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Younger Than Yesterday: “Kind Of Blue” by Miles Davis, selected by John Convertino

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John Convertino is best known as drummer and co-founder of Tucson Arizona-based Americana outfit Calexico. Since their inception in 1996, Calexico have fused a myriad of styles and genres including: jazz, electronica, punk, indie, film scores, mariachi, Portuguese Fado, Latin, folk and country. The band — lead by the core duo of Convertino and Joey Burns (who had both previously formed the rhythm section for Howe Gelb’s Giant Sand) — have over the last two decades created a vast body of work, to date comprising: seven studio albums; numerous tour albums (collated in the archived vinyl boxset ‘Road Atlas 1998—2011’); soundtrack scores (‘Circo’, ‘The Guard’, ‘I’m Not There’) and a multitude of collaborative works (Iron & Wine, Depedro, Amparo Sanchez) across numerous formats and releases. Convertino has also contributed his wholly unique and visionary drum playing style to a host of various musicians over the years (Neko Case, Amos Lee, Laura Cantrell, Vinicio Capossela) and has been a member of the following groups: OP8; Friends Of Dean Martinez; The Band Of Blacky Ranchette; ABBC. In 2005 Convertino released his debut solo album of jazz improvisations, ‘Ragland’, via German independent label Sommerweg. Calexico are currently in the final stages of recording their eagerly anticipated eighth studio album (written in Mexico City earlier this year and recorded at Tucson’s Wavelab Studios by Craig Schumacher and Chris Schultz) and follow-up to 2012’s ‘Algiers’.

Words: John Convertino, Illustration: Craig Carry


Miles Davis ‘Kind Of Blue’, by John Convertino.

I wish that I could have a more obscure favorite record to share with people, but I have to be honest with myself that there is not a moment on ‘Kind of Blue’ that I don’t love.

The simplicity, spontaneity, and tone of that record is perfection, I can listen to it over and over again and still find something new in it.

Because of that record, I branched off and explored the music of Bill Evans, John Coltrane and Cannonball Adderley. Coltrane’s ‘A Love Supreme’ is right up there, and I will listen to Bill Evans any day. Cannonball does a version of ‘Autumn Leaves’ with Miles Davis that kills me every time I hear it. From there you will find Gil Evans and all the amazing work he did with Miles and his own compositions, ‘Sketches of Spain’ is an all time favorite. Then Thelonious Monk and Art Blakey and the Jazz Messengers. ‘Monk Alone in San Francisco’ is up there as an all time favorite. It’s the music I love.

I was also going to pick ‘The Rite of Spring’ by Igor Stravinsky. The pulse all through that composition, and where it puts my head, are things I love about being alive.

—John Convertino



Album: Kind Of Blue
Artist: Miles Davis
Label: Columbia
Year: 1959

Tracklist: So What; Freddie Freeloader; Blue In Green; All Blues; Flamenco Sketches.

Personell: Julian Adderley (Alto Saxophone); Paul Chambers (Bass); Jimmy Cobb (Drums); John Coltrane (Tenor Saxophone); Miles Davis (Trumpet); Bill Evans (Piano); Wynton Kelly (Piano).


Calexico are currently completing the follow-up to their 2012 LP ‘Algiers’ and have this week unveiled their 2015 European Tour dates which are as follows:

14 Apr – COPENHAGEN Amager Bio
15 Apr – HAMBURG Grosse Freiheit 36
16 Apr – AMSTERDAM Paradiso Amsterdam
17 Apr – EINDHOVEN De Effenaar
18 Apr – BERLIN Heimathafen Neukoelln
20 Apr – COLOGNE E-Werk & Palladium Köln
21 Apr – MUNICH Muffathalle
22 Apr – ZURICH Volkshaus
23 Apr – MILAN Fabrique Milano
25 Apr – LUXEMBOURG Atelier Luxembourg
26 Apr – PARIS Le Trianon
27 Apr – BRUSSELS Ancienne Belgique
28 Apr – LONDON O2 Shepherds Bush Empire
30 Apr – MANCHESTER The Albert Hall
01 May – LIVERPOOL Royal Liverpool Philharmonic
02 May – BELFAST Limelight Belfast
03 May – KILKENNY Set Theatre
04 May – DUBLIN Olympia Theatre

Tickets are on sale this Friday 14 November.


To read the other Calexico contributions in this series:

Joey Burns (R.E.M. “Reckoning” & Minutemen “Double Nickels On The Dime”); Sergio Mendoza (Pablo Milanés, “La Vida no Vale Nada”); Martin Wenk (Clifford Brown’s “With Strings”); Jairo Zavala (Lole y Manuel “Nuevo Día”).


Younger Than Yesterday: “Sex” by The Necks, selected by Sophie Hutchings

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The Sydney-based pianist and composer Sophie Hutchings shares with us her feelings on the album which had the greatest impact on her life as a musician. To date, Hutchings has released two solo albums, ‘Becalmed’ and ‘Night Sky’, both available now via Australian independent label Preservation. 


The Necks ‘Sex’, by Sophie Hutchings.

From a young age I became fixated with repetition… during practice or mooching around on the piano, even if it were a simple melody I’d made up. I’d enjoy the process of playing it in circular motion. There was a contentment in performing the same thing over and over again — although I’m sure my family didn’t experience the same form of contentment at the time! However, come my energetic teens it was the compelling and emotionally charged power of indie rock music that began to take precedence in my life, and although I continued to improvise at home with the kind of music I generally do now, I wasn’t exactly searching for anything outside of the more aggressive music I was listening to. I was spoilt by the records my two older brothers would bring home, and it was exciting to rummage through their collections and new finds. I felt I was discovering great and interesting music and I was! But when bands like Rachel’s came along, another sense in me awakened.

The first groundbreaking discovery for me was The Necks album ‘Sex’. Tim Whitten — who has been involved with the recording process of both my albums and a long-standing family friend — gave it to me saying: “You will totally dig this album”. I immediately fell in love with the purity, as well as the endlessly repeated motifs of the drums, bass and piano.

Repetition in music for me — be it ambient, instrumental or indie rock when done well — kind of transports you away from what’s going on around you. It holds you in a nice little pocket of time, hypnotic inflections drag you into a musical undercurrent and that’s what The Necks do to me. They manage to calmly hypnotize you without dissecting your emotions. They take you to a pensive place whilst also managing to uplift you at the same time. I chose this record, as it was a huge turning point in my life and it was the foundation of what I was then to build from. To this day I still hold onto it as a very special album. It’s one of those nostalgic numbers in your collection that you put on again, and again, again and again… and again. I never tire of it.

—Sophie Hutchings



Album: Sex
Artist: The Necks
Label: Spiral Scratch
Year: 1989

Tracklist: Sex (56:08)

Personell: Chris Abrahams (piano), Tony Buck (drums), and Lloyd Swanton (bass)


Sophie Hutchings is currently recording her third album and follow-up to ‘Night Sky’ (Preservation, 2012) alongside The Necks’ producer Tim Whitten. Both ‘Becalmed’ and ‘Night Sky’ are available now on the Preservation label.



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August 11, 2014 at 10:49 am

Younger Than Yesterday: Ring

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The Tupelo, Mississippi-born songwriter John Murry — a blood relative to William Faulkner — released his solo debut ‘The Graceless Age’ in 2012 (initially via US label Bucketful Of Brains, subsequently via Evangeline Recording Co in 2013; and via Rubyworks in Europe, also in 2013). The album is as deeply affecting and genuinely life-affirming as one could possibly imagine: the album draws from Murry’s past experiences battling drug addiction (‘Little Coloured Balloons’ depicts Murry’s heroin overdose when he clinically died for several minutes) while haunting songs of fear, loss and alienation are imbued with a heartbreaking sense of perseverance, redemption and, ultimately, both forgiveness and hope. Prior to ‘The Graceless Age’, Murry also recorded with the highly influential veteran American songwriter Bob Frank; the resultant collaboration yielded ‘World Without End’ (2006), ‘The Gunplay EP’ (2007) and ‘BRINKLEY, ARK. and other assorted love songs’ (2009) released on Evangeline Records. ‘Califorlornia’, a brand new John Murry EP will be released on June 16 via Rubyworks.

Words: John Murry, Illustration: Craig Carry


When I was a kid there was a division that existed — and still does — between what Deep Southerners and the rest of the United States had access to musically. I was unaware of what I was exposed to at home; the grand tradition of a blues that might have been founded in the Delta but made it’s home in the Hill Country of Mississippi that I was raised in. There people like R.L. Burnside and Junior Kimbrough and Kenny Brown and Otha Turner took essentially all of what the state of Mississippi had created and distilled it into a jump blues that played off of backbeats and dropped beats and ferociously wild slide guitar sounds. I used to stare at the hands of those men and others, like Cary Hudson, who married it to a native melancholic country feel at times or a Southern Rock indebted to the truer intents of that genres founders. I didn’t know at the time that I was blessed by the distance between Tupelo and Memphis; that I was quite literally watching something far more real and visceral than anything I’ve encountered since. Country music crafted by folks who moved to Nashville from God knows where had almost completely replaced the music of my childhood: the gospel songs my mother (quite out of tune) sang happily around the house, the Country radio that one could still trace back to The Grand Ol Opry, and the “oldies” stations that once filled the air with the sounds of Malaco and Muscle Shoals and Stax and Motown and Sun. All was replaced by “classic rock” and a new country music that more resembled “classic rock” than what we knew. I moved to Memphis and heard a great deal — too much almost — and was able to hear myself amongst the music I heard there. But before I left for Memphis, there were a few things that changed me completely.

I’m unable to pick a single record. But there was a record that I — on some visceral level — connected to and will unabashedly call genius. Bob Dylan and Bruce Springsteen, perhaps, changed everything for me. As did Joe Strummer and The Clash. But I was a kid first…. And being a kid, a disaffected one at that, I suppose, I heard a record that’s stayed with me for many, many years. One created by a pair of North Carolina attorneys (by trade) and their band. We didn’t have The Smiths. We had The Connells. ‘Ring’ might’ve made splashes in places, but all I knew were the lakes near my home. They’d play in Oxford, MS and I’d go — too young to get in but somehow still managing to. I felt surrounded by people who must not have paid much attention to their lyrics, fraternity members in pressed khaki pants drawn — I guess — to little more than distorted guitars and Peele Wimberley’s great drumming. It confused me; like watching men from the North take over Beale Street did later — me realizing hip hop was the blues of Memphis, of the new America. That changed me, too. So many things did. But I could hear myself in that band.

In songs like ‘New Boy’ and ‘Doin’ You’ and ‘’74-’75’. Production aesthetics didn’t matter, still don’t, when I hear those songs. I still know every word to every song. The melodies were symphonic. The lyrics made sense, even though I was too young to know how much sense they made: “Didn’t I say “sorry”? Didn’t I say “Dear”? Didn’t you consider? Didn’t I stand clear? Didn’t you say “new boy get down on your knees”? Didn’t I say “trying, I’m trying, I’m trying…” or “I wouldn’t bet the whale that I’d ever see a juvenile in your eyes like the one I see. No, I wouldn’t climb the heights thinking that I’d find a reason for honesty without even…. Doin’ you and being new upon it, seeing your fog and driving through, seeing you with your creature comforts, doin’ you is like doin’ time.”

I don’t know what or why or how come, but these songs resonated with me. I didn’t want to imitate them. I wanted to sing along. I wanted to cry. I still do every time I put the record on. And I don’t care. I played it for my nephew recently and he made me teach him how to play ‘’74-’75’ immediately. It’s still that affecting. It’s still that lost in time. Like Blue Mountain’s ‘Dog Days’, but just far away from home enough to feel like it could carry me away from where I was right then and there. Other records they created stayed with me, but ‘Ring’ came along at the right time, like penicillin. I don’t know that I learned anything from the record. Other than how to love a record despite it’s audience (or lack of?) and how to feel transported away from melancholy by melancholy.

—John Murry


Album: Ring
Artist: The Connells
Label: TVT Records
Year: 1993

Tracklist: Slackjawed; Carry My Picture; 74-75; Doin’ You; Find Out; Eyes On The Ground; Spiral; Hey You; New Boy; Disappointed; Burden; Any Day Now; Running Mary.

Personell: David Connell, Mike Connell, Mike Ayers, Doug MacMillan, Steve Potak, Steve Ritter.


John Murry’s ‘The Graceless Age’ is available now on Evangeline Recording Co (US) and Rubyworks (EU).

To read our previous articles on John Murry, please see HERE and HERE.




Younger Than Yesterday: On The Beach

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“I need a crowd of people,
But I can’t face them
Day to day,
I need a crowd of people,
But I can’t face them
Day to day.
Though my problems
Are meaningless,
That don’t make them
Go away.
I need a crowd of people,
But I can’t face them
Day to day.”

—Neil Young (“On The Beach”)

Words: Mark Carry, Illustration: Craig Carry


“Driving my car, flame trees on fire
Sitting and singin’ the Higgs Boson blues,
I’m tired, I’m lookin’ for a spot to drop
All the clocks have stopped in Memphis now”

(‘Higgs Boson Blues’, Nick Cave & The Bad Seeds)

Nick Cave sings “Can’t remember anything at all” on the opening verse of ‘Higgs Boson Blues’ that evokes a bleak and desolate landscape across the water’s edge of Geneva and beyond. The spiritual groove of atmospheric electric guitars and guiding drum beat shares the kindred spirit of Neil Young’s ‘On The Beach’ from 1974, released some forty years earlier. The album’s title-track shares the same bleak world view with that of Nick Cave & The Bad Seeds’ sprawling blues, the penultimate track on the latest masterpiece, ‘Push The Sky Away’. As Nick Cave sings the refrain of “Can you feel my heartbeat?”, a vivid sense of helplessness is washed onto the black road that lies ahead. A similarly wayward feel is etched on the sonic canvas of ‘On The Beach’ where the lyric of “The world is turnin’, I hope it don’t turn away” hits you profoundly. Lost souls in search of a way out from the darkness of despair. The following quote from Neil Young discussing ‘On The Beach’ describes the overall sound of the record: “The record was slow and dreamy, kind of underwater without bubbles.” Cave’s ‘Push The Sky Away’ is also just that.

Like many timeless records, ‘On The Beach’ comes from a dark place. 1974 was the period in time of a disintegrating relationship – ‘Motion Pictures’ depicts Young’s affair with actress Carrie Snodgrass, and also not long after Crazy Horse’s Danny Whitten’s untimely death from an overdose in ’72, which was the heavy subject matter of (what would be) the following LP ‘Tonight’s The Night’, released in ’75. This period of the mid 70’s was undoubtedly Young’s most prolific and prosperous artistic output, recalling the fertile mid-60’s period of Dylan’s string of life-affirming records. Recording of ‘On The Beach’ took place at Sunset Sound on Sunset, down in Hollywood alongside Ben Keith and Rusty Kershaw. Says Young about Sunset Sound:

“It is also where we made ‘Expecting To Fly’ with Jack Nitzsche and Bruce Botnick, the great engineer who did the Doors’ albums with Paul Rotchild. Stephen Stills and I did ‘Rock & Roll Woman’ and many other Buffalo Springfield tracks there. I recorded ‘I Believe In You’ and ‘Oh Lonesome Me’ with Crazy Horse there too. It is a great place with lots of history for many of us.”

Producer David Briggs – who produced much of Young’s best output from ‘Harvest’ and ‘After The Goldrush’ to ‘Zuma’ and ‘Tonight’s The Night’- co-produced album opener ‘Walk On’ but didn’t make the rest of the sessions. David Briggs: “I got so deathly sick the second day – sickest I’ve ever been, hundred and five temperature – and they just kept recording. Just threw me away because Neil was hot. Pissed me off so much that I didn’t have anything to do with him for a long time.” Ben Keith would make the rest of the ‘On The Beach’ journey. Keith recruited an awe-inspiring ensemble of musicians. The Band’s rhythm section, Rick Danko and Levon Helm, and last but not least, Rusty Kershaw, whom Keith had met when he first came to Nashville in ’56. Ben Keith played bass, drums, organ, piano and Rusty Kershaw played lap steel and fiddle.

My first introduction to Neil Young’s music came in the shape of ‘Decade’ – a compilation of his work from ’66 to ’76 – that spanned the songwriter’s involvement in Buffalo Springfield and his own solo work. The two songs from ‘Decade’ taken from ‘On The Beach’ – which was unknown to me then – are ‘Walk On’ and ‘For The Turnstiles, representing some of Young’s finest sonic creations. The charged country-tinged electric guitar licks on ‘Walk On’ is supreme that makes for a perfect opening song. ‘For The Turnstiles’ is a sparse banjo-based folk lament. The closing lyrics are deeply affecting: “All the bushleague batters / Are left to die on the diamond / In the stands the home crowd scatters / For the turnstiles.” ‘Revolution Blues’ is a song inspired by Charlie Manson as depicted in the lyrics, “I hear that Laurel Canyon is full of famous stars / But I hate them worse than lepers and I’ll kill them in their cars.” David Crosby plays rhythm guitar on the track. A darkness looms throughout.

The gorgeous folk song ‘Ambulance Blues’ closes ‘On The Beach’. The folk-based odyssey is the longest cut on the album, at nine minutes in length. The song shares the melody of ‘The Needle Of Death’ from the late great Bert Jansch. In the words of Young: “It’s a great take. I always feel bad I stole that melody from Bert Jansch. Fuck. You ever heard that song ‘The Needle Of Death’? I loved that melody. I didn’t realize ‘Ambulance Blues’ starts exactly the same. I know that it sounded like something he did, but when I went back and heard that record again I realized that I copped his thing…I felt really bad about that. Because here is a guy who I’ll never play guitar as good as this guy. Never. He’s like Jimi Hendrix or something on the acoustic guitar.” The fiddle-led melody of Rusty Kershaw is reminiscent of ‘Desire’ era Bob Dylan. A cinematic world is created by the warm blend of double-bass notes and plucked acoustic guitar chords.

“An ambulance can only go so fast
It’s easy to get buried in the past
When you try to make a good thing last”

(‘Ambulance Blues’)

‘On The Beach’ was the name of a movie, used for the album title. Says Young: “One of my favourite album covers is ‘On The Beach’.” The album cover comprises of the tail fin and fender from a 1959 Cadillac, complete with taillights, polyester yellow jacket and white pants. A palm tree is also present, which was taken around the world on the ‘Tonight’s The Night’ tour. All these pieces were then placed carefully in the sand at Santa Monica Beach. “We used the crazy pattern from the umbrella insides for the inside of the sleeve that held the vinyl recording.” Bob Seidemann was the photographer. Says Gary Burden: “It just happened. Everything fit, from buying the newspaper. That’s the thing – when you’re with Neil, magic things happen.”

With ‘On The Beach’ completed, Neil Young did exactly what he’d swore he’d never do again – a huge arena tour, this time with CSNY. In ’75, yet another timeless classic – and perhaps under the radar – ‘Zuma’ was released by Young and Crazy Horse. ‘On The Beach’ for me, stands as one of Young’s finest works. Like many classic albums, audiences were mixed – to put it mildly – at the time of its release. Two years earlier came one of his most commercially successful records, ‘Harvest’ and ‘On The Beach’ was Young at his most uncompromising, not caring what audiences would think. Much like 1975’s ‘Tonight’s The Night’, a depth of darkness prevails that represents a true work of art, exuding an ocean of raw emotion – sorrow, rage, pain, hurt – that makes ‘On The Beach’ as relevant and vital today, as it has ever been.

The title-track – ‘On The Beach’ – is one of my favourite songs that Young ever put to tape. Again, it’s the feel of desolation and sense of post-apocalyptic doom that drifts slowly amidst the raw take of mesmerizing blues. The clean electric guitar tones of Young shares the spirit of a slowed-down version of B.B King’s ‘The Thrill Is Gone’, where a deeply affecting blues opus penetrates the human space. The personnel includes Neil Young (guitar/vocals), Graham Nash (wurlitzer piano), Ben Keith (hand drum), Tim Drummond (bass), and Ralph Molina (drums). Some of the album’s most affecting lyrics are present here, as Young sings “although my problems are meaningless / That doesn’t make them go away” and “I need a crowd of people / But I can’t face them day to day” on the song’s verses. The image of loneliness and despair comes into focus as Young sings the refrain of “I went to the radio interview, but I ended up alone at the microphone.” The slow and dreamy soundscapes of ‘On The Beach’ remain as vital as ever.

“Get out of town,
Think I’ll get out of town,
Get out of town,
Think I’ll get out of town.
I head for the sticks
With my bus and friends,
I follow the road,
Though I don’t know
Where it ends.
Get out of town, get out of town,
Think I’ll get out of town.

‘Cause the world is turnin’,
I don’t want to
See it turn away.”

—Neil Young (“On The Beach”)


Artist: Neil Young
Title: On The Beach
Label: Reprise
Year: 1974

Tracks: Walk On; See The Sky About To Rain, Revolution Blues; For The Turnstiles; Vampire Blues; On The Beach; Motion Blues; Ambulance Blues.

Personnel: Neil Young: vocals, guitars, piano, wurlitzer piano, banjo, harmonica; Ben Keith: slide guitar, steel guitar, wurlitzer piano, dobro, organ, hair drum, hand drum, bass, vocals; Billy Talbot: bass; Ralph Molina: drums, vocals, hand drums; Tim Drummond: bass, percussion; Joe Yankee: harp, electric tambourine; David Crosby: rhythm guitar; Graham Nash: wurlitzer piano; Rick Danko: bass; Levon Helm: drums; George Whitsell: guitar; Rusty Kershaw: fiddle, slide guitar; Co-Producers: Neil Young, David Briggs, Mark Harman, Al Schmitt; All songs written by Neil Young; Dedicated to Elliot Roberts.


The quotations used in the above article are taken from “Waging Heavy Peace”, Neil Young’s autobiography (available now on Blue Rider Press), and Jimmy McDonough’s biography on Neil Young, “Shakey”, available now on Vintage. 

“Psychedelic Pill” by Neil Young & Crazy Horse is out now on Warner Bros, Neil Young & Crazy Horse continue their European tour in August, for all tour dates and all information on Neil Young, please visit:


Written by admin

August 6, 2013 at 10:35 am

Younger Than Yesterday: Reckoning / Double Nickels On The Dime

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Calexico’s Joey Burns reveals the albums that inspired him on his musical path for Part Four of our Calexico “Younger Than Yesterday” series. Joey Burns is someone who I look up to the most in music. As the singer-songwriter in one of American music’s finest bands, Calexico, he has given us a wealth of awe-inspiring songs, encompassing a world of sound and ocean of emotion. The music flows directly to the heart, just like the river that flows into the sea. A connection that runs deep. It has done so ever since Calexico’s debut ‘Spoke’ was released back in ’97. The road map can be traced back earlier, to another space and time, namely Giant Sand. Howe Gelb as Dylan and Joey alongside John Convertino forming the finest rhythm sections to have graced these lands. It is the unspoken connection between these two beautiful souls that forms the inner flame in all of what Calexico do, now and forevermore.  

Words: Joey Burns, Illustration: Craig Carry


For me it is hard to decide on one. There are several that have factored in my development over the years. Early on it was R.E.M.’s “Reckoning”. They captured a mood and energy that was compelling. Peter Buck’s drone guitar style resonated with my style as well as the foggy vocals of Michael Stipe. There was a mystique and depth with the layers of their instrumentation and vocals that I appreciated and wound up being a sort of blue print along with records by The Minutemen’s “Double Nickels on the Dime”.

Growing up in the south bay of Los Angeles I got to see The Minutemen perform a few times and their live shows were always best. They blew doors off of any band I have ever seen especially in those days of my teens and early twenties. “Double Nickels on the dime” goes deep. They do their angst punk songs, social-political writing, tripped out journal entries with free jazz accompaniment, and straight up deliver the best bizarre hybrid punk music I have ever heard. They weren’t afraid to be brutally honest about who they were, and who they wanted to be, and by doing so influenced me in my do-it-yourself approach to the music I would make later on down the road.



Artist: R.E.M.
Title: Reckoning
Label: IRS
Year: 1984

Tracks: Harborcoat; 7 Chinese Bros.; So. Central Rain (I’m Sorry); Pretty Persuasion; Time After Time (Annelise); Second Guessing; Letter Never Sent; Camera; (Don’t Go Back To) Rockville; Little America.

Personnel: Drums, percussion, backing vocals: Bill Berry; Guitar: Peter Buck; Bass guitar, backing vocals: Mike Mills; Vocals, harmonica: Michael Stipe; Producers: Don Dixon & Mitch Easter; All songs: Bill Berry, Peter Buck, Mike Mills, Michael Stipe.


Artist: Minutemen
Title: Double Nickels On The Dime
Label: SST
Year: 1984

Tracks: D.’s Car Jam/Anxious Mo-Fo; Theatre Is the Life of You; Viet Nam; Cohesion; It’s Expected I’m Gone; #1 Hit Song; Two Beads at the End; Do You Want New Wave or Dou Want the Truth?; Don’t Look Now; Shit from an Old Notebook; Nature Without Man; One Reporters Opinion; Political Song for Michael Jackson to Sing; Maybe Partying Will Help; Toadies; Retreat; Big Foist; God Bows to Math; Corona; Glory of Man; Take 5, D.; My Heart and the Real World; History Lesson, Pt. 2; You Need the Glory; Roar of the Masses Could Be Farts; West Germany; Politics of Time; Themselves; Please Don’t Be Gentle With Me; Nothing Indeed; No Exchange; There Ain’t Shit on T.V. Tonight; This Ain’t No Picnic; Spillage; Untitled Song for Latin America; Jesus and Tequila; June 16th; Storm in My House; Martin’s Story; Doctor Wu; World According to Nouns; Love Dance; Three Car Jam.

Personnel: Guitar, vocals: D. Boon; Bass guitar, vocals: Mike Watt; Drums: George Hurley; Engineer & Producer: Ethan James.


Calexico recorded a cover version of Minutemen’s “Corona” for their “Convict Pool” E.P., released in 2004 during their extensive EU and US tours promoting their 2003 studio album “Feast Of Wire”. Live, the band have often covered both “Corona” and “Jesus and Tequila” from Minuteman’s “Double Nickels On The Dime”. Most recently, “Corona” has been included on Calexico’s “Ancienne Belgique Vol 2”, the live tour album featuring the band’s performance recorded in Brussels on September 19th 2012.
On 11 March 2012 Calexico’s Joey Burns and John Convertino provided the rhythm section for the in-house band at a special R.E.M. tribute concert at Carnegie Hall. Guests on the night included The Feelies, Patti Smith, Throwing Muses and the late Vic Chesnutt.

Calexico continue their European summer tour and have also announced live dates in Australia & New Zealand for September/October 2013. (See all tour dates here).

“Algiers” is available now on City Slang (EU) and Anti (US). “Maybe On Monday” EP is out now.