Location: Parody Hall, Kansas City, MO
Support act(s):
In the company of: ?
This was actually the Steve, Bob, & Rich show in which the band announced their new name, The Rainmakers. Parody Hall, down by the Missouri river was a great (albeit scary) place to have such an important show.
KY-102 later replayed this night on their station and I recorded it off the radio. Still have that cassette. Waiting for the CD release.
Tuesday, July 14, 2009
Wednesday, July 8, 2009
103. WALKENHORST & PORTER, 7/1/09
Location: The Record Bar, Kansas City
In the Company of: Chris
Bob Walkenhorst and Jeff Porter have been playing Wednesday night gigs at KC’s Record Bar for several years now. They finally decided to collaborate on an album entitled “No Abandon” (Bat Records). To put a label on this creation is another story altogether. Some may hear folk-rock; others may say it drifts into country. The beautiful melodies and sharp musicianship override any attempt to categorize this music.
You may remember the 80s/90s band the Rainmakers. Walkenhorst was the lead singer, chief songwriter, and master storyteller of that group. The band enjoyed partial success in the U.S. and much more in Europe. They made Rolling Stone magazine, appeared on MTV, reached the charts, and even snuck into a couple Steven King novels. Some of the freshest and most inspired rock songs came from the Rainmakers, including “Let My People Go-Go,” “Downstream,” “Small Circles,” “Spend It On Love,” and “Skin.” Some fans argue that the Rainmakers’ sound is the definition of Rock and Roll. But despite a huge fan following and thousands of records sold, the band would disband and go their separate ways.
Fast-forward to 2009 and the CD release party for “No Abandon.” This is not the most upbeat selection of songs, but rather an attempt by the songwriters to take a look back as well as a look forward. As most middle-agers do, the singers are evaluating and reevaluating their lives – personally and professionally. The result is a wonderful snapshot that is easily accessible to the listener. Walkenhorst’s soulful vocals paint a vivid picture while Porter’s voice is the perfect complement. Walkenhorst and Porter were joined on drums by former Rainmakers drummer Pat Tomek, along with bassist Norm Dahlor from the excellent Celtic rock band the Elders.
In the title track, it seems Walkenhorst has decided to dispense with the thoughts and dreams of younger days and move forward (“I’ll settle down in No Abandon / After years of running hard / I will lay down my youth’s illusions / I will surrender pride’s rewards”). On the alluring “Silver Lake,” mortality is addressed (“Loons on the silver lake cannot stop laughing / At how seriously I take my own brief passing / My own brief passing”).
In “Broken Radio,” the boys get all countrified as Walkenhorst sings, “All the songs I sing are sad ones / Expectations of me are all bad ones / I couldn’t have less to live up to if I tried.” And on Porter’s “Jimmy Lee,” he tells the story of his real life uncle who also was a singer and who had to relinquish those dreams of his past (“Are you singing about a promise you made when you were young? / Jimmy that’s a song that everybody’s sung”).
After playing one of the album’s more introspective songs, Walkenhorst exclaimed, “Most bands would now play an upbeat song. This is not that album.” The Record Bar was packed with fans that seemed to adore each and every tune. After playing several from the new release, the band dove headfirst into some of the Rainmakers’ greatest concoctions: “Downstream,” The Wages Of Sin,” “The Width Of A Line,” “Small Circles,” “Spend It On Love,” “Information,” “One More Summer,” “Reckoning Day,” and “Hoo Dee Hoo.” Two additional songs (“Life Can Turn” and “Jan Vermeer”) were played from Walkenhorst’s 2003 solo release “The Beginner” (Bat).
As the evening progressed, the tempo, volume, and heat cranked up considerably. This had evolved into a special night that most will not soon forget. Mark Twain and Harry Truman would be proud.
In the Company of: Chris
Bob Walkenhorst and Jeff Porter have been playing Wednesday night gigs at KC’s Record Bar for several years now. They finally decided to collaborate on an album entitled “No Abandon” (Bat Records). To put a label on this creation is another story altogether. Some may hear folk-rock; others may say it drifts into country. The beautiful melodies and sharp musicianship override any attempt to categorize this music.
You may remember the 80s/90s band the Rainmakers. Walkenhorst was the lead singer, chief songwriter, and master storyteller of that group. The band enjoyed partial success in the U.S. and much more in Europe. They made Rolling Stone magazine, appeared on MTV, reached the charts, and even snuck into a couple Steven King novels. Some of the freshest and most inspired rock songs came from the Rainmakers, including “Let My People Go-Go,” “Downstream,” “Small Circles,” “Spend It On Love,” and “Skin.” Some fans argue that the Rainmakers’ sound is the definition of Rock and Roll. But despite a huge fan following and thousands of records sold, the band would disband and go their separate ways.
Fast-forward to 2009 and the CD release party for “No Abandon.” This is not the most upbeat selection of songs, but rather an attempt by the songwriters to take a look back as well as a look forward. As most middle-agers do, the singers are evaluating and reevaluating their lives – personally and professionally. The result is a wonderful snapshot that is easily accessible to the listener. Walkenhorst’s soulful vocals paint a vivid picture while Porter’s voice is the perfect complement. Walkenhorst and Porter were joined on drums by former Rainmakers drummer Pat Tomek, along with bassist Norm Dahlor from the excellent Celtic rock band the Elders.
In the title track, it seems Walkenhorst has decided to dispense with the thoughts and dreams of younger days and move forward (“I’ll settle down in No Abandon / After years of running hard / I will lay down my youth’s illusions / I will surrender pride’s rewards”). On the alluring “Silver Lake,” mortality is addressed (“Loons on the silver lake cannot stop laughing / At how seriously I take my own brief passing / My own brief passing”).
In “Broken Radio,” the boys get all countrified as Walkenhorst sings, “All the songs I sing are sad ones / Expectations of me are all bad ones / I couldn’t have less to live up to if I tried.” And on Porter’s “Jimmy Lee,” he tells the story of his real life uncle who also was a singer and who had to relinquish those dreams of his past (“Are you singing about a promise you made when you were young? / Jimmy that’s a song that everybody’s sung”).
After playing one of the album’s more introspective songs, Walkenhorst exclaimed, “Most bands would now play an upbeat song. This is not that album.” The Record Bar was packed with fans that seemed to adore each and every tune. After playing several from the new release, the band dove headfirst into some of the Rainmakers’ greatest concoctions: “Downstream,” The Wages Of Sin,” “The Width Of A Line,” “Small Circles,” “Spend It On Love,” “Information,” “One More Summer,” “Reckoning Day,” and “Hoo Dee Hoo.” Two additional songs (“Life Can Turn” and “Jan Vermeer”) were played from Walkenhorst’s 2003 solo release “The Beginner” (Bat).
As the evening progressed, the tempo, volume, and heat cranked up considerably. This had evolved into a special night that most will not soon forget. Mark Twain and Harry Truman would be proud.
Monday, July 6, 2009
102. BETTER THAN EZRA, 6/14/09
Location: Variety Playhouse, Atlanta
Supporting Act(s): Tyrone Wells, Marianne Keith
In the Company of: Chris, Joby S., Susan S.
Describing a tour as “reunion” or “comeback” is painfully overused these days. Many bands never leave, but are just not heard from for long stretches of time. For New Orleans’ Better Than Ezra, this is the case.
The quintet never really left the scene, but the average music listener may not be aware of that. BTE have consistently released records since their initial fan-fave album “Deluxe” in 1994. From that album was the irrepressible “Good” (“Well maybe I’ll call or write you a letter / Now maybe we’ll see on the Fourth of July / But I’m not too sure, and I’m not too proud / Well I’m not too sure and I’m not too proud to say uh-huh / It was good livin’ with you uh-huh…”).
Anyone having seen the band knows that it’s all about fun. Leader Kevin Griffin mixed it up with the audience as well as his band mates throughout the evening. BTE is touring in support of their new album “Paper Empire,” which offers “Absolutely Still” as it’s first single.
Among the selections were the hits (and near-hits) “Good,” “King Of New Orleans,” “Desperately Wanting,” “In The Blood,” and “Extra Ordinary.” As per tradition, the band covered several songs including the Rolling Stones’ “Miss You,” Blur’s “Song 2,” and James’ “Laid,” which is actually on their greatest hits CD and was a definite crowd pleaser (“Moved out of the house, so you moved next door / I locked you out, you cut a hole in the wall / I found you sleeping next to me, I thought I was alone / You're driving me crazy, when are you coming home”).
Marianne Keith opened the show with just her guitar. She was fresh, poppy, and talented…just what I was looking for.
Tyrone Wells was next up and impressed many a BTE fan. Wells, a California singer-songwriter, shared the same spirit of fun as the headliner and got the crowd primed for the show. You may recognize his song “More,” which is featured in the A&E series “Intervention.” Watch for him in the future.
Supporting Act(s): Tyrone Wells, Marianne Keith
In the Company of: Chris, Joby S., Susan S.
Describing a tour as “reunion” or “comeback” is painfully overused these days. Many bands never leave, but are just not heard from for long stretches of time. For New Orleans’ Better Than Ezra, this is the case.
The quintet never really left the scene, but the average music listener may not be aware of that. BTE have consistently released records since their initial fan-fave album “Deluxe” in 1994. From that album was the irrepressible “Good” (“Well maybe I’ll call or write you a letter / Now maybe we’ll see on the Fourth of July / But I’m not too sure, and I’m not too proud / Well I’m not too sure and I’m not too proud to say uh-huh / It was good livin’ with you uh-huh…”).
Anyone having seen the band knows that it’s all about fun. Leader Kevin Griffin mixed it up with the audience as well as his band mates throughout the evening. BTE is touring in support of their new album “Paper Empire,” which offers “Absolutely Still” as it’s first single.
Among the selections were the hits (and near-hits) “Good,” “King Of New Orleans,” “Desperately Wanting,” “In The Blood,” and “Extra Ordinary.” As per tradition, the band covered several songs including the Rolling Stones’ “Miss You,” Blur’s “Song 2,” and James’ “Laid,” which is actually on their greatest hits CD and was a definite crowd pleaser (“Moved out of the house, so you moved next door / I locked you out, you cut a hole in the wall / I found you sleeping next to me, I thought I was alone / You're driving me crazy, when are you coming home”).
Marianne Keith opened the show with just her guitar. She was fresh, poppy, and talented…just what I was looking for.
Tyrone Wells was next up and impressed many a BTE fan. Wells, a California singer-songwriter, shared the same spirit of fun as the headliner and got the crowd primed for the show. You may recognize his song “More,” which is featured in the A&E series “Intervention.” Watch for him in the future.
Wednesday, June 3, 2009
CD Review: The Lonely Forest, "We Sing The Body Electric!"
(Burning Building Recordings, released April 21, 2009)
The sources of new music for me are many. Recommendations from friends, reading music reviews, and once in a while, a chance radio experience. While listening to the local college station here in Atlanta recently, I heard a song that I had to find. I called Album 88 (Georgia State University’s WRAS) and the DJ told me it was “We Sing In Time” by the Anacortes, WA band The Lonely Forest. My mission was clear: get that album. Following a brief search, I broke down and bought the download.
After several listens into We Sing The Body Electric!, I had discovered the music that would move into heavy rotation on my iPod for the next few weeks. The band, consisting of John Van Deusen (vocals, guitar, keyboards), Bradyn Krueger (drums), Eric Sturgeon (bass, vocals), and Tony Ruland (guitar), so far have only limited tour experience, mainly throughout the state of Washington. Upon winning a local competition, the EMP Soundoff, the band recorded the new album with producer Jack Endino (Nirvana, Soundgarden) as the prize. More positive exposure came when Death Cab For Cutie’s Chris Walla dropped their name in a CNN interview. To quote Walla, “There's a band from Seattle called the Lonely Forest whose record I just picked up. They're a new band, it came out few weeks ago, and that's totally doing it for me right now.” Coming from Indie rock’s current kings, that cannot hurt.
The Lonely Forest’s sound has been compared to the likes of Guided By Voices, the Hold Steady, and Built To Spill. I hear clear parallels to fellow Washingtonians Death Cab For Cutie. But when all is said and done, TLF has created a new and fresh sound for lucky listeners everywhere.
The first track from The Body Electric! is “Two Pink Pills,” an ode to Benadryl as a sleep aid. Apparently, Van Deusen had a mild “addiction” to this over-the-counter medication (“I hear a voice, it’s faint and weak / Two pink pills to fall asleep”). The song begins innocent enough with sparse harmonies, but soon evolves into a rocker.
“We Sing In Time” is the first single and is pure pop perfection, with excellent vocals by Van Deusen and top-notch musicianship by all (“In Time the trees die and light will fade / But I hope for a new breath, a new life to take me away”).
From the expansive sound of “Far Outer Banks” to the minimalism of “For Julia,” this record fires on all cylinders and has, in my opinion, something for everyone. If you’re needing something to raise your heart rate, put in the earbuds and crank up “Centennial.” Van Deusen sprinkles in piano throughout The Body Electric! which adds much to the already layered sound.
My hope is that some bigtimers looking for a solid opener will tap these fellows for a tour and soon. I think we’ll be hearing a lot more from The Lonely Forest (a guest slot on Conan O’Brien would be perfect).
The sources of new music for me are many. Recommendations from friends, reading music reviews, and once in a while, a chance radio experience. While listening to the local college station here in Atlanta recently, I heard a song that I had to find. I called Album 88 (Georgia State University’s WRAS) and the DJ told me it was “We Sing In Time” by the Anacortes, WA band The Lonely Forest. My mission was clear: get that album. Following a brief search, I broke down and bought the download.
After several listens into We Sing The Body Electric!, I had discovered the music that would move into heavy rotation on my iPod for the next few weeks. The band, consisting of John Van Deusen (vocals, guitar, keyboards), Bradyn Krueger (drums), Eric Sturgeon (bass, vocals), and Tony Ruland (guitar), so far have only limited tour experience, mainly throughout the state of Washington. Upon winning a local competition, the EMP Soundoff, the band recorded the new album with producer Jack Endino (Nirvana, Soundgarden) as the prize. More positive exposure came when Death Cab For Cutie’s Chris Walla dropped their name in a CNN interview. To quote Walla, “There's a band from Seattle called the Lonely Forest whose record I just picked up. They're a new band, it came out few weeks ago, and that's totally doing it for me right now.” Coming from Indie rock’s current kings, that cannot hurt.
The Lonely Forest’s sound has been compared to the likes of Guided By Voices, the Hold Steady, and Built To Spill. I hear clear parallels to fellow Washingtonians Death Cab For Cutie. But when all is said and done, TLF has created a new and fresh sound for lucky listeners everywhere.
The first track from The Body Electric! is “Two Pink Pills,” an ode to Benadryl as a sleep aid. Apparently, Van Deusen had a mild “addiction” to this over-the-counter medication (“I hear a voice, it’s faint and weak / Two pink pills to fall asleep”). The song begins innocent enough with sparse harmonies, but soon evolves into a rocker.
“We Sing In Time” is the first single and is pure pop perfection, with excellent vocals by Van Deusen and top-notch musicianship by all (“In Time the trees die and light will fade / But I hope for a new breath, a new life to take me away”).
From the expansive sound of “Far Outer Banks” to the minimalism of “For Julia,” this record fires on all cylinders and has, in my opinion, something for everyone. If you’re needing something to raise your heart rate, put in the earbuds and crank up “Centennial.” Van Deusen sprinkles in piano throughout The Body Electric! which adds much to the already layered sound.
My hope is that some bigtimers looking for a solid opener will tap these fellows for a tour and soon. I think we’ll be hearing a lot more from The Lonely Forest (a guest slot on Conan O’Brien would be perfect).
Saturday, May 16, 2009
101. THE PAINS OF BEING PURE AT HEART, 5/3/09
Location: The E.A.R.L., Atlanta
Supporting Act(s): ZAZA, Sea Lions
In the Company of: Thomas S. & Andrew G.
Hailing from Brooklyn, New York, The Pains of Being Pure at Heart are enjoying that initial taste of success. Supporting their first full length, self-titled album (Slumberland Records), these shoegazers have received some critical acclaim. Commercial acclaim may soon follow. With a sound reminiscent of My Bloody Valentine, the Pains supply a wall-of-guitar sound and swift drumming accompanied by buried, sometimes unintelligible lyrics (not quite a “Murmur,” but some songs come close). All this with a sugary-sweet pop sensibility.
Band members Kip Berman (guitar, vocals), Alex Naidus (bass), Kurt Feldman (drums), and Peggy Wang-East (keyboards, vocals) formed TPOBPAH in 2007 with a three-inch, self-titled CD-R (Cloudberry Records) that garnered some positive feedback.
The high-energy songs seemed much appreciated by the crowd and the musicians appeared happy to be in Atlanta for the second show of this tour. One gaffe was forgiven when they claimed to be looking for a place with a mechanical bull. Just a bit of naiveté confusing Georgia with, say, Texas. It’s okay. They’re young.
Among the songs performed were “Young Adult Friction,” “Everything With You,” “A Teenager In Love,” “This Love Is F****** Right!” and “Come Saturday” (“Come Saturday, you'll come to say / maybe there's no harm in a wasted summer with no drummer / we're gonna stay in”). All exceptionally performed with solid musicianship. And my sweet tooth was adequately satisfied.
Fellow Brooklyners ZAZA gave a stirring performance that was also very positively received. Danny and Jenny borrowed TPOBPAH drummer Kurt adding to their beautiful and atmospheric sound. ZAZA released the “Cameo” EP in 2009 to warm reviews and are relative newcomers to the touring scene. They seemed, however, to have it all under control on this night, competing handily with the headliner.
Local Atlanta duo Sea Lion kickstarted the room with a little help from a drum machine. This was a nice dose of exposure for the poppy band.
Supporting Act(s): ZAZA, Sea Lions
In the Company of: Thomas S. & Andrew G.
Hailing from Brooklyn, New York, The Pains of Being Pure at Heart are enjoying that initial taste of success. Supporting their first full length, self-titled album (Slumberland Records), these shoegazers have received some critical acclaim. Commercial acclaim may soon follow. With a sound reminiscent of My Bloody Valentine, the Pains supply a wall-of-guitar sound and swift drumming accompanied by buried, sometimes unintelligible lyrics (not quite a “Murmur,” but some songs come close). All this with a sugary-sweet pop sensibility.
Band members Kip Berman (guitar, vocals), Alex Naidus (bass), Kurt Feldman (drums), and Peggy Wang-East (keyboards, vocals) formed TPOBPAH in 2007 with a three-inch, self-titled CD-R (Cloudberry Records) that garnered some positive feedback.
The high-energy songs seemed much appreciated by the crowd and the musicians appeared happy to be in Atlanta for the second show of this tour. One gaffe was forgiven when they claimed to be looking for a place with a mechanical bull. Just a bit of naiveté confusing Georgia with, say, Texas. It’s okay. They’re young.
Among the songs performed were “Young Adult Friction,” “Everything With You,” “A Teenager In Love,” “This Love Is F****** Right!” and “Come Saturday” (“Come Saturday, you'll come to say / maybe there's no harm in a wasted summer with no drummer / we're gonna stay in”). All exceptionally performed with solid musicianship. And my sweet tooth was adequately satisfied.
Fellow Brooklyners ZAZA gave a stirring performance that was also very positively received. Danny and Jenny borrowed TPOBPAH drummer Kurt adding to their beautiful and atmospheric sound. ZAZA released the “Cameo” EP in 2009 to warm reviews and are relative newcomers to the touring scene. They seemed, however, to have it all under control on this night, competing handily with the headliner.
Local Atlanta duo Sea Lion kickstarted the room with a little help from a drum machine. This was a nice dose of exposure for the poppy band.
Monday, April 13, 2009
100. Timbuk 3, sometime in 1986 (out of order)
Location: Parody Hall, Kansas City, MO
Supporting Act(s): ?
In the Company of: ?
Just realized I had missed logging this show while talking to a friend about Parody Hall. This was on the heels of Timbuk 3's release "Greetings From Timbuk 3," including the Top 20 hit "The Future's So Bright I Gotta Wear Shades."
It was him, her, and a boombox. Good times.
Supporting Act(s): ?
In the Company of: ?
Just realized I had missed logging this show while talking to a friend about Parody Hall. This was on the heels of Timbuk 3's release "Greetings From Timbuk 3," including the Top 20 hit "The Future's So Bright I Gotta Wear Shades."
It was him, her, and a boombox. Good times.
Monday, March 9, 2009
Review: U2’s “No Line On The Horizon”
Let’s put aside, if we can, the years of accolades this band has earned. Let’s forget about Rolling Stone Magazine’s five-star rating for this album (giving it “classic” status). Ignore the aging rock stars that have been written off more than once. And pay no attention to the sparse grey album cover that has left some fans scratching their heads.
All you need to focus on is the music. Three of the finest producers in music – all previous U2 collaborators – were involved in U2’s twelfth studio album. Danny Lanois, Brian Eno, and Steve Lillywhite all put their mark on “No Line On The Horizon.” The result is exactly what one would expect from such a convergence of talent and experience. It is both genuine U2 as well as the antithesis of anything the Dubliners have ever recorded. With a weeklong stint on Letterman under their belts and a mini-concert at Fordham University, U2 is going for major exposure.
My first exposure to the band was in 1983. College days. A friend had just picked up their third release “War” and I was informed that I must hear it. That’s where it began for me. Over the next 26 years, I would enjoy the art and creativity of this Irish band and respect their attempts to always be fresh, not fearing a new direction, regardless of record sales.
I’ve had an old tune stuck in my head the past few days. When I first saw the new album cover (a black and white photograph of the Boden Sea, Uttwil, by Japanese artist Hiroshi Sugimoto) I could hear strains of “The Ocean,” a song on U2’s first release, 1980’s “Boy” (“A picture in grey / Dorian Gray / Just me by the sea”). The song, like the photo, is dreamy and simple.
The album kicks off with the title track, a churning piece of work perfectly placed in the leadoff position (“I know a girl who’s like the sea / I watch her changing every day for me / Oh yeah”).
“Magnificent” begins with nice synth, followed by some Yaz-like keyboards, soon building into a driving rock song. U2 has cornered the market on the rising-out-of-the-shadows-to-rock-explosion song (listen to “Where The Streets Have No Name,” among several others). Edge’s slide guitar brings back memories of the late great George Harrison on this one.
The bluesy “Moment Of Surrender” appears with techno loop and church organ that could have appeared on The Joshua Tree (if recorded in the 21st century). “We set ourselves on fire / O God do not deny her / It’s not if I believe in love / But if love believes in me,” sings Bono. And you almost believe him.
“Unknown Caller” begins with chirping birds followed suddenly by the simple magic of the Edge’s guitar pouring over you. Bono’s falsetto calling out “Sunshine, sunshine.” The French horn makes this one special.
“There’s a part of me in the chaos that’s quiet / And there’s a part of you that wants me to riot / Everybody needs to cry or needs to spit / Every sweet tooth needs just a little hit / Every beauty needs to go out with an idiot / How can you stand next to the truth and not see it?” sings Bono on “I’ll Go Crazy If I Don’t Go Crazy Tonight.” This is one of the upbeat selections that is constantly bouncing around in my head.
Next up is the song everyone’s been singing for the past few weeks, “Get On Your Boots,” a hyperactive, straight ahead rock and roll song. It’s got everything U2 fans have come to expect: the fine rhythm section of bassist Adam Clayton and drummer Larry Mullen, Jr., the always joyful and complex guitar stylings of Dave “The Edge” Evans, and the emotion-packed, sky-high range of the band’s most important instrument, Paul “Bono” Hewson’s vocals. It’s the most ambitious song on the album and rightly chosen as the first single.
“Stand Up Comedy” possesses the dark and brooding sounds of “Bullet The Blue Sky.” Almost. The true departure is a funk vibe throughout.
For “FEZ-Being Born,” lyrics from “Get On Your Boots” are layered under the synthesized beginnings (“Let me in the sound / Let me in the sound sound…”). Fez is a small town in Morocco where some of this album was recorded. You may recognize flavors of the region in this music.
“White As Snow,” a traditional piece, is a calming exhibit of U2’s emotional range. One would not expect a song such as this to be on the same record as “Boots,” for example. But they peacefully coexist and beautiful, it is (“Who can forgive forgiveness where forgiveness is not / Only the lamb as white as snow”).
Shifting it all back into high gear is the guitar rocker “Breathe,” another example in the long list of Bono’s super-human vocal range ability. You keep waiting for that voice to crack, but it never happens. Each member’s contribution is, in itself, the most vital...the most important piece of the puzzle. How can that be? Each donates the perfect ingredient for the song. Bono emotes, “Every day I have to find the courage / To walk out into the street / With arms out / Got a love you can’t defeat.” He introduces his heart to his sleeve nearly every time he opens his mouth. And that’s a good thing. That’s a very good thing.
The closing track “Cedars Of Lebanon” seeps into your consciousness like a cold, creamy Guinness Draught. Mullen’s drumming is reminiscent of the “Sunday Bloody Sunday” marching beat, but in a much more reserved fashion. This song is ethereal.
If reinvention is an artistic goal, U2 has achieved that goal once again. By trying new things, they remain consistent with their professional blueprint. To paraphrase Geddy Lee, they know changes aren’t permanent, but change is.
All you need to focus on is the music. Three of the finest producers in music – all previous U2 collaborators – were involved in U2’s twelfth studio album. Danny Lanois, Brian Eno, and Steve Lillywhite all put their mark on “No Line On The Horizon.” The result is exactly what one would expect from such a convergence of talent and experience. It is both genuine U2 as well as the antithesis of anything the Dubliners have ever recorded. With a weeklong stint on Letterman under their belts and a mini-concert at Fordham University, U2 is going for major exposure.
My first exposure to the band was in 1983. College days. A friend had just picked up their third release “War” and I was informed that I must hear it. That’s where it began for me. Over the next 26 years, I would enjoy the art and creativity of this Irish band and respect their attempts to always be fresh, not fearing a new direction, regardless of record sales.
I’ve had an old tune stuck in my head the past few days. When I first saw the new album cover (a black and white photograph of the Boden Sea, Uttwil, by Japanese artist Hiroshi Sugimoto) I could hear strains of “The Ocean,” a song on U2’s first release, 1980’s “Boy” (“A picture in grey / Dorian Gray / Just me by the sea”). The song, like the photo, is dreamy and simple.
The album kicks off with the title track, a churning piece of work perfectly placed in the leadoff position (“I know a girl who’s like the sea / I watch her changing every day for me / Oh yeah”).
“Magnificent” begins with nice synth, followed by some Yaz-like keyboards, soon building into a driving rock song. U2 has cornered the market on the rising-out-of-the-shadows-to-rock-explosion song (listen to “Where The Streets Have No Name,” among several others). Edge’s slide guitar brings back memories of the late great George Harrison on this one.
The bluesy “Moment Of Surrender” appears with techno loop and church organ that could have appeared on The Joshua Tree (if recorded in the 21st century). “We set ourselves on fire / O God do not deny her / It’s not if I believe in love / But if love believes in me,” sings Bono. And you almost believe him.
“Unknown Caller” begins with chirping birds followed suddenly by the simple magic of the Edge’s guitar pouring over you. Bono’s falsetto calling out “Sunshine, sunshine.” The French horn makes this one special.
“There’s a part of me in the chaos that’s quiet / And there’s a part of you that wants me to riot / Everybody needs to cry or needs to spit / Every sweet tooth needs just a little hit / Every beauty needs to go out with an idiot / How can you stand next to the truth and not see it?” sings Bono on “I’ll Go Crazy If I Don’t Go Crazy Tonight.” This is one of the upbeat selections that is constantly bouncing around in my head.
Next up is the song everyone’s been singing for the past few weeks, “Get On Your Boots,” a hyperactive, straight ahead rock and roll song. It’s got everything U2 fans have come to expect: the fine rhythm section of bassist Adam Clayton and drummer Larry Mullen, Jr., the always joyful and complex guitar stylings of Dave “The Edge” Evans, and the emotion-packed, sky-high range of the band’s most important instrument, Paul “Bono” Hewson’s vocals. It’s the most ambitious song on the album and rightly chosen as the first single.
“Stand Up Comedy” possesses the dark and brooding sounds of “Bullet The Blue Sky.” Almost. The true departure is a funk vibe throughout.
For “FEZ-Being Born,” lyrics from “Get On Your Boots” are layered under the synthesized beginnings (“Let me in the sound / Let me in the sound sound…”). Fez is a small town in Morocco where some of this album was recorded. You may recognize flavors of the region in this music.
“White As Snow,” a traditional piece, is a calming exhibit of U2’s emotional range. One would not expect a song such as this to be on the same record as “Boots,” for example. But they peacefully coexist and beautiful, it is (“Who can forgive forgiveness where forgiveness is not / Only the lamb as white as snow”).
Shifting it all back into high gear is the guitar rocker “Breathe,” another example in the long list of Bono’s super-human vocal range ability. You keep waiting for that voice to crack, but it never happens. Each member’s contribution is, in itself, the most vital...the most important piece of the puzzle. How can that be? Each donates the perfect ingredient for the song. Bono emotes, “Every day I have to find the courage / To walk out into the street / With arms out / Got a love you can’t defeat.” He introduces his heart to his sleeve nearly every time he opens his mouth. And that’s a good thing. That’s a very good thing.
The closing track “Cedars Of Lebanon” seeps into your consciousness like a cold, creamy Guinness Draught. Mullen’s drumming is reminiscent of the “Sunday Bloody Sunday” marching beat, but in a much more reserved fashion. This song is ethereal.
If reinvention is an artistic goal, U2 has achieved that goal once again. By trying new things, they remain consistent with their professional blueprint. To paraphrase Geddy Lee, they know changes aren’t permanent, but change is.
Saturday, February 14, 2009
99. THE ENGLISH BEAT, 1/24/09
Location: The Loft in Atlanta
Supporting Act: Bad Manners
In the Company of: Thomas S.
Margaret Thatcher has been out of the spotlight for several years. This, however, did not spoil the vibe of hearing “Stand Down Margaret” live. It still feels relevant these days as more and more Americans have discovered they have a voice in the political process. Original English Beater Dave Wakeling kicked off the show with “Whine and Grine / Stand Down Margaret” at the cozy Loft in Atlanta. It was loud, hot, and crowded…it was Ska.
Although Wakeling appeared to be the only original member left – he was surrounded by a younger generation of musicians – this seemed like a time warp back to 1979. That year was mentioned frequently throughout the evening as the Beat are celebrating their 30th anniversary. A notable omission from the line up was Wakeling’s right-hand man from the early days, Ranking Roger, who added the reggae/island/Ska feel to the sound of the English Beat. His replacement did and adequate job of filling in those “ranking” gaps. Replacing the grandfather of the Beat, saxophone player Papa Saxa, was a younger and more handsome sax player who did a terrific job of hitting all the notes.
The song list was a veritable greatest hits collection. “Mirror In The Bathroom,” a song some believe refers to cocaine addiction, was a rollicking dancer (“Mirror in the bathroom please talk free / The door is locked just you and me / Can I take you to a restaurant that’s got glass tables / You can watch yourself while you are eating”). Other joys included “Hands Off She’s Mine,” “Doors Of Your Heart,” “I Confess,” “Twist And Crawl,” “Rankin Full Stop,” “Click Click,” and “Can’t Get Used To Losing You.”
The group’s first single was the Smokey Robinson and the Miracles cover, “Tears Of A Clown,” which must be one of the all-time great remakes and an all out sing-along for this show. During the classic “Save It For Later,” the Beat broke into the I-didn’t-see-it-coming moment of the show playing a few verses of Pearl Jam’s “Better Man.” When two musical worlds such as this collide, everybody wins.
When the band disbanded in 1983, Wakeling and Roger formed the group General Public, while Andy Cox and David Steele hired Roland Gift to sing in the future hit machine Fine Young Cannibals. On this night, Dave played three GP songs, “I’ll Take You There,” “Never You Done That,” and the hit “Tenderness.”
Wakeling’s smooth-as-gold voice is still mostly intact. The absence of Ranking Roger was unfortunate, but with your eyes closed, you may not have missed him too terribly (sorry Roger). With a crowd full of thirty- and forty-somethings dancing like they were back in college, it was definitely a party atmosphere. I have to admit, my first exposure to the English Beat was when Police front man Sting wore one of their t-shirts in the video “Don’t Stand So Close To Me.” Being a Police fan, I had to investigate. That was twenty-nine years ago and I’m still a fan of the Beat.
Opening band Bad Manners, an English 2 Tone Ska revival band like the Beat, had quite an illustrious career in early 80s England. Leader of the band Buster Bloodvessel was big, bald, burly, and quite the extrovert. A few of their selections included “Lip Up Fatty,” “My Girl Lollipop,” and “Lorraine.” The numerous times we saw the full length of Bloodvessel’s tongue would have been enough to make Gene Simmons run for cover. It was enormous and bordering on disturbing (at least for me). With a first-rate band and a great three-piece horn section, Bad Manners truly warmed up the crowd. We were all primed with a lesson in Ska.
Supporting Act: Bad Manners
In the Company of: Thomas S.
Margaret Thatcher has been out of the spotlight for several years. This, however, did not spoil the vibe of hearing “Stand Down Margaret” live. It still feels relevant these days as more and more Americans have discovered they have a voice in the political process. Original English Beater Dave Wakeling kicked off the show with “Whine and Grine / Stand Down Margaret” at the cozy Loft in Atlanta. It was loud, hot, and crowded…it was Ska.
Although Wakeling appeared to be the only original member left – he was surrounded by a younger generation of musicians – this seemed like a time warp back to 1979. That year was mentioned frequently throughout the evening as the Beat are celebrating their 30th anniversary. A notable omission from the line up was Wakeling’s right-hand man from the early days, Ranking Roger, who added the reggae/island/Ska feel to the sound of the English Beat. His replacement did and adequate job of filling in those “ranking” gaps. Replacing the grandfather of the Beat, saxophone player Papa Saxa, was a younger and more handsome sax player who did a terrific job of hitting all the notes.
The song list was a veritable greatest hits collection. “Mirror In The Bathroom,” a song some believe refers to cocaine addiction, was a rollicking dancer (“Mirror in the bathroom please talk free / The door is locked just you and me / Can I take you to a restaurant that’s got glass tables / You can watch yourself while you are eating”). Other joys included “Hands Off She’s Mine,” “Doors Of Your Heart,” “I Confess,” “Twist And Crawl,” “Rankin Full Stop,” “Click Click,” and “Can’t Get Used To Losing You.”
The group’s first single was the Smokey Robinson and the Miracles cover, “Tears Of A Clown,” which must be one of the all-time great remakes and an all out sing-along for this show. During the classic “Save It For Later,” the Beat broke into the I-didn’t-see-it-coming moment of the show playing a few verses of Pearl Jam’s “Better Man.” When two musical worlds such as this collide, everybody wins.
When the band disbanded in 1983, Wakeling and Roger formed the group General Public, while Andy Cox and David Steele hired Roland Gift to sing in the future hit machine Fine Young Cannibals. On this night, Dave played three GP songs, “I’ll Take You There,” “Never You Done That,” and the hit “Tenderness.”
Wakeling’s smooth-as-gold voice is still mostly intact. The absence of Ranking Roger was unfortunate, but with your eyes closed, you may not have missed him too terribly (sorry Roger). With a crowd full of thirty- and forty-somethings dancing like they were back in college, it was definitely a party atmosphere. I have to admit, my first exposure to the English Beat was when Police front man Sting wore one of their t-shirts in the video “Don’t Stand So Close To Me.” Being a Police fan, I had to investigate. That was twenty-nine years ago and I’m still a fan of the Beat.
Opening band Bad Manners, an English 2 Tone Ska revival band like the Beat, had quite an illustrious career in early 80s England. Leader of the band Buster Bloodvessel was big, bald, burly, and quite the extrovert. A few of their selections included “Lip Up Fatty,” “My Girl Lollipop,” and “Lorraine.” The numerous times we saw the full length of Bloodvessel’s tongue would have been enough to make Gene Simmons run for cover. It was enormous and bordering on disturbing (at least for me). With a first-rate band and a great three-piece horn section, Bad Manners truly warmed up the crowd. We were all primed with a lesson in Ska.
Thursday, February 5, 2009
98. LOS CAMPESINOS! 1/17/09
Location: The EARL in Atlanta
Supporting Act(s): Titus Andronicus
In the Company of: Thomas S.
The Welsh Indie-pop group Los Campesinos! rocked the EARL (East Atlanta Restaurant & Lounge) with loads of glockenspiel-laden selections. Frontman Gareth multitasked between a single drum and the glockenspiel, while adroitly handling vocals.
The band first came into prominence in late 2006, with the Dave Newfeld (Broken Social Scene) produced “We Throw Parties, You Throw Knives” / “Don’t Tell Me To Do The Math(s)” double single. In June of 2007, the group released “You! Me! Dancing!” which, like several of their other creations, has a strange resemblance to a New Order song (mostly through bass and drums).
Los Campesinos! makes wonderfully energetic dance music. Maybe a tad too energetic. Nonetheless, not too many listeners in the packed EARL were standing still. And it was loud…did I mention that? All totaled, LC! consists of seven members (3 chicks; 4 dudes). One or two may have been absent on this cold night in Atlanta, but I’m not sure anyone noticed.
Gareth frequently channeled John Lydon (aka Johnny Rotten), which for a punk fan may be pure gold. He does, however, delve quite successfully into really rhythmic and hooky lyrics. The band amazed the audience with such gems as “Broken Heartbeats Sound Like Breakbeats,” “We Throw Parties, You Throw Knives,” and the contagious “You! Me! Dancing!” (“If there’s one thing I can never confess / It’s that I can’t dance a single step”).
I did draw a crazy parallel between LC! and the Sugarcubes, both having the sweet female vocals juxtaposed with the heavy western European-accented male vocals. Maybe it’s just me.
Opening the show with a firestorm of good karma was New Jersey’s Titus Andronicus. This group of four young ones thrashed onto the stage and gave it their all. With a rawness and power not common in such youngsters, these boys were a bit reminiscent of fellow garden-stater Bruce Springsteen (the harmonica did not hurt this connection). Add two parts Pogues and a sprinkle of the Clash and Sex Pistols and I think you’ll get a sense of what we heard that night.
Playing most if not all of the tracks on their new release “The Airing of Grievances” (taken from the Seinfeld episode featuring the Festivus holiday), it sounds like these boys should have a hit record. Oh yeah, and it was loud.
Supporting Act(s): Titus Andronicus
In the Company of: Thomas S.
The Welsh Indie-pop group Los Campesinos! rocked the EARL (East Atlanta Restaurant & Lounge) with loads of glockenspiel-laden selections. Frontman Gareth multitasked between a single drum and the glockenspiel, while adroitly handling vocals.
The band first came into prominence in late 2006, with the Dave Newfeld (Broken Social Scene) produced “We Throw Parties, You Throw Knives” / “Don’t Tell Me To Do The Math(s)” double single. In June of 2007, the group released “You! Me! Dancing!” which, like several of their other creations, has a strange resemblance to a New Order song (mostly through bass and drums).
Los Campesinos! makes wonderfully energetic dance music. Maybe a tad too energetic. Nonetheless, not too many listeners in the packed EARL were standing still. And it was loud…did I mention that? All totaled, LC! consists of seven members (3 chicks; 4 dudes). One or two may have been absent on this cold night in Atlanta, but I’m not sure anyone noticed.
Gareth frequently channeled John Lydon (aka Johnny Rotten), which for a punk fan may be pure gold. He does, however, delve quite successfully into really rhythmic and hooky lyrics. The band amazed the audience with such gems as “Broken Heartbeats Sound Like Breakbeats,” “We Throw Parties, You Throw Knives,” and the contagious “You! Me! Dancing!” (“If there’s one thing I can never confess / It’s that I can’t dance a single step”).
I did draw a crazy parallel between LC! and the Sugarcubes, both having the sweet female vocals juxtaposed with the heavy western European-accented male vocals. Maybe it’s just me.
Opening the show with a firestorm of good karma was New Jersey’s Titus Andronicus. This group of four young ones thrashed onto the stage and gave it their all. With a rawness and power not common in such youngsters, these boys were a bit reminiscent of fellow garden-stater Bruce Springsteen (the harmonica did not hurt this connection). Add two parts Pogues and a sprinkle of the Clash and Sex Pistols and I think you’ll get a sense of what we heard that night.
Playing most if not all of the tracks on their new release “The Airing of Grievances” (taken from the Seinfeld episode featuring the Festivus holiday), it sounds like these boys should have a hit record. Oh yeah, and it was loud.
Wednesday, November 26, 2008
THE BUSH ADMINISTRATION: A MUSICAL TRIBUTE
It’s been a long eight years for America…longer for some than others (see New Orleans). Luckily, we have some very creative musical artists out there suffering along with us. For them, the first amendment is expressed through their music.
These 30 selections may relate to the War in Iraq, the Katrina debacle, our shaky mantle as “The Greatest Country In The World,” our desire to have a president smarter than us (see “nucular”), and the list goes on.
This group of songs was culled from my memory – going back to January 20, 2001 – along with some quick research and a little help from my friends. However, what started out as a Top 10 list quickly became something else.
If you have any additions or omissions, let me know. I may update it judging from your responses. No later that January 19, though. To be fair, I did hunt for pro-Bush songs. Didn’t find any. The songs are listed alphabetically with a few lines from each. Enjoy.
A Few Words In Defense Of Our Country – Randy Newman
“A president once said, ’The only thing we have to fear is fear itself’ / Now it seems like we’re supposed to be afraid / It’s patriotic in fact and color coded / And what are we supposed to be afraid of? / Why, of being afraid / That’s what terror means, doesn’t it? / That’s what it used to mean”
America Is Not The World – Morrissey
“America your head's too big, because America, your belly is too big / And I love you, I just wish you'd stay where you belong / In America, The land of the free, they said, and of opportunity / In a just and a truthful way / But where the president is never black, female, or gay, and until that day, you've got nothing to say to me, to help me believe”
American Idiot – Green Day
“Well maybe I'm the faggot America / I'm not a part of a redneck agenda / Now everybody do the propaganda / And sing along to the age of paranoia”
Boom! – System of a Down
“4000 hungry children die per hour / From starvation / While billions spent on bombs / Create death showers”
Bu$hleaguer – Pearl Jam
“A confidence man but why so beleaguered? / He's not a leader he's a Texas leaguer / Swinging for the fence / Got lucky with a strike / Drilling for fear makes the job simple / Born on third / Thinks he got a triple”
Crazy World – Young Jeezy
“Goddamn another trap / I think Bush trying to punish us / Sending little messages out to each and every one of us”
Death Machine – Fiction Plane
“Don't look so smug when we're at war / You're not the boss you're just a whore / You keep your shoes so clean / Fuck you and your death machine / Oh, I ain't gonna fight no more”
Don’t Make Me A Target – Spoon
“Clubs and sticks and bats and balls / For nuclear dicks with their dialect drawls /They come from a parking lot town / Where nothing lives in the sun”
Every War – Pictures and Sound
“If we fought as hard for peace / We might not be overseas / We might not be so divided / With our insides all collided / Every war ends up the same / Fought in glory or in vain / Over land or over oil / Something always ends up spoiled”
Hell No We Ain't All Right! – Public Enemy
“And they don't have a CLUE of what's going on down there / I'm like you've gotta be kidding me, this is a NATIONAL disaster / It's awful down here man / God is lookin’ down on all this / And if they are not doin’ everything in their power to save people / They are gonna pay the price”
Hello Mr. President – Paula Cole
“Daddy's little helper / Silver foot in your mouth / Policemen of the world / Gonna start another war / Connecticut Yankee in a cowboy hat / You're my hero Mr. President”
Houston – R.E.M.
“If the storm doesn't kill me the government will / I’ve gotta get that out of my head”
Idiot Son Of An Asshole – NOFX
“He's not smart, a C student / And that's after buying his way into school / Beady eyes, and he's kinda dyslexic / Can he read? / No one's really quite sure / He signs stuff and he executes people / Maybe that's why, he doesn't have any friends / Cocaine and a little drunk driving / Doesn't matter, when you're the Commander in Chief”
In a World Gone Mad – Beastie Boys
“First the 'War On Terror' now war on Iraq / We're reaching a point where we can't turn back / Let's lose the guns and let's lose the bombs / And stop the corporate contributions that their built upon”
Is It Any Wonder? – Keane
“After all the misery you made / Is it any wonder that I feel afraid / Is it any wonder that I feel betrayed”
It’s A Hit – Rilo Kiley
“Any chimp can play human for a day / And use his opposable thumbs to iron his uniform / And run for office on election day / And fancy himself a real decision maker / Then deploy more troops than salt in a shaker / But it's a jungle when war is made / And you'll panic and throw your own shit at the enemy / The camera pulls back to reveal your true identity / Look, it's a sheep in wolf's clothing / A smoking-gun-holding ape”
Last To Die – Bruce Springsteen
“Who'll be the last to die for a mistake / The last to die for a mistake / Whose blood will spill, whose heart will break / Who'll be the last to die”
Let’s Impeach The President – Neil Young
“Let's impeach the President for lying / And misleading our country into war / Abusing all the power that we gave him / And shipping all our money out the door”
Mr. President – LL Cool J and Wyclef Jean
“Don't get me wrong / I respect the flag / But it hurts to see a kid in a body bag / He fought for his country with all he had / Now we have a family without a dad”
Mr. President – Pink feat. Indigo Girls
“What do you feel when you see all the homeless on the street? / Who do you pray for at night before you go to sleep? / What do you feel when you look in the mirror? / Are you proud?”
Mosh – Eminem
“Let the president answer a higher anarchy / Strap him with an AK-47, let him go fight his own war / Let him impress daddy that way / No more blood for oil, we got our own battles to fight on our own soil / No more psychological warfare, to trick us to thinking that we ain't loyal / If we don't serve our own country, we're patronizing a hero / Look in his eyes its all lies”
Not Ready To Make Nice – Dixie Chicks
“I’m not ready to make nice / I’m not ready to back down / I’m still mad as hell and I don’t have time to go round and round and round”
Pendulum Swinger – Indigo Girls
“What we get from your war walk / Ticker of the nation breaking down like a bad clock / I want the pendulum to swing again / So that all your mighty mandate was just spitting in the wind”
The Price Of Oil – Billy Bragg
“Saddam killed his own people just like general Pinochet / And once upon a time both these evil men were supported by the U.S.A. / And whisper it, even Bin Laden once drank from America's cup / Just like that election down in Florida / This shit doesn't all add up”
The Saints Are Coming – U2 and Green Day
“The saints are coming, the saints are coming / I say no matter how I try, I realize there's no reply”
Slap – Ludacris
“My grandmama's nerves are bad / And everybody in the hood is mad / Cause President Bush could give a DAMN about our ass / So I don't wanna hear shit that he has to say (don't say nothin’)”
Waiting On The World To Change – John Mayer
“Now if we had the power to bring our neighbors home from war / They would have never missed a Christmas / No more ribbons on their door / When you trust your television / What you get is what you got / Cause when they own the information / They can bend it all they want”
When The President Talks To God – Bright Eyes
“When the president talks to God / Are the conversations brief or long? / Does he ask to rape our women’s rights / And send poor farm kids off to die? / Does God suggest an oil hike / When the president talks to God?”
Where Is The Love? – Black Eyed Peas
“A war is goin' on but the reason's undercover / The truth is kept secret, it's swept under the rug / If you never know truth then you never know love”
World Wide Suicide – Pearl Jam
“Medals on a wooden mantle / Next to a handsome face / That the president took for granted / Writing checks that others pay”
Can you think of any more?
These 30 selections may relate to the War in Iraq, the Katrina debacle, our shaky mantle as “The Greatest Country In The World,” our desire to have a president smarter than us (see “nucular”), and the list goes on.
This group of songs was culled from my memory – going back to January 20, 2001 – along with some quick research and a little help from my friends. However, what started out as a Top 10 list quickly became something else.
If you have any additions or omissions, let me know. I may update it judging from your responses. No later that January 19, though. To be fair, I did hunt for pro-Bush songs. Didn’t find any. The songs are listed alphabetically with a few lines from each. Enjoy.
A Few Words In Defense Of Our Country – Randy Newman
“A president once said, ’The only thing we have to fear is fear itself’ / Now it seems like we’re supposed to be afraid / It’s patriotic in fact and color coded / And what are we supposed to be afraid of? / Why, of being afraid / That’s what terror means, doesn’t it? / That’s what it used to mean”
America Is Not The World – Morrissey
“America your head's too big, because America, your belly is too big / And I love you, I just wish you'd stay where you belong / In America, The land of the free, they said, and of opportunity / In a just and a truthful way / But where the president is never black, female, or gay, and until that day, you've got nothing to say to me, to help me believe”
American Idiot – Green Day
“Well maybe I'm the faggot America / I'm not a part of a redneck agenda / Now everybody do the propaganda / And sing along to the age of paranoia”
Boom! – System of a Down
“4000 hungry children die per hour / From starvation / While billions spent on bombs / Create death showers”
Bu$hleaguer – Pearl Jam
“A confidence man but why so beleaguered? / He's not a leader he's a Texas leaguer / Swinging for the fence / Got lucky with a strike / Drilling for fear makes the job simple / Born on third / Thinks he got a triple”
Crazy World – Young Jeezy
“Goddamn another trap / I think Bush trying to punish us / Sending little messages out to each and every one of us”
Death Machine – Fiction Plane
“Don't look so smug when we're at war / You're not the boss you're just a whore / You keep your shoes so clean / Fuck you and your death machine / Oh, I ain't gonna fight no more”
Don’t Make Me A Target – Spoon
“Clubs and sticks and bats and balls / For nuclear dicks with their dialect drawls /They come from a parking lot town / Where nothing lives in the sun”
Every War – Pictures and Sound
“If we fought as hard for peace / We might not be overseas / We might not be so divided / With our insides all collided / Every war ends up the same / Fought in glory or in vain / Over land or over oil / Something always ends up spoiled”
Hell No We Ain't All Right! – Public Enemy
“And they don't have a CLUE of what's going on down there / I'm like you've gotta be kidding me, this is a NATIONAL disaster / It's awful down here man / God is lookin’ down on all this / And if they are not doin’ everything in their power to save people / They are gonna pay the price”
Hello Mr. President – Paula Cole
“Daddy's little helper / Silver foot in your mouth / Policemen of the world / Gonna start another war / Connecticut Yankee in a cowboy hat / You're my hero Mr. President”
Houston – R.E.M.
“If the storm doesn't kill me the government will / I’ve gotta get that out of my head”
Idiot Son Of An Asshole – NOFX
“He's not smart, a C student / And that's after buying his way into school / Beady eyes, and he's kinda dyslexic / Can he read? / No one's really quite sure / He signs stuff and he executes people / Maybe that's why, he doesn't have any friends / Cocaine and a little drunk driving / Doesn't matter, when you're the Commander in Chief”
In a World Gone Mad – Beastie Boys
“First the 'War On Terror' now war on Iraq / We're reaching a point where we can't turn back / Let's lose the guns and let's lose the bombs / And stop the corporate contributions that their built upon”
Is It Any Wonder? – Keane
“After all the misery you made / Is it any wonder that I feel afraid / Is it any wonder that I feel betrayed”
It’s A Hit – Rilo Kiley
“Any chimp can play human for a day / And use his opposable thumbs to iron his uniform / And run for office on election day / And fancy himself a real decision maker / Then deploy more troops than salt in a shaker / But it's a jungle when war is made / And you'll panic and throw your own shit at the enemy / The camera pulls back to reveal your true identity / Look, it's a sheep in wolf's clothing / A smoking-gun-holding ape”
Last To Die – Bruce Springsteen
“Who'll be the last to die for a mistake / The last to die for a mistake / Whose blood will spill, whose heart will break / Who'll be the last to die”
Let’s Impeach The President – Neil Young
“Let's impeach the President for lying / And misleading our country into war / Abusing all the power that we gave him / And shipping all our money out the door”
Mr. President – LL Cool J and Wyclef Jean
“Don't get me wrong / I respect the flag / But it hurts to see a kid in a body bag / He fought for his country with all he had / Now we have a family without a dad”
Mr. President – Pink feat. Indigo Girls
“What do you feel when you see all the homeless on the street? / Who do you pray for at night before you go to sleep? / What do you feel when you look in the mirror? / Are you proud?”
Mosh – Eminem
“Let the president answer a higher anarchy / Strap him with an AK-47, let him go fight his own war / Let him impress daddy that way / No more blood for oil, we got our own battles to fight on our own soil / No more psychological warfare, to trick us to thinking that we ain't loyal / If we don't serve our own country, we're patronizing a hero / Look in his eyes its all lies”
Not Ready To Make Nice – Dixie Chicks
“I’m not ready to make nice / I’m not ready to back down / I’m still mad as hell and I don’t have time to go round and round and round”
Pendulum Swinger – Indigo Girls
“What we get from your war walk / Ticker of the nation breaking down like a bad clock / I want the pendulum to swing again / So that all your mighty mandate was just spitting in the wind”
The Price Of Oil – Billy Bragg
“Saddam killed his own people just like general Pinochet / And once upon a time both these evil men were supported by the U.S.A. / And whisper it, even Bin Laden once drank from America's cup / Just like that election down in Florida / This shit doesn't all add up”
The Saints Are Coming – U2 and Green Day
“The saints are coming, the saints are coming / I say no matter how I try, I realize there's no reply”
Slap – Ludacris
“My grandmama's nerves are bad / And everybody in the hood is mad / Cause President Bush could give a DAMN about our ass / So I don't wanna hear shit that he has to say (don't say nothin’)”
Waiting On The World To Change – John Mayer
“Now if we had the power to bring our neighbors home from war / They would have never missed a Christmas / No more ribbons on their door / When you trust your television / What you get is what you got / Cause when they own the information / They can bend it all they want”
When The President Talks To God – Bright Eyes
“When the president talks to God / Are the conversations brief or long? / Does he ask to rape our women’s rights / And send poor farm kids off to die? / Does God suggest an oil hike / When the president talks to God?”
Where Is The Love? – Black Eyed Peas
“A war is goin' on but the reason's undercover / The truth is kept secret, it's swept under the rug / If you never know truth then you never know love”
World Wide Suicide – Pearl Jam
“Medals on a wooden mantle / Next to a handsome face / That the president took for granted / Writing checks that others pay”
Can you think of any more?
Saturday, November 22, 2008
97. MATISYAHU, 11/8/08
Location: The Variety Playhouse, Atlanta, GA
Supporting Act(s): Future Rock, The Heavy Pets
In the Company of: Thomas S.
At 29 years of age, Matthew Paul Miller may seem like an average New Yorker. Born in West Chester, Pennsylvania, Mr. Miller was raised as a Reconstructionist Jew. At 16, he took a trip to Israel to take part in an educational program designed to offer students an in-depth look at the Jewish faith. This experience so changed Matthew’s life that he adopted Orthodox Judaism.
This Hasidic Jew is now known as Matisyahu. The appearance of traditional clothing is a striking contrast to his music, which blends elements of reggae and hip-hop. In 2006, Billboard named Matisyahu its Top Reggae Artist.
The Variety Playhouse in Atlanta was definitely in agreement with Billboard. A packed house greeted Matisyahu and he was on that night. His voice was clear and strong and I’m sure Bob Marley was listening with a smile.
Matisyahu kicked off his set with the calming and beautiful “Sea To Sea.” It seemed that the Matisyahu fan club was in the house in full-force. About five songs in, he performed “Smash Lies,” a rocking selection from the new “Shattered” EP. It sounds like Matisyahu is evolving a bit, but still possessing that signature sound. The singer ended the evening with the popular “King Without A Crown,” which was probably the most popular song of the night.
As far as the reggae sound remains popular, Matisyahu is one of the top talents carrying that torch. He is a talented singer with an exceptional band. He should be around for quite some time.
Ft. Lauderdale’s The Heavy Pets opened the show with a mix of reggae, jazz-fusion, and a handful of other genres. They got the crowd very warmed up for the headliner. Tight musicianship and an overall fun attitude by the band pulled the crowd in.
Chicago’s own Future Rock was next, bringing some futurist tunes. The three-piece delved deep into some very interesting sounds. Known to cover Aphex Twin’s tunes in the past, each member brings his own personality to this project. Whether one tries to label Future Rock electronica, progressive house, or “other,” they are definitely an original creation.
Matisyahu Set list
1. Sea To Sea
2. Unique Is My Dove
3. Time Of Your Song
4. Ancient Lullaby
5. Smash Lies
6. Dispatch The Troops
7. Rastaman Chant
8. Escape
9. Beat Box
10. Close My Eyes
11. Youth
12. Exaltation
13. Tzama L'Chol Nafshi (Psalm 63:2-3)
14. Got No Water
15. Jerusalem
Encore
16. Nelson Zands Jam
17. King Without A Crown
(Thanks to http://www.matisyahuworld.com/ for the set list.)
Supporting Act(s): Future Rock, The Heavy Pets
In the Company of: Thomas S.
At 29 years of age, Matthew Paul Miller may seem like an average New Yorker. Born in West Chester, Pennsylvania, Mr. Miller was raised as a Reconstructionist Jew. At 16, he took a trip to Israel to take part in an educational program designed to offer students an in-depth look at the Jewish faith. This experience so changed Matthew’s life that he adopted Orthodox Judaism.
This Hasidic Jew is now known as Matisyahu. The appearance of traditional clothing is a striking contrast to his music, which blends elements of reggae and hip-hop. In 2006, Billboard named Matisyahu its Top Reggae Artist.
The Variety Playhouse in Atlanta was definitely in agreement with Billboard. A packed house greeted Matisyahu and he was on that night. His voice was clear and strong and I’m sure Bob Marley was listening with a smile.
Matisyahu kicked off his set with the calming and beautiful “Sea To Sea.” It seemed that the Matisyahu fan club was in the house in full-force. About five songs in, he performed “Smash Lies,” a rocking selection from the new “Shattered” EP. It sounds like Matisyahu is evolving a bit, but still possessing that signature sound. The singer ended the evening with the popular “King Without A Crown,” which was probably the most popular song of the night.
As far as the reggae sound remains popular, Matisyahu is one of the top talents carrying that torch. He is a talented singer with an exceptional band. He should be around for quite some time.
Ft. Lauderdale’s The Heavy Pets opened the show with a mix of reggae, jazz-fusion, and a handful of other genres. They got the crowd very warmed up for the headliner. Tight musicianship and an overall fun attitude by the band pulled the crowd in.
Chicago’s own Future Rock was next, bringing some futurist tunes. The three-piece delved deep into some very interesting sounds. Known to cover Aphex Twin’s tunes in the past, each member brings his own personality to this project. Whether one tries to label Future Rock electronica, progressive house, or “other,” they are definitely an original creation.
Matisyahu Set list
1. Sea To Sea
2. Unique Is My Dove
3. Time Of Your Song
4. Ancient Lullaby
5. Smash Lies
6. Dispatch The Troops
7. Rastaman Chant
8. Escape
9. Beat Box
10. Close My Eyes
11. Youth
12. Exaltation
13. Tzama L'Chol Nafshi (Psalm 63:2-3)
14. Got No Water
15. Jerusalem
Encore
16. Nelson Zands Jam
17. King Without A Crown
(Thanks to http://www.matisyahuworld.com/ for the set list.)
Friday, July 18, 2008
The FICTION PLANE Interview
The band talks about Santa’s Boyfriend, living in the shadow of Sting, and a little bit of politics... (for pictures of the show, click on the Starpulse link on the left side of this page...)
The members of Fiction Plane took time before their Kansas City show to talk. Along with Snoop Dogg, they are supporting 311 on the 2008 Unity Tour. Drummer Pete Wilhoit, singer/bassist Joe Sumner, and guitarist Seton Daunt are enjoying a laid back summer of touring after their opening slot for the Police ended in April.
So, I’ve read that Nirvana had a big impact on you guys.
Joe: Yes.
Pete: I was already in a band by the time Nirvana was already going but they were still a huge influence on me, too, cause it was sort of…I was kind of the same as them, sort of fed up with where I felt like the music industry was going and what was popular at the time. They were sort of like a breath of fresh air – not anti-image – but it was an image which was definitely not a product.
They were definitely anti-establishment. Did Cobain’s death affect you guys at all? I remember the day it happened. Was it pretty huge for you?
Pete: Yeah, it wasn’t like I cried, I was just shocked and thought wow, that’s almost like I mean, I never met the guy and never even saw the band live so for me the whole thing seemed surreal. Some band that was bigger than life on the screen that had influenced me and that was a chapter gone. Actually, Jeff Buckley’s death really hit me. I was like man there’s a guy that’s gonna become more popular now that he’s dead, I mean a lot of people knew of him.
He had more of a cult following…
Joe: I knew about him actually – I had the record – and I didn’t really like it. I was like it’s whiny, kind of girly sh** whatever...then he died and I remember listening to it – me and my girlfriend listened to it together – and we were both crying. And it’s like, is that just because he died that makes it poignant? I don’t know.
You feel kind of shallow…
Joe: Yeah.
Like, “I wish I’d liked it before he died.”
Joe: Yeah, I don’t have the prescience of others, but it still, you know, it has a meaning regardless of what context it’s because of.
What about the extension going to Pearl Jam, I mean they’re in the grunge thing, but they were, I think they were way different from Nirvana. So were they an influence at all?
Joe: I loved Pearl Jam at the time but I didn’t…I felt conflicted cause it was like it was Nirvana vs. Pearl Jam and I had the Pearl Jam records but I didn’t say I had them.
Your allegiance was to Nirvana.
Joe: Yeah.
Pete: I loved Pearl Jam and still do. I think even though they’re not like at the forefront of trendy music, I think that they’re…they’ve always done whatever they wanted and I think they were lucky enough to have a album that really broke through at the right time (“Ten”) and it was music that I could identify with, you know, sort of like Nirvana, you know, not all keyboards or whatever and it was real guys playing real music and it was a little bit sloppy and it had a edge and an attitude and I really liked that.
Joe: They were very anti-establishment as well. Like even more so, like they did the live video for “Alive” which was kind of a big deal, and then the Ticketmaster thing…
The Ticketmaster thing, then all the bootlegs they put in the stores so, “Here you go fans, if you want it…”
Joe: And then just making album after album without stylists. Now, you know, they’re like forty years old, or whatever, this is a picture of us we’re here whatever we’ll make a new image and reinvent ourselves.
Eddie (Vedder) did the music for “Into the Wild” and I think that opened him up to a greater audience. They’ve got all the generations now. You’ve got the parents now in their thirties and forties and you’ve got their kids. And you’ve got the grunger kids who weren’t even born when Kurt Cobain died and they’re playing his music.
Joe: Yeah, that’s weird.
Alright, the tour, what’s it like? How is it? 311, Snoop…what’s the good, the bad, and the ugly?
Pete: Actually, really fun. Both bands and both crews are really fun. And it’s sort of a party atmosphere with a little bit of business. But mostly it’s just party.
90/10?
Pete: More like 95 party, 5 business. And you know the positives are that it’s a big tour and we get to play some amazing venues like Red Rocks, we got to play some good festivals which have been really fun. The negatives are we are still definitely an opening band that people don’t really know. You know, we’re trying to enlighten some people as to what we’re doing. And I think the people that are there are definitely getting a good taste of what Fiction Plane is, while we’re also getting quite a few confused looks.
Is that because of the diversity with Snoop’s fans?
Joe: Everyone here has been white.
Pete: Yeah, it’s true.
Really?
Pete: It’s a majority white audience.
So, Snoop’s getting some exposure here, too.
Joe: You know it’s strange, if I call out during a show, “Who’s here to see Snoop?” no one responds. If I say “Who’s here to see 311?” they’re like, “Yeah, we’re here to see 311!” But when Snoop comes on, he completely dominates everything. It’s amazing, like…
Pete: Yeah, everybody loves it. He puts on a great, fun show.
Joe: It’s a really good show and you should definitely watch it.
Pete: His character as a person is larger than life and it just…he brings everything you want him to bring, you know.
So, he’s got the gin and juice in his cup?
Pete: Yeah.
Joe: And the band is f***ing awesome.
Pete: And it’s nice to see a real band playing because it gives it that real, raw kind of energy.
And what a great mixture, it’s called the Unity Tour, right? That’s a great name because you’ve got…it’s almost like 311 is kind of in the middle. They’ve got the combo of alternative rock, reggae, and rap. I think it works out well on a continuum in that they should perform second and Snoop should open and you guys should finish. Bring that up…maybe tonight.
Joe: I think we should play throughout. In between songs we should do like a little Paul Schaffer jazz thing.
Speaking of the fans, your website…well not yours, because when we go to yours at www.fictionplane.com, it links to your MySpace page, but www.fictionplane.net where it’s the “official/unofficial” site…
Joe: Yeah.
…and you guys don’t run that?
Joe/Pete: No.
Because that’s an excellent site. I mean it’s beautiful.
Joe: The reason we don’t really have our own site is because that site is just better. They know sh** before we know it.
Do you know the people who run that?
Joe: Yeah.
Have you talked about making it an official site with them or is it going to remain…
Joe: It’s kind of fun to have it like that, plus then we don’t have to take responsibility. But they do a really amazing job and they literally find out dates before we know sometimes.
Really? They have connections somewhere?
Pete: They’re actually doing the puppet strings for us.
So, the band’s previous name Santa’s Boyfriend…why would you ever let that name go? Don’t you think you’d be so much more popular in America if you’d kept that?
Joe: I think we would.
Pete: We could be Santa’s Ex-boyfriend.
Joe: I think Fiction Plane as a marketing name is terrible. Well, I know that nobody can remember it. But there’s a meaning behind it – a deep meaning – which all of us relate to about freedom and music and ideas which is very important to us. But, sometimes you just need to be called the Hotcakes or something.
So, they might see your name and listen to it just because of the name, not because of your music?
Joe: Yeah, and people have a hard time pronouncing Fiction Plane. They’re like Picture Frame? Friction Pain?
Those are your uneducated fans.
Joe: Those are the people we need!
Pete: We’ll go to settle (after playing a gig) and they say, “The guys from Fiction Plan are here to settle.” They say “Plan” a lot. They leave off the “e.” And we just played the show!
I was Googling you guys and found this anagram thing were the letters from Fiction Plane can be made into “Infant Police,” and I mean, what the hell were the odds of that?
Pete: Strange.
And how many people are gonna believe that was a coincidence?
Joe: I would pay like a million dollars for that just not to be true.
I got your first CD (“Everything Will Never Be OK,” 2003) and have been following you since then and saw you on one of the late night shows…
Pete: Craig Kilborn. Then last year we did Leno and uh, what’s his face…
Joe: Shimmel. Shimmel Richards.
Pete: Kimmel.
Joe: Kimmel.
So yeah, in all those appearances you-know-who was never mentioned. Who you are (Joe is Sting’s son), and how that was intentional on your part obviously, I mean you wanted to avoid that. And then I see you’re opening up for the Police the whole tour, so you just said, “F*** it, we’re just gonna go ahead, they know anyway, let’s get some exposure?”
Joe: That’s the thing. We’ll be playing a club with 25 people and everyone’s still talking about that shit anyway. So, why not play in stadiums.
Pete: It used to be that the band pushed away from that and it was even in the contract with MCA that they were not allowed to use Sting’s name in marketing or anything like that. And then you go on your first tour and I looked at one of the posters and it’s like, “Sting’s son’s band, Fiction Plane!” At least they got Fiction Plane right. It’s like no matter what, it’s a shadow that you’re never gonna get out from under, but you know the band has so much to offer outside of that lineage and it is what it is and it’s much easier to embrace it and just move on. Because fighting it is really difficult.
“Running The Country,” that’s not a political song is it? I have somebody in mind…
Joe: It’s a nursery story about sheep.
Okay. Because I’m thinking about somebody else who lives on the east coast.
Pete: It’s about marathon runners.
There you go! And “Death Machine?”
Joe: Those two songs you mentioned, you can pretty much guess what they’re about.
Yeah, which leads me into our elections. Do you (Joe) have citizenship?
Joe: No, I’m a resident. And I can’t vote, but I can get on and tell everyone what I think.
Do you ever get into politics onstage?
Joe: Not really, cause it’s uh…well I like to let the lyrics in the songs do the talking most of the time, unless it’s like some kind of fun thing. I think if you can understand that it doesn’t matter. I mean, I would say I’m probably Democrat but I disagree with Democrats plenty.
Yeah, you’re saying that so you don’t piss off everybody cause you know you’ve got some right-wing fans and you need them!
Joe: But if you say, “F*** the Republicans,” which I kind of do, that’s my general opinion…if you have a song which has the idea that this is (politically) a stupid idea, like a president who’s not qualified to do his job…it doesn’t matter if it’s Democrat or Republican, black or white, Rocky, American, whatever, it’s just done. So, you can take it from that side.
Pete: Every time I go out of the country, I’m really pro-Bush and I raise the American flag. I’m just kidding.
I’m afraid to go anywhere.
Pete: Well you know what? The majority overseas didn’t vote him in. But you do get those with stereotypical American ideals and you carry that baggage with you.
Joe: He really hasn’t helped that.
Pete: No, he hasn’t.
Joe: I do remember, like people in Europe and England started to sort of realize that, oh yeah, Americans are just people.
That’s what I want them to think, that’s what they need to think. Half the country has some sense, just so they know that.
Joe: That’s why you need a president that can speak English.
Back to your tour…I think maybe your last show in the states is in Sedalia, at the State Fair?
Joe: Yeah, Missouri State Fair, man! When that offer came in we were just like, you know what? That’s like the f***in’ best thing ever. Opening for Foreigner at the Missouri State Fair (August 12).
If there’s one thing you’d want your fans to know besides anything we’ve talked about that you think most of them don’t know, what would it be?
Joe: Our hardcore fans know everything.
But for those people who are just meeting you and don’t have your CD yet, what do you want to tell them?
Pete: Find a way to come see us live.
Joe: Come see us live.
Pete: I mean, I really do think that’s an important thing.
That is an important thing. You’re a great live band.
Pete: I mean like listening to the CD, a lot of people are like, “I liked the CD, but when I saw you live I was blown away.” And we get that a lot, and I think there’s a lot of merit to that. And I think that’s where we’re most happy is when we’re playing live. I mean recording a CD is a special thing and putting that music together and listening to it and making it the way you want it is cool. But going to play it live and experiencing people giving you energy back and pushing it offstage is really…you can’t match it. So, I would say come see us live. Find a way to come see us live.
I caught you opening for the Police last November in Atlanta.
Joe: Oh, love Atlanta.
Pete: We love Atlanta.
I was checking the crowd for your opening set and it was a pretty good response. I wondered how many in the crowd knew Fiction Plane and how much your CD sales spiked from those who got to know you that night.
Joe: We sold a shit-load that night.
Pete: And we’re out of shirts. Only mediums left. You know the Police tour was amazing not only because we were exposed to those giant audiences, but also they let us do whatever we wanted. We had 45 minutes to play whatever we wanted, and Seton commented the other day when we were looking at one of the videos that they had put up our CD picture in the back so it would look like our banner. And, you know, we got our own crew and they let us play and it was almost like our own show. We felt like that.
But you didn’t get the big screens. They (the Police) are like, “We don’t want them to outdo us, so we’re keeping the screens…”
Pete: Once in a while we did.
Joe: In the stadiums, that’s because you can’t hear the music in the back of the stadiums.
Speaking of CDs, have your sales gone up since the Police tour started?
Pete: During it, yeah.
Joe: Traditionally, we always sell our shit off the stage. “Two Sisters” had quite a good run. A lot better than Europe.
That’s all I have. Thanks, guys. Have a great show.
Check out www.myspace.com/fictionplane for more on Fiction Plane.
The members of Fiction Plane took time before their Kansas City show to talk. Along with Snoop Dogg, they are supporting 311 on the 2008 Unity Tour. Drummer Pete Wilhoit, singer/bassist Joe Sumner, and guitarist Seton Daunt are enjoying a laid back summer of touring after their opening slot for the Police ended in April.
So, I’ve read that Nirvana had a big impact on you guys.
Joe: Yes.
Pete: I was already in a band by the time Nirvana was already going but they were still a huge influence on me, too, cause it was sort of…I was kind of the same as them, sort of fed up with where I felt like the music industry was going and what was popular at the time. They were sort of like a breath of fresh air – not anti-image – but it was an image which was definitely not a product.
They were definitely anti-establishment. Did Cobain’s death affect you guys at all? I remember the day it happened. Was it pretty huge for you?
Pete: Yeah, it wasn’t like I cried, I was just shocked and thought wow, that’s almost like I mean, I never met the guy and never even saw the band live so for me the whole thing seemed surreal. Some band that was bigger than life on the screen that had influenced me and that was a chapter gone. Actually, Jeff Buckley’s death really hit me. I was like man there’s a guy that’s gonna become more popular now that he’s dead, I mean a lot of people knew of him.
He had more of a cult following…
Joe: I knew about him actually – I had the record – and I didn’t really like it. I was like it’s whiny, kind of girly sh** whatever...then he died and I remember listening to it – me and my girlfriend listened to it together – and we were both crying. And it’s like, is that just because he died that makes it poignant? I don’t know.
You feel kind of shallow…
Joe: Yeah.
Like, “I wish I’d liked it before he died.”
Joe: Yeah, I don’t have the prescience of others, but it still, you know, it has a meaning regardless of what context it’s because of.
What about the extension going to Pearl Jam, I mean they’re in the grunge thing, but they were, I think they were way different from Nirvana. So were they an influence at all?
Joe: I loved Pearl Jam at the time but I didn’t…I felt conflicted cause it was like it was Nirvana vs. Pearl Jam and I had the Pearl Jam records but I didn’t say I had them.
Your allegiance was to Nirvana.
Joe: Yeah.
Pete: I loved Pearl Jam and still do. I think even though they’re not like at the forefront of trendy music, I think that they’re…they’ve always done whatever they wanted and I think they were lucky enough to have a album that really broke through at the right time (“Ten”) and it was music that I could identify with, you know, sort of like Nirvana, you know, not all keyboards or whatever and it was real guys playing real music and it was a little bit sloppy and it had a edge and an attitude and I really liked that.
Joe: They were very anti-establishment as well. Like even more so, like they did the live video for “Alive” which was kind of a big deal, and then the Ticketmaster thing…
The Ticketmaster thing, then all the bootlegs they put in the stores so, “Here you go fans, if you want it…”
Joe: And then just making album after album without stylists. Now, you know, they’re like forty years old, or whatever, this is a picture of us we’re here whatever we’ll make a new image and reinvent ourselves.
Eddie (Vedder) did the music for “Into the Wild” and I think that opened him up to a greater audience. They’ve got all the generations now. You’ve got the parents now in their thirties and forties and you’ve got their kids. And you’ve got the grunger kids who weren’t even born when Kurt Cobain died and they’re playing his music.
Joe: Yeah, that’s weird.
Alright, the tour, what’s it like? How is it? 311, Snoop…what’s the good, the bad, and the ugly?
Pete: Actually, really fun. Both bands and both crews are really fun. And it’s sort of a party atmosphere with a little bit of business. But mostly it’s just party.
90/10?
Pete: More like 95 party, 5 business. And you know the positives are that it’s a big tour and we get to play some amazing venues like Red Rocks, we got to play some good festivals which have been really fun. The negatives are we are still definitely an opening band that people don’t really know. You know, we’re trying to enlighten some people as to what we’re doing. And I think the people that are there are definitely getting a good taste of what Fiction Plane is, while we’re also getting quite a few confused looks.
Is that because of the diversity with Snoop’s fans?
Joe: Everyone here has been white.
Pete: Yeah, it’s true.
Really?
Pete: It’s a majority white audience.
So, Snoop’s getting some exposure here, too.
Joe: You know it’s strange, if I call out during a show, “Who’s here to see Snoop?” no one responds. If I say “Who’s here to see 311?” they’re like, “Yeah, we’re here to see 311!” But when Snoop comes on, he completely dominates everything. It’s amazing, like…
Pete: Yeah, everybody loves it. He puts on a great, fun show.
Joe: It’s a really good show and you should definitely watch it.
Pete: His character as a person is larger than life and it just…he brings everything you want him to bring, you know.
So, he’s got the gin and juice in his cup?
Pete: Yeah.
Joe: And the band is f***ing awesome.
Pete: And it’s nice to see a real band playing because it gives it that real, raw kind of energy.
And what a great mixture, it’s called the Unity Tour, right? That’s a great name because you’ve got…it’s almost like 311 is kind of in the middle. They’ve got the combo of alternative rock, reggae, and rap. I think it works out well on a continuum in that they should perform second and Snoop should open and you guys should finish. Bring that up…maybe tonight.
Joe: I think we should play throughout. In between songs we should do like a little Paul Schaffer jazz thing.
Speaking of the fans, your website…well not yours, because when we go to yours at www.fictionplane.com, it links to your MySpace page, but www.fictionplane.net where it’s the “official/unofficial” site…
Joe: Yeah.
…and you guys don’t run that?
Joe/Pete: No.
Because that’s an excellent site. I mean it’s beautiful.
Joe: The reason we don’t really have our own site is because that site is just better. They know sh** before we know it.
Do you know the people who run that?
Joe: Yeah.
Have you talked about making it an official site with them or is it going to remain…
Joe: It’s kind of fun to have it like that, plus then we don’t have to take responsibility. But they do a really amazing job and they literally find out dates before we know sometimes.
Really? They have connections somewhere?
Pete: They’re actually doing the puppet strings for us.
So, the band’s previous name Santa’s Boyfriend…why would you ever let that name go? Don’t you think you’d be so much more popular in America if you’d kept that?
Joe: I think we would.
Pete: We could be Santa’s Ex-boyfriend.
Joe: I think Fiction Plane as a marketing name is terrible. Well, I know that nobody can remember it. But there’s a meaning behind it – a deep meaning – which all of us relate to about freedom and music and ideas which is very important to us. But, sometimes you just need to be called the Hotcakes or something.
So, they might see your name and listen to it just because of the name, not because of your music?
Joe: Yeah, and people have a hard time pronouncing Fiction Plane. They’re like Picture Frame? Friction Pain?
Those are your uneducated fans.
Joe: Those are the people we need!
Pete: We’ll go to settle (after playing a gig) and they say, “The guys from Fiction Plan are here to settle.” They say “Plan” a lot. They leave off the “e.” And we just played the show!
I was Googling you guys and found this anagram thing were the letters from Fiction Plane can be made into “Infant Police,” and I mean, what the hell were the odds of that?
Pete: Strange.
And how many people are gonna believe that was a coincidence?
Joe: I would pay like a million dollars for that just not to be true.
I got your first CD (“Everything Will Never Be OK,” 2003) and have been following you since then and saw you on one of the late night shows…
Pete: Craig Kilborn. Then last year we did Leno and uh, what’s his face…
Joe: Shimmel. Shimmel Richards.
Pete: Kimmel.
Joe: Kimmel.
So yeah, in all those appearances you-know-who was never mentioned. Who you are (Joe is Sting’s son), and how that was intentional on your part obviously, I mean you wanted to avoid that. And then I see you’re opening up for the Police the whole tour, so you just said, “F*** it, we’re just gonna go ahead, they know anyway, let’s get some exposure?”
Joe: That’s the thing. We’ll be playing a club with 25 people and everyone’s still talking about that shit anyway. So, why not play in stadiums.
Pete: It used to be that the band pushed away from that and it was even in the contract with MCA that they were not allowed to use Sting’s name in marketing or anything like that. And then you go on your first tour and I looked at one of the posters and it’s like, “Sting’s son’s band, Fiction Plane!” At least they got Fiction Plane right. It’s like no matter what, it’s a shadow that you’re never gonna get out from under, but you know the band has so much to offer outside of that lineage and it is what it is and it’s much easier to embrace it and just move on. Because fighting it is really difficult.
“Running The Country,” that’s not a political song is it? I have somebody in mind…
Joe: It’s a nursery story about sheep.
Okay. Because I’m thinking about somebody else who lives on the east coast.
Pete: It’s about marathon runners.
There you go! And “Death Machine?”
Joe: Those two songs you mentioned, you can pretty much guess what they’re about.
Yeah, which leads me into our elections. Do you (Joe) have citizenship?
Joe: No, I’m a resident. And I can’t vote, but I can get on and tell everyone what I think.
Do you ever get into politics onstage?
Joe: Not really, cause it’s uh…well I like to let the lyrics in the songs do the talking most of the time, unless it’s like some kind of fun thing. I think if you can understand that it doesn’t matter. I mean, I would say I’m probably Democrat but I disagree with Democrats plenty.
Yeah, you’re saying that so you don’t piss off everybody cause you know you’ve got some right-wing fans and you need them!
Joe: But if you say, “F*** the Republicans,” which I kind of do, that’s my general opinion…if you have a song which has the idea that this is (politically) a stupid idea, like a president who’s not qualified to do his job…it doesn’t matter if it’s Democrat or Republican, black or white, Rocky, American, whatever, it’s just done. So, you can take it from that side.
Pete: Every time I go out of the country, I’m really pro-Bush and I raise the American flag. I’m just kidding.
I’m afraid to go anywhere.
Pete: Well you know what? The majority overseas didn’t vote him in. But you do get those with stereotypical American ideals and you carry that baggage with you.
Joe: He really hasn’t helped that.
Pete: No, he hasn’t.
Joe: I do remember, like people in Europe and England started to sort of realize that, oh yeah, Americans are just people.
That’s what I want them to think, that’s what they need to think. Half the country has some sense, just so they know that.
Joe: That’s why you need a president that can speak English.
Back to your tour…I think maybe your last show in the states is in Sedalia, at the State Fair?
Joe: Yeah, Missouri State Fair, man! When that offer came in we were just like, you know what? That’s like the f***in’ best thing ever. Opening for Foreigner at the Missouri State Fair (August 12).
If there’s one thing you’d want your fans to know besides anything we’ve talked about that you think most of them don’t know, what would it be?
Joe: Our hardcore fans know everything.
But for those people who are just meeting you and don’t have your CD yet, what do you want to tell them?
Pete: Find a way to come see us live.
Joe: Come see us live.
Pete: I mean, I really do think that’s an important thing.
That is an important thing. You’re a great live band.
Pete: I mean like listening to the CD, a lot of people are like, “I liked the CD, but when I saw you live I was blown away.” And we get that a lot, and I think there’s a lot of merit to that. And I think that’s where we’re most happy is when we’re playing live. I mean recording a CD is a special thing and putting that music together and listening to it and making it the way you want it is cool. But going to play it live and experiencing people giving you energy back and pushing it offstage is really…you can’t match it. So, I would say come see us live. Find a way to come see us live.
I caught you opening for the Police last November in Atlanta.
Joe: Oh, love Atlanta.
Pete: We love Atlanta.
I was checking the crowd for your opening set and it was a pretty good response. I wondered how many in the crowd knew Fiction Plane and how much your CD sales spiked from those who got to know you that night.
Joe: We sold a shit-load that night.
Pete: And we’re out of shirts. Only mediums left. You know the Police tour was amazing not only because we were exposed to those giant audiences, but also they let us do whatever we wanted. We had 45 minutes to play whatever we wanted, and Seton commented the other day when we were looking at one of the videos that they had put up our CD picture in the back so it would look like our banner. And, you know, we got our own crew and they let us play and it was almost like our own show. We felt like that.
But you didn’t get the big screens. They (the Police) are like, “We don’t want them to outdo us, so we’re keeping the screens…”
Pete: Once in a while we did.
Joe: In the stadiums, that’s because you can’t hear the music in the back of the stadiums.
Speaking of CDs, have your sales gone up since the Police tour started?
Pete: During it, yeah.
Joe: Traditionally, we always sell our shit off the stage. “Two Sisters” had quite a good run. A lot better than Europe.
That’s all I have. Thanks, guys. Have a great show.
Check out www.myspace.com/fictionplane for more on Fiction Plane.
Thursday, July 17, 2008
96. 311 / SNOOP DOGG / FICTION PLANE, 7/10/08
Location: Sandstone Amphitheatre, Bonner Springs, KS
Supporting Act(s): The Unity Tour featuring 311, Snoop Dogg, and Fiction Plane
In the Company of: Gregg H., Lucas H.
Opening the Unity Tour was England’s Fiction Plane. While fans are still learning of this band, the Unity Tour has given them mass exposure to American audiences. After opening the entire North American tour for the first leg of the Police reunion tour, Fiction Plane has received some well-deserved accolades from audiences around the country. Another tidbit of information is that bassist and lead singer, Joe Sumner, is the eldest offspring of Gordon Sumner, better known as Sting. Joe’s appearance as well as his voice are reminiscent of his father, but he has his own talents to offer and heads up an excellent live band. His bass guitar skills are apparent, while guitarist Seton Daunt plays with flashes of soul and brilliance not normally found in such a young artist. Drummer and sole American Pete Wilhoit is a virtual drum machine, playing with power and speed when necessary. Together, these guys can rock the house.
The band opened up the show with their latest single, “Death Machine,” in which they discuss a certain American president and his current war. And it’s not a pretty picture (“Don’t look so smug when we’re at war / You’re not the boss you’re just a whore / You keep yours shoes so clean / F*** you and your death machine…”).
A respectable crowd had gathered at the foot of the stage to welcome Fiction Plane, proving that they are building a fan base. “Cigarette,” from their poppier first record “Everything Will Never Be OK,” is a harsh anti-smoking, ex-girlfriend-inspired tune which was well-received (“Girl you smoking cigarettes / Rancid poison on your breath / Taste yourself you smell like death / To love you I must drink my meth”). “Two Sisters,” the first single off their second album “Left Side Of The Brain,” closed the show, with Sumner giving us a Rock God jump off the tower speakers.
Next up was the infamous Dogfather of Rap, Snoop Dogg. His well-known grand entrance was enough for a standing ovation from the throngs. Something new I learned about Snoop was his Canadian heritage. I had no idea. I learned this because of the gargantuan green maple leaf hanging above the drummer. Strangely, this was about the time the “fog” machines began pumping out smoke from the audience. Crazy.
He was very conversational with the audience, making many requests, mostly to the female fans in the crowd…if you get my drift. One high point for me was their cover of the Tom Tom Club’s “Genius Of Love,” possibly performed due to the influence of the Grandmaster Flash sample of the same song some years ago.
Although the vast majority of fans were there to see 311, Snoop Dogg was given much respect and put on a great show with a posse to rival that of Lawrence Welk.
By the time 311 took to the stage, the sold-out crowd was primed. By now, they had heard the alt. rock of Fiction Plane and the rap/hip hop of Snoop. Now it was time to hear those genres, in addition to reggae, funk, metal, and punk all rolled into one. 311. The Omaha natives were among friends here in Kansas City, jut three hours away from where it all began.
From their first song, “Beautiful Disaster,” the band had the crowd in a frenzy. Sharing singing duties, as usual, were Nick Hexum and SA Martinez. The band played most of their hits as well as many other selections that kept the crowd on their feet and jumping for much of the show. Driving the band was the rhythm section of drummer Chad Sexton and bassist P-Nut who showed off their excellent musicianship. Lead guitarist Tim Mahoney exhibited why 311 is unrivaled in their surf-punk-reggae stylings.
Some of the more well-known songs performed were “All Mixed Up,” the reggae tinged cover of the Cure’s “Love Song,” “Come Original,” “Don’t Tread On Me,” and the wonderfully smooth “Amber” (“Brainstorm, take me away from the norm / I got to tell you something / This phenomenon, I had to put it in a song / And it goes like…Whoa, amber is the color of your energy / Whoa, shades of gold displayed naturally”).
To close out the first set Hexum announced, “This one is for all the hardcore 311 fans!” The band then tore into what seemed to be an ode to their fans with “Down” (“We've changed a lot and then some some / Know that we have always been down down / And if I ever didn't thank you you / Then just let me do it now”).
During “Applied Science,” drummer Sexton was joined by the other four members of the group all on stand-up drum kits. This “extended drum solo” thrilled the fans and showed the diversity of talents in 311. It was a marvelous detour from the norm.
The three-song encore showed us again what a green concert this was with “Who’s Got The Herb?” Although 311 has not released a studio album since 2005’s “Don’t Tread On Me” (a new release should see the light of day next year), they still have the unique ability of selling out concerts. This type of following from a dedicated fan base is rare these days and 311 let their fans know how much they appreciate it. The Unity Tour is one of the must-see shows of 2008.
Set List:
G.B.U. Intro
1. Beautiful Disaster
2. Freeze Time
3. All Mixed Up
4. Homebrew
5. From Chaos
6. Taiyed
7. Love Song
8. Wake Your Mind Up
9. Don’t Tread On Me
10. You Wouldn’t Believe
11. Prisoner
12. Applied Science
13. Stealing Happy Hours
14. Come Original
15. Beyond The Gray Sky
16. Feels So Good
17. Amber
18. Sick Tight
19. Down
Encore:
20. Omaha Stylee
21. Who’s Got The Herb?
22. Creatures (For A While)
(Thanks to http://setlist.com/311/2008/7.10.08.html)
Supporting Act(s): The Unity Tour featuring 311, Snoop Dogg, and Fiction Plane
In the Company of: Gregg H., Lucas H.
Opening the Unity Tour was England’s Fiction Plane. While fans are still learning of this band, the Unity Tour has given them mass exposure to American audiences. After opening the entire North American tour for the first leg of the Police reunion tour, Fiction Plane has received some well-deserved accolades from audiences around the country. Another tidbit of information is that bassist and lead singer, Joe Sumner, is the eldest offspring of Gordon Sumner, better known as Sting. Joe’s appearance as well as his voice are reminiscent of his father, but he has his own talents to offer and heads up an excellent live band. His bass guitar skills are apparent, while guitarist Seton Daunt plays with flashes of soul and brilliance not normally found in such a young artist. Drummer and sole American Pete Wilhoit is a virtual drum machine, playing with power and speed when necessary. Together, these guys can rock the house.
The band opened up the show with their latest single, “Death Machine,” in which they discuss a certain American president and his current war. And it’s not a pretty picture (“Don’t look so smug when we’re at war / You’re not the boss you’re just a whore / You keep yours shoes so clean / F*** you and your death machine…”).
A respectable crowd had gathered at the foot of the stage to welcome Fiction Plane, proving that they are building a fan base. “Cigarette,” from their poppier first record “Everything Will Never Be OK,” is a harsh anti-smoking, ex-girlfriend-inspired tune which was well-received (“Girl you smoking cigarettes / Rancid poison on your breath / Taste yourself you smell like death / To love you I must drink my meth”). “Two Sisters,” the first single off their second album “Left Side Of The Brain,” closed the show, with Sumner giving us a Rock God jump off the tower speakers.
Next up was the infamous Dogfather of Rap, Snoop Dogg. His well-known grand entrance was enough for a standing ovation from the throngs. Something new I learned about Snoop was his Canadian heritage. I had no idea. I learned this because of the gargantuan green maple leaf hanging above the drummer. Strangely, this was about the time the “fog” machines began pumping out smoke from the audience. Crazy.
He was very conversational with the audience, making many requests, mostly to the female fans in the crowd…if you get my drift. One high point for me was their cover of the Tom Tom Club’s “Genius Of Love,” possibly performed due to the influence of the Grandmaster Flash sample of the same song some years ago.
Although the vast majority of fans were there to see 311, Snoop Dogg was given much respect and put on a great show with a posse to rival that of Lawrence Welk.
By the time 311 took to the stage, the sold-out crowd was primed. By now, they had heard the alt. rock of Fiction Plane and the rap/hip hop of Snoop. Now it was time to hear those genres, in addition to reggae, funk, metal, and punk all rolled into one. 311. The Omaha natives were among friends here in Kansas City, jut three hours away from where it all began.
From their first song, “Beautiful Disaster,” the band had the crowd in a frenzy. Sharing singing duties, as usual, were Nick Hexum and SA Martinez. The band played most of their hits as well as many other selections that kept the crowd on their feet and jumping for much of the show. Driving the band was the rhythm section of drummer Chad Sexton and bassist P-Nut who showed off their excellent musicianship. Lead guitarist Tim Mahoney exhibited why 311 is unrivaled in their surf-punk-reggae stylings.
Some of the more well-known songs performed were “All Mixed Up,” the reggae tinged cover of the Cure’s “Love Song,” “Come Original,” “Don’t Tread On Me,” and the wonderfully smooth “Amber” (“Brainstorm, take me away from the norm / I got to tell you something / This phenomenon, I had to put it in a song / And it goes like…Whoa, amber is the color of your energy / Whoa, shades of gold displayed naturally”).
To close out the first set Hexum announced, “This one is for all the hardcore 311 fans!” The band then tore into what seemed to be an ode to their fans with “Down” (“We've changed a lot and then some some / Know that we have always been down down / And if I ever didn't thank you you / Then just let me do it now”).
During “Applied Science,” drummer Sexton was joined by the other four members of the group all on stand-up drum kits. This “extended drum solo” thrilled the fans and showed the diversity of talents in 311. It was a marvelous detour from the norm.
The three-song encore showed us again what a green concert this was with “Who’s Got The Herb?” Although 311 has not released a studio album since 2005’s “Don’t Tread On Me” (a new release should see the light of day next year), they still have the unique ability of selling out concerts. This type of following from a dedicated fan base is rare these days and 311 let their fans know how much they appreciate it. The Unity Tour is one of the must-see shows of 2008.
Set List:
G.B.U. Intro
1. Beautiful Disaster
2. Freeze Time
3. All Mixed Up
4. Homebrew
5. From Chaos
6. Taiyed
7. Love Song
8. Wake Your Mind Up
9. Don’t Tread On Me
10. You Wouldn’t Believe
11. Prisoner
12. Applied Science
13. Stealing Happy Hours
14. Come Original
15. Beyond The Gray Sky
16. Feels So Good
17. Amber
18. Sick Tight
19. Down
Encore:
20. Omaha Stylee
21. Who’s Got The Herb?
22. Creatures (For A While)
(Thanks to http://setlist.com/311/2008/7.10.08.html)
Monday, June 23, 2008
95. R.E.M., 6/21/08
Location: Lakewood Amphitheatre, Atlanta, GA
Supporting Act(s): Modest Mouse and The National
In the Company of: Chris
It’s been a long wait for the fans of R.E.M. Not so much to see their band play live, but to grab hold of such a high quality piece of work as this year’s “Accelerate.” Not since the early nineties have they recorded a rock and roll album with such intensity. It seems that since the departure of drummer Bill Berry in 1997, they have drifted aimlessly from album to album. Don’t get me wrong…there have been some real gems. But overall, no “big plays.” Not until 2008, and what turned out to be one of R.E.M.’s most critically praised releases in years.
For the final stop on their North American tour, they chose a homecoming. As students at the University of Georgia in Athens in the late 70s, Michael Stipe, Peter Buck, Mike Mills, and Berry formed what would become one of rock music’s most influential bands. Most of the sold-out crowd of hometown fans at Lakewood Amphitheatre in Atlanta had been a part of that three-decade journey and were here to celebrate.
Instead of kicking off the show with something new, as is the common tradition, R.E.M. chose to bring out the big guns with “These Days,” a certified rocker from 1986’s “Lifes Rich Pageant.” This set the crowd on fire with no cooling down in sight. The sound was fresh, the music was succinct, and the band has never sounded better. Then, as if to acknowledge their rise back to the top, they performed the new “Living Well Is The Best Revenge.” This was one of several songs from “Accelerate,” including “Man-Sized Wreath,” which Stipe explained was written about the desecration of one of his childhood heroes Martin Luther King, Jr. Also from the new album was the building power of “Hollow Man” and “Houston,” a song about the ravages of Hurricane Katrina (“If the storm doesn’t kill me the government will”). “Horse To Water,” and “I’m Gonna DJ” rounded out the new stuff.
Following “Time After Time,” Stipe said to the crowd, “Looks good, sounds good, feels good too!” We agreed. To set up the ultra-political “Ignoreland,” he explained that the song had stemmed from the Iran-Contra scandal of the Reagan era. For the classic “(Don’t Go Back To) Rockville” (from 1982’s “Reckoning”), Stipe handed the microphone over to bassist Mike Mills, who is well known for his extraordinary harmonies (in actuality, this song was recorded with Stipe singing lead). Off that same album came “Harborcoat,” which showcases R.E.M.’s post-punk sound, exceptional vocals all around, with just a touch of a reggae guitar riff (“They crowded up to Lenin with their noses worn off / A handshake is worthy if it’s all that you’ve got”). Afterwards, he gave special thanks to the English Beat for their influence on that song (I never would’ve put those two musical institutions together).
At 90 minutes into the show, the band took a bow and exited the stage then returned for one encore offering six more songs. On the sublime and brilliant “Nightswimming,” Stipe leaned on the piano while Mills played the music (“Nightswimming deserves a quiet night / I’m not sure all these people understand”). The only issue I had with that song was that it ended. For the final two song choices, the band was joined onstage by one-half of the Smiths’ genius, Johnny Marr. Marr joined Modest Mouse (for their 2007 release “We Were Dead Before The Ship Even Sank”), who opened for R.E.M. after Brooklyn band the National kicked off the evening. Those final songs were the awe-inspiring “Fall On Me,” which must be the most beautiful song about acid rain ever written, and “Man On The Moon.”
R.E.M. has always been a politically active band. Since their inception in the early eighties, they have had a liberal outlook on the world and been involved with many charitable ventures. During the encore, Stipe knelt down on stage and said, “I’m just going to say this…” and pulled out a t-shirt that the National is selling along with its own merchandise. It was an Obama ’08 shirt. Stipe said that the National’s final song, “Mr. November,” was played in honor of Barack Obama and that all the proceeds would go to his campaign. He went on to say that “…we need to get this man into office and follow through on the dream of Dr. King.” The majority of the crowd was supportive, but there were clearly a few conservatives present. (What do you expect? We are in Georgia.)
Overall, this was one fantastic show. I was transported back to R.E.M.’s hey day in the mid-80s when I attended three of their concerts. But this was different. This was a more mature group of musicians who have actually improved with age. Huge screens displayed the artistic side of the band, showing band members as well as other images and videos in piecemeal bouncing around the screens. There were several songs that I wanted to hear – but did not – including “Begin The Begin,” “Can’t Get There From Here,” “Feeling Gravity’s Pull,” and “Bandwagon.” Also sadly absent was ANYTHING from the first two releases “Chronic Town” or “Murmur.”
Indie rock group the National kicked off the evening with a sweet gig that many bands may likely kill for. Besides “Mr. November,” we heard some great songs, including “Start A War,” “Secret Meeting,” and “Fake Empire.” Singer Matt Berninger emoted with his beautiful, deep baritone voice.
Washington’s Modest Mouse, with it’s growing success in the alternative music world, warmed up the crowd nicely. Lead singer Isaac Brock sounded strikingly similar to the Pixies’ Frank Black (or Black Francis, depending on your upbringing). Modest Mouse energized the crowd with such tunes as “Black Cadillacs,” “Satin In A Coffin,” “King Rat,” and the incomparable “Dashboard” (“Well, it would've been, could've been worse than you would ever know / Oh, the dashboard melted, but we still have the radio”). Regardless of the band’s great success and their priceless exposure touring with R.E.M., the fact remains that I saw Johnny Marr live. That’s all that needs to be said.
R.E.M. Set List:
1. These Days
2. Living Well Is The Best Revenge
3. So Fast, So Numb
4. What’s The Frequency, Kenneth?
5. Time After Time (AnnElise)
6. Driver 8
7. Man-Sized Wreath
8. Walk Unafraid
9. Hollow Man
10. Ignoreland
11. Houston
12. Electrolite
13. (Don’t Go Back To) Rockville
14. Auctioneer (Another Engine)
15. Harborcoat
16. The One I Love
17. I’ve Been High
18. Let Me In
19. Bad Day
20. Horse To Water
21. Orange Crush
22. I’m Gonna DJ
Encore:
23. Supernatural Superserious
24. Losing My Religion
25. Pretty Persuasion
26. Nightswimming
27. Fall On Me (w/Johnny Marr)
28. Man On The Moon (w/Johnny Marr)
rematl
Supporting Act(s): Modest Mouse and The National
In the Company of: Chris
It’s been a long wait for the fans of R.E.M. Not so much to see their band play live, but to grab hold of such a high quality piece of work as this year’s “Accelerate.” Not since the early nineties have they recorded a rock and roll album with such intensity. It seems that since the departure of drummer Bill Berry in 1997, they have drifted aimlessly from album to album. Don’t get me wrong…there have been some real gems. But overall, no “big plays.” Not until 2008, and what turned out to be one of R.E.M.’s most critically praised releases in years.
For the final stop on their North American tour, they chose a homecoming. As students at the University of Georgia in Athens in the late 70s, Michael Stipe, Peter Buck, Mike Mills, and Berry formed what would become one of rock music’s most influential bands. Most of the sold-out crowd of hometown fans at Lakewood Amphitheatre in Atlanta had been a part of that three-decade journey and were here to celebrate.
Instead of kicking off the show with something new, as is the common tradition, R.E.M. chose to bring out the big guns with “These Days,” a certified rocker from 1986’s “Lifes Rich Pageant.” This set the crowd on fire with no cooling down in sight. The sound was fresh, the music was succinct, and the band has never sounded better. Then, as if to acknowledge their rise back to the top, they performed the new “Living Well Is The Best Revenge.” This was one of several songs from “Accelerate,” including “Man-Sized Wreath,” which Stipe explained was written about the desecration of one of his childhood heroes Martin Luther King, Jr. Also from the new album was the building power of “Hollow Man” and “Houston,” a song about the ravages of Hurricane Katrina (“If the storm doesn’t kill me the government will”). “Horse To Water,” and “I’m Gonna DJ” rounded out the new stuff.
Following “Time After Time,” Stipe said to the crowd, “Looks good, sounds good, feels good too!” We agreed. To set up the ultra-political “Ignoreland,” he explained that the song had stemmed from the Iran-Contra scandal of the Reagan era. For the classic “(Don’t Go Back To) Rockville” (from 1982’s “Reckoning”), Stipe handed the microphone over to bassist Mike Mills, who is well known for his extraordinary harmonies (in actuality, this song was recorded with Stipe singing lead). Off that same album came “Harborcoat,” which showcases R.E.M.’s post-punk sound, exceptional vocals all around, with just a touch of a reggae guitar riff (“They crowded up to Lenin with their noses worn off / A handshake is worthy if it’s all that you’ve got”). Afterwards, he gave special thanks to the English Beat for their influence on that song (I never would’ve put those two musical institutions together).
At 90 minutes into the show, the band took a bow and exited the stage then returned for one encore offering six more songs. On the sublime and brilliant “Nightswimming,” Stipe leaned on the piano while Mills played the music (“Nightswimming deserves a quiet night / I’m not sure all these people understand”). The only issue I had with that song was that it ended. For the final two song choices, the band was joined onstage by one-half of the Smiths’ genius, Johnny Marr. Marr joined Modest Mouse (for their 2007 release “We Were Dead Before The Ship Even Sank”), who opened for R.E.M. after Brooklyn band the National kicked off the evening. Those final songs were the awe-inspiring “Fall On Me,” which must be the most beautiful song about acid rain ever written, and “Man On The Moon.”
R.E.M. has always been a politically active band. Since their inception in the early eighties, they have had a liberal outlook on the world and been involved with many charitable ventures. During the encore, Stipe knelt down on stage and said, “I’m just going to say this…” and pulled out a t-shirt that the National is selling along with its own merchandise. It was an Obama ’08 shirt. Stipe said that the National’s final song, “Mr. November,” was played in honor of Barack Obama and that all the proceeds would go to his campaign. He went on to say that “…we need to get this man into office and follow through on the dream of Dr. King.” The majority of the crowd was supportive, but there were clearly a few conservatives present. (What do you expect? We are in Georgia.)
Overall, this was one fantastic show. I was transported back to R.E.M.’s hey day in the mid-80s when I attended three of their concerts. But this was different. This was a more mature group of musicians who have actually improved with age. Huge screens displayed the artistic side of the band, showing band members as well as other images and videos in piecemeal bouncing around the screens. There were several songs that I wanted to hear – but did not – including “Begin The Begin,” “Can’t Get There From Here,” “Feeling Gravity’s Pull,” and “Bandwagon.” Also sadly absent was ANYTHING from the first two releases “Chronic Town” or “Murmur.”
Indie rock group the National kicked off the evening with a sweet gig that many bands may likely kill for. Besides “Mr. November,” we heard some great songs, including “Start A War,” “Secret Meeting,” and “Fake Empire.” Singer Matt Berninger emoted with his beautiful, deep baritone voice.
Washington’s Modest Mouse, with it’s growing success in the alternative music world, warmed up the crowd nicely. Lead singer Isaac Brock sounded strikingly similar to the Pixies’ Frank Black (or Black Francis, depending on your upbringing). Modest Mouse energized the crowd with such tunes as “Black Cadillacs,” “Satin In A Coffin,” “King Rat,” and the incomparable “Dashboard” (“Well, it would've been, could've been worse than you would ever know / Oh, the dashboard melted, but we still have the radio”). Regardless of the band’s great success and their priceless exposure touring with R.E.M., the fact remains that I saw Johnny Marr live. That’s all that needs to be said.
R.E.M. Set List:
1. These Days
2. Living Well Is The Best Revenge
3. So Fast, So Numb
4. What’s The Frequency, Kenneth?
5. Time After Time (AnnElise)
6. Driver 8
7. Man-Sized Wreath
8. Walk Unafraid
9. Hollow Man
10. Ignoreland
11. Houston
12. Electrolite
13. (Don’t Go Back To) Rockville
14. Auctioneer (Another Engine)
15. Harborcoat
16. The One I Love
17. I’ve Been High
18. Let Me In
19. Bad Day
20. Horse To Water
21. Orange Crush
22. I’m Gonna DJ
Encore:
23. Supernatural Superserious
24. Losing My Religion
25. Pretty Persuasion
26. Nightswimming
27. Fall On Me (w/Johnny Marr)
28. Man On The Moon (w/Johnny Marr)
rematl
Saturday, June 21, 2008
94. THE CURE, 6/15/08
Location: The Arena at Gwinnett Center, Duluth, GA
Supporting Act(s): 65daysofstatic
In the Company of: Chris
Founding member, singer, songwriter, and glue-that-holds-the-band-together Robert Smith has never been accused of giving up easily. Even in the early nineties, there was talk of the Cure’s demise, yet Smith always found a way – or another musician – to keep it going. Since the group’s formation way back in 1976 (starting off as Glove then Easy Cure before settling on The Cure), Smith has made many personnel changes to his Goth-rock line-up, although his outward appearance has not changed as much, wearing all black with his trademark electrocuted hair, heavy eyeliner, and red lipstick.
For the current line-up, Smith is joined by the amazing Porl Thompson on guitar. Thompson has shaved his head and is sporting large raccoon eyes with stripes across the left side of his noggin. He is a frightening presence, appearing very tall, maybe because of those five-inch heels. He wore all black, with vinyl/plastic-looking pants. If Gene Simmons and Marilyn Manson were to have a lovechild, this would be the offspring. Simon Gallup brought us all down low on the bass and Jason Cooper was more than proficient on the drums.
For a group of rock “veterans,” energy was not a factor. The band played for an astonishing three hours and two minutes, which included 37 songs and three encores. When the show ended at 12:17 am, I had witnessed the best Cure show I’d seen (this was my third one). As the show began with “Underneath The Stars,” there was a white noise ocean sound, reminiscent of the opening sounds of “I Am The Sea,” from the Who’s “Quadrophenia.” Gone are the keyboards/synthesizers, which helped define the Cure’s sound over the past thirty years. This is a new, stripped-down collective, which requires some adjustments. Mostly, Smith and Thompson showed their guitar prowess in replacing those former instruments. What the fans got was a cleaner, tighter set of songs.
The musicianship was excellent, with no weak members in the band. Smith’s voice was perfect for the entire evening. He seemed very appreciative, smiling and dancing during several songs, despite the less than sold-out crowd, which was mostly made up of thirty- and forty-somethings. Not as many young, Goth kids as you may think, but they were there.
True Cure fans were treated to many older, lesser-known songs. But it was the better-known selections that invigorated the masses. Smith culled many of the evening’s songs from the band’s peak years during the mid- to late-eighties. From 1985’s “The Head On The Door” we heard “Inbetween Days,” “Push,” and “Close To Me” (“I've waited hours for this / I've made myself so sick / I wish I'd stayed asleep today / I never thought this day would end / I never thought tonight could ever be / This close to me”). From 1987’s “Kiss Me, Kiss Me, Kiss Me” came “Hot Hot Hot!!!,” “Why Can’t I Be You?” “Kyoto Song,” and the wonderfully happy “Just Like Heaven” (“Show me, show me, show me how you do that trick / The one that makes me scream, she said”). And 1989’s “Disintegration” gave us “Fascination Street,” “Lovesong,” “Pictures Of You,” and “Lullaby.”
The classics, though, were not forgotten, such as “Boys Don’t Cry,” “10:15 Saturday Night,” “A Forest,” and “The Lovecats” (“Into the sea you and me / All these years and no one heard / I'll show you in spring it's a treacherous thing / We missed you hissed the love cats”). Also played was the rocking new single “Freakshow,” from the Cure’s forthcoming, yet to be named album (Geffen). This is their thirteenth studio recording and the band is releasing one single on the 13th of each month leading up to the September 13 release date. Sounds like we’re in for some good luck.
Opening the show was Sheffield England’s 65daysofstatic, an alt-rock totally instrumental band that were surprisingly great. Besides a few thank yous, we didn’t hear much vocally. But the four-piece treated us to some interesting rock music. With some pre-recorded speaking and synthesized music kicking off a few songs, they definitely set themselves apart from most other modern rock bands. With the opening slot for the Cure tour, they are sure to get some much-deserved attention.
Set List (thanks in part to my memory and a little help from www.chainofflowers.com):
1. Underneath The Stars
2. Want
3. A Strange Day
4. The Walk
5. The End of the World
6. Lovesong
7. To Wish Impossible Things
8. Pictures of You
9. Lullaby
10. Fascination Street
11. The Perfect Boy
12. From the Edge of the Deep Green Sea
13. Other Voices
14. Sleep When I'm Dead
15. Push
16. Doing The Unstuck
17. Inbetween Days
18. Just Like Heaven
19. Kyoto Song
20. Hot Hot Hot!!!
21. The Only One
22. Charlotte Sometimes
23. Signal To Noise
24. One Hundred Years
25. Baby Rag Dog Book
First Encore:
26. At Night
27. M
28. Play For Today
29. A Forest
Second Encore:
30. The Lovecats
31. Let's Go To Bed
32. Freakshow
33. Close To Me
34. Why Can't I Be You?
Third Encore:
35. Boys Don't Cry
36. 10:15 Saturday Night
37. Killing An Arab
Supporting Act(s): 65daysofstatic
In the Company of: Chris
Founding member, singer, songwriter, and glue-that-holds-the-band-together Robert Smith has never been accused of giving up easily. Even in the early nineties, there was talk of the Cure’s demise, yet Smith always found a way – or another musician – to keep it going. Since the group’s formation way back in 1976 (starting off as Glove then Easy Cure before settling on The Cure), Smith has made many personnel changes to his Goth-rock line-up, although his outward appearance has not changed as much, wearing all black with his trademark electrocuted hair, heavy eyeliner, and red lipstick.
For the current line-up, Smith is joined by the amazing Porl Thompson on guitar. Thompson has shaved his head and is sporting large raccoon eyes with stripes across the left side of his noggin. He is a frightening presence, appearing very tall, maybe because of those five-inch heels. He wore all black, with vinyl/plastic-looking pants. If Gene Simmons and Marilyn Manson were to have a lovechild, this would be the offspring. Simon Gallup brought us all down low on the bass and Jason Cooper was more than proficient on the drums.
For a group of rock “veterans,” energy was not a factor. The band played for an astonishing three hours and two minutes, which included 37 songs and three encores. When the show ended at 12:17 am, I had witnessed the best Cure show I’d seen (this was my third one). As the show began with “Underneath The Stars,” there was a white noise ocean sound, reminiscent of the opening sounds of “I Am The Sea,” from the Who’s “Quadrophenia.” Gone are the keyboards/synthesizers, which helped define the Cure’s sound over the past thirty years. This is a new, stripped-down collective, which requires some adjustments. Mostly, Smith and Thompson showed their guitar prowess in replacing those former instruments. What the fans got was a cleaner, tighter set of songs.
The musicianship was excellent, with no weak members in the band. Smith’s voice was perfect for the entire evening. He seemed very appreciative, smiling and dancing during several songs, despite the less than sold-out crowd, which was mostly made up of thirty- and forty-somethings. Not as many young, Goth kids as you may think, but they were there.
True Cure fans were treated to many older, lesser-known songs. But it was the better-known selections that invigorated the masses. Smith culled many of the evening’s songs from the band’s peak years during the mid- to late-eighties. From 1985’s “The Head On The Door” we heard “Inbetween Days,” “Push,” and “Close To Me” (“I've waited hours for this / I've made myself so sick / I wish I'd stayed asleep today / I never thought this day would end / I never thought tonight could ever be / This close to me”). From 1987’s “Kiss Me, Kiss Me, Kiss Me” came “Hot Hot Hot!!!,” “Why Can’t I Be You?” “Kyoto Song,” and the wonderfully happy “Just Like Heaven” (“Show me, show me, show me how you do that trick / The one that makes me scream, she said”). And 1989’s “Disintegration” gave us “Fascination Street,” “Lovesong,” “Pictures Of You,” and “Lullaby.”
The classics, though, were not forgotten, such as “Boys Don’t Cry,” “10:15 Saturday Night,” “A Forest,” and “The Lovecats” (“Into the sea you and me / All these years and no one heard / I'll show you in spring it's a treacherous thing / We missed you hissed the love cats”). Also played was the rocking new single “Freakshow,” from the Cure’s forthcoming, yet to be named album (Geffen). This is their thirteenth studio recording and the band is releasing one single on the 13th of each month leading up to the September 13 release date. Sounds like we’re in for some good luck.
Opening the show was Sheffield England’s 65daysofstatic, an alt-rock totally instrumental band that were surprisingly great. Besides a few thank yous, we didn’t hear much vocally. But the four-piece treated us to some interesting rock music. With some pre-recorded speaking and synthesized music kicking off a few songs, they definitely set themselves apart from most other modern rock bands. With the opening slot for the Cure tour, they are sure to get some much-deserved attention.
Set List (thanks in part to my memory and a little help from www.chainofflowers.com):
1. Underneath The Stars
2. Want
3. A Strange Day
4. The Walk
5. The End of the World
6. Lovesong
7. To Wish Impossible Things
8. Pictures of You
9. Lullaby
10. Fascination Street
11. The Perfect Boy
12. From the Edge of the Deep Green Sea
13. Other Voices
14. Sleep When I'm Dead
15. Push
16. Doing The Unstuck
17. Inbetween Days
18. Just Like Heaven
19. Kyoto Song
20. Hot Hot Hot!!!
21. The Only One
22. Charlotte Sometimes
23. Signal To Noise
24. One Hundred Years
25. Baby Rag Dog Book
First Encore:
26. At Night
27. M
28. Play For Today
29. A Forest
Second Encore:
30. The Lovecats
31. Let's Go To Bed
32. Freakshow
33. Close To Me
34. Why Can't I Be You?
Third Encore:
35. Boys Don't Cry
36. 10:15 Saturday Night
37. Killing An Arab
93. THEY MIGHT BE GIANTS, 1986 (out of order)
Location: The Lone Star, Kansas City, MO
Supporting Act(s): ?
In the Company of: Britt E.
Just recollected that I was at this show...sometime in 1986? Probably a small cover charge at this now defunct club in Kansas City's Westport district (meaning NO ticket stub!). I had recently seen TMBG's new video - and their very first single - "Don't Let's Start" on MTV. Very cool video and a great song ("When you are alone you are the cat you are the phone you are an animal / The words I'm singing now mean nothing more than meow to an animal / Wake up smell the cat food in your bank account / Don't try to stop the tail that wags the hound"...this may make more sense if you heard it). I quite possibly purchased their first CD at this show for under $10.
Other gems may have included, "Hide Away Folk Family," "She's A Hotel Detective," "32 Footsteps," "Boat Of Car," and many more!
This was probably the two Johns' (Finnell and Lansburgh) first trip to KC from NY. It was just the two of them and a drum machine. Guitars, accordians, and several other instruments were played that evening. It was loud and the crowd loved it.
Supporting Act(s): ?
In the Company of: Britt E.
Just recollected that I was at this show...sometime in 1986? Probably a small cover charge at this now defunct club in Kansas City's Westport district (meaning NO ticket stub!). I had recently seen TMBG's new video - and their very first single - "Don't Let's Start" on MTV. Very cool video and a great song ("When you are alone you are the cat you are the phone you are an animal / The words I'm singing now mean nothing more than meow to an animal / Wake up smell the cat food in your bank account / Don't try to stop the tail that wags the hound"...this may make more sense if you heard it). I quite possibly purchased their first CD at this show for under $10.
Other gems may have included, "Hide Away Folk Family," "She's A Hotel Detective," "32 Footsteps," "Boat Of Car," and many more!
This was probably the two Johns' (Finnell and Lansburgh) first trip to KC from NY. It was just the two of them and a drum machine. Guitars, accordians, and several other instruments were played that evening. It was loud and the crowd loved it.
Wednesday, June 18, 2008
92. DEATH CAB FOR CUTIE, 5/31/08
Location: Ninth Street Summerfest, Columbia, MO
Supporting Act(s): Rogue Wave
In the Company of: Russ W. & Sheila W.
What’s in a name? Well, for Seattle’s Death Cab For Cutie, a lot. Travel back with me, if you will, to 1967. You may remember a little movie by The Beatles called “The Magical Mystery Tour.” In that movie, there is another band, called the Bonzo Dog Doo-Dah Band. They perform a song in that film entitled, “Death Cab For Cutie.” Got it?
Now, fast-forward to 2008 and an indie rock group that recently had their new release, “Narrow Stairs,” debut at #1 on the Billboard Hot 100 chart. Pretty amazing for a band that was relatively unknown until 2005’s breakout release “Plans.” This success is definitely not overnight, though. The group, led by singer Ben Gibbard, has been making music together for ten years.
On this warm night under the stars in the cozy college town (The University of Missouri), Gibbard asked the two blocks of fans if any had been with them six years ago for the first time they played Columbia. It was at a club called Mojo’s. A club I was sitting in not an hour before this show began. The place is small and dingy, but with a nice beer selection. One or two yelps answered his question. I’m guessing they were not really there six years ago, but just wanted some undeserved attention from the crowd.
The show kicked off with “Bixby Canyon Bridge” from “Narrow Stairs,” a salute to Beat poet Jack Kerouac. Gibbard starts off the song nearly a capella, but the rhythm section soon joins in to make this a pounding gem (“I descended a dusty gravel ridge / Beneath the Bixby Canyon Bridge / Until I eventually arrived / At the place where your soul had died”). The sound was loud and crisp and it seemed that the crowd had been waiting an eternity for this moment, not just the one-hour delay caused by the storm cells over mid-Missouri.
Other selections from the new release included, “Long Division,” “Cath…,” and the stalking first single, “I Will Possess Your Heart,” played nearly in its entirety of over eight minutes (“You gotta spend some time love / You gotta spend some time with me / And I know that you’ll find love / I will possess your heart”). The band also treated the crowd to several songs from their last album, “Plans,” including “Crooked Teeth,” “Soul Meets Body,” the touching and hugely sing-along-able “I Will Follow You Into The Dark,” “Marching Bands Of Manhattan,” and “Your Heart Is An Empty Room.”
From 2003’s “Transatlanticism” (the band’s final release on the indie label Barsuk) we heard “New Year,” “The Sound Of Settling,” “Title And Registration,” and the closer, “Transatlanticism” (“…I need you so much closer…”). For the hardcore Death Cab fans, “Why You’d Want To Live Here,” “A Movie Script Ending,” “We Laugh Indoors,” “Your Bruise,” and “405” were performed.
Young faces in the crowd were jumping and singing every word to every song. I felt guilty calling myself a fan not knowing every lyric. But college towns and college radio can stand up and take some credit for Death Cab’s overwhelming success of late. This was an inspired show that will not soon be forgotten.
Opening the show was California’s Rogue Wave. Promoting their 2007 release, “Asleep At Heaven’s Gate,” the band played excellent music that was responded well to by the fans. Highlights were “Lake Michigan” and “Like I Needed.” Headed by Zach Rogue, the band is both atmospheric and rocking in any given song. Something to see if you get the chance.
Supporting Act(s): Rogue Wave
In the Company of: Russ W. & Sheila W.
What’s in a name? Well, for Seattle’s Death Cab For Cutie, a lot. Travel back with me, if you will, to 1967. You may remember a little movie by The Beatles called “The Magical Mystery Tour.” In that movie, there is another band, called the Bonzo Dog Doo-Dah Band. They perform a song in that film entitled, “Death Cab For Cutie.” Got it?
Now, fast-forward to 2008 and an indie rock group that recently had their new release, “Narrow Stairs,” debut at #1 on the Billboard Hot 100 chart. Pretty amazing for a band that was relatively unknown until 2005’s breakout release “Plans.” This success is definitely not overnight, though. The group, led by singer Ben Gibbard, has been making music together for ten years.
On this warm night under the stars in the cozy college town (The University of Missouri), Gibbard asked the two blocks of fans if any had been with them six years ago for the first time they played Columbia. It was at a club called Mojo’s. A club I was sitting in not an hour before this show began. The place is small and dingy, but with a nice beer selection. One or two yelps answered his question. I’m guessing they were not really there six years ago, but just wanted some undeserved attention from the crowd.
The show kicked off with “Bixby Canyon Bridge” from “Narrow Stairs,” a salute to Beat poet Jack Kerouac. Gibbard starts off the song nearly a capella, but the rhythm section soon joins in to make this a pounding gem (“I descended a dusty gravel ridge / Beneath the Bixby Canyon Bridge / Until I eventually arrived / At the place where your soul had died”). The sound was loud and crisp and it seemed that the crowd had been waiting an eternity for this moment, not just the one-hour delay caused by the storm cells over mid-Missouri.
Other selections from the new release included, “Long Division,” “Cath…,” and the stalking first single, “I Will Possess Your Heart,” played nearly in its entirety of over eight minutes (“You gotta spend some time love / You gotta spend some time with me / And I know that you’ll find love / I will possess your heart”). The band also treated the crowd to several songs from their last album, “Plans,” including “Crooked Teeth,” “Soul Meets Body,” the touching and hugely sing-along-able “I Will Follow You Into The Dark,” “Marching Bands Of Manhattan,” and “Your Heart Is An Empty Room.”
From 2003’s “Transatlanticism” (the band’s final release on the indie label Barsuk) we heard “New Year,” “The Sound Of Settling,” “Title And Registration,” and the closer, “Transatlanticism” (“…I need you so much closer…”). For the hardcore Death Cab fans, “Why You’d Want To Live Here,” “A Movie Script Ending,” “We Laugh Indoors,” “Your Bruise,” and “405” were performed.
Young faces in the crowd were jumping and singing every word to every song. I felt guilty calling myself a fan not knowing every lyric. But college towns and college radio can stand up and take some credit for Death Cab’s overwhelming success of late. This was an inspired show that will not soon be forgotten.
Opening the show was California’s Rogue Wave. Promoting their 2007 release, “Asleep At Heaven’s Gate,” the band played excellent music that was responded well to by the fans. Highlights were “Lake Michigan” and “Like I Needed.” Headed by Zach Rogue, the band is both atmospheric and rocking in any given song. Something to see if you get the chance.
Thursday, May 22, 2008
INTERVIEW: 5 Minutes With Liam Finn
I had the opportunity to speak with Liam Finn after the May 18 show at The Earl in Atlanta. Here’s what he had to say…
Me: During your first two trips to Atlanta as a solo artist, you had a complete drum kit. Tonight, it’s only two drums. Why?
LF: It won’t fit in the car!
Me: How did you like touring with Eddie Vedder on the west coast last month?
LF: It was great.
Me: Did you meet him when your band (Betchadupa) played with him on your dad’s (Neil Finn) “7 Worlds Collide” shows? (A DVD was culled from five shows at the St. James Theatre in Auckland, New Zealand in April 2001.)
LF: No, I’ve known him since I was a kid.
Me: I saw your dad’s solo show here in Atlanta in 1998 and you were with him on guitar…how old were you then?
LF: Fourteen.
Me: Any plans for a new album? EJ told me earlier that it was an “interesting experiment.” Is it interesting because you’ll be collaborating with her, or does that describe how you’re recording it?
LF: That describes how we’re recording it.
Me: I’ll just leave it at that. Any plans to return to Atlanta?
LF: We’ll be back in September.
Me: Where do you want to be in five years?
LF: Hopefully alive!
Me: During your first two trips to Atlanta as a solo artist, you had a complete drum kit. Tonight, it’s only two drums. Why?
LF: It won’t fit in the car!
Me: How did you like touring with Eddie Vedder on the west coast last month?
LF: It was great.
Me: Did you meet him when your band (Betchadupa) played with him on your dad’s (Neil Finn) “7 Worlds Collide” shows? (A DVD was culled from five shows at the St. James Theatre in Auckland, New Zealand in April 2001.)
LF: No, I’ve known him since I was a kid.
Me: I saw your dad’s solo show here in Atlanta in 1998 and you were with him on guitar…how old were you then?
LF: Fourteen.
Me: Any plans for a new album? EJ told me earlier that it was an “interesting experiment.” Is it interesting because you’ll be collaborating with her, or does that describe how you’re recording it?
LF: That describes how we’re recording it.
Me: I’ll just leave it at that. Any plans to return to Atlanta?
LF: We’ll be back in September.
Me: Where do you want to be in five years?
LF: Hopefully alive!
91. LAURA VEIRS, 5/18/08
Location: The Earl, Atlanta, GA
Supporting Act(s): Liam Finn
In the Company of: Thomas S.
For the passerby, Seattle’s Laura Veirs may have sounded like an old Suzanne Vega cd spinning inside The Earl…or maybe one of a number of 80s female singer/songwriters accompanied only by a guitar. But this is 2008, and Laura Veirs is here and now. Her sound is fresh and original, and her guitar playing is marvelous. She does have a band – the Saltbreakers – which is also the name of her latest release (Nonesuch). For this stripped-down tour, though, she’s going solo. And it fits her music. It’s simple and melodic with discerning lyrics. Producer Tucker Martine (Decemberists, Bill Frisell) has worked with Veirs on all five of her studio albums. Veirs also collaborated with the Decemberists on their 2006 release “The Crane Wife.”
Like opening act Liam Finn, Veirs used a looping effects pedal quite frequently. She looped guitar tracks as well as vocals. It resonated from the speakers with a full, rich sound. What a great invention, the looping machine. About halfway through her set, Veirs informed us that she was going to attempt a subliminal message and hopefully we could figure it out. She then began chanting, “O-BA-MA…O-BA-MA…” The crowd seemed indifferent (except for a few saying, “HIL-LA-RY…HIL-LA-RY…” under their breath). If there were any McCain supporters, they failed to make themselves known. Ah, election years.
During another break in the music, Veirs held up a computer printout of someone’s photograph and said, “I’m supposed to give a shout-out to Todd from Chicago.” In the back of the room, a voice – I assume Todd’s – shouted out, “Yeah, thanks!” Apparently, one of Todd’s friends from Chicago sent the message with Veirs when she played Chicago three nights earlier.
When “Saltbreakers” was released, Veirs put out a request on her website for independent videographers and filmmakers to create their own videos of her songs. The top four have made it to her site. The second place winner was for the video of “Wrecking” and was won by Derek Searce, from Mableton, Georgia. Much of it was filmed in the Mableton Kroger, where I frequently use my Kroger Card. Searce was at the show and Veirs introduced him to everyone. She then treated us to a beautiful version of “Wrecking.”
For her final song, Veirs invited Liam Finn and EJ Barnes back onto the stage to perform “Galaxies.” It was the sole rocker of her set and was a rousing finale.
Finn himself put on a fiery show, playing seven selections from his excellent debut, “I’ll Be Lightning,” and one extra, which I’ll call “The Atlanta Cookie Song.” Finn is known to spontaneously blast into a jam, coming up with an original song that, more than likely, will never be heard again.
The show began with “Better To Be,” which showcases Finn’s knack to create perfect pop hooks, while still maintaining a folk music disposition. His songs are full of great hooks and soaring harmonies provided by Barnes. Finn is also a master with the looping effects pedal, generating as many as three guitars and a couple of vocals in one song, before savagely attacking the drums. Instead of his usual full drum kit, Finn remained standing, using only two drums. This afforded him the ease of going from the looped tracks to frenzied jumping, singing, and beating of the drums. From the sidewalk, one could hear the equivalent of a high-powered, full-tilt, five-piece rock band.
Finn went on to perform “Fire In Your Belly,” the excellent “Wise Man,” the album’s first single, “Second Chance” (“You stand around your haunted home / Those demons won't leave you alone / Don't forget me when you grow old…”),” “Energy Spent,” “Gather To The Chapel,” “I’ll Be Lightning,” and the infectiously rocking “Lead Balloon.”
By contrast, Finn’s intense, rocking set monopolized most of the energy for the evening. But the musical solar systems of Veirs and Finn are vastly different. The only logical connection as to why these two are touring together is that crazy looping effect pedal. Great minds do think alike.
Supporting Act(s): Liam Finn
In the Company of: Thomas S.
For the passerby, Seattle’s Laura Veirs may have sounded like an old Suzanne Vega cd spinning inside The Earl…or maybe one of a number of 80s female singer/songwriters accompanied only by a guitar. But this is 2008, and Laura Veirs is here and now. Her sound is fresh and original, and her guitar playing is marvelous. She does have a band – the Saltbreakers – which is also the name of her latest release (Nonesuch). For this stripped-down tour, though, she’s going solo. And it fits her music. It’s simple and melodic with discerning lyrics. Producer Tucker Martine (Decemberists, Bill Frisell) has worked with Veirs on all five of her studio albums. Veirs also collaborated with the Decemberists on their 2006 release “The Crane Wife.”
Like opening act Liam Finn, Veirs used a looping effects pedal quite frequently. She looped guitar tracks as well as vocals. It resonated from the speakers with a full, rich sound. What a great invention, the looping machine. About halfway through her set, Veirs informed us that she was going to attempt a subliminal message and hopefully we could figure it out. She then began chanting, “O-BA-MA…O-BA-MA…” The crowd seemed indifferent (except for a few saying, “HIL-LA-RY…HIL-LA-RY…” under their breath). If there were any McCain supporters, they failed to make themselves known. Ah, election years.
During another break in the music, Veirs held up a computer printout of someone’s photograph and said, “I’m supposed to give a shout-out to Todd from Chicago.” In the back of the room, a voice – I assume Todd’s – shouted out, “Yeah, thanks!” Apparently, one of Todd’s friends from Chicago sent the message with Veirs when she played Chicago three nights earlier.
When “Saltbreakers” was released, Veirs put out a request on her website for independent videographers and filmmakers to create their own videos of her songs. The top four have made it to her site. The second place winner was for the video of “Wrecking” and was won by Derek Searce, from Mableton, Georgia. Much of it was filmed in the Mableton Kroger, where I frequently use my Kroger Card. Searce was at the show and Veirs introduced him to everyone. She then treated us to a beautiful version of “Wrecking.”
For her final song, Veirs invited Liam Finn and EJ Barnes back onto the stage to perform “Galaxies.” It was the sole rocker of her set and was a rousing finale.
Finn himself put on a fiery show, playing seven selections from his excellent debut, “I’ll Be Lightning,” and one extra, which I’ll call “The Atlanta Cookie Song.” Finn is known to spontaneously blast into a jam, coming up with an original song that, more than likely, will never be heard again.
The show began with “Better To Be,” which showcases Finn’s knack to create perfect pop hooks, while still maintaining a folk music disposition. His songs are full of great hooks and soaring harmonies provided by Barnes. Finn is also a master with the looping effects pedal, generating as many as three guitars and a couple of vocals in one song, before savagely attacking the drums. Instead of his usual full drum kit, Finn remained standing, using only two drums. This afforded him the ease of going from the looped tracks to frenzied jumping, singing, and beating of the drums. From the sidewalk, one could hear the equivalent of a high-powered, full-tilt, five-piece rock band.
Finn went on to perform “Fire In Your Belly,” the excellent “Wise Man,” the album’s first single, “Second Chance” (“You stand around your haunted home / Those demons won't leave you alone / Don't forget me when you grow old…”),” “Energy Spent,” “Gather To The Chapel,” “I’ll Be Lightning,” and the infectiously rocking “Lead Balloon.”
By contrast, Finn’s intense, rocking set monopolized most of the energy for the evening. But the musical solar systems of Veirs and Finn are vastly different. The only logical connection as to why these two are touring together is that crazy looping effect pedal. Great minds do think alike.
Thursday, May 15, 2008
90. RADIOHEAD, 5/8/08
Location: Lakewood Amphitheatre, Atlanta, GA
Supporting Act(s): Liars
In the Company of: Thomas S.
Intentionally or not, Radiohead is changing the way we buy music. Their latest release, “In Rainbows,” was released exclusively as a digital download for a price the buyer determined. Needless to say, many took advantage of this free offer and got it for nothing. Others, supportive of the band, gave a few bucks.
Widespread reports surfaced that a million downloads occurred by the time the physical cd was released. Radiohead’s genius is that so many more listeners acquired “In Rainbows” than if the album had been released traditionally. This exposure may explain several sold-out shows on their current tour in America. It may also explain why the music industry is very nervous right now. They are hoping and betting that no other groups get the urge to be so bold.
Formed in Oxfordshire, England in 1986, the band was originally known as On a Friday. When EMI signed them in 1992, a name change was requested. Being Talking Heads fans, the boys renamed their band after the song “Radio Head,” from the 1986 album “True Stories.” In that song, David Byrne sings, “Transmitter / Picking up something good / Radio head / The sound of a brand new world.” This is an apt description of Radiohead’s music…theirs is the sound for a brand new world.
The show began with the beautiful “All I Need” (“I’m the next act / Waiting in the wings”) as red lasers flashed on dozens of tubes hanging from the rafters. Behind the tubes was a large, rectangular screen that showed the band members from several different angles. As the evening progressed, a variety of lasers, lights, and designs shone on the tubes.
Throughout the night, Radiohead treated fans to some of their finest work. Possibly to some newer fans’ dismay, the band skipped over some of their earlier, more well known songs, thus avoiding a predictable evening. “Creep,” “High And Dry,” and “Karma Police” were left off the set list. Instead, deeper cuts were performed including the songs “Idioteque,” “Paranoid Android,” “How To Disappear Completely,” “Talk Show Host,” and “National Anthem.” Nine of the ten selections from the new release “In Rainbows” were played, with the only omission being “Jigsaw Falling Into Place.”
Leader Thom Yorke danced and gyrated throughout the evening in a somewhat Stipe-ian manner. His voice was clear and strong, while his guitar and piano playing was top notch. Guitarist Ed O’Brien experimented with many pieces, on the floor quite often adjusting the sound. Brothers Jonny and Colin Greenwood, playing guitar and bass respectively, added to the excellent sound created by the band. Drummer Phil Selway mastered the rhythm section.
As the rain came down at Lakewood Amphitheatre, the fans seemed to become more in tune with the band. It definitely added to the atmosphere of an awesome rock show. These were dedicated fans who knew the songs and appreciated the fact that a group like Radiohead could sell out a concert in the Bible belt. When performing “You And Whose Army?” Yorke sings “Come on if you think you can take us on.” Right now, there’s not a band that could win that challenge.
Opening the show was the trio Liars. This art-rock group relied heavily on the drums and had a sound that fit perfectly with a Radiohead show. Singer Angus Andrew could have given Mick Jagger a run for his money with his active stage presence. The thin crowd was supportive of the band, which was appreciative.
Supporting Act(s): Liars
In the Company of: Thomas S.
Intentionally or not, Radiohead is changing the way we buy music. Their latest release, “In Rainbows,” was released exclusively as a digital download for a price the buyer determined. Needless to say, many took advantage of this free offer and got it for nothing. Others, supportive of the band, gave a few bucks.
Widespread reports surfaced that a million downloads occurred by the time the physical cd was released. Radiohead’s genius is that so many more listeners acquired “In Rainbows” than if the album had been released traditionally. This exposure may explain several sold-out shows on their current tour in America. It may also explain why the music industry is very nervous right now. They are hoping and betting that no other groups get the urge to be so bold.
Formed in Oxfordshire, England in 1986, the band was originally known as On a Friday. When EMI signed them in 1992, a name change was requested. Being Talking Heads fans, the boys renamed their band after the song “Radio Head,” from the 1986 album “True Stories.” In that song, David Byrne sings, “Transmitter / Picking up something good / Radio head / The sound of a brand new world.” This is an apt description of Radiohead’s music…theirs is the sound for a brand new world.
The show began with the beautiful “All I Need” (“I’m the next act / Waiting in the wings”) as red lasers flashed on dozens of tubes hanging from the rafters. Behind the tubes was a large, rectangular screen that showed the band members from several different angles. As the evening progressed, a variety of lasers, lights, and designs shone on the tubes.
Throughout the night, Radiohead treated fans to some of their finest work. Possibly to some newer fans’ dismay, the band skipped over some of their earlier, more well known songs, thus avoiding a predictable evening. “Creep,” “High And Dry,” and “Karma Police” were left off the set list. Instead, deeper cuts were performed including the songs “Idioteque,” “Paranoid Android,” “How To Disappear Completely,” “Talk Show Host,” and “National Anthem.” Nine of the ten selections from the new release “In Rainbows” were played, with the only omission being “Jigsaw Falling Into Place.”
Leader Thom Yorke danced and gyrated throughout the evening in a somewhat Stipe-ian manner. His voice was clear and strong, while his guitar and piano playing was top notch. Guitarist Ed O’Brien experimented with many pieces, on the floor quite often adjusting the sound. Brothers Jonny and Colin Greenwood, playing guitar and bass respectively, added to the excellent sound created by the band. Drummer Phil Selway mastered the rhythm section.
As the rain came down at Lakewood Amphitheatre, the fans seemed to become more in tune with the band. It definitely added to the atmosphere of an awesome rock show. These were dedicated fans who knew the songs and appreciated the fact that a group like Radiohead could sell out a concert in the Bible belt. When performing “You And Whose Army?” Yorke sings “Come on if you think you can take us on.” Right now, there’s not a band that could win that challenge.
Opening the show was the trio Liars. This art-rock group relied heavily on the drums and had a sound that fit perfectly with a Radiohead show. Singer Angus Andrew could have given Mick Jagger a run for his money with his active stage presence. The thin crowd was supportive of the band, which was appreciative.
Monday, April 28, 2008
89. BRUCE SPRINGSTEEN & THE E STREET BAND, 4/25/08
Location: Philips Arena, Atlanta, GA
Supporting Act(s): none needed
In The Company of: Joe B., Bryan D., Mark M.
There are a handful of acts that certain music lovers yearn to experience in their lifetime. The Beatles. The Rolling Stones. The Doors. The Clash. When it becomes apparent that experiencing some of these acts may not happen, it’s a bitter pill to swallow. I have never seen a Springsteen concert. I yearned to see one before it was all over. When keyboardist Danny Federici lost his long battle with cancer last week, the E Street Band’s immortality was in question. This was one, I thought, that I must see.
Bruce began the show with a tribute to Federici. The lights stayed off while a slideshow of forty years of photos flashed on the big screens. Accompanied only by his harmonica, Bruce performed “Reason To Believe” (“…In a whitewash shotgun shack an old man passes away / take his body to the graveyard and over him they pray / Lord won't you tell us tell us what does it mean / Still at the end of every hard earned day people find some reason to believe”).
The E Street Band then joined Bruce for a rollicking “Out In The Street.” The band sounded tight and played like, well, like they’ve been together for a lifetime. Nils Lofgren on guitar sounded incredible. His guitar solo would make Eddie Van Halen sit up and take notice. The Mighty Max Weinberg, on hiatus as musical director and resident drummer on Late Night with Conan O’Brien, was the workhorse of the band. A virtual machine and a man possessed. Incredible. Steven Van Zandt, a.k.a. Little Steven, a.k.a. Miami Steve was all over the place, singing exceptional harmony with Bruce and playing great guitar. Most recently, Van Zandt wrapped up eight seasons playing mobster Silvio Dante on HBO’s “The Sopranos.” And of course, The Big Man Clarence Clemens, dressed in all black – hat and all – sounded as fresh and exciting as he did the very first time I heard him on a record. Anytime his name was mentioned or he played that sax, the sold-out crowd showed him its love in a loud way. While he’s moving a bit slower these days, he definitely did his part. Springsteen has recorded and toured with and without the E Street Band. But with them, everything is richer. They complete him.
The third song out of the gate was the catchy and rocking “Radio Nowhere” (“This is radio nowhere / is there anybody alive out there?”) from last year’s “Magic.” This latest release has been a commercial as well as a critical hit for The Boss. An argument could be made that this song refers to America’s faltering role in the war in Iraq. It would make sense since Bruce is an outspoken critic of the current U.S. involvement there. Later in the show, we heard further evidence supporting this idea, “The Last To Die” (“Who'll be the last to die for a mistake…Whose blood will spill, whose heart will break”). Another “statement” song was “Livin’ In The Future” which seems to be dealing both with global warming and our current political plight (“The earth it gave away / The sea rose toward the sun / I opened up my heart to you it got all damaged and undone / My ship Liberty sailed away on a bloody red horizon / The groundskeeper opened the gates and let the wild dogs run”). As I drove away later that night, I half expected to see a bumper sticker or two reading, “I’m A Springsteen Fan And I Vote.”
I was happy when the song that I craved to hear, “Blinded By The Light,” was played early on and for the first time on this tour. As those old enough to remember must know, Manfred Mann’s Earth Band covered this song in 1977 earning them a number one hit. But Bruce wrote this one. It was the first song – and first single – on his debut album, “Greetings From Asbury Park, N.J.” which hit record stores on January 5, 1973. The 45 of this song was the first record I ever purchased. I was thirteen years old and had discovered Rock and Roll.
Another standout was “Trapped.” This is a song written by reggae god Jimmy Cliff that appears as a live track on “The Essential Bruce Springsteen” release from 2003. It was recorded during the “Born In The U.S.A” tour in 1984. Before playing “Your Own Worst Enemy,” Bruce announced, “…in honor of producer extraordinaire Brendan O’Brien…it won't be as good as the record, but we'll try.” “Magic” was recorded in O’Brien’s Atlanta Studio.
“The Rising” was a stark reminder of September 11, 2001. It is a single from 2002’s album of the same name which Bruce wrote as a touching tribute to his city in ruin and the heroes who served us that day (“Left the house this morning / Bells ringing filled the air / Wearin' the cross of my calling / On wheels of fire I come rollin' down here / Come on up for the rising / Come on up, lay your hands in mine”).
If the nineteen songs were not enough to wear out the crowd, the Boss and the Band came back out with a five-song encore for the ages. The songs were mostly culled from 1975’s “Born To Run” album. “Thunder Road,” “Born To Run,” “Rosalita,” and “Tenth Avenue Freeze-Out” blew us all away and was a snapshot of what defined authentic Springsteen. These are the songs everyone knows. The band jammed like it was back in the 70s again and the crowd frequently raised their shining cell phones in lieu of lighters. Wrapping up the evening was “American Land,” a song taken from Bruce’s recent tribute album to Pete Seeger. It seems destined to become a Springsteen staple. I know this because it was the only song that had its lyrics shown on the big screen to promote fans’ involvement. It was a foot-stompin’ Irish jig of a song that’s still kicking around in my head.
Absent were many of the big hits and pop-influenced songs from the mid- to late-eighties. Tonight was meant to showcase the new stuff and highlight the classics. Bruce appeared desirous to work for every ticket sold and every dollar spent by his loyal fans. He was relentless in his passion and enthusiasm, making the audience show theirs. The man is also in excellent physical shape, or at least it seemed so from my distant seat. I can only hope that I’ll be in such favorable condition when I’m 58-years old. If that’s the case, I’ll need to hire a personal trainer and get started. He ran, jumped, and sweat enough for all eight members of the E Street Band. It was an experience I’ll not soon forget and I look forward to their return.
Set List / Album / Year
Reason to Believe / Nebraska / 1982
Out in the Street / The River / 1980
Radio Nowhere / Magic / 2007
No Surrender / Born In The U.S.A. / 1984
Blinded By the Light / Greetings From Asbury Park, N.J. / 1973
Your Own Worst Enemy / Magic /2007
Trapped / The Essential Bruce Springsteen / 2003
Murder Incorporated / The Greatest Hits / 1995
Prove It All Night / Darkness On The Edge Of Town / 1978
She's the One / Born To Run / 1975
Livin' in the Future / Magic / 2007
The Promised Land / Darkness On The Edge Of Town / 1978
Bobby Jean / Born In The U.S.A. / 1984
Point Blank / The River / 1980
Devil's Arcade / Magic / 2007
The Rising / The Rising / 2002
Last to Die / Magic / 2007
Long Walk Home / Magic / 2007
Badlands / Darkness On The Edge Of Town / 1978
Encore
Thunder Road / Born To Run / 1975
Born to Run / Born To Run / 1975
Rosalita / The Wild, the Innocent, and the E Street Shuffle / 1973
Tenth Avenue Freeze-Out / Born To Run / 1975
American Land / We Shall Overcome: The Seeger Sessions / 2001
Supporting Act(s): none needed
In The Company of: Joe B., Bryan D., Mark M.
There are a handful of acts that certain music lovers yearn to experience in their lifetime. The Beatles. The Rolling Stones. The Doors. The Clash. When it becomes apparent that experiencing some of these acts may not happen, it’s a bitter pill to swallow. I have never seen a Springsteen concert. I yearned to see one before it was all over. When keyboardist Danny Federici lost his long battle with cancer last week, the E Street Band’s immortality was in question. This was one, I thought, that I must see.
Bruce began the show with a tribute to Federici. The lights stayed off while a slideshow of forty years of photos flashed on the big screens. Accompanied only by his harmonica, Bruce performed “Reason To Believe” (“…In a whitewash shotgun shack an old man passes away / take his body to the graveyard and over him they pray / Lord won't you tell us tell us what does it mean / Still at the end of every hard earned day people find some reason to believe”).
The E Street Band then joined Bruce for a rollicking “Out In The Street.” The band sounded tight and played like, well, like they’ve been together for a lifetime. Nils Lofgren on guitar sounded incredible. His guitar solo would make Eddie Van Halen sit up and take notice. The Mighty Max Weinberg, on hiatus as musical director and resident drummer on Late Night with Conan O’Brien, was the workhorse of the band. A virtual machine and a man possessed. Incredible. Steven Van Zandt, a.k.a. Little Steven, a.k.a. Miami Steve was all over the place, singing exceptional harmony with Bruce and playing great guitar. Most recently, Van Zandt wrapped up eight seasons playing mobster Silvio Dante on HBO’s “The Sopranos.” And of course, The Big Man Clarence Clemens, dressed in all black – hat and all – sounded as fresh and exciting as he did the very first time I heard him on a record. Anytime his name was mentioned or he played that sax, the sold-out crowd showed him its love in a loud way. While he’s moving a bit slower these days, he definitely did his part. Springsteen has recorded and toured with and without the E Street Band. But with them, everything is richer. They complete him.
The third song out of the gate was the catchy and rocking “Radio Nowhere” (“This is radio nowhere / is there anybody alive out there?”) from last year’s “Magic.” This latest release has been a commercial as well as a critical hit for The Boss. An argument could be made that this song refers to America’s faltering role in the war in Iraq. It would make sense since Bruce is an outspoken critic of the current U.S. involvement there. Later in the show, we heard further evidence supporting this idea, “The Last To Die” (“Who'll be the last to die for a mistake…Whose blood will spill, whose heart will break”). Another “statement” song was “Livin’ In The Future” which seems to be dealing both with global warming and our current political plight (“The earth it gave away / The sea rose toward the sun / I opened up my heart to you it got all damaged and undone / My ship Liberty sailed away on a bloody red horizon / The groundskeeper opened the gates and let the wild dogs run”). As I drove away later that night, I half expected to see a bumper sticker or two reading, “I’m A Springsteen Fan And I Vote.”
I was happy when the song that I craved to hear, “Blinded By The Light,” was played early on and for the first time on this tour. As those old enough to remember must know, Manfred Mann’s Earth Band covered this song in 1977 earning them a number one hit. But Bruce wrote this one. It was the first song – and first single – on his debut album, “Greetings From Asbury Park, N.J.” which hit record stores on January 5, 1973. The 45 of this song was the first record I ever purchased. I was thirteen years old and had discovered Rock and Roll.
Another standout was “Trapped.” This is a song written by reggae god Jimmy Cliff that appears as a live track on “The Essential Bruce Springsteen” release from 2003. It was recorded during the “Born In The U.S.A” tour in 1984. Before playing “Your Own Worst Enemy,” Bruce announced, “…in honor of producer extraordinaire Brendan O’Brien…it won't be as good as the record, but we'll try.” “Magic” was recorded in O’Brien’s Atlanta Studio.
“The Rising” was a stark reminder of September 11, 2001. It is a single from 2002’s album of the same name which Bruce wrote as a touching tribute to his city in ruin and the heroes who served us that day (“Left the house this morning / Bells ringing filled the air / Wearin' the cross of my calling / On wheels of fire I come rollin' down here / Come on up for the rising / Come on up, lay your hands in mine”).
If the nineteen songs were not enough to wear out the crowd, the Boss and the Band came back out with a five-song encore for the ages. The songs were mostly culled from 1975’s “Born To Run” album. “Thunder Road,” “Born To Run,” “Rosalita,” and “Tenth Avenue Freeze-Out” blew us all away and was a snapshot of what defined authentic Springsteen. These are the songs everyone knows. The band jammed like it was back in the 70s again and the crowd frequently raised their shining cell phones in lieu of lighters. Wrapping up the evening was “American Land,” a song taken from Bruce’s recent tribute album to Pete Seeger. It seems destined to become a Springsteen staple. I know this because it was the only song that had its lyrics shown on the big screen to promote fans’ involvement. It was a foot-stompin’ Irish jig of a song that’s still kicking around in my head.
Absent were many of the big hits and pop-influenced songs from the mid- to late-eighties. Tonight was meant to showcase the new stuff and highlight the classics. Bruce appeared desirous to work for every ticket sold and every dollar spent by his loyal fans. He was relentless in his passion and enthusiasm, making the audience show theirs. The man is also in excellent physical shape, or at least it seemed so from my distant seat. I can only hope that I’ll be in such favorable condition when I’m 58-years old. If that’s the case, I’ll need to hire a personal trainer and get started. He ran, jumped, and sweat enough for all eight members of the E Street Band. It was an experience I’ll not soon forget and I look forward to their return.
Set List / Album / Year
Reason to Believe / Nebraska / 1982
Out in the Street / The River / 1980
Radio Nowhere / Magic / 2007
No Surrender / Born In The U.S.A. / 1984
Blinded By the Light / Greetings From Asbury Park, N.J. / 1973
Your Own Worst Enemy / Magic /2007
Trapped / The Essential Bruce Springsteen / 2003
Murder Incorporated / The Greatest Hits / 1995
Prove It All Night / Darkness On The Edge Of Town / 1978
She's the One / Born To Run / 1975
Livin' in the Future / Magic / 2007
The Promised Land / Darkness On The Edge Of Town / 1978
Bobby Jean / Born In The U.S.A. / 1984
Point Blank / The River / 1980
Devil's Arcade / Magic / 2007
The Rising / The Rising / 2002
Last to Die / Magic / 2007
Long Walk Home / Magic / 2007
Badlands / Darkness On The Edge Of Town / 1978
Encore
Thunder Road / Born To Run / 1975
Born to Run / Born To Run / 1975
Rosalita / The Wild, the Innocent, and the E Street Shuffle / 1973
Tenth Avenue Freeze-Out / Born To Run / 1975
American Land / We Shall Overcome: The Seeger Sessions / 2001
Monday, April 21, 2008
88. SPOON, 4/14/08
Location: Center Stage, Atlanta, GA
Supporting Act(s): The Walkmen, White Rabbits
In The Company Of: Thomas S.
There are many categories of success in the music industry. Some bands have the backing of a record label and are heavily marketed. Other bands garner a huge following of fans and ride that wave via word-of-mouth exposure to success. Spoon falls in the latter category. Formed in 1994 in Austin, Texas, vocalist/guitarist Britt Daniel along with drummer Jim Eno embarked on what would become a very long journey.
Spoon is touring in support of their 2007 release “Ga Ga Ga Ga Ga.” The band kicked off the show with “The Beast And Dragon, Adored,” from their previous album, 2005’s “Gimme Fiction.” Daniel’s crisp, almost hoarse voice was the perfect vehicle for the biting, intelligent lyrics. Besides Daniel and Eno, Spoon now consists of Eric Harvey on keyboards and Rob Pope on bass. Pope joined the band in 2006 after the breakup of his former band, Kansas City’s Get Up Kids (he even yelled, "Chiefs!" into the mic when he saw my sweatshirt). The four-piece played well together, often joking and usually smiling. The sound, like the camaraderie, was tight.
Spoon epitomizes the best things about a spontaneous band. Sure, fans want to hear a recognizable version of the songs they love, but Spoon goes further by making the live versions even better. These are excellent musicians and superior live performers. Introducing “Eddie’s Ragga,” Daniel stated that, while the band rarely jams, this song came from one.
Pinpointing the band’s influences can be difficult. Usually, Indie Rock is how Spoon is labeled (especially after their disastrous experience with Elektra Records in 1998, which forced them to begin again from scratch). They possess a truly unique sound, yet some genres do come to mind when listening. For example, Motown and Soul frequently bleed out of certain songs, and Brit Pop seems obvious. “Finer Feelings” sounds suspiciously like an old Style Council tune. Some listeners may hear some Squeeze, maybe a little Beatles. Daniel is an expert guitarist and treated the audience to many bizarre and extraordinary sounds. Along with the keyboard-tambourine-guitar prowess of Eric Harvey and the rhythm section of Eno and Pope, anything seems possible. “Small Stakes,” from the “Kill The Moonlight” album (2002), features an addictive groove and almost monotone singing, with plenty of sonic thrills throughout, all while Daniels voice echoes along.
Daniel’s tall, angular frame as well as his striking features and blond hair may make one reminiscent of a young Gary Busey. Artistically, he exhibits traits of a Nick Lowe or a Neil Finn. Whatever he reminds you of, he’s nothing if not a rousing performer. He took time after nearly every song to talk with the audience and even signed a poster of a begging fan standing in the front. The entire band seemed genuinely happy to be in Atlanta.
Other highlights included their breakthrough hit, the Jaggeresque “I Turn My Camera On,” from “Gimme Fiction” and “Stay Don’t Go” from “Moonlight.” Among the many songs featured from “Ga Ga…” were “Don’t You Evah,” “Rhthm And Soul,” “Black Like Me,” the political “Don’t Make Me A Target (possibly a jab at a fellow Texan in a high office, if you get my drift…),” “The Ghost Of You Lingers,” and their single, “The Underdog” (“You got no time for the messenger / got no regard for the thing that you don't understand / you got no fear of The Underdog / that's why you will not survive”).
Hailing from New York City (by way of Columbia, Missouri), the White Rabbits opened the show with an Indie-pop sound with hints of ska drifting in and out (if you listen closely). The Rabbits sported two drummers and members tended to switch instruments without warning. Founding members Greg Roberts on guitar and Stephen Patterson on keyboards share lead vocal duties. They are on the road supporting their first full-length record “Fort Nightly.” It was truly an energetic set, and although they were not the group most people paid to see, they kept the crowd hopping and happy.
The NYC-based band The Walkmen filled the middle slot. Lead singer Hamilton Leithauser’s powerful, nearly strained voice guaranteed that nearly every song would be filled with soul and emotion. The marching drums kept the pace hurried for most of their set. An Indie rock band with clear connections to post-punk seemed to be a crowd favorite.
Supporting Act(s): The Walkmen, White Rabbits
In The Company Of: Thomas S.
There are many categories of success in the music industry. Some bands have the backing of a record label and are heavily marketed. Other bands garner a huge following of fans and ride that wave via word-of-mouth exposure to success. Spoon falls in the latter category. Formed in 1994 in Austin, Texas, vocalist/guitarist Britt Daniel along with drummer Jim Eno embarked on what would become a very long journey.
Spoon is touring in support of their 2007 release “Ga Ga Ga Ga Ga.” The band kicked off the show with “The Beast And Dragon, Adored,” from their previous album, 2005’s “Gimme Fiction.” Daniel’s crisp, almost hoarse voice was the perfect vehicle for the biting, intelligent lyrics. Besides Daniel and Eno, Spoon now consists of Eric Harvey on keyboards and Rob Pope on bass. Pope joined the band in 2006 after the breakup of his former band, Kansas City’s Get Up Kids (he even yelled, "Chiefs!" into the mic when he saw my sweatshirt). The four-piece played well together, often joking and usually smiling. The sound, like the camaraderie, was tight.
Spoon epitomizes the best things about a spontaneous band. Sure, fans want to hear a recognizable version of the songs they love, but Spoon goes further by making the live versions even better. These are excellent musicians and superior live performers. Introducing “Eddie’s Ragga,” Daniel stated that, while the band rarely jams, this song came from one.
Pinpointing the band’s influences can be difficult. Usually, Indie Rock is how Spoon is labeled (especially after their disastrous experience with Elektra Records in 1998, which forced them to begin again from scratch). They possess a truly unique sound, yet some genres do come to mind when listening. For example, Motown and Soul frequently bleed out of certain songs, and Brit Pop seems obvious. “Finer Feelings” sounds suspiciously like an old Style Council tune. Some listeners may hear some Squeeze, maybe a little Beatles. Daniel is an expert guitarist and treated the audience to many bizarre and extraordinary sounds. Along with the keyboard-tambourine-guitar prowess of Eric Harvey and the rhythm section of Eno and Pope, anything seems possible. “Small Stakes,” from the “Kill The Moonlight” album (2002), features an addictive groove and almost monotone singing, with plenty of sonic thrills throughout, all while Daniels voice echoes along.
Daniel’s tall, angular frame as well as his striking features and blond hair may make one reminiscent of a young Gary Busey. Artistically, he exhibits traits of a Nick Lowe or a Neil Finn. Whatever he reminds you of, he’s nothing if not a rousing performer. He took time after nearly every song to talk with the audience and even signed a poster of a begging fan standing in the front. The entire band seemed genuinely happy to be in Atlanta.
Other highlights included their breakthrough hit, the Jaggeresque “I Turn My Camera On,” from “Gimme Fiction” and “Stay Don’t Go” from “Moonlight.” Among the many songs featured from “Ga Ga…” were “Don’t You Evah,” “Rhthm And Soul,” “Black Like Me,” the political “Don’t Make Me A Target (possibly a jab at a fellow Texan in a high office, if you get my drift…),” “The Ghost Of You Lingers,” and their single, “The Underdog” (“You got no time for the messenger / got no regard for the thing that you don't understand / you got no fear of The Underdog / that's why you will not survive”).
Hailing from New York City (by way of Columbia, Missouri), the White Rabbits opened the show with an Indie-pop sound with hints of ska drifting in and out (if you listen closely). The Rabbits sported two drummers and members tended to switch instruments without warning. Founding members Greg Roberts on guitar and Stephen Patterson on keyboards share lead vocal duties. They are on the road supporting their first full-length record “Fort Nightly.” It was truly an energetic set, and although they were not the group most people paid to see, they kept the crowd hopping and happy.
The NYC-based band The Walkmen filled the middle slot. Lead singer Hamilton Leithauser’s powerful, nearly strained voice guaranteed that nearly every song would be filled with soul and emotion. The marching drums kept the pace hurried for most of their set. An Indie rock band with clear connections to post-punk seemed to be a crowd favorite.
87. EXPLOSIONS IN THE SKY, 4/13/08
Location: Variety Playhouse, Atlanta, GA
Supporting Act(s): Lichens
In The Company Of: Thomas S.
When a friend calls and says, “There’s a great instrumental band playing this weekend,” it can be off-putting. Especially when you love lyrics so damn much. But, in the case of the Austin, Texas foursome Explosions In The Sky, that feeling was unfounded. Explosions has seemed to perfect the rock instrumental genre in just a few short years. For starters, at any given time, three guitarists are jamming away. All emotions seem to come out of their songs, which last an average of 8-10 minutes each (and sometimes WAY longer when played live). Most songs begin with a beautiful whisper and grow to a rock crescendo, all the while with precision results.
The band’s music was featured in the 2004 film “Friday Night Lights.” This move brought instant fame to the group. Since then, some of their songs have been used in other movies as well as commercials. A Cure-ish guitar can be heard throughout many songs, but no other comparisons may be made in that vein. Comparisons to the group Mogwai have been frequent, but Explosions has put their own mark on their music.
The bottom line is, expect a wall of noise – some distorted, some melancholy, some lithely poignant. Breaks between songs were hard to detect, as the band transitioned between them so stealthily. From the crowd’s reaction, these could all have been number one hits. Truly, Explosions In The Sky has a huge following…and rightly so.
Opening the show was Lichens a.k.a. Robert A. Lowe, based out of Chicago. Lowe began his set whistling like a bird. That’s right, he whistled, then looped it and did it again. After three or four bird-whistling loops, he began playing guitar. Soon, he began singing high-pitched, unintelligible lyrics, which were also looped. This was roughly a 24-minute song. One song. It was haunting and eerie, but extremely mesmerizing. David Lynch should love this mystical stuff.
Lowe is a talented musician and was a good fit with Explosions In The Sky. Both have raised the bar of rock instrumental music.
Supporting Act(s): Lichens
In The Company Of: Thomas S.
When a friend calls and says, “There’s a great instrumental band playing this weekend,” it can be off-putting. Especially when you love lyrics so damn much. But, in the case of the Austin, Texas foursome Explosions In The Sky, that feeling was unfounded. Explosions has seemed to perfect the rock instrumental genre in just a few short years. For starters, at any given time, three guitarists are jamming away. All emotions seem to come out of their songs, which last an average of 8-10 minutes each (and sometimes WAY longer when played live). Most songs begin with a beautiful whisper and grow to a rock crescendo, all the while with precision results.
The band’s music was featured in the 2004 film “Friday Night Lights.” This move brought instant fame to the group. Since then, some of their songs have been used in other movies as well as commercials. A Cure-ish guitar can be heard throughout many songs, but no other comparisons may be made in that vein. Comparisons to the group Mogwai have been frequent, but Explosions has put their own mark on their music.
The bottom line is, expect a wall of noise – some distorted, some melancholy, some lithely poignant. Breaks between songs were hard to detect, as the band transitioned between them so stealthily. From the crowd’s reaction, these could all have been number one hits. Truly, Explosions In The Sky has a huge following…and rightly so.
Opening the show was Lichens a.k.a. Robert A. Lowe, based out of Chicago. Lowe began his set whistling like a bird. That’s right, he whistled, then looped it and did it again. After three or four bird-whistling loops, he began playing guitar. Soon, he began singing high-pitched, unintelligible lyrics, which were also looped. This was roughly a 24-minute song. One song. It was haunting and eerie, but extremely mesmerizing. David Lynch should love this mystical stuff.
Lowe is a talented musician and was a good fit with Explosions In The Sky. Both have raised the bar of rock instrumental music.
Thursday, April 10, 2008
MUSIC REVIEW: R.E.M. "Accelerate"
2008, Warner Bros. Records
Legend has it that guitarist Peter Buck was working at Wuxtry Records in Athens, Georgia when Michael Stipe strolled in. They talked about music and bands. The rest is history. Twenty-eight years and fourteen albums later R.E.M. has become the little band that could. With the 1982 EP “Chronic Town” and 1983’s “Murmur,” the college radio indie sound was all but invented by Bill Berry, Peter Buck, Mike Mills, and Michael Stipe. Back then, supporters could join the R.E.M. Fan Club for $10. Always the band to put its fans first, membership is still $10.
After a hugely successful decade in the eighties which carried over into the early nineties, R.E.M. seemed to turn introspective, writing more personal songs. This was their nearly rock-free experimental phase. Not all experiments are successful, however, and this move led to limited exposure and fewer sales. The loyal fan base was growing up, getting jobs, and starting families. Bands evolve, people evolve, and things change. So, it was only normal that a “band of the 80s” faded from the spotlight. In 1997, drummer Bill Berry left the band after suffering a brain aneurism during an earlier tour in Europe. It was a huge personal blow to the other members, but they carried on. Since then, they’ve struggled to maintain their stride musically. They have still made good music, just not life-changing music that appeals to the masses. That is until now. “Accelerate” was released on April 1, and is no joke. Buck, Mills, and Stipe have returned to the guitar-driven sound and created their best and most urgent work in years.
The opener, “Living Well Is The Best Revenge,” showcases R.E.M’s return to rock. This simple, driving song harkens back to their punk-inspired roots. It also makes the statement that R.E.M. have been living well, with or without big radio hits. Ex-Ministry drummer Bill Rieflin and second guitarist Scott McCaughey complete the vital and aggressive new R.E.M.
The sound of “Man-Sized Wreath” is reminiscent of the “Document” era. Along with the band as a whole, Peter Buck’s guitar power has been resurrected. New life has officially been breathed back into R.E.M.
Then follows the first single from “Accelerate,” “Supernatural Superserious.” The song begins unassumingly with an a Capella Stipe singing “Everybody here…comes from somewhere.” At which point Buck submits a sonic interjection with his weapon, and listeners hear one of the most rocking and vital songs of 2008. With first-class instrumentation, intelligent lyrics, and terrific vocals (including the ever-present backing vocals of Mills), look for this one to grab a Grammy.
Track four begins with a melancholy piano and Stipe singing, “I’ve been lost inside my head / echoes fall off me / I took the prize last night for complicatedness / for saying things I didn’t mean and don’t believe.” “Hollow Man” then soars with guitar and drums and if your foot doesn’t tap, your heart isn’t beating. Stipe sings, “Believe in me, believe in nothing…” Towards the end of the song, a familiar guitar riff brings back memories of “Pretty Persuasion” from 1984’s “Reckoning.” Other straight-ahead rockers include “Accelerate,” “Horse To Water,” and “I’m Gonna DJ.”
The serious “Houston” traces the Hurricane Katrina story and how America failed the victims (“If the storm doesn’t kill me the government will.”). Another song with a social conscience is “Until The Day Is Done.” It was featured in the CNN special “Planet In Peril” which served as a wake-up call for the people of earth to save an environment in need.
“Accelerate” is a solid and effective effort by R.E.M., and a blueprint on how to revive a career nearly lost. U2 is a great example of how, after several great albums, a band can evolve and try new things just to remain fresh and relevant. Unfortunately, fans do not always travel down that road with their band. U2 then returned to the basics with 2000’s “All That You Can’t Leave Behind” and the result was nothing short of stellar. “Accelerate” is R.E.M.’s return. Let’s hope this revival is permanent.
Legend has it that guitarist Peter Buck was working at Wuxtry Records in Athens, Georgia when Michael Stipe strolled in. They talked about music and bands. The rest is history. Twenty-eight years and fourteen albums later R.E.M. has become the little band that could. With the 1982 EP “Chronic Town” and 1983’s “Murmur,” the college radio indie sound was all but invented by Bill Berry, Peter Buck, Mike Mills, and Michael Stipe. Back then, supporters could join the R.E.M. Fan Club for $10. Always the band to put its fans first, membership is still $10.
After a hugely successful decade in the eighties which carried over into the early nineties, R.E.M. seemed to turn introspective, writing more personal songs. This was their nearly rock-free experimental phase. Not all experiments are successful, however, and this move led to limited exposure and fewer sales. The loyal fan base was growing up, getting jobs, and starting families. Bands evolve, people evolve, and things change. So, it was only normal that a “band of the 80s” faded from the spotlight. In 1997, drummer Bill Berry left the band after suffering a brain aneurism during an earlier tour in Europe. It was a huge personal blow to the other members, but they carried on. Since then, they’ve struggled to maintain their stride musically. They have still made good music, just not life-changing music that appeals to the masses. That is until now. “Accelerate” was released on April 1, and is no joke. Buck, Mills, and Stipe have returned to the guitar-driven sound and created their best and most urgent work in years.
The opener, “Living Well Is The Best Revenge,” showcases R.E.M’s return to rock. This simple, driving song harkens back to their punk-inspired roots. It also makes the statement that R.E.M. have been living well, with or without big radio hits. Ex-Ministry drummer Bill Rieflin and second guitarist Scott McCaughey complete the vital and aggressive new R.E.M.
The sound of “Man-Sized Wreath” is reminiscent of the “Document” era. Along with the band as a whole, Peter Buck’s guitar power has been resurrected. New life has officially been breathed back into R.E.M.
Then follows the first single from “Accelerate,” “Supernatural Superserious.” The song begins unassumingly with an a Capella Stipe singing “Everybody here…comes from somewhere.” At which point Buck submits a sonic interjection with his weapon, and listeners hear one of the most rocking and vital songs of 2008. With first-class instrumentation, intelligent lyrics, and terrific vocals (including the ever-present backing vocals of Mills), look for this one to grab a Grammy.
Track four begins with a melancholy piano and Stipe singing, “I’ve been lost inside my head / echoes fall off me / I took the prize last night for complicatedness / for saying things I didn’t mean and don’t believe.” “Hollow Man” then soars with guitar and drums and if your foot doesn’t tap, your heart isn’t beating. Stipe sings, “Believe in me, believe in nothing…” Towards the end of the song, a familiar guitar riff brings back memories of “Pretty Persuasion” from 1984’s “Reckoning.” Other straight-ahead rockers include “Accelerate,” “Horse To Water,” and “I’m Gonna DJ.”
The serious “Houston” traces the Hurricane Katrina story and how America failed the victims (“If the storm doesn’t kill me the government will.”). Another song with a social conscience is “Until The Day Is Done.” It was featured in the CNN special “Planet In Peril” which served as a wake-up call for the people of earth to save an environment in need.
“Accelerate” is a solid and effective effort by R.E.M., and a blueprint on how to revive a career nearly lost. U2 is a great example of how, after several great albums, a band can evolve and try new things just to remain fresh and relevant. Unfortunately, fans do not always travel down that road with their band. U2 then returned to the basics with 2000’s “All That You Can’t Leave Behind” and the result was nothing short of stellar. “Accelerate” is R.E.M.’s return. Let’s hope this revival is permanent.
Friday, March 21, 2008
86. THE FINN BROTHERS, 10/2/04 (out of order)
Location: The Variety Playhouse, Atlanta, GA
Supporting Act(s): Ari Hest
In The Company of: Chris
Review to follow...
Supporting Act(s): Ari Hest
In The Company of: Chris
Review to follow...
85. LIAM FINN, 3/17/08
Location: The Five Spot, Atlanta, GA
Supporting: The Most Serene Republic and Miracle Fortress
In The Company of: myself
A Spirited Set
The cozy Five Spot in Atlanta’s Little Five Points was host to the Next Big Thing: Mr. Liam Finn. You may recognize the name because he is the firstborn of Neil Finn (Crowded House, Split Enz). Liam possesses the same excellent knack for songwriting and performing as his father, yet has mastered it at 24 years of age. He is also quite a frenetic performer on stage, a trait obviously passed down from uncle Tim Finn. Rolling Stone Magazine called him one of the ten new artists to watch in 2008. The Finn Dynasty seems to be alive and well.
Finn is on tour supporting his first solo release, “I’ll Be Lightning,” after splitting with his rock band Betchadupa. He played a six-song set at the Five Spot as the opener for The Most Serene Republic and Miracle Fortress. But tonight, it’s all about Liam.
Roughly 100 tickets were sold in advance, and several more fans arrived at show time. Finn began his 35-minute set with “Better To Be,” a bouncy track that seemed to awaken the crowd. He is as accomplished on the drums as he is on the guitar. And a fierce and exact player he is on both. Accompanied by the golden-voiced E-J Barnes (daughter of Australian rock legend Jimmy Barnes), Finn would play several chords of a song, record it to loop, then record a second and sometimes third loop. As these guitar solos were meshed together, he jumped on the drum kit and tore it up. Drumming at the speed of light – and sounding good – is a rare thing. He did the work of three or four musicians and had the sweat to prove it.
Next up was “Energy Spent,” which begins with a lovely acoustic guitar and jumpy drums. Then, after Finn and Barnes downed whiskey shots, he broke in to the “Jameson Jam.” This was apparently an ode to the just-swallowed shot. Finn is adept at this type of spontaneity and it occurred throughout his performance creating quite an excellent mood in the room.
Finn’s musical influences range from the Beatles to Elliott Smith. On the title track to “I’ll Be Lightning,” the case is made for the Beatles influence, with a combination of layered harmonies and building tempos strangely reminiscent of “A Day In The Life.”
Before the next song, a fan yelled out “Wise Man!” And Finn instantly began playing that very song…possibly the finest song on the album (“He’s a coloring book that’s been all colored in / what once was fun will later on be boring…”). Next up was the first single from “I’ll Be Lightning” which Finn also performed on Late Night with David Letterman last month, “Second Chance.” This is another selection that uses the guitar loops to set up a very rocking song once Finn jumps on the drums. Many in the crowd knew this song and were singing along.
After thanking Atlanta and more pleas for a whiskey, Finn ended the show with “Lead Balloon,” an all-out jam that was played full-tilt. The crowd got a taste of a creative songsmith who can play from the hip and do it extremely well. Finn must be somewhat familiar with the Little Five Points area. He played drums and guitar while on his father’s solo tour just down the street at the Variety Playhouse back in 1998 when he was only 14. He has definitely become his own person and quite an outstanding musician in his own right.
Supporting: The Most Serene Republic and Miracle Fortress
In The Company of: myself
A Spirited Set
The cozy Five Spot in Atlanta’s Little Five Points was host to the Next Big Thing: Mr. Liam Finn. You may recognize the name because he is the firstborn of Neil Finn (Crowded House, Split Enz). Liam possesses the same excellent knack for songwriting and performing as his father, yet has mastered it at 24 years of age. He is also quite a frenetic performer on stage, a trait obviously passed down from uncle Tim Finn. Rolling Stone Magazine called him one of the ten new artists to watch in 2008. The Finn Dynasty seems to be alive and well.
Finn is on tour supporting his first solo release, “I’ll Be Lightning,” after splitting with his rock band Betchadupa. He played a six-song set at the Five Spot as the opener for The Most Serene Republic and Miracle Fortress. But tonight, it’s all about Liam.
Roughly 100 tickets were sold in advance, and several more fans arrived at show time. Finn began his 35-minute set with “Better To Be,” a bouncy track that seemed to awaken the crowd. He is as accomplished on the drums as he is on the guitar. And a fierce and exact player he is on both. Accompanied by the golden-voiced E-J Barnes (daughter of Australian rock legend Jimmy Barnes), Finn would play several chords of a song, record it to loop, then record a second and sometimes third loop. As these guitar solos were meshed together, he jumped on the drum kit and tore it up. Drumming at the speed of light – and sounding good – is a rare thing. He did the work of three or four musicians and had the sweat to prove it.
Next up was “Energy Spent,” which begins with a lovely acoustic guitar and jumpy drums. Then, after Finn and Barnes downed whiskey shots, he broke in to the “Jameson Jam.” This was apparently an ode to the just-swallowed shot. Finn is adept at this type of spontaneity and it occurred throughout his performance creating quite an excellent mood in the room.
Finn’s musical influences range from the Beatles to Elliott Smith. On the title track to “I’ll Be Lightning,” the case is made for the Beatles influence, with a combination of layered harmonies and building tempos strangely reminiscent of “A Day In The Life.”
Before the next song, a fan yelled out “Wise Man!” And Finn instantly began playing that very song…possibly the finest song on the album (“He’s a coloring book that’s been all colored in / what once was fun will later on be boring…”). Next up was the first single from “I’ll Be Lightning” which Finn also performed on Late Night with David Letterman last month, “Second Chance.” This is another selection that uses the guitar loops to set up a very rocking song once Finn jumps on the drums. Many in the crowd knew this song and were singing along.
After thanking Atlanta and more pleas for a whiskey, Finn ended the show with “Lead Balloon,” an all-out jam that was played full-tilt. The crowd got a taste of a creative songsmith who can play from the hip and do it extremely well. Finn must be somewhat familiar with the Little Five Points area. He played drums and guitar while on his father’s solo tour just down the street at the Variety Playhouse back in 1998 when he was only 14. He has definitely become his own person and quite an outstanding musician in his own right.
84. THEY MIGHT BE GIANTS, 3/15/08
Location: The Variety Playhouse, Atlanta, GA
Supporting Act(s): none
In the Company of: Mi Familia
One look at the crowd on this Saturday afternoon inside Atlanta's Variety Playhouse would convince an onlooker that Barney was in town. Or the Wiggles. This could not be further from the truth. It was a special family show presented by the quirky
alternative rock group straight outta Brooklyn called They Might Be Giants.
Although John Flansburgh and John Linnell never expected to have such a young cult following during their formation back in the early eighties, it has happened. With a one-off, just-for-fun project in 2002 entitled "No!" they reached a demographic that very few rock groups ever consider reaching: the toddler to pre-teen crowd. TMBG pioneered the Dial-A-Song self-promotion in which listeners would call a number and hear a different song each time. This before any record deal was struck.
Since "No!" was released, TMBG has released two additional kid-oriented CD/DVD packages entitled "Here Come the ABCs" and "Here Come the 123s." Both have made the two Johns much richer and brought intelligent, grown-up style rock to the little people.
When attending a great concert, it is usually required to stand in order to see over the crowd in front. This was especially true due to the dozens of dads with kids on their shoulders. It was a sight to see and hear, with parents joyfully singing along to the same songs as their young-uns. In this election year, a truly bipartisan experience was unfolding.
Other songs which were aimed directly at the underage crowd were, “No!” “In The Middle, In The Middle, In The Middle,” and “I Am Not Your Broom,” accompanied by the comedy stylings of Homestar the puppet. TMBG also rocked out with “Alphabet of Nations,” “E Eats Everything,” and the awesome “Robot Parade.”
They also reached back into the stuff that made them famous which was a grand treat for all the parents. Songs like, “Birdhouse In Your Soul,” “Boss of Me” (better known as the theme from the TV show “Malcolm in the Middle”), and “Particle Man.” The band’s transition from adult alternative to accessible kids was not such a stretch. It was possibly brought about by their educationally-tinged material, which luckily was played at the show. Along with “Alphabet Of Nations,” they included the rocking “Why Does The Sun Shine? (The Sun Is A Mass Of Incandescent Gas)” and “Istanbul (Not Constantinople)” as the closer.
Towards the end of the performance, John and/or John informed the crowd that they were going to play their favorite song. It was “Doctor Worm,” a great selection that can hold its own against most pop songs out there. Another great one from the vault was the raucous, accordian-lead instrumental “The Famous Polka.”
Parents spend a lifetime trying to acquire and maintain that special bond with their children. An experience like a They Might Be Giants show is a perfect way to do it.
Supporting Act(s): none
In the Company of: Mi Familia
One look at the crowd on this Saturday afternoon inside Atlanta's Variety Playhouse would convince an onlooker that Barney was in town. Or the Wiggles. This could not be further from the truth. It was a special family show presented by the quirky
alternative rock group straight outta Brooklyn called They Might Be Giants.
Although John Flansburgh and John Linnell never expected to have such a young cult following during their formation back in the early eighties, it has happened. With a one-off, just-for-fun project in 2002 entitled "No!" they reached a demographic that very few rock groups ever consider reaching: the toddler to pre-teen crowd. TMBG pioneered the Dial-A-Song self-promotion in which listeners would call a number and hear a different song each time. This before any record deal was struck.
Since "No!" was released, TMBG has released two additional kid-oriented CD/DVD packages entitled "Here Come the ABCs" and "Here Come the 123s." Both have made the two Johns much richer and brought intelligent, grown-up style rock to the little people.
When attending a great concert, it is usually required to stand in order to see over the crowd in front. This was especially true due to the dozens of dads with kids on their shoulders. It was a sight to see and hear, with parents joyfully singing along to the same songs as their young-uns. In this election year, a truly bipartisan experience was unfolding.
Other songs which were aimed directly at the underage crowd were, “No!” “In The Middle, In The Middle, In The Middle,” and “I Am Not Your Broom,” accompanied by the comedy stylings of Homestar the puppet. TMBG also rocked out with “Alphabet of Nations,” “E Eats Everything,” and the awesome “Robot Parade.”
They also reached back into the stuff that made them famous which was a grand treat for all the parents. Songs like, “Birdhouse In Your Soul,” “Boss of Me” (better known as the theme from the TV show “Malcolm in the Middle”), and “Particle Man.” The band’s transition from adult alternative to accessible kids was not such a stretch. It was possibly brought about by their educationally-tinged material, which luckily was played at the show. Along with “Alphabet Of Nations,” they included the rocking “Why Does The Sun Shine? (The Sun Is A Mass Of Incandescent Gas)” and “Istanbul (Not Constantinople)” as the closer.
Towards the end of the performance, John and/or John informed the crowd that they were going to play their favorite song. It was “Doctor Worm,” a great selection that can hold its own against most pop songs out there. Another great one from the vault was the raucous, accordian-lead instrumental “The Famous Polka.”
Parents spend a lifetime trying to acquire and maintain that special bond with their children. An experience like a They Might Be Giants show is a perfect way to do it.
Saturday, March 8, 2008
Ten Years of the 'Big Lebowski'
The Dude Still Abides
Ever had one of those days when nothing went your way? This was the Dude’s life. At least during the now cult classic “The Big Lebowski.” In Joel and Ethan Coen’s unforgettable and oft-quoted tale of mistaken identity, Jeffrey “The Dude” Lebowski (Jeff Bridges) is beaten by a pair of idiot thugs who have mistaken him for the other Jeffrey Lebowski: the “Big” Lebowski (David Huddleston), a local millionaire. They are looking for his wife, Bunny (Tara Reid), who owes money to a lot of seedy characters. As one thug plunges the Dudes head into the toilet, he asks, “Where’s the money, Lebowski? Bunny says you’re good for it!” The other thug then proceeds to urinate on the Dude’s favorite rug, which is the impetus for the entire movie. The Dude asks the thugs, “Does this place look like I’m f***in’ married? The toilet seat’s up, man!” Clearly, they have the wrong man. Thus begins a journey for the Dude that includes stolen rugs, a severed toe, a lot of White Russians, and a lot more bowling.
The Dude pays a visit to the other Lebowski to get reimbursed for the peed-on rug. The rug that “really tied the room together.” The Big Lebowski wants to hear none of it. He writes the Dude off as a bum looking for a handout and bids him farewell. Later, though, he calls the Dude for help. Bunny has been kidnapped and he needs someone to deliver the million-dollar ransom, thinking Dude may recognize the carpet-peers. They know she’s been kidnapped because the kidnappers have sent the big Lebowski Bunny’s severed pinky toe, green polish and all.
The setting is Los Angeles, 1991. The Dude is a between-jobs slacker with nothing more to do than “…bowl, drive around, and take the occasional acid trip.” His buddies at the alley are Walter Sobchack (John Goodman), a Vietnam War veteran who would sooner kill someone than talk to them and uses a war reference for every situation, and Donny Kerabatsos (Steve Buscemi), who always seems one step behind the conversation and is told endlessly by Walter to “Shut the f*** up, Donny!”
A series of hilarious blunders ensue and there are more memorable moments and quotable lines than in most movies of recent memory. At one point, Walter loses it during a league game at the alley after his opponent crosses the foul line when rolling. When the opponent, Smokey, refuses to take a zero for the frame, Walter pulls out his pistol and points it in Smokey’s face saying, “Mark it zero! Has the whole world gone crazy?” On their way to the car (and as the police are arriving), Dude tells Walter just how shocking his behavior had been, that “those guys are pacifists, like me…Smokey was a conscientious objector!” He told Walter that Smokey had some emotional problems, to which Walter replied, “You mean beyond passivism?”
In a freaky turn, John Turturro plays creepy Latino bowling nemesis Jesus Quintana (pronounced Jesus). He reportedly did six months in prison for exposing himself to an 8-year-old. He continually tells Dude’s team, “I’m gonna f*** you up!” Turturro’s screen time is limited, but he makes a huge impression. In one of the movie’s most memorable scenes, Jesus does a dance to the Gipsy Kings’ Spanish version of the Eagles’ “Hotel California.”
That’s another thing…the F-bomb is dropped an estimated 260 times during “The Big Lebowski.” This may be more than some people can endure. A few critics at the time of release called the language unnecessary and only existing to fill the void where dialogue was missing. This, however, is not the case. One viewing will prove that each and every word in the script is necessary. Nothing should be added or omitted. During a scene in the bowling alley when Dude is talking to The Stranger, a cowboy played by Sam Elliott (Viewers are unsure as to the Stranger’s role in the film. Is he real? Is he a figment of the Dude’s imagination?), the Stranger says to the Dude, “There’s just one thing, Dude…you have to use so many cusswords?” To which the Dude responds, “…the f*** you talkin’ about?”
When German Nihilists get involved with the kidnapping plot, insanity is not far away. They continuously repeat, “We believe in nothing!” When they break into the Dude’s house while he’s bathing and begin to smash his stereo equipment, he yells, “Hey, this is a private residence, man!”
Julianne Moore plays Maude Lebowski, the Big Lebowski’s daughter and an avid feminist. She let’s the Dude know that her father is not really rich, that it was her mother who inherited all that money which has been put into a trust fund. When the Big Lebowski hires Dude to take a million dollars to the kidnappers, the suitcase is empty (he has kept it for himself), making Dude the pawn.
When the Nihilists finally “kill” the Dude’s car, Walter, Donny, and the Dude enter into fisticuffs with the Germans. During all the commotion, Donny suffers a fatal heart attack. When Walter and Dude have Donny cremated, they decide to spread his ashes into the ocean. When Walter opens the Folgers’ coffee can (this is all they could afford), the ashes blow into the Dude’s face, once again proving what a screw-up Walter is.
In the end, Walter’s theory that Bunny kidnapped herself proves to be true. She was never in danger and never lost her toe – that toe belonged to the girlfriend of one of the Nihilists.
The Coen brothers based the character of the Dude on their longtime friend Jeff Dowd. Dowd was a member of the Seattle Seven in the late sixties and early seventies. The group was a radical anti-Vietnam War organization in Seattle. The Dude even references this in the film, saying, “Did you ever hear of the Seattle Seven? That was me…and six other guys.”
Bridges gives the performance of his career, which could almost be autobiographical, as convincing as he is in the role of the Dude. The Coen brothers are at the top of their game as well, in the writing and direction. “The Big Lebowski” opened two years after their Oscar winner “Fargo,” and two years before another winner, “O Brother, Where Art Thou?” At this year’s Academy Awards, the Coens scored big, winning four statues including Best Picture and Best Direction for “No Country For Old Men.” They’ve definitely come a long way from their first feature “Blood Simple” in 1984. “Raising Arizona” has become another cult classic from the Coen brothers, complete with top-notch writing and left-of-center characters.
“The Big Lebowski” features a soundtrack to rival all soundtracks. The original score by Carter Burwell is mesmerizing and gives the movie much of its identity. T-Bone Burnett was the music bibliographer, and did a terrific job by including such artists as Bob Dylan, Kenny Rogers, Elvis Costello, and Moondog.
The movie had a lukewarm reception when it opened on March 6, 1998. The budget was $15 million and the movie made just over $17 million. While reviews were mixed, the true Coen brothers fans still appreciate the film’s intelligence and eccentric, twisted sense of humor. In 2002, fans began an annual ritual to honor “The Big Lebowski” with the Lebowski Fest in Louisville, Kentucky. The Fest has since expanded to several cities and the Dude lives on in the hearts and minds of slackers and movie buffs alike. Yes, the Dude definitely abides.
Ever had one of those days when nothing went your way? This was the Dude’s life. At least during the now cult classic “The Big Lebowski.” In Joel and Ethan Coen’s unforgettable and oft-quoted tale of mistaken identity, Jeffrey “The Dude” Lebowski (Jeff Bridges) is beaten by a pair of idiot thugs who have mistaken him for the other Jeffrey Lebowski: the “Big” Lebowski (David Huddleston), a local millionaire. They are looking for his wife, Bunny (Tara Reid), who owes money to a lot of seedy characters. As one thug plunges the Dudes head into the toilet, he asks, “Where’s the money, Lebowski? Bunny says you’re good for it!” The other thug then proceeds to urinate on the Dude’s favorite rug, which is the impetus for the entire movie. The Dude asks the thugs, “Does this place look like I’m f***in’ married? The toilet seat’s up, man!” Clearly, they have the wrong man. Thus begins a journey for the Dude that includes stolen rugs, a severed toe, a lot of White Russians, and a lot more bowling.
The Dude pays a visit to the other Lebowski to get reimbursed for the peed-on rug. The rug that “really tied the room together.” The Big Lebowski wants to hear none of it. He writes the Dude off as a bum looking for a handout and bids him farewell. Later, though, he calls the Dude for help. Bunny has been kidnapped and he needs someone to deliver the million-dollar ransom, thinking Dude may recognize the carpet-peers. They know she’s been kidnapped because the kidnappers have sent the big Lebowski Bunny’s severed pinky toe, green polish and all.
The setting is Los Angeles, 1991. The Dude is a between-jobs slacker with nothing more to do than “…bowl, drive around, and take the occasional acid trip.” His buddies at the alley are Walter Sobchack (John Goodman), a Vietnam War veteran who would sooner kill someone than talk to them and uses a war reference for every situation, and Donny Kerabatsos (Steve Buscemi), who always seems one step behind the conversation and is told endlessly by Walter to “Shut the f*** up, Donny!”
A series of hilarious blunders ensue and there are more memorable moments and quotable lines than in most movies of recent memory. At one point, Walter loses it during a league game at the alley after his opponent crosses the foul line when rolling. When the opponent, Smokey, refuses to take a zero for the frame, Walter pulls out his pistol and points it in Smokey’s face saying, “Mark it zero! Has the whole world gone crazy?” On their way to the car (and as the police are arriving), Dude tells Walter just how shocking his behavior had been, that “those guys are pacifists, like me…Smokey was a conscientious objector!” He told Walter that Smokey had some emotional problems, to which Walter replied, “You mean beyond passivism?”
In a freaky turn, John Turturro plays creepy Latino bowling nemesis Jesus Quintana (pronounced Jesus). He reportedly did six months in prison for exposing himself to an 8-year-old. He continually tells Dude’s team, “I’m gonna f*** you up!” Turturro’s screen time is limited, but he makes a huge impression. In one of the movie’s most memorable scenes, Jesus does a dance to the Gipsy Kings’ Spanish version of the Eagles’ “Hotel California.”
That’s another thing…the F-bomb is dropped an estimated 260 times during “The Big Lebowski.” This may be more than some people can endure. A few critics at the time of release called the language unnecessary and only existing to fill the void where dialogue was missing. This, however, is not the case. One viewing will prove that each and every word in the script is necessary. Nothing should be added or omitted. During a scene in the bowling alley when Dude is talking to The Stranger, a cowboy played by Sam Elliott (Viewers are unsure as to the Stranger’s role in the film. Is he real? Is he a figment of the Dude’s imagination?), the Stranger says to the Dude, “There’s just one thing, Dude…you have to use so many cusswords?” To which the Dude responds, “…the f*** you talkin’ about?”
When German Nihilists get involved with the kidnapping plot, insanity is not far away. They continuously repeat, “We believe in nothing!” When they break into the Dude’s house while he’s bathing and begin to smash his stereo equipment, he yells, “Hey, this is a private residence, man!”
Julianne Moore plays Maude Lebowski, the Big Lebowski’s daughter and an avid feminist. She let’s the Dude know that her father is not really rich, that it was her mother who inherited all that money which has been put into a trust fund. When the Big Lebowski hires Dude to take a million dollars to the kidnappers, the suitcase is empty (he has kept it for himself), making Dude the pawn.
When the Nihilists finally “kill” the Dude’s car, Walter, Donny, and the Dude enter into fisticuffs with the Germans. During all the commotion, Donny suffers a fatal heart attack. When Walter and Dude have Donny cremated, they decide to spread his ashes into the ocean. When Walter opens the Folgers’ coffee can (this is all they could afford), the ashes blow into the Dude’s face, once again proving what a screw-up Walter is.
In the end, Walter’s theory that Bunny kidnapped herself proves to be true. She was never in danger and never lost her toe – that toe belonged to the girlfriend of one of the Nihilists.
The Coen brothers based the character of the Dude on their longtime friend Jeff Dowd. Dowd was a member of the Seattle Seven in the late sixties and early seventies. The group was a radical anti-Vietnam War organization in Seattle. The Dude even references this in the film, saying, “Did you ever hear of the Seattle Seven? That was me…and six other guys.”
Bridges gives the performance of his career, which could almost be autobiographical, as convincing as he is in the role of the Dude. The Coen brothers are at the top of their game as well, in the writing and direction. “The Big Lebowski” opened two years after their Oscar winner “Fargo,” and two years before another winner, “O Brother, Where Art Thou?” At this year’s Academy Awards, the Coens scored big, winning four statues including Best Picture and Best Direction for “No Country For Old Men.” They’ve definitely come a long way from their first feature “Blood Simple” in 1984. “Raising Arizona” has become another cult classic from the Coen brothers, complete with top-notch writing and left-of-center characters.
“The Big Lebowski” features a soundtrack to rival all soundtracks. The original score by Carter Burwell is mesmerizing and gives the movie much of its identity. T-Bone Burnett was the music bibliographer, and did a terrific job by including such artists as Bob Dylan, Kenny Rogers, Elvis Costello, and Moondog.
The movie had a lukewarm reception when it opened on March 6, 1998. The budget was $15 million and the movie made just over $17 million. While reviews were mixed, the true Coen brothers fans still appreciate the film’s intelligence and eccentric, twisted sense of humor. In 2002, fans began an annual ritual to honor “The Big Lebowski” with the Lebowski Fest in Louisville, Kentucky. The Fest has since expanded to several cities and the Dude lives on in the hearts and minds of slackers and movie buffs alike. Yes, the Dude definitely abides.
Wednesday, February 27, 2008
INTERVIEW: Girl In A Coma
(This is an interview I conducted for Starpulse.com)
Starpulse recently caught up with the up-and-coming band Girl in a Coma as they opened for Morrissey in Europe. Hailing from San Antonio, GIAC is Nina Diaz on vocals and guitar, sister Phanie Diaz on drums, and Jenn Alva on bass guitar. These girls in a coma took over as the opening act for the remainder of Morrissey’s U.S. tour last fall and the entire European leg after that. This coveted gig is only a dream for most bands.
The Girls describe their sound as “melodic punk.” That just about nails it. With the opening track “Clumsy Sky” - a song that starts off hushed, then builds to a punk rock crescendo - they establish a sound that’s both fresh and accomplished. Very few debuts come out of the gates with as much fervor and excitement as this one. While the guitar, bass, and drums are expertly handled, it’s Nina’s voice that will leave you craving more. She sounds much more seasoned and mature than her nineteen years should allow.
The Smiths influence is unmistakable. Nina’s rich, lilting voice makes her sound like a Morrissey progeny. Lovers of great music should check this one out.
Starpulse: Explain to the readers the origin of the band’s name. What were your other choices?
GIAC: Girl in a Coma comes from the song "Girlfriend In A Coma" by the Smiths. At the time we were coming up with band names we were Moz (Morrissey was lead singer of the Smiths) fans and wanted to pay homage to him in some way. We still are Moz fans but didn't realize how many bands are out there with Moz/Smiths names! We also were going to be "Ordinary Girls" and at one point did change it to "Sylvia's Radio." When we became Sylvia, we got a lot of mail from angry fans not wanting the name change. So here we remain.
Give us a brief history of Girl in a Coma.
We started out in 2001 when Nina was 13. Jenn and I had been in bands through most of our teenage years and went through many lineup changes. I had shown Nina a couple chords on the guitar and she kept at it. One day, she knew we were looking for new members and she played us a song she had written. We were completely blown away and knew then and there we wanted to make music with her. I was going to play guitar. Still could not find a drummer so I took up the drums.
Nina’s voice has been compared to several vocalists. Which is the most surprising? Has Chrissie Hynde ever been mentioned?
Chrissie Hynde has been mentioned, Morrissey, Dolores O'Riordan, Bjork to even Roy Orbison. To Nina, just being compared to any of these artists is a definite honor than it is surprising.
Explain to the readers the origin of the title of your new release Both Before I’m Gone.
Nina is a huge James Dean fan. He has a quote in which he says, "Being a good actor isn't easy. Being a man is even harder. I want to be both before I'm done." It’s not exactly word for word but the quote inspired "Both Before I'm Gone."
Do all three members collaborate on songs?
We definitely do. Nina writes all lyrics and her guitar melodies. We write around that or help a part become bigger etc. On the album I was able to write the music for "The Photographer." It's basically what we all agree on music wise.
How are you enjoying touring Europe with Morrissey? What’s the good, the bad, and the ugly?
It’s definitely a dream come true. It's been amazing and the fans have overall been very accepting of us. Morrissey fans are very protective and particular with who is supporting him so we were nervous about the crowd. But it's been great. Of course, you get your heckler here and there but we take it with more humor instead of offense.
Who are some of your musical influences?
It's such a mix tape. It ranges from Patsy Cline, Elvis to the Pixies and Babes in Toyland.
If you had to put a label on your music, how could you describe it?
The hard question...we never really can. Melodic Punk if there is such a thing... it's such a blend...we have rockabilly sounding songs to just straight rock. It's good time music.
When do you plan on hitting the studio again? Will you still be on Joan Jett’s Blackheart label?
Not for another year or so. We plan on touring a little more this year for the album and start getting our songs prepped for the new album towards the end of this year. As for Blackheart, we will just have to see. It’s a great label.
Do you have any opinions on the presidential campaign currently under way in the U.S.?
Always the lesser of the evil.
What other information would you like readers to know about you?
We are all vegetarians and we love San Antonio and Lone Star Beer.
Starpulse recently caught up with the up-and-coming band Girl in a Coma as they opened for Morrissey in Europe. Hailing from San Antonio, GIAC is Nina Diaz on vocals and guitar, sister Phanie Diaz on drums, and Jenn Alva on bass guitar. These girls in a coma took over as the opening act for the remainder of Morrissey’s U.S. tour last fall and the entire European leg after that. This coveted gig is only a dream for most bands.
The Girls describe their sound as “melodic punk.” That just about nails it. With the opening track “Clumsy Sky” - a song that starts off hushed, then builds to a punk rock crescendo - they establish a sound that’s both fresh and accomplished. Very few debuts come out of the gates with as much fervor and excitement as this one. While the guitar, bass, and drums are expertly handled, it’s Nina’s voice that will leave you craving more. She sounds much more seasoned and mature than her nineteen years should allow.
The Smiths influence is unmistakable. Nina’s rich, lilting voice makes her sound like a Morrissey progeny. Lovers of great music should check this one out.
Starpulse: Explain to the readers the origin of the band’s name. What were your other choices?
GIAC: Girl in a Coma comes from the song "Girlfriend In A Coma" by the Smiths. At the time we were coming up with band names we were Moz (Morrissey was lead singer of the Smiths) fans and wanted to pay homage to him in some way. We still are Moz fans but didn't realize how many bands are out there with Moz/Smiths names! We also were going to be "Ordinary Girls" and at one point did change it to "Sylvia's Radio." When we became Sylvia, we got a lot of mail from angry fans not wanting the name change. So here we remain.
Give us a brief history of Girl in a Coma.
We started out in 2001 when Nina was 13. Jenn and I had been in bands through most of our teenage years and went through many lineup changes. I had shown Nina a couple chords on the guitar and she kept at it. One day, she knew we were looking for new members and she played us a song she had written. We were completely blown away and knew then and there we wanted to make music with her. I was going to play guitar. Still could not find a drummer so I took up the drums.
Nina’s voice has been compared to several vocalists. Which is the most surprising? Has Chrissie Hynde ever been mentioned?
Chrissie Hynde has been mentioned, Morrissey, Dolores O'Riordan, Bjork to even Roy Orbison. To Nina, just being compared to any of these artists is a definite honor than it is surprising.
Explain to the readers the origin of the title of your new release Both Before I’m Gone.
Nina is a huge James Dean fan. He has a quote in which he says, "Being a good actor isn't easy. Being a man is even harder. I want to be both before I'm done." It’s not exactly word for word but the quote inspired "Both Before I'm Gone."
Do all three members collaborate on songs?
We definitely do. Nina writes all lyrics and her guitar melodies. We write around that or help a part become bigger etc. On the album I was able to write the music for "The Photographer." It's basically what we all agree on music wise.
How are you enjoying touring Europe with Morrissey? What’s the good, the bad, and the ugly?
It’s definitely a dream come true. It's been amazing and the fans have overall been very accepting of us. Morrissey fans are very protective and particular with who is supporting him so we were nervous about the crowd. But it's been great. Of course, you get your heckler here and there but we take it with more humor instead of offense.
Who are some of your musical influences?
It's such a mix tape. It ranges from Patsy Cline, Elvis to the Pixies and Babes in Toyland.
If you had to put a label on your music, how could you describe it?
The hard question...we never really can. Melodic Punk if there is such a thing... it's such a blend...we have rockabilly sounding songs to just straight rock. It's good time music.
When do you plan on hitting the studio again? Will you still be on Joan Jett’s Blackheart label?
Not for another year or so. We plan on touring a little more this year for the album and start getting our songs prepped for the new album towards the end of this year. As for Blackheart, we will just have to see. It’s a great label.
Do you have any opinions on the presidential campaign currently under way in the U.S.?
Always the lesser of the evil.
What other information would you like readers to know about you?
We are all vegetarians and we love San Antonio and Lone Star Beer.
Friday, February 22, 2008
MUSIC REVIEW: Liam Finn, "I'll Be Lightning"
2008, Roundhead Music
Some things are just meant to be. For example, Liam Finn was meant to create a musical career for himself. Forget about his place in the Finn Dynasty. He can confidently stand on his own merits and talents. This is an extraordinary debut release and Finn has been called one of ten new artists to watch in 2008 by Rolling Stone magazine. And from the hundreds of new artists this year, that’s a high honor.
Now for a bit of background for the uninformed: Liam’s dad, Neil Finn, is considered one of his generation’s most talented singer/songwriters, creating music reminiscent of the Lennon/McCartney era. And the Beatles influence has always been prominent in the elder Finn’s music, focusing on exquisite, harmonizing vocals, witty and intelligent songwriting, and a wicked guitar sense, which is often overlooked and overshadowed by the music as a whole in his songs. Neil joined his big brother Tim Finn as singer with the Split Enz in the late seventies and brought a pop sensibility to the group, bringing them a broader audience with such songs as “One Step Ahead” and “I Got You.” After the Enz disbanded in the early eighties, Neil got together with late drummer Paul Hester and bassist Nick Seymour to form Crowded House. They went on to great success, releasing four gems throughout the eighties and early nineties.
Enough about the old man. The stage is now set for the next generation… Liam Finn’s I’ll Be Lightning is a folksy, melodic prize for listeners who demand top-notch songwriting, singing, and music. Besides a buddy from former group Betchadupa playing drums on a handful of songs and Dad playing bass on one, Liam plays every instrument. Maybe not such an amazing accomplishment since this son has been surrounded by great music his entire life. In concert, Liam is a one-man show, using a looping recorder to lay down guitar tracks, then frantically jumping on the drums. If you didn’t see it with your own two eyes, you would think it was a three- or four-piece rock band, sounding quite awesome. Liam opened for the reunited Crowded House world tour in 2007. After his amazing - but painfully short - opening set, he showed up for most of the CH show, playing guitar and singing back-up vocals. He was a perfect fit.
After an impressive opening song in “Better To Be,” Lightning’s first single, “Second Chance” is a softly building pop masterpiece (“Remember me…honestly I don’t remember who you are”). At about 1:45 into the song, the drums kick in high gear and the song begins to rock. Just the right touch of harmonies and hooks make this a keeper.
“Gather To The Chapel” takes you to that special place. It’s comfort food for the ears with heaping helpings of superbly crafted harmonies (all voices belonging to Liam). “Lead Balloon” hits the ground running with a great backbeat and guitars not shy on the distortion and feedback. Again, Liam pours on the vocal harmonies making this another rich selection (“It’s a sad day when it comes to this, but a free man is a happy man/Walk home and reminisce, you were the highlight of the party…”). He proves he’s got the mettle to seamlessly go from soft, beautiful melodies to downright rock and roll. On “Lullaby,” Liam sings, “try to slow your heart, try to clear your head, night is just the day giving in.” Lucky listeners can enjoy music that is on par with the intelligent lyrics. On some songs, that Beatles influence is heard again. I’ll Be Lightning is a sincere, sometimes folksy album possessing great beauty.
Track for track, this record never fails to satisfy and is an incredible debut. With a slot on Letterman and quickly gaining worldwide exposure, the new Mr. Finn is likely to grace our presence for many years to come. One can only hope.
Some things are just meant to be. For example, Liam Finn was meant to create a musical career for himself. Forget about his place in the Finn Dynasty. He can confidently stand on his own merits and talents. This is an extraordinary debut release and Finn has been called one of ten new artists to watch in 2008 by Rolling Stone magazine. And from the hundreds of new artists this year, that’s a high honor.
Now for a bit of background for the uninformed: Liam’s dad, Neil Finn, is considered one of his generation’s most talented singer/songwriters, creating music reminiscent of the Lennon/McCartney era. And the Beatles influence has always been prominent in the elder Finn’s music, focusing on exquisite, harmonizing vocals, witty and intelligent songwriting, and a wicked guitar sense, which is often overlooked and overshadowed by the music as a whole in his songs. Neil joined his big brother Tim Finn as singer with the Split Enz in the late seventies and brought a pop sensibility to the group, bringing them a broader audience with such songs as “One Step Ahead” and “I Got You.” After the Enz disbanded in the early eighties, Neil got together with late drummer Paul Hester and bassist Nick Seymour to form Crowded House. They went on to great success, releasing four gems throughout the eighties and early nineties.
Enough about the old man. The stage is now set for the next generation… Liam Finn’s I’ll Be Lightning is a folksy, melodic prize for listeners who demand top-notch songwriting, singing, and music. Besides a buddy from former group Betchadupa playing drums on a handful of songs and Dad playing bass on one, Liam plays every instrument. Maybe not such an amazing accomplishment since this son has been surrounded by great music his entire life. In concert, Liam is a one-man show, using a looping recorder to lay down guitar tracks, then frantically jumping on the drums. If you didn’t see it with your own two eyes, you would think it was a three- or four-piece rock band, sounding quite awesome. Liam opened for the reunited Crowded House world tour in 2007. After his amazing - but painfully short - opening set, he showed up for most of the CH show, playing guitar and singing back-up vocals. He was a perfect fit.
After an impressive opening song in “Better To Be,” Lightning’s first single, “Second Chance” is a softly building pop masterpiece (“Remember me…honestly I don’t remember who you are”). At about 1:45 into the song, the drums kick in high gear and the song begins to rock. Just the right touch of harmonies and hooks make this a keeper.
“Gather To The Chapel” takes you to that special place. It’s comfort food for the ears with heaping helpings of superbly crafted harmonies (all voices belonging to Liam). “Lead Balloon” hits the ground running with a great backbeat and guitars not shy on the distortion and feedback. Again, Liam pours on the vocal harmonies making this another rich selection (“It’s a sad day when it comes to this, but a free man is a happy man/Walk home and reminisce, you were the highlight of the party…”). He proves he’s got the mettle to seamlessly go from soft, beautiful melodies to downright rock and roll. On “Lullaby,” Liam sings, “try to slow your heart, try to clear your head, night is just the day giving in.” Lucky listeners can enjoy music that is on par with the intelligent lyrics. On some songs, that Beatles influence is heard again. I’ll Be Lightning is a sincere, sometimes folksy album possessing great beauty.
Track for track, this record never fails to satisfy and is an incredible debut. With a slot on Letterman and quickly gaining worldwide exposure, the new Mr. Finn is likely to grace our presence for many years to come. One can only hope.
Tuesday, February 19, 2008
83. VAN HALEN, 2/10/08
Location: Philips Arena, Atlanta, GA
Supporting act: Ky-Mani Marley
In the company of: Steven W., Joe B., Lisa W., Austin W., Teia G., Amy P.
The Reunion That No One Bet On
They say all good things must pass. David Lee Roth was out. Sammy Hagar took over. Then it was Gary Cherone for an eye blink. In 2008, that guy that Eddie Van Halen couldn’t stand is now back in front. DLR in all his three-ring circus glory is back. Is this a good thing? Will it last? Will they avoid killing each other? Whatever your opinion, this was the near-original Van Halen lineup. The one asterisk would be the absence of bassist Michael Anthony. Recently fired, Anthony’s bass was picked up by 16-year old Wolfgang Van Halen, son of Eddie. The younger Van Halen did a fine job, but lacked the wild stage presence of Anthony.
The show opened with their cover of the Kinks’ “You Really Got Me.” This pretty much brought the roof down. DLR was as animated as ever and had several top-hat-and-sequined-jacket wardrobe changes. Backing vocals by Eddie and Wolfgang were right on and complemented Roth very well. The band went on to play such fan faves as “Running With The Devil,” the Roy Orbison cover, “Pretty Woman,” and “Dance The Night Away.”
Drummer Alex Van Halen was wicked on the kit. Like Eddie, brother Alex began the show shirtless. Besides the teenage boy onstage, the three middle-aged men all showed off quite the six-packs. Alex had a drum solo that probably lasted ten to fifteen minutes. The other band members took a long break, returned, and kept the music going.
With all the nostalgia, there were a few issues with sound. To begin with, technical difficulties were frequent during the evening. During the long trademark guitar solo by Eddie, the sound went totally out for what seemed like five minutes. He strummed, heard nothing, then threw his arms up looking off stage. Finally, someone figured out what was not plugged in and plugged it in. Eddie continued, unfazed. Also, Roth’s voice is not what it used to be. Maybe some of the bad notes could be blamed on the engineering, but not all of them. Roth did, however, show off his incredible gymnastic prowess, which has survived the band’s long recess. Several times, he jumped and spun, his knee nearly striking his head as his foot flew into the air. Each of these garnered a roar from the crowd.
Other hits included, “Hot For Teacher,” “Jamie’s Cryin,” and “Ice Cream Man.” Interspersed among the hits were song selections for true Van Halen fans. The boys dug deep for a few that never received any radio play, but were nonetheless very well received at this show.
The performance lasted an impressive two hours. After an explosive “Panama” and a rocking “Ain’t Talkin’ ‘bout Love,” the band left the stage for a very short recess until the crowd prodded them back out for one more tune. The opening keys of “Jump” blasted from the speakers and the crowd went hysterical. Confetti fell, Roth carried around a ginormous inflated microphone, and it was 1984 all over again.
Despite the sound glitches and vocal challenges, fans seemed to enjoy this reunion. Maybe as the tour progresses, Van Halen will perfect that sound that made them rich in the eighties.
Ky-Mani Marley, son of Bob, opened the show. It was a short and sweet performance by this unlikely Van Halen opener. His mix of reggae and hip-hop stylings was an interesting blend, although it seemed that few in the audience could care less. However, his cover of dad’s “No Woman No Cry” was outstanding.
Supporting act: Ky-Mani Marley
In the company of: Steven W., Joe B., Lisa W., Austin W., Teia G., Amy P.
The Reunion That No One Bet On
They say all good things must pass. David Lee Roth was out. Sammy Hagar took over. Then it was Gary Cherone for an eye blink. In 2008, that guy that Eddie Van Halen couldn’t stand is now back in front. DLR in all his three-ring circus glory is back. Is this a good thing? Will it last? Will they avoid killing each other? Whatever your opinion, this was the near-original Van Halen lineup. The one asterisk would be the absence of bassist Michael Anthony. Recently fired, Anthony’s bass was picked up by 16-year old Wolfgang Van Halen, son of Eddie. The younger Van Halen did a fine job, but lacked the wild stage presence of Anthony.
The show opened with their cover of the Kinks’ “You Really Got Me.” This pretty much brought the roof down. DLR was as animated as ever and had several top-hat-and-sequined-jacket wardrobe changes. Backing vocals by Eddie and Wolfgang were right on and complemented Roth very well. The band went on to play such fan faves as “Running With The Devil,” the Roy Orbison cover, “Pretty Woman,” and “Dance The Night Away.”
Drummer Alex Van Halen was wicked on the kit. Like Eddie, brother Alex began the show shirtless. Besides the teenage boy onstage, the three middle-aged men all showed off quite the six-packs. Alex had a drum solo that probably lasted ten to fifteen minutes. The other band members took a long break, returned, and kept the music going.
With all the nostalgia, there were a few issues with sound. To begin with, technical difficulties were frequent during the evening. During the long trademark guitar solo by Eddie, the sound went totally out for what seemed like five minutes. He strummed, heard nothing, then threw his arms up looking off stage. Finally, someone figured out what was not plugged in and plugged it in. Eddie continued, unfazed. Also, Roth’s voice is not what it used to be. Maybe some of the bad notes could be blamed on the engineering, but not all of them. Roth did, however, show off his incredible gymnastic prowess, which has survived the band’s long recess. Several times, he jumped and spun, his knee nearly striking his head as his foot flew into the air. Each of these garnered a roar from the crowd.
Other hits included, “Hot For Teacher,” “Jamie’s Cryin,” and “Ice Cream Man.” Interspersed among the hits were song selections for true Van Halen fans. The boys dug deep for a few that never received any radio play, but were nonetheless very well received at this show.
The performance lasted an impressive two hours. After an explosive “Panama” and a rocking “Ain’t Talkin’ ‘bout Love,” the band left the stage for a very short recess until the crowd prodded them back out for one more tune. The opening keys of “Jump” blasted from the speakers and the crowd went hysterical. Confetti fell, Roth carried around a ginormous inflated microphone, and it was 1984 all over again.
Despite the sound glitches and vocal challenges, fans seemed to enjoy this reunion. Maybe as the tour progresses, Van Halen will perfect that sound that made them rich in the eighties.
Ky-Mani Marley, son of Bob, opened the show. It was a short and sweet performance by this unlikely Van Halen opener. His mix of reggae and hip-hop stylings was an interesting blend, although it seemed that few in the audience could care less. However, his cover of dad’s “No Woman No Cry” was outstanding.
Friday, February 8, 2008
MOVIE REVIEW: U23D
Location: Mall of Georgia IMAX Theater
With: Ethan
Turn It Up Loud, Captain!
What could possibly be considered innovative for the band that’s done it all? A 3D IMAX film? Yes, that would do it. Since their first album, Boy, was released in 1980, Irish rock group and BBITW (Biggest Band In The World) U2 has pushed the limits of celebrity, musical experimentation, and how to look at the world.
With Bono (born Paul Hewson) at the helm, anything seems possible. It has been said that U2 release albums in series of threes: Boy (1980), October (1981), and War (1983) were all straight-ahead rockers with enough hooks to catch a school of piranha; Then came The Unforgettable Fire (1984), The Joshua Tree (1987), and Rattle and Hum (1988) all possessing themes from their newly adopted home, America; followed by Achtung, Baby (1991), Zooropa (1993), and Pop (1997), considered their experimental period; and finally All That You Can’t Leave Behind (2000) and How To Dismantle An Atomic Bomb (2004), a return to what they did best: great rock (fans anxiously await the third installment in that last series).
One theme consistent throughout all of U2’s releases is a sense of spirituality not attempted by most bands. With Bono, who was raised Irish Catholic in the war-torn streets of Dublin, Ireland, no one can miss the connection with God. Even while many do not consider that to be a cool thing to do, U2 stay close to their religious roots. With this history, Bono and the boys showcase their views on non-violence and human rights through sound and vision. Before "Pride (In The Name Of Love)" – an ode to Dr. Martin Luther King, Jr. – was played, the Universal Declaration of Human Rights http://www.un.org/Overview/rights.html scrolled up a screen in Spanish while being read in English. Very powerful.
And so it goes, U23D seemed like a religious experience for the throngs of fans viewing it on that big screen. Culled from several shows in South America from U2’s 2005 Vertigo tour supporting the album How To Dismantle An Atomic Bomb, the opening scene shows a female concertgoer running through the corridor as you overhear the crowd cheering and music beginning. Missing the opening of a U2 concert rivals the college-years nightmare of oversleeping through a big final exam.
“Unos, Dos, Tres, Catorce!” …the opening of "Vertigo" and a power guitar riff now known to millions. The concert/movie was a visual explosion. Bono reached towards the camera several times as viewers in the IMAX theater reached back in an attempt to touch his hand. At one point he was playing a guitar and it seemed as if one could reach out and tune it for him. Not only was the visual show astonishing, but of course, the music was captivating. Playing some of their greatest songs, this could have gone twice the length of its 85 minutes and not bored the crowd.
All four members had their moments in the spotlight. The Edge (born Dave Evans) made music with his guitar that experts still can’t figure out, while bassist Adam Clayton kept the rhythm on the down low. On "Love And Peace Or Else," drummer and U2 founder Larry Mullen, Jr. stood isolated on the walkway that extended out into the crowd. His instrument was a single drum that he pounded throughout the song. When he made his way back to the drum kit on stage, Bono took over pounding that drum in what must be one of the most dramatic moments of the show. The singer wears his heart on his sleeve and never shies away from showing it. The only possible complaint about U23D would be that the movie did not have the volume of a true U2 concert. Turn it up loud, captain!
Fans of U2 will love this thing. Those somewhat familiar with the band may become the newest fans. And those who couldn’t care less will – at the very least – say “not bad.” In 1984, Talking Heads’ Stop Making Sense did wondrous things for the rock concert film as a true art form. U23D has raised the stakes in 2008.
U2 closed out the show with a beautiful acoustic version of "Yahweh." Back to their spiritual roots and hopefully, back to the studio to, once again, reinvent themselves as well as rock music.
Here’s the set list:
Vertigo
Beautiful Day
New Year’s Day
Sometimes You Can’t Make It On Your Own
Love And Peace
Sunday Bloody Sunday
Bullet The Blue Sky
Miss Sarajevo
Pride (In The Name Of Love)
Where The Streets Have No Name
One
The Fly
With Or Without You
Yahweh
With: Ethan
Turn It Up Loud, Captain!
What could possibly be considered innovative for the band that’s done it all? A 3D IMAX film? Yes, that would do it. Since their first album, Boy, was released in 1980, Irish rock group and BBITW (Biggest Band In The World) U2 has pushed the limits of celebrity, musical experimentation, and how to look at the world.
With Bono (born Paul Hewson) at the helm, anything seems possible. It has been said that U2 release albums in series of threes: Boy (1980), October (1981), and War (1983) were all straight-ahead rockers with enough hooks to catch a school of piranha; Then came The Unforgettable Fire (1984), The Joshua Tree (1987), and Rattle and Hum (1988) all possessing themes from their newly adopted home, America; followed by Achtung, Baby (1991), Zooropa (1993), and Pop (1997), considered their experimental period; and finally All That You Can’t Leave Behind (2000) and How To Dismantle An Atomic Bomb (2004), a return to what they did best: great rock (fans anxiously await the third installment in that last series).
One theme consistent throughout all of U2’s releases is a sense of spirituality not attempted by most bands. With Bono, who was raised Irish Catholic in the war-torn streets of Dublin, Ireland, no one can miss the connection with God. Even while many do not consider that to be a cool thing to do, U2 stay close to their religious roots. With this history, Bono and the boys showcase their views on non-violence and human rights through sound and vision. Before "Pride (In The Name Of Love)" – an ode to Dr. Martin Luther King, Jr. – was played, the Universal Declaration of Human Rights http://www.un.org/Overview/rights.html scrolled up a screen in Spanish while being read in English. Very powerful.
And so it goes, U23D seemed like a religious experience for the throngs of fans viewing it on that big screen. Culled from several shows in South America from U2’s 2005 Vertigo tour supporting the album How To Dismantle An Atomic Bomb, the opening scene shows a female concertgoer running through the corridor as you overhear the crowd cheering and music beginning. Missing the opening of a U2 concert rivals the college-years nightmare of oversleeping through a big final exam.
“Unos, Dos, Tres, Catorce!” …the opening of "Vertigo" and a power guitar riff now known to millions. The concert/movie was a visual explosion. Bono reached towards the camera several times as viewers in the IMAX theater reached back in an attempt to touch his hand. At one point he was playing a guitar and it seemed as if one could reach out and tune it for him. Not only was the visual show astonishing, but of course, the music was captivating. Playing some of their greatest songs, this could have gone twice the length of its 85 minutes and not bored the crowd.
All four members had their moments in the spotlight. The Edge (born Dave Evans) made music with his guitar that experts still can’t figure out, while bassist Adam Clayton kept the rhythm on the down low. On "Love And Peace Or Else," drummer and U2 founder Larry Mullen, Jr. stood isolated on the walkway that extended out into the crowd. His instrument was a single drum that he pounded throughout the song. When he made his way back to the drum kit on stage, Bono took over pounding that drum in what must be one of the most dramatic moments of the show. The singer wears his heart on his sleeve and never shies away from showing it. The only possible complaint about U23D would be that the movie did not have the volume of a true U2 concert. Turn it up loud, captain!
Fans of U2 will love this thing. Those somewhat familiar with the band may become the newest fans. And those who couldn’t care less will – at the very least – say “not bad.” In 1984, Talking Heads’ Stop Making Sense did wondrous things for the rock concert film as a true art form. U23D has raised the stakes in 2008.
U2 closed out the show with a beautiful acoustic version of "Yahweh." Back to their spiritual roots and hopefully, back to the studio to, once again, reinvent themselves as well as rock music.
Here’s the set list:
Vertigo
Beautiful Day
New Year’s Day
Sometimes You Can’t Make It On Your Own
Love And Peace
Sunday Bloody Sunday
Bullet The Blue Sky
Miss Sarajevo
Pride (In The Name Of Love)
Where The Streets Have No Name
One
The Fly
With Or Without You
Yahweh
Monday, January 14, 2008
82. EDITORS, 1/11/08
Location: The Roxy, Atlanta
Support Act(s): Hot Hot Heat, Louis XIV
In the company of: Chris
The members of the British group Editors are on a journey of discovery in America. Supporting their second release, 2007’s An End Has A Start, the band is still somewhat unknown. Surprising, considering their sharp lyrics, driving drums, and soaring guitar. Singer Tom Smith stays on the low end vocally, complementing the high driving guitar sound. The journey they are on is for America to discover them. After a 2006 tour in support of their first release, The Back Room, Editors are back to prove that multi-platinum success was not a fluke.
For those who haven’t heard, Editors have drawn similarities to Joy Division, a post-punk group also from England. Smith’s vocal style is very much like that of Singer Ian Curtis who took his own life in 1980, proving the dark lyrical content of the band was not just for show. Smith, who was born the following year, appears to be the reincarnation of Curtis.
The group opened with the explosive Bones, from their current record. From there, the music seemed to get louder and faster. Highlights from The Back Room included Bullets, Munich, and Blood (“Blood runs through your veins, that’s where our similarity ends…”).
A few songs into the set, Smith asked the crowd, “Ever had one of those days when nothing went right?” A perplexing question since everything had sounded very right. Of course, Editors performed several selections from End. Besides the opener, they performed the album’s title track An End Has A Start, Smokers Outside The Hospital Doors, and the latest single, The Racing Rats (“If a plane were to fall from the sky how big a hole would it leave in the surface of the earth?”). This soaring rocker demands respect from the opening note and seemed to be the crowd favorite.
Smith was very animated, often standing on speakers or the keyboard while singing. Drummer Ed Lay supplied the chest-crushing drumming. It was a gold medal performance, which should help turn this up-and-coming band into something big. The British are coming, people…go buy their cd.
San Diego band Louis XIV opened the show with an energized and excellent set. The six-piece band had, at one time, two violins going. The keyboard was also in use in addition to a couple guitars, a bass, and the drums. Lead singer Jason Hill crossed from David Bowie to Johnny Rotten to Mick Jagger in a matter of minutes. It was glam meets garage and it worked. For a third-stringer, this group made some new fans. Stand out tracks included Guilt By Association and Finding Out True Love Is Blind. They’ll pick up the silver medal.
The bronze will go to the middle act, British Columbia’s Hot Hot Heat. While the group rocked through their set and kept the crowd buzzing, Louis XIV showed them up and nearly stole the entire show. Heat’s Steve Bays did a sufficient job, but in the end they were sandwiched by giants. Not an easy task.
Support Act(s): Hot Hot Heat, Louis XIV
In the company of: Chris
The members of the British group Editors are on a journey of discovery in America. Supporting their second release, 2007’s An End Has A Start, the band is still somewhat unknown. Surprising, considering their sharp lyrics, driving drums, and soaring guitar. Singer Tom Smith stays on the low end vocally, complementing the high driving guitar sound. The journey they are on is for America to discover them. After a 2006 tour in support of their first release, The Back Room, Editors are back to prove that multi-platinum success was not a fluke.
For those who haven’t heard, Editors have drawn similarities to Joy Division, a post-punk group also from England. Smith’s vocal style is very much like that of Singer Ian Curtis who took his own life in 1980, proving the dark lyrical content of the band was not just for show. Smith, who was born the following year, appears to be the reincarnation of Curtis.
The group opened with the explosive Bones, from their current record. From there, the music seemed to get louder and faster. Highlights from The Back Room included Bullets, Munich, and Blood (“Blood runs through your veins, that’s where our similarity ends…”).
A few songs into the set, Smith asked the crowd, “Ever had one of those days when nothing went right?” A perplexing question since everything had sounded very right. Of course, Editors performed several selections from End. Besides the opener, they performed the album’s title track An End Has A Start, Smokers Outside The Hospital Doors, and the latest single, The Racing Rats (“If a plane were to fall from the sky how big a hole would it leave in the surface of the earth?”). This soaring rocker demands respect from the opening note and seemed to be the crowd favorite.
Smith was very animated, often standing on speakers or the keyboard while singing. Drummer Ed Lay supplied the chest-crushing drumming. It was a gold medal performance, which should help turn this up-and-coming band into something big. The British are coming, people…go buy their cd.
San Diego band Louis XIV opened the show with an energized and excellent set. The six-piece band had, at one time, two violins going. The keyboard was also in use in addition to a couple guitars, a bass, and the drums. Lead singer Jason Hill crossed from David Bowie to Johnny Rotten to Mick Jagger in a matter of minutes. It was glam meets garage and it worked. For a third-stringer, this group made some new fans. Stand out tracks included Guilt By Association and Finding Out True Love Is Blind. They’ll pick up the silver medal.
The bronze will go to the middle act, British Columbia’s Hot Hot Heat. While the group rocked through their set and kept the crowd buzzing, Louis XIV showed them up and nearly stole the entire show. Heat’s Steve Bays did a sufficient job, but in the end they were sandwiched by giants. Not an easy task.
Sunday, November 18, 2007
81. THE POLICE, 11/17/07
Location: Philips Arena, Atlanta, GA
Support act(s): Fiction Plane
In the company of: Chris
Let me just begin by saying I bought the shirt (i.e., ...drank the Kool-Aid). It's not because the show was great (It was). It's not because I buy a shirt from each concert I attend (I never do...have you seen my list? That would exceed Qatar's national debt for a year). It's because my old Police shirt has shrunk. That's right. I think I'm taller now than when I was 18. I bought that one on March 25, 1982, in Kansas City, during the Ghost in the Machine tour at what I'm SURE was a much cheaper cost. So a replacement shirt was in order.
Anyway, when people ask me, "Who's your favorite band?" the answer is always, "The Police" (even though they have not toured for 24 years). So, this one was pretty special. Imagine my excitement earlier this year upon hearing the reunion news. I just got stupid.
I'll now start my "review" by discussing the opening act. Now, everyone knows this is a thankless job. NOBODY wants to see you. NOBODY cares about you. You just serve as the equivalent of theater's dimming of the lights at the beginning of the play. Really. But for this show, I was very excited. I am a Fiction Plane fan. They've put out two full-length albums and one EP. Good, rockin' stuff. But I'm sure the uninformed last night were thinking, "Isn't it the purpose of a supporting band to complement the sound of the headliner? Yes, I say. Yes it is. Who would want an opening band to have too many similarities with the main course, you ask? You're preaching to the choir, my friend. Fiction Plane is made up of an American drummer, a British guitar player, and a British bass player/lead singer (sound familiar?). While not relying as much on the reggae-tinged alternative sound, they do delve into it a tad. Here's the news: the Fiction Plane lead singer is Joe Sumner. First born of Gordon Sumner...AKA Sting. What a sweet gig, huh? Touring with Dad? My wife made the point that while all the latecomers were getting their beers and taking care of business, they heard FP and probably screamed, "OMG! The Police have already begun!" Joe looks and sounds a lot like Sting. But it is a different sound. He was very animated, even jumping off the five foot speakers, bass in hands. But he is NOT trying to copy Dad. And until this tour, he never made mention of Sting during interviews or performances. And I'm sure he made it clear that he did not want that brought up. He wanted his band to make it on it's own merits. But who could turn down opening every show in America for the Police? It was a highlight for me, and I wish everyone could have experienced their complete performance. A couple songs for you to check out are It's A Lie and Two Sisters from their new album Left Side Of The Brain.
Onto the Police. They opened the show with Message In A Bottle. The sold out crowd knew all the words, and Sting was happy to have all of us back-up singers. This is a stripped-down sound. Sting on bass and vocals, Andy Summers on guitar, and Stewart Copeland on drums. Just the way it all began in 1976 (minus Henry Padovoni, the original guitarist). By the time the Synchronicity tour rolled around in 1983, they had the back-up singers and synthesizers. It was a large-scale production to say the least. The 2007 tour is not only a reunion, but a back-to-basics tour.
The boys sounded good. Andy, the elder statesman at 64, was better than ever. Grey-haired and 55, Stewart had his normal extensive drum kit, plus a platform behind his drums which rose up about five feet when he jumped back there to play the big drums, chimes, gong, etc. Sting, at 56, could have kicked half the asses in that arena. He has kept his body in very good shape.
This show was a hit factory. But, they did treat the real fans with some gems which the average radio listener did not know. For example: Hole In My Life, Truth Hits Everybody, and Next to You, all from their first album Outlandos D'Amour. Sting, after canceling a show four nights earlier because of a case of the flu, sounded great. And he did a few of his signature jumps, matching the crescendo of a song ending. Just not as frequently. Actually, Summers (the old man) did more jumping than Sting...and off of Stewart's drum stand! Yes, they sounded excellent. And for a fan such as me who knows every song, this is saying something. That is true because the Police are not there to regurgitate the exact sound from their records. They're a jam band. They reinvent each song when playing live. That's why Voices Inside My Head/When The World Is Running Down... rocked. I mean ROCKED. And the combo of Can't Stand Losing You/Reggatta De Blanc ("eyo, eyay, eyay-o") was one of the highpoints of the show. They know the music and each other so well that they can take a song to a whole new place and make it work.
There were many singalongs and Sting talked with the crowd frequently. After playing sixteen songs, they thanked us and left. Of course, they returned shortly with four songs from their first and last albums. A very nice contrast, for me anyway. That set included So Lonely, which I can safely say is probably my favorite Police song. Again, "Thank you, goodnight." This time though, Andy just stayed there. Sting and Stewart were gone. Andy began motioning for them to come back, while looking at his watch and throwing his hands in the air. This was hilarious and had fans cheering louder than ever. Finally, the other two came back and they ended with Next To You, the first song on their first album. Classic.
I know that these guys could pretty much sleepwalk through their entire catalog of songs and I know that they're making millions for their retirement. But that soundtrack of my life that I sometimes mention is FULL of Police music. Standing there last night, I was thinking, "No one is enjoying this more than me."
One night back in '91, while working the late shift at the Ritz-Carlton Hotel in Kansas City, Sting returned from one of his few solo concerts that I did not attend. I was standing outside the front door when he was dropped off. "Here's my chance," I thought. As he approached me and we shook hands, I asked, "How was the show?" Sting replied, as only Sting could, "Well...no one asked for their money back." And no one asked for their money back last night.
Here's a peek at the set list:
Message In A Bottle
Synchronicity II
Walking On The Moon
Voices Inside My Head/When The World Is Running Down, You Make The Best Of What's Still Around
Don't Stand So Close to Me
Driven To Tears
Hole In My Life
Truth Hits Everybody
Every Little Thing She Does Is Magic
Wrapped Around Your Finger
De Do Do Do, De Da Da Da
Invisible Sun
Walking In Your Footsteps
Can't Stand Losing You/Regatta De Blanc
First encore:
Roxanne
King Of Pain
So Lonely
Every Breath You Take
Second encore:
Next To You
Here's what they played from each of their studio albums:
Outlandos D'Amour (1978) - 6 songs
Reggatta De Blanc (1979) - 3 songs
Zenyatta Mondatta (1980) - 5 songs
Ghost In The Machine (1981) - 2 songs
Synchronicity (1983) - 5 songs
Support act(s): Fiction Plane
In the company of: Chris
Let me just begin by saying I bought the shirt (i.e., ...drank the Kool-Aid). It's not because the show was great (It was). It's not because I buy a shirt from each concert I attend (I never do...have you seen my list? That would exceed Qatar's national debt for a year). It's because my old Police shirt has shrunk. That's right. I think I'm taller now than when I was 18. I bought that one on March 25, 1982, in Kansas City, during the Ghost in the Machine tour at what I'm SURE was a much cheaper cost. So a replacement shirt was in order.
Anyway, when people ask me, "Who's your favorite band?" the answer is always, "The Police" (even though they have not toured for 24 years). So, this one was pretty special. Imagine my excitement earlier this year upon hearing the reunion news. I just got stupid.
I'll now start my "review" by discussing the opening act. Now, everyone knows this is a thankless job. NOBODY wants to see you. NOBODY cares about you. You just serve as the equivalent of theater's dimming of the lights at the beginning of the play. Really. But for this show, I was very excited. I am a Fiction Plane fan. They've put out two full-length albums and one EP. Good, rockin' stuff. But I'm sure the uninformed last night were thinking, "Isn't it the purpose of a supporting band to complement the sound of the headliner? Yes, I say. Yes it is. Who would want an opening band to have too many similarities with the main course, you ask? You're preaching to the choir, my friend. Fiction Plane is made up of an American drummer, a British guitar player, and a British bass player/lead singer (sound familiar?). While not relying as much on the reggae-tinged alternative sound, they do delve into it a tad. Here's the news: the Fiction Plane lead singer is Joe Sumner. First born of Gordon Sumner...AKA Sting. What a sweet gig, huh? Touring with Dad? My wife made the point that while all the latecomers were getting their beers and taking care of business, they heard FP and probably screamed, "OMG! The Police have already begun!" Joe looks and sounds a lot like Sting. But it is a different sound. He was very animated, even jumping off the five foot speakers, bass in hands. But he is NOT trying to copy Dad. And until this tour, he never made mention of Sting during interviews or performances. And I'm sure he made it clear that he did not want that brought up. He wanted his band to make it on it's own merits. But who could turn down opening every show in America for the Police? It was a highlight for me, and I wish everyone could have experienced their complete performance. A couple songs for you to check out are It's A Lie and Two Sisters from their new album Left Side Of The Brain.
Onto the Police. They opened the show with Message In A Bottle. The sold out crowd knew all the words, and Sting was happy to have all of us back-up singers. This is a stripped-down sound. Sting on bass and vocals, Andy Summers on guitar, and Stewart Copeland on drums. Just the way it all began in 1976 (minus Henry Padovoni, the original guitarist). By the time the Synchronicity tour rolled around in 1983, they had the back-up singers and synthesizers. It was a large-scale production to say the least. The 2007 tour is not only a reunion, but a back-to-basics tour.
The boys sounded good. Andy, the elder statesman at 64, was better than ever. Grey-haired and 55, Stewart had his normal extensive drum kit, plus a platform behind his drums which rose up about five feet when he jumped back there to play the big drums, chimes, gong, etc. Sting, at 56, could have kicked half the asses in that arena. He has kept his body in very good shape.
This show was a hit factory. But, they did treat the real fans with some gems which the average radio listener did not know. For example: Hole In My Life, Truth Hits Everybody, and Next to You, all from their first album Outlandos D'Amour. Sting, after canceling a show four nights earlier because of a case of the flu, sounded great. And he did a few of his signature jumps, matching the crescendo of a song ending. Just not as frequently. Actually, Summers (the old man) did more jumping than Sting...and off of Stewart's drum stand! Yes, they sounded excellent. And for a fan such as me who knows every song, this is saying something. That is true because the Police are not there to regurgitate the exact sound from their records. They're a jam band. They reinvent each song when playing live. That's why Voices Inside My Head/When The World Is Running Down... rocked. I mean ROCKED. And the combo of Can't Stand Losing You/Reggatta De Blanc ("eyo, eyay, eyay-o") was one of the highpoints of the show. They know the music and each other so well that they can take a song to a whole new place and make it work.
There were many singalongs and Sting talked with the crowd frequently. After playing sixteen songs, they thanked us and left. Of course, they returned shortly with four songs from their first and last albums. A very nice contrast, for me anyway. That set included So Lonely, which I can safely say is probably my favorite Police song. Again, "Thank you, goodnight." This time though, Andy just stayed there. Sting and Stewart were gone. Andy began motioning for them to come back, while looking at his watch and throwing his hands in the air. This was hilarious and had fans cheering louder than ever. Finally, the other two came back and they ended with Next To You, the first song on their first album. Classic.
I know that these guys could pretty much sleepwalk through their entire catalog of songs and I know that they're making millions for their retirement. But that soundtrack of my life that I sometimes mention is FULL of Police music. Standing there last night, I was thinking, "No one is enjoying this more than me."
One night back in '91, while working the late shift at the Ritz-Carlton Hotel in Kansas City, Sting returned from one of his few solo concerts that I did not attend. I was standing outside the front door when he was dropped off. "Here's my chance," I thought. As he approached me and we shook hands, I asked, "How was the show?" Sting replied, as only Sting could, "Well...no one asked for their money back." And no one asked for their money back last night.
Here's a peek at the set list:
Message In A Bottle
Synchronicity II
Walking On The Moon
Voices Inside My Head/When The World Is Running Down, You Make The Best Of What's Still Around
Don't Stand So Close to Me
Driven To Tears
Hole In My Life
Truth Hits Everybody
Every Little Thing She Does Is Magic
Wrapped Around Your Finger
De Do Do Do, De Da Da Da
Invisible Sun
Walking In Your Footsteps
Can't Stand Losing You/Regatta De Blanc
First encore:
Roxanne
King Of Pain
So Lonely
Every Breath You Take
Second encore:
Next To You
Here's what they played from each of their studio albums:
Outlandos D'Amour (1978) - 6 songs
Reggatta De Blanc (1979) - 3 songs
Zenyatta Mondatta (1980) - 5 songs
Ghost In The Machine (1981) - 2 songs
Synchronicity (1983) - 5 songs
Sunday, November 11, 2007
80. MORRISSEY, 11/5/07
Location: The Tabernacle, Atlanta, GA
Support act(s): Girl in a Coma
In the company of: Chris
Just arrived home from the show. The Moz did not disappoint. Again. Song #1 was "Stop Me If You've Heard This One Before," from the Smiths final studio album Strangeways, Here We Come. It is called the Greatest Hits Tour, mainly because there is no new release to promote. That was fine with me.
Morrissey dug deep into his early solo stuff, not focusing on Smiths material as much as the last time we saw him. One huge highlight for me was "Please, Please, Please Let Me Get What I Want." This was actually the first Smiths song I ever heard (embarrassingly from the Pretty In Pink soundtrack). Nonetheless, it's a beautiful, melancholy song about Morrissey's favorite subject: loneliness. How anyone can make this topic shine is beyond me. I consider Morrissey's voice to be the most important instrument in his music and one of the best - if not THE best - voices in all music. Any genre.
After the opening song, he announced, "Welcome to my sick bed." Possibly making reference to his age? The state of his career? His actual physical condition? Who knows. Boring he is not. Intriguing he always is. Following "Please, Please..." was the big one, "How Soon Is Now." This is most likely the best known Smiths song. And it's always great. The absence of former Smiths guitarist Johnny Marr is somewhat noticable, but I'll just save my money and say my prayers for a Smiths reunion some day. I will buy a ticket for that one regardless of the price.
A couple of glaring omissions were, "Bigmouth Strikes Again" and "There Is A Light That Never Goes Out" ("...to die by your side is such a heavenly way to die."). The show was relatively short, but quality - not quantity - won out. In his late forties, Morrissey proved that he can still rock. And he's still relevant.
Openers Girl in a Coma had everyone wondering, "Where'd ya get your name?" It HAS to be from the Smith's (Morrissey-penned) song "Girlfriend in a Coma" from 1989's Strangeways Here We Come. Incidentally, this was the Smiths' last studio album.
Hailing from San Antonio, the girls rocked the house with music which really could be considered Smiths-like. With intelligent lyrics and nonstop energy, Girl in a Coma was positively received by the crowd. Highlights included "Road To Home" and "Their Cell."
Support act(s): Girl in a Coma
In the company of: Chris
Just arrived home from the show. The Moz did not disappoint. Again. Song #1 was "Stop Me If You've Heard This One Before," from the Smiths final studio album Strangeways, Here We Come. It is called the Greatest Hits Tour, mainly because there is no new release to promote. That was fine with me.
Morrissey dug deep into his early solo stuff, not focusing on Smiths material as much as the last time we saw him. One huge highlight for me was "Please, Please, Please Let Me Get What I Want." This was actually the first Smiths song I ever heard (embarrassingly from the Pretty In Pink soundtrack). Nonetheless, it's a beautiful, melancholy song about Morrissey's favorite subject: loneliness. How anyone can make this topic shine is beyond me. I consider Morrissey's voice to be the most important instrument in his music and one of the best - if not THE best - voices in all music. Any genre.
After the opening song, he announced, "Welcome to my sick bed." Possibly making reference to his age? The state of his career? His actual physical condition? Who knows. Boring he is not. Intriguing he always is. Following "Please, Please..." was the big one, "How Soon Is Now." This is most likely the best known Smiths song. And it's always great. The absence of former Smiths guitarist Johnny Marr is somewhat noticable, but I'll just save my money and say my prayers for a Smiths reunion some day. I will buy a ticket for that one regardless of the price.
A couple of glaring omissions were, "Bigmouth Strikes Again" and "There Is A Light That Never Goes Out" ("...to die by your side is such a heavenly way to die."). The show was relatively short, but quality - not quantity - won out. In his late forties, Morrissey proved that he can still rock. And he's still relevant.
Openers Girl in a Coma had everyone wondering, "Where'd ya get your name?" It HAS to be from the Smith's (Morrissey-penned) song "Girlfriend in a Coma" from 1989's Strangeways Here We Come. Incidentally, this was the Smiths' last studio album.
Hailing from San Antonio, the girls rocked the house with music which really could be considered Smiths-like. With intelligent lyrics and nonstop energy, Girl in a Coma was positively received by the crowd. Highlights included "Road To Home" and "Their Cell."
79. CROWDED HOUSE, 9/12/07
Location: The Tabernacle, Atlanta, GA
Support act(s): Pete Yorn, Liam Finn
In the company of: Chris!
The first time I saw Crowded House live was in Kansas City 20 years ago. They were touring supporting their first album after the break-up of Split Enz. I won tickets to a Bruce Hornsby and the Range show through a local radio station. Crowded House was the opening act, and I became a fan for life that night.
This just so happened to be the same year I would meet my future bride, who later became a fan as well. I've heard it said that music is the soundtrack of our lives. Crowded House songs fill my soundtrack.
So, this concert was special. It took place at the Tabernacle in Atlanta. Opening the show was the son of CH frontman Neil Finn, Liam. He is in the process of releasing his first solo record and treated the sold out crowd to five or six songs. This 23 year-old was amazing. Out there all alone, he was very impressive. Look for his record in January called I'll Be Lightning.
Next up was Pete Yorn. Now, if you're not familiar with his music, I suggest you get familiar. He rocked. I mean, four guitars...need I say more? A few memorable tunes were Life on a Chain, Black, and For Nancy. Check him out.
Crowded House walked onstage with their new drummer who replaces Paul Hester after he took his own life in 2005. The last time we saw them was during their final tour in 1994. That night in Atlanta was Paul Hester's very last night as a member of the band (one of the best concerts ever). He was leaving the band for unspecified personal reasons.
Back to present day. They opened with There Goes God and continued playing a total of 2 1/2 hours, including two encores. The grand finale was Don't Dream It's Over, which seemed to never end, due to much audience participation. In between the opening and closing songs, the band created terrific music, clearly showcasing Neil's penchant for Beatle-esque sounds. He even jumped into Cat Stevens' Wild World and the band joined in. One of many special moments.
Another moment was just after Neil said, "I'm feeling a strong presence in this room tonight," and then played Italian Plastic, a song written by Hester.
The band played five songs from their new release Time On Earth, including Silent House (which Neil co-wrote with the Dixie Chicks, who also recorded it). The older tune Better Be Home Soon was an extended version with much audience sing-alongs and help from Pete Yorn and Co. Son Liam was onstage with dad for much of the show, as well.
Basically, every song was a highlight for me. Definite standouts, though, were In My Command, Whispers and Moans, and Hole in the River. For me, Crowded House was/is a most painfully underrated band. They possess what I refer to as the trifecta: top-notch lyrics/vocals/musicianship. Not many bands go three for three. It still amazes me when I run into those who say, "Who's Crowded House?"
Rumor has it they're heading back into the studio the first of the year. Let the soundtrack continue.
Support act(s): Pete Yorn, Liam Finn
In the company of: Chris!
The first time I saw Crowded House live was in Kansas City 20 years ago. They were touring supporting their first album after the break-up of Split Enz. I won tickets to a Bruce Hornsby and the Range show through a local radio station. Crowded House was the opening act, and I became a fan for life that night.
This just so happened to be the same year I would meet my future bride, who later became a fan as well. I've heard it said that music is the soundtrack of our lives. Crowded House songs fill my soundtrack.
So, this concert was special. It took place at the Tabernacle in Atlanta. Opening the show was the son of CH frontman Neil Finn, Liam. He is in the process of releasing his first solo record and treated the sold out crowd to five or six songs. This 23 year-old was amazing. Out there all alone, he was very impressive. Look for his record in January called I'll Be Lightning.
Next up was Pete Yorn. Now, if you're not familiar with his music, I suggest you get familiar. He rocked. I mean, four guitars...need I say more? A few memorable tunes were Life on a Chain, Black, and For Nancy. Check him out.
Crowded House walked onstage with their new drummer who replaces Paul Hester after he took his own life in 2005. The last time we saw them was during their final tour in 1994. That night in Atlanta was Paul Hester's very last night as a member of the band (one of the best concerts ever). He was leaving the band for unspecified personal reasons.
Back to present day. They opened with There Goes God and continued playing a total of 2 1/2 hours, including two encores. The grand finale was Don't Dream It's Over, which seemed to never end, due to much audience participation. In between the opening and closing songs, the band created terrific music, clearly showcasing Neil's penchant for Beatle-esque sounds. He even jumped into Cat Stevens' Wild World and the band joined in. One of many special moments.
Another moment was just after Neil said, "I'm feeling a strong presence in this room tonight," and then played Italian Plastic, a song written by Hester.
The band played five songs from their new release Time On Earth, including Silent House (which Neil co-wrote with the Dixie Chicks, who also recorded it). The older tune Better Be Home Soon was an extended version with much audience sing-alongs and help from Pete Yorn and Co. Son Liam was onstage with dad for much of the show, as well.
Basically, every song was a highlight for me. Definite standouts, though, were In My Command, Whispers and Moans, and Hole in the River. For me, Crowded House was/is a most painfully underrated band. They possess what I refer to as the trifecta: top-notch lyrics/vocals/musicianship. Not many bands go three for three. It still amazes me when I run into those who say, "Who's Crowded House?"
Rumor has it they're heading back into the studio the first of the year. Let the soundtrack continue.
78. DAVE MATTHEWS BAND, 9/8/07
Location: Piedmont Park, Atlanta, GA
Support act(s): The Allman Brothers Band
In the company of: Joe B.
Since I'm a self confessed "tree-hugger," this concert was of much importance. My first Green Concert. It was considered a charity event to benefit the Piedmont Park Conservancy. Piedmont Park is Atlanta's answer to Central Park in New York City. It has been one of my favorite places since moving here in 1993.
I've been a DMB fan since they surfaced about thirteen years ago, but have never had the chance to see them live. This was not just a concert, but an event. The mass of humanity on that Saturday night in Piedmont Park numbered around 55,000. Let's just say the Conservancy raised a LOT of money.
Unfortunately, I only overheard the Allman Brothers opening performance. Upon arriving at the park, we decided to have a beverage, grab some food, and use the port-a-potty. The lines for all these things were 20-30 people deep. So, my apologies to the Allmans. By the time Dave took the stage, though, we were ready. It was as good as everyone says, seeing DMB live. He played most of the songs I know, and a few I didn't.
Highlights included Warehouse, What Would You Say, and Too Much.The blankets brought by the thousands of early birds were of no use once Dave started. Everyone was on their feet and dancing the entire evening.
Support act(s): The Allman Brothers Band
In the company of: Joe B.
Since I'm a self confessed "tree-hugger," this concert was of much importance. My first Green Concert. It was considered a charity event to benefit the Piedmont Park Conservancy. Piedmont Park is Atlanta's answer to Central Park in New York City. It has been one of my favorite places since moving here in 1993.
I've been a DMB fan since they surfaced about thirteen years ago, but have never had the chance to see them live. This was not just a concert, but an event. The mass of humanity on that Saturday night in Piedmont Park numbered around 55,000. Let's just say the Conservancy raised a LOT of money.
Unfortunately, I only overheard the Allman Brothers opening performance. Upon arriving at the park, we decided to have a beverage, grab some food, and use the port-a-potty. The lines for all these things were 20-30 people deep. So, my apologies to the Allmans. By the time Dave took the stage, though, we were ready. It was as good as everyone says, seeing DMB live. He played most of the songs I know, and a few I didn't.
Highlights included Warehouse, What Would You Say, and Too Much.The blankets brought by the thousands of early birds were of no use once Dave started. Everyone was on their feet and dancing the entire evening.
77. LYLE LOVETT AND HIS LARGE BAND, 6/15/07
Location: Chastain Park Amphitheatre, Atlanta, GA
Support act(s): k.d. lang
In the company of: Chris
My humble opinion in review form to follow...
Support act(s): k.d. lang
In the company of: Chris
My humble opinion in review form to follow...
76. ARCTIC MONKEYS, 5/19/07
Location: The Tabernacle, Atlanta, GA
Support act(s): some crazy girl singer punk band from TN
In the company of: Chris, Michael T.
My humble opinion in review form to follow...
Support act(s): some crazy girl singer punk band from TN
In the company of: Chris, Michael T.
My humble opinion in review form to follow...
75. BEN GIBBARD, 5/12/07
Location: Center Stage, Atlanta, GA
Support act(s): Jonathan Rice
In the company of: Chris
My humble opinion in review form to follow...
Support act(s): Jonathan Rice
In the company of: Chris
My humble opinion in review form to follow...
74. THE WHO, 11/22/06
Location: The Arena at Gwinnett, Duluth, GA
Support act(s): The Pretenders
In the company of: Chris
My humble opinion in review form to follow...
Support act(s): The Pretenders
In the company of: Chris
My humble opinion in review form to follow...
73. EDITORS, 6/25/06
Location: Roxy Theatre, Atlanta, GA
Support act(s): Lake Trout
In the company of: Chris, Michael T., ladyfriend
My humble opinion in review form to follow...
Support act(s): Lake Trout
In the company of: Chris, Michael T., ladyfriend
My humble opinion in review form to follow...
72. ARCTIC MONKEYS, 6/10/06
Location: The Tabernacle, Atlanta, GA
Support act(s): We Are Scientists
In the company of: Chris, Michael T., ladyfriend
My humble opinion in review form to follow...
Support act(s): We Are Scientists
In the company of: Chris, Michael T., ladyfriend
My humble opinion in review form to follow...
71. DEATH CAB FOR CUTIE, 4/5/06
Location: The Tabernacle, Atlanta, GA
Support act(s): ?
In the company of: Chris
My humble opinion in review form to follow...
Support act(s): ?
In the company of: Chris
My humble opinion in review form to follow...
70. INXS, 2/22/06
Location: Atlanta Civic Center, Atlanta, GA
Support act(s): Marty Casey and the Lovehammers
In the company of: Chris
My humble opinion in review form to follow...
Support act(s): Marty Casey and the Lovehammers
In the company of: Chris
My humble opinion in review form to follow...
69. U2, 11/18/05
Location: Philips Arena, Atlanta, GA
Support act(s): Institute
In the company of: Chris
My humble opinion in review form to follow...
Support act(s): Institute
In the company of: Chris
My humble opinion in review form to follow...
68. COLDPLAY, 9/28/05
Location: Philips Arena, Atlanta, GA
Support act(s): Rilo Kiley
In the company of: Chris
My humble opinion in review form to follow...
Support act(s): Rilo Kiley
In the company of: Chris
My humble opinion in review form to follow...
67. MORRISSEY, 10/22/04
Location: The Tabernacle, Atlanta, GA
Support act(s):
In the company of: Chris
My humble opinion in review form to follow...
Support act(s):
In the company of: Chris
My humble opinion in review form to follow...
66. CHEAP TRICK, Summer/02
Location: Dobbins Air Force Base, Marietta, GA
Support act(s): ?
In the company of: Chris (with second child)
My humble opinion in review form to follow...
Support act(s): ?
In the company of: Chris (with second child)
My humble opinion in review form to follow...
65. U2, 11/30/01
Location: Philips Arena, Atlanta, GA
Support act(s): Garbage
In the company of: Chris
My humble opinion in review form to follow...
Support act(s): Garbage
In the company of: Chris
My humble opinion in review form to follow...
64. U2, 3/30/01
Location: Philips Arena, Atlanta, GA
Support act(s): Nelly Furtado
In the company of: Chris
My humble opinion in review form to follow...
Support act(s): Nelly Furtado
In the company of: Chris
My humble opinion in review form to follow...
63. THE CURE, 5/18/00
Location: Lakewood Amphitheatre, Atlanta, GA
Support act(s):
In the company of: Chris
My humble opinion in review form to follow...
Support act(s):
In the company of: Chris
My humble opinion in review form to follow...
62. STING, 11/7/99
Location: The Fox Theatre, Atlanta, GA
Support act(s): ?
In the company of: Chris
My humble opinion in review form to follow...
Support act(s): ?
In the company of: Chris
My humble opinion in review form to follow...
61. NEIL FINN, 7/19/98
Location: The Variety Playhouse, Atlanta, GA
Support act(s): Ebba Forsberg
In the company of: Chris (with child)
My humble opinion in review form to follow...
Support act(s): Ebba Forsberg
In the company of: Chris (with child)
My humble opinion in review form to follow...
60. B.B. KING, 6/25/97
Location: Chastain Park, Atlanta, GA
Support act(s): Robert Cray, Tower of Power
In the company of: Chris
My humble opinion in review form to follow...
Support act(s): Robert Cray, Tower of Power
In the company of: Chris
My humble opinion in review form to follow...
59. JOHNNY RENO & THE SAX MANIACS, 12/27/96
Location: The Grand Emporium, Kansas City, MO
Support act(s):
In the company of: Chris, Tim S., Susan S.
My humble opinion in review form to follow...
Support act(s):
In the company of: Chris, Tim S., Susan S.
My humble opinion in review form to follow...
58. THE CURE, 9/6/96
Location: Lakewood Amphitheatre, Atlanta, GA
Support act(s): ?
In the company of: Chris
My humble opinion in review form to follow...
Support act(s): ?
In the company of: Chris
My humble opinion in review form to follow...
57. STING, 6/28/96
Location: Lakewood Amphitheatre, Atlanta, GA
Support act(s): ?
In the company of: Chris
My humble opinion in review form to follow...
Support act(s): ?
In the company of: Chris
My humble opinion in review form to follow...
56. B.B. KING, 4/7/95
Location: Center Stage, Atlanta, GA
Support act(s): ?
In the company of: Chris
My humble opinion in review form to follow...
Support act(s): ?
In the company of: Chris
My humble opinion in review form to follow...
55. LIVE, 5/9/94
Location: Roxy Theatre, Atlanta, GA
Support act(s): ?
In the company of: Chris
My humble opinion in review form to follow...
Support act(s): ?
In the company of: Chris
My humble opinion in review form to follow...
54. CROWDED HOUSE, 4/14/94
Location: Roxy Theatre, Atlanta, GA
Support act(s): Sheryl Crow
In the company of: Chris
My humble opinion in review form to follow...
Support act(s): Sheryl Crow
In the company of: Chris
My humble opinion in review form to follow...
53. STEWART COPELAND, 1/22/94
Location: Fox Theatre, Atlanta, GA
Support act(s): Drummers of the World
In the company of: Chris
My humble opinion in review form to follow...
Support act(s): Drummers of the World
In the company of: Chris
My humble opinion in review form to follow...
52. OCTOBER PROJECT, 1/18/94
Location: The Roxy Theatre, Atlanta, GA
Support act(s):
In the company of: Catspaw circle of friends
My humble opinion in review form to follow...
Support act(s):
In the company of: Catspaw circle of friends
My humble opinion in review form to follow...
51. MIDNIGHT OIL, 8/28/93
Location: Lakewood Amphitheatre, Atlanta, GA
Support act(s): Ziggy Marley, Hothouse Flowers, X, An Emotional Fish, Holly Faith
In the company of: Chris
My humble opinion in review form to follow...
Support act(s): Ziggy Marley, Hothouse Flowers, X, An Emotional Fish, Holly Faith
In the company of: Chris
My humble opinion in review form to follow...
50. SPIN DOCTORS, 6/12/93
Location: Lakewood Amphitheatre, Atlanta, GA
Support act(s): Soul Asylum, Screaming Trees
In the company of: Chris
This was our very first concert after moving to Atlanta (actually, about three weeks after our arrival). I had just been employed by Catspaw Productions, a small audio production company. The receptionist had two extra tickets to the show, and I said, "Sure!"
It seemed like driving across the state just to get to Lakewood (now renamed Hi-Fi Buys Amphitheatre). Today, though, it's just a short jaunt. The show was good, with solid support acts. Since then, all three bands have mostly been forgotten, but Soul Asylum had the most critical success.
Support act(s): Soul Asylum, Screaming Trees
In the company of: Chris
This was our very first concert after moving to Atlanta (actually, about three weeks after our arrival). I had just been employed by Catspaw Productions, a small audio production company. The receptionist had two extra tickets to the show, and I said, "Sure!"
It seemed like driving across the state just to get to Lakewood (now renamed Hi-Fi Buys Amphitheatre). Today, though, it's just a short jaunt. The show was good, with solid support acts. Since then, all three bands have mostly been forgotten, but Soul Asylum had the most critical success.
49. TOM PETTY AND THE HEARTBREAKERS, 8/31/91
Location: Municipal Auditorium, Kansas City, MO
Support act(s): ?
In the company of: Chris
My humble opinion in review form to follow...
Support act(s): ?
In the company of: Chris
My humble opinion in review form to follow...
48. STING, 8/23/91
Location: Starlight Theatre, Kansas City, MO
Support act(s): ?
In the company of: Chris...
My humble opinion in review form to follow...
Support act(s): ?
In the company of: Chris...
My humble opinion in review form to follow...
47. BILLY JOEL, 11/21/90
Location: Kemper Arena, Kansas City, MO
Support act(s): ?
In the company of: Chris
My humble opinion in review form to follow...
Support act(s): ?
In the company of: Chris
My humble opinion in review form to follow...
46. THE RAINMAKERS, 9/29/90
Location: Smithville Lake, Smithville, MO
Support act(s): Eddie Money
In the company of: Chris, Russ W., Sheila W.
My humble opinion in review form to follow...
Support act(s): Eddie Money
In the company of: Chris, Russ W., Sheila W.
My humble opinion in review form to follow...
45. THEY MIGHT BE GIANTS, 8/6/90
Location: The Shadow, Kansas City, MO
Support act(s):
In the company of: Chris S.
My humble opinion in review form to follow...
Support act(s):
In the company of: Chris S.
My humble opinion in review form to follow...
44. DAVID BOWIE, 6/9/90
Location: Sandstone Amphitheatre, Bonner Springs, KS
Support act(s): Adrian Belew
In the company of: myself
My humble opinion in review form to follow...
Support act(s): Adrian Belew
In the company of: myself
My humble opinion in review form to follow...
43. THE WHO, 8/5/89
Location: Arrowhead Stadium, Kansas City, MO
Support act(s): ?
In the company of: Chris
My humble opinion in review form to follow...
Support act(s): ?
In the company of: Chris
My humble opinion in review form to follow...
42. NEW ORDER, 6/25/89
Location: Sandstone Amphitheatre, Bonner Springs, KS
Support act(s): Public Image Ltd., The Sugarcubes
In the company of: Chris, Tim S., ladyfriend
Who would've thunk it? Johnny Rotten in Kansas City? This show was a must-see for me, being big fans of all three acts. PiL (Public Image Limited) was fronted by John Lydon, AKA Johnny Rotten. If that name sound familiar, it's because he was the lead singer of the Sex Pistols, arguably one of the most influential bands to bring the punk music scene in the late 70s to an international audience. Remember his bass-playing bandmate, Sid Vicious? If not, rent Sid & Nancy. Reality was never so painful as when you're watching that excellent film. Anyway, Lydon has mellowed a touch since then, although he did throw out many expletives during the concert, mostly insulting the midwest because of the heat and "...all these F#@#ing bugs!" Nevertheless, a great performance.
The Sugarcubes had burst onto the scene from Iceland. Bjork, the lead singer, had a sound like no other woman I'd heard. Their music was new and exciting. Songs like Delicious Demon and Birthday went down musical roads previously traveled by only a few. Bjork still has a solid solo career and a huge following, no matter how crazy you may believe her to be.
The headliners, New Order, were fantastic. Rising from the ashes of Joy Division, New Order has a sound all their own. Combining synthesizers, guitars by Bernard Sumner, a wicked bass by Peter Hook, they they thrilled a Top 40, midwestern town. For me, New Order has many, many great songs which were played for us that night. Among them were Bizarre Love Triangle, Blue Monday, and Age Of Consent.
Support act(s): Public Image Ltd., The Sugarcubes
In the company of: Chris, Tim S., ladyfriend
Who would've thunk it? Johnny Rotten in Kansas City? This show was a must-see for me, being big fans of all three acts. PiL (Public Image Limited) was fronted by John Lydon, AKA Johnny Rotten. If that name sound familiar, it's because he was the lead singer of the Sex Pistols, arguably one of the most influential bands to bring the punk music scene in the late 70s to an international audience. Remember his bass-playing bandmate, Sid Vicious? If not, rent Sid & Nancy. Reality was never so painful as when you're watching that excellent film. Anyway, Lydon has mellowed a touch since then, although he did throw out many expletives during the concert, mostly insulting the midwest because of the heat and "...all these F#@#ing bugs!" Nevertheless, a great performance.
The Sugarcubes had burst onto the scene from Iceland. Bjork, the lead singer, had a sound like no other woman I'd heard. Their music was new and exciting. Songs like Delicious Demon and Birthday went down musical roads previously traveled by only a few. Bjork still has a solid solo career and a huge following, no matter how crazy you may believe her to be.
The headliners, New Order, were fantastic. Rising from the ashes of Joy Division, New Order has a sound all their own. Combining synthesizers, guitars by Bernard Sumner, a wicked bass by Peter Hook, they they thrilled a Top 40, midwestern town. For me, New Order has many, many great songs which were played for us that night. Among them were Bizarre Love Triangle, Blue Monday, and Age Of Consent.
41. THE CHURCH, 10/1/88
Location: Uptown Theatre, Kansas City, MO
Support act(s): ?
In the company of: Chris
My humble opinion in review form to follow...
Support act(s): ?
In the company of: Chris
My humble opinion in review form to follow...
Saturday, November 10, 2007
40. STING, 8/6/88
Location: Starlight Theatre, Kansas City, MO
Support act(s): ?
In the company of: Chris,
My humble opinion in review form to follow...
Support act(s): ?
In the company of: Chris,
My humble opinion in review form to follow...
39. INXS, 6/14/88
Location: Kemper Arena, Kansas City, MO
Support act(s): Steel Pulse
In the company of: Chris, Gregg H., Melinda, H.
My humble opinion in review form to follow...
Support act(s): Steel Pulse
In the company of: Chris, Gregg H., Melinda, H.
My humble opinion in review form to follow...
38. DAN FOGELBERG, 6/12/88
Location: Sandstone Amphitheatre, Bonner Springs, KS
Support act(s):
In the company of: Chris (our first concert)
This show owns the distinction of being the first concert I attended with my future bride. Honestly, I would not have forked out the cash for this one, but we'd been dating about one month and Chris was a Dan Fogelberg fan. What would you have done?
I will rack my brain for something substantial to share with you regarding this performance. I do vaguely recall leaving the concert and saying to myself, "That didn't suck."
Support act(s):
In the company of: Chris (our first concert)
This show owns the distinction of being the first concert I attended with my future bride. Honestly, I would not have forked out the cash for this one, but we'd been dating about one month and Chris was a Dan Fogelberg fan. What would you have done?
I will rack my brain for something substantial to share with you regarding this performance. I do vaguely recall leaving the concert and saying to myself, "That didn't suck."
37. STING, 3/7/88
Location: Memorial Hall, Kansas City, MO
Support act(s): Vinx
In the company of: Britt E.?
My humble opinion in review form to follow...
Support act(s): Vinx
In the company of: Britt E.?
My humble opinion in review form to follow...
36. R.E.M., 11/8/87
Location: Memorial Hall, Kansas City, MO
Support act(s): ?
In the company of: ?
My humble opinion in review form to follow...
Support act(s): ?
In the company of: ?
My humble opinion in review form to follow...
35. U2, 10/26/87
Location: Kemper Arena, Kansas City, MO
Support act(s): ?
In the company of: ?
My humble opinion in review form to follow...
Support act(s): ?
In the company of: ?
My humble opinion in review form to follow...
34. CHEAP TRICK, 9/9/87
Location: CMSU Multipurpose Building, Warrensburg, MO
Support act(s): The Elvis Brothers
In the company of: Gregg H. (who else?!)
My humble opinion in review form to follow...
Support act(s): The Elvis Brothers
In the company of: Gregg H. (who else?!)
My humble opinion in review form to follow...
33. PSYCHEDELIC FURS, 8/14/87
Location: Sandstone Amphitheatre, Bonner Springs, KS
Support act(s): The Call
In the company of: ?
My humble opinion in review form to follow...
Support act(s): The Call
In the company of: ?
My humble opinion in review form to follow...
32. BILLY IDOL, 4/30/87
Location: Municipal Auditorium, Kansas City, MO
Support act(s): The Cult
In the company of: Gregg T.
My humble opinion in review form to follow...
Support act(s): The Cult
In the company of: Gregg T.
My humble opinion in review form to follow...
31. JASON AND THE SCORCHERS, 4/23/87
Location: Parody Hall, Kansas City, MO
Support act(s): Absolute Ceiling
In the company of: ?
My humble opinion in review form to follow...
Support act(s): Absolute Ceiling
In the company of: ?
My humble opinion in review form to follow...
30. BRUCE HORNSBY AND THE RANGE, 3/7/87
Location: Memorial Hall, Kansas City, MO
Support act(s): Crowded House
In the company of: Britt E.
My humble opinion in review form to follow...
Support act(s): Crowded House
In the company of: Britt E.
My humble opinion in review form to follow...
29. THE RAINMAKERS, 1/17/87
Location: Hendricks Hall, Warrensburg, MO
Support act(s): The Nace Brothers
In the company of: Gregg H.
My humble opinion in review form to follow...
Support act(s): The Nace Brothers
In the company of: Gregg H.
My humble opinion in review form to follow...
28. THE RAINMAKERS, 12/31/86
Location: The Uptown Theatre, Kansas City, MO
Support act(s):
In the company of: Gregg T., Gregg H., Tony S.
My humble opinion in review form to follow...
Support act(s):
In the company of: Gregg T., Gregg H., Tony S.
My humble opinion in review form to follow...
27. THE PRODUCERS, 11/12/86
Location: The Lone Star
Support act(s): The Clique?
In the company of: Gregg H.?
My humble opinion in review form to follow...
Support act(s): The Clique?
In the company of: Gregg H.?
My humble opinion in review form to follow...
26. BEAT RODEO, 10/21/86
Location: The Lone Star
Support act(s): Spike and the Trailriders
In the company of: Gregg H.?
My humble opinion in review form to follow...
Support act(s): Spike and the Trailriders
In the company of: Gregg H.?
My humble opinion in review form to follow...
25. R.E.M., 10/11/86
Location: Memorial Hall, Kansas City, MO
Support act(s): Camper Van Beethoven
In the company of: ?
My humble opinion in review form to follow...
Support act(s): Camper Van Beethoven
In the company of: ?
My humble opinion in review form to follow...
23. INXS, 8/23/86
Location: Memorial Hall, Kansas City, MO
Support act(s): Del Fuegos
In the company of: ?
My humble opinion in review form to follow...
Support act(s): Del Fuegos
In the company of: ?
My humble opinion in review form to follow...
22. STARSHIP, 8/16/86
Location: Sandstone Amphitheatre, Bonner Springs, KS
Support act(s): The Outfield
In the company of: Kelly and Carolyn
My humble opinion in review form to follow...
Support act(s): The Outfield
In the company of: Kelly and Carolyn
My humble opinion in review form to follow...
21. THE EVERLY BROTHERS, 8/7/86
Location: Sandstone Amphitheatre, Bonner Springs, KS
Support act(s): ?
In the company of: some girl
My humble opinion in review form to follow...
Support act(s): ?
In the company of: some girl
My humble opinion in review form to follow...
20. THE BO DEANS, 5/20/86
Location: Parody Hall, Kansas City, MO
Support act(s):
In the company of: ?
My humble opinion in review form to follow...
Support act(s):
In the company of: ?
My humble opinion in review form to follow...
19. SIMPLE MINDS, 5/9/86
Location: Starlight Theatre, Kansas City, MO
Support act(s): The Call
In the company of: Gregg H.?
My humble opinion in review form to follow...
Support act(s): The Call
In the company of: Gregg H.?
My humble opinion in review form to follow...
18. LOVERBOY, 3/21/86
Location: Municipal Auditorium, Kansas City, MO
Support act(s): The Hooters
In the company of: invited by some girl
My humble opinion in review form to follow...
Support act(s): The Hooters
In the company of: invited by some girl
My humble opinion in review form to follow...
17. R.E.M., 11/17/85
Location: Kiel Opera House, St. Louis, MO
Support act(s): 10,000 Maniacs
In the company of: Dee Ann and friends
My humble opinion in review form to follow...
Support act(s): 10,000 Maniacs
In the company of: Dee Ann and friends
My humble opinion in review form to follow...
16. STING, 8/31/85
Location: Sandstone Amphitheatre, Bonner Springs, KS
Support act(s): ?
In the company of: Gregg H.
My humble opinion in review form to follow...
Support act(s): ?
In the company of: Gregg H.
My humble opinion in review form to follow...
15. THE PRETENDERS, 8/23/84
Location: Starlight Theatre, Kansas City, MO
Support act(s): Simple Minds
In the company of: Gregg H. and two other guys
The two other guys were the reason our brains were swimming. And it was not the beer. Oh, our childish ways...
Touring in support of their best album ever, "Learning To Crawl," the Pretenders rocked in a big way that night. Chrissie Hynde was more of a man than most of us in the crowd. She kicked ass. The concert was one of my most memorable and the reason why I'll always say that I love the Pretenders.
Openers Simple Minds (headed by Chrissie's hubby, Scotland's Jim Kerr) was also at the top of their game, just months before the release of their great "Alive and Kicking." This was two great shows in one. It was a nice, warm Kansas City evening under the stars. Good times.
Support act(s): Simple Minds
In the company of: Gregg H. and two other guys
The two other guys were the reason our brains were swimming. And it was not the beer. Oh, our childish ways...
Touring in support of their best album ever, "Learning To Crawl," the Pretenders rocked in a big way that night. Chrissie Hynde was more of a man than most of us in the crowd. She kicked ass. The concert was one of my most memorable and the reason why I'll always say that I love the Pretenders.
Openers Simple Minds (headed by Chrissie's hubby, Scotland's Jim Kerr) was also at the top of their game, just months before the release of their great "Alive and Kicking." This was two great shows in one. It was a nice, warm Kansas City evening under the stars. Good times.
14. THE CARS, 8/16/84
Location: Kemper Arena, Kansas City, MO
Support act(s): Wang Chung
In the company of: Gregg H.
"Everybody have fun tonight / Everybody Wang Chung tonight." After that song, most were done with the supporting act. But, they did have some more gems, like "Dance Hall Days," "Wait," and "To Live And Die In L.A."
On to the Cars. Of all the shows I've been to, no one interacted LESS with the audience than the Cars that evening. It was weird. I don't recall anyone in the band uttering a word besides their song lyrics. Were they that arrogant or that nervous? A little of both? Nonetheless, it was a great show with near perfection in every song. Love that band. Funny, if you knew them before the Cars when they were Milkwood, you'd be surprised. Mellow folk music. They evolved and adapted very well to the times.
Support act(s): Wang Chung
In the company of: Gregg H.
"Everybody have fun tonight / Everybody Wang Chung tonight." After that song, most were done with the supporting act. But, they did have some more gems, like "Dance Hall Days," "Wait," and "To Live And Die In L.A."
On to the Cars. Of all the shows I've been to, no one interacted LESS with the audience than the Cars that evening. It was weird. I don't recall anyone in the band uttering a word besides their song lyrics. Were they that arrogant or that nervous? A little of both? Nonetheless, it was a great show with near perfection in every song. Love that band. Funny, if you knew them before the Cars when they were Milkwood, you'd be surprised. Mellow folk music. They evolved and adapted very well to the times.
13. GENESIS, 1/29/84
Location: Kemper Arena, Kansas City, MO
Support act(s): ?
In the company of: Gregg H.
Still trying to remember who opened. Maybe no one. Anyway, this was a great show. Genesis was enjoying some of their greatest success in support of the Abacab album, which is one of my faves, as far as Genesis goes.
Not much else to share with you. Obviously not a life-altering experience or I'd have a story.
Support act(s): ?
In the company of: Gregg H.
Still trying to remember who opened. Maybe no one. Anyway, this was a great show. Genesis was enjoying some of their greatest success in support of the Abacab album, which is one of my faves, as far as Genesis goes.
Not much else to share with you. Obviously not a life-altering experience or I'd have a story.
12. THE POLICE, 11/24/83
Location: Kemper Arena, Kansas City, MO
Support act(s): UB40
In the company of: Gregg H.
After having seen them this past summer in St. Louis, I knew what to expect. This was a band at the pinnacle of success...God, they knocked "Thriller" out of the number one spot! What's not to love? Sadly for all Police fans, this was to be their final world tour for many years.
Looking into my crystal ball, I predict they'll regroup and do it all again in 24 years!
UB40 sang "Red Red Wine." But a nice change from the usual Police opener Joan Jett. Enough already.
Support act(s): UB40
In the company of: Gregg H.
After having seen them this past summer in St. Louis, I knew what to expect. This was a band at the pinnacle of success...God, they knocked "Thriller" out of the number one spot! What's not to love? Sadly for all Police fans, this was to be their final world tour for many years.
Looking into my crystal ball, I predict they'll regroup and do it all again in 24 years!
UB40 sang "Red Red Wine." But a nice change from the usual Police opener Joan Jett. Enough already.
11. CHEAP TRICK, 11/19/83
Location: Memorial Hall, Kansas City, KS
Support act(s): Aldo Nova, Danny Spanos
In the company of: Gregg H.
Okay, just talked to Gregg who informed me that Danny Spanos opened for Aldo, who opened for the Tricksters. As you all know, Spanos was the drummer for the 70s group Redbone. As you also may know, he played drums on the TV them to "Starsky and Hutch." There's some trivia that NO ONE knows. And finally, something else you don't know (stolen from Wikipedia): As a songwriter, Nova's recent hits include Clay Aiken's "This is the Night" (co-written with Chris Braide and Gary Burr), which in the US was a #1 hit and the best-selling single of 2003. Ouch.
Aldo Nova could be considered a one-hit wonder with the hit "Fantasy." My car in college was a '77 Chevy Nova. It was orange and it was named - wait for it - Aldo. But neither Danny nor Aldo could hold a candle to the loud rockness of Cheap Trick. If you've seen these guys in concert, you know they turn it up loud. Sometimes it's beyond loud and all you hear is distortion. Ted Nugent should loan them his hearing aid...they've GOT to need it more.
Support act(s): Aldo Nova, Danny Spanos
In the company of: Gregg H.
Okay, just talked to Gregg who informed me that Danny Spanos opened for Aldo, who opened for the Tricksters. As you all know, Spanos was the drummer for the 70s group Redbone. As you also may know, he played drums on the TV them to "Starsky and Hutch." There's some trivia that NO ONE knows. And finally, something else you don't know (stolen from Wikipedia): As a songwriter, Nova's recent hits include Clay Aiken's "This is the Night" (co-written with Chris Braide and Gary Burr), which in the US was a #1 hit and the best-selling single of 2003. Ouch.
Aldo Nova could be considered a one-hit wonder with the hit "Fantasy." My car in college was a '77 Chevy Nova. It was orange and it was named - wait for it - Aldo. But neither Danny nor Aldo could hold a candle to the loud rockness of Cheap Trick. If you've seen these guys in concert, you know they turn it up loud. Sometimes it's beyond loud and all you hear is distortion. Ted Nugent should loan them his hearing aid...they've GOT to need it more.
10. THE POLICE, 7/24/83
Location: The Checkerdome, St. Louis, MO
Support act(s): Joan Jett and the Blackhearts
In the company of: Eric G.
For this, my second Police show, I was now in full-fledged awe. It was the Synchronicity tour and it was fantastic. I made the road trip to St. Louis and picked up my friend Eric. Again, Joan Jett opened and did a fine job. But the obvious attraction was the Police, the then "Biggest Band in the World."
Here's a good trivia question for you: What album dethroned Michael Jackson's "Thriller" from the #1 spot on Billboard where it had lived for months? You guessed it. And what an album it was.
Support act(s): Joan Jett and the Blackhearts
In the company of: Eric G.
For this, my second Police show, I was now in full-fledged awe. It was the Synchronicity tour and it was fantastic. I made the road trip to St. Louis and picked up my friend Eric. Again, Joan Jett opened and did a fine job. But the obvious attraction was the Police, the then "Biggest Band in the World."
Here's a good trivia question for you: What album dethroned Michael Jackson's "Thriller" from the #1 spot on Billboard where it had lived for months? You guessed it. And what an album it was.
9. JOURNEY, 7/12/83
Location: Kemper Arena, Kansas City, MO
Support act(s): Bryan Adams
In the company of: some girl
So, some girl - a friend of a friend I think - needed a date for her extra Journey ticket. I reluctantly (yeah right) agreed. It was a sob fest, with her boo-hooing throughout every Journey love song. Seriously. My only joy was in the music, and I did enjoy the concert. I had already made my move from the high school years' rock fanaticism of AC/DC, Journey, Rush, etc. to the frat-induced "new wave" obsession. But, it still was an entertaining show, with Steve Perry's high-flying voice. And, of course, the top 40 champion Bryan Adams ("Cuts Like A Knife" tour) opening the show. It could have been worse.
Anyway, tossed the phone number, kept the ticket stub. Never saw the girl again.
Support act(s): Bryan Adams
In the company of: some girl
So, some girl - a friend of a friend I think - needed a date for her extra Journey ticket. I reluctantly (yeah right) agreed. It was a sob fest, with her boo-hooing throughout every Journey love song. Seriously. My only joy was in the music, and I did enjoy the concert. I had already made my move from the high school years' rock fanaticism of AC/DC, Journey, Rush, etc. to the frat-induced "new wave" obsession. But, it still was an entertaining show, with Steve Perry's high-flying voice. And, of course, the top 40 champion Bryan Adams ("Cuts Like A Knife" tour) opening the show. It could have been worse.
Anyway, tossed the phone number, kept the ticket stub. Never saw the girl again.
8. TOTO, 7/22/82
Location: The Midland Theater, Kansas City, MO
Support act(s): Missouri
In the company of: Gregg H.
Another concert with Top 40 hits, Toto put on a nice show. In support of their album "Toto IV," they sang "Rosanna" and "Africa," among others. Great songwriting and vocals, the crowd was all into it.
Locals Missouri, performing their one-hit-wonder "Movin' On," were sufficient.
Support act(s): Missouri
In the company of: Gregg H.
Another concert with Top 40 hits, Toto put on a nice show. In support of their album "Toto IV," they sang "Rosanna" and "Africa," among others. Great songwriting and vocals, the crowd was all into it.
Locals Missouri, performing their one-hit-wonder "Movin' On," were sufficient.
7. THE GO-GOS, 10/3/82
Location: Municipal Auditorium, Kansas City, MO
Support act(s): Flock of Seagulls
In the company of: Dave K., his sister and her friend
A last minute offer to see the Go-Gos was offered and I accepted. They were hot at the time supporting their "Beauty and the Beat" album. It was an energized show and lots of fun.
Flock of Seagulls opened and thrilled me a little more than the girls. Wild hair and all, these guys were great. Singing "I Ran" and "Photograph," it was a new wave party.
Support act(s): Flock of Seagulls
In the company of: Dave K., his sister and her friend
A last minute offer to see the Go-Gos was offered and I accepted. They were hot at the time supporting their "Beauty and the Beat" album. It was an energized show and lots of fun.
Flock of Seagulls opened and thrilled me a little more than the girls. Wild hair and all, these guys were great. Singing "I Ran" and "Photograph," it was a new wave party.
6. THE POLICE, 3/25/82
Location: Kemper Arena, Kansas City, MO
Support act(s): Joan Jett and the Blackhearts
In the company of:
Having recently become a Police fan, this was my first Police show. In support of their fourth studio album "Ghost In The Machine," they created an energy that Kemper Arena had not experienced before. I had begun loving their albums, now I saw them live. This threesome was fast on the way of becoming my all-time favorite band.
With the hits "Every Little Thing She Does Is Magic," "Invisible Sun," and the title track, they were gearing up to record their final album and masterpiece.
Oh yeah, Joan Jett did fine.
Support act(s): Joan Jett and the Blackhearts
In the company of:
Having recently become a Police fan, this was my first Police show. In support of their fourth studio album "Ghost In The Machine," they created an energy that Kemper Arena had not experienced before. I had begun loving their albums, now I saw them live. This threesome was fast on the way of becoming my all-time favorite band.
With the hits "Every Little Thing She Does Is Magic," "Invisible Sun," and the title track, they were gearing up to record their final album and masterpiece.
Oh yeah, Joan Jett did fine.
5. ROD STEWART, 1/30/82
Location: Kemper Arena, Kansas City, MO
Support act(s): ?
In the company of: Gregg H., Kitty H., Butch H.
Upon arriving for a visit a few months earlier, my buddy Gregg informed me we'd be camping out at Caper's Corner that Friday night. Caper's was a record store/ticket outlet. Way before internet ticketing. So, we slept in the car that cold night, with only Boone's Farm to keep up warm. When we awoke, there were a few people already lined up at the door. We imagined them tiptoeing past our car while we slept.
Anyway, Rod did not disappoint at the concert. One of the great shows I saw in the 80s, Rod was all over the stage, frequently throwing the mic stand at least 20 feet in the air and catching it. He was promoting his huge "Tonight I'm Yours" album with the #5 hit "Young Turks." We were on the floor around the 19th row. Great time.
Support act(s): ?
In the company of: Gregg H., Kitty H., Butch H.
Upon arriving for a visit a few months earlier, my buddy Gregg informed me we'd be camping out at Caper's Corner that Friday night. Caper's was a record store/ticket outlet. Way before internet ticketing. So, we slept in the car that cold night, with only Boone's Farm to keep up warm. When we awoke, there were a few people already lined up at the door. We imagined them tiptoeing past our car while we slept.
Anyway, Rod did not disappoint at the concert. One of the great shows I saw in the 80s, Rod was all over the stage, frequently throwing the mic stand at least 20 feet in the air and catching it. He was promoting his huge "Tonight I'm Yours" album with the #5 hit "Young Turks." We were on the floor around the 19th row. Great time.
4. JOAN JETT AND THE BLACKHEARTS, 1/29/82
Location: Memorial Hall, Kansas City, KS
Support act(s): ?
In the company of: ?
Riding the wave on their first and biggest hit, "I Love Rock and Roll," Joan Jett and her Blackhearts were the new sound of rock music.
No idea on who, if anyone, opened for her.
Support act(s): ?
In the company of: ?
Riding the wave on their first and biggest hit, "I Love Rock and Roll," Joan Jett and her Blackhearts were the new sound of rock music.
No idea on who, if anyone, opened for her.
3. ELECTRIC LIGHT ORCHESTRA, 10/28/81
Location: Kemper Arena, Kansas City, MO
Support act(s): Hall and Oates
In the company of: Russ W.
After loving ELO throughout high school, I finally got the opportunity to see them live after starting college. This was the Time tour and it was awesome. They played all the hits and had a great sound thanks to the musical genius of Jeff Lynne.
Also hot at the time were Hall and Oates who also satisfied.
Support act(s): Hall and Oates
In the company of: Russ W.
After loving ELO throughout high school, I finally got the opportunity to see them live after starting college. This was the Time tour and it was awesome. They played all the hits and had a great sound thanks to the musical genius of Jeff Lynne.
Also hot at the time were Hall and Oates who also satisfied.
2. CHEAP TRICK, 3/14/81
Location: Stephens Assembly Hall, Columbia, MO
Support act(s): ?
In the company of: Kathy R., Gregg H., Bev Y.
The Stephens Assembly Hall is not much more than a large lecture room. So it was loud. I recall sitting in the back of the floor section and being deafened. This was my first time seeing Cheap Trick and would see them a few more. Great live band.
Support act(s): ?
In the company of: Kathy R., Gregg H., Bev Y.
The Stephens Assembly Hall is not much more than a large lecture room. So it was loud. I recall sitting in the back of the floor section and being deafened. This was my first time seeing Cheap Trick and would see them a few more. Great live band.
1. REO SPEEDWAGON, 4/19/80
Location: The Hearnes Center, Columbia, MO
Support act(s): Point Blank
In the company of: Martha L., Philip L., Norma J.
This was the first rock concert I ever attended. We were wrapping up our junior year of high school and the world was our oyster. REO Speedwagon was touring in promotion of the great "Hi Infidelity" album. While memories of this show are expectedly fuzzy, I do remember where we were sitting and never having heard of the opening group, Point Blank (I'm guessing the name of the band describes the range at which they must have perished, since they were never heard from again).
Anyway, I'm gonna go out on a limb here and say that REO probably played selections from their new album such as "Keep On Loving You" and "Don't Let Him Go." Furthermore, I'm sure we rocked out with them on "Ridin' the Storm Out," "Roll With the Changes," and "Time for Me to Fly." I'm also sure we experienced lightheadedness and delirium from the secondhand "smoke." Kevin Cronin probably made small talk about Missouri and how we have the best fans anywhere. And after glancing at the back of his guitar, Gary Richrath most likely exclaimed, "Good night, Columbia!"
As more memories surface from this interesting period of my life, I will share.
Support act(s): Point Blank
In the company of: Martha L., Philip L., Norma J.
This was the first rock concert I ever attended. We were wrapping up our junior year of high school and the world was our oyster. REO Speedwagon was touring in promotion of the great "Hi Infidelity" album. While memories of this show are expectedly fuzzy, I do remember where we were sitting and never having heard of the opening group, Point Blank (I'm guessing the name of the band describes the range at which they must have perished, since they were never heard from again).
Anyway, I'm gonna go out on a limb here and say that REO probably played selections from their new album such as "Keep On Loving You" and "Don't Let Him Go." Furthermore, I'm sure we rocked out with them on "Ridin' the Storm Out," "Roll With the Changes," and "Time for Me to Fly." I'm also sure we experienced lightheadedness and delirium from the secondhand "smoke." Kevin Cronin probably made small talk about Missouri and how we have the best fans anywhere. And after glancing at the back of his guitar, Gary Richrath most likely exclaimed, "Good night, Columbia!"
As more memories surface from this interesting period of my life, I will share.
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