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?
Wednesday, November 26, 2008
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.
Subscribe to:
Posts (Atom)