I usually come out against it

I mean, if Moistworks is more ambitious (or whatever) than it might be, it's because there are (at the least) four of us, and because one of us (at the very least) seems to have writer's block for a living. MW has good stuff on tap: Osvaldo Golijov, John Doe, Craig Finn, Country Joe, Juan Maclean, James Murphy, John Darnielle, Jason Moran (can we get our Amen yet?!?)and - we hope - Nina Nastasia in our first musicians' week or two. After that, another well-wrought writer's week. Megan and I are doing a two-day exchange on black power, or the lack thereof. James Morris will write more posts about his childhood homes and Brian Howe will write posts consisting entirely of poetry. Brian's a good poet, people.

I always liked this record - bought it, lost it, bought it again and lost it one night. Got it again the other day and you know what? For the rest of September, it's best solo record any Replacement put out. Sometimes, when I think about America, I remember that Chris Mars and Frank Black have less syllables in their names, combined, than I do - this makes their music sound very American to me - and one thing I like about Moistworks is that, while it's black, white, Russian, Australian, American, and Southern, Moistworks is pretty much American. I noticed that people were reading us in Beirut during the bombing. Mecca, too, tunes in. My favorite backstage page is the one telling us what countries you're coming from, and that helps make it worthwhile. Another thing is, the bar is so high! Soul-Sides is a true player; the Lightnin' Rod of West Coast audioblogs. Locust St.'s Chris O'Leary is writing a Tristram Shandy of sorts, working chronologically through all sorts of canons in great and (we hope not) obsessive depth. Recently, he's branched out into primary colors. The whole thing's fantastic, and half dozen other blogs are, most of the time, inspiring. Not to mention that MW got me in to see Jason Moran tonight and - goodness me.