{"id":822,"date":"2012-02-28T19:51:02","date_gmt":"2012-02-29T03:51:02","guid":{"rendered":"http:\/\/spclarke.com\/?page_id=822"},"modified":"2012-02-28T20:31:04","modified_gmt":"2012-02-29T04:31:04","slug":"gbu-2003-09","status":"publish","type":"page","link":"http:\/\/spclarke.com\/?page_id=822","title":{"rendered":"GBU – 2003 – 09"},"content":{"rendered":"

Dandy Warhols<\/a><\/strong><\/h2>\n

\"\"Welcome To The Monkey House
\n<\/em><\/strong>Capitol Records<\/strong><\/p>\n

BUY<\/a><\/strong><\/em><\/p>\n

Their third album for Capitol (technically, the first one\u00a0Dandys Rule OK<\/em>, was already out on T\/K Records before Capitol ever got their mitts on it) Records and fourth overall, finds the irascible Dandy Warhols stretching out and heading off into entirely new musical territory. While it seems certain that this album will probably alienate a few long-time fans who will feel the band has deserted its guitar-heavy Stones meet Velvet Underground roots in favor of \u201880s-styled keyboard filigrees, dance-beats and electronic tweaks; it is equally clear that the band are likely to pick up new fans as well.<\/p>\n

While success has mostly eluded the Dandys in the US, the band has conquered Europe, garnering gold records for sales outside of the US, throughout the rest of the world. In addition, the band has attracted some very high-profile admirers, including Duran Duran\u2019s Nick Rhodes, who co-produced this album; and David Bowie, who invited the Dandys to be his opening act for his \u201cA Reality\u201d tour this fall.<\/p>\n

Without doubt, no band hailing from Portland has ever been as self-consciously cool as the Dandy Warhols. The title for this album pays tribute to a book of short stories of the same name by Kurt Vonnegut Jr. And the zippered banana on black album cover obviously alludes to the covers of\u00a0The Velvet Underground and Nico <\/exec\/obidos\/ASIN\/B000002G7C\/104-9669092-6918300><\/em>\u00a0(the \u201cbanana cover\u201d created by Andy Warhol) and the Stones\u2019\u00a0Sticky Fingers<\/em>, as well as giving a nod toward the Beatles\u2018 latter day Apple recordings.<\/p>\n

Musical comparisons with the Underground still remain somewhat valid, more so the suggestions of T-Rex, Love and Rockets and Ride.\u00a0Scary Monsters<\/em>– period David Bowie citations abound on this album, as do countless other references to bands and music of the \u201880s. The Dandys\u2019 obvious love for the Rolling Stones has definitely been subdued for this affair. This is attributable, at least in part, to Rhodes\u2019 presence in the recording process, as well as that of Tony Visconti (long-time producer of Bowie and T. Tex) on a couple of songs.<\/p>\n

The band remains intact from their last venture,\u00a0Thirteen Tales From Urban Bohemia<\/em>, which came out three years ago.<\/em>\u00a0Courtney Taylor-Taylor remains at the helm, steering the band with his usual sense of wanly fey impertinence. Zia McCabe continues to add her sparse keyboard embellishments and occasional tambourine flourishes to the mix. Brent De Boer, Courtney\u2019s cousin, remains to man the drummer\u2019s chair. Since the last album, Peter Holmstom married his longtime girlfriend, uniquely, taking her surname in the process. His name is now Peter Loew and his role as a guitarist is greatly diminished on this project; though not cut out of the picture altogether. Perhaps \u201cmore succinct\u201d would be the best term.<\/p>\n

The album begins with the abbreviated title song, made to sound impromptu, wherein, with customary indolent enthusiasm, Courtney states the theme for this outing- “Wire\u2019s coming back again\/Elastica got sent by them\/When Michael Jackson dies\/ We’re covering Blackbird.” See the joke is, Michael Jackson owns the rights to the Beatles\u2019 catalog\u2026 Get it? Oh never mind.<\/p>\n

So the first \u201ccomplete\u201d song (in a Warholian sense anyway) on the album is also the first single, \u201cWe Used To Be Friends,\u201d a song which attempts to fool the unwitting listener into thinking this is the same old Dandy\u2019s. A familiar vocal melody decorates the verses, as a highly effected tremolo guitar jitters frantically beneath a phat key bassline. But Courtney breaks out on the chorus with a Beck-like falsetto over Loew\u2019s Boston-ish power chords. Like Mr. Hansen singing \u201cMore Than A Feeling,\u201d or something.<\/p>\n

Guitars also make an appearance on \u201cPlan A,\u201d a circular piece with an annoying little toy organ figure and Simon LeBon on backing vocals. Someone\u2019s (Courtney? LeBon?) beautiful falsetto lilts like a moon shadow over the bridge. A catchy synth bassline propels \u201cWonderful You,\u201d another song with a sexy, synthetic chorus; with more falsetto vocal lines in the \u201cB\u201d section of the number and a helluva long, hypnotically repetitious fade.<\/p>\n

\u201cI Am A Scientist\u201d liberally appropriates, thematically anyway , from Robert Pollard and Guided By Voices\u2018 song of the same name; sounding (with the help of guest guitarist Nile Rodgers\u2018 raging rhythm jags) like Depeche Mode\/New Order, produced by Thomas Dolby- with angular\u00a0 Bowie-esque, \u201cFashion\u201d interjections slicing through; and a hint of Gary Numan thrown in, just to touch all the \u201880s techno bases.<\/p>\n

The suggestions of Gary Numan continue with \u201cI Am Over It,\u201d lockstep riffs clocking methodically, in cog-tight precision. There seems to be a certain quest for self-affirmation among the song titles here, three of which contain the declaration, \u201cI Am\u2026\u201d (although, realistically, two of them, \u201cI Am A Scientist\u201d and \u201cI Am Sound,\u201d are more delusional than affirmative and \u201cI Am Over It\u201d is an avowal of an altogether different color). \u201cLet\u2019s see if we can do this in one toke\u2026 take.\u201d Yeah, sure. You bet.<\/p>\n

Basketball Jones is back on \u201cThe Dandy Warhols Love Almost Everyone,\u201d falsetto vocals abounding; a brief, chuckle-beated confection, with crunchy guitars and creamy caramel keyboard phrasings. Yum yum. \u201cSincere Because I\u2026\u201d features lush vocal harmonies over a shimmering drone; instrumentation which glancingly limns and dances like dappled sunlight upon a wind whipped lake.<\/p>\n

With Bowie\u2019s \u201cAshes To Ashes\u201d as its model, \u201cYou Were The Last High,\u201d co-written with Evan Dando of the Lemonheads (who also sings on the track) floats in its own limitless space, but the synth solo in the middle is close enough for horseshoes. We\u2018ll be hearing a lot more of this song in the days to come. Rest assured. \u201cHeavenly\u201d rocks harder than most of the tracks, with big guitars wheeling like yellow Humvees down an endless black highway. Oh yeah.<\/p>\n

As if the Dandys had not milked \u201cAshes To Ashes\u201d enough already, they reprise with \u201cI Am Sound,\u201d the delicate piano part of which hearkens straight back to Major Tom and his \u201cproblems,\u201d and is lifted, if not directly, then at least in spirit. Fortuitously, Courtney veers into a different mode. A fairly forgettable song.<\/p>\n

The Visconti produced \u201cHit Rock Bottom\u201d throbs with a T Rex rides Love and Rockets sort of vibe, coasting smoothly\u00a0 on the greased rails of a solid groove. Infectious like SARS, baby.<\/p>\n

\u201cYou Come In Burned\u201d spends a lot of time exploring both sides (frontwards and backwards) of a single guitar riff, before launching into a glum piece of moody atmospherics that would have been better at about half of its seven and a half minute length. Still, you can\u2019t fault the Dandy Warhols for occasional self-indulgences; for to do so would be to entirely abnegate their personae altogether.<\/p>\n

For there is more meat here than on previous Dandy Warhol albums. While Courtney Taylor still remains one of the more enigmatically elliptical songwriters in the business, and while the band still steadfastly refuses to take itself seriously, despite its fast-rising cache (particularly in Europe), this album bears up best under repeated listenings. There are interesting instrumental layers to this album, to which frequent auditions will attest.<\/p>\n

But, if three quarters of rock is attitude, Courtney and company have it in spades. And while that attitude is something that critics and consumers either buy or hate, it is also true that (European) success has not spoiled the Dandy Warhols in the least, it has only buried their tongues even more deeply in their cheeks. If not the definitive Dandys album, this one surely opens up tremendous possibilities for those that will follow.<\/p>\n

\n

Sattie Clark<\/strong><\/h2>\n

\"\"Fathom
\n<\/em><\/strong>17 Reasons Why Records<\/strong><\/p>\n

BUY<\/a><\/strong><\/em><\/p>\n

It\u2019s hard to believe that it\u2019s already been six years since Sattie Clark released her last album with her band 17 Reasons Why. That album,\u00a0The Dark Years<\/em>, won accolades from the press and in 1999 helped the band to win the Sony 1999 Battle Of The Bands contest, which got them a demo deal with Sony, that (as is usually the case with major labels) led nowhere, of course- proving to be a huge waste of time and energy- which is generally the label\u2018s objective when they actually have no real intention of getting behind an act. Let \u2018em spin their wheels for a while. Take \u2019em out of circulation. Ah, the wonderful music industry!<\/p>\n

There is nothing presented in her promotional materials to suggest that Sony professionally messed with Sattie during her brief association with the label: although it\u2019s a safe bet. Because, that\u2019s what major labels do, when they\u2019re not bitching about loss of revenues to illegal downloads via the internet. But, and more importantly, in addition to whatever travails Sattie suffered at the hands of the multi-national mega-media cartel that is Sony these days, she also suffered three great personal tragedies over the past five years- which have forced her to confront and reassess her values and beliefs.<\/p>\n

The result is this nine song, well ten, counting the \u201csecret track,\u201c collection (unfortunately, four songs intended for the project were tragically lost in their entirety in the studio, due to a computer meltdown), a transcendent album of hard won victories and deep emotional lessons played out in loving detail on this sublimely pristine recording. A milieu reminiscent of early Joni Mitchell meeting Sarah McLachlan and Shawn Colvin, with the Indigo Girls singing harmony, surrounds Sattie\u2019s cerebrations throughout this recording: her heart may be on her sleeve, but her brain is right where it should be, processing information at a rapid pace- the sum of which, admittedly abbreviatedly, is contained herein. Hers are the smart and wise observations of a mature individual who has experienced a great deal in her life.<\/p>\n

The album is a slow journey from darkness (each of the first six songs deal directly with darkness as a subject or condition) toward light. Finally, the seventh song, \u201cBlind,\u201d allows \u201cfor every hour spent in darkness, comes a moment in the light.\u201d The last two songs seem, at last, to surmount the inescapable darkness, giving some small hope for the future.<\/p>\n

The first track, \u201cPoison Darts\u201d serves as a bit of an introduction to the nightmare that is about to unfurl. With her acoustic guitar matched by that of Lara Mitchell (who also provides additional harmony vocals, although most of the backup vocals sound double-tracked by Sattie) and Jason Roark\u2019s umbral, volume-pedal ether, electric guitar, Sattie finds foundation in husband Eric Kaster\u2019s insistent drum beat. Then, Jeff Leonard joins on the bass. The second time around, a string trio (including the late violinist, Marty Jennings) unites with the group. Roark\u2019s ethereal backwards guitar solo hovers like a ghost above the scene.<\/p>\n

A moaning cello blows like a leaf in the cold autumn moonlight of \u201cThe Dark Years\u201d (the title of her album with 17 Reasons Why), a sober meditation on the impermanence of this life, with Tim Ellis guesting on acoustic guitar and Maria Callahan (Doris Daze) lending additional background harmonies on the choruses. Sattie\u2019s fragile delivery on the ballad \u201cPaint the Day,\u201d conjures Shawn Colvin for its bittersweet piquancy; and naked vocal quality- with Jennings\u2019 violin weeping in the foreground.<\/p>\n

\u201cDesdemona\u201d refers neither to Othello\u2019s wife nor to the moon of Uranus (no pun intended), but is instead based, somewhat, on elements in Jeff Noon\u2019s groundbreaking 1993 novel, \u201cVurt.\u201d Joe Crocus, a character in another of Noon\u2019s novels effuses \u201copen all channels- connect to everything,\u201d and Sattie seems to be faithfully following that philosophy to its ultimate logical imperative.<\/p>\n

Joseph Conrad is not the source for \u201cHeart Of Darkness,\u201d but the song is a journey just the same, toward self-awareness through the harrowing jungles of fear and depression. And, as hard as it is to listen to Sattie\u2019s absolutely crestfallen lyrics, it is obvious that it was far more painful for her to write them. There is simply no hope for solace or redemption here. Intensely heavy.<\/p>\n

And \u201cFarmington Station\u201d is even darker still; sounding much like the summation of a suicide- a collection of hopeless emotions, chiding regrets and anguished sorrows, ghosting vaporously into sad, fleeting images: which are all that\u2019s really left to the living in such a terrible situation. Here, as is almost always the case, Marty Jennings\u2019 mournful violin leads the string section through an highly elegiac chamber arrangement, which adds to the funereal ambience of the entire album (hovering over this is the tangential reality that Higgins was to die not long after the recording of this album).<\/p>\n

The hymn-like \u201cBlind\u201d offers some small consolation and relief from the lyrical misery, though it\u2019s a song heartbreakingly rendered, with Sattie\u2019s voice, hardly above a whisper, murmuring tenderly, the pretty melody. At last, \u201cSatisfied,\u201d certainly the best candidate for a single from this set, offers a few major chords and a bit of hope, and the first real respite from all the gloom and woe. Impeccably sublime vocal harmonies wrap around Sattie\u2019s lead vocal like a form-fitting glove, as pizzicato string arpeggios bound across the sonic landscape behind her.<\/p>\n

The last song listed, \u201cI Wish You Well\u201d ends the album on a wistfully pensive note, brooding and clouded with introspect, though brightening in the salutation of the chorus. The song does not end, but merely passes by, like a thick, heavy fog over a slow moving river. After eleven minutes and two seconds of sleepy silence, the \u201csecret\u201d track emerges, Cocteau Twins-like, in an indistinct choir of muted hypnotic droning tones; as Sattie ponders the \u201cdream inside the dream.\u201d<\/p>\n

While this is a magnificently recorded work, it is also ponderous in the enormity of the emotional investment one needs to make the transition, as Sattie Clark does, from darkness toward light. And, as cathartic as this album must have been for her to record, there is no doubt some bittersweet recurrence of all the pain she let go of here, in the passing of Marty Jennings. So, perhaps Sattie Clark\u2019s passage through melancholy is not quite at an end.<\/p>\n

There is a duel meaning to the title of this album. For, there is fathom, as to comprehend the meaning of something. And then there is the nautical fathom of six feet in depth in water. As Shakespeare said in\u00a0The Tempest<\/em>, \u201cFull fathom five thy father lies\/Of his bones are coral made\/Those are pearls that were his eyes\/Nothing of him that doth fade\/But doth suffer a sea-change\/Into something rich and strange.\u201d Sattie Clark\u2019s experience seems to include both comprehension and depth and for that we are the richer.<\/p>\n

\n

Cindy Lou banks<\/a><\/strong><\/h2>\n

\"\"<\/a><\/strong><\/h2>\n

Charmed Life
\n<\/em><\/strong>Barn Sour Records<\/strong><\/p>\n

BUY<\/a><\/strong><\/em><\/p>\n

Cindy Lou Banks first came to local prominence with the country group No Way Home, a band that won several awards from the Portland Music Association during their four years together. They released one album, \u201cGone,\u201d on Tim\/Kerr Records which earned regional acclaim for the high level of songwriting and musicianship displayed.<\/p>\n

For this, her first solo venture since leaving the group, Cindy Lou enlisted the services of longtime Oregon legend Gary Ogan to produce. In addition a laundry list of well-known local luminaries make appearances, including Ogan, Steve James Wright, Ron George, Ron Stephens, Mel Kubik, Skip Parente, and the late Dave Carter, among many others; adding their talents to the production of the ten songs found here.<\/p>\n

And while you can take the girl out of the country, you can\u2019t take the country out of the girl. So, while Banks and Ogan have made some effort to move away from country arrangements, the sentiments and the structures of the songs themselves still reflect a country adult contemporary sensibility.<\/p>\n

Ogan\u2019s gospel-inflected piano flourishes and other restrained drum, bass and guitar accompaniment are fitting touches to Cindy\u2019s prayerful reading of \u201cGods And Monsters,\u201d a song about the dichotomous nature of most human beings. Wright adds most of the color to \u201cBeside Me,\u201d contributing mandolin, dobro guitar and accordion, a song reminiscent of late-\u201970s period Linda Ronstadt. Cindy\u2019s voice has a certain huskiness about it, reminiscent at times of Ronstadt, Karen Carpenter or Patsy Cline.<\/p>\n

\u201cRadio Silence\u201d is a moody song about abandoned love, with Ogan\u2019s organ\u00a0 filigrees adding a soulful touch to the production. A dusty road on a lazy day sort of song, \u201cWe\u2019re So Polite\u201d confronts interpersonal; issues with a wry sense of clarity- \u201cIt takes some nerve to claim that I could hurt you\/A man who\u2019s so remote that he should have his own time zone.\u201d Possibly the first country oriented song to incorporate a double reed instrument into the arrangement, \u201cOne,\u201d sports Mitch Hmori on Cor Anglais, whose oboe-like tones offer a distinct change in the aural scenery.<\/p>\n

Carter\u2019s banjo on the chorus of the strongest original song of the set \u201cFall Away,\u201d seems to mirror Lindsay Buckingham\u2019s style, on a song that could easily pass for the work of Fleetwood Mac, if it were a little faster in tempo. The pretty waltz \u201cLea\u201d features Parente\u2019s solemnly grum violin, tracking Cindy\u2019s mournful vocal like a dark cloud, as she tells the piteous tale of a poor single mom who waits tables at a small local bar.<\/p>\n

Cindy\u2019s Celtic bluegrass interpretation of U2\u2019s \u201cStill Haven\u2019t Found What I\u2019m Looking For\u201d is a nice twist, as Mick Doherty provides scintillating hammer dulcimer work over Wright\u2019s energetic mandolin ruminations. \u201cThe Kindest Distance\u201d features a multi-tracked chorus of Cindys, with Ogan\u2019s simple piano backing and David Eby\u2019s doleful cello endowing the song with solitary grace.<\/p>\n

Cindy Lou Banks\u2019 first solo project is a pleasant excursion, with lots of great musicianship within well-crafted songs. Banks\u2019 explorations of the human condition offer plain, homespun wisdom and simple insights. And while her songs, with the exception of \u201cFall away,\u201d generally lack the sort of melodic hooks to be truly memorable, they are meaningful efforts, all the same.<\/p>\n

\n

\"\"<\/a>Seymour<\/strong><\/h2>\n

Many Faces
\n<\/em><\/strong>Love Seed Records<\/strong><\/p>\n

BUY<\/a><\/strong><\/em><\/p>\n

Seymour are a bunch of old guys who were integral parts of the Portland music scene in the \u201860s and \u201870s, before placing their band on hiatus for twenty years, until the early \u201890s. They recorded an album in the mid-\u201890s, this is their second venture since re-grouping. And while the average age of the five band members is easily mid-fiftyish, there is one thing that is plainly evident on this fourteen song album: these guys still write interesting songs and command the chops to play circles around the majority of bands in town.<\/p>\n

John Dalrymple and Paul Stanton (who goes by Seymour Lovejoy in the band context), two of the band\u2019s chief songwriters, founded the original Seymour in 1969; playing important gigs in the seminal Portland club scene. Both went on to play in a band called Smoke in early \u201880s. It was there that Dalrymple and Lovejoy met up with bassist Allan Gunter, who had spent the \u201860s with local legends such as Mr. Lucky and the Gamblers and Wrinkle (who cut an album for Warner Brothers in \u201869; which was produced by none other than our own Buck Munger).<\/p>\n

Here, Lovejoy, Dalrymple and Gunter are joined by Jerry Noyes on bass (Gunter now mainly sings and plays the guitar, or the congas- and is the third of the band\u2019s three resident songwriters). Noyes joined Seymour in 1970 when Dalrymple was drafted. He had earlier played with the Warlocks in the \u201860s, before being drafted himself. He returned when the band reconvened in 1991. Drummer Jim Badenoch first joined the band in 1991. So, in that regard, he is a relative newcomer.<\/p>\n

Here, the band are joined by guests, vocalist Mick Austin (who wrote or co-wrote three of the songs played here) and drummer\/percussionist John Ryan, both of whom were original members of the band- as well as three other musicians who play on a song or two and help to fill out the sonic landscape.<\/p>\n

Seymour\u2019s style is generally pure, driving rock \u2018n\u2019 roll; although, with four songwriters contributing to the project, there is a lot of variety. But the music is comparable to, yet distinctly different from, Little Feat, the Sons of Champlain, the Doobie Brothers, post-Jerry Dead, Warren Zevon, a few \u201860s and \u201870s British bands, and a folk\/rock\/funk\/soul sound that was uniquely indigenous to the Northwest (well, north of San Francisco, anyway) in the \u201860s. It\u2019s not as if these guys are complete dinosaurs, their sound is relatively modern, adult contemporary stuff; but they have absorbed a lot of music across five decades and it can be heard in these songs.<\/p>\n

Dalrymple\u2019s \u201cWhy Not\u201d is a fast moving freight train of a song, with a funky, r&b sensibility that calls to mind World Party, besides some of the aforementioned. And his \u201cAll Natural radio\u201d is kind of a Brewer & Shipley sort of number. Lovejoy\u2019s \u201cDreams That Things Are Made Of\u201d resonates of Supertramp, with synthesized keyboards setting the scene. Gunter\u2019s \u201cShe\u2019s Gone\u201d calls to mind latter day Steve Stills, a straight -ahead folk rocker with a memorable chorus; with some tasty guitar licks thrown down along the way.<\/p>\n

The band moves into a reggae setting for Austin\u2019s \u201cBoomerang,\u201d which has a slight B-52s edge to it. David Chris\u2019 knockout sax section on \u201cTightrope\u201d takes the bluesy, funky r&b tune to a higher plane.<\/p>\n

The funky feel continues with \u201cWatermelon Day,\u201d a good-time song, also a little reminiscent of Brewer and Shipley at the vocal end of things. Austin\u2019s \u201cWooly Band,\u201d features a banjo and displays touches of country inflections, ala Little Feat or New Riders of The Purple Sage. \u201c$21 Dollar Phone Bill\u201d borders on early Steely Dan blues\/funk, with a large dose of that regional ambience alluded to earlier. \u201cHappiness Blues\u201d hits the genre head on, with horns a-blaring. \u201cWow\u201d sounds sort of like Devo meets Wall Of Voodoo over at the Knack\u2019s house. Oddly interesting.<\/p>\n

Mick Austin\u2019s adds a certain Tommy Heath (Tommy Tutone) quality to the vocal on \u201cBound For Glory,\u201d a song which easily could have been a hit (like \u201cJenny, Jenny)\u00a0 in 1981. \u201cDay Of The Girl\u201d percolates like a Police meets the Cars groove before evolving into something closer to latterday Iron Butterfly or Electric Flag- an interesting combination of textures, there.<\/p>\n

Seymour are a throwback, but not entirely anachronistic. In essence, they draw from a palette of styles that have crystallized over the past forty years. While the band may not have the youth to win over the MTV crowd, they have the talent to entertain just about anybody else.<\/p>\n","protected":false},"excerpt":{"rendered":"

Dandy Warhols Welcome To The Monkey House Capitol Records BUY Their third album for Capitol (technically, the first one\u00a0Dandys Rule OK, was already out on T\/K Records before Capitol ever got their mitts on it) Records and fourth overall, finds … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":6,"featured_media":0,"parent":48,"menu_order":4,"comment_status":"open","ping_status":"closed","template":"","meta":{"footnotes":""},"yoast_head":"\nGBU - 2003 - 09 - spclarke.com<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/spclarke.com\/?page_id=822\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"GBU - 2003 - 09 - spclarke.com\" \/>\n<meta property=\"og:description\" content=\"Dandy Warhols Welcome To The Monkey House Capitol Records BUY Their third album for Capitol (technically, the first one\u00a0Dandys Rule OK, was already out on T\/K Records before Capitol ever got their mitts on it) Records and fourth overall, finds … Continue reading →\" \/>\n<meta property=\"og:url\" content=\"http:\/\/spclarke.com\/?page_id=822\" \/>\n<meta property=\"og:site_name\" content=\"spclarke.com\" \/>\n<meta property=\"article:modified_time\" content=\"2012-02-29T04:31:04+00:00\" \/>\n<meta property=\"og:image\" content=\"http:\/\/www.twolouiesmagazine.com\/wp-content\/uploads\/2011\/11\/DW-monkeyhouse-150x150.jpg\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"19 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"http:\/\/spclarke.com\/?page_id=822\",\"url\":\"http:\/\/spclarke.com\/?page_id=822\",\"name\":\"GBU - 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