It’s been a good year for music. New bands surfaced and old bands maintained. A good mix is healthy and necessary for even the most casual concertgoer. From the staying power of U2 and the English Beat to the fresh genius of Elbow and Phoenix, 2009 offered some wonderful live experiences.
Here they are, my top ten concerts of 2009, with excerpts from each of my reviews. Keep in mind, there were thousands of great performances in Atlanta and elsewhere. I can only comment on the ones I saw. I’ve alphabetized the list, as I couldn’t choose a favorite.
Elbow
One of the more uplifting and poignant moments of the night came with the brilliant “One Day Like This.” Uplifting because of Garvey’s lyrics; poignant because the fans knew, felt, and sang all the words…and they’re great words: “What made me behave that way? / Using words I never say / I can only think it must be love / Oh anyway, it’s looking like a beautiful day.” To hear that full Center Stage crowd singing in unison, “It’s looking like a beautiful day!” was exhilarating and I hated being the newcomer.
Listen: Visit: http://www.elbow.co.uk/
The English Beat
Margaret Thatcher has been out of the spotlight for several years. This, however, did not spoil the vibe of hearing “Stand Down Margaret” live. It still feels relevant these days as more and more Americans have discovered they have a voice in the political process. Original English Beater Dave Wakeling kicked off the show with “Whine and Grine / Stand Down Margaret” at the cozy Loft in Atlanta. It was loud, hot, and crowded…it was Ska.
Listen: Visit: http://www.thebeatuk.com/Home.html
Five Eight
Throughout the evening, Mantione seemed to be creating the set list from his head. He began several songs while Horowitz and Ferguson looked at each other perplexed as to what this song was. And song after song, they figured it out and joined in seamlessly. With comparisons having been made to the Pixies, Dinosaur Jr., and the Replacements, Five Eight will pull you into their own style and sound and leave you wanting more. With a new album in the works and a scheduled New Year’s Eve gig with the Modern Skirts back at Smith’s Olde Bar, these guys will get another chance to show everyone they’re still around.
Listen: Visit: http://www.myspace.com/fiveeight
Los Campesinos!
Gareth frequently channeled John Lydon (aka Johnny Rotten), which for a punk fan may be pure gold. He does, however, delve quite successfully into really rhythmic and hooky lyrics. The band amazed the audience with such gems as “Broken Heartbeats Sound Like Breakbeats,” “We Throw Parties, You Throw Knives,” and the contagious “You! Me! Dancing!” (“If there’s one thing I can never confess / It’s that I can’t dance a single step”).
Listen: Visit: http://loscampesinos.com/
Colin Hay
He did his fair share of jabbing at contemporaries who, let’s just say, have enjoyed a little more success. Hay expressed his true admiration of Sting’s shoulders. “I mean, he’s an incredible singer and songwriter - ‘Roxanne!’ – but have you seen those shoulders?” And fun was also made of Sting’s name. He then went on to have a run on U2’s the Edge, and how Edge’s grandmother may have reacted to hearing his new nickname (“He’s calling himself what?”). Not coincidentally, Men at Work, the Police, and U2 were all vying for record sales at the same time. So, you may say Colin is a tad bitter, but I’d like to believe that he’s just having some fun.
Listen: Visit:
The Pains of Being Pure at Heart
Hailing from Brooklyn, New York, The Pains of Being Pure at Heart are enjoying that initial taste of success. Supporting their first full length, self-titled album (Slumberland Records), these shoegazers have received some critical acclaim. Commercial acclaim may soon follow. With a sound reminiscent of My Bloody Valentine, the Pains supply a wall-of-guitar sound and swift drumming accompanied by buried, sometimes unintelligible lyrics (not quite a “Murmur,” but some songs come close). All this with a sugary-sweet pop sensibility.
Listen: Visit: http://www.myspace.com/thepainsofbeingpureatheart
Phoenix
One encore included “Everything Is Everything,” the incredible disco sounds of “If I Ever Feel Better,” and the current hit “1901.” As it was the last song, the band seemed to want to never leave the stage. Mars descended the stairs at the Variety Playhouse and made his way into the masses. He found a ledge on which to stand, gave some more thanks, then surfed his way back to the stage on a sea of hands. All this while the band jammed on. The world shall soon discover Phoenix and their perfect pop music.
Listen: Visit: http://www.myspace.com/wearephoenix
Sea Wolf
Alex Brown Church is an artist on the verge of success…to the average American, that is. While your neighbor may think you’re talking about the Jack London novel of the same name, Church has quietly built a fan base and some much-deserved exposure for his band Sea Wolf. Hailing from California, Sea Wolf has a song on the soundtrack to the new film, The Twilight Saga: New Moon. Sharing the bill with such alt-rock gods as Death Cab For Cutie, Muse, and Thom Yorke, this is sure to garner Sea Wolf the respect and attention they deserve.
Listen: Visit: http://www.myspace.com/seawolf
U2
Music fans around the world speculate after each new U2 album and subsequent tour whether or not it will be their last. And time after time, the Dubliners return evolved with a new look and sound. This was most noticeable between the rootsy ode to America that was The Joshua Tree and the techno awesomeness of Achtung Baby. The mid nineties were iffy for the members of U2, however. Talk of a breakup persisted, especially after Zooropa and Pop failed to sell as expected. But the band managed to redefine itself once again and land on their feet.
Listen: Visit: http://www.u2.com/index/home/
Walkenhorst & Porter
Fast-forward to 2009 and the CD release party for No Abandon. This is not the most upbeat selection of songs, but rather an attempt by the songwriters to take a look back as well as a look forward. As most middle-agers do, the singers are evaluating and reevaluating their lives – personally and professionally. The result is a wonderful snapshot that is easily accessible to the listener. Walkenhorst’s soulful vocals paint a vivid picture while Porter’s voice is the perfect complement. Walkenhorst and Porter were joined on drums by former Rainmakers drummer Pat Tomek, along with bassist Norm Dahlor from the excellent Celtic rock band the Elders.
Listen: Visit: http://www.myspace.com/walkenhorstandporter
Let’s hope 2010 will be as musically rewarding. Happy New Year!
For complete reviews, click on your band of choice in the righthand column.
Monday, December 28, 2009
Wednesday, November 25, 2009
113. FIVE EIGHT, 11/21/09
Venue: Smith's Olde Bar, Atlanta
Support: Author's Apology, Club Awesome
In the Company of: Eric W.
Five Eight Prove Themselves Once Again
It’s a common occurrence: Regional band with respectful amount of success just misses hitting it big. Disappears only to resurface several years later. Is it an act of desperation or a legitimate run? For the Athens, Georgia band Five Eight, it appeared to be legitimate at Smith’s Olde Bar in Atlanta Saturday night. Twenty years after their formation, the band sounds as relevant and fresh as ever. Singer/guitar shredder Mike Mantione seemed to channel Joe Cocker, Angus Young, and Frank Black simultaneously. Longtime bassist Dan Horowitz and drummer Patrick "Tigger" Ferguson round out the band. Both exceptional musicians in their own right.
The scene at Smith’s Olde Bar was not what a band wants to see, though. At its peak, the show entertained around 50 people. This may be attributed to a lack of PR for the show. If not for catching it in the local entertainment guide Creative Loafing, Most would not have heard. But word of mouth is a powerful thing. For those in attendance, we witnessed an impassioned plea for rock and roll by the band. They were on fire. Mantione, at times, seemed genuinely pissed that there weren’t more lucky listeners. As he began the first notes of one song, he said, “This is from our first one. You might as well come close, there are only twelve of you.” Nonetheless, the trio was undeterred, playing like a band possessed in front of a sold-out arena.
About halfway through the show, in an apparent attempt to show his frustration for Five Eight’s lack of a present fan base, Mantione livened it up. Just after starting a nice version of the Doors’ “The End,” Mantione stepped off the stage and smashed straight through a table where a sleeping blonde sat. Along with the table, a few chairs, and beer bottles galore, Mantione crashed to the floor. Not missing a chord, he returned to the mic, asking “Is everyone okay?” This was one of the funniest and most shocking things I’ve ever seen at a live show. And the blonde was now awake to enjoy the show. It was a win-win.
The band pulled from their six studio albums dating back to 1992, including I Learned Shut Up, Weirdo, and Gasolina! Check out Five Eight’s terrific songs on their My Space page, including “I’m Still Around,” “God Damn It Paul,” “Square Peg,” and “Weirdo.”
Throughout the evening, Mantione seemed to be creating the set list from his head. He began several songs while Horowitz and Ferguson looked at each other perplexed as to what this song was. And song after song, they figured it out and joined in seamlessly. With comparisons having been made to the Pixies, Dinosaur Jr., and the Replacements, Five Eight will pull you into their own style and sound and leave you wanting more. With a new album in the works and a scheduled New Year’s Eve gig with the Modern Skirts back at Smith’s Olde Bar, these guys will get another chance to show everyone they’re still around.
Opening the show was Atlanta’s own Club Awesome. This was a performance unto itself, as these guys brought catchy alt-rock to the sparse room. Club Awesome originated in 2004 as a self-proclaimed “Country-music Smiths cover band.” While I can actually hear them playing that way, their current thing is much better. With last year’s release Dynamos and an impressive live show, Club Awesome is forming a solid fan base with their post-punk musings and energetic sets. With tight, excellent musicianship, these guys should be around for quite some time. Definitely worth checking out.
On deck was Author’s Apology. While showing off their rock and roll chops with originals and nice covers of Billy Bragg and Elvis Costello, they lost something in the sound. It was simply too loud. The vocals were frequently lost in near distortion. Maybe it was the half-empty room (more warm bodies = more sound absorption). Either way, listeners deserve another chance to hear these guys.
Support: Author's Apology, Club Awesome
In the Company of: Eric W.
Five Eight Prove Themselves Once Again
It’s a common occurrence: Regional band with respectful amount of success just misses hitting it big. Disappears only to resurface several years later. Is it an act of desperation or a legitimate run? For the Athens, Georgia band Five Eight, it appeared to be legitimate at Smith’s Olde Bar in Atlanta Saturday night. Twenty years after their formation, the band sounds as relevant and fresh as ever. Singer/guitar shredder Mike Mantione seemed to channel Joe Cocker, Angus Young, and Frank Black simultaneously. Longtime bassist Dan Horowitz and drummer Patrick "Tigger" Ferguson round out the band. Both exceptional musicians in their own right.
The scene at Smith’s Olde Bar was not what a band wants to see, though. At its peak, the show entertained around 50 people. This may be attributed to a lack of PR for the show. If not for catching it in the local entertainment guide Creative Loafing, Most would not have heard. But word of mouth is a powerful thing. For those in attendance, we witnessed an impassioned plea for rock and roll by the band. They were on fire. Mantione, at times, seemed genuinely pissed that there weren’t more lucky listeners. As he began the first notes of one song, he said, “This is from our first one. You might as well come close, there are only twelve of you.” Nonetheless, the trio was undeterred, playing like a band possessed in front of a sold-out arena.
About halfway through the show, in an apparent attempt to show his frustration for Five Eight’s lack of a present fan base, Mantione livened it up. Just after starting a nice version of the Doors’ “The End,” Mantione stepped off the stage and smashed straight through a table where a sleeping blonde sat. Along with the table, a few chairs, and beer bottles galore, Mantione crashed to the floor. Not missing a chord, he returned to the mic, asking “Is everyone okay?” This was one of the funniest and most shocking things I’ve ever seen at a live show. And the blonde was now awake to enjoy the show. It was a win-win.
The band pulled from their six studio albums dating back to 1992, including I Learned Shut Up, Weirdo, and Gasolina! Check out Five Eight’s terrific songs on their My Space page, including “I’m Still Around,” “God Damn It Paul,” “Square Peg,” and “Weirdo.”
Throughout the evening, Mantione seemed to be creating the set list from his head. He began several songs while Horowitz and Ferguson looked at each other perplexed as to what this song was. And song after song, they figured it out and joined in seamlessly. With comparisons having been made to the Pixies, Dinosaur Jr., and the Replacements, Five Eight will pull you into their own style and sound and leave you wanting more. With a new album in the works and a scheduled New Year’s Eve gig with the Modern Skirts back at Smith’s Olde Bar, these guys will get another chance to show everyone they’re still around.
Opening the show was Atlanta’s own Club Awesome. This was a performance unto itself, as these guys brought catchy alt-rock to the sparse room. Club Awesome originated in 2004 as a self-proclaimed “Country-music Smiths cover band.” While I can actually hear them playing that way, their current thing is much better. With last year’s release Dynamos and an impressive live show, Club Awesome is forming a solid fan base with their post-punk musings and energetic sets. With tight, excellent musicianship, these guys should be around for quite some time. Definitely worth checking out.
On deck was Author’s Apology. While showing off their rock and roll chops with originals and nice covers of Billy Bragg and Elvis Costello, they lost something in the sound. It was simply too loud. The vocals were frequently lost in near distortion. Maybe it was the half-empty room (more warm bodies = more sound absorption). Either way, listeners deserve another chance to hear these guys.
Monday, November 23, 2009
R.E.M. Shine On New Live Recording
R.E.M., Live at the Olympia in Dublin
(Warner Bros Records)
The 39 songs from Live at the Olympia are an R.E.M. connoisseur’s dream. Not only do they take a homerun swing at the I.R.S. years (23 tracks), they also hit that homerun with their most vital and exciting live recording to date. Heck, nearly a third of the tracks are from their first three releases alone (Chronic Town, Murmur, Reckoning). This seems like a promise to R.E.M. fans that, with last year’s Accelerate, they’re returning to their glory days as the band that defined college radio.
When Mike Mills yells through a bullhorn in the beginning, “This is not a show!” he is letting listeners know that these five nights in Dublin are rehearsals…rehearsals for new songs on the upcoming Accelerate, as well as practice for the ensuing tour. Sure, one could argue that out of five nights of songs, they were sure to cull some great sounding music. But this music is beyond great…it takes the R.E.M. fans back to a time when the band was at the top of their game.
Michael Stipe, Peter Buck, and Mike Mills remain as originals (drummer Bill Berry retired in 1997). Ministry’s Bill Rieflin returns from the last album on drums and Scott McGaughey sits in on guitars and backing vocals.
For 2008’s excellent Accelerate, the Dublin audience was treated as lab rats, with nine of the eleven tracks that made the album played here. One title you may not recognize, “Disguised,” was later renamed “Supernatural Superserious” (“Everybody here, comes from somewhere / That they would just as soon forget, and disguise”) and released as the first single from Accelerate. The new songs are wildly accepted, as the Irish seem to agree with Americans: R.E.M. is back, reminding us how they elevated alternative music to an art form.
As the new accelerated songs are interspersed throughout the album, it mostly consists of what made R.E.M. great, which was the beginning. Songs from their initial independent EP, Chronic Town, shine here as four of the five are performed in a way unfamiliar to fans: Michael Stipe’s lyrics are intelligible. No longer do we hear the murmur that was their trademark in the early eighties. Each song is loud, crisp, and thrilling. I mean, who knew that Stipe was singing, “It’s been pretty simple so far, vacation in Athens is calling me / And knock, knock, knock on wood, I thought I’d left you behind” from Reckoning’s “Letter Never Sent”?
Standout tracks are clearly the Reckoning selections, especially “Harborcoat.” This song has always been a favorite of mine and is performed here with new life breathed into it. “Cuyahoga,” which Stipe admits to pronouncing incorrectly on Life’s Rich Pageant; “Feeling Gravity’s Pull” holds a special place in my heart, as it was the first live R.E.M. song I ever heard. They opened with it for their St. Louis show on the Fables of the Reconstruction tour in 1985.
Document’s “Welcome to the Occupation” is another bright spot in this already illuminated recording. The closer, “Gardening at Night,” shows how these lads from Athens, Georgia have matured and evolved since it was released in 1982.
Produced by Jacknife Lee, who was also at the helm of last year’s Accelerate, Live at the Olympia in Dublin showcases R.E.M. as alternative rock gods reborn. Diehard fans of the group will find a song or two that will be in heavy rotation on their iPod for years to come.
Sunday, November 8, 2009
Sting Brings Bleakness and Beauty with If On a Winter’s Night…
Sting, If On a Winter’s Night…
(Deutsche Grammophon/Universal Music Classical)
Whenever musical artists stray from their customary paths, there is invariably an outcry from fans around the world. People, in general, fear change. They thrive in their comfort zones. But it is only with change that one can truly grow. Sting discovered this in 2006 with Songs From The Labyrinth, a medieval, lute-laden collection of tunes from the songbook of John Dowland (1563-1626). He created an album that was close to his heart because he could. Do we really want to hear “Roxanne” being regurgitated by Sting for the rest of his life? Not me.
So, it was in a similar vein that Sting has released If On a Winter’s Night…, his very first “holiday” record. Holiday is in quotes because Sting has expanded the idea into a collection of traditional winter songs from the British Isles covering roughly five centuries. This, in fact, is where he was born and raised as Gordon Matthew Sumner. At 58, Sting has deserved this journey of introspection and beauty.
The fifteen tracks on Winter’s Night are mostly made up of old English carols, lullabies, and traditional tunes. You may, however, recognize a couple of these. The lead off song is “Gabriel’s Message,” originally found on the Special Olympics charity album A Very Special Christmas (1987); and “Hounds Of Winter,” from Sting’s Mercury Falling (1996). Both have shed their pop-song sounds for a much folksier, personal arrangement.
Track five finds Sting singing the Robert Louis Stevenson poem “Christmas At Sea” (Lyrics by Stevenson, music by Sting). “Soul Cake” could possibly be considered the first single from Winter’s Night. It’s the closest to a pop song that exists on this album. Sting’s other offering is “Lullaby for an Anxious Child.” Other selections that may relate the general mood of the album are, “The Snow It Melts the Soonest,” “Cold Song,” “Now Winter Comes Slowly,” and the Bach inspired “You Only Cross My Mind in Winter.”
This music may remind us of cold, dark, and lonely winter days when the deafening silence forced your mind to look inward. However it affects you, Sting has once again followed his heart and created a wonderful collection of songs showcasing his musical aptitude through a deep gaze into his soul.
(Deutsche Grammophon/Universal Music Classical)
Whenever musical artists stray from their customary paths, there is invariably an outcry from fans around the world. People, in general, fear change. They thrive in their comfort zones. But it is only with change that one can truly grow. Sting discovered this in 2006 with Songs From The Labyrinth, a medieval, lute-laden collection of tunes from the songbook of John Dowland (1563-1626). He created an album that was close to his heart because he could. Do we really want to hear “Roxanne” being regurgitated by Sting for the rest of his life? Not me.
So, it was in a similar vein that Sting has released If On a Winter’s Night…, his very first “holiday” record. Holiday is in quotes because Sting has expanded the idea into a collection of traditional winter songs from the British Isles covering roughly five centuries. This, in fact, is where he was born and raised as Gordon Matthew Sumner. At 58, Sting has deserved this journey of introspection and beauty.
The fifteen tracks on Winter’s Night are mostly made up of old English carols, lullabies, and traditional tunes. You may, however, recognize a couple of these. The lead off song is “Gabriel’s Message,” originally found on the Special Olympics charity album A Very Special Christmas (1987); and “Hounds Of Winter,” from Sting’s Mercury Falling (1996). Both have shed their pop-song sounds for a much folksier, personal arrangement.
Track five finds Sting singing the Robert Louis Stevenson poem “Christmas At Sea” (Lyrics by Stevenson, music by Sting). “Soul Cake” could possibly be considered the first single from Winter’s Night. It’s the closest to a pop song that exists on this album. Sting’s other offering is “Lullaby for an Anxious Child.” Other selections that may relate the general mood of the album are, “The Snow It Melts the Soonest,” “Cold Song,” “Now Winter Comes Slowly,” and the Bach inspired “You Only Cross My Mind in Winter.”
This music may remind us of cold, dark, and lonely winter days when the deafening silence forced your mind to look inward. However it affects you, Sting has once again followed his heart and created a wonderful collection of songs showcasing his musical aptitude through a deep gaze into his soul.
Saturday, October 31, 2009
Liam Finn Hits a Homer With Sophomore Effort
Liam Finn & Eliza-Jane Barnes, Champagne In Seashells
(Yep Roc Records)
On the new EP Champagne In Seashells, New Zealander Liam Finn has again created a fresh and cutting-edge collection of songs. For the follow-up to his 2008 debut, the critically acclaimed I’ll Be Lightning, Finn shares billing with his singing partner Eliza-Jane Barnes. For those familiar with Lightning, Finn has most assuredly evolved into a more mature and deliberate songwriter.
On the opening track, “Plane Crash,” Finn sings throughout an ominous build-up to the “Plane crash!” crescendo. In an instant, the somber, eerie tune becomes a hurricane of rock music, featuring Finn’s dynamic guitar and ferocious drumming.
On “Long Way To Go,” Finn has created a brilliant pop piece, supported with catchy lyrics, crazy guitar sounds, and smooth organ interludes. This one recalls dad Neil Finn’s work with Crowded House. Filled with hooks galore, Finn still manages to build rich and complex melodies.
Track three finds the music mellowing, but not boring. “Won’t Change My Mind” is a beautiful tune that’s has a second half which takes off in an entirely different direction.
“Honest Face” is quite possibly one of Liam Finn’s finest creations. This song contains all the requisites for a great tune. Excellent harmonizing by Eliza-Jane, a quirky tune that will grow on you like kudzu, top-notch musicianship, and a glimmer of his – as well as his father’s – apparent influence, the Beatles. Actually, the Fab Four’s inspiration can be heard on all things Finn: Split Enz, Crowded House, Neil Finn, Tim Finn, The Finn Brothers, and now Liam. Granted, he grew up surrounded by fine pop music and fine pop musicians, but at this stage in his life has earned his keep as one of music’s finest singer/songwriters.
To wrap up this fine EP, Eliza-Jane takes the lead with “On Your Side.” While Finn possesses pop/folk vocals, Eliza-Jane brings to the table a striking voice that perfectly complements that of her partner’s.
With a total running time of just 20 minutes, the listener is left wanting more of Champagne In Seashells. Hopefully, Finn will treat us with a full-length release in the very near future. After opening several shows on Eddie Vedder’s solo tour earlier this year, Liam and Eliza-Jane will soon be on the road opening for Pearl Jam, then it’s Wilco in the spring. With this prominent exposure, music lovers will soon be saying, “Liam, where have you been all my life?”
(Yep Roc Records)
On the new EP Champagne In Seashells, New Zealander Liam Finn has again created a fresh and cutting-edge collection of songs. For the follow-up to his 2008 debut, the critically acclaimed I’ll Be Lightning, Finn shares billing with his singing partner Eliza-Jane Barnes. For those familiar with Lightning, Finn has most assuredly evolved into a more mature and deliberate songwriter.
On the opening track, “Plane Crash,” Finn sings throughout an ominous build-up to the “Plane crash!” crescendo. In an instant, the somber, eerie tune becomes a hurricane of rock music, featuring Finn’s dynamic guitar and ferocious drumming.
On “Long Way To Go,” Finn has created a brilliant pop piece, supported with catchy lyrics, crazy guitar sounds, and smooth organ interludes. This one recalls dad Neil Finn’s work with Crowded House. Filled with hooks galore, Finn still manages to build rich and complex melodies.
Track three finds the music mellowing, but not boring. “Won’t Change My Mind” is a beautiful tune that’s has a second half which takes off in an entirely different direction.
“Honest Face” is quite possibly one of Liam Finn’s finest creations. This song contains all the requisites for a great tune. Excellent harmonizing by Eliza-Jane, a quirky tune that will grow on you like kudzu, top-notch musicianship, and a glimmer of his – as well as his father’s – apparent influence, the Beatles. Actually, the Fab Four’s inspiration can be heard on all things Finn: Split Enz, Crowded House, Neil Finn, Tim Finn, The Finn Brothers, and now Liam. Granted, he grew up surrounded by fine pop music and fine pop musicians, but at this stage in his life has earned his keep as one of music’s finest singer/songwriters.
To wrap up this fine EP, Eliza-Jane takes the lead with “On Your Side.” While Finn possesses pop/folk vocals, Eliza-Jane brings to the table a striking voice that perfectly complements that of her partner’s.
With a total running time of just 20 minutes, the listener is left wanting more of Champagne In Seashells. Hopefully, Finn will treat us with a full-length release in the very near future. After opening several shows on Eddie Vedder’s solo tour earlier this year, Liam and Eliza-Jane will soon be on the road opening for Pearl Jam, then it’s Wilco in the spring. With this prominent exposure, music lovers will soon be saying, “Liam, where have you been all my life?”
Tuesday, October 27, 2009
112. SEA WOLF, 10/23/09
Venue: The EARL, Atlanta
Support: Port O'Brien, Sara Lov
In the Company of: Thomas S.
Alex Brown Church is an artist on the verge of success…to the average American, that is. While your neighbor may think you’re talking about the Jack London novel of the same name, Church has quietly built a fan base and some much-deserved exposure for his band Sea Wolf. Hailing from California, Sea Wolf has a song on the soundtrack to the new film, The Twilight Saga: New Moon. Sharing the bill with such alt-rock gods as Death Cab For Cutie, Muse, and Thom Yorke, this is sure to garner Sea Wolf the respect and attention they deserve.
After attending the prestigious NYU film school, Church returned to California and formed the band Irving, finding marginal success. When the singer/songwriter realized his musical tastes were veering from Irving’s sound, he dissolved that band and formed Sea Wolf. The second full-length release, White Water, White Bloom, has rocketed the band to the forefront of the American indie rock scene.
On this night in Atlanta, Sea Wolf hit their groove. Looking out at the full house at the EARL, Church made the comment that their previous visit only reaped about 20-30 fans. So, he was intensely appreciative and thanked us all several times for coming out, for the warm welcome, and for buying their music. With vocal stylings that could be compared with Mark Knopfler or Tom Petty, Church has a deep rich voice that is unique in itself. Watching them live, you may also reminisce a bit about Arcade Fire. Just a bit.
The band played songs from their first EP and two full-length releases. “Winter Windows” opened the show with a poppy sound (“This is the world, this is the world we live in / It's not the one I choose, but it's the one we're given / This is the world, this is the world we live in / And it's through winter windows that ends become beginnings”).
Some other songs performed were “The Traitor,” “I Made A Resolution,” “You’re A Wolf,” “Turn The Dirt Over,” and the new single, “Wicked Blood.” With guitars, keyboards, drums, and a beautiful cello, Sea Wolf’s sound was a great example of the resurgence of the indie folk-rock sound. The band played inspired and we listened. It was a great night of fine musicianship, sharp lyrics, and good karma.
Warming up for Sea Wolf were fellow Californians Port O'Brien, another reminder of the “Arcade Fire Sound.” While also in the mold of indie rock (with a touch of folk thrown in), Port O’Brien were an energized band with a purpose. Touring in support of their new release Threadbare, the band performed such gems as “I Woke Up Today” and “My Will Is Good.” Led by the extroverted Van Pierszalowski, Port O’Brien demonstrated the true essence of what a warm up band should be.
Sara Lov started off the evening with an acoustic guitar and a vinyl record. That’s correct, her vinyl band consisted of her real band’s recordings of the songs which they could not play since they did not accompany her on this tour. Don’t think karaoke, because this talented singer/songwriter didn’t really need them. But it was a novel approach that worked well. Lov showed off her folk music chops, preparing us for the evening to follow. And she even covered Arcade Fire’s “My Body Is A Cage,” if you can believe it.
Friday, October 16, 2009
111. U2, 10/6/09
Venue: Georgia Dome, Atlanta
Support: Muse
In the Company of: Chris & Ethan
Music fans around the world speculate after each new U2 album and subsequent tour whether or not it will be their last. And time after time, the Dubliners return evolved with a new look and sound. This was most noticeable between the rootsy ode to America that was The Joshua Tree and the techno awsomeness of Achtung Baby. The mid nineties were iffy for the members of U2, however. Talk of a breakup persisted, especially after Zooropa and Pop failed to sell as expected. But the band managed to redefine itself once again and land on their feet.
Touring in support of their latest release, No Line On The Horizon, U2 have again created a gem. This one clearly showcases their maturity and musicianship. Bono’s voice – his instrumental contribution to the group – has never sounded better. At 49, Bono (Paul Hewson) still has the pipes to hit all the notes. It seems his voice has actually improved since the release of Boy in 1980.
Fast-forward to 2009 and the Georgia Dome in Atlanta. The near-capacity crowd of over 65,000 fans were giddy with anticipation. Then, heavy fog rolled over the stage and we heard David Bowie’s “Space Oddity,” setting the stage for the space ship on the 360° Tour to take orbit. They kicked off the show with the raucous “Breathe,” from No Line, which almost seemed to depict their current lives (“Walk out, into the sunburst street / Sing your heart out, sing my heart out / I've found grace inside a sound / I found grace, it's all that I found / And I can breathe”).
During “Beautiful Day,” Bono drifted into a gorgeous version of the Beatles’ “Blackbird.” Sampling bits of great old songs is something the band does very often and very well. They somehow always blend something timely and relevant. During “I Still Haven’t Found What I’m Looking For,” Bono broke into Ben E. King’s “Stand By Me.” Again, Bono reached into his record collection and began Sly and the Family Stone’s “I Want To Thank You For Letting Me Be Myself,” which seamlessly merged into a beat-heavy, techno-explosive version of “I’ll Go Crazy If I Don’t Go Crazy Tonight.” The only recognizable thing about this song was the lyrics, but it definitely worked. U2 are all about taking risks. This gamble paid off, even if some in the crowd had no idea what they were listening to.
Bono informed his fans that the monstrous claw stage was actually built to get closer to them. But apparently we were not close enough, as he wanted to “make it disappear tonight.” At one point, Edge experienced technical difficulties with his acoustic guitar. While working on it, Bono told the audience, “You know, Edge is from the future. He just traveled back in time to play with us tonight.” Everyone believed it. After the rhythm section of Larry Mullen Jr. (drums) and Adam Clayton (bass) took a break and the guitar was repaired, Bono and the Edge played a beautiful unplugged version of, “Stuck In A Moment You Can’t Get Out Of.”
The set list included an array of U2 classics, paired with some newer cuts. Unfortunately, nothing was played from the Boy, October, Zooropa, or Pop albums. But then again, the lads can’t play all night. Something’s gotta give. No complaining though, as they played such gems as “Sunday Bloody Sunday” (paired with “People Get Ready”). The highlight for me had to be “The Unforgettable Fire,” from the 1984 album of the same name. This was their fourth release and the first one I had actually bought for myself (after a college friend shared War with me and hooked me on the band). When Bono sings, “Carnival, the wheels fly and the colours spin through alcohol / Red wine that punctures the skin / Face to face in a dry and waterless place,” I am transported back 25 years to the memory of buying that wonderful piece of vinyl. “MLK,” a song from the same album, was played as an intro to “Walk On.” This song was written in honor of Aung San Suu Kyi, the Burmese activist who has remained under house arrest since 1990 after being elected Prime Minister. She won the Nobel Peace Prize in 1991.
Following a taped message from Bishop Desmund Tutu, a set of two encores ensued. My second highlight was “Ultraviolet (Light My Way)” from Achtung Baby. It’s just one of those songs that I always liked and never really heard much on the radio. It sounded superb live. After much genuine thanks to fans throughout the night, and one final thank you to the fans, U2 left the building. As the house lights came up, the sound system played Elton John’s “Rocket Man” (another reference to the spaceship theme of the show). The only thing keeping this show from being perfect was the sub-par acoustics of the Georgia Dome. It’s just too big and not designed to host such an event. To fill that space, the band had the volume at a high level.
Opening the show – and giving the crowd a two-for-one deal – was England’s Muse. This is a band born to play the arenas, and have been waiting quite some time to “break” in America. Judging from the crowd reaction that night, it appears they already have, as well as the fact that their new album, The Resistance, debuted at number three on the Billboard charts. The trio of Matthew Bellamy, Christopher Wolstenholme, and Dominic Howard played like headliners and loudly introduced themselves to thousands of unsuspecting new fans.
To get the evening started, Muse came out strong with their heavy new single, “Uprising” (“They will not force us / They will stop degrading us / They will not control us / We will be victorious…so come on”). Their first flirtation with a hit in America, “Supermassive Black Hole” from 2006, dragged the crowd all the way in.
In Muse’s 45-minute set, they also performed “Undisclosed Desires” and the terrific “Starlight.” In my humble opinion, this is one of the best opening bands out there. Strike that, one of the best bands out there. Period.
U2 Set List:
Breathe
Get On Your Boots
Mysterious Ways
Beautiful Day
I Still Haven’t Found What I’m Looking For
Stuck In A Moment You Can’t Get Out Of
No Line On The Horizon
Magnificent
Elevation
Until The End Of The World
The Unforgettable Fire
City Of Blinding Lights
Vertigo
I’ll Go Crazy If I Don’t Go Crazy Tonight
Sunday Bloody Sunday
MLK
Walk On
Encore 1:
One
Amazing Grace
Where The Streets Have No Name
Encore 2:
Ultraviolet (Light My Way)
With Or Without You
Moment Of Surrender
Thursday, October 15, 2009
110. COLIN HAY, 10/1/09
Venue: Variety Playhouse, Atlanta
Support: Michael Tolcher
In the Company of: Chris, Joel C., Margo C., Nathan J., Alexa J.
At 56 years of age, Colin Hay has little to prove. Reaching the peaks of success in the eighties with his band Men at Work, Hay put together an impressive body of work. The band’s first album, Business As Usual, stayed in the top spot on the U.S. charts for fifteen weeks in late ’82 and early ’83.
After only three studio albums, Men at Work called it quits, paving the way for a Colin Hay solo career. Born in Scotland in 1953, Hay’s family moved to Australia when he was fourteen. So, it was a surprise for many when Hay spoke with a Scottish brogue when everyone knows he comes from a land down under.
Hay kicked off the show with “Oh California,” an ode to his adopted American home. In an effort to “sound like Cat Stevens,” he performed “No Time.” Hay is touring with the ultimate stripped down set: just an acoustic guitar and catalog of catchy tunes. Coming from the new wave/alternative rock scene of the early eighties, it’s a wonder his new sound works. But it does. The lead-off single from that first release, “Who Can It Be Now,” sounded as fresh and relevant today as it did twenty-seven years ago (“Who can it be knocking at my door? / Go away, don't come 'round here no more / Can't you see that it's late at night? / I'm very tired, and I'm not feeling right”).
While the music was outstanding, between-the-songs banter was brilliant. Hay is a master storyteller of the hilarious kind. Mostly talking about the early days, his family, and life in America, Hay had the crowd doubling over with laughter for what seemed like half the show. Yes, we paid to hear that pure, raspy voice sing those incredible songs, but this was like getting two shows in one.
He did his fair share of jabbing at contemporaries who, let’s just say, have enjoyed a little more success. Hay expressed his true admiration of Sting’s shoulders. “I mean, he’s an incredible singer and songwriter - ‘Roxanne!’ – but have you seen those shoulders?” And fun was also made of Sting’s name. He then went on to have a run on U2’s the Edge, and how Edge’s grandmother may have reacted to hearing his new nickname (“He’s calling himself what?”). Not coincidentally, Men at Work, the Police, and U2 were all vying for record sales at the same time. So, you may say Colin is a tad bitter, but I’d like to believe that he’s just having some fun.
Getting back into the music, Hay performed “Down Under,” which is to this day the most successful song he’s written (“Do you come from a land down under? / Where women glow and men plunder? / Can’t you hear, can’t you hear the thunder? / You better run, you better take cover”). “Water Over You” is an exceptionally beautiful tune written for Hay’s father.
A surprising side note to the evening was Hay’s incredible guitar ability. While not a key guitar player in his days with Men at Work, he ruled the frets this evening.
Every artist who’s ever gone solo from a successful band has that one (hopefully, at least one) single that defines his or her new venture. Arguably for Colin Hay, that song is “Beautiful World.” It seems to define the second chapter in his professional life, with an affirmative message on life. Hay sings, “My, my, my it’s a beautiful world / I like swimming in the sea / I like to go out beyond the white breakers / Where a man can still be free (or a woman if you are one) / I like swimming in the sea.” This one was a gem.
Then there was “Waiting For My Real Life To Begin,” which hints at a third chapter. Hay informed the crowd that this song referred to his wish that he could return to the glory days of his success (“Any minute now, my ship is coming in / I'll keep checking the horizon / I'll stand on the bow, feel the waves come crashing / Come crashing down, down, down on me”).
Before his final song, Hay shared with us his opinion on encores: they’re silly. “I’m just going backstage and stand there like a fool. How about I just stay here and do one more?” That one more was the wonderful “Overkill,” from 1983’s Cargo.
Opening the show was Atlantan Michael Tolcher, who like the headliner, offered up an acoustic set of beauties. Also like Hay, Tolcher has had his music featured on the TV series Scrubs. Telling the throngs at the Variety Playhouse about the call he received to open for Colin Hay, Tolcher repeated his answer to the caller: “Hell yeah! How much do I have to pay?”
After working with the likes of producer Will Turpin (Collective Soul), Tolcher has created a fine catalog of songs. “Sooner Or Later” is a beauty that you’ve probably heard (“Sooner or later / We'll be lookin' back on everything / And we'll laugh about it like we knew what all was happening / And someday you might listen to what people have to say / Now you learn the hard way”).
Tolcher’s smooth vocals and exceptional guitar work made him a crowd favorite. Catch him on the road if he comes to your city.
Saturday, October 3, 2009
109. PHOENIX, 9/30/09
Venue: The Variety Playhouse, Atlanta
Supporting Acts(s): Chairlift
In the Company of: Thomas S.
It’s always a rush to see a band on the verge of success. So for most fans that night, it was pure excitement to witness the incredible sold-out show put on by this band from Versailles, France. Although Wolfgang Amadeus Phoenix is their fourth studio album, Phoenix have only recently enjoyed commercial success. Before joining Phoenix, guitarist Lauren Brancowitz played with the musicians who went on to form that robotic, electronic venture of Daft Punk.
But no testament is as convincing as experiencing a band live at the top of their game. The show kicked off with their ode to Franz Liszt, “Lisztomania.” Other tracks from their new release included, “Fences,” “Girlfriend,” “Love Like A Sunset, Parts I-II,” “Rome,” and “1901” (from the new Cadillac commercial). This song is pure adrenaline, with a fuzzy synth throughout and an addictive eighties vibe. “Lasso,” with its driving bass and drums, has Thomas Mars singing, “Where would you go, where would you go / Tied up to a lasso? / Could you run into, could you run into / Could you go and run into me?”
Mars seemed simultaneously shocked and moved at the love he was receiving from the Atlanta crowd. Most every song was followed by a roaring reception. He told the fans, “Last time we played Atlanta there were about forty or fifty people in the audience. But now…”
For the diehard fans, the band played a few oldies, including “Run Run Run,” “Consolation Prize,” and “Too Young.” Song after song, the bandmates seemed to be humbled by the sheer love coming from the floor. Mars had a look on his face that read, “This is the night we made it.” It was a special occasion and an overall fun concert. Before the band exited the stage, Mars told us all that this was one of the best shows so far on their tour.
One encore included “Everything Is Everything,” the incredible disco sounds of “If I Ever Feel Better,” and the current hit “1901.” As it was the last song, the band seemed to want to never leave the stage. Mars descended the stairs at the Variety Playhouse and made his way into the masses. He found a ledge on which to stand, gave some more thanks, then surfed his way back to the stage on a sea of hands. All this while the band jammed on. The world shall soon discover Phoenix and their perfect pop music.
Chairlift opened the show with some excellent indie-pop music. The band formed in Boulder, CO, but relocated to New York City where success quickly followed. You may have seen the iPod commercial featuring their song, “Bruises.” Headed by Caroline Polachek, this group provided the hungry Phoenix fans with something to smile about – which is a rare thing to do for a support act.
Supporting Acts(s): Chairlift
In the Company of: Thomas S.
It’s always a rush to see a band on the verge of success. So for most fans that night, it was pure excitement to witness the incredible sold-out show put on by this band from Versailles, France. Although Wolfgang Amadeus Phoenix is their fourth studio album, Phoenix have only recently enjoyed commercial success. Before joining Phoenix, guitarist Lauren Brancowitz played with the musicians who went on to form that robotic, electronic venture of Daft Punk.
But no testament is as convincing as experiencing a band live at the top of their game. The show kicked off with their ode to Franz Liszt, “Lisztomania.” Other tracks from their new release included, “Fences,” “Girlfriend,” “Love Like A Sunset, Parts I-II,” “Rome,” and “1901” (from the new Cadillac commercial). This song is pure adrenaline, with a fuzzy synth throughout and an addictive eighties vibe. “Lasso,” with its driving bass and drums, has Thomas Mars singing, “Where would you go, where would you go / Tied up to a lasso? / Could you run into, could you run into / Could you go and run into me?”
Mars seemed simultaneously shocked and moved at the love he was receiving from the Atlanta crowd. Most every song was followed by a roaring reception. He told the fans, “Last time we played Atlanta there were about forty or fifty people in the audience. But now…”
For the diehard fans, the band played a few oldies, including “Run Run Run,” “Consolation Prize,” and “Too Young.” Song after song, the bandmates seemed to be humbled by the sheer love coming from the floor. Mars had a look on his face that read, “This is the night we made it.” It was a special occasion and an overall fun concert. Before the band exited the stage, Mars told us all that this was one of the best shows so far on their tour.
One encore included “Everything Is Everything,” the incredible disco sounds of “If I Ever Feel Better,” and the current hit “1901.” As it was the last song, the band seemed to want to never leave the stage. Mars descended the stairs at the Variety Playhouse and made his way into the masses. He found a ledge on which to stand, gave some more thanks, then surfed his way back to the stage on a sea of hands. All this while the band jammed on. The world shall soon discover Phoenix and their perfect pop music.
Chairlift opened the show with some excellent indie-pop music. The band formed in Boulder, CO, but relocated to New York City where success quickly followed. You may have seen the iPod commercial featuring their song, “Bruises.” Headed by Caroline Polachek, this group provided the hungry Phoenix fans with something to smile about – which is a rare thing to do for a support act.
Monday, September 28, 2009
108. THE ELVIS BROTHERS, (out of order) 12/91
Venue: Elbow Room, Chicago
Supporting Act(s): ?
In the Company of: Chris
Just in the Windy City for the weekend and discovered the EBs were playing. What a night! Two memories (hey, it's been like 18 years) were the bandmates switching instruments and also playing the Bow Wow Wow classic "I Want Candy." It was cold as hell outside but the Brothers were burning it up inside. I'm pretty sure this was in promotion of their third and last release, "Now Dig This."
Supporting Act(s): ?
In the Company of: Chris
Just in the Windy City for the weekend and discovered the EBs were playing. What a night! Two memories (hey, it's been like 18 years) were the bandmates switching instruments and also playing the Bow Wow Wow classic "I Want Candy." It was cold as hell outside but the Brothers were burning it up inside. I'm pretty sure this was in promotion of their third and last release, "Now Dig This."
107. THE ELVIS BROTHERS (out of order), 1985ish
Venue: The Lone Star, Kansas City, MO
Supporting Act(s): The Clique
In the Company of: Gregg H.
After catching our fave local cover/original band the Clique, lead guitarist/singer Don Schmidt talked us into staying for the headliner, the Elvis Brothers. We did not regret it. Furthermore, I became a fan for life of the pop/rock/rockabilly/"other" trio who to this day live and breathe on my iPod.
Supporting Act(s): The Clique
In the Company of: Gregg H.
After catching our fave local cover/original band the Clique, lead guitarist/singer Don Schmidt talked us into staying for the headliner, the Elvis Brothers. We did not regret it. Furthermore, I became a fan for life of the pop/rock/rockabilly/"other" trio who to this day live and breathe on my iPod.
Sunday, September 6, 2009
106. COLLECTIVE SOUL, 9/5/09
Location: Centennial Park, Atlanta
Supporting Act: Drivin N' Cryin
In the Company of: Ethan T.
The massive crowd at Centennial (Olympic) Park was dominated by red and maroon…red for the Alabama fans and maroon for the Virginia Tech fans. Their teams would square off later at the Georgia Dome for a college football week-one match up. Lucky for them - and everyone else here - Georgia’s own Collective Soul had agreed to put on a free concert in the heart of the revitalized downtown Atlanta. This would be one of those shows for which the planets would align: the weather was perfecto, the sounds were exquisite, and the SEC fans were all amenable (even the Hokies, who would soon experience losing the first game of the season).
Touring in support of their self-titled new release, Ed Roland and crew were sounding fresh and relevant. The band appropriately kicked off the show with their new single “Welcome All Again,” showcasing the excellent vocals and trademark guitar-driven sound that made them famous.
Among the other songs on the set list were “Gel,” “Shine,” the new “Staring Down,” and “December” (“Don’t speak aloud / Don’t dream about / Turn your head now baby just spit me out”). Before playing 2008’s “Hollywood,” Roland explained that this song had been written while they were touring with Metallica, and that it was a tribute to the great 80s bands like INXS, the Police, the Cars, “and our favorite: R.E.M.” The mere mention of one of Georgia’s all-time greatest exports brought huge cheers from the audience.
Leading up to “Run,” Roland told us that this is where they’d usually leave the stage and wait a few minutes while the fans roared for an encore. “But since we’re all friends, neighbors, and relatives, we’re just gonna stay out here. If we were somewhere else, I could be cool and leave. I mean, we’re gonna play this song anyway, right?” The song ended with Roland being the last to walk off stage playing his acoustic guitar, and the crowd singing, “I’ve got a long way to run.”
Sadly, I showed up too late to enjoy another local favorite, Drivin N’ Cryin. This I regret. But finally getting to see one of my faves in Collective Soul did my soul good.
Supporting Act: Drivin N' Cryin
In the Company of: Ethan T.
The massive crowd at Centennial (Olympic) Park was dominated by red and maroon…red for the Alabama fans and maroon for the Virginia Tech fans. Their teams would square off later at the Georgia Dome for a college football week-one match up. Lucky for them - and everyone else here - Georgia’s own Collective Soul had agreed to put on a free concert in the heart of the revitalized downtown Atlanta. This would be one of those shows for which the planets would align: the weather was perfecto, the sounds were exquisite, and the SEC fans were all amenable (even the Hokies, who would soon experience losing the first game of the season).
Touring in support of their self-titled new release, Ed Roland and crew were sounding fresh and relevant. The band appropriately kicked off the show with their new single “Welcome All Again,” showcasing the excellent vocals and trademark guitar-driven sound that made them famous.
Among the other songs on the set list were “Gel,” “Shine,” the new “Staring Down,” and “December” (“Don’t speak aloud / Don’t dream about / Turn your head now baby just spit me out”). Before playing 2008’s “Hollywood,” Roland explained that this song had been written while they were touring with Metallica, and that it was a tribute to the great 80s bands like INXS, the Police, the Cars, “and our favorite: R.E.M.” The mere mention of one of Georgia’s all-time greatest exports brought huge cheers from the audience.
Leading up to “Run,” Roland told us that this is where they’d usually leave the stage and wait a few minutes while the fans roared for an encore. “But since we’re all friends, neighbors, and relatives, we’re just gonna stay out here. If we were somewhere else, I could be cool and leave. I mean, we’re gonna play this song anyway, right?” The song ended with Roland being the last to walk off stage playing his acoustic guitar, and the crowd singing, “I’ve got a long way to run.”
Sadly, I showed up too late to enjoy another local favorite, Drivin N’ Cryin. This I regret. But finally getting to see one of my faves in Collective Soul did my soul good.
Saturday, August 15, 2009
105. ELBOW, 8/8/09
Venue: Center Stage, Atlanta
Supporting Act(s): Jesca Hoop
In the Company of: Pete M.
There are few greater experiences than being surprised. And surprised this examiner was when attendeding an Elbow concert for the first time. Actually, stunned is the word. After becoming familiar with this superb quintet just recently, this was worth the risk. It can genuinely be said, ladies and gentlemen, that the clouds parted that evening in Atlanta.
Hailing from the musically rich city of Manchester, England, Elbow just came off a supporting role on Coldplay’s Viva la Vida tour. My humble prediction is that their supporting days are officially over. However, on this night, they were the deserved headliners. The band’s name reportedly comes from the BBC mini-series “The Singing Detective,” in which Philip Marlow believes the word “elbow” to be the most sensuous word in the English language. Not necessarily for the definition, but for the feeling one gets when saying it.
After four studio albums which garnered massive critical success but limited commercial success, Elbow won the UK’s coveted and respected Mercury Prize in 2008 for their latest album The Seldom Seen Kid. Commercial success may finally be on their horizon.
Fronted by the dynamic and intensely charismatic Guy Garvey (lead vocals, guitar, and sometimes percussion), the band includes Mark Potter (guitar, backing vocals), brother Craig Potter (keyboards, organ, backing vocals), Pete Turner (bass guitar, backing vocals, keyboards), and Richard Jupp (drums). These five men make up the most well-oiled machine I’ve heard live in years. The musicianship is phenomenal, the vocals are emotionally brilliant, and the fans are incredible. newcomers surely felt like part of a minority in the crowd that night, not knowing every lyric.
Elbow kicked off the show with “Starlings,” the first track off their latest release. With Jupp at the drums, the remainder of the band stood at the foot of the stage, trumpets in hand to begin the song. Next up was the wonderful “The Bones Of You” (“So I’m there / Charging around with a juggernaut brow / Overdraft speeches and deadlines to make / Cramming commitments like cats in a sack…”).
On “Mirrorball,” a disco visual was resurrected with a huge mirror ball hanging high above the stage, reflecting onto everyone in the audience. On “Grounds For Divorce,” Garvey snatched up a pair of drumsticks and furiously beat a single drum. He is not just a singer, he is the heart and soul of Elbow. Singing “I’ve been working on a cocktail called grounds for divorce / Polishing a compass that I hold in my sleep / Doubt comes in on sticks but then he kicks like a horse,” Garvey showcases his impressive song writing abilities which are exhibited in every song.
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“Weather To Fly” had Garvey asking us, in a high falsetto, “Are we having the time of our lives / Are we coming across clear / Are we coming across fine / Are we part of the plan here?” The answer is yes, yes, yes, and yes.
One of the more uplifting and poignant moments of the night came with the brilliant “One Day Like This.” Uplifting because of Garvey’s lyrics; poignant because the fans knew, felt, and sang all the words…and they’re great words: “What made me behave that way? / Using words I never say / I can only think it must be love / Oh anyway, it’s looking like a beautiful day.” To hear that full Center Stage crowd singing in unison, “It’s looking like a beautiful day!” was exhilarating and I hated being the newcomer.
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To experience this performance was to understand what is special about Elbow. Garvey repeatedly expressed his excitement of being in the “Lost City of Atlantis.” The Center Stage felt like such the mystical place that night. From rock to acoustic to orchestral, Elbow hit on all cylinders and kept on surprising with each new song. And when, during this their final show, he expressed that this was the best show their tour, the crowd believed.
Jesca Hoop warmed the crowd up sufficiently with her singer/songwriter acoustic set. Guy Garvey even lent himself to a duet with her.
Set List:
Starlings
The Bones Of You
Mirrorball
Leaders Of The Free World
The Stops
Mexican Standoff
Grounds For Divorce
The Loneliness Of A Tower Crane Driver
Switching Off
Newborn
Weather To Fly
One Day Like This
Encore:
Some Riot
Station Approach
Scattered Black And Whites
Supporting Act(s): Jesca Hoop
In the Company of: Pete M.
There are few greater experiences than being surprised. And surprised this examiner was when attendeding an Elbow concert for the first time. Actually, stunned is the word. After becoming familiar with this superb quintet just recently, this was worth the risk. It can genuinely be said, ladies and gentlemen, that the clouds parted that evening in Atlanta.
Hailing from the musically rich city of Manchester, England, Elbow just came off a supporting role on Coldplay’s Viva la Vida tour. My humble prediction is that their supporting days are officially over. However, on this night, they were the deserved headliners. The band’s name reportedly comes from the BBC mini-series “The Singing Detective,” in which Philip Marlow believes the word “elbow” to be the most sensuous word in the English language. Not necessarily for the definition, but for the feeling one gets when saying it.
After four studio albums which garnered massive critical success but limited commercial success, Elbow won the UK’s coveted and respected Mercury Prize in 2008 for their latest album The Seldom Seen Kid. Commercial success may finally be on their horizon.
Fronted by the dynamic and intensely charismatic Guy Garvey (lead vocals, guitar, and sometimes percussion), the band includes Mark Potter (guitar, backing vocals), brother Craig Potter (keyboards, organ, backing vocals), Pete Turner (bass guitar, backing vocals, keyboards), and Richard Jupp (drums). These five men make up the most well-oiled machine I’ve heard live in years. The musicianship is phenomenal, the vocals are emotionally brilliant, and the fans are incredible. newcomers surely felt like part of a minority in the crowd that night, not knowing every lyric.
Elbow kicked off the show with “Starlings,” the first track off their latest release. With Jupp at the drums, the remainder of the band stood at the foot of the stage, trumpets in hand to begin the song. Next up was the wonderful “The Bones Of You” (“So I’m there / Charging around with a juggernaut brow / Overdraft speeches and deadlines to make / Cramming commitments like cats in a sack…”).
On “Mirrorball,” a disco visual was resurrected with a huge mirror ball hanging high above the stage, reflecting onto everyone in the audience. On “Grounds For Divorce,” Garvey snatched up a pair of drumsticks and furiously beat a single drum. He is not just a singer, he is the heart and soul of Elbow. Singing “I’ve been working on a cocktail called grounds for divorce / Polishing a compass that I hold in my sleep / Doubt comes in on sticks but then he kicks like a horse,” Garvey showcases his impressive song writing abilities which are exhibited in every song.
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“Weather To Fly” had Garvey asking us, in a high falsetto, “Are we having the time of our lives / Are we coming across clear / Are we coming across fine / Are we part of the plan here?” The answer is yes, yes, yes, and yes.
One of the more uplifting and poignant moments of the night came with the brilliant “One Day Like This.” Uplifting because of Garvey’s lyrics; poignant because the fans knew, felt, and sang all the words…and they’re great words: “What made me behave that way? / Using words I never say / I can only think it must be love / Oh anyway, it’s looking like a beautiful day.” To hear that full Center Stage crowd singing in unison, “It’s looking like a beautiful day!” was exhilarating and I hated being the newcomer.
">.
To experience this performance was to understand what is special about Elbow. Garvey repeatedly expressed his excitement of being in the “Lost City of Atlantis.” The Center Stage felt like such the mystical place that night. From rock to acoustic to orchestral, Elbow hit on all cylinders and kept on surprising with each new song. And when, during this their final show, he expressed that this was the best show their tour, the crowd believed.
Jesca Hoop warmed the crowd up sufficiently with her singer/songwriter acoustic set. Guy Garvey even lent himself to a duet with her.
Set List:
Starlings
The Bones Of You
Mirrorball
Leaders Of The Free World
The Stops
Mexican Standoff
Grounds For Divorce
The Loneliness Of A Tower Crane Driver
Switching Off
Newborn
Weather To Fly
One Day Like This
Encore:
Some Riot
Station Approach
Scattered Black And Whites
Tuesday, July 14, 2009
104. STEVE, BOB & RICH, 5/31/86 (out of order)
Location: Parody Hall, Kansas City, MO
Support act(s):
In the company of: ?
This was actually the Steve, Bob, & Rich show in which the band announced their new name, The Rainmakers. Parody Hall, down by the Missouri river was a great (albeit scary) place to have such an important show.
KY-102 later replayed this night on their station and I recorded it off the radio. Still have that cassette. Waiting for the CD release.
Support act(s):
In the company of: ?
This was actually the Steve, Bob, & Rich show in which the band announced their new name, The Rainmakers. Parody Hall, down by the Missouri river was a great (albeit scary) place to have such an important show.
KY-102 later replayed this night on their station and I recorded it off the radio. Still have that cassette. Waiting for the CD release.
Wednesday, July 8, 2009
103. WALKENHORST & PORTER, 7/1/09
Location: The Record Bar, Kansas City
In the Company of: Chris
Bob Walkenhorst and Jeff Porter have been playing Wednesday night gigs at KC’s Record Bar for several years now. They finally decided to collaborate on an album entitled No Abandon (Bat Records). To put a label on this creation is another story altogether. Some may hear folk-rock; others may say it drifts into country. The beautiful melodies and sharp musicianship override any attempt to categorize this music.
You may remember the 80s/90s band the Rainmakers. Walkenhorst was the lead singer, chief songwriter, and master storyteller of that group. The band enjoyed partial success in the U.S. and much more in Europe. They made Rolling Stone magazine, appeared on MTV, reached the charts, and even snuck into a couple Steven King novels. Some of the freshest and most inspired rock songs came from the Rainmakers, including “Let My People Go-Go,” “Downstream,” “Small Circles,” “Spend It On Love,” and “Skin.” Some fans argue that the Rainmakers’ sound is the definition of Rock and Roll. But despite a huge fan following and thousands of records sold, the band would disband and go their separate ways.
Fast-forward to 2009 and the CD release party for “No Abandon.” This is not the most upbeat selection of songs, but rather an attempt by the songwriters to take a look back as well as a look forward. As most middle-agers do, the singers are evaluating and reevaluating their lives – personally and professionally. The result is a wonderful snapshot that is easily accessible to the listener. Walkenhorst’s soulful vocals paint a vivid picture while Porter’s voice is the perfect complement. Walkenhorst and Porter were joined on drums by former Rainmakers drummer Pat Tomek, along with bassist Norm Dahlor from the excellent Celtic rock band the Elders.
In the title track, it seems Walkenhorst has decided to dispense with the thoughts and dreams of younger days and move forward (“I’ll settle down in No Abandon / After years of running hard / I will lay down my youth’s illusions / I will surrender pride’s rewards”). On the alluring “Silver Lake,” mortality is addressed (“Loons on the silver lake cannot stop laughing / At how seriously I take my own brief passing / My own brief passing”).
In “Broken Radio,” the boys get all countrified as Walkenhorst sings, “All the songs I sing are sad ones / Expectations of me are all bad ones / I couldn’t have less to live up to if I tried.” And on Porter’s “Jimmy Lee,” he tells the story of his real life uncle who also was a singer and who had to relinquish those dreams of his past (“Are you singing about a promise you made when you were young? / Jimmy that’s a song that everybody’s sung”).
After playing one of the album’s more introspective songs, Walkenhorst exclaimed, “Most bands would now play an upbeat song. This is not that album.” The Record Bar was packed with fans that seemed to adore each and every tune. After playing several from the new release, the band dove headfirst into some of the Rainmakers’ greatest concoctions: “Downstream,” The Wages Of Sin,” “The Width Of A Line,” “Small Circles,” “Spend It On Love,” “Information,” “One More Summer,” “Reckoning Day,” and “Hoo Dee Hoo.” Two additional songs (“Life Can Turn” and “Jan Vermeer”) were played from Walkenhorst’s 2003 solo release “The Beginner” (Bat).
As the evening progressed, the tempo, volume, and heat cranked up considerably. This had evolved into a special night that most will not soon forget. Mark Twain and Harry Truman would be proud.
In the Company of: Chris
Bob Walkenhorst and Jeff Porter have been playing Wednesday night gigs at KC’s Record Bar for several years now. They finally decided to collaborate on an album entitled No Abandon (Bat Records). To put a label on this creation is another story altogether. Some may hear folk-rock; others may say it drifts into country. The beautiful melodies and sharp musicianship override any attempt to categorize this music.
You may remember the 80s/90s band the Rainmakers. Walkenhorst was the lead singer, chief songwriter, and master storyteller of that group. The band enjoyed partial success in the U.S. and much more in Europe. They made Rolling Stone magazine, appeared on MTV, reached the charts, and even snuck into a couple Steven King novels. Some of the freshest and most inspired rock songs came from the Rainmakers, including “Let My People Go-Go,” “Downstream,” “Small Circles,” “Spend It On Love,” and “Skin.” Some fans argue that the Rainmakers’ sound is the definition of Rock and Roll. But despite a huge fan following and thousands of records sold, the band would disband and go their separate ways.
Fast-forward to 2009 and the CD release party for “No Abandon.” This is not the most upbeat selection of songs, but rather an attempt by the songwriters to take a look back as well as a look forward. As most middle-agers do, the singers are evaluating and reevaluating their lives – personally and professionally. The result is a wonderful snapshot that is easily accessible to the listener. Walkenhorst’s soulful vocals paint a vivid picture while Porter’s voice is the perfect complement. Walkenhorst and Porter were joined on drums by former Rainmakers drummer Pat Tomek, along with bassist Norm Dahlor from the excellent Celtic rock band the Elders.
In the title track, it seems Walkenhorst has decided to dispense with the thoughts and dreams of younger days and move forward (“I’ll settle down in No Abandon / After years of running hard / I will lay down my youth’s illusions / I will surrender pride’s rewards”). On the alluring “Silver Lake,” mortality is addressed (“Loons on the silver lake cannot stop laughing / At how seriously I take my own brief passing / My own brief passing”).
In “Broken Radio,” the boys get all countrified as Walkenhorst sings, “All the songs I sing are sad ones / Expectations of me are all bad ones / I couldn’t have less to live up to if I tried.” And on Porter’s “Jimmy Lee,” he tells the story of his real life uncle who also was a singer and who had to relinquish those dreams of his past (“Are you singing about a promise you made when you were young? / Jimmy that’s a song that everybody’s sung”).
After playing one of the album’s more introspective songs, Walkenhorst exclaimed, “Most bands would now play an upbeat song. This is not that album.” The Record Bar was packed with fans that seemed to adore each and every tune. After playing several from the new release, the band dove headfirst into some of the Rainmakers’ greatest concoctions: “Downstream,” The Wages Of Sin,” “The Width Of A Line,” “Small Circles,” “Spend It On Love,” “Information,” “One More Summer,” “Reckoning Day,” and “Hoo Dee Hoo.” Two additional songs (“Life Can Turn” and “Jan Vermeer”) were played from Walkenhorst’s 2003 solo release “The Beginner” (Bat).
As the evening progressed, the tempo, volume, and heat cranked up considerably. This had evolved into a special night that most will not soon forget. Mark Twain and Harry Truman would be proud.
Monday, July 6, 2009
102. BETTER THAN EZRA, 6/14/09
Location: Variety Playhouse, Atlanta
Supporting Act(s): Tyrone Wells, Marianne Keith
In the Company of: Chris, Joby S., Susan S.
Describing a tour as “reunion” or “comeback” is painfully overused these days. Many bands never leave, but are just not heard from for long stretches of time. For New Orleans’ Better Than Ezra, this is the case.
The quintet never really left the scene, but the average music listener may not be aware of that. BTE have consistently released records since their initial fan-fave album “Deluxe” in 1994. From that album was the irrepressible “Good” (“Well maybe I’ll call or write you a letter / Now maybe we’ll see on the Fourth of July / But I’m not too sure, and I’m not too proud / Well I’m not too sure and I’m not too proud to say uh-huh / It was good livin’ with you uh-huh…”).
Anyone having seen the band knows that it’s all about fun. Leader Kevin Griffin mixed it up with the audience as well as his band mates throughout the evening. BTE is touring in support of their new album “Paper Empire,” which offers “Absolutely Still” as it’s first single.
Among the selections were the hits (and near-hits) “Good,” “King Of New Orleans,” “Desperately Wanting,” “In The Blood,” and “Extra Ordinary.” As per tradition, the band covered several songs including the Rolling Stones’ “Miss You,” Blur’s “Song 2,” and James’ “Laid,” which is actually on their greatest hits CD and was a definite crowd pleaser (“Moved out of the house, so you moved next door / I locked you out, you cut a hole in the wall / I found you sleeping next to me, I thought I was alone / You're driving me crazy, when are you coming home”).
Marianne Keith opened the show with just her guitar. She was fresh, poppy, and talented…just what I was looking for.
Tyrone Wells was next up and impressed many a BTE fan. Wells, a California singer-songwriter, shared the same spirit of fun as the headliner and got the crowd primed for the show. You may recognize his song “More,” which is featured in the A&E series “Intervention.” Watch for him in the future.
Supporting Act(s): Tyrone Wells, Marianne Keith
In the Company of: Chris, Joby S., Susan S.
Describing a tour as “reunion” or “comeback” is painfully overused these days. Many bands never leave, but are just not heard from for long stretches of time. For New Orleans’ Better Than Ezra, this is the case.
The quintet never really left the scene, but the average music listener may not be aware of that. BTE have consistently released records since their initial fan-fave album “Deluxe” in 1994. From that album was the irrepressible “Good” (“Well maybe I’ll call or write you a letter / Now maybe we’ll see on the Fourth of July / But I’m not too sure, and I’m not too proud / Well I’m not too sure and I’m not too proud to say uh-huh / It was good livin’ with you uh-huh…”).
Anyone having seen the band knows that it’s all about fun. Leader Kevin Griffin mixed it up with the audience as well as his band mates throughout the evening. BTE is touring in support of their new album “Paper Empire,” which offers “Absolutely Still” as it’s first single.
Among the selections were the hits (and near-hits) “Good,” “King Of New Orleans,” “Desperately Wanting,” “In The Blood,” and “Extra Ordinary.” As per tradition, the band covered several songs including the Rolling Stones’ “Miss You,” Blur’s “Song 2,” and James’ “Laid,” which is actually on their greatest hits CD and was a definite crowd pleaser (“Moved out of the house, so you moved next door / I locked you out, you cut a hole in the wall / I found you sleeping next to me, I thought I was alone / You're driving me crazy, when are you coming home”).
Marianne Keith opened the show with just her guitar. She was fresh, poppy, and talented…just what I was looking for.
Tyrone Wells was next up and impressed many a BTE fan. Wells, a California singer-songwriter, shared the same spirit of fun as the headliner and got the crowd primed for the show. You may recognize his song “More,” which is featured in the A&E series “Intervention.” Watch for him in the future.
Wednesday, June 3, 2009
CD Review: The Lonely Forest, "We Sing The Body Electric!"
(Burning Building Recordings, released April 21, 2009)
The sources of new music for me are many. Recommendations from friends, reading music reviews, and once in a while, a chance radio experience. While listening to the local college station here in Atlanta recently, I heard a song that I had to find. I called Album 88 (Georgia State University’s WRAS) and the DJ told me it was “We Sing In Time” by the Anacortes, WA band The Lonely Forest. My mission was clear: get that album. Following a brief search, I broke down and bought the download.
After several listens into We Sing The Body Electric!, I had discovered the music that would move into heavy rotation on my iPod for the next few weeks. The band, consisting of John Van Deusen (vocals, guitar, keyboards), Bradyn Krueger (drums), Eric Sturgeon (bass, vocals), and Tony Ruland (guitar), so far have only limited tour experience, mainly throughout the state of Washington. Upon winning a local competition, the EMP Soundoff, the band recorded the new album with producer Jack Endino (Nirvana, Soundgarden) as the prize. More positive exposure came when Death Cab For Cutie’s Chris Walla dropped their name in a CNN interview. To quote Walla, “There's a band from Seattle called the Lonely Forest whose record I just picked up. They're a new band, it came out few weeks ago, and that's totally doing it for me right now.” Coming from Indie rock’s current kings, that cannot hurt.
The Lonely Forest’s sound has been compared to the likes of Guided By Voices, the Hold Steady, and Built To Spill. I hear clear parallels to fellow Washingtonians Death Cab For Cutie. But when all is said and done, TLF has created a new and fresh sound for lucky listeners everywhere.
The first track from The Body Electric! is “Two Pink Pills,” an ode to Benadryl as a sleep aid. Apparently, Van Deusen had a mild “addiction” to this over-the-counter medication (“I hear a voice, it’s faint and weak / Two pink pills to fall asleep”). The song begins innocent enough with sparse harmonies, but soon evolves into a rocker.
“We Sing In Time” is the first single and is pure pop perfection, with excellent vocals by Van Deusen and top-notch musicianship by all (“In Time the trees die and light will fade / But I hope for a new breath, a new life to take me away”).
From the expansive sound of “Far Outer Banks” to the minimalism of “For Julia,” this record fires on all cylinders and has, in my opinion, something for everyone. If you’re needing something to raise your heart rate, put in the earbuds and crank up “Centennial.” Van Deusen sprinkles in piano throughout The Body Electric! which adds much to the already layered sound.
My hope is that some bigtimers looking for a solid opener will tap these fellows for a tour and soon. I think we’ll be hearing a lot more from The Lonely Forest (a guest slot on Conan O’Brien would be perfect).
The sources of new music for me are many. Recommendations from friends, reading music reviews, and once in a while, a chance radio experience. While listening to the local college station here in Atlanta recently, I heard a song that I had to find. I called Album 88 (Georgia State University’s WRAS) and the DJ told me it was “We Sing In Time” by the Anacortes, WA band The Lonely Forest. My mission was clear: get that album. Following a brief search, I broke down and bought the download.
After several listens into We Sing The Body Electric!, I had discovered the music that would move into heavy rotation on my iPod for the next few weeks. The band, consisting of John Van Deusen (vocals, guitar, keyboards), Bradyn Krueger (drums), Eric Sturgeon (bass, vocals), and Tony Ruland (guitar), so far have only limited tour experience, mainly throughout the state of Washington. Upon winning a local competition, the EMP Soundoff, the band recorded the new album with producer Jack Endino (Nirvana, Soundgarden) as the prize. More positive exposure came when Death Cab For Cutie’s Chris Walla dropped their name in a CNN interview. To quote Walla, “There's a band from Seattle called the Lonely Forest whose record I just picked up. They're a new band, it came out few weeks ago, and that's totally doing it for me right now.” Coming from Indie rock’s current kings, that cannot hurt.
The Lonely Forest’s sound has been compared to the likes of Guided By Voices, the Hold Steady, and Built To Spill. I hear clear parallels to fellow Washingtonians Death Cab For Cutie. But when all is said and done, TLF has created a new and fresh sound for lucky listeners everywhere.
The first track from The Body Electric! is “Two Pink Pills,” an ode to Benadryl as a sleep aid. Apparently, Van Deusen had a mild “addiction” to this over-the-counter medication (“I hear a voice, it’s faint and weak / Two pink pills to fall asleep”). The song begins innocent enough with sparse harmonies, but soon evolves into a rocker.
“We Sing In Time” is the first single and is pure pop perfection, with excellent vocals by Van Deusen and top-notch musicianship by all (“In Time the trees die and light will fade / But I hope for a new breath, a new life to take me away”).
From the expansive sound of “Far Outer Banks” to the minimalism of “For Julia,” this record fires on all cylinders and has, in my opinion, something for everyone. If you’re needing something to raise your heart rate, put in the earbuds and crank up “Centennial.” Van Deusen sprinkles in piano throughout The Body Electric! which adds much to the already layered sound.
My hope is that some bigtimers looking for a solid opener will tap these fellows for a tour and soon. I think we’ll be hearing a lot more from The Lonely Forest (a guest slot on Conan O’Brien would be perfect).
Saturday, May 16, 2009
101. THE PAINS OF BEING PURE AT HEART, 5/3/09
Location: The E.A.R.L., Atlanta
Supporting Act(s): ZAZA, Sea Lions
In the Company of: Thomas S. & Andrew G.
Hailing from Brooklyn, New York, The Pains of Being Pure at Heart are enjoying that initial taste of success. Supporting their first full length, self-titled album (Slumberland Records), these shoegazers have received some critical acclaim. Commercial acclaim may soon follow. With a sound reminiscent of My Bloody Valentine, the Pains supply a wall-of-guitar sound and swift drumming accompanied by buried, sometimes unintelligible lyrics (not quite a “Murmur,” but some songs come close). All this with a sugary-sweet pop sensibility.
Band members Kip Berman (guitar, vocals), Alex Naidus (bass), Kurt Feldman (drums), and Peggy Wang-East (keyboards, vocals) formed TPOBPAH in 2007 with a three-inch, self-titled CD-R (Cloudberry Records) that garnered some positive feedback.
The high-energy songs seemed much appreciated by the crowd and the musicians appeared happy to be in Atlanta for the second show of this tour. One gaffe was forgiven when they claimed to be looking for a place with a mechanical bull. Just a bit of naiveté confusing Georgia with, say, Texas. It’s okay. They’re young.
Among the songs performed were “Young Adult Friction,” “Everything With You,” “A Teenager In Love,” “This Love Is F****** Right!” and “Come Saturday” (“Come Saturday, you'll come to say / maybe there's no harm in a wasted summer with no drummer / we're gonna stay in”). All exceptionally performed with solid musicianship. And my sweet tooth was adequately satisfied.
Fellow Brooklyners ZAZA gave a stirring performance that was also very positively received. Danny and Jenny borrowed TPOBPAH drummer Kurt adding to their beautiful and atmospheric sound. ZAZA released the “Cameo” EP in 2009 to warm reviews and are relative newcomers to the touring scene. They seemed, however, to have it all under control on this night, competing handily with the headliner.
Local Atlanta duo Sea Lion kickstarted the room with a little help from a drum machine. This was a nice dose of exposure for the poppy band.
Supporting Act(s): ZAZA, Sea Lions
In the Company of: Thomas S. & Andrew G.
Hailing from Brooklyn, New York, The Pains of Being Pure at Heart are enjoying that initial taste of success. Supporting their first full length, self-titled album (Slumberland Records), these shoegazers have received some critical acclaim. Commercial acclaim may soon follow. With a sound reminiscent of My Bloody Valentine, the Pains supply a wall-of-guitar sound and swift drumming accompanied by buried, sometimes unintelligible lyrics (not quite a “Murmur,” but some songs come close). All this with a sugary-sweet pop sensibility.
Band members Kip Berman (guitar, vocals), Alex Naidus (bass), Kurt Feldman (drums), and Peggy Wang-East (keyboards, vocals) formed TPOBPAH in 2007 with a three-inch, self-titled CD-R (Cloudberry Records) that garnered some positive feedback.
The high-energy songs seemed much appreciated by the crowd and the musicians appeared happy to be in Atlanta for the second show of this tour. One gaffe was forgiven when they claimed to be looking for a place with a mechanical bull. Just a bit of naiveté confusing Georgia with, say, Texas. It’s okay. They’re young.
Among the songs performed were “Young Adult Friction,” “Everything With You,” “A Teenager In Love,” “This Love Is F****** Right!” and “Come Saturday” (“Come Saturday, you'll come to say / maybe there's no harm in a wasted summer with no drummer / we're gonna stay in”). All exceptionally performed with solid musicianship. And my sweet tooth was adequately satisfied.
Fellow Brooklyners ZAZA gave a stirring performance that was also very positively received. Danny and Jenny borrowed TPOBPAH drummer Kurt adding to their beautiful and atmospheric sound. ZAZA released the “Cameo” EP in 2009 to warm reviews and are relative newcomers to the touring scene. They seemed, however, to have it all under control on this night, competing handily with the headliner.
Local Atlanta duo Sea Lion kickstarted the room with a little help from a drum machine. This was a nice dose of exposure for the poppy band.
Monday, April 13, 2009
100. Timbuk 3, sometime in 1986 (out of order)
Location: Parody Hall, Kansas City, MO
Supporting Act(s): ?
In the Company of: ?
Just realized I had missed logging this show while talking to a friend about Parody Hall. This was on the heels of Timbuk 3's release "Greetings From Timbuk 3," including the Top 20 hit "The Future's So Bright I Gotta Wear Shades."
It was him, her, and a boombox. Good times.
Supporting Act(s): ?
In the Company of: ?
Just realized I had missed logging this show while talking to a friend about Parody Hall. This was on the heels of Timbuk 3's release "Greetings From Timbuk 3," including the Top 20 hit "The Future's So Bright I Gotta Wear Shades."
It was him, her, and a boombox. Good times.
Monday, March 9, 2009
Review: U2’s “No Line On The Horizon”
Let’s put aside, if we can, the years of accolades this band has earned. Let’s forget about Rolling Stone Magazine’s five-star rating for this album (giving it “classic” status). Ignore the aging rock stars that have been written off more than once. And pay no attention to the sparse grey album cover that has left some fans scratching their heads.
All you need to focus on is the music. Three of the finest producers in music – all previous U2 collaborators – were involved in U2’s twelfth studio album. Danny Lanois, Brian Eno, and Steve Lillywhite all put their mark on “No Line On The Horizon.” The result is exactly what one would expect from such a convergence of talent and experience. It is both genuine U2 as well as the antithesis of anything the Dubliners have ever recorded. With a weeklong stint on Letterman under their belts and a mini-concert at Fordham University, U2 is going for major exposure.
My first exposure to the band was in 1983. College days. A friend had just picked up their third release “War” and I was informed that I must hear it. That’s where it began for me. Over the next 26 years, I would enjoy the art and creativity of this Irish band and respect their attempts to always be fresh, not fearing a new direction, regardless of record sales.
I’ve had an old tune stuck in my head the past few days. When I first saw the new album cover (a black and white photograph of the Boden Sea, Uttwil, by Japanese artist Hiroshi Sugimoto) I could hear strains of “The Ocean,” a song on U2’s first release, 1980’s “Boy” (“A picture in grey / Dorian Gray / Just me by the sea”). The song, like the photo, is dreamy and simple.
The album kicks off with the title track, a churning piece of work perfectly placed in the leadoff position (“I know a girl who’s like the sea / I watch her changing every day for me / Oh yeah”).
“Magnificent” begins with nice synth, followed by some Yaz-like keyboards, soon building into a driving rock song. U2 has cornered the market on the rising-out-of-the-shadows-to-rock-explosion song (listen to “Where The Streets Have No Name,” among several others). Edge’s slide guitar brings back memories of the late great George Harrison on this one.
The bluesy “Moment Of Surrender” appears with techno loop and church organ that could have appeared on The Joshua Tree (if recorded in the 21st century). “We set ourselves on fire / O God do not deny her / It’s not if I believe in love / But if love believes in me,” sings Bono. And you almost believe him.
“Unknown Caller” begins with chirping birds followed suddenly by the simple magic of the Edge’s guitar pouring over you. Bono’s falsetto calling out “Sunshine, sunshine.” The French horn makes this one special.
“There’s a part of me in the chaos that’s quiet / And there’s a part of you that wants me to riot / Everybody needs to cry or needs to spit / Every sweet tooth needs just a little hit / Every beauty needs to go out with an idiot / How can you stand next to the truth and not see it?” sings Bono on “I’ll Go Crazy If I Don’t Go Crazy Tonight.” This is one of the upbeat selections that is constantly bouncing around in my head.
Next up is the song everyone’s been singing for the past few weeks, “Get On Your Boots,” a hyperactive, straight ahead rock and roll song. It’s got everything U2 fans have come to expect: the fine rhythm section of bassist Adam Clayton and drummer Larry Mullen, Jr., the always joyful and complex guitar stylings of Dave “The Edge” Evans, and the emotion-packed, sky-high range of the band’s most important instrument, Paul “Bono” Hewson’s vocals. It’s the most ambitious song on the album and rightly chosen as the first single.
“Stand Up Comedy” possesses the dark and brooding sounds of “Bullet The Blue Sky.” Almost. The true departure is a funk vibe throughout.
For “FEZ-Being Born,” lyrics from “Get On Your Boots” are layered under the synthesized beginnings (“Let me in the sound / Let me in the sound sound…”). Fez is a small town in Morocco where some of this album was recorded. You may recognize flavors of the region in this music.
“White As Snow,” a traditional piece, is a calming exhibit of U2’s emotional range. One would not expect a song such as this to be on the same record as “Boots,” for example. But they peacefully coexist and beautiful, it is (“Who can forgive forgiveness where forgiveness is not / Only the lamb as white as snow”).
Shifting it all back into high gear is the guitar rocker “Breathe,” another example in the long list of Bono’s super-human vocal range ability. You keep waiting for that voice to crack, but it never happens. Each member’s contribution is, in itself, the most vital...the most important piece of the puzzle. How can that be? Each donates the perfect ingredient for the song. Bono emotes, “Every day I have to find the courage / To walk out into the street / With arms out / Got a love you can’t defeat.” He introduces his heart to his sleeve nearly every time he opens his mouth. And that’s a good thing. That’s a very good thing.
The closing track “Cedars Of Lebanon” seeps into your consciousness like a cold, creamy Guinness Draught. Mullen’s drumming is reminiscent of the “Sunday Bloody Sunday” marching beat, but in a much more reserved fashion. This song is ethereal.
If reinvention is an artistic goal, U2 has achieved that goal once again. By trying new things, they remain consistent with their professional blueprint. To paraphrase Geddy Lee, they know changes aren’t permanent, but change is.
All you need to focus on is the music. Three of the finest producers in music – all previous U2 collaborators – were involved in U2’s twelfth studio album. Danny Lanois, Brian Eno, and Steve Lillywhite all put their mark on “No Line On The Horizon.” The result is exactly what one would expect from such a convergence of talent and experience. It is both genuine U2 as well as the antithesis of anything the Dubliners have ever recorded. With a weeklong stint on Letterman under their belts and a mini-concert at Fordham University, U2 is going for major exposure.
My first exposure to the band was in 1983. College days. A friend had just picked up their third release “War” and I was informed that I must hear it. That’s where it began for me. Over the next 26 years, I would enjoy the art and creativity of this Irish band and respect their attempts to always be fresh, not fearing a new direction, regardless of record sales.
I’ve had an old tune stuck in my head the past few days. When I first saw the new album cover (a black and white photograph of the Boden Sea, Uttwil, by Japanese artist Hiroshi Sugimoto) I could hear strains of “The Ocean,” a song on U2’s first release, 1980’s “Boy” (“A picture in grey / Dorian Gray / Just me by the sea”). The song, like the photo, is dreamy and simple.
The album kicks off with the title track, a churning piece of work perfectly placed in the leadoff position (“I know a girl who’s like the sea / I watch her changing every day for me / Oh yeah”).
“Magnificent” begins with nice synth, followed by some Yaz-like keyboards, soon building into a driving rock song. U2 has cornered the market on the rising-out-of-the-shadows-to-rock-explosion song (listen to “Where The Streets Have No Name,” among several others). Edge’s slide guitar brings back memories of the late great George Harrison on this one.
The bluesy “Moment Of Surrender” appears with techno loop and church organ that could have appeared on The Joshua Tree (if recorded in the 21st century). “We set ourselves on fire / O God do not deny her / It’s not if I believe in love / But if love believes in me,” sings Bono. And you almost believe him.
“Unknown Caller” begins with chirping birds followed suddenly by the simple magic of the Edge’s guitar pouring over you. Bono’s falsetto calling out “Sunshine, sunshine.” The French horn makes this one special.
“There’s a part of me in the chaos that’s quiet / And there’s a part of you that wants me to riot / Everybody needs to cry or needs to spit / Every sweet tooth needs just a little hit / Every beauty needs to go out with an idiot / How can you stand next to the truth and not see it?” sings Bono on “I’ll Go Crazy If I Don’t Go Crazy Tonight.” This is one of the upbeat selections that is constantly bouncing around in my head.
Next up is the song everyone’s been singing for the past few weeks, “Get On Your Boots,” a hyperactive, straight ahead rock and roll song. It’s got everything U2 fans have come to expect: the fine rhythm section of bassist Adam Clayton and drummer Larry Mullen, Jr., the always joyful and complex guitar stylings of Dave “The Edge” Evans, and the emotion-packed, sky-high range of the band’s most important instrument, Paul “Bono” Hewson’s vocals. It’s the most ambitious song on the album and rightly chosen as the first single.
“Stand Up Comedy” possesses the dark and brooding sounds of “Bullet The Blue Sky.” Almost. The true departure is a funk vibe throughout.
For “FEZ-Being Born,” lyrics from “Get On Your Boots” are layered under the synthesized beginnings (“Let me in the sound / Let me in the sound sound…”). Fez is a small town in Morocco where some of this album was recorded. You may recognize flavors of the region in this music.
“White As Snow,” a traditional piece, is a calming exhibit of U2’s emotional range. One would not expect a song such as this to be on the same record as “Boots,” for example. But they peacefully coexist and beautiful, it is (“Who can forgive forgiveness where forgiveness is not / Only the lamb as white as snow”).
Shifting it all back into high gear is the guitar rocker “Breathe,” another example in the long list of Bono’s super-human vocal range ability. You keep waiting for that voice to crack, but it never happens. Each member’s contribution is, in itself, the most vital...the most important piece of the puzzle. How can that be? Each donates the perfect ingredient for the song. Bono emotes, “Every day I have to find the courage / To walk out into the street / With arms out / Got a love you can’t defeat.” He introduces his heart to his sleeve nearly every time he opens his mouth. And that’s a good thing. That’s a very good thing.
The closing track “Cedars Of Lebanon” seeps into your consciousness like a cold, creamy Guinness Draught. Mullen’s drumming is reminiscent of the “Sunday Bloody Sunday” marching beat, but in a much more reserved fashion. This song is ethereal.
If reinvention is an artistic goal, U2 has achieved that goal once again. By trying new things, they remain consistent with their professional blueprint. To paraphrase Geddy Lee, they know changes aren’t permanent, but change is.
Saturday, February 14, 2009
99. THE ENGLISH BEAT, 1/24/09
Location: The Loft in Atlanta
Supporting Act: Bad Manners
In the Company of: Thomas S.
Margaret Thatcher has been out of the spotlight for several years. This, however, did not spoil the vibe of hearing “Stand Down Margaret” live. It still feels relevant these days as more and more Americans have discovered they have a voice in the political process. Original English Beater Dave Wakeling kicked off the show with “Whine and Grine / Stand Down Margaret” at the cozy Loft in Atlanta. It was loud, hot, and crowded…it was Ska.
Although Wakeling appeared to be the only original member left – he was surrounded by a younger generation of musicians – this seemed like a time warp back to 1979. That year was mentioned frequently throughout the evening as the Beat are celebrating their 30th anniversary. A notable omission from the line up was Wakeling’s right-hand man from the early days, Ranking Roger, who added the reggae/island/Ska feel to the sound of the English Beat. His replacement did and adequate job of filling in those “ranking” gaps. Replacing the grandfather of the Beat, saxophone player Papa Saxa, was a younger and more handsome sax player who did a terrific job of hitting all the notes.
The song list was a veritable greatest hits collection. “Mirror In The Bathroom,” a song some believe refers to cocaine addiction, was a rollicking dancer (“Mirror in the bathroom please talk free / The door is locked just you and me / Can I take you to a restaurant that’s got glass tables / You can watch yourself while you are eating”). Other joys included “Hands Off She’s Mine,” “Doors Of Your Heart,” “I Confess,” “Twist And Crawl,” “Rankin Full Stop,” “Click Click,” and “Can’t Get Used To Losing You.”
The group’s first single was the Smokey Robinson and the Miracles cover, “Tears Of A Clown,” which must be one of the all-time great remakes and an all out sing-along for this show. During the classic “Save It For Later,” the Beat broke into the I-didn’t-see-it-coming moment of the show playing a few verses of Pearl Jam’s “Better Man.” When two musical worlds such as this collide, everybody wins.
When the band disbanded in 1983, Wakeling and Roger formed the group General Public, while Andy Cox and David Steele hired Roland Gift to sing in the future hit machine Fine Young Cannibals. On this night, Dave played three GP songs, “I’ll Take You There,” “Never You Done That,” and the hit “Tenderness.”
Wakeling’s smooth-as-gold voice is still mostly intact. The absence of Ranking Roger was unfortunate, but with your eyes closed, you may not have missed him too terribly (sorry Roger). With a crowd full of thirty- and forty-somethings dancing like they were back in college, it was definitely a party atmosphere. Some fans report their first exposure to the English Beat being when Police front man Sting wore one of their t-shirts in the video “Don’t Stand So Close To Me.”
Opening band Bad Manners, an English 2-Tone Ska revival band like the Beat, had quite an illustrious career in early 80s England. Leader of the band Buster Bloodvessel was big, bald, burly, and quite the extrovert. A few of their selections included “Lip Up Fatty,” “My Girl Lollipop,” and “Lorraine.” The numerous times we saw the full length of Bloodvessel’s tongue would have been enough to make Gene Simmons run for cover. It was enormous and bordering on disturbing (at least for me). With a first-rate band and a great three-piece horn section, Bad Manners truly warmed up the crowd. We were all primed with a lesson in Ska.
Supporting Act: Bad Manners
In the Company of: Thomas S.
Margaret Thatcher has been out of the spotlight for several years. This, however, did not spoil the vibe of hearing “Stand Down Margaret” live. It still feels relevant these days as more and more Americans have discovered they have a voice in the political process. Original English Beater Dave Wakeling kicked off the show with “Whine and Grine / Stand Down Margaret” at the cozy Loft in Atlanta. It was loud, hot, and crowded…it was Ska.
Although Wakeling appeared to be the only original member left – he was surrounded by a younger generation of musicians – this seemed like a time warp back to 1979. That year was mentioned frequently throughout the evening as the Beat are celebrating their 30th anniversary. A notable omission from the line up was Wakeling’s right-hand man from the early days, Ranking Roger, who added the reggae/island/Ska feel to the sound of the English Beat. His replacement did and adequate job of filling in those “ranking” gaps. Replacing the grandfather of the Beat, saxophone player Papa Saxa, was a younger and more handsome sax player who did a terrific job of hitting all the notes.
The song list was a veritable greatest hits collection. “Mirror In The Bathroom,” a song some believe refers to cocaine addiction, was a rollicking dancer (“Mirror in the bathroom please talk free / The door is locked just you and me / Can I take you to a restaurant that’s got glass tables / You can watch yourself while you are eating”). Other joys included “Hands Off She’s Mine,” “Doors Of Your Heart,” “I Confess,” “Twist And Crawl,” “Rankin Full Stop,” “Click Click,” and “Can’t Get Used To Losing You.”
The group’s first single was the Smokey Robinson and the Miracles cover, “Tears Of A Clown,” which must be one of the all-time great remakes and an all out sing-along for this show. During the classic “Save It For Later,” the Beat broke into the I-didn’t-see-it-coming moment of the show playing a few verses of Pearl Jam’s “Better Man.” When two musical worlds such as this collide, everybody wins.
When the band disbanded in 1983, Wakeling and Roger formed the group General Public, while Andy Cox and David Steele hired Roland Gift to sing in the future hit machine Fine Young Cannibals. On this night, Dave played three GP songs, “I’ll Take You There,” “Never You Done That,” and the hit “Tenderness.”
Wakeling’s smooth-as-gold voice is still mostly intact. The absence of Ranking Roger was unfortunate, but with your eyes closed, you may not have missed him too terribly (sorry Roger). With a crowd full of thirty- and forty-somethings dancing like they were back in college, it was definitely a party atmosphere. Some fans report their first exposure to the English Beat being when Police front man Sting wore one of their t-shirts in the video “Don’t Stand So Close To Me.”
Opening band Bad Manners, an English 2-Tone Ska revival band like the Beat, had quite an illustrious career in early 80s England. Leader of the band Buster Bloodvessel was big, bald, burly, and quite the extrovert. A few of their selections included “Lip Up Fatty,” “My Girl Lollipop,” and “Lorraine.” The numerous times we saw the full length of Bloodvessel’s tongue would have been enough to make Gene Simmons run for cover. It was enormous and bordering on disturbing (at least for me). With a first-rate band and a great three-piece horn section, Bad Manners truly warmed up the crowd. We were all primed with a lesson in Ska.
Thursday, February 5, 2009
98. LOS CAMPESINOS! 1/17/09
Location: The EARL in Atlanta
Supporting Act(s): Titus Andronicus
In the Company of: Thomas S.
The Welsh Indie-pop group Los Campesinos! rocked the EARL (East Atlanta Restaurant & Lounge) with loads of glockenspiel-laden selections. Frontman Gareth multitasked between a single drum and the glockenspiel, while adroitly handling vocals.
The band first came into prominence in late 2006, with the Dave Newfeld (Broken Social Scene) produced “We Throw Parties, You Throw Knives” / “Don’t Tell Me To Do The Math(s)” double single. In June of 2007, the group released “You! Me! Dancing!” which, like several of their other creations, has a strange resemblance to a New Order song (mostly through bass and drums).
Los Campesinos! makes wonderfully energetic dance music. Maybe a tad too energetic. Nonetheless, not too many listeners in the packed EARL were standing still. And it was loud…was that mentioned? All totaled, LC! consists of seven members (3 chicks; 4 dudes). One or two may have been absent on this cold night in Atlanta, but no one noticed.
Gareth frequently channeled John Lydon (aka Johnny Rotten), which for a punk fan may be pure gold. He does, however, delve quite successfully into really rhythmic and hooky lyrics. The band amazed the audience with such gems as “Broken Heartbeats Sound Like Breakbeats,” “We Throw Parties, You Throw Knives,” and the contagious “You! Me! Dancing!” (“If there’s one thing I can never confess / It’s that I can’t dance a single step”).
One could draw a crazy parallel between LC! and the Sugarcubes, both having the sweet female vocals juxtaposed with the heavy western European-accented male vocals. Check it out.
Opening the show with a firestorm of good karma was New Jersey’s Titus Andronicus. This group of four young ones thrashed onto the stage and gave it their all. With a rawness and power not common in such youngsters, these boys were a bit reminiscent of fellow garden-stater Bruce Springsteen (the harmonica did not hurt this connection). Add two parts Pogues and a sprinkle of the Clash and Sex Pistols and I think you’ll get a sense of what the fans heard that night.
Playing most if not all of the tracks on their new release “The Airing of Grievances” (taken from the Seinfeld episode featuring the Festivus holiday), it sounds like these boys should have a hit record. Oh yeah, and it was loud.
Supporting Act(s): Titus Andronicus
In the Company of: Thomas S.
The Welsh Indie-pop group Los Campesinos! rocked the EARL (East Atlanta Restaurant & Lounge) with loads of glockenspiel-laden selections. Frontman Gareth multitasked between a single drum and the glockenspiel, while adroitly handling vocals.
The band first came into prominence in late 2006, with the Dave Newfeld (Broken Social Scene) produced “We Throw Parties, You Throw Knives” / “Don’t Tell Me To Do The Math(s)” double single. In June of 2007, the group released “You! Me! Dancing!” which, like several of their other creations, has a strange resemblance to a New Order song (mostly through bass and drums).
Los Campesinos! makes wonderfully energetic dance music. Maybe a tad too energetic. Nonetheless, not too many listeners in the packed EARL were standing still. And it was loud…was that mentioned? All totaled, LC! consists of seven members (3 chicks; 4 dudes). One or two may have been absent on this cold night in Atlanta, but no one noticed.
Gareth frequently channeled John Lydon (aka Johnny Rotten), which for a punk fan may be pure gold. He does, however, delve quite successfully into really rhythmic and hooky lyrics. The band amazed the audience with such gems as “Broken Heartbeats Sound Like Breakbeats,” “We Throw Parties, You Throw Knives,” and the contagious “You! Me! Dancing!” (“If there’s one thing I can never confess / It’s that I can’t dance a single step”).
One could draw a crazy parallel between LC! and the Sugarcubes, both having the sweet female vocals juxtaposed with the heavy western European-accented male vocals. Check it out.
Opening the show with a firestorm of good karma was New Jersey’s Titus Andronicus. This group of four young ones thrashed onto the stage and gave it their all. With a rawness and power not common in such youngsters, these boys were a bit reminiscent of fellow garden-stater Bruce Springsteen (the harmonica did not hurt this connection). Add two parts Pogues and a sprinkle of the Clash and Sex Pistols and I think you’ll get a sense of what the fans heard that night.
Playing most if not all of the tracks on their new release “The Airing of Grievances” (taken from the Seinfeld episode featuring the Festivus holiday), it sounds like these boys should have a hit record. Oh yeah, and it was loud.
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