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All-Star Jam at the Music Café Grand Finale
Sweet Pea Atkinson, Don and David Was, original
members of the R&B pop fusion band Was (Not
Was), reunited after 12 years to give the ASCAP
Music Café audience a performance they
won't soon forget on Thursday, January 24. Sweat
Pea Atkinson & Was (Not Was) Quintet featuring
Don and David Was were
joined by a group of incredible guest musicians,
including super-producer Narada Michael Walden
on drums, pioneering Detroit punk legend from
the MC5
Wayne Kramer on guitar and fellow café
performer Jon Brion on keyboard.
Thursday's all-star café
line-up continued with performances by Semisonic's
Dan Wilson, Jon Brion and Teitur. Wilson was backed
up by Nickel Creek's Sean and Sara Watkins, who
also joined Jon Brion onstage for several songs.
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Jon
Brion, Nickel Creek's Sean and Sara
Watkins, Dan
Wilson and ASCAP's Wade Metzler
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Universal recording artist
Teitur
on stage
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| Pictured backstage
after Clem
Snide's performance at the
Music Café are (l-r) Clem Snide
manager Dan Efram, Clem Snide bassist
Brendan Fitzpatrick, Clem Snide's
Eef Barzelay, Book of Love
director Alan Brown, Clem Snide drummer
Jeff Lipstein, ASCAP's Loretta Munoz,
Clem Snide's Pete Fitzpatrick and
ASCAP's Sue Devine.
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Clem Snide's
Music Enhances Sundance Feature Film Book
of Love
Clem Snide's Eef Barzelay
writes clever, literate songs about love,
life and the little details that make them
both interesting. When film director Alan
Brown was looking for music for his new
film, Book of Love, he had the
good fortune of discovering Clem Snide's
recent two albums, The Ghost of Fashion
and Soft Spot. The two artists
shared a passion for exploring messy human
relationships.
Says Barzelay, "It was a great
movie for my music
in the way that Alan captured the real intimate
personal spaces of people, almost uncomfortably
so." Brown used four of Barzelay's songs
in the film, two from Ghost of Fashion
("Joan Jett of Arc" and "No One's More Happy
Than You") and two from Soft Spot
("Fontanelle" and "There is Nothing"). Even
more notable is that Brown used a Clem Snide
song to both open and end the film, which
is a testament to Barzelay's skill in employing
both strong emotion and meaning in a song,
something that film directors look for in
choosing music.
Clem Snide songs have been
used previously on the soundtrack to the
Bob Crane biopic Auto-Focus and
as the theme song for a season on the NBC
television show Ed.
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