Late again on the music element yet I get a small pass. This show was the end of the current North American tour so there’s nothing else that followed to kill any immediacy. As coordinator for Ecology Action, I had to make sure everything was set up before and after the show plus there were only four of us to clean up a sold-out concert. Actually, I don’t mind the “work” because I feel less guilty about getting in for free at Stubb’s when there’s more labor on my end of the deal. This dovetails into my review-synopsis being overdue; I didn’t get to bed until 2 AM which made me too tired to bang this out on Sunday and Monday’s current obligations come before writing. 
 
So better late than never. 
 
Overall, I was really excited about this show. Back when Ben appeared on my musical radar in the Ben Folds Five, I wasn’t impressed. The first album got on my nerves with “Underground” since it sounded so smarmy. Austin’s so-called Alternative station, 101X, playing it frequently didn’t help. Thankfully his first solo record swayed my opinion because I think “Rockin’ the Suburbs” was a better balance of humor and commentary. Ben’s production work, namely with William Shatner’s awesome Has Been CD, raised his standing with me on prioritizing which concerts to shoot for if there are too many to choose from. As soon as I saw Missy Higgins on the bill in the AusChron, this show was a no brainer. 
 
First up was Missy who will probably be pigeonholed by American radio stations as an Aussie version of Sara Bareilles, Sarah McLachlan, Fiona Apple or Norah Jones because she sings, writes and prefers to play the piano. I stumbled upon her through my friend Chip when he scored me a copy of She Will Have Her Way, a tribute album to the Finn Brothers. Every act on the disc had a female singer covering one either a Split Enz, Crowded House, Finn Brothers or solo tune. Missy recorded “Stuff & Nonsense” and did an excellent job; Belinda Carlisle mangled it in 1986 which made me reluctant to hear anyone else do it. As for her live show, she was great. I would pay money to see Missy be the headlining act. Most of the emphasis this evening was with On a Clear Night, her current release and she did two songs I liked from it: “100 Round the Bends” and “Going North.” Before wrapping up, Missy did perform “Scar” which is on her debut; it’s a catchy, more upbeat sounding tune despite the title. 
 
The main act came on about 30-40 minutes afterwards. What surprised me was that Ben made his way through Stubb’s from the back with a security escort to get past the crowd. Normally, the performers are already hanging out in the side shed warming up, relaxing or eating because they complete their sound checks an hour before the gate opens. Outside his unusual entrance, the show was a spectacle of sound and sight; there were still pictures and movies projected on a backdrop behind the band to enhance a song’s tone, mood or style. Ben kicked off with “Way to Normal” which isn’t on the CD. He explained afterwards how fake versions of anticipated songs were posted on the Internet as a prank, including the opener. However, Ben stated he had some small regrets over this joke since these throwaway tracks sounded better than planned. Maybe he’ll offer them on a B-sides compilation. 
 
Ben and his band spent the first half playing the new tracks, both fake and real versions. He would sometimes give a brief introduction on what they were thinking while they composed either. “Free Coffee” was my favorite due to the technical explanation he gave on how he made the electronic sound on his piano with a pair of Altoids tins nested in the strings [I could be wrong, maybe a musician can correct me]. Obviously Ben and company played his earlier work for the second half, namely the hits: “Zak and Sara,” “Kate,” “Army,” “Losing Lisa,” “Grounded” and “Rockin’ the Suburbs.” My friend Helen would be jealous over me witnessing a live performance of the last song, it’s her personal favorite which comes up in conversation from time to time. I think we both like it since it’s a dig on all the Rap wannabe kids we see in our respective cities. 
 
Overall, Ben and Missy exceeded my expectations. The Onion gave Ben Folds a mediocre grade on this new album which gave me some apprehension despite going for free. This proved to be unfounded and I had a great time. Either the critic hasn’t seen this material live, which would probably change his mind, or he’s full of crap. Probably the latter because critics have to hate something once in a while to maintain their “legitimacy.” 
 
Next time, I will press to be more punctual on my concert adventures. 

Posted by: Steve Maggi

@ October 28, 2008 8:27:05 PM CDT ( 0 comments )

Yeah, yeah, yeah. I know this show took place Wednesday night but as I’ve informed many of you, I’ve been ill [on many levels] so I finally got around to mention how it rocked. Originally, I was going to volunteer for this with EA [Ecology Action] before I went on vacation. Then there was no sign-up list and other matters took precedence. I didn’t feel awful. I’ve enjoyed their last two CDs yet they weren’t on my short list of reunited acts to see with limited resources, I need to keep my health up for Ben Folds and Missy Higgins near the end of the month. A day before the show, EA’s coordinator sent out a request for volunteers. I chose to go on an impulse. Why not, it’s not like my Wednesday nights are booked anymore. Well, I’m glad the EA lady asked, PUSA’s Austin show was a memorable evening during the best weather of the year. 
 
On stage first was a new band, The Black & White Years. A really solid quartet that fit the vein through their distinctive sound and subtle humor. They seemed to be a puckish act to my ears, I could be wrong, I never did follow through on auditioning for Pitchfork when they were recruiting. Trust me, they made a great first impression on me. If you like Razorlight, VHS or Beta and the Dickies, you’d dig what they do. Since PUSA shirts were reasonably priced, I had left over money to consider buying their CD. After spotting Jerry Harrison’s name as their producer, all hesitation evaporated. Who? Jerry Harrison was the guitarist/keyboardist in Talking Heads and producer for the Violent Femmes, BoDeans, Live, General Public, Neurotic Outsiders [Duran Duran side project], Josh Joplin Project, Black 47, No Doubt [really] and Crash Test Dummies, namely their big album. I had the opportunity to speak with the lead singer. He told me about the fantastic time they all had working in CA with Jerry. These guys are definitely in the running for best debut should I get off my behind to complete a “Best of…” story. 
 
Meanwhile, the Presidents won me over with their live show. First of all, I never knew the lead singer [Chris] plays a bass guitar with only two strings. He’s pretty skilled with it because there wasn’t a note he couldn’t reproduce when dueling the guitarist [Dave]. They did all the hits everyone expected of them: “Lump,” “Peaches,” “Mach 5,” “Kitty,” and “Video Killed the Radio Star.” On the bridge of “Kitty,” they changed over to one verse and chorus of Stevie Wonder’s “Superstitious.” Nice touch. There were contributions from the previous and current album: “Ladybug,” “Love Everybody,” “Rot in the Sun,” and “Mixed up SOB,” which has a video directed by “Weird Al” Yankovic. How fitting, he did a parody of “Lump” called “Gump” to humorous results in 1996. Overall, it was a night at Stubb’s worth driving all the way from the ‘burbs and losing sleep to experience. 
 
In light of this concert, I would recommend revisiting their old and newer material. You might discover there was more to them than being improperly branded the “court jesters of Grunge” who got to do the theme for The Drew Carey Show. 

Posted by: Steve Maggi

@ October 12, 2008 4:56:02 PM CDT ( 0 comments )

This once in a lifetime opportunity happened courtesy of my awesome friend Chip! Why Liam isn’t coming through Austin for his debut solo tour is beyond me, he would do pretty well if booked at the Cactus Club [ideal] or Stubb’s indoors. Even discovering this show was a complete accident. First was I checking out Jools Holland’s BBC-based site to research my earlier Squeeze story. Then I saw Liam had appeared on Later this Spring which led me to click the link to his site. It had tour dates so I thought, “hey, I wonder if he’s coming to Austin.” No dice yet I noticed he’d be passing through Las Vegas while I’d be there on vacation. I wrote the venue’s booking person because the Beauty Bar’s Vegas site is incomplete. She replied saying tickets would only be sold at the door. Bummed and fearing a sold-out concert [club’s tend to be tiny and LV has a large transitory population of attendees], I gambled [no joke intended] on Chip having some influence. As I learned 20 years ago at WMUR, “it never hurts to ask…” which has the follow-up of “you might actually get a yes.” 
 
Enough about how we got in, let’s get on with the show! 
 
Firstly, it’s unfair to compare Liam to his father [Neil] or uncle [Tim] but it’s unavoidable like numerous other second or third generation performers. He has inherited their showmanship, skill level, vocals [he’s around the same range is Neil] and sense of humor. Liam does have the benefit of being around studios for much of his life, he is a technical as well as musical marvel to watch. Technical? Other than EJ [his friend Eliza Jane], Liam has no touring band. Just like his CD, he played all the guitars [lead, rhythm and bass] and drums. In concert, he employs looping gear but nothing was done ahead of time; he’d lay down the melody, record and then turn it loose to proceed to the solo, lead, etc. Watching him play the drums reminded me of Animal from the Muppet Show too; serious energy! 
 
EJ and Liam played everything from I’ll be Lightning but the coolest song was “Gather to the Chapel.” Something went wrong with the amplifiers so he unhooked his acoustic guitar, moved in closer to the audience with EJ, asked us to pull in and participate on the chorus to make up the “lack” of volume. It’s always the intimate venues which provide the best memories! They were impressed the crowd knew the song. The humorous moment sprang up during “Wise Men” thanks to a homeless guy horning in with his harmonica from the alley behind the B Bar. Liam let him play, then ordered him to take the solo. Sadly, the stranger didn’t quit as the song was ending. This resulted with Liam yelling, “OK, there is such a thing as overplaying.” Security probably had to give a hint later because it wasn’t a problem the rest of the evening. For the encore, the ANZAC duo teased the opening act, egging them on to participate in a cover of Neil Young’s “Old Man.” Only the drummer took up the offer. Finally, during the main set, EJ and Liam demonstrated their familial improvisational skills by composing a song about their time in Las Vegas. Not some goofy, throwaway TMBG or BNL-like tune. It was a serious rocker encompassing their arrival from LA, having margaritas at dinner and squeezing in a ride on the rollercoaster in the New York New York casino before sound check. 
 
After the show, I thanked Liam’s tour manager Sam, especially for believing me claim of the arrangements through Chip & YepRoc; I don’t know, I figure LV has a lot of “exaggerators.” We even got a picture with EJ and Liam as a souvenir! Obviously, I spoke to them. My burning question for EJ was her relation to Jimmy Barnes [he’s like the Bob Seeger of Australia]; her reply, “he’s my dad.” She certainly has his hair. If you’re wondering who Jimmy is, he had a hit 20 years ago in the US singing with INXS for a song from the Lost Boys soundtrack. As for Liam, I asked him if he’d come to Austin and gave greetings from Chip [who he recognized quickly]. I recommended playing the Cactus due to the great reception his uncle received. Liam was a good sport. He said he wanted to play Austin but it wouldn’t happen this time due to ACL or other engagements prohibiting him from coming through. He does hope to try again. 
 
If you have the chance to see him, I highly recommend you do. Afterwards, you’ll run out to your local record store or iTunes to get his debut and probably his previous work in the band Betchadupa [which I forgot to ask about, d’oh!]. Should you be unable to, then get I’ll be Lightning, it’s shaping up to be my favorite album of the year and I am willing to back it up with my own money. 

Posted by: Steve Maggi

@ September 22, 2008 6:30:00 PM CDT ( 0 comments )

I finally got to see Squeeze in concert. How I remember their video "Black Coffee in Bed" being the first thing I saw on MTV. Of course, my immediate reaction to it was "what the hell is this?" But thanks to repetition ad teenage curiosity, I grew more interested in them…just in time for their first breakup with a farewell appearance on SNL. By the time I left for Marquette, Singles 45's and Under was always a standard CD, cassette or record in every "thinking" college student's music collection. 
 
Back in 2003, Mark and I had the great fortune to see Glenn Tilbrook on a solo tour at the Cactus Cafe. [This show deserves its own story because the guy is that amazing.] He primarily did Squeeze songs so it only whetted my appetite for a reunion to happen eventually. On VH-1's Bands Reunited the following year, I knew the host would fail since it was a pre-mature move. After Glenn's Cactus show, a fan asked if he was still friends with Chris [Difford]. He gave an enthusiastic yes and said they talk on the phone frequently. They just couldn't work together…right now. So when VH-1 came a calling [or ambushed them if you go with Kurt Harland of Information Society's take], I could see the apprehension in Glenn's face; Jools Holland telegraphed his "no" pretty easily to the host. 
 
Thankfully, it's all water under the bridge for Chris and Glenn now! Just my luck too they came to America for a reunion-30th anniversary tour. After reading this book, I gained a greater appreciation of Squeeze's material which made going mandatory for me. My friend Chip from Waterloo has been updating me with their remastered albums too. 
 
They hit the stage after 9 pm and I lost the bet on the opening number. I assumed they'd start with "Take Me I'm Yours," over the more obscure one I didn't know. There was also a huge backdrop screen behind them. Various video images were shown on it to highlight or emphasize the song's lyrics or mood. My personal favorite was for "Hourglass." Normally, it's one of their hits I avoid on the radio but I knew they'd do a memorable performance. Having an ongoing rapid-fire montage of Squeeze over 30 years made it even more special. I scored Mark a copy of the set lists so I'll have to ask him what they did exactly, I only recognized that they did everything from 45's and "Hourglass." Even if I didn’t know it, this band rarely does anything to cause a mass exodus to the bathroom or bar. 
 
We all had a great time. The band was definitely on a roll with their impressive catalog. My only disappointment was this being exclusively a reunion tour, there’s no new record for them to promote. Maybe there will be in the near future because they proved that after 30 years, Difford & Tilbrook still “got it” and their amended collection of singles will remain standard issue. Heck, “Cool for Cats” will be on the upcoming Rock Band 2. 

Posted by: Steve Maggi

@ September 6, 2008 11:43:15 PM CDT ( 0 comments )

Most of you who don’t live in the Louisana-Texas area are probably going “Who?” at the mention of this band. Maybe your memory would be jogged over their one big, national hit “Jenny Says” from 1996-7 which got them on MTV and airplay. They never really went away, especially around here since New Orleans has some cultural ties to Austin, they’re both cities with reputations for having a good time. 
 
Cowboy Mouth played at Antone’s this time which I think is much more appropriate setting for them. I finally saw them in 2003 at Stubb’s [outdoors] which is the only decent outside venue in Austin but it doesn’t work for reasons I’ll explain later. Anyway, last night was my first time at Antone’s in its current downtown location, I used to go in the Nineties when it was near my apartment on Guadalupe. The building is a tad odd with everything be laid out “horizontally” in a building that is rather “deep.” Maybe Clifford wanted a larger stage for the performers. I think I will be shooting to go more often after seeing how the layout is. Again, for my out-of-Austin friends, Antone’s is considered the Blues place of the region and it’s where Stevie Ray Vaughn [amongst others] got his break, I’ll explain more in an Austintatious story in the near future. 
 
The band [Fred, Vance, John-Thomas & Regina] hit the stage at 1030 PM. Then it was an aerobic marathon of jumping, screaming and clapping because those are the ground rules laid out by Fred at the beginning. Thus, a Cowboy Mouth show isn’t for anyone who likes to enjoy a concert passively. Believe me, I gave it my all since I was in the front row, right in front of bassist Regina and in Fred’s line of sight. I’m still hoarse plus I will be logging this as activity on my Wii Fit [I just didn’t this morning due to the batteries being low]. Oh, yes, I did have a great time and Somara even more, they’re one of her favorites. 
 
Last night’s set consisted of several songs from their upcoming album Fearless which will be appearing near the end of September, you know I’ll be buying it ASAP at Waterloo Records. The rest were past singles out of the band’s past catalog of records: Are You With Me?, Mercyland, Easy, Uh-Oh and the more recent, post-Katrina release Voodoo Shoppe. For the encore, they kicked off with an Otis Redding song, rather fitting and appropriate given where we were. 

Posted by: Steve Maggi

@ August 24, 2008 10:24:54 PM CDT ( 0 comments )

Drat! I realized that I missed his 50th birthday while "researching" this story. Maybe if Neil wrote a song like his brother's "Haul Away," I could remember it better. All the Split Enz fans know what I'm talking about. 
 
Tonight I'm off to see Cowboy Mouth for the second time but ten years ago, I FINALLY got to see Neil Finn perform. Most of you know I've been a huge fan of Neil's work ever since I stumbled upon Corroboree in 1985; actually I was trying to find True Colours but settled for this because Apple Tree Records had it in stock. 
 
By the time I "discovered" Split Enz, they were no more. Then during the summer of 1986, I was watching MTV's new music Monday show [back when it still aired music videos] and noticed this one starting up with a singer who "resembled" Neil. After drummer Paul Hester [also from Split Enz] appeared, I realized that Crowded House was Neil's new act. While I was too young to see Split Enz [they played a 21+ venue in Houston during my time there], I was cursed to never see the House. I'm not kidding about the mathematical odds against me with them. Both times the trio came to Philly, I had to return to Marquette. I missed them by a week due to the timing of Spring Break and I had no chance for their bigger, better show at Philly's Tower Theater; even if I flew back, my parents had moved to San Diego. 
 
At other times, CH was the opening act for rather dull stuff in Chicago and they never came to Milwaukee. Until I accepted the position with GDW…arrgh! To add insult to injury, they were performing at my alma mater, one of the most musically conservative campuses on Earth. Trust me, the bulk of the student body would go ape over a Classic Rock has been before showing a peep of interest in a contemporary act. Much like the Peter Murphy, 10,000 Maniacs and Mission UK shows, I'm confident the bulk of the seats were filled by non-Marquette students. 
 
In 1994, they came to Austin on what would become their final tour [obviously it wasn't, Neil reformed the band in 2006]. I was already resigned to not going as soon as I saw the venue listed in the AusChron, the Backyard. Besides, why throw away a losing streak? Course I still kicked myself when Neil announced the end of Crowded House in 1996 and the farewell tour would be restricted to the countries they were big in; obviously America was skipped. 
 
Two years later, Neil's first solo album appeared. Predictably I bought Try Whistling This the week it debuted in North Carolina. At first I was disappointed but I kept listening to it remembering how I felt the same way with Woodface and Time & Tide. My hopes of a US tour did come true but I would miss him in Raleigh and Austin would be cutting it close; 10 days after I returned. I asked my future roommate to get me a ticket before I arrived because I feared a sold-out show; the venue was small. Little did I know, Mel didn't do what I asked until my first weekend in town which made me very lucky, it was booked solid the day I went. 
 
I got to La Zona Rosa early since I wanted to be really close. While waiting I ran into Chip [if you don't recognize him, he's the guy at Waterloo Records who keeps yours truly stocked in cool imported music]. We caught up over the last year and then he had to split to talk to someone with Sony [Neil's US label]. Later on, I met two ladies in line who went on to become new friends for my return to Austin: Mary and Jessica. Mary was a huge fan, Jessica [her daughter] was cool with Neil despite being more into the boy bands of the day. I bumped into them again three months later when Neil did a special, 12-city only encore tour and we have kept in touch ever since. 
 
As for the concert, it was fantastic and my pictures never really do it justice. Neil's live performance was so impressive, he definitely changed my opinion of his album, it went on to be my favorite of 1998, beating out Garbage's Version 2.0 and BNL's Stunt. He mainly performed his solo material but sprinkled the show with his hits from Split Enz ["I Got You," "One Step Ahead," and "Message to My Girl"], Crowded House ["Don't Dream it's Over," "Better be Home Soon," and "Something So Strong"] and the Finn Brothers ["Suffer Never" with a rare demo of his guitar prowess]. The biggest surprise was him singing "Spellbound." Why? It's a tune originally sung by Phil Judd when Neil wasn't even a member. He does make the song his own, so well I wish he'd release a legal, recorded version. 
 
Definitely a memorable evening on numerous levels. I did finally get my 15 seconds with him several months later plus an autograph. Maybe in the near future I will get to speak to Neil at greater length to personally thank him for years of enjoyment. This show is getting dusted off and posted too because it's one of the five on my Rock Band profile. 

Posted by: Steve Maggi

@ August 23, 2008 2:41:06 PM CDT ( 2 comments )

Woo hoo! I actually got to hear my stream play this milestone song because I accidently "cheated" on making it happen. Yesterday, I took the Mini [which would also take Picayune and KMAG offline] offsite to be backed up before my friend Jeremy started stage one of installing Drupul. One can never be too careful when it comes to messing with MySQL, PHP and all that Open Source jazz. I support customers all day long who don't back up their servers. I know very well the consequences of no Plan B [or C & D]. 
 
Anyway, this took KMAG out of commission for nearly 12 hours; I didn't get home until 730 PM, followed by its weekly updating to the Onion News, Top 30 plus some odds and ends tunes I've "discovered" to add [Curse you Guitar Hero & Rock Band!]. When I saw how close it was, I had my MacBook set up to watch the stream's log in pseudo-real time. Based upon my math, I figured I had a good chance of hearing it when we wake up for exercising and work…and I did. As always, it wasn't anything in the "Top 30," currently Cut Copy, Ting Tings, Peter Gabriel and Dresden Dolls. 
 
Drum roll please for song 800,000… 
 
"Killed by Love" by The Pursuit of Happiness 
 
Not bad. It's from their debut album which appeared 20 years ago and I did see them open for Duran Duran within that time frame. 
 
Onward to 900,000 and a million! 
 

Posted by: Steve Maggi

@ August 5, 2008 2:55:37 PM CDT ( 0 comments )

In my rush to pick up Somara in time for the evening showing of WALL•E, I forgot to confirm this landmark KMAG hit. August is always its anniversary month and sometime later, the stream will have played its 800,000th song. No idea which song was number 7000. I'll just arbitrarily say Aimee Mann's new single "Freeway," because she's really grown as a writer. I also got into her solo stuff 15 years ago thanks to NPR's story about Aimee's debut album Whatever. A friend once said, "After listening to her stuff in 'til Tuesday, do you think you'd ever predict anyone would still be interested in Aimee Mann's music?" 
 
Here is some trivia to put KMAG's playlist into perspective. If I had it play the songs from beginning [AC-DC's "Back in Black", hey I have weak spot for those guys] to end [the Zutons' "Pressure Point"], it would take at least 19-and-a-half days to complete based upon an average of 15 songs/hour. As for its sheer number, I've already bludgeoned to the death the fact that my stream works from a larger pool of material [number, not genres] than 90-plus percent of commercial stations. 

Posted by: Steve Maggi

@ August 1, 2008 1:17:12 PM CDT ( 0 comments )

I should’ve been paying more attention to this landmark since Kate is one of the few musical artists I would grant the title of “genius,” a label too easily thrown about on flash-in-the-pan acts too numerous to list on my site. I have my own list but today and this article is about the more famous Kate. 
 
My “discovering” her has always been memorable since it didn’t happen in college which is how most people of my generation did. In 1985, for some mysterious reason, Kate’s label [EMI] made a huge push to promote her fifth album Hounds of Love; it’s my personal favorite. When Top 40 stations in Central IL and North Dakota played “Running Up That Hill” at least for a couple weeks, then I think they succeeded because those formats are the most intransigent on playing something “weird,” if it lacks novelty value. I was hooked and when MTV’s 120 Minutes would show Kate’s video for “Big Sky” and “Cloudbusting.” However, I was probably only a fair-weathered fan as I was distracted from collecting her entire catalog by so many other bands I was introduced to at Marquette. I did have a greatest hits collection courtesy of a trade with Jose for New Order’s disappointing 1989 release Technique. 
 
Carrie then bought me a special UK only, boxed set of Kate’s complete catalog [in 1991] called This Woman’s Work; named after a song she did for the movie She’s Having a Baby. It included all six studio albums plus two CDs of B-sides, remixes and other rarities. I still have the box, its stickers and the booklet. Due to a water leak at an apartment 10 years ago, I had to replace the disc of The Kick Inside which was a quest. The media played, I just wanted to retain the booklet/artwork because the UK printing has the album cover Kate wanted. I loved it. There’s the reference to her single “Kite” and shows her artsy, dramatic side. EMI’s American surrogate probably thought what the UK parent approved was too “freaky” for the States so to this day, all US printings still have this cheesy and dated cover. Thankfully, my friend Chip at Waterloo found an imported version to reform the collection. 
 
As for her music, it’s certainly an acquired taste. Somara’s dislike of Kate Bush’s quirky style wasn’t known to me until after we were married! I guess Kate is more of a songwriter’s songwriter due to her colloborations with Peter Gabriel, David Gilmour and Prince. Her material has been covered by a variety of artists too: Pat Benatar, Placebo and Mike Scott & the Waterboys [fellow Irishmen]. I couldn’t find an Essential series on her via iTunes yet I think her fans can link up anyone curious enough to listen. 
 
Now it is my hope she complete a new record sooner than last time, there’s a 12-year gap between 1993’s The Red Shoes and 2005’s rather disappointing Aerial which I could blame on my unrealistic expectations. 

Posted by: Steve Maggi

@ July 30, 2008 4:19:06 PM CDT ( 0 comments )

They announced it at the mother of all comic book conventions, San Diego. OK, at the SD House of Blues during the convention. 
 
It’s about time too. I know Chris [aka MC Bat Commander] and the gang were working on this years ago with the release of their album The Aquabats v. The Flying Eye of Death. They also did the closing theme to Evan Dorkin’s pilot for Welcome to Eltingville. Adult Swim has never given a plausible reason why they passed on it while continuing to make more unfunny episodes of Squidbillies. 
 
Based upon the sound of the narrator’s voice, I think this will be on a Nickelodeon-releated network. If you’ve watched a lot of the NickToons channel, you’ll recognize it. Besides, Chris’ already has a show airing on Nick, Jr. [and probably Noggin] for little kids called Yo Gabba Gabba, thus Viacom remains a logical guess. 
 
Despite this link coming from the pretentious, factually-challenged about vinyl-versus-digital music site Boing Boing, watch the cartoon portion. Then you can go the Aquabats’ official site to vote on their fate. 
 
Now to keep watching for when and where their show airs, then getting Yo Gabba Gabba on DVD. 

Posted by: Steve Maggi

@ July 26, 2008 3:11:51 PM CDT ( 0 comments )