Tag Archives: gorman bechard

The Best of 2017

A very good year in music.

First off nice to see both Sarah Shook’s Sidelong (my co-album of the year last year) and Lydia Loveless’s Boy Crazy collection on many year end lists. They’re not on mine only because they’re reissues. You already know how I feel about both of these artists.

Speaking of reissues, they truly rocked this year. From the Savage Young Dü collection from Hüsker Dü to the amazing deluxe reissues of Wilco first two albums AM and Being There. As did live records. Both The Replacements’ For Sale and Lydia’s Live from the Documentary Who Is Lydia Loveless? (which, yes, I am responsible for bringing to life) are as good, if not better, than any studio album released this year. But that’s not the essence of my top ten list.

It’s about new music.

So, here now, are my ten favorite records of 2017.

Valerie-June-The-Order-Of-Time

The Order of Time – Valerie June – There was no album I returned to on a more frequent basis that June’s brilliant sophomore effort. This record is all about a vibe that just sinks its slightly gritty under the nails claws into you and never lets go. Part old school Americana (think the old 78s that were recorded live in the 20s), part soul, with a voice that sounds wise beyond its years. Add to that the most perfectly subdued production and a collection of songs that seem to get better with every listen, and you’ve got an instant classic. This is a record that will sound even better a decade from now.

Deep Dream – Daddy Issues – Finally a new take on the riot grrl sound. Noisy and sweet at the same time, any band that could make Don Henley’s Boys of Summer worth listening to has to be doing something right.   This is the late night, drive fast, slam your fist against the steering wheel, scream along album of the year. Fuck, yes!

Anything Could Happen – Bash N Pop – The best solo record from a member of The Replacements since Westerberg’s Stereo/Mono seventeen years ago. Tommy Stinson just knocks it out of the park with a great collection of songs. His voice has never sounded better, and that familiar guitar sound is like an old friend coming to visit carrying a bottle of good bourbon and a six pack of beer. I’m not putting this on the list because he’s a former member of the Mats, it’s here because it’s a damn good record.

Out in the Storm – Waxahatchee – I loved Waxahatachee’s first album American Weekend (it topped this list a few years back), but the next two left me bored. So I am very happy to report Katie Crutchfield is back with almost the perfect companion piece to that first record. Except this time instead of haunted lullabyes we’re treated to a full-on sonic assault of guitars, bass and drum. This is her rock album. A wall of pop melodies coated in noise syrup brilliant from start to finish. Love this record.

After the Party – The Menzingers – The closest we’re going to come to The Clash thirty-five years after they split up. I would call this my feel-good record of the year. From the opening guitars of Tellin’ Lies the album made me feel young again, and never let up.   And maybe this is new for old dudes. I don’t give a fuck. I’m an old dude. And this one rocked.

Turn Out the Lights – Julien Baker – She sings one note and my heart is broken. A whole album, and I’m reduced to tears. She is the heir apparent to Nick Drake or Elliott Smith, someone to take us into the dark spaces, and hold our hands with the confidence in her voice. Everything will be okay with Julien leading the way.

Gilded – Jade Jackson – While we all wait for new records from Loveless and Shook, dig into Jade Jackson spectacular debut. It’s a collection of heartbreak and longing with guitars a little too crunchy for country-western. The raspy catch in her voice will grab you from the first note and not let go.

Notes of Blue – Son Volt – The best alt-country record of the year. And in a year in which guitars seemed to blessedly rule again, this is a freaking guitar masterpiece.

Losing – Bully – Old school riot grrl done right: fuzz, melody, fuzz, drums, fuzz and Alicia Bognanno has a voice made for the genre. Just one of those records you put on endless repeat on a drive from Minneapolis to Fargo.

Spades and Roses – Caroline Spence – Best straight out country record of the year. Spence is an amazing songwriter, but it’s her delivery that just breaks your heart. With production just sparse enough, and yet more killer guitar riffs, she takes us through a collection of songs that sound like great southern literature. Short stories turned to song.

BEST SONG OF THE YEAR: Lydia Loveless take this for both sides of a single: Desire/Sorry. The A-side, a gut-wrenching tale of an affair with a married man gone bad, was truly my favorite track from her last LP Real, but it ended up on the recording studio floor, so to speak, though it was a centerpiece of my film Who is Lydia Loveless? The B-side is a cover of the Justin Beiber song which was easily my most played tune of the year. Lydia makes the song her own, as if every word meant something special to her and the person and/or persons she singing it to. Gave me goosebumps more times than I care to admit. I’ve said it before that she has the greatest voice on the planet. And I’ll say it again. She fucking kills me every time.

Listen to Sorry on bandcamp here.

OTHER GREAT SONGS:

Sixteen from Diet Cig – the opening verse is all you need to know: “When I was sixteen/I dated a boy/With my own name/It was weird/In the back of his truck/Moaning my name/While trying to fuck.”

(I Just Died) Like an Aviator – Matthew Ryan – the greatest song in the world can become downright annoying when you direct and edit a music video for it. There’s only so much you can hear one song. Right? Well, wrong, in this case. Despite hundreds and hundreds of listens over a two week period, the first track from Ryan’s stellar Hustle up Starlings lp stands the test of time as one of the best rock tracks of the year. (Even if I no longer picture the words coming out of Ryan’s mouth.)

BEST LIVE SHOW: Lydia Loveless, Todd May, and Casey Magic at the backroom at Cat’s Cradle on December 15th and 16th. She was on fire these two nights, playing solo and with Todd, rearranging, ranting, reinventing European, breaking our fucking hearts every time she opened her mouth. Goddammit, Lydia!

BEST HOLLYWOOD NARRATIVE FILM: I, Tonya – a mocumentary, that was funny at times, heartbreaking the rest. A brilliant cast, superb script, and a sharpness of vision we rarely see with any sort of budget.

BEST INDEPENDENT NARRATIVE FILM: Lady Bird – Greta Gerwig might be the Lydia Loveless of independent film: funny, awkward, damaged, opinionated, and always completely charming. And that showed through in every frame of this magnificent directing debut.

BEST DOCUMENTARY FILM: The B-Side: Elsa Dorfman’s Portrait Photography – Errol Morris’s short, subtle masterpiece. A film that leaves you wanting more, which is rare indeed today. His portrait of a quirky photographer who was one of five people on the planet who owned a 20×24 Polaroid camera. Love, love, love!

BEST TV: TV is the new indie film. And it just keeps getting better and better. Thus just a list of a few of this year’s standouts: Stranger Things II, The Five, Master of None, Ray Donovan, The Keepers, Big Little Lies, The Deuce, and GLOW. (And I’m not even mentioning my guilty pleasure love for reality TV like Big Brother, Survivor, and Top Chef.)

BOOKS OF THE YEAR: Mary Miller’s brilliant Always Happy Hour: Stories and Jeff Goodell’s terrifying The Water Will Come: Rising Seas, Sinking Cities, and the Remaking of the Civilized World. The former is a collection of writing to rival the dark despair of Carver, the latter a look at how the coastlines of the world will not be recognizable in a few decades. Both so worth reading, perhaps for the same reason.

As for the rest of my 2017:

Four releases this fall, of which I am quite proud: Who is Lydia Loveless? on DVD with a shitload of great extras, the Record Store Day vinyl-only release of 6 tunes from the film, Live from the Documentary Who is Lydia Loveless?, my first film Disconnected on bluray (with extras that include my long-lost first documentary Twenty Questions), and Psychos In Love on bluray. (The last two both brought to you from the amazingly twisted folks at Vinegar Syndrome.

As for what’s next: five documentaries in various stages of production:

What it Takes: film en douze tableaux – a quirky portrait of Sarah Shook and the Disarmers as they record their new album Years for Bloodshot Record. You can expect to see this at film festivals in late Spring.

Seniors – A documentary that celebrates the brains, energy & sass of some of the coolest senior dogs on this planet and the people who love them. It’s mostly filmed. Editing now.

Pizza, A Love Story – in the works for ten years and being edited now, we hope to finally have our epic love poem to the Holy Trinity of pizza (Sally’s, Pepe’s, and Modern) completed by mid-year.

Normal Valid Lives – our look at a horrible case of bullying in a school district north of Minneapolis. We still have a little filming to do, and hope to have this completed for film festivals in early 2019.

Where are you, Jay Bennett? – A feature-length documentary on Jay Bennett, a legendary musician, who as a member of Wilco, was a large part of the genius behind three seminal albums, who went on to a critically acclaimed solo career, before dying tragically at the age of 45. Filming and editing now.

And of course, NHdocs 2018 is coming your way on May 31st for 11 days of great films. (might have a surprise or two from me in there!)

That’s it.  Another year in the books. Be well, hug your dog, eat good pizza, drink hot coffee, and be kind to everyone you meet.

 

 

Advertisements

Leave a comment

Filed under best movies, best music, Best Music of Year, best of, best of 2017, lydia loveless, Uncategorized

The poster for EVERY EVERYTHING: the music, life & times of Grant Hart

The poster for EVERY EVERYTHING: the music, life & times of Grant Hart

The poster for EVERY EVERYTHING: the music, life & times of Grant Hart

and the trailer:

please “like” our Facebook page for info on upcoming screenings…

Leave a comment

Filed under bob mould, documentaries, every everything, gorman bechard, Grant Hart, Husker Du

The making of COLOR ME OBSESSED – part 21

Just a quickie here, but wanted to post some of the fun graphics created for the film by Sarah Hajtol. One of the most important thing any film can have is eye-catching graphics. But something that is not only eye-catching, but also fits the tone of the film.

Think about it this way, picture a wall of band flyers. Do you want to get lost in the mix, or do you want to stand out? Same goes for film festivals. You want your poster to grab attention whether it be hung on a wall in an indie video store, or on a telephone pole, of just lying on the welcome table when you enter the festival.

My directions to Sarah: “break all the rules.” As always, she rocked it!

And here first is our amazing poster: (Photo of The Replacements by Greg Helgeson)

Our banner:

The front and back of our promo postcard: (Photo courtesy of Twin/Tone records.)

And our bumpersticker:

Feel free to use these for COLOR ME OBSESSED promotional purposes.

Leave a comment

Filed under Color Me Obsessed, documentaries, filmmaking, gorman bechard, graphic design, independent film, movie poster, sarah hajtol, the replacements

The making of COLOR ME OBSESSED – part 20

Diane was one of the first to contact me about this project, shortly after hearing that I’d taken it over. Little did I know at the time she would become our Color Me Obsessed angel, the executive producer that truly rose to the occasion at every opportunity, every chance I gave her. This would be a much different film without Diane’s participation. She became the sort of executive producer every filmmaker dreams of.

After her interview was over, she took us upstairs to her museum in the making, a collection of rare Mats memorabilia unlike I’ve ever seen in one location. Posters, tickets (she had a ticket for their SNL appearance!), vinyl, and even a test pressing. It was the collection the rock hall of fame should have, but doesn’t.

Next up, Ira Robbins, founder of the legendary Trouser Press. Now for those of you not rocking out in the late 70s, TP was the indie rock alternative to Rolling Stone. It was sort of the Pitchfork of its day. (Ira, please don’t hate that comparison, I mean it as a compliment.) The interview was brilliant. Here we had one of the most respected rock journalist of all time approaching the Mats from a historical perspective. Why they mattered. What made them different. What made them great.

As I once again said to Adrian one the drive home, “we have a movie!”

Leave a comment

Filed under Color Me Obsessed, documentaries, independent film, rock and roll hall of fame, the replacements

The making of COLOR ME OBSESSED – part 18

Back to filming COLOR ME OBSESSED. Our third day of shooting.

After Jesse Malin, whom we shot in the East Village, we were scheduled to do an interview on the upper West Side, then two in Brooklyn. Unfortunately Jesse’s interview ran long, so short of my Jeep suddenly morphing into a helicopter, there was just no way.

With only two of us working (me asking questions, Adrian manning two cameras), we couldn’t give the upper west side interviewee a respectable heads up. I called the moment the interview was over, and got voicemail. He was unfortunately on the subway, already headed towards his apartment. We he returned the call, I tried to explain, apologized profusely, but he was pissed, and we lost his interview for good. Lesson learned. We allowed a lot more time between interviews. And Neil, if you’re reading this, once again, sorry. In over 140 interviews, it never did happen again.

Next, Adrian and I scurried to Brooklyn to interview one of our Executive Producers, Diane Welsh and her son Brendan. Now a little backstory, Diane is the queen of outbidding you for rare Mats items on eBay. If you’ve lost an item you thought you had in the bag, mostly likely it’s in Diane’s amazing shrine to the band.

A few years back when I finally found a PLEASE TO MEET ME mobile on eBay, I bid well over what I thought it would sell for, into the hundreds. An hour before the auction it looked like I would have it for $45, give or take. Of course when I checked later, after the auction had closed, I had been outbid, by none other than the woman who would in so many respects become the angel for CMO.

Of course, the next time a PTMM mobile appeared, I put in some crazy high bid of around a thousand dollars, and ended up paying only around $40. There was no Diane to outbid me…

Leave a comment

Filed under Color Me Obsessed, Diane Welsh, documentaries, eBay, friends with benefits, gorman bechard, independent film, indie, rockumentary, the replacements

Friends (with benefits) vs. No Strings Attached

First off…sorry for the lack of updates…we’re getting COLOR ME OBSESSED ready for its sound mix, and time has been short…but I promise to continue on Sunday.

But first, since so many have asked, I wanted to repost these two post from the FWB IMDB board…

The first comes from someone whom I do not know, her IMDB name is Estella2. In a post titled “why isn’t this getting a main stream release?” she writes:

“okay….so why is it that two horrible movies with big main stream casts with basically the same story line are getting released within the next month or so…but this isn’t? this was a hell of a lot better. was this idea like stolen from someone and sent to hollywood? or did this guy sell it and agree with not having to have his name credited at all…..it just seems weird.
“no strings attached” with natalie portman with a very very similar story line and characters. even had the same original title “F*u*c*k* buddies” and no mention of the writer of this film having anything to do with it. “friends with benefits” mila kunis. also a very similar story line and no mention of this writer.

was this just some sick coincidence or what? if not, then as an independent artist i feel pretty small and hopeless right now.

what’s the point, if hollywood steals everything and turns it into garbage? if we have to keep seeing natalie portman ashton kutcher justin timberlake and mila kunis then why even try to have other actors out there? we can just have all of hollywood recycle themselves over and over until they die or become paralyzed from too much plastic surgery. there used to be such a thing as “new talent.” guess that died a long time ago along with celluloid film.”

This was my response:

“It is frustrating. I wrote this as a spec script called “Fuck Buddies” back in 1999. It was shopped around, but because of the more controversial sections of the film (pretty sure you know what I mean if you’ve seen it), eventually no one purchased it. (I was asked to take those out, but I declined.)

Now, the young lady who wrote No String Attached (also originally called “Fuck Buddies”, then called “Friends With Benefits”) went to Yale shortly after my agents began shopping the script around. What does seem a little strange to me was that my wife employed a bunch of Yalies at the time, and we were friends with a lot of people in the New Haven scene…so I’m pretty sure word got around as to what I was working on (as I was pretty well-known in New Haven at the time due to my books and older horror films)…

That there are SO many similarities in the script is upsetting. (Funny, what’s bothered me most is that the Justin version actually has an orange logo! Really?!?! There was no other color. And it’s not like they didn’t know about my film. Our URL is FWBmovie.com, theirs is FWB-movie.com. I mean…c’mon.)

So yes, it feels like I did all the work. As for it being a coincidence…there’s no such thing as coincidences! (And I never secretly sold any rights to this story.)

As for your closing…I believe the gap between indie and hollywood is larger than ever. We just need to keep to our side and keep putting out worthwhile projects. Let’s face it, an Ashton fan probably wouldn’t enjoy a true indie film anyway. So, let them have their bad copies…we know where the originality lies. We can see the difference. Never give up hope (or your dream). ”

NOW…after having seen NO STRINGS ATTACHED, I can honestly say aside from the premise, original title, and the fact that Natalie is a doc, there is very little stolen from FWB. But what is annoying about the film is their tag line “Can Best Friends Be Sex Friends?” That would work perfectly for our film, but not for theirs. The two main characters are strangers. It’s not a friends with benefits situation, it’s a two strangers having sex situation, i.e. THEY’RE DATING. As for their “rules,” well we have Brad’s Rules…and there’s no comparison. And so much for the female empowerment crap. Sure she makes the decision at first, but she’s also the one who comes crawling back begging his forgiveness. As for raunch…please. It’s a typical Hollywood romantic comedy. The cast and crew of FWB know raunch! (Oh, but they do have two girls kissing! And anyone who’s seen my FWB knows what I have to say about that!) Look, it’s a middle of the road romantic comedy. Nothing more, nothing less. I’d say that no matter what. If this were any other film and my wife and I were watching this at home on DVD, I’d have started reading the NY Times five minutes in, and she would have taken it off after about 15 minutes. And she LOVES rom-coms.

I will say one positive thing about NSA, and that is that Greta Gerwig is great. I wish she were the lead. She steals the show, and makes you want to go and watch her other films.

That’s all…thanks for listening to me vent. I look at it this way, because of this film, and the Justin/Mila version coming in the summer, we’ve gotten a LOT more exposure than we could have ever hoped for. Riding the coattails of the big publicity machine. It all works out in the end…

If you haven’t, watch FRIENDS (WITH BENEFITS) now for free…and decide for yourself!

1 Comment

Filed under ashton kutcher, filmmaking, friends with benefits, gorman bechard, Greta Gerwig, indie, natalie portman, no strings attached, romantic comedy

The making of COLOR ME OBSESSED – part 17

OK…holidays over, and I hope everyone’s was safe and merry…

…but before I get back to that second NYC shoot…let me state once again and for the record, and so there’s no confusion. Since I have been involved with this film (well over 2 years now), there has never been a time when I considered, even for a second, putting music in the film. We have never approached The Replacements about using their music. We have never approached the band members for interviews. We have never approached the band members about anything, period. That is not and never was (or will be) the film I’m making. Go back to part 2 of this “making of” and hopefully you’ll understand why. I wanted to do something different, an original take on the rockumentary, a genre that’s seen almost everything, except well, this…my ode to what I believe to be the greatest band of all time. I like taking chances…you never know what you’re going to get. (Sort of like with The Replacements, right?) And can there ever be greatness without risk?

Leave a comment

Filed under alternative rock, Color Me Obsessed, directing, documentaries, filmmaking, friends with benefits, gorman bechard, independent film, rockumentary, the replacements