Archive for the Uncategorized Category

#78 No more bullshit. The top 10 lamest excuses for stealing artists music

Posted in Uncategorized on January 21, 2012 by davidclowery

I am on the fucking warpath this week.

Lamest arguments in favor of illegal file sharing from the past week. I’m not making this shit up. These are real arguments people presented. And argued vehemently.

1. “Marijuana is illegal. File sharing is illegal. Therefore it’s okay.”

Response try filesharing your pot dealer’s stash with 5,000 strangers online and let’s see how long you live.

2. “The RIAA is secretly behind filesharing. They make more money suing people than by selling albums. There are Youtube videos explaining all this therefore it’s true. Therefore it’s okay to steal from cracker and camper van beethoven”

Response: The RIAA was also behind 9-11, Global Warming Hoax and the Kennedy assassinations. Usher is behind Justin Bieber. And Camper Van Beethoven tests cosmetics on lab animals.

3. I heard that the record companies ripped off Willy Dixon in the 1950′s Therefore it’s okay to steal from Cracker and Camper Van Beethoven.

Response: Very clever. You figured out that Cracker and Camper Van Beethoven have a time machine. We all went back in time to the 1950′s (before we were born) and took $20 dollars from the man’s wallet while he was sleeping. Curses Foiled again.

4. Louis CK. Is successful and his stuff is on Youtube. Therefore it’s okay to steal Cracker’s songs.

Response ask Louis CK if he would prefer his income stream or his idol George Carlin’s Income stream from album sales, video sales, book sales in the 1970′s and 1980′s. Louis CK is making a lot of money. But nothing like George Carlin. And in the process he is helping Google/Youtube add to the piles of gold bullion that Google keeps in secret spaceship deep inside the mantle of the earth below their mountain view “campus”.

5. Music should be free it belongs to the universe.

Response: Okay then come to my house and do YOUR job for free. My car needs it’s oil changed and someone needs to pick up the dogshit in the backyard. There is a signup list on our website. Last i checked my car and the dogshit also “belonged to the universe”.

6. In the middle ages there were no music sales. It was all based on live performance.

Response: Yes and doctors bled you or covered your torso with leaches when you were sick. Also it was permissible to beat your wife with a stick as long as the stick was not larger in diameter than your thumb .

7. “Music sucks today. I’m gonna steal music I like. You bad. No No.”

Response: There is no official response. We have been advised by our legal counsel that the above referenced statement exhibits such a degree of logical incoherence that the statement:
A) was made by a mentally disabled individual
B) are lyrics to a Red Hot Chili Peppers song
C) A zen koan created by a zen master operating on a higher level of consciousness
D) or any two of the above three.

8. “You’re not the boss of me. You can’t tell me what to do”

Response: Actually I personally am the boss of you. Check with your attorney. Unless you are in international waters. Now get out in the backyard and clean up the dog shit.

9. “The Record labels and Musicians failed to adapt to the new hi tech reality. So it’s okay to steal music by Cracker and Camper Van Beethoven”.

Response: So it’s okay to steal handmade boots, organically grown farm produce from family farms, and custom motorcycles? You’re right I’ve been stealing custom choppers for years. How stupid of me. You win.

10. “It’s okay to steal from musicians cause they are all rich”

Response: Although I am dictating this into my solid gold jewel encrusted dictaphone from horseback I’m not rich. Now Steve Jobs he was rich. You know he was buried in a 300 yard long platinum coffin along with 50,000 of his favorite servants? A funeral procession 66 miles long stretched from Vacaville California to Mountain View. Thousand of Buddhist monks burned themselves alive. I’m not rich.

+++++++++++++++++++++++++++++++++++++++++++++++++++

A lot of you may be shocked by this response.  But should you really be surprised?  I mean i’ve spent  29 years making music for people who think  the world is full of a lot of unadulterated bullshit and can see the humor in it.  Have a sense of humor people.

19 No More Bullshit

#76 Camper Van Beethoven and the Border Patrol-The Day Lassie Went to The Moon.

Posted in Uncategorized on July 18, 2011 by davidclowery


Very early Camper Van Beethoven. From Left to Right. David Lowery, Mike Zorn, David McDaniel and Boris Yeltsin.

02 The Day That Lassie Went To The Moon

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Camper Van Beethoven was originally called Camper Van Beethoven and the Border Patrol.  We shortened it after about 9 months. Nobody was listing the full name of the band anyway.  There are only two or three posters that I’ve ever seen that show the full name of the band. But this was the original name of the band.

The band name was the brainchild of David McDaniel.  David pictured above (in the bowling shirt) had an odd sense of humor.  At the time we formed Camper Van Beethoven he was also working on this sort of stand up comedy routine that involved these carefully constructed “jokes”.  they  had all the rhyme and rhythm of a joke but made no sense.  I only remember one.  And it was intended to be delivered with a sort of generic foreign accent.

“My country, where I come from is SO SMALL! SO SMALL that when they change the tire everybody laughs”

The next joke might not have the foreign accent. There was no coherence to the character.  They were  like  computer generated one-liners read by randomly selected people.

So Camper Van Beethoven and the Border Patrol was in the same vein.  It sounded like it was supposed to make sense or be a pun. It had the rhyme and rhythm but it fell short.  And it also kind of wandered off on a tangent.   Still it somehow evoked the bands music.

David McDaniel was also the  spiritual leader of the band.  Literally.  He was just beginning his studies to become a Pastor.  I’m not quite sure what denomination.  Just that it was somehow in the Charismatic branch of American Christianity.  Charismatic?  Best explained by one of my friend’s very Mexican American Catholic mother:

“I think they are snakehandlers”.

If you are uncomfortable with Mrs Gonzales’ definition, how ’bout the one from wikipedia:

The term charismatic movement is used in varying senses to describe 20th century developments in various Christian denominations. It describes an ongoing international, cross-denominational/non-denominational Christian movement in which individual, historically mainstream congregations adopt beliefs and practices similar to Pentecostals. Foundational to the movement is the belief that Christians may be “filled with” or “baptized in” the Holy Spirit as a second experience subsequent to salvation and that it will be evidenced by manifestations of the Holy Spirit. Among Protestants, the movement began around 1960. Among Roman Catholics, it originated around 1967.

For you Europeans who are unfamiliar with pentecostals,  they are known for celebrating baptism in the holy spirit. This can include speaking in tongues, ecstatic dancing and yes, Mrs Gonzales,  snakehandling.

Some of you might be surprised that a devoutly religious young man was one of the founding members of Camper Van Beethoven.  Or perhaps it makes sense. I mean California was home to people like  Lonnie Frisbee and the whole Jesus Freaks movement.  In the 70′s a lot of these Charismatics came out of the counter-culture movement.   So David wasn’t really a Jesus Freak.  No, he had to much new wave post punk awareness.  A Jesus Punk?

Lonnie Frisbee in a Camper Van Beethoven promotional Tunic.

It’s nothing we really thought about very much.  Except maybe once.  As Victor Krummenacher, Chris Molla and myself pulled up stakes  and decided to move Camper Van Beethoven from Redlands  (in the Inland Empire) to Santa Cruz we asked David if he was gonna come along with us. He really looked at us like we were crazy.  No he was gonna become a pastor.  And that is indeed what he did.

++++++++++++++++++++++++++

David was only in the band for three or four months but he left his mark on the band. He co-wrote  and sang  The Day Lassie Went To The Moon.  The early rehearsal tape I posted here last summer in #23 has a version of Lassie with David McDaniel singing.

 http://300songs.com/2010/08/09/23-ms-santa-cruz-county-cracker-who-were-the-blue-ladies-ode-to-santa-cruz/

1983 Camper van beethoven rehearsal

The lyrics to this song very much set the tone for most of the early Camper Van Beethoven albums.  Light and happy but somehow deeply warped.   Like a subversive children’s song.  We repeatedly re-used this voice.

Final note on Lassie.  The chorus chord progression must have been unconsciously lifted from Wall of Voodoo’s version of Ring of Fire.  (we listened to a lot of Wall of Voodoo ). The riff begins at 3:13

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The Day That Lassie Went to the moon.
 . E A D A e|| -----------------|---2------------- || B|| ---0-------2-----|-----3-----2----- || G||.-----1-------2---|-------2-----2---.|| D||.-------2-------2-|-0-------------2-.|| A|| ---------0-------|---------0------- || E|| -0---------------|----------------- || 

[INTRO & BREAK (see tab)]
[E]-[A]-[D]-[A]
[E]-[A]-[D]-[A]

[REPEAT BREAK]

[E] My little [A] dog [D] ran away the [A] other day [E] (yeah ye-[A]-eah yeah yeah, [D] yeah ye-[A]-eah yeah yeah)
[E] I can’t be-[A]-lieve my little dog [D] Lassie ra-[A]-an a-[E]-way (yeah ye-[A]-eah yeah yeah, [D] yeah ye-[A]-eah yeah yeah)
[E] She packed her [A] bags and [D] got into a [A] hot-air bal-[E]-loon (yeah ye-[A]-eah yeah yeah, [D] yeah ye-[A]-eah yeah yeah)
[E] Then my little dog [A] Lassie, she [D] sailed [A] off to the mo-[E]-on (yeah ye-[A]-eah yeah yeah, [D] yeah ye-[A]-eah yeah yeah)

CHORUS:
[E]-[B]-[Bb] The day
[F#]-[A]-[G] the day
[E] That was the [Bb] day that [F#] Lassie [A]went to the [E] moon

My little dog Lassie packed her bags and went out onto the porch
Her golden fur glistened in that sunny blue backdrop sky of Kansas
Before her stretched majestic wheat fields and over to that great city to the west
Lassie knew she had the duty to serve the youth of America and the stars above

REPEAT CHORUS x3

#72- Marigold- A small fragment of a much longer story.

Posted in Uncategorized on January 31, 2011 by davidclowery

Did I dream this?

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Listen to Marigold.  07 Marigold

I awoke from a strange dream just before dawn.  It was Nov 3rd 2005.  I know this because I wrote the dream down in much detail using my laptop. I can see the date the file was created.

I wrote it down cause it seemed like my subconscious had been processing something.  My head or rather my brain seemed like it had been churning a vast multi axis  array of data all night.  My head felt hot.  And i was hungry and exhausted. Because of this I thought it might be important.

It wasn’t as coherent as what you will read below.  It wasn’t linear either.  It was a few big semi-continuous scenes.  And a series of fragments.  I wrote them down in the best order that I could.  To try and make them make sense.  The main points were these:

In the dream I knew I was dying.  I had a brain tumor that was affecting an area of my brain that made it difficult for me to find the proper words when i spoke. The other key part of the dream was that I went  to Ecuador to find my ex-wife (who was not my ex-wife in real life).  There were a series of apocalyptic events while in ecuador ; an earthquake,  a civil war and a perhaps a tsunami.  I was often with a tall african man who In my notes I dubbed Queequeg (after the fictional character in moby dick).  At other times I was guided by a Turkish or Arab man who wore an eye patch.  A repeated scene: I was underwater trying to bring to the surface this Incan artifact. A golden statue of an animal that looked like a koala.

Because much of this seemed so specific I started googling things.  Like “Ecuador” or “Arabs in South America” “Golden Koala”  and “Civil War Andes”.

Although the mystery of the dream never really did present itself to me,  something surprising began to happen.  An alternate narrative began to form as I googled these phrases.  I began to incorporate it into my notes.

Previously I had  noted that draft emails composed in the gmail browser would often have provocative,  funny or unusual Google adwords links on the the side of the gmail window.   Remembering this I began to drop whole sentences even paragraphs into a draft email.  Save it.  Close it.  Then i would reopen and look at the ads.  At this point the narrative began to explode into this rather long… Poem?  Short story?  Treatment for the next Cohen Brothers movie?  I don’t know what this is.

At one point I thought that I would make an album or something out of this.  I wrote the first song.  It’s this song.  It’s called Marigold.  And as much as I like this song, I don’t think an album of pop music could ever come close to the wonderful weirdness of this bit of prose that I dug out of my googled subconscious.

Conquistador

neon clouds swirled above the alcohol like a flame

yet i followed her

for the health of my disease hung in the balance

i had no choice

i flew southward into a chaotic metropolis.

i rode in taxis and stuttering tramcars

I rode in jitneys up steep hillsides

dirt trails through villages

the chaos dwindled

the dramamine and cane liquour shared with strangers

i drew closer

and knew i was dying.

at the last  town a friendly hotel

in the ruins of a conquistador redoubt

i shared a room with a cyclops

i slept with a knife and an antique pistol

we never spoke except in the rowdiness of the bar

i shouted in english he in turkish

yet i came to understand he was a bandit

who likewise lost an eye to a greek sailor

languid, drifting, i was without purpose

days months or years passed

i have no recollection

i had lost my purpose

i knew i was dying but even that i postponed.

alas an unknown offense was committed

a huddled circle, murmurs from the shabby tea room

a quick glance over the shoulder from the bandit

it was settled

i was to be exiled.

the desk clerk obliged me with a guide

his name was queequeg

jolly and earthy

but always darkened when my flask appeared

and these days at the shadowless noon

he took me to high valleys

to my singlemindedness

and at last it appeared

we stood on a ridge and queequeg pointed down

into an improbable green valley

like ahab i limped towards her white tent

the grass beating arythmic drum brushes on denim

queequeg stayed on the ridge counting his pesos

then he watched us and waited

she greeted me happily

the tent was zippered

at dusk when we emerged

queequeg was gone

we built a fire and sat close together

I would awake in the tent to bright sun.

to my stillness

the sea of grass eddying quietly

the andean cold only a hint in the wind

and always she was away

with the aboriginals

in their high villages

returning only at night

awakened by her warmth and moist breath

i woke before her one morning

the malaise had returned

I knew it would stay this time

i drank from my flask

the earth rumbled below me

a curious thing

Appearing its way along

like an aardvark in the grass

a vectored wave and then another

what was that? she asked from the tent
that same day we packed and moved higherinto the mountains.

oblivious to those thousands buried alive under mudbrick

for the radio had been abandoned when the batteries quit

within weeks we ceased speaking full sentences in english

or any language.

then we lost even the single words

things were no longer named

nothing was discreet  there were just areas

broad tones

yet we lived

grunting and  pointing

like the german tourists in themarketplace in quito

the world without names was curious

a pull tab glinting in the sun,was also the sun,

and the sun was also a smell from my childhood

that ended with watering eyes a deep and powerful sadness

all things ended there

the singularity.
I should be happy i thought.

eating guinea pigs as snack food

in the high villages

dribblling quechua.

still the lurking mass metastasized and blocked the sun.

I lived in the shadows

when the militia men and teen soldiers visited

i may have been happy

which was also the sound of the grass left behind,

and also the burning taste of the L’aguardiente they traded  with me.

our incan hosts feared them

weltering like smallpox blisters

nevertheless stoic they donned their  bowler hats

an english court

formally and coldly played  their strange waltzes

meters cut neatly in half, by duples,  martial drums

marching waltzes

other times the shining path in black masks,

their ages impossible

their violence implicit.

i shared our dwindling grape with them

she was aroused by their danger and violence

we always retired early to our hut

They drank and took delight listening to our couplings.


after the earthquake i remember  the  C5-As

Enormous but from our vantage above they were playful toys

circling otters on the sea of thick air

fortified with smoke rising from the  ruined city.

smoke rose always in this land

everywhere, which was also her hair

which was also a certain smell from childhood

which was different than thatother smell

but ended with watering eyes and the deep sadness

the singularity

I captain ahab now drunk on fermented quinoa

In desperation took a vow

to begin  speaking again

it was awkward

i would shout”likewise a tit is better than nothing”.

The villagers didn’tunderstand but laughed with me

as days passed I found other crooked phrases

i shouted them in the village

or whispered them to her at night

“never ignored.. . but never more has been barked”

she stroked my hair and rubbed my stiff leg

which about the time of talking had developed a tremour

I knew i was dying

and that was all

there she stayed

in villages of altitude sickness

for a nobler cause than I

like a deep sea diver who surfaces to fast

i had left the continuous wordless realm,

and entered into the discreet world of language too fast

noxious gases had formed and chemically bonded with the words

new molecules of speech were born

twisted strands and double helixes

benzene rings

an alchemy of sorts

i could only share my secrets with other alchemists

the rhyme for orange

the strange beauty of the word “vacuum”

one night she sent me away with the militia men.

she sobbed and spoke in perfect non crooked english.

i was dissappointed she did not share my gift

i cried and was angry

in the valley of the whispering grass a trap was sprung

shining path rose black against the moonless sky

i laid down in the grass and listened to echoes of bullets

the echos stopped

the shining path walked around and slit the throats of the wounded and dying

when they came to me i waited for the knife

instead water from a cup.

a bit of bread

“vacuum” said one of the hooded

at dawn i woke in the eddying grass

surrounded by the still surprised militiamen

though of course they were still dead

perverse relief i had not dreamed this

improbably queequeg was on the ridge where i left him

many many months ago

queequeg spoke of the earthquake

the city was dangerous and ruined

full of armed gangs and american marines

there was a civil war

although he offered to take me to the conquistador hotel bar

to see the cyclops

i shook my head to decline

along the coast to queequegs home

an old colonial port city

curious blacks and melungeons

with japanese surnames

an endless circle of bars

queequeg lived amongst the colourfully painted tin

in the tidal flats along the beach

each morning he took  a crowded bus to the north

shrimp farms amidst the dead mangroves

disapproving witness to a bloom of nitrates fingering to the sea

while i was drunken abuelita on the bus

proffered seats and gently led off

the bus cobbled away into the old quarter slums

streaming beyond

i limped to each bar in succession

these a legacy of a bauxite boom

in the previous century

grave nations preparing for carnage and war had found this gentle place

flattered her

brought her to flowering

and then abandoned her.

an apartment building on the bluff above

built to resemble a ship

porthole windows,

looked to sea

jilted

only now as an old maid was one of her suitors to return.

embarrassed by it’s continued youth and virility

she pretended to have forgotten him

she looked away to the sea.

at night marines filled the bars

i had ceased speaking

they called me the mute, gently mocked me and bought me drinks.

they helped me into the converted hearse

a cab driven by one of queequegs uncles or cousins
the seasons were a gentle wobbling

barely perceptable but at the equinox a rotation occurred

the first marines bawdy

these were mean conscripts

the first night they beat me unconcious

i awoke after some days in a military hospital

my countrymen were like aliens

they smelled of milk and disinfectant

they told me i was dying

i tried to sign a document

i was given cash by a civillian with a terrible mustache and reflective glasses

i was assigned a congenial MP and a wheelchair

he talked of affairs i knew nothing about nor cared

an oil pipeline had been sabotaged the day before

the crisis in my former country

he took me to queequegs colourful tin

but i refused

at last he understood and carefully wheeled me into the don quixcote

with its yellowing bullfight posters and blaring television

that night i dove into that lake of drear

swimming along the bottom i found a golden dead koala

i knew this was my alchemist prize

all the crooked phrases had unraveled the singularity

i clutched it to me before the blackness hit

i was kicked by a barmaid

she was shouting in spanish

my tattered denims were warm with urine

the tile of the floor was cool on my cheek

this soothed me

a crowd gathered around me as if i was dying

i clutched the koala to my chest

no one would take it.

©2005 David Lowery

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#65 This is Crackersoul- Reflections on race and music. Also were the Flinstones black?

Posted in Uncategorized with tags on January 3, 2011 by davidclowery

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03 This Is Cracker Soul

Cracker Soul. Perfect song to come up next in the cue. Especially after the previous two posts touched upon race and ethnic identity in the music business.

I think there is a misconception that the music industry is very “integrated”. That it must be more “advanced” than the rest of our society. It has always been at the cultural vanguard so it must surely be much farther ahead of the rest of america in marching towards some post-racial society. It isn’t.

There are black record labels. There are “Normal” labels. Under the multinational conglomerates? Black and Latin imprints or sublabels. Our old label Virgin records didn’t really have a separate black imprint, but did have a “urban” department. In a completely different part of the Foothill Rd complex! I remember the offices and cubicles seemed to have been set up by a different interior design firm. There are completely separate sets of publicists, radio promoters and concert promoters for black and latin music.

No one ever talks about this. It’s like some dirty family secret. Racial and ethnic Identity is actually heightened in the music industry.

So i’ll be the first to admit that it is weird that I never really thought much about naming the band Cracker. We chose this name almost on a whim. Although we were aware of the socio-economic/regional/racial connotations of the word, we also enjoyed the fact the word had a host of other meanings. Some well known like Cracker as in Ritz Cracker. Some very obscure like Cracker as a perforative for scottish or (gaelic speakers) in 17th century England. There was also the fact that in the early 1990′s there was a sudden trend towards one word band names, oftentimes words for everyday objects such as food e.g. Sugar, Cake etc.

But the main reason we named the band Cracker was because we had a song on the demos called This is Crackersoul. There is a simple story behind the title to this song.

Each night after we finished working on our demos we’d walk down from Oregon Hill over to one of the bars that lined Grace street next to Virginia Commonwealth University. One of our regular stops was Marvin’s. One night sitting at the bar in Marvin’s we were discussing our new project with our multi-racial bartender. Johnny was describing how our demos varied from the Camper Van Beethoven sound. That they were based more on country, bluegrass and good dose of “White boy blues-rock, southern rock, and soul influenced rock. Things like The Band, Little Feat even Lynyrd Skynyrd”.

“Cracker soul music” our bartender helpfully interjected.

Exactly. Here were several meanings of the word jumbled together. First Cracker as in “Southern Rural White”. Second to specifically refer to residents of Georgia and northern Florida (Little Feat and Lynyrd Skynyrd) and third the murky Scots-Irish roots of appalachian and southern white folk music. There was fourth meaning that also applied although our bartender could not have known given that he hadn’t heard any of the lyrics: Boasting or Shit-talking. Cracker’s narrative “voice” was noticeably cockier and trashier than Camper’s.

Notably absent was any reference to the word as a racial insult.

In 1990 very few white people on west coast, in the north or even the urban centers of the south would have been very familiar with this word. Conversely I had heard this word from a young age. My grandfather would often use it to refer to himself and his buddies who were all from the piney woods of southwestern arkansas. They all now lived in the Coachella valley in California. They did this to distinguish themselves from the native Californians. Around this time Senator Lawton Chiles would openly refer to his rural white supporters as his “cracker voters”. It wasn’t till much later in the 1990′s that this began to be popularized as a racial slur. I’m not saying it wasn’t a racial slur in 1990 but it was relatively obscure term in white america.

So Johnny had this neat little riff that maybe evoked Little Feat or something. It was catchy and bouncy and as I didn’t have any words for the song so as a working title it became Cracker Soul. Thank you very much mr. bartender. Later once I developed words to this song it changed to This is Cracker Soul.

********************************

Speaking of Crackers….

And then there was the fact that Cracker became a shorthand for a certain distinction between the public persona of Cracker versus that of Camper Van Beethoven. This is of course greatly exaggerated but the members of Cracker (Johnny and I) were more rural “southern” and working class in outlook and upbringing. My father was from Arkansas. Both Johnny and I were raised on military bases. Anyone who spends much time around military bases realizes much of the military is drawn from working class, rural and especially southern families. I was born in the south. If San Antonio Texas counts as The South. (It’s really more part of the southwestern borderlands.) Our experiences going to high school in The Inland Empire also seemed to bolster our working class credentials.

Conversely Camper Van Beethoven was seen as solidly upper middle class and a college band. Chris Pedersen’s father was a doctor. Victor’s family owned pharmacies. Not quite a doctor but solidly upper middle class. Jonathan’s parents were both college professors at UC Davis. Camper Van Beethoven also seemed to be very much a product of the culturally sophisticated Bay Area. Not a working class ensemble with roots in rural america. Of course this was also an extreme exaggeration.

Case in point: Jonathan Segel. His parents were college professors, but his mother was a microbiologist that had a detailed knowledge of sewage treatment plants. Jonathan once spent a summer touring Warsaw Pact sewage treatment facilities. She was like the honeymooner’s Norton with a PhD. Jonathan grew up in a college town , but this college town was Davis. It’s an Ag college. In the early days of Camper Van Beethoven Jonathan chewed tobacco, fished, camped and occasionally shot guns. He hung out with bluegrass players and generally qualified as a country boy. His credentials as a “cracker” are actually much better than either Johnny or I.

Nevertheless there must have been some subtle difference apparent to others. For when we began touring for Key Lime Pie we hired a new crew member. His name was Bobby Bell. He was an African American and he was from Texas. He immediately pegged me for being a little different than the other Santa Cruz/Berkeley/Bay Area indie rockers he’d worked with. He started calling me MC Cracker D. (Yeah I know it’s a little cheesy now but Hip Hop culture was new to all of us then.) He’d write it on my passes and laminates. It became my Nom de Tour.

So in this way calling my new band Cracker was simply a way of differentiating it from Camper Van Beethoven. I wasn’t trying to say Cracker was an authentic country-roots-southern rock band. Just that it had a little more of that in it than my previous band. So Cracker Soul got shortened to Cracker and Cracker became the temporary project name for our new band. It just ended up sticking.

**********************************************

Was I was punk’d?

My friends father, an African American, once told me that the modern racism was no longer based on white people thinking they were superior to blacks. It had been replaced with a more subtle bias, the fact that Anglos thought they were the Normal people. Everyone else was to varying degrees not normal. Like being Anglo put you at the center of some pre-Copernicus universe. Being a WASP was neutral and everyone else had small co-factors and properties that did not read a perfect zero. You might be a perfect zero on skin tone and hair kinkiness but the +3 Irish and +2 catholic variation from the ideal pushed you away from the center. Although readily accepted by white people poor Sammy Davis had an incredibly complex variation from the norm. +4 Black +3 Jewish +1 Italian Mob for association with Frank Sinatra plus he was in show business.

So the logical conclusion: If Anglos came to think of themselves as just another quirky tribe from a foggy, poor and cold island; a people of strange music and customs;a tribe noted for their spotty skin, bad teeth and overcooked vegetables; Then at last we would all co-exist as equals in a relativistic racial/ethnic universe.

Calling my band Cracker was also me doing my part to achieve this Utopia.

“Yes I am from a quirky Scots-Irish tribe of red-headed rural southern people who pretty much fry everything and are inexplicably born with innate ability to parallel park a vehicle hauling a trailer.”

But before you go all crazy with this concept due diligence requires that I tell you my friend’s father also told me that The Flinstones were actually African Americans. When I pointed out that I couldn’t recall a single non-white character on the show he became agitated and told me that All the characters were black. Further Hanna-Barbera had carefully filled the show with subtle cultural cues and flags. They didn’t need to draw the characters as black. I was white and therefore I didn’t catch these cues. It was one of the more amusing arguments i’ve had in my life. Still I’ve googled this and haven’t found anyone else who shares his opinion. In retrospect I think the erstwhile professor was taking great delight in pulling my leg.

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********************************************

This is Cracker Soul

[G]
[G]-[C]-[G]
[C]-[G]-[D]-[G]
[D]-[C]-[Bm]-[Am]-[D]

Hey hey it’s okay to make
a little mess out of your life.
‘Cause you don’t need a diagram
to show you how to have a good time.

CHORUS:
I said hey (hey)
Don’t mean to frighten you away.
This is Cracker soul, it comes so easy.
I said hey (hey)
Don’t get your head a mess.
This is just the best, it comes so easy.
It comes so easy.

Hey hey it’s okay to never know
the answer but ask why. (why oh why?)
‘Cause you don’t need another burden
come and party with your spirit guide.

I said hey (hey)
Don’t get your head a mess.
This is Cracker Soul
It comes so easy.
I said hey (hey)
Don’t get yourself distressed.
Love is just the best
when comes easy.
It comes so easy.

REPEAT CHORUS

Don Smith Photo Addendum

Posted in Uncategorized on October 15, 2010 by davidclowery

Hey all.  Jill Smith daughter of Don Smith was kind enough to send this gallery of photos to me.  You may want to go back and read post #61 that is largely about Don Smith.  I’ve updated it with these new photos.

A very young Don Smith  March 1981

Me and Don.  This must have been from around 2003-2004?  I remember it was my first pair of reading glasses.

The gang that couldn’t shoot -i mean record straight.  Bugs, Michael Urbano, Davey Faragher, David Lowery,  Don Smith, Johnny Hickman, Rich Hasel. In front of “sound stage”  in Pioneertown,  Feb 1993  Kerosene Hat record

Don either at his home studio he jokingly referred to as cost-a-lot.  Or back deck at bearsville.  Gentleman’s blues period.

Don and his beloved MCI 2 inch machine.

Another Very Young Don Smith.  Tom Petty and Heartbreakers era?

 

 

Classic Don smith at work.

#62 I Could Be Wrong I Could Be Right-Cracker. Just your usual southern rock track set on the Lewis and Clark Expedition.

Posted in Camper Van Beethoven, Cracker, Uncategorized with tags on October 9, 2010 by davidclowery

Member of the Lewis and Clark expedition the explorer York.  The Arikara Indians of South Dakota called him “Big Medicine” and the nickname stuck.

07 I Could Be Wrong I Could Be Right

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I stated before some songs are coherent stories that can be explained easily.  Some are just collections of words that sound good together that evoke a mood or sentiment.  And others are somewhere in between.  I Could Be Wrong I Could Be Right  is one of the the latter.

On one level it’s a playful jab at my wife and manager Velena,  and our very complex personal and business relationship.  We’ve known each other since 1989 but finally got together in 2006. On another level it is about Sacagawea and York the only African American member of the Lewis and Clark expedition.   In my song they have a volatile and semi-secret affair.

York was Clark’s slave.  But on the expedition York was purportedly treated the same as any other member of the expedition. Given weapons, full voice and voting rights on all major decisions made by the explorers.  By all accounts a very intelligent man and superb outdoorsman he was also of quite large stature.  The Arikara Indians were duly impressed and gave him the Nickname “Big Medicine” and this name stuck.

Other accounts portray “Big Medicine” as being quite the stud.  Fathering many Indian children along the way.  Some of these reports seem quite fanciful or at least exaggerated.  They would seem to me to be products of racial stereotypes of the age.  But there does seem to be some consensus this is at least partially true.

The sad thing about York is that when he returned to the United States he lost all of his freedoms and returned to being a slave.  He petitioned Clark for his freedom but it took at least 10 years (if at all.  accounts vary)  before he was finally granted his freedom.  While he was on the Lewis and Clark expedition his wife was “sold” to another family in Kentucky.  He supposedly died of Cholera in Tennessee while on his way to rejoin Clark’s household after his business in Tennessee failed.

But there is also a fictional ending that made the rounds.  A bit of folklore it would seem.  But the fictional ending is that he is freed and he makes his way back to Wyoming where he lives out his days with the Crow Indians.  (Another ex-slave may have lived with the Crows about the this time)

But what’s interesting about this story is what it says about “us”.  That is our ancestors of the 19th century.  We knew that the voyage of discovery was the only time that York was truly free and treated as an equal. And in some way we were ashamed of that.

So “Sacagawea and Big Medicine”  in the song is a big messy composite: forbidden love, unrequited love,   freedom,   a crowning achievement, one’s zenith,  and a sad slow fall, the fictional happy ending like a fevered dream.

The Agency Group’s Proposed Routing For Camper Van Beethoven / Built to Spill 1806 Tour.

Like Lewis,Clark  and Big Medicine returning home,  Camper Van Beethoven was working their way from Portland Oregon back into Montana.  At some point we crossed the bitterroots and Velena was wearing tall brown boots and I made the rhyme connection in my head.  I wrote it down somewhere.  I keep a  collection of overheard things and phrases in a notebook, or sticky notes on my desktop.  They sometimes become a songs.

Later that year Johnny and Sal were playing this lick at soundcheck.  We were in Berlin.  (Note to self: this is the 3rd song created at sound check in germany. must tour there more often.).  I thought it was cool so i recorded it into my macbook as usual.

blue berlin riff

But it wasn’t until late 2007  that we actually made this into a song.

Oh and the chant over the riff?  I think subliminally I was influenced by the theme song to The Wire.  ”Way Down in the Hole”.  I didn’t even think about it till much later. But this was around the same time I was watching a lot of The Wire.

Snoop is an excellent carpenter. Especially with a nail gun.

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I Could Be Wrong I Could Be Right.

[E] Baby don’t you go don’t you look down in that hole please
[A] Darling don’t you go don’t you look down in that hole please
[E] Baby don’t you go don’t you look down in that hole
‘Cause the [D] devil come out and keep you [G] for [D] his [E] own

Baby don’t you go don’t you look down in that hole please
Darling don’t you go don’t you look down in that hole please
Baby don’t you go don’t you look down in that hole
‘Cause the devil come out and keep you for his own

[E] Long brown hair and tall brown boots
[D] You came across the bitterroots
[A] To finally take what you knew was always [E] yours

I was glad to go along
I didn’t think it’d be too long
‘Fore you were bored and on to the next big thing

CHORUS:
[C] I could be wrong, I could be right
[G] You and I so much alike
[D] The devil tried to keep us far a-[E]-part
[C] Now i was stoned and i was high
[G] But everything it felt so right
[D] I could be wrong, I could be could be [E] right

Baby don’t you go don’t you look down in that hole please
Darling don’t you go don’t you look down in that hole please
Baby don’t you go don’t you look down in that hole
‘Cause the devil come out and keep you for his own

Baby don’t you go don’t you look down in that hole please
Darling don’t you go don’t you look down in that hole please
Baby don’t you go don’t you look down in that hole
‘Cause the devil come out

Sacawagea big medicine
Had a thing they knew must end
When they finally saw the western sea

I was glad to go along
‘Cause the best laid plans are always wrong
They come apart they always end in misery

I could be wrong, I could be right
What’s wrong with you is also right
There should be laws to keep us far apart
Now i was high and i was stoned
I didn’t want to be alone
Is that so wrong, is that so wrong
It must be right

[BREAK - CHORDS AS CHORUS]

I could be wrong, I could be right.

Baby don’t you go don’t you look down in that hole please
Darling don’t you go don’t you look down in that hole please
Baby don’t you go don’t you look down in that hole
‘Cause the devil come out and keep you for his own

Baby don’t you go don’t you look down in that hole please
Darling don’t you go don’t you look down in that hole please
Baby don’t you go don’t you look down in that hole
‘Cause the devil come out and keep you for his own

I could be wrong, I could be right
You and I so much alike
The devil tried to keep us far apart
Now i was high and i was stoned
I didn’t want to be alone
Is that so wrong, is that so wrong
It must be right

[CHORDS CONTINUE AS CHORUS TO FADE]
I could be wrong, I could be right
I could be wrong, I could be right
I could be wrong, I could be
I could be right

 

Full interview and performance with the Holdsteady.

Posted in Uncategorized on October 8, 2010 by davidclowery

No 300 songs today. Walter don’t roll on shabbas.
But here’s the full The Hold Steady Interview.

http://radio-va.com/2010/10/09/david-lowery-interviews-the-hold-steady/

What you’re missing-Original demo. Original words.

Posted in Uncategorized on October 6, 2010 by davidclowery

Camper Van Beethoven Original Line-up. Jonathan Segel left the band in 1988 but rejoined when the band reformed.

No real 300 songs post today. I’m working on a rather involved one at the moment. To tide you over. One of the most controversial of the cracker songs. I mean controversial cause some people loved it and some people hate it.  It was the album closer and so it was supposed to be fairly silly.
actually the whole thing is kind of a rip off of the band War.

Which at first seems like a weird connection except that War was a multi-racial multi-ethnic  Southern Californian band (with an english lead singer and a dutch harmonica player) that was enormously popular in The Inland Empire where me and Johnny grew up.   You can hear the War influence better on this demo.

01 what you’re missing demo

Camper Van Beethoven Racine WI Oct 16th. Good Guys and Bad Guys Video

Posted in Uncategorized on October 2, 2010 by davidclowery

BAD GUYS

No 300 songs post today. I’m traveling.   Instead let’s just have some fun with some jerks first.

www.rockincd.com

This company is buried behind two layers of proxy domain domain registrants.  This is for no other purpose to hide their identity and make it difficult to prosecute them for bootlegging.  The proxy registration service Whois Guard demands a court order before they will release any information.  An unreasonably high bar that is probably in violation of all sorts of ICANN rules. Their web hosting company appears equally sleazy.

These people are blatantly bootlegging artists records for profit.  They are selling our shows off this site and paying no royalties of any kind.  Yes we have sent the publishing company lawyers after them.   I know wilco had to sue them.  In the meantime lets fuck with them.

Don’t order anything from them for real.  It looks like they do all their responses  manually.  so just pick something you want to buy.  and then just put in a bogus email address.  do it a couple of times.  Hell do it 30 times if you want. Or just use the web form to write them long notes.  anything to waste their time.  cause time=money.

I also pointed out to the Zappa estate and Grateful Dead estate that they are being bootlegged. Both of these organizations are highly aggressive

DON’T USE YOUR REAL EMAIL ADDRESS THEY”LL JUST PUT YOU ON A SPAM LIST.

Ann_Al_Aksam@proctoptic.com   was my last order. I’m up to about 40 orders now.

GOOD GUYS

Just a reminder that Camper Van Beethoven will be playing a very special and very intimate show at McAuliffes Pub in Racine WI.  Between Chicago and Milwaukee.

Tix available two places.

milwaukee.tickets
Rushmore Records
2635 S Kinnickinnic Ave
Milwaukee, WI 53207
414.481.6040

or at McAuliffes Pub

3700 Meachem Rd
Racine, WI 53405-4600
(262) 554-9695

Now enjoy this very low tech CVB video from 1987 good guys and bad guys.

My Interview/Recording of The Hold Steady for WNRN Charlottesville

Posted in Uncategorized on September 25, 2010 by davidclowery

The Hold Steady in front of the New Sound Of Music Studios.

This is not part of the 300 songs project.  Just a little filler for the weekend.  I interviewed and recorded the Hold Steady when they were at Sound of Music Studios last week.  Here  is the first ten minutes.

The Hold Steady at Sound of Music Studios

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