Just got back from the Scott Miller show.

He had it at the Rite Spot Cafe where JZ and I had our first not-quite-a-date-but-definitely-an-outing several years ago. (We saw Project: Pimento, a theremin band, at Jon's suggestion.)

He played solo with electric guitar (Billy Bragg style as I tend to think of it) and was in fine voice. He's also an excellent guitarist. His guitar was gorgeous blonde Fender that I didn't recognize. It was a semi-hollowbody with an f-hole. I didn't know Fender even made a semi-hollowbody.

Anyway, he did five songs from the Game Theory record we wrote about in the book (Real Nighttime) and then five songs from the Loud Family record we also wrote about (Interbabe Concern).

He sounded wonderful and I not only got to introduce him, but when he came back for an encore he took my hopeful (but seemed unlikely) suggestion, "Regenisraen." It's one of his most gorgeous melodies and his friend Tammy joined him for the super pretty melodies.

Here's some AMG copy about him if you're unfamiliar with his work.

Game Theory formed on the fringe of the Paisley Underground movement of the early-'80s and though they certainly had a retro-'60 sound with psychedelic leanings, the band owed its greatest debt to the proto-power pop of Big Star.

Leader Scott Miller's song craft, distinctive voice (self-described as a "miserable whine") and intelligent lyrics (often obscure but rarely pretentious) carved a sound that, while firmly rooted in traditional pop, was truly original and defined an era of college rock.

Editor's note: His voice, incidentally, is not a "miserable whine" though it's not a classic voice by any means. He sounds like Chris Stamey of the dBs (anoher reference obscure enough to be useless, I suppose). Modern reference: he lead The Shins of his day.

He did the song "24":

"24" is about as close as Game Theory ever got to Athens-style indie-jangle (even though Mitch Easter produced 1985's Real Nighttime and all the following albums), and it's not really that close at all. Scott Miller's usual structural quirks are on full display here ? the song starts with a slowly-building 30-second instrumental intro, an eternity in a song that barely lasts 2:45, and that instrumental section is repeated in full after the first chorus ? and the lyrics are typically opaque, but unlike a lot of Miller's songs, there's a clear subject (the traditional post-collegiate identity crisis) and the prolix verses do eventually resolve into a simple, straightforward chorus. On the original Real Nighttime album, "24" faded out to a puckish acoustic guitar quote from "Stairway To Heaven," a grace note that's not on the Tinker To Evers To Chance compilation.

Though tonight he closed with a puckish quote from "Misty Mountain Hop."

He writes excellent song titles too. Consider some of them from Interbabe:

Sodium Laureth Sulfate
Rise of the Chokehold Princess
Such Little Nonbelievers
Screwed over by Stylish Introverts
Not Expecting Both Contempo and Classique
I No Longer Fear the Headless

We recorded the show and will probably have songs up at our website shortly.

Bridget Striker came to the show so I got to see her twice this week. We talked about music and baseball and Knut which are three excellent topics.

Anyone else want in?

I do.

a grace note that's not on the Tinker To Evers To Chance compilation.

I think the song I'm planning to use for the mix has a reference to the trio of bear Cubs. Versions of it certainly had a refrain of "these are the saddest of possible words," but I haven't listened to it in a while & don't remember what's on the recording.

David, sorry I missed you last week. Didn't check email while I was gone & didn't receive yours before I left. Also sorry I missed the Moe's event. Was there a couple days later & asked about it. Heard it was a success. If my return flight had been delayed any longer I could have made the Scott Miller show, but it's hard to plan for such things. Would have been delighted to hear the puckish Zep quote as I too was walking in the park just the other day, baby.

I'll add a copy of Chains and Black Exhaust to the Send to Tina pile o' cds.

David, I'm going to send your write up of the Scott Miller show to Big Bill Ham, who'll get a kick out of it.

And Joe, I like that tagline. That was a great article. I've been thinking that I should try to write like Swearengin talks, especially because it would make for amusing memos to the TX Lege.

BTW, David, I'm 90% sure Miller was playing a Fender Coronado. I've lusted for one for years, but I think the only one I've seen onstage was Jon Auer in his role as neo-Chris Bell for the sorta-Big Star: [link]

David, I'm going to send your write up of the Scott Miller show to Big Bill Ham, who'll get a kick out of it.

Tell Ham that Kim also read his Interbabe piece at the Moe's book-reading. Also, Scott Miller was incredibly nice and thoughtful and was sporting a wedding ring, so I think he's remarried since his Shalini heartbreak.

No sir, Corwood, it was actually a Telecaster Thinline.

The plate wasn't white though, it was some cool sparkly retro looking material.

Edit - Oh, the Thinline. D'oh!

B.B. Ham has already expressed pure green envy about the show, although he mentioned that Miller would probably file a restraining order against him after their last meet. It's always awkward to meet your personal heroes, I think.

B.B. Ham has already expressed pure green envy about the show,

Kim taped it with professional equipment through the board. There should be MP3s available at the Lost in the Grooves website within a week or two.

Can someone please explain the reference to me?

[link]

[FTR: I saw the Ramones in 1987, after Marky re-joined the band, but before Dee Dee quit]

Babysitter's Club. I don't know about a record, though.