' orchestrated and dramatic flavor for a rawer, looser, more roadhouse vibe." Sounds good to me. City Pages published a slideshow of the concert, here.

Chatting backstage at last week's OEA awards deal, Black Squirrels' bass player Travis Sing mentioned that he's in a new band with Doug Kabourek (Fizzle Like a Flood) and James Carrig called At Land. The trio already has a couple tunes up on a Myspace page (myspace.com/atlanders). Travis mentioned "Brit-rock" in his description -- they sound more like a reincarnation of The Replacements to me. Travis also mentioned that he's working with Matt Bowen, Matt Rutledge and Pat White on a "punk/new-wave 'karaoke' band at the Waiting Room." Shithook karaoke? Fun! Look for the launch in mid-February.

And look for my annual "Predictions" article right here tomorrow. It's a doosy.

Hey, don't forget to enter to win a copy of the coveted Lazy-I Best of 2007 Compilation CD! All you have to do is e-mail me (tim@lazy-i.com) with your name and mailing address and you'll be entered into the drawing. Tracks include songs by Stars, Interpol, Rilo Kiley, Wilco, Les Savy Fav, Justice, Baby Walrus, Bright Eyes, The Good Life, The Monroes, The Third Men and many more. Details and track order are right here. Enter today! Deadline's January 17.