They say you snooze, you lose,
Well I have snost and lost

Since the dissolution of Soul Coughing several years ago, Dode has continued making soulful, quirky “alternative” music without quite as much electronic sampling and such. He’s released a bunch of albums and EPs (see ). I haven’t listened to all of them, but I do rather enjoy Haughty Melodic (a palindrome of “Michael Doughty”), which was probably the best-received, critically and commercially. The standout tracks for me on that album are “Sunken-Eyed Girl,” “Your Misfortune,” and “I Hear The Bells,” but “Looking at the World from the Bottom of a Well” is the single, so to speak. It’s been featured on some tv soundtracks lately, so it’s experiencing a bit of a renaissance and you may have heard it on the radio, if you’re into that sort of thing. Personally, I’m more into this sort of thing:

Now Mike has a new album out entitled Golden Delicious. I haven’t listened to it as much as Haughty Melodic but I’ve been playing it for the past couple weeks and I’m really diggin’ it. My favorite track is “I Wrote a Song About Your Car,” and I also really like “More Bacon Than the Pan Can Handle” and the single “27 Jennifers” which was previously released on his 2003 EP “Rockity Roll.” Here’s the video for “27 Jennifers”:

Last night I had the pleasure of seeing Mike Doughty’s Band live at The Fillmore in San Francisco. He played a good mix of songs from his solo work and the Soul Coughing catalog. There wasn’t anything resembling a mosh pit, but we did get more bacon than the pan can handle. He actually played that track on a Roland SP-606 Sampling Workstation, like in this video. It was quite similar to the way that Jonathan Coulton plays “Mr. Fancy Pants” on the Zendrum in his live act. But I digress.

The non-musical highlight of last night’s show was when Dode set expectations with us for the end of the show. Four songs before the end, he explained that the next song would be “the song before the fake last song,” to be followed by “the fake last song” with an accompanying big rock ending and the re-introduction (including hometowns) of all the members of the band plus the soundguy. The explanation continued something like this, “Following the fake last song, we will turn around, and you will applaud, or not, and then we’ll turn around and act surprised to see you and then we’ll play two additional songs, including the song that’s been getting a lot of radio airplay, and then we’ll leave and you’ll leave.” I had never before heard a performer set such explicit expectations for the end of the show, and particularly liked that he called the fake last song by name.

You can hear more Mike Doughty at last.fm.