Here is the List of “Influential Albums,” Which Incidentally is Bullshit


Facebook has been abuzz in the last few days with this moronic “Influential Albums” quiz, which users must hand over their personal information in order to take, and then watch as the app automatically posts the results on their wall. Strike one. Also, the 100 albums deemed “influential” are nearly all rock. Strike two. Finally, the mere existence of a list purporting to encompass the 100 most “influential” albums with the implication that if you don’t own these albums you are a substandard music listener is total bullshit and everyone knows it and I feel stupid even getting worked up about it because that’s what these trolling lists are designed to do in the first place but fuck it. Strike three. You know what your most influential albums are? ALL THE ALBUMS YOU OWN, HOLMES. (That’s coming from someone who owns a lot of these albums.)
So anyway, if you want to know what some guy with a computer decided are the most “influential” albums, here’s the list:

Enter To Win A Slightly Stoopid CD Prize Pack!


Enter to win Slightly Stoopid’s newest album, “Top Of the World” along with other great fan prizes!
To enter all you gotta do is log in to your Twitter account, follow @NBayBohemian and upload your best Instagram photo from tonight’s concert at the Mystic Theater. Use the “Mystic Theater” location and include the following tags: #SlightlyStoopid with #NBayBohemian
Our favorite photos will be chosen Monday evening and posted on North Bay Bohemian social media sites. All winners will be notified by email to their Twitter accounts. Good luck!

Live Review: The SFJAZZ Center Opens With Style, Intimacy, and Stars in San Francisco

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By now, perhaps you’ve heard about, read about or even seen the construction of the new SFJAZZ Center on the corner of Franklin and Fell Streets in San Francisco. Now complete, the 35,000-sq.-ft. building is poised to redefine live jazz in the Bay Area, as it’s funded largely by private donations and handily dispenses with the tables-and-waitresses, two-drink minimum nightclub model.
After the SFJAZZ Center was announced, entirely valid concerns rose about the “museumification” of jazz. Jazz has always thrived in nightclubs—or, for that matter, seedy bars. Charles Mingus’ famous remarks about nightclub chatter notwithstanding, a certain amount of cultural globetrotting is present when the blues is played on the stage of a $64 million performing arts center.
I’m happy to report that the SFJAZZ Center strikes just the right balance between nightclub and theater. Cup holders allow the audience to bring drinks in from the bar, but nobody drops a credit card tray in front of you while the headliner is in the middle of a particularly engrossing solo. The sound, notably, is stunning, thanks to architect Mark Cavagnero and acoustician Sam Berkow. And as a mini-amphitheater set in the semi-round, with a steeply raked floor, the hall is very intimate—capacity is 700, but feels much smaller than that. There are no seats further than 50 feet from the stage.

How To Fix That Death Waltz Record Cover


Death Waltz is a record label from the UK that specializes in re-releasing classic cult soundtracks on vinyl. Their impressive catalog includes House of the Devil, Escape From New York, Zombie Flesh Eaters, Halloween II and III, Donnie Darko, Prince of Darkness, The Living Dead at the Manchester Morgue and more. For these, the company solicits great artists to conceive and design new cover artwork, all of which is outstanding—see above.
There’s just one problem. The label takes this beautiful art, shrinks it, and surrounds it in a style sheet of a blue circle with the Death Waltz logo prominent in the corner.

Live Review: Jessie Ware at the Rickshaw Stop, San Francisco

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At the start of her packed show Thursday night in San Francisco, Jessie Ware’s token platitudes for the city of San Francisco started out as just that—expected banter from a touring musician, repeated hundreds of times over. By the end of the show, though, after constant affection showered upon the breakout UK star from an adoring crowd, her city-crush on San Francisco rose to fever pitch. Then, when someone handed her a bouquet of roses, Ware completely lost it.
“Oh my Gooooooodddddd!!” she wailed, in thick British accent. “This really is our favorite city!”
Ware’s full-length album Devotion still hasn’t been officially been released in the United States, whatever that means in the year 2013; everyone at the Rickshaw Stop seemed to know nearly every song. Opening with the title track, Ware and her rock-solid band emitted a slow pulse, built it to a climax and, as Ware sang loudly away from the mic, pushed the song into transcendence. It was a formula that would be repeated throughout the night, but never felt, well, formulaic.

Worst. Date. Ever.

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Dating! Ain’t it grand? Well, except when it ain’t. You know you’ve been there at some point: sitting in the car, walking home the next morning, or trying to flag a taxi to get-the-hell-outta-there. Your only consolation is texting your friend: “Worst. Date. Ever.

The other consolation lies in the fantastic leverage you now wield during “worst date” storytime, which, for the Bohemian, falls in our dating-themed Sex & Valentines issue, publishing Feb. 6. That’s right: we want you to spill the beans on your worst date ever. Tell us how terrible and awkward it all was, in grisly and humorous detail, and you may be selected as one of the top three winning stories to be published on Feb. 6!

Stories should be no longer than 400 words and emailed to: le*****@******an.com. Entries may be published with a pseudonym if desired. Winners are chosen by an editorial panel and awarded prizes sufficiently tantalizing to cleanse your memory of the awful evening in question. Entries must be submitted by Friday, Feb. 1.

Love & Kisses,
The Bohemian

Same Track, New Name

SMI_SonomaRaceway_black.jpg

Erasing the worrisome burden of what to call that place near Sonoma where the really fast cars try finish a certain amount of laps before everyone else, it was announced today the place will officially be called Sonoma Raceway.

Seems obvious, right? But that’s the case with all good names, like Rollerblades and Band-Aids, which are trademarked names of in-line skates and adhesive strips, respectively. No longer will journalists struggle to find consensus on what to call that paved curvy track thingy in Sonoma. No more shall we see Raceway at Sonoma, the Sonoma Racetrack or my personal favorite, the Former Infineon Raceway.

But don’t try visiting www.sonomaraceway.com, because that’s obviously not the correct website for the one-lane, twisty infinite road that hosts NASCAR, NHRA and other major motorsports events. The correct site is www.racesonoma.com. Because anything else would ruin the genius of the new name.

After losing sponsorship from Infineon, it would be nice to think the 300:1-scale slot car race track in Sonoma defied convention and went with a name proudly boasting its location; after all, the Wine County is world renowned. But, much like Candlestick Park, which simply couldn’t find someone willing to pay millions of dollars for TV announcers just to say the company name a few dozen times per year, it’s more likely a sluggish economy and hesitant accountants contributed to the new name.

Was a local discount considered? What about Mondavi Raceway? Trione Track? Coppola Causeway? (OK, that’s Napa County and Causeway is a weird thing to be racing on, so nix that). How about Guy Fieri’s Donkey Sauce Full Throttle Raceway at 100 Percent Grass-Fed Meyer Ranch? That one sounds like a winner to me, I’ll take two.

But really, no matter what it’s called, I bet there’s a bunch of people who will always call it Sears Point.

Jan. 27: The Calder Quartet at the Glaser Center

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The Calder Quartet started young. In college, the four connected well enough to take risks beyond the standard chamber music repertoire, and like well-known contemporaries the Kronos Quartet, they work with new composers, rock groups and even Andrew W.K.—without sounding forced. They’re comfortable playing music from a hundred years ago written by candlelight as music written in a Portland basement last week, possibly also by candlelight. For their Santa Rosa appearance in conjunction with the Redwood Arts Council, the program includes Ravel’s String Quartet in F Major, Bartok’s String Quartet no. 5 and the young composer Andrew Norman’s “. . . toward sunrise and the prime of light . . . ,” which premiered in October 2010. The Calder Quartet play Sunday, Jan. 27, at the Glaser Center. 547 Mendocino Ave., Santa Rosa. 4pm. $25. 707.874.1124.

Jan. 25 and 26: Tim Flannery at Sweetwater Music Hall and the Uptown Theatre

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flannery.jpg

When he’s not windmilling wildly signaling Buster Posey to go for home, San Francisco Giants third base coach Tim Flannery is windmilling his guitar like Pete Townsend. OK, maybe he doesn’t get crazy and smash guitars onstage, but he is a good songwriter with a voice of wisdom. He’s even sung harmony with the Grateful Dead’s Phil Lesh and Bob Weir before games at the Giants ballpark. The real question is, after two World Series titles in three years, where the hell does he get the time to do all this? Tim Flannery plays Friday, Jan 25 at Sweetwater Music Hall. 19 Corte Madera Ave., Mill Valley. 8pm. $22. 415.388.3850. He also plays with friends Saturday, Jan. 26, at the Uptown Theater in a benefit concert for Bryan Stow.1350 Third St., Napa. 8pm. $49—$100. 707.259.0123.

Jan. 25: The Melodians at the Redwood Cafe

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The Redwood Cafe sure is becoming a legit music venue. This week, the Cotati cafe hosts the Melodians, a top-notch reggae band from Jamaica that’s been around since 1965. They’ve been top billing at huge festivals like the Sierra Nevada World Music Fest, and “Rivers of Babylon”—you know it from The Harder They Come—has become one of the Rastafarian movement’s anthems. Singing in harmony with plenty of soul, sounding like a Motown version of the feel-good, bass-driven, upbeat style reggae fans are used to, the Melodians are backed by the erstwhile Yellow Wall Dub Squad on tours. Dan Martin and the Noma Rocksteady Band open, and the best part is, if you get the munchies, the cafe is open. The Melodians play Friday, Jan. 25, at the Redwood Cafe. 8240 Old Redwood Hwy., Cotati. 9pm. $10—$15. 707.795.7868.

Here is the List of “Influential Albums,” Which Incidentally is Bullshit

Facebook has been abuzz in the last few days with this moronic "Influential Albums" quiz, which users must hand over their personal information in order to take, and then watch as the app automatically posts the results on their wall. Strike one. Also, the 100 albums deemed "influential" are nearly all rock. Strike two. Finally, the mere existence of...

Enter To Win A Slightly Stoopid CD Prize Pack!

Enter to win Slightly Stoopid's newest album, "Top Of the World" along with other great fan prizes! To enter all you gotta do is log in to your Twitter account, follow @NBayBohemian and upload your best Instagram photo from tonight's concert at the Mystic Theater. Use the "Mystic Theater" location and include the following tags: #SlightlyStoopid with #NBayBohemian Our favorite photos...

Live Review: The SFJAZZ Center Opens With Style, Intimacy, and Stars in San Francisco

By now, perhaps you've heard about, read about or even seen the construction of the new SFJAZZ Center on the corner of Franklin and Fell Streets in San Francisco. Now complete, the 35,000-sq.-ft. building is poised to redefine live jazz in the Bay Area, as it's funded largely by private donations and handily dispenses with the tables-and-waitresses, two-drink minimum...

How To Fix That Death Waltz Record Cover

Death Waltz is a record label from the UK that specializes in re-releasing classic cult soundtracks on vinyl. Their impressive catalog includes House of the Devil, Escape From New York, Zombie Flesh Eaters, Halloween II and III, Donnie Darko, Prince of Darkness, The Living Dead at the Manchester Morgue and more. For these, the company solicits great artists to...

Live Review: Jessie Ware at the Rickshaw Stop, San Francisco

At the start of her packed show Thursday night in San Francisco, Jessie Ware's token platitudes for the city of San Francisco started out as just that—expected banter from a touring musician, repeated hundreds of times over. By the end of the show, though, after constant affection showered upon the breakout UK star from an adoring crowd, her city-crush...

Worst. Date. Ever.

Tell us about your worst date ever, and you could be selected as one of the top three winners.

Same Track, New Name

The thing those super fast cars go Vroom Vroom on off Hwy 37 has a new name.

Jan. 27: The Calder Quartet at the Glaser Center

The Calder Quartet started young. In college, the four connected well enough to take risks beyond the standard chamber music repertoire, and like well-known contemporaries the Kronos Quartet, they work with new composers, rock groups and even Andrew W.K.—without sounding forced. They’re comfortable playing music from a hundred years ago written by candlelight as music written in a Portland...

Jan. 25 and 26: Tim Flannery at Sweetwater Music Hall and the Uptown Theatre

When he’s not windmilling wildly signaling Buster Posey to go for home, San Francisco Giants third base coach Tim Flannery is windmilling his guitar like Pete Townsend. OK, maybe he doesn’t get crazy and smash guitars onstage, but he is a good songwriter with a voice of wisdom. He’s even sung harmony with the Grateful Dead’s Phil Lesh and...

Jan. 25: The Melodians at the Redwood Cafe

The Redwood Cafe sure is becoming a legit music venue. This week, the Cotati cafe hosts the Melodians, a top-notch reggae band from Jamaica that’s been around since 1965. They’ve been top billing at huge festivals like the Sierra Nevada World Music Fest, and “Rivers of Babylon”—you know it from The Harder They Come—has become one of the Rastafarian...
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