The Best of LCD An anomaly in today's hit-driven radio, WFMU-FM is an oasis in the New York marketplace. Founded in the late 1950s as a part of Upsala College and becoming independent in 1994, the beloved station is one of this country's last bastions of noncommercial, "free form" programming, with music selected by the eclectic taste and knowledge of the DJ, not some industry consultant. With madcap zeal and the battle cry of artistic freedom, the station has served as a musical education and inspirational soundtrack to the brightest and best minds within its reach, documented by its beautifully garish program guide, LCD (Lowest Common Denominator). The publication ceased in 1998, but for those of us who missed out the first time, senior disc jockey Dave the Spazz has assembled The Best of LCD: The Art & Writing of WFMU-FM 91.1FM, recently published by the Princeton Architectural Press. From missives on "monster punk garage music" to Dadaists Coyle & Sharpe to anti-rock-and-roll books from the born-again community to songwriter Doc Pomus, every page is an eyeball-twitching, gut-busting wonder.

 

Reader issue #678

Thursday's concert at the Capitol Theatre featuring Spoon, White Rabbits, and the Walkmen represents the fulfilled potential of Daytrotter.com for the Quad Cities.

 

  Spoon

   When Spoon was finishing its 2001 album Girls Can Tell, the band didn't know what to do with "Chicago at Night," which would close the record.

 

In an interview last week, drummer and co-founder Jim Eno told this story about what he and guitarist, singer, and chief songwriter Britt Daniel decided to do: "I never would have tried this, but Britt and I were so young, and we were just like, ‘Oh yeah, let's do it.' We had to turn all the mixes in for mastering. ... We have these two versions, and we like different things about each version ... . So Britt says, ‘Why don't we use the left side of this mix and the right side of this mix?'"

 

  White Rabbits

   For a band with one independent recording under its belt, the White Rabbits have a lot going on. They appeared on Letterman in July - "Maybe U2 cancelled," joked bassist Adam Russell - and a feature-film documentary is in production. (See http://www.whiterabbitsdoc.com.)

 

Russell credits the band's publicist with the Letterman gig, and filmmaker Andrew Droz Palermo is a friend of the band dating back to some members' high-school careers.

 

But Russell said these early successes are a sign that people believe strongly in the band. "Having close friends that work with you does pay off sometimes," he said.

 

  The Walkmen

   The Walkmen have built enough of a legend that it would be easy to overlook their original material.

 

Guy Davis

Blues musician Guy Davis is the son of legendary actors Ossie Davis and Ruby Dee. His 1998 CD You Don't Know My Mind led the San Francisco Chronicle to rave, "Davis' tough, timeless vocals blow through your brain like a Mississippi dust devil." His 2003 release Chocolate to the Bone received a W.C. Handy Award nomination for Best Acoustic Blues Album, one of nine W.C. Handy nominations Davis has received during his career.

 

So it comes as something of a surprise when Davis, during a recent phone interview, says, "The first time I remember hearing the blues, it was being played by white college boys.

 

   Tomy Temerson

   For contemporary American audiences, the zither begins and ends with the soundtrack to the 1949 film The Third Man - which famously featured the instrument in its opening. (See the credits at http://www.youtube.com/watch?v=n4JpDUMXBqo.) The tune was a number-one hit in the United States in 1950.

 

But the stringed instrument has a rich history in Europe and Asia and dates back more than two millennia.

 

Ministry - Cover Up

A hard rockin' cabal of guest vocalists have joined Ministry helmsman Al Jourgensen in a debaucherous covers affair, out now on his own 13th Planet Records imprint.

 

Throw Me the Statue Throw Me the Statue's debut album, Moonbeams, was largely built by one man, and you can hear it in the synthesized beats, the emphasis on front-loaded keyboards, the occasionally oddball instrumentation, the aggressive processing, and a complete disregard for the concept of "enough."

 

Cowboy Junkies The Cowboy Junkies first made a name for themselves with The Trinity Session, recorded live with a single microphone in a Toronto church in one night for a couple hundred bucks.

 

To mark its 20th anniversary this year, the Cowboy Junkies did it again.

 

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