After a stellar year of sold out shows, festivals, and touring, Seattle’s The Grizzled Mighty are headed into the studio to record their sophomore LP! The problem is, funds are tight and they need your help in the final days of their Indiegogo campaign. Give ‘em a hand and maybe, just maybe, they’ll record a song about you! http://bit.ly/1hFWbeM
The biggest-selling album in Sub Pop history, and probably the main reason why Sub Pop is still a label today, is Bleach, the 1989 debut album from Nirvana, which ended up going platinum after the band found generation-defining major-label success a couple of years later. The label just posted its original 1989 contract with the band, which lists four members (Jason Everman included!) and names the grand total of the band’s advance: $600. Quoth Sub Pop: “Six hundred bucks well spent—not that we had it at the time.”
ONErpm City: Seattle, WA USA
5Q: Grizzled Mighty
It never gets old when bands just try and put all their energy into melting your face off with the power of rock. If you’re into The White Stripes or The Black Keys, you should get a kick out of Seattle-product The Grizzled Mighty. It also doesn’t hurt that one of the members was a previous guitarist for famed indie act Deerhunter. The feisty duo took the time to talk about streaming services and gaining exposure on mp3 blogs. Enjoy.
DOWNLOAD: The Grizzled Mighty
You say Whitney is a former Deerhunter guitar player? True/false?
True. Whitney has known the guys from Deerhunter since high school and toured the U.S. and Europe for a about a year with them as their guitar player.
Describe the Seattle music scene in 3-5 words.
Rock and Roll Revival.
What do you think the Black Keys and The Kills did to break through since blues-based rock and roll has gotten a little washed out in the mp3 blogosphere?
I don’t think it’s one particular thing that they did that helped them break through. Ultimately they have just been putting out great music for years. With every album they built up, more and more steam that put them on an upward trajectory until they got to where they are today. If you continually put out good music, people will notice.
In your opinion, how should streaming services (like Spotify, Rhapsody and Rdio) make amends with musicians?
Money talks. If they really want to make amends, they should give the artist a bigger cut. Pretty simple
What’s the right amount of music to giveaway in order to market your band?
It’s hard to say. You are much more likely to get people to listen if they don’t have to pay for it, but at some point as an artist if you want to quit your day job, you have to be making money. I think it’s ok to give away a good majority of it to get yourself out there. Once you are an established artist, charge.
Formed in the summer of 2007, Seattle band Girl On Fire has worked tirelessly to build a name for themselves. From playing Vans Warped Tour two years in a row, to playing with national acts such as: Saosin, Aiden, Drop Dead, Gorgeous, and Scary Kids Scaring Kids. Girl On Fire is also no stranger to the road, having booked multiple West Coast and Northwest tours over the last two years.
This five-piece group collaborates to create intense and uniquely melodic rock songs. The band attributes much of its popularity not only to their infectious music, but also to their ability to be personable with their fans. 2009 saw Girl On Fire release an EP and record their first music video. The band spent the better part of December 2009 in the studio with producer William Francis (Aiden) writing GOF YOURSELF Volume II, their second EP.
Pick up their latest EP, Revenge, at ONErpm. Be sure to download the free single, “Revenge.”
Allen Stone, a 24-year-old Seattle songwriter, was an unabashed throwback when he performed at a packed S.O.B.’s on Wednesday night. He talked about cellphones and social networks and sang about, among other things, the clout of the Christian right and a culture of greed. But his music reached back four decades to the late 1960s and early ’70s, when songwriters like Stevie Wonder, Marvin Gaye, Donny Hathaway and Bill Withers brought introspection and social commentary to soul music.
He didn’t look the part. “I will never ask for immunity/ because I was born and raised in the Caucasian community,” he sang in “Last to Speak,” a song that reels off political observations, then apologizes for a lack of humility. “We will never find racial unity/ unless we find equal opportunity,” the song adds.
With long blond hair and chunky eyeglasses, wearing a Sonics jersey under a mismatched sweater, Mr. Stone was a study in looking unstudied — the better, perhaps, to surprise the audience when he let loose a tenor voice with the eagerness and frisky syncopations of Mr. Wonder, coupled at times with Michael Jackson’s percussive flourishes. Between songs he professed modesty, yet when he sang he was long-breathed and confident, savoring every complaint and exhortation.
His band used a vintage, gospel-rooted lineup including both organ and (electric) piano, with Mr. Stone often strumming an acoustic guitar. Most of the set came from his second album, “Allen Stone,” released on Oct. 4 on his own entirely independent Stickystones label. “I would love every single one of you to leave with a copy of that record,” he said near the end of the set, and went on to urge anyone who couldn’t afford its $10 price to talk to him about a discount.
Mr. Stone is a pastor’s son who grew up singing in church, and every so often he offered preacherly cadences. In an implicit challenge to some of his fellow soul revivalists — like, perhaps, the very buttoned-down Mayer Hawthorne — Mr. Stone declaimed: “I’m sick and tired of soul music looking so crisp and clean and proper! Because my soul — I said my soul! — is just a little bit greasy.”
It’s also strategic. His songs don’t hide their kinship to the past, but he gives them clear-cut melodies of his own. Mr. Stone has also absorbed the pacing and showmanship of his heroes, switching off between party tunes and messages, mingling sincerity and shtick. He split the room for a dance off, urging “Get nasty!” Midset, he dismissed the band to play two songs by himself, exposing the thinner side of his voice.
But he was better off with the band, and he was saving musicianly exploits for the set’s homestretch. He unleashed a supple, Prince-like falsetto for “Unaware,” an economic commentary disguised as a love ballad. He whistled a solo in “Satisfaction,” which shares only its title with the Rolling Stones song. And for “Reality,” a mournful but benign breakup song, he sat solo playing electric piano, an instrument he hadn’t yet touched, as if hinting that there’s still more of his music to be discovered.
Article originally appeared on the NY Times (http://www.nytimes.com) and was written by Jon Pareles.
Today I’ve the pleasure to bring you the news that on October 26th, Chewelah son Allen Stone will be gracing the stage of fellow Northwest son Conan O’Brien.
During its first week the independently released Allen Stone peaked the iTunes R&B charts with a #2 position. “We didn’t expect the #2 R&B album thing at all,” admitted manager BJ Olin. “It’s felt like a week, two weeks, 6 months, 4 years leading up to this week.” Whatever time he’s put in or chart position reached, at this point Allen Stone himself is hardly about to call it good. Fresh off a guest appearance with Seattle Rock Orchestra show in tribute to Stevie Wonder, Stone says “This is the beginning of the beginning. This is the seed being planted.”
Though Stone is talking about his budding career here, he could just as easily be speaking of the growing movement of citizenry waking up to the loss of the American Dream of upward mobility, waking up as Stone himself recounts in his song “Unaware,” the song he’ll be playing on Conan. I asked Allen about how the themes of “Unaware” dovetail with the current #occupy protests that appear to be gaining steam. Written a year into the bailout of the world’s largest banks while regular folks were suffering the consequences of those banks’ mistakes, “It’s a testament to how I was feeling at the time,” Stone relates. “It seems we’re always talking about budget issues, but then every year we spend more and more. I know there’s a lot of people feeling this that are my age (24). So why not talk about it? Is anybody else questioning this stuff?” Of course, the people in the streets are the emphatic answer to his rhetorical question.
Though Stone himself is currently putting all his focus into the release of his new record and hasn’t participated in any protests, he’s been hearing about his song’s impact in those circles. “I think it’s great that citizens are coming together,” he says. “It’s weird to think that a song can encourage people to do something.” (Other than dance, of course.) Asked whether this song is a protest song meant to do just that, not counting himself that political Stone responds with a yes that it could be considered so, and then a no that it wasn’t really his intent, before clarifying his position as “Be a good steward and shepherd of what’s given to you. I hope my music stirs up those thoughts.”
Allen Stone is on Conan on October 26th on the TBS Network. October 22nd City Arts Fest hosts Stone at an already sold out Triple Door with Fly Moon Royalty. In also just announced news, Stone will be supporting Jack’s Mannequin Oct 30th - Nov 5th on dates in western Canada, Missoula and Spokane.
Article originally appeared on Sound on the Sound (http://www.soundonthesound.com) and was written by Josh Lovseth.