Posts Tagged ‘Chris Isaak’

The Three Strike Rule: “The Chris Isaak Hour”

strike-three1

chrisiUsually, anytime a musical artist performs on a talk show, that marks the end of the program: Letterman, Leno or Conan stroll out to shake hands with the band, and the credits roll. Gone are the days of Johnny inviting band members over to the couch for some chit-chat about their new record. This was just one reason Chris Isaak agreed to star in his new talk show, The Chris Isaak Hour — it gives musicians an opportunity to play two or three songs and then the chance to talk about the work they do.

Each week a guest artist sits down with Isaak on a retro set that looks like something out of a ’50s sitcom. Isaak then interviews them, delving into questions about influences, their careers, and even what gets cooked in the kitchen. The conversations are broken up with performance footage shot on a soundstage. Isaak and his crack band, Silvertone, are on hand to act as the house band, with Isaak generally joining the guests for one or two numbers. On top of hearing musicians comfortably opening up about their lives, you also get to see unique, one-of-a-kind performances, such as Glen Campbell and Isaak singing “Rhinestone Cowboy” or Isaak and Trisha Yearwood performing their new song, “Breaking Apart.”

Just as he does on stage, where he allows his singing companion the room to perform and breathe, Isaak is never quick to interrupt his guests with his own thoughts. Instead, he adheres to the motto that the show is about them and what they have to say. While each episode opens with a short skit that usually includes Isaak’s funnyman drummer, Kenny Dale Johnson, the rest of the show is pretty straightforward. Although filmed entirely on a soundstage with no studio audience, the show has the deliberate feel of a live music variety program, with old black and white footage of people applauding between songs. It’s that tongue-in-cheek, wink-wink type of charm that makes Isaak so appealing. (more…)

Freshly Unwrapped: 2/20/09

Do not be alarmed! Do not adjust your set! Chartburn hasn’t gone away — it’s just sharing space with some more Friday features, including the new and improved Freshly Unwrapped, in which your intrepid Chartburn panel discusses some of next week’s biggest releases today. And away we go!

David Medsker: Yuck. The singer can’t sing, and the band has no identity.

Beau Dure: After the first song, I was prepared to write a defense of R.E.M.-style jangle rock by another Georgia band. After the second song, I decided it wasn’t worth it. They veered into Nick Cave “We hate the audience — please follow us around blindly and buy shit” territory.

Dw. Dunphy: The initial word on this album seemed to be centralized on the vocals, as in, “Ugh, the vocals…” But I’m a tolerant guy and can take all sorts of musical eccentricity. Plus, the indie sites are falling all over themselves to praise Black Lips. They can’t all be wrong, can they? Hmm, maybe they can. Or maybe I’m just getting too old. I distinctly remember the stuff I listened to in high school and how all the adults branded ‘em “atonal hollering.” Now that I’ve fully confessed that I find these songs nothing more than atonal hollering, I can start boiling all my meals into easily digested soups, rewash and reuse my Baggies and go to bed at 7:00pm every night.

Black Lips, curse you. You’ve made me my grandfather.

Ted Asregadoo: Man, these songs are horrible. Under “Influences” on their MySpace page, I wonder why they didn’t list “Drunk guy singing unintelligible songs while laying in the gutter outside a dive bar”?

Jeff Giles: So this is what “flower punk” sounds like. It’s funny — without looking at a list of their influences, I’m pretty sure I’d dig whatever’s on any of the band members’ iPods, but the Black Lips themselves are close to unbearable. It’s got a slight “Velvets on meth” vibe to it, which means nine out of ten music bloggers will be typing up their reviews one-handed. “Starting Over” could be a great song if a talented band recorded it. (more…)

Random-onium: Redd Kross, Chris Isaak, and the “Miami Vice” Soundtrack

This is the first in a series that I call Random-onium!, for lack of a better term. The premise is that I go to a friend’s house and pick a few CDs out of their collection — completely at random– and review them for your reading and listening pleasure.This week, my buddy John was kind enough to allow me access to his collection, making sure to point out in advance that the Natalie Merchant and Bangles CDs belonged to his lady, who thought it would be cool to merge their respective collections soon after she moved in.

“What?” he exclaimed defensively, noticing the expression on my face. I could have said any number of things and laid him out like a punch drunk boxer decades past his prime, but my sly grin and silence said it all. Of course, my insatiable adoration for “the obvious joke” overpowered my restraint and I let loose with a “whip crack” that would have made Michael Winslow proud, for which I paid the ultimate price as John thumped me in the shoulder. Not just my shoulder, though, but the exact spot on my shoulder that hurts like a mother when you knuckle punch it.

After “walking it off,” I promptly closed my eyes and blindly reached into his stack of tracks, pulling out… (more…)

Exit Music (For a Film): True Romance

True Romance DVD Cover

In the final few moments of Tony Scott’s True Romance (1993) Alabama, accompanied by an injured Clarence, drives past a sign that reads “Last U.S. Exit, Mexican Border 5 miles.” It’s at this very moment that the music shifts from the ominous strains that accompanied the chaotic final shootout in the Beverly Ambassador, to the light and playful leitmotif that has been present throughout the rest of the film. The film’s score was written by Hans Zimmer and the familiar theme was drawn from an original composition by Carl Orff, who was most famous for composing another film score favorite, the Carmina Burana.

Once Clarence and Alabama have reached their final destination a sandy beach in Baja, the end credits roll, accompanied by Chris Isaak’s “Two Hearts” from his 1993 album San Francisco Days. It’s a song that’s reminiscent of the works of Elvis Presley, who serves as an imaginary mentor for Clarence during his criminal escapades. For the longest time I thought that it was Elvis Presley himself singing “Two Hearts,” and once I learned otherwise, I still continued to assume that it had originally been recorded by the King until just moments ago.

(more…)