Two In a Row for Men from UNKLE: Enjoying the view from the top of the Mediaguide Specialty Song chart are the merry men of UNKLE, who enjoy their second straight week atop the chart with “Burn My Shadow” (Surrender All), thanks in no small part to support from KIWR Omaha/Council Bluffs, KNDD Seattle, KPNT St. Louis, WXDX Pittsburgh and KMFA Tucson. In only their second week on the chart, Tokyo Police Club move 3-2 with “Your English” (Paper Bag), while splashy debuts are made by a pair of acts: St. Vincent’s “Now, Now” (Beggars Banquet) bows at #3, while Junior Senior returns to the game with “Can I Get Get Get” (Crunchy Frog/Rykodisc), which opens at #5. Some other nice debuts on the Song side include the Aliens (Pet Rock/Astralwerks) at #9 with “Setting Sun,” immediately followed at #10 by Peter, Bjorn and John’s “Young Folks” (Almost Gold). Special mention for Yeah Yeah Yeahs (Interscope), who have not one, not two, but a trio of songs in the top 12: the lasciviously titled “Rockers to Swallow” moves 18-6, while “Kiss Kiss” debuts at #12 and “Down Boy” hangs in at #11…and is it just us, or do those titles recall the glory days of the triple feature at the Pussycat Theatre on Sunset and Western? Probably just us…though it must be noted that despite the impressive trio of song performances, it still wasn’t enough for the NYC trio’s Is Is EP to overcome fellow Gotham denizens Interpol, who spend a third straight week atop the Album chart with Our Love to Admire. Top debut on the Album side belongs to the aforementioned St. Vincent (Beggars Banquet), whose Marry Me bows at #8 thanks to the early play on “Now, Now.”

Record of The Week: Warm In The Wake

Shed Seven “Chasing Rainbows” from “Top of the Pops,” 1996 – Shed Seven, who received their name from the title of a shed near some local railroad tracks, were one of the more popular British acts of the ‘90s, releasing a trio of well-received albums between 1993-’98. The middle effort, “A Maximum High,” sold over 250,000 copies in Britain alone and helped Shed Seven dominate the singles market that year, with five separate Top 40 entries--more than any other British act. However, the ever-popular “creative differences” led to some lineup shuffling in 1999 and, after soldiering on for a few more years, the group broke up in 2003. Now, however, Shed Seven have announced a British “reunion tour”…but one with a surprising caveat. “We’re not trying to get a deal off anybody,” frontman Rick Witter recently told NME. “We’re certainly not continuing after this tour…it’s just going to be right good piss-up and we’re just all going to go out and have a laugh.” We must confess, we find that a most refreshing attitude in this summer of big-dollar reunions of everyone from the Police to the Spice Girls--imagine, going out on the road together just to have a good time and please the fans! For those that can’t make it over to Ol’ Blighty for the November and December gigs, get a taste of Shed Seven here (http://www.youtube.com/watch?v=dbzbcMxVsMk), captured live on “Top of the Pops” during that magical summer of ’96, performing their hit “Chasing Rainbows.”

Harry and the Potters “This Book Is So Awesome” - “Pottermania” was at a fever pitch this weekend--the final installment in J.K. Rowling’s phenomenally successful series, “Harry Potter and the Deathly Hallows,” debuted smashingly, with one-day sales totals of over 8.5 million units, while the fifth movie in the film series, “Harry Potter and the Order of the Phoenix,” has, in less than two weeks, taken in over $200 million in the U.S. alone. So, having conquered both the worlds of literature and cinema, only one logical avenue remained: Music, of course, which brings us to the subject of “wizard rock”--a new genre of music inspired by the writings of Rowling. The fledgling music form honors just about every element of Rowling’s work…in the various band names alone, which include the Remus Lupins, the Parselmouths, the Whomping Willows and our personal favorite, We-Who-Must-Not-Be-Named. However, the godfathers of the wizard-rock scene remain brothers Joe and Paul DeGeorge, who kicked things off with the first wizard-rock band, Harry and the Potters. Spare yourself the agonies of the Cruciatus Curse by heading here (www.myspace.com/harryandthepotters) to listen to “This Book Is So Awesome,” while more info about the genre can be found at www.wizardrock.org.

Jason 71

J71: “I moved to downtown LA about seven years ago to get away from my current life. I chose the most deserted part right in the middle of the city. It was about to turn around, become a vibrant city again and I suppose the city was a reflection of where I was and where I hoped I’d be going. I just needed to hit the big reset button. I left my girlfriend, my job, my band, and my apartment. I started recording some of the music I had been tinkering with and it all started to come together. I didn’t really intend on putting it out; it was just part of the giant art project I wanted the band to be. A place where I could do photos, video, graphics and music under one roof. I think it’s worked very well so far.”

hhA!: Would you tell us about some of the bands you’ve played with over the years?

J71: “After cutting my teeth playing bass in an early 90s alt rock band, I joined Amnesia, which was Brad Laner’s post-Medicine noise-pop band. After a couple years of that I started playing with some old friends in their new endeavor called The Lassie Foundation. Jeff Schroeder was in Lassie and he most recently joined Smashing Pumpkins as their new guitarist. After Lassie I switched to guitar and singing and put a band together.”

hhA!: What are some of the downtown/Echo Park/Silverlake venues you think are relevant and that you frequent/play out at?

J71: “I’d have to say The Echo, Spaceland and all of The Fold venues [Silverlake Lounge, El Cid, Tangiers, Bordello]. I think these are the most relevant because they really love music. If you’re good you can certainly play there.”

hhA!: You continually pack your eastside shows, sell records and promote all on the DIY tip (no management, attorney, etc). Why have you decided to take this indie DIY approach? And do you find it difficult self-managing/taking care of everything on the business end while at the same time being a creative person?

J71 “It’s very hard doing all the details of the band, but I’m very particular of the shows we play and how we are represented--but when it’s right, and the hard work has been put in and everything is clicking, it makes for an incredibly rewarding experience. I’d love to have some heavyweight help but I just haven’t found the right people to jump into those bigger roles. I’m just being patient. Until then DIY...there’s almost a calming effect to doing so much. It’s weird.”  

hhA!: What labels have you worked with over the years and who are you working with now? Are you opposed to working with major labels? How did the SoSweet deal come about?

J71: “The first Eskimohunter songs came out on a split CD on Grand Theft Autumn Records. I always hated that the first music out never had its own release. I was going to bust it off and make it an EP. That’s when So Sweet stepped in to do a limited edition run with some videos and extra art. My plan is to start an imprint and license the record to outside territories and maybe partner up for a distribution deal in the US. I don’t have a concrete plan just yet. It could all change and we could be off and running in a different direction.”

hhA!: Who are some of your favorite local bands?

J71: “Definitely would have to say The Pity Party, Mezzanine Owls, Marjorie Fair, Dead Man’s Bones and Miss Derringer are my top 5 right now.”

hhA!: Are there any plans for a new album? Where do you record/mix and do you have other musicians play on your records? Do you produce as well?

J71: “The plans for the new record are well underway. I’m in the producing role and will be starting with that as soon as our Spaceland residency ends.”