Lifter Puller, Rock and Roll!

Hey, I feel the same way about Simon Gallup, cool. :-)

Also, I saw Craig Finn at Spa for the Har Mar Superstar show and he was loving it.

http://www.theholdsteady.com/

My description of the Hold Steady show I caught last week is at indierock is shithot right now!. They roxor the big one, without doubt, can't wait to see/hear more.

That said, I don't listen to any of it much cos their production was always so anemic. I mean, this band was a ROAR, and it's just not there on record.

I like how the release of Soft Rock acts like a Director's Cut of Fiestas & Fiascos. Also, F&F comes close to that ROAR misterhungry refers to (though I haven't seen the self-flaggelation up close & personal).

I never really thought of AoL in connection w/ LFTR PLLR, but that's why you folks make the big bucks. For what it's worth, I still can't really hear the Neil Diamond thing in Crooked Fingers, either.

Crooked Fingers are okeydoke, if rather repetitive, and I'd probably take the first two Crooked Fingers albums over White Trash Heroes. It's a shame that live album was so turgid. Otherwise it would have made a nice sampler.

http://www.villagevoice.com/specials/pazznjop/02/critic.php?criticid=132

I don't remember liking Archers of Loaf much way back when, but maybe I was wrong about them. First people Lifter Puller reminded me of were Girls Against Boys (who I now think they're way better than), then the Fall. Then Kogan and Xgau independently mentioned the first couple Springsteen albums. And other people said Pavement, which never made any sense to me, but then again I've never understood people who think Pavement sounded like the Fall, either. Anyway. My favorite surrogate Lifter Pullers right now are Holy Ghost, from Brooklyn, who have two albums out that everybody else has ignored.

Now he DJs in SF and uses the same name. So those of you there, go there and rock on with a cock on.

The blatant Pavement / Fall connection, to me, boils down to "Two States". Anything else is uncivilized.

Oh! I met that guy at the NYC show! Well, really it was more like "holy shit... your fingers... Uh, cool."

Somebody I know asked him what to get tattooed on his own set of knuckles and he said "DIET COKE".

Oh -- hi. I'm Stephanie and I run the Hold Steady website (per Craig, of course). Not that it'll be any help to the faithful few among you in desperate need of a fix, but the ETA for a couple mp3s off the six-song recording is probably mid-April? Possibly sooner.

I digress; just wanted to kick in my two cents and add another bit of glowing appreciation for the glory that is/was LP.

www.citypages.com/databank/20/988/article8166.asp

One of the few times that hanging out with musicians was actually as interesting as listening to their records. I like their recordings fine, but their live show really makes me wish that adjs like explosive, blistering, fierce weren't rockcrit cliches.

1. Opening band was the Monarques, led by Nathan Grumdahl, ex of Selby Tigers; strong, confident, well written songs, sort of...don't wanna say "arty" but something tells me Ned would love them--they have some kind of British thing going on that's hard for me to put my finger on at the moment. Sorta majestic w/o the preening feel that adjective usually conjures. Songs felt really composed--as in parts that felt distinct from each other but worked as a whole.
2. Ladies and gentlemen, the Mountain Goats. J0hn got up and played relatively few obvious crowdpleasers and a lot of semi-obscurities (including his cover of Steely Dan's "F.M.," which Nate Patrin recognized). He's amazing live, which a lot of you know already, and was super pumped to be opening for LP, and said so frequently.
3. On the last two songs ("See America Right" and "The Best Death Metal Band in Denton") J0hn was accompanied by the multitalented Tad Kubler--LP bassist, lead guitarist for the Hold Steady--on drums.
4. Got to meet J0hn for the first time. He even said it was OK that I called him a terrorist on national television. What a nice guy.
5. Not a second after being announced by a couple of college radio DJs or club employees (not sure which), LP fucking tore into "To Live and Die in LBI," Craig and Tad and Steve jumping like fucking crazy and the crowd going nuts. They KILLED from top to bottom, the crowd screamed the lyrics back at them; Craig in particular was extremely energized, even more so than usual (having seen the Hold Steady several times now it's not like he's exactly been lazing off in the stage movement department), and um holy fuck
6. he had a big mosh pit going, which included at the periphery me, Nate P and J0hn D. So I got to fucking slam dance w/a Mountain Goat. ILx heaven, kids.
7. The new venue that the Triple Rock Social Club opened up (the LP shows are its inaugural events) is beautiful--nice stage, terrific PA, excellent sightlines, comfortable, attractive wood and metal walls, holds about 600. I dare say it's the nicest rock venue in Minneapolis--a town that could use a really nice rock venue.

I'm beat. More tomorrow. And again, WOW.

Oh and a couple other things: The Hold Steady are at Pianos in nyc on July 10th.

IMHO the Archers comparison is unfair as Archers were a fairly standard, if decent, '90s indie rock band, whereas LP has more substance, more springsteen, great lyrics, more Dinosaur Jr. references, are more danceable, and have a conviction and charisma that Archers lacked. And I love Vee Vee, I really do.

And then there's the Joe Strummer quote, "It's Lifter Puller's world, we just live in it."

< /matos>

the idea that lp "romanticize" anything is completely fucking laughable unless you have a kneejerk response to anything involving "rock lifestyle" lyrics. it's pretty obvious that craig finn is singing in character, about several characters; he's telling stories inna hard-boiled-novelist stylee about (in lp songs) a seedy underbelly underworld w/recurring characters/situations/settings. lots of very deliberate grotesquerie, and the hyperreality appeals (to me, to j0hn, to others) for its detail, its hyperactivity, its playfulness, its style. also, the band fucking rocks.

Don't get me wrong - you can hate the Shaggs all you want! I'm not trying to claim them as some sort of underground badge. I love pop music too, and hell one can probably find that Shaggs cd on Rounder at any damn Tower Records store anyway. But that's just it isn't it? Why would you not have at least a natural curiousity about this group that a lot of people seem to be interested in? After all, you're a professional critic aren't you? I like your writing bunches, your one of the best I've read in terms of evocative descriptions and really being able to convey what makes a piece of music work. (and this is one of my favorite styles of music writing when - thank god - someone can actually DO IT). but in your tastes you also strike me as a bit of an unadventurous listener, someone who really isn't interested in much beyond what's happening now. This is probably due to your career/job position I know, but it's sort of disappointing, is all.

ok, ok, on-topic: everything I've read about Lifter Puller leads me to believe they are like everything I can't stand about rock music. This kind of simpering emo boy blathering on with his "narratives", right? Over vaguely prog/math inflected guitar-oriented backing? Please fucking shoot me now. But like I say, I've never heard them.

But hey, I love the fact that you're here! ANd I can communicate with you just like this! Unlike when I was growing up in the 80's reading say Rolling Stone or Spin and finding similar irritants in some of the writing.

OK, how about this: Archers of Loaf is quite frankly the worst horseshit I've ever heard in my life.

but i'll still take archers' "assassination on xmas eve" over any LP trax.

And, I feel you on the whole Shaggs deal; I hate that when stuff I feel has a real kernel of musical interest gets reappropriated or misrepresented or whatever. I just really think that - yes, as untutored, amateurish, and goofy as they were - there was a really singular accident in that Shaggs stuff. Where the three girls all kind of became of one mind and forged this crazy alternate rhythmic base for their odd little songs. I mean, it really does work! It's fun, and it makes you sort of enthusiastic about the ability of people to express themselves and enjoy themselves and so on (yeah, cliches, etc). These are all perceptions gleaned from the music; I know nothing of the personal history of this family, supposedly to be addressed in this film...

"Nassau Coliseum" is the most emo Lifter Puller song and it's my favorite. Am I wrong?

Fucking A. If Sam Cooke's "If It's Alright" and Rod Stewart's "Found a Reason to Believe" aren't the two greatest songs in the world I don't know what they could be. (and yes I realize Sam and Rod are the same person, only different hues)(and yes I realize this is LP thread. whatev)

I love "Assassination on Xmas Eve" though I'll take "Harnessed in Slums" myself

Yanc3y's comment got me thinking: one thing about Lifter Puller that I realize smacks of fanboyism, progthink, and other kinds of brainwash, but is nevertheless true, is that in order to understand them completely you have to hear a lot of them. There's individual tracks that stand up great on their own ("Space Humping $19.99" and "Nassau Coliseum"* and "To Live and Die in LBI" are my top three) but it's the overall effect of the songs--the way they reuse and slightly alter the same lines ("She said my name's Juanita but you can call me L.L. Cool J") not to mention the recurring characters/situations/places--that kills me.

Also it should be noted that I wasn't offended by yr crack, Diamond, just puzzled; your post cleared it up (I sort of suspected it but wasn't sure). I think the film is based on Susan Orlean's New Yorker piece, which is pretty good--definitely the best thing I've read on the band, though

*As soon as I typed this I realized I was sort of wrong earlier. "Nassau Coliseum" is a six-minute song in which Craig Finn does sort of whine over vaguely mathy guitars at a dragging tempo. Thing is, it's one of the funniest breakup songs** ever written: "Didn't think that you'd dis me/Did you sleep with that hippie?" Tone is all: he's more bemused than pissed off and so loghorreic that you get caught up in his narcoleptic singsong flow. If Mr. Diamond were to download this one song, probably their best, for your intro, it would totally confirm his suspicions about them, but it's still a great, great song.

**except it's not actually a breakup song; Craig Finn wrote it after/about a riot at a Grateful Dead show

Thank you!! I always thought this was like the most mysterious song ever written. I was picturing Kent State or something. Is there an internet go-to place for finding information like this? A fan site, maybe?

I found out about that from my friend Kate Silver, Sonny, who posts on ILx sometimes. I think she got it from Craig himself, but don't quote me

'romanticizing': trying to make the gutter seem appealing _because of_ its idealized baseness. (hard-boiled style is regularly in the service of a romanticized view of its subject matter, isn't it?)

you say they're an immersion band - immersing yourself in that squalid lifestyle. now, it seems to me common sense that you wouldn't WANT to do that UNLESS it had been romanticized some, as per above. (imagine I give you a pile of trash, and I tell you to roll around in it. you say no - of course. but then I tell you a story about how really fucking awesome it is to be caught up in just how awful it is to roll around in trash, and then you jump right in.)

there's something to do here with one strain of rock music's image of itself, I think. what I don't understand is why people who are presumably aware of it would be so happy to buy in and pretend as if old rock myths and cliches are true after all.

I know this is all contentious but I don't think it's at all knee-jerk.

I think gff said above that their records sound anemic. from the one I've heard I couldn't agree more.

I think gff said above that their records sound anemic. from the one I've heard I couldn't agree more.

he’s referring specifically to them vs. their live shows, but either way, Magnetic Fields to thread!

no one said you had to; I was explaining the group’s m.o.

you say they're an immersion band - immersing yourself in that squalid lifestyle

no, immersing yourself in their stories of that lifestyle. Probably should’ve made that a little plainer

Sonny A is otm about the characters being ravers, not rockers

I certainly didn't mean the actual lifestyle. I was talking about just what you go on to say: 'we as listeners go through that with them'.

I question whether it IS like people liking the sopranos - typically it seems as if there's a much greater degree of identification with the world made by music. or at least, it happens more often. maybe that's not happening here - I can't tell from the way people praise the band.

if it's just some kind of narrative/dramatic deal (say like cathartic crime drama) - well, the reason I'm making these posts is that I just don't like the tone of the band's fans. crazy superfandom is fine, but there's something about 'criminally ignored', that kind of thing, that riles me. so I want to hear more about what it is I suspect could be a critical blind spot - a plenty good reason that people could just not want to hear lifter puller, despite whatever rhythmic etc etc or dramatic yadda yadda. (put the short way: 'storytelling', big deal - what if you don't care about what the stories are about?)

I certainly sympathize with not being able to write about what you love most - but I find it interesting how little lifter puller fans seem to talk about what the songs are about. (I also recognize how the style of the lyrics might make this hard.) but then what does john talk about in his lptj review? a drug song. hmm.

I'm talking about what's evoked, in the background, called upon, leaned on, gestured at, whatever. 'seedy underbelly' set to music.

I realize that I am eerily like ned here insofar as I get tired of him hating on superfans elsewhere.

fair enough. I think the sopranos comparison is pretty good but quite inexact, because as much as I extol Finn's narrative sense he's also not writing straight-line stories a lot of the time--re: the reoccurring lines/phrases thing I mention above, he'll often revisit certain settings and situations and tweak them a little. you can basically play the songs in any order and they'll make sense as a microcosm rather than a straight-up narrative. it's more like an altman movie.

part of what impresses me about them most is that they deal with what in most hands IS very tired subject matter and inject it with a lot more vividness than you'd necessarily expect to hear. and because there's so many fucking words--finn-as-rapper isn't much of an exaggeration on that level--it becomes almost an all-or-nothing situation when you're writing about them; the temptation is to just quote and quote and quote, or else not quote at all and try and get at what they're doing yourself.

the reason I'm making these posts is that I just don't like the tone of the band's fans. crazy superfandom is fine, but there's something about 'criminally ignored', that kind of thing, that riles me.

what, you knee-jerk?

I certainly sympathize with not being able to write about what you love most - but I find it interesting how little lifter puller fans seem to talk about what the songs are about. (I also recognize how the style of the lyrics might make this hard.) but then what does john talk about in his lptj review? a drug song. hmm.

so are you asking for some kind of exegesis of something specific here? if so, happy to provide, just want to be sure

'knee jerk' is dismissive and unresponsive and that's why I don't care for the way you've been using it. the fact that my response is reactive, not very considered, doesn't immediately invalidate it. (I certainly didn't START with the tendency to have this kind of reaction, I think - it's developed over time, which is some kind of sign that I'm not just knee-jerking.)

I don't know what I want. I don't understand the sensibility I felt in the songs and I don't get why so many people who are in other ways not apparently very tied up in the rock-via-the-gutter mythos (I don't totally understand what I mean by that, either, but I keep hoping sterl will come along and recognize what I mean - and actually a review I remember but can't find of vollmann's 'the royal family' came to mind - the author made some kind of criticism like, vollmann is in love with the idea of degradation-as-salvation, redemption-in-misery whores-and-death kind of shit that has been old since rimbaud's time - and no I'm not saying the same thing about LP, it just came to mind) can go for it wholesale.

Zing. But as far as I'm concerned you could hate away about my MBV love and while I'll grouse a touch at most I won't do anything more (Calum's attempt to bait me there constantly was in retrospect hilarious), so I suppose it's all down to how one feels at the time. In this case I haven't heard anything by Lifter Puller yet so I'll just read the thread contemplatively.

I think I understand exactly what you mean by that mythos, Josh--you mean "why do smart people want to front like they're the morons in Please Kill Me?" what you seem to be saying is that therefore a story that contains those ignorant, non-self-reflexive elements (in the characters, usually) is somehow ITSELF ignorant and non-self-reflexive. How many species of bullshit is that? Answer: lots and lots.

right now I'm reading Frank Owen's Clubland, the story of how NYC clubs in the mid-'90s were full of drugs and this yelping club kid named Michael Alig killed a drug dealer associate of his and lots of gangsters were involved and almost everyone who didn’t overdose or get whacked first went to jail. There are almost no likable people in this book. Yet it’s a really gripping read, because the characters are interesting and Owen makes the activities vivid. Does that mean I condone them? well, some of the drug parts--I like taking drugs sometimes--and the dancing in the clubs, yeah. but for the most part, no. but it’s a terrific book. Does it mean I have to buy into some lifestyle mythos in order to enjoy it? Of course not.

Now I’ll fess up--and I’ve written about this before elsewhere--that LP grip me particularly hard because I recognize a lot of the milieu they write about--I’m from Minneapolis, worked at the nightclub First Avenue for 2 1/2 years, went to raves and basement parties for a long time. LP do romanticize nightlife, absolutely; they blow up its details to such extremes, while keeping things recognizable (“She says she’s waiting on the steady type/Then she disappears with the Eyepatch Guy,” sure, we’ve been there) and within the realm of possibility (there are a LOT of shady types running nightclubs, as Clubland attests), that they create a kind of hyperreal version of it. Degradation happens in the songs but it’s not all that happens, unless you happen to be the Moral Majority. And if you want to say I unthinkingly get off on degradation-in-itself, well, I'll happily call you an asshole right back.

Momus stole your girlfriend?

As far as I know, Craig is from a well off family, and met [gtr player] in college (Boston?) and they decided to start a punk band, so they came back to Mpls (I don't remember which of them was from here). I don't think it's possible to even BE IN a band and not have heavy heavy contact with the nighlife, even if you didn't want it.

Anyway, I think his day job is now in finance somewhere. So he stands in the same relation to the 'k-hole' (ie the gutter-rock-drug-sex-loser halfworld) as, I would think, Brian Wilson did to the 'beach,' ie always looking in no matter how in he gets.

And I think the connection btw those two is important; LP do a kind of loser-pastoral. It's a stretched connection bcz LP is so much more WORDY than the Beach Boys, lyrical content counts for much more of what LP were than what the BBs were, but it's the same artistic strategy: find a little corner and make the world out of it. (a good enough reason not to like Wilson either, really.)

And unlike Wilson the k-hole IS ridiculous (the beach is pretty ridiculous too, but less intentionally so), far too detailed and amplified to be read too seriously. I don't know how much of an 'indie-beaudelaire' act they were trying to do, they were always way too FUNNY. (one thing I don't like abt LP is how reliant their schtick is on schtick: their riffs often didn't stand up to the weight of the spiel)

(I don't think they ever made enough money to afford not being anemic on record. I guess that's still their 'fault,' I'm sure there are other cheap engineers out there who know how to mic a bass cabinet, but hey their uh historical record is imperfect.)

I'm not saying that. but suppose it's something like what you describe in that book. the way you put it, it's sort of like, 'this really held my interest and was enjoyable'. I can understand reasons like that given that you talked about the vivid writing, etc. (bad people make for good characters, sure.) but people seem to talk about lifter puller a lot giving reasons like that, sort of music criticy, materials-of-songwriting and canons-of-rock kinds of things, while acting and sounding like they are far more committed to... something, I don't know what, thus my talk about myth, sensibility, etc. above - way more into something, more moved by it, whatever, than people tend to get by 'mere' good or innovative songcraft, etc. (I know it's not you, but: a guy with lftr pllr tatooed on his knuckles?)

I'm not sure what you're talking about re: "music criticy, materials-of-songwriting and canons-of-rock kinds of things"--I've probably written about them more and more prominently than anyone else, and I don't seem to recall doing any of that, though maybe I'm too close to it to know better--but as far as "[getting] way more into something, more moved by it, whatever, than people tend to get by 'mere' good or innovative songcraft, etc." goes, (a) there's nothing "mere" about them in terms of craft etc. and (b) as my personal examples above help illustrate, LP get to something pretty deep in the heart of why people go clubbing et al; there is a romantic aspect to nightlife and there are, believe it or not, intelligent people who are drawn to that.

I don't think he's pastoralizing something he's moved on from (especially if the stuff he's doing w/the Hold Steady, which is even grimier subject-wise, is any indication), I think he found it fascinating and wanted to explore it. CF told me once that he was trying to create a Pynchon-esque world w/his characters, and the whole seamier-than-you-first-suspect underworld is a tribute in particular to The Crying of Lot 49. I try not to mention any of this generally because I artists' intentions generally mean bubkes, plus having never read Pynchon myself I couldn't necessarily draw any parallels anyway. but it resonates w/people for lots of different reasons, not just my personal ones above, and while obviously having a nightlife background helps me get to it faster I was a fan even before I deduced that was what was going on lyrically.

I must ask, though, Josh, why the incredulousness for the guy w/their name tattooed on his knuckles? you just sound like you're totally afraid of anything that excites people when you say stuff like that, and I really hope that's not the case. I mean, why wouldn't someone do that? and what does it matter whether he did or not?

(also, I gotta ask: when would you prefer I be at my rudest? when people wear plaid after labor day? how can any of this surprise you, really? all this time after you first read me on this board and elsewhere, you have to know that I'm really fucking argumentative?)

no, I'm not afraid. but do a thought experiment: a LP fan with the tattoo, and a bedhead fan with a bedhead tattoo. (the results? I don't know. but they seem different.)

I can't really speak to the lot 49 bit either, from the other end (though at first hunch I would say, before getting LP, that maybe they got some of the cast-of-characters sort of stuff, but that that's not what's key abt pynchon). yo what up sterl though.

going now, will think about the other part later.

ok now going.

"The thing about the lyrics is that they were written for people who were the same types of fans as me. I would obsess over records when I was young. Analyzing every lyric, piece of artwork, etc. When I was really young I thought every record was a concept album, it was just up to me to figure out the concept. So I tried to create lyrics that related to other songs of ours, and that tell a linear story to make it a fun puzzle thing for listeners, something that has rewards for people who listen closely or a ton of times, etc. I think that led to us gaining some particularly obsessive fans."

I also think seeing the band live can completely change a person's perspective on the group. Yet, we're talking about lyricism here, aren't we?

OK, it's time for me to leave this conversation.

yes, Kate, we knew

matos keeps posting as if he's answered me somehow, but I'm not happy. reason: I don't CARE about the 'interesting way' stuff, the mechanics of songwriting. there are lots of good songwriters out there. my original question and later questions had the thrust of: why this subject matter? why the extremely intense identification with, or affinity for, this subject matter? this is what I think I've gotten out of matos, so far:

1) rebellion is attractive
2) personal experience of the lifestyle
3) LP get to something pretty deep in the heart of why people go clubbing et al; there is a romantic aspect to nightlife and there are, believe it or not, intelligent people who are drawn to that
4) CF found this world/life interesting and wanted to explore it

what do LP get to about why people choose the nightlife (and I assume we mean here not just to go out and have a little fun kind of nightlife, but a lifestyle where this IS life)? the reason I put it in terms of a 'myth' before was that that thing, at the heart of why people live this life, seems like one sort of story told about, if you will, the essence of 'rock'. about what really makes it important, or authentic, or significant, or good.

(the fact that zod is possibly a poster i like when s/he's NOT being anonymous doesn't alter this judgment in the slightest)

this is an interesting thread even if the main discussors were annoyed and unhappy during it: in fact, possibly BECAUSE the main discussors — both highly intelligent writers — were annoyed and unhappy about it (two very raw spots rubbing against one another: why?)

Maybe Josh's problem is that it's a little obvious? I was going to post a lecturing post abt how EVERY band lives in this world and is comprised of these kinds of people, that would have gone something like this: Waiting tables, tending bar, doing a little freelance, going to parties, living at NIGHT, making your money in tips, getting a tattoo, driving a shitty car, being in a couple bands or art projects that will go nowhere, doing drugs and knowing people who do WAY more than you, wasting your money, watching people you went to school with (whatever level you managed to finish) commuting in their new Jetta, trying to make your ideas matter in the world, to make them pay off, to make the utter childish mess of your life pay off --> this is the place that all pop music comes from, unless you're Kelly Clarkson. So it's not like LP are somehow special or wierd for having anything TO DO with the life; you could even fault every other performer for saying LESS abt it. Yeah LP do a 'pastoral' or 'grotesque' way of looking at it, but it's the place that all of your other music comes from.

...But that isn't news to anyone I guess. So maybe that's Josh's problem with them? Every band ever is in this world and all the other ones want to talk abt something ELSE? CF's great use of metonymy notwithstanding? I mean, "woke up with my hand stuck in the tapedeck" is probably one of my favorite lines from any song: hilarious, unexpected, clear, detailed. To bring up another of my old poetry profs: "there is no such thing as a synonym" (she was qting someone else who I should know the name of) TAPEDECK, it's so perfect, so much better than 'stereo' (or, since the line dodges away at the last second from snicker-snicker sex talk, 'up her ass' or something). What kind of manky shithole was he partying in? The part stands in for the whole. But if you (the general 'you' here really) just think that waking up with your hand stuck in a tapedeck at 23 or 27 or 35 is ONLY a stupid thing to do, I guess yeah the uh charms of LP may mean jack to you.

Yeah, I do think so, actually! While I respond partly because I recognize a lot of CF's characters, it's pretty much an article of faith for me that subject matter is cosmetic: the substance lies elsewhere.

the girl selling t-shirts was kind of a freaker,
first she gets handcuffed
they started to beat her, i was so angry, you had just left me
they had her pinned down, it was so easy, gotta admit it
i can't forget it, i don't regret it
that i got some kicks in

Can't get beyond the selfishness, and it's just so plainly sad and even universal. The heft of the cruel world is underwhelming and unmoving next to selfish thoughts and personal pain.

About language? I dunno. Certainly they use language in a fascinating, complicated, almost singular way, but I wouldn't say they're about it. At least not in the formalist/gestural way the word "about" implies to me.

I think there's really dense, rich thematic stuff going on in LP's ouvre -- stuff about the way subcultures work, about a certain kind of millenial American sadness... Anyone wanna start a thread on thematic strands that run through Craig Finn's work?

"He said, 'My name is Corey - I'm really into hardcore - People call me HARD .... COREY!"

I had to go sit down after hearing that because I was laughing so hard.

http://www.thebrokerdealer.net/

is the still functional website for Craig Finn electronica side-project mentioned above. The site has 4 mp3s available... are they others out there??

There is some other band called broker/dealer out there too now.

if anyone is willing to share a copy of a LP live show, please let me know.. thanks.

I KNEW you'd like that album, 'Twan, and I'm glad you do.

You don't live here anymore so maybe you've got "perspective", but I just playing the B.S. old skool Mpls fanboy syndrome "oh you should have seen them back when" crap when I think LFTR is better than Hold Steady? cuz I really do.

the LP record I played Jess was Fiestas + Fiascos, preceded by "To Live and Die in LBI" and "Nassau Coliseum"

that's kinda it for me too! plus big influence of archers of loaf, who i love a lot too.

that said, i like finn's jive ass B.S. enough to dig hold steady. and i like thin lizzy.

etc OTM, yeah I like Half Dead the best....

Plus I am SO not a Catholic.

Then again, I'm a Minneapolitan who moved to New York, so etc. etc...

If I see him around, I'll ask him why he hasn't yet taken advantage of the many possibilities "Eden Prairie" provides.

xpost: pretty sure it sucks.

(Uptown? always assumed) Rainbow Foods
Nankin (RIP)
Penetration (Loring) Park
the corner of 15th and Franklin
Payne Avenue
Yukon Club

Railroad Bridge - the one between 26th and 27th streets? teen ne'er-do-wells park their bikes in the trees and drink on the shore or on the bridge.

Edina -- in "Hornets! Hornets!"
we were livin up at nicollet and 66th. with 3 skaters and some hoodrat chick. drove the wrong way down 169. almost died up by edina high.

The City Center ref in Hoodrat Friend always cracks me up.

And, of course, Lake Street is for Lovers.

There ought to be one of those google map hacks with little flags on all the places.

(shudder)

I think I have all this stuff (the odds and ends collection is all on Soft Rock, it looks like). But still - nice. Also I guess Soft Rock is outta print or something.

http://pitchfork.com/news/37089-pre-hold-steady-band-lifter-puller-remembered-with-reissue-series-book/

digital reissue = laaaaaame

tru. I'd buy Half Dead and Dynamite on vinyl. that one's my favorite.

btw it's kinda lame to me that because tad is in hold steady that the original (and best) lifter puller bassist, tommy roach is sort of written out of the band's history....he was an amazing bassist and quit i think to pursue grad school (i had him as a TA at the u of m once)..but anyway he plays in half dead, which remains their best work, and from what i have been told was very instrumental in writing lifter puller songs when he was in the band and sort of helping to define their sound.

don't call her lazy cause she's crazy about the daytime tv
channel 3, look at me, i'm a real whale watcher

I think it's Wheel watcher

https://i.imgur.com/IDw9f9s.jpg

lmao that makes way more sense, i'm submitting the correction to every lyrics website

every lyric in "touch my stuff" is gold

even though i think fiestas is their masterpiece my fav lifter puller song is "sangre de stephanie," it kinda feels like every thematic touchstone finn explored in both lifter puller and the hold steady ("she crossed herself and it turned me on") appears there

I feel really lucky have seen them dozens of times in small clubs in Minneapolis in those days.

This just surfaced, sound is dodgy but this is def the era, Lifter Puller playing the Dillinger Four Midwestern Songs of the America's release show on a boat

https://www.youtube.com/watch?v=XFByA1t6KG4&feature=youtu.be

oh shit!

I want Night Club Dwight dead in his grave
I want the Nice, Nice up in blazes

I have so much of that album stuck in my head.

it ain't just a money thing it's a question of community, the liberty the ecstasty the love the drugs the unity and the busts they looked just like the hey kool aid commercial, they're breaking down the walls and they're tipping over tables and it tastes great

for a little bit Paddy (St. Paddy) of Dillinger Four is standing in front of the camera.

the whole Lifter Puller/D4/Atmosphere mutual appreciation society was really cool back then

legendary

https://www.youtube.com/watch?v=DQulI5RcfOs

another great find! 00 full set from the weisman art museum at the university of mn campus

https://www.youtube.com/watch?v=eJxAyApDYrs&feature=youtu.be

Ooh, nice finds. The Jenny Jones one lead me to

https://www.youtube.com/watch?v=xoWgl5XeBws

which in turn led me to this Aussie band's cover of same

https://www.youtube.com/watch?v=LPEzGabTpK4

which reminded me of how I came across Lifter-Puller via J0hn D's piece on "Mission Viejo":

http://lastplanetojakarta.com/articles/lift.html