Yes we do–it’s also a musical.

SHOWING AT:

ATWATER CROSSING

3245 CASITAS AVE.

LOS ANGELES, CA 90039

ADVANCE TICKETS AVAILABLE HERE.

SHOWTIMES:

FRIDAY DEC. 9:  8 PM AND 9:30 PM

SATURDAY DEC 10: 7PM AND 9:30 PM

SUNDAY DEC 11: 2PM AND 7PM

FRIDAY DEC 16: 8PM AND 9:30PM

SATURDAY DEC 17: 7 AND 9:30PM

SUNDAY DEC 18: 2PM AND 7PM

The Dead Weather will be performing at Third Man Records and Novelties West, located at 448 S. Main Street in downtown Los Angeles on Wednesday, August 26th, at noon. While they are trying to accommodate as many fans as possible, entrance will be on a first come, first served basis.

August 26th is also the grand opening of this location so be sure to get there early as there will be limited edition, specialty and exclusive items that will be available to buy. Doors open at 10 am.

They will also be giving away their last “golden ticket” trip to Nashville to tour the original Third Man Records facility, with twice as many chances to win! Purchase a copy of “Horehound” on either vinyl or CD (or both if you want to double your chance at winning), and your name will be entered into a drawing for the trip that will occur on Friday, August 28th as Third Man Records celebrates the closing of their beloved, short lived, LA cousin at 8 pm. You must be present to win, good luck!

The store will be open 3 days only, with hours as follows:

Third Man Records and Novelties West
448 S. Main Street Los Angeles, CA 90013

Wednesday AUG. 26: 10 am to 8 pm
Thursday AUG. 27: 12 pm to 8 pm
Friday AUG. 28: 12 pm to 8 pm

Indie rock doesn’t produce much in the way of anthems, but, then again, Glasvegas is ‘indie’ only by D.I.Y. courtesy, started as it was by four Glaswegians with more confessed ambition than self-admitted skill. A series of happy accidents (along with more than a few holy-fucking-shit reactions among fans and bloggers) led to the band selling out venues all over Great Britain. A contract with Columbia segued into a late-2008 debut the oft-hyperbolic NME dubbed ‘Album of the Year.’ In the case of ‘Daddy’s Gone,’ this sounds just about right, given the durability of noise-pop pyrotechnics and the U.K.’s late paucity of epical tunes. Not since Oasis or the Smiths has Britrock seen a band with this kind of emotional depth and crowd-pleasing heart-on-the-sleeve heroics. We catch up here with guitarist Rab Allen at the 2009 Benicassim Festival before his band is about to go on. Crowd and feedback noise from Oasis’ rattletrap set punctuated a conversation already fraught with slippage between the musician’s Glaswegian accent and the interviewer’s equally impenetrable Appalachian drawl. This interview by Ron Garmon.

[An opening feedback howl is followed by distant applause, as the publicist says ‘Fifteen minutes’.]

What thunderation! Who’s on now?
Rab Allen (guitar): Oasis is on just now and we’re on just after them.
Nice! The climb to the top for you guys has been fast and perhaps dizzying. What’s the view like from up there?
It seems quite natural. It seems like things have gone very fast for us. Once it slows down, we’ll be better able to reflect on it, but right now it’s the most normal thing in the world—traveling every day and playing with Oasis, U2 and all these other bands. It just seems natural.
It’s like you just stepped into something most rock musicians experience only in their heads.
Yeah. I just think some people get a little bit kind of shocked by it, y’know—it made me think about a lot about how it might be, but we wanted it that much. That’s what we wanted to do for two or three years. So when we got it, we did what Scottish people do and grabbed it with both hands.
[Frontman] James Allen described your sound as having much to do with the unique dynamics of the band.
I dunno if that’s true. I guess the sound of the band came about my accident. Since Caroline [McKay] played only two drums, we had to fill in the gap with the guitars—make the guitar sound really colorful, like an orchestra. It started as an experiment—it really wasn’t meant to be that way, but that’s how it came out. Maybe with the next record, we’ll have a bit more time to focus and develop something. I think within a month of playing together we had that sound.
‘Flowers and Football Tops’ sets the tone for the whole album. You’ve described Glasvegas as ‘people who’ve never played before who are too stupid to understand limitations.’ Since you’ve learned so much, are there any limitations left you all are too dumb to get?
Really, we’re still so dumb we don’t know about limitations. I think that’s one of our charms. Caroline, y‘know, didn’t play drums before we started the band. Paul [Donoghue] never played bass. It was just one of those things. Individually, as musicians, we’re all terrible, but you put the four of us in a room together and there’s that spark. It’s one of those things you can’t make happen—either it does or it doesn’t. Even live, with us there’s that excitement—probably because the whole thing’s hanging together by a thread and we could fall apart to anything. To me that’s the exciting part. We’ve all matured, but since James is the songwriter, he’s probably learned the most. His songwritin’ has gotten so much better, especially with the new stuff you’ve yet to hear.
Well, you know you’ve arrived when you’re praised by the likes of Morrissey—from whom praise comes most difficult.
I only heard about that two days ago. I don’t know if Morrissey likes us or not, but he’s heard of us. A lot of musicians tend to respect us, which is really sweet.
Tell us about opening for U2.
Well, the show we’re doing is in five days [July 24th] in Dublin. I expect that to be absolutely crazy. We’ve already played with Oasis, so to open for U2 in their home city I think—well, there’s not many bands that we favor, so I get kinda nervous, but I think U2 will probably embarrass us and I wouldn’t say that’s unlikely. I like that a lot of U2 fans are actually fans of music. In Britain, quite a lot of people go to these shows to get drunk and throw their shoes on stage. They may be a lot more civilized than that in Dublin.
There’s no accounting for one’s reception among the vulgar herd.
Exactly.
You guys have the epic tracks opening and closing the album which gives it a classic Britrock feel. Was that a conscious choice?
James came with a full album when we went to New York, so we had it all laid out, one to ten. When [producer] Rich [Costey] got ahold of it, he sonically made it travel. Again, I should say we were a naïve band who went in thinking they can have it all done in five day. We didn’t know what we were getting ourselves into. He actually got in touch with us before any record company. We were doing a small tour of Britain and he called our manager and aid he wanted to work with our band. We didn’t know who he was. What happened is someone gave him a copy of our demo. We didn’t have a label or any money or a record deal and he said he’d do it very cheap or for free because he loved our music that much. When it came to doing the album, the record company had several people in mind, but we said we wanted Rich. He’s one of the top two or three in the world who does what he does, so straightaway we felt very good about working with him.
What did he bring to the record?
Rich made it sound the way we wanted. Funny, when we go back to the demos, we see he didn’t mess with them very much in that sense. It was all in the mixing switch and that’s his genius. One of the favorite parts of the album for me is at the end when he goes into those, like, landscape sounds. That was one of those songs we gave him that he really, really liked and I think he knew that was the end of the album. He was the right guy to do it. He wants to do the second album and we’ve asked for him to do it, so here’s hoping.
Tell we Angelenos about the local incident—a teen murder in Glasgow that’s since inspired much racial and gang violence—that inspired ‘Flowers and Football Tops’?
It was like reading the newspaper and putting yourself in someone else’s position, like what if you won the lottery? In Glasgow, a few people mobbed up and you ask ‘What if I was in that position?’ Obviously, the ‘You Are My Sunshine’ part at the end…
[Deafening feedback squelch]
Wow. Long live rock.
It’s been going on and off. There. It’s gone again.
(shouting) Some rock critics have questioned the very largeness of feeling and expression on your album. What does this say about rock critics these days?
Our album was received so well—in Britain, for example—that some of it shocked us, comparing James to Morrissey and all that. You never can prepare yourself for what the critics will say. They’re obviously more than welcome to their opinion, but we sold out our first British tour before we had a record deal and that was largely due to online reviewers. In America, we haven’t seen a lot of the press. I dunno if it means it’s that bad and they don’t wanna show us! I’ve noticed in America, people travel quite a lot, but in Britain, if you don’t go to their city, people won’t see you. There’s a crowd and the people who love music, really love music.
Do you think this generation needs any more rock stars?
I think so, because you can learn from other people’s mistakes. It’s good to see how others have achieved and others fallen down. Throughout history, people have always made the same mistakes in rock ‘n’ roll.
What next?
After U2, we go to America, then do some more shows in Britain, then we go away and do the second album, which we’re actually recording in Los Angeles. James is buying a house in Los Angeles and wants to move there for a few months.
That will certainly be welcome, given the real estate market around here.
We fell in love with Los Angeles. It felt like home, which is strange. (laughs) So, it’s L.A. for us next year.

GLASVEGAS WITH IDA MARIA ON TUE., JULY 28, AT THE HENRY FONDA THEATRE, 6126 HOLLYWOOD BLVD., HOLLYWOOD. 9 PM / $22 / ALL AGES. GOLDENVOICE.COM. GLASVEGAS’ SELF-TITLED ALBUM IS OUT NOW ON SONY. VISIT GLASVEGAS AT GLASVEGAS.NET OR MYSPACE.COM/GLASVEGAS.

In the perfect world of my head, the Henry Fonda Theater would now be the Peter Fonda Theater, and Ian Svenonius bands would open for the Mummies and Mudhoney while Jennifer Herrema swung from a chandelier and the cast of Psychomania drove bikes up and down the aisles. Instead, Hollywood fucks flattened its acoustically vibrant interior and replaced its comfy seats with a nasty boxy floor that makes every band sound like Robert Palmer in a racquetball court.

That’s a damned shame, because the New York Dolls could have sounded fantastic on Thursday night. Sure, the dead band members outnumber the living ones at this point, and David Johansen seemed more than a little tired, and Sylvain Sylvain has nearly morphed into a combination of Danny DeVito and Rhea Perlman. But to their everlasting artistic credit, they insisted on playing half a set of newish material, and that new material was 100% damned good. A few songs sounded a bit like the sweet street-tough material from David Johansen’s solo career, but even tighter and poppier, a little more Lou Reed than Shadow Morton. And they even made sure to evoke their dead brethren by opening “Lonely Planet Boy” with a full chorus of Johnny Thunders’ “Can’t Put Your Arms Around a Memory.”

However, nothing can replace the gaping hole in personality that was Arthur “Killer” Kane, and it may be his absence combined with economic woes that caused a little bit of a gap in attendance. Still, there was a sprinkling of young drunk glammers, and members of the Leaving Trains, and a liberty spike pompadour on one not-quite-young tough standing front and center, and more than a few young girls accompanied by what I hope were fathers and not sugar daddies. I even saw a few members of Mr. Show, and was finally able to settle an L.A. RECORD score started by Jay Johnston at the Gold Room last year. Take that, Jill Talley!

—Dan Collins

L.A. RECORD is happy to co-present (with L.A. FilmForum and Cinefamily!) the re-engagement of the mind-debriding Japanese avant silent A Page Of Madness, previously scored live by Gaslamp Killer and re-scored tonight by British duo In The Nursery, who have also contributed original new music to The Passion of Joan of Arc and The Cabinet of Dr. Caligari. Cinefamily explains:

The U.K.-based group In The Nursery returns to the Cinefamily to score another silent classic, Teinosuke Kinugasa’s A Page Of Madness. The most modern, challenging Japanese silent to survive the WWII firebombings, Madness throws the viewer into a maelstrom of hallucinations and obsession, and easily stands way out amongst its kabuki and jidai-geki contemporaries. A haunted man takes a job as a janitor in an insane asylum where his wife is committed; his fantasies of liberating her blend into the mad, confounding visions of the inmates. Told without intertitles, the narrative takes a back seat to pure visual expression. Kinugasa synthesizes every available experimental technique known at the time: his use of superimpositions, flashbacks, rapid montage and complex subjective camerawork rival the innovations of Murnau and Gance for sheer audacity. Lost for half a century after its completion and rediscovered in the early ’70s by Kinugasa himself in his own garden shed, A Page of Madness is a stunning, singular work, and the live score provided by In The Nursery’s twin brothers Klive and Nigel Humberstone is equally as captivating, incorporating the latest music technology with traditional Japanese instrumentation and percussion. The evening’s screening will feature The George Eastman House’s beautifully restored 35mm print!
Dir. Teinosuke Kinugasa, 1926, 35mm, 60 min.

Starts at 8 PM at Cinefamily at 611 N. Fairfax Ave.—all ages and tickets available at the box office or online here!

—Katie Byron

(from Consolers Of The Lonely out now on Third Man/XL)

Southern flavored ’70s-style rock was the order of the evening when the Raconteurs played Greek last Monday, the first of their pair of shows at the outdoor hilltop venue. Sitting underneath the stars on the first autumn night of the year with gritty, rootsy blues rock wafting through the air, it felt like we’d been transported to the band’s home base of Nashville—all that was missing was a bonfire. (Though probably not the best idea in the tinder town that is Griffith Park.) Jack White, the undeniable star of the band, has a stage presence so big it’s amazing anyone else can share the same space. Fellow axeman Brendan Benson’s reserved nature served as a perfect complement to White’s blistering guitar, which didn’t spend too much time apart from the pitch shifter and “talking guitar” distortion pedals. The band’s other half—bass- and banjo-wielding Jack Lawrence and drummer Patrick Keeler, both members of garage revivalists the Greenhornes—held their own along with newcomer Mark Watrous taking over on keys and fiddle as member number five on this tour. The band was tight and the sound was perfect—kept at an ear-friendly 95 decibels by decree of the Greek—and though many of the tunes off the band’s latest release Consolers of the Lonely sound pretty much the same, that sameness was well enjoyed when infused with the energy of a live performance. When introducing “Steady, As She Goes,” White joked that the song “was a big hit for us in 1974.” If I hadn’t known better, I wouldn’t have got the joke. The band would be right at home amidst the many blues-tinged rock groups splashed on the cover of Rolling Stone that year.

—Linda Rapka