Slip It In

Product Information

Rose, Mike (August 1, 2019). "Today's famous birthdays list for August 1, 2019 includes celebrities Jason Momoa, Joe Elliott". cleveland . Retrieved June 21, 2020. a b c d e f g h Sideleau, Brandon (August 28, 2005). "Slip It In". Punknews.org . Retrieved August 5, 2018. Crist, Renée (July 1993). "The Magnificent 7". Spin. 9: 32–35, 90 . Retrieved September 6, 2019– via Google Books. Dos too was a marriage, in more ways than one. It was often like a battle, but the cool thing about that is that the battle comes across musically as something that works

Berman, Judy (September 29, 2017). "After 18 Years, How Do L7 Return? With a Song About Trashing Trump's Mar-a-Lago". pitchfork.com . Retrieved April 7, 2018. People change and grow, or you’re on tour and exhausted, and you express one too many complaints about your discomfort. They just didn’t want to play with me any more, but I don’t think it was my playing that did it.” The album was originally issued as a cassette-only release, almost simultaneously with Slip It In. In 1998, Greg Ginn remixed the album for CD reissue.

Tracklist

Gardner was born in Altus, Oklahoma [1] on August 1, 1960 [2] [3] to Anne B. Gardner. She had an older brother, Bob, [4] and grew up partly in Citrus Heights, California. [1] Gardner moved to Southern California in 1977. [5] She attended Orange Coast College in 1978 and studied physical anthropology and guitar. [5] In 1980, Gardner moved to Los Angeles. [5] Career [ edit ] In a 1993 article for Spin which featured L7 on the magazine's cover, Renée Crist described L7 as "four of the funniest, meanest, strongest, coolest, most pissed-off women I know" and as "wild, rambunctious, spontaneous" with a stage show that "is a wash of buddy love, crowd working, and acrobatics". [11] Generally speaking, I’m a sound editor, but sometimes I’m a dialogue editor or supervisor. The roles change depending on the project. Ialso work in ADR, which is automatic dialogue replacement when there’s something in a dialogue that isn’t working.

In 1994, Gardner appeared in the John Waters film Serial Mom as part of the fictitious band "Camel Lips". [12] That’s a very interesting question, and one that I’ve been asked more often than Ithought I would be. Ican say that I will notbe going on tour. That’snot really on thecards for me. It’s a big deal to get me out to a club to hear music, and some of that is because I’m very protective of my ears. I rely on them for work and for my joy of music. My husband is retired and is very busy playing golf most days. Things are generally pretty quiet around here.”The Boston Phoenix February 06-12, 1998: Vol 27 Iss 6". Internet Archive . Retrieved April 18, 2022. I’m very into taking care of myself and exercising, so I like to power-walk most days,or I’ll do some laps at a local pool. I’m ahomebody, though. I don’t go to see gigs very much – it has to be something that Ireally want to see. If I’m on a project, it’s a 10-hour day, minimum. We’re basically on a 50-hour week by union arrangement, and then there’s overtime and weekends too, at different times during the project. That’s part of why I have to make my free half-hours count. When I work on music, it’s usually before work. I’m an early morning person, so I can record stuff early in the morning and send stuff to someone else.”

Bands are like marriages of several people, you know, and just like marriages, it’s amazing when a band stays together for any amount of time. You all have to be so in sync with what you’re trying to achieve, and where you are in your life, and often the personalities work for awhile and then there’s a shift.Iwould try to interpret the story and capture its emotion in the basslines. These were some of my earliest explorations in recording just for the love of doing it. I went from Dr. Seuss songs when they were very young, all the way to Edgar Allan Poe as they got older. I learned a lot about how to try and enhance a song without stepping on Mike, who is a very expressive bass player. Because of what we were doing with bass, even when our marriage stopped working I always felt like the music gave us astructure to continue having a kind of relationship when we couldn’t live together any more. A lot of that was driven by our lovefor the bass guitar, truly.” Original video and consolidated interviews with Gardner are included in the documentary L7: Pretend We're Dead, released in 2016 and directed by Sarah Price. [15] The film was nominated for a VO5 NME Award for Best Music Film. [16] It’s been a pleasure. I really appreciate getting to do this. Of course I’m a huge fan of Bass Player magazine. Bass is my life, so doing this is a big honor.”

I have my two Emmys in the front hallway on a little shelf. They are somewhat on display. What’s cool about the Emmys is that they have these wings, or prongs, that would make an excellent potential weapon if someone were to come in my front door that I didn’t want to have come in.” a b Christgau, Robert (1990). "B". Christgau's Record Guide: The '80s. Pantheon Books. ISBN 0-679-73015-X . Retrieved August 17, 2020– via robertchristgau.com.Kira Roessler Interview: Originally Ran in Razorcake #26, Now an Ebook with New Introduction By Ryan – Razorcake". May 1, 2014 . Retrieved December 23, 2020. Spin reported that Gardner appeared at the Roxy Theatre on January 11, 2020, and "delivered a blistering rendition of 'Keys to Your Heart'" by Joe Strummer at a tribute to the Clash. [20] Discography [ edit ] Gardner performing in Vancouver, BC in 2019 With L7 [ edit ] At any given moment, I have 20 songs in some state of completion and process, whether it’s just an idea for a bassline to being somewhat complete This is partly why the album has taken so long, because I generally work aday job as well, so I have to make use of smallchunks of time and build on things. Once there’s a bass part forming the structure of asong, then I’ll either work on a second bassline, or I’ll imagine some sort of melody and sing it. But this is very much bass music written and sung by a bass player, not a singer.” We felt very strongly that there wasn’t going to be a melody and a bassline, you know, with one of us at the bottom and one of us at the top. It was never going to be like that, so that challenged me to write first and second basslines for a given Dos song.