Julia Hungerford

Julia Hungerford has banged the drum for a number of groups throughout the years, including the Superlatives, the Cheat, Gutlocker and Hungerford Vs. Fist. She's currently involved in a mysterious, secret project involving several local musicians of renown but says we'll have to wait awhile on that one. She listened to some music with Knoxville Voice recently and shared her unique insight on things punk, pop, rock, French and beyond.

Warlocks
“Can't Come Down”
from San Francisco Nuggets: 1965-1970 (2007)

JH: I don't know who this is, but it sounds like it could be on Nuggets. We have those CDs at the house, but I don't really listen to this stuff that much. For this era, I prefer, like, pop music, the top 20 of that year or whatever.

KV: You don't think the Cheat are influenced by this kind of stuff?

JH: Well, I didn't write those songs!

13th Floor Elevators
“Postures, Leave Your Body Behind”
from Easter Everywhere (1967)

JH: Well, yeah, this is great. I went through a period last year where I listened to Easter Everywhere all the time. It was like a prescription. I would wake up every day and put it on and get my head sorted.

KV: Why that album as opposed to the debut or Bull of the Woods?

JH: I think that was sort of Roky's [Erickson] definitive statement. All the earlier forms of rock he was being so playful with just sort of came together on that record, and it's the most psychedelic, too. I've been getting into his solo stuff recently, too. He's an incredibly unique musician.

Bob Dylan
“I Wanna Be Your Lover”
from Thin Wild Mercury Music bootleg (1965)

JH: This is obviously Bob Dylan, but I don't think I know this song. It's mid- to late-‘60s, though. I've been listening to him a lot lately. I've been listening to New Morning. It's different for him, but I really like it. I just got Blood on the Tracks, and maybe I haven't familiarized myself with it enough, but I don't understand why some people think it's his best. I think Dylan can't make anything terrible, though.

KV: Have you heard his ‘80s stuff? And you still want to stand by that statement?

JH: (Laughs) I'm not standing by any of my statements! That wasn't really his fault. Everything sounded bad in the ‘80s, except for punk rock.

The Crystals
“He Hit Me (and It Felt Like a Kiss)”
from He's a Rebel (1963)

JH: (Immediately) This is one of my favorite songs: The Crystals. I have it on a mixtape I play all the time. It's the B-side to the 45 of He's a Rebel I have, which may be my favorite song right now. I love this kind of pop music. I like Phil Spector a lot.

KV: And [the song's writers] Carole King and Gerry Goffin?

JH: Yeah, I like Carole King! Have you seen that movie that's supposed to be about her? I can't remember what it's called [Grace of My Heart], but it stars Illeana Douglas. It's not really that good, but I think it's cool they made a movie based on her.

John Parrish and Polly Jean Harvey
“Is That All There Is?”
From Dance Hall at Louse Point (1996)

JH: What's this? I know this. (pause) Oh! This is a great song; it's PJ Harvey singing that Leiber and Stoller song. I really like those real weird pop songs. I like PJ Harvey: 4-Track Demos is my favorite. I guess what's-his-face [Steve Albini] recorded her, and it didn't really add much to what she had. I thought he sharpened it too much. He makes everything sound the same. He has a formula. That's how he makes money. You don't get to be recognized as a producer unless you make everything sound the same way.

KV: Can you think of any notable producers that don't necessarily do that?