I belong to a Facebook group called Screenwriters With Disabilities. What’s mine? A learning disability severe enough that I can't drive or work a regular job. I was very glad to be invited to this group for that reason, as I can write. If I can’t work a regular job, I can at least have a writing career.

The backdrop for this group is how marginalized we are. For example, amid all the uproar over Straight Outta Compton being all but ignored at the Oscars earlier this year, all the allegations of discrimination, the disabled were not mentioned at all. It is too obvious to point out that we exist, but we don’t get a lot of work, from actors to screenwriters to other behind the scenes jobs, because yes, Hollywood is ableist. And when a film about the disabled is made, it might ring true to a point, like Dustin Hoffman in Rain Man, or have a believable character like Sean Penn in Sam I Am, but with an unrealistic plot.

I mostly write indie scripts. It’s what I write best, and I hope things are better in the indie world. To whomever is reading this, the next time a Compton-like furor erupts, and it will so long as Hollywood is Hollywood, make sure to make a place for the disabled.

Andrea Weiss

Emerson/Lake

Keith Emerson/Greg Lake
Keswick Theater
Glenside, PA 2010

I met Keith Emerson in 2010. He and Greg Lake did a duo tour. I was lucky enough to see the show at the Keswick with my friend, Jen Grover, who had come from WV to see them too. Jen had a blast along with her new friends Sharon and Eileen, who she met in line for the meet and greet. I couldn’t afford that, but I had a great time seeing the show. It was part Q&A, mostly music, a little back story on the songs. For example, Greg Lake wrote Lucky Man when he was 12.

We had heard they were coming out to the barricade after shows to say hello and sign a few things, so we waited, and they did. It was then I met Greg and had him sign my Tarkus shirt. He is a big, tall man, and I was a little starstruck. He picked up on my vibe, clamped an arm around my shoulders for Jen to take our picture, and said, “Relax.” He held me tight for what seemed like minutes.

Keith and I barely spoke, we said hello, he signed my shirt, and I managed to tell him how much I love his music, which he thanked me for. Jen took this wonderful photo, my cover photo for Facebook and Twitter. I was lucky to have had even that moment with him. A rowdy pack of guys behind me were screaming his name and waving things for him to sign. Greg was on his way back to the bus. Keith followed him moments later.

  

Keith took his own life on March 10^th, 2016. I wasn’t depressed so much as very sad. It took a while before I could listen to him again. I feel better now. But this is his legacy, what he means to me. I’ll be forever grateful that I got to meet him. That we exchanged a few words. And this wonderful photo.

Andrea Weiss

Game Theory

Lolita Nation

Omnivore Recordings

One of the greatest albums ever made, and a true lost classic. I don’t want to belabor the comparison, but the only album Lolita Nation can be compared to is Sgt. Pepper. If that album had been made in 1987, with all the advances in recording studio technology, it might have sounded like Lolita Nation.

From the first piece of music, the sound collage “Kenneth, What’s The Frequency?” comes words to live by: “You can pick the game, you can, when you know what it is you’re doing. But when you know what it is you’re doing, then you despise it.” More proof that Scott Miller, and yes, all of Game Theory, were geniuses. Because after that opening, a headspinning, yet very sensible album goes forth, influenced by James Joyce, TS Elliot, and the band’s own pop sense, making for wondrous moments in every song on the album. And also for the sound collages, including one with a title in computer code, that is just tremendous.

The newly added second disk is outtakes, rarities, demos, and live versions of selections from Lolita Nation, a disk that can stand on its own, but that also succeeds in making Lolita Nation essential for not only fans, but anyone who is curious about college rock at its peak.

For me it means even more than that. When I first bought the tape of this album in 1987, I sat down with it, wrote out what I thought the songs were about, and while I was wrong about their meanings, I did have a plot for a novel. So yes, I found I could write. Which is one of the things I love most of all about this album.

Maybe you will love this album too.

Andrea Weiss

Scott Miller

Don’t All Thank Me At Once

The Lost Pop Genius Of Scott Miller

Brett Milano

125 Books

This is a masterpiece, no other way to say it. I hope to do this book justice because it is.  One of the best books I’ve read all year, to say the least.

Scott Miller never made a bad album. And that comes through Milano’s book too, and I should add that Scott’s book Music: What Happened has that same effect.  And the stories behind each album are fascinating, since their told by those who also loved Scott, both as a musician and as a person.

And with Scott as a person, he’s great, but there wasn’t just one side, the musical side, there was him as a person, what made him human, and what made him wonderful.

My personal favorite of Scott’s albums is Lolita Nation, so a little about it here, to give an example of what I’m talking about.  My first impression of it was Sergeant Pepper, for the way and lyrics made an indelible impression, but also that the record was a blast from start to finish, and also made you think. For example, “but when you know what it is you’re doing, then you despise it,,” a watchword that will stay with you.  The music was guitar rock, “power pop,” doesn’t seem to fit, and the twin leads suited the music., as did the big melodies, hooks and otherwise, that drove everything. And not just Scott, Donnette Thayer’s contributions are essential too, particularly “Look Away,” a favorite of mine period.

And all of what is written about here underscores the tragic turn things took. Suicide  is so hard to write about, but it must be, as that’s the ending, and also the starting point here. And as sad as it is, it’s also the right one, since it informs everything that goes before Scott’s final act.  He is missed so much, and on so many levels, everyday.

This book is informative for newcomers, a tonic for Scott fans, and a must read for music fans everywhere.  Everything, sad and happy, is handled with much grace,  and is one of the many reasons you won’t be able to put this book down.

http://www.amazon.com/Dont-All-Thank-Me-Once/dp/0692484698/ref=sr_1_1?s=books&ie=UTF8&qid=1447051577&sr=1-1&keywords=brett+milano

Andrea Weiss

Three Reviews

Palehound

Dry Food

Explosions In Sound

Catchy, noisy, acoustic indie-pop. Ellen Kempner, all of 21 years old, from Boston, writes and sings like Speedy Ortiz’s Sadie Dupuis. Fans of that band, and others like them, will enjoy this album very much, as will people who can’t get enough wry-humored songs about breakups. I like both, so this album is a treat.

French Horn Rebellion

Fooling Around EP

Ensemble Records 

I’m not big on music solely intended to dance to, but I'll make an exception for French Horn Rebellion. This duo from Brooklyn rock, or at the very least strut their stuff around the dance floor. Their lyrics are meant to think to, and thinking of joyful things predominates here.  The album’s title may hint at silliness, but there is nothing silly about this band. This is the sound of pure exuberance. 

Monika

Secret In The Dark

Other Music Recordings

Monika has been through a breakup, and a sailing accident, both sung about here. It's part of what makes this singer from Greece much better than the usual mainstream pop: there’s a lightness to these songs, instead of the usual weighty take on such things, and a minimum of drama. In the end, it's quite enjoyable. This is music to think to as well as dance to, songs that mean something, instead of just partying and sex. 

Andrea Weiss

CoCo Rosie

Heartache City

No label

Sisters who make music so cute that eventually it turns obnoxiously childlike.  “Lost Girls” has a good message, solidarity for the everyday perils women face, but the song's pretentiousness undermines this great message.  At best they sound like a stripped down Bjork, and fans of Bjork will probably like CoCo Rosie just fine.

Andrea Weiss

Let It Ring 

R. Ring

Johnny Brenda's 7-27-15

Philadelphia, PA

And an interview with Mike Montgomery

R. Ring - "Loud Underneath": A super mid-tempo rocker that is light-footed and nimble. It’s a relationship song; maybe about trying to tell someone you like them.

R. Ring - "Singing Tower": dreamy, loving, sad, hushed music, about an uncle of Mike’s who lived across from an ancient church, marked by ringing bells from the bell tower. When he died he might have haunted the bell tower. Mike wanted to let him know that it was okay to climb down.

Quailbones - "A Tip to Trick":  As dreamy as Singing Tower.  Louder, crunchier, darker.  Maybe about a relationship that’s ending.

Protomartyr - "Blues Festival": A hard charging rocker, strong, forceful, with pointed words of advice to bands starting up. Think of The Fall’s Mark E. Smith playing musical therapist.  Kelley’s backing vocals add even more of an element of subtlety and lightness.                

I saw R Ring when they stopped off in Philly for a show at Johnny Brenda’s.  I knew how good they were after having seen them three years ago at a place in Huntington , WV named The Black Sheep.  R. Ring stole that show, too. 

Johnny Brenda’s has a better sound system than The Black Sheep.  I spotted Kelley, Mike, and their drummer, Leo, and went and said hello. It was good to see them since I hadn’t seen Kelley and Mike since The Black Sheep. I was also glad to make Leo’s  acquaintance.

R. Ring headlined a three-person bill. and up first was Cynthia Schemmer, from the band Radiator Hospital, who was wonderful. A singer/songwriter that was appealingly grungy. After her set, I bought a copy of She Shreds from her, a magazine for women who play guitar and bass. It’s well written, feminist, and it was great to read the interviews where smart questions were asked, and that took women seriously as guitar and bass players. Ms. Schemmer writes for it, and is very good.

If you’re part of the Philly indie scene, you know The Dead Milkmen, who have been around since the 80s. Joe Jack Talcum is a member of said band, and I wasn’t sure what to expect from an acoustic set by him. But he was charming, in a Jonathan Richman sort of way. And a tremendous musician.

R Ring played all the songs they had released over the years. They took on new dimensions, with acoustic guitars pouring feedback and distortion and Kelley’s fantastic vocal effects from her pedal board.  It was 40 minutes of greatness. 

After their set, with Kelley’s help I bought everything R.Ring had to offer including  a T-shirt, and  an EP they’d made for a Dutch label, Mass Market, called The Rise EP. I’d been wanting to hear it, and if you can find it, pick it up.  It’s wonderful, and all packed in an evidence bag, the kind the police use.  I’d wanted to stay, hang out a bit more, but the band was tired, and i didn’t want to overstay my welcome. So we said goodnight, and I went home happy.

I recently sat down with Mike Montgomery for an interview about the new songs, and upcoming tour dates. I want to thank him for that, and thank the band for making my night and seeing them live again.

Andrea Weiss: How did you meet Protomartyr and Quailbones?

Mike Montgomery: We met Protomartyr at a sub pop showcase in Austin, TX a few years ago.  We really liked their songs. We met Quailbones at a show in Murray, KY and really liked their music.  We decided to stay in touch. 

AW: The artwork for the Quailbones 7 inch is so good. Who drew it?

MM: Ali Calis at Able Projects in Cincinnati did the art. He's a wizard. 

AW: I also like the Protomartyr artwork, who drew that? Both are very arresting. 

MM: Alex from Protomartyr did the art for that 7 inch. He is also a wizard.  

AW: R. Ring's two songs for the 7 inches are so different.  Do you like that kind of contrast?

MM: We just go one song at a time, so sometimes they turn out differently from each other.  It wasn’t intentional to write two contrasting songs, but yeah, we like how they turned out. 

AW: Who played the drums on Loud Underneath?

MM: Joe Frankl is the drummer on this one. Another wizard. 

AW:  How did you get Hardly Art, Protomartyr’s label, to put out the split 7 inch with you and them?

MM: Protomartyr has a contract with Hardly Art for their other releases so they arranged it all. 

AW: Do you and Kelley write separately, and bring in complete songs, or  collaborate when you play together?

MM: Yes to both. We write separately and together. 

AW: And if you do write together, who does the music and lyrics? 

MM: We write both music and lyrics, together and separately. 

AW: I’ve been reading in interviews that you’re working toward a full-length album, which will be exciting. Any timetable for putting it out?

MM: No ma’am. No timetable whatsoever. 

AW: Do you plan to tour anymore this year, or save it for next year?

MM: We have a few shows this coming weekend: Aug 21 in Athens, Ohio at Donkee Coffee. Aug 22 in Columbus at cd102.5 big bar.  Aug 23 at Crave Fest in Lexington, Ky. 

Earlier interview that I did with Mike here: http://allaroundrecords.blogspot.com/2012/06/normal_28.html 

More about R. Ring here: http://rring.tumblr.com

She Shreds Magazine here: http://sheshredsmag.com

And here: https://www.facebook.com/rringsings

Andrea Weiss