Little Lies and Massive Dreams

With a hurricance coming to the east coast how about some Typhoon?

2011-08-25T11:45:00.004-04:00

This band is so good I can't stand it. I caught Typhoon a couple weeks ago at the Newport Folk Fest and have been devouring everything i can find on them since - youtube videos, NPR concert downloads and their latest releases on Spotify. You may think that 13 people is too much - even Letterman cracked that joke (Watch them on the Late Show here) - but the cacophony of drums, guitars, strings, horns and vocals works so well with Kyle Morton's songs it's unfair. The Portland Oregon collective may still have day jobs and probably can't sustain a grueling tour schedule with so many people so hopefully they'll blow up and sell a million records and be out on the road again soon. But until then catch them when you can, it's really worth it.

Typhoon | A Take Away Show from La Blogotheque on Vimeo.

Brad Barr is so good it hurts

2011-07-22T10:58:00.002-04:00

Just found this on youtube. "Sarah Through the Wall", the first song he plays before he starts doing some bluesy improv is one of my favorite guitar pieces of all time. ALL TIME!!! I caught the Slip at the Met in Pawtucket last weekend but I didn't really take notes for a review because it was a hometown show and I was with a bunch of friends and in party mode. Once some good video surfaces I'll post that with some show insight, setlist and download links and all that stuff. In the mean time enjoy this.....

Spotify

2011-07-22T10:37:00.003-04:00

So after reading Bob Lefsetz's multiple emails regarding how glorious Spotify is, I got one of his invites for a 6 month free trial. It's fucking awesome. I've been using lastfm and pandora for years but this takes the cake. The free version runs on desktops only and has a couple ads but you can listen to any artist and song you want (provided they are on Spotify). The paid plan gets you no ads and the ability to stream on your phone and even download up the 3,000 songs for off air play.

I'm still going to buy cds and have an ipod because I like the mobility of an ipod without draining my cell battery and CDs sound the best, obvs. When riding in a car it's just the best sound ever. However Spotify lets you hear songs and artists you may not know if you want to spend money on the album. So far I'm just searching for bands that are playing at this year's Newport folkfest to see who to check out that I dont already like - Civil Wars is the best new discovery so far - it doesn't have everyone (notably Gillian Welch or Delta Spirit but it does have Talking About Commas!!!) but hey it is free. It's social too, your facebook friends pop up and you can see what they've been listening to. They create playlists and you create playlists and send them out into the ether for others to discover. here's my first; I call it "Mellow Mood". Enjoy....

Mellow Mood (you have to have spotify to listen to it)

1. Million Dollar Bill - Middle Brother
2. Holocene - Bon Iver
3. Love Me tenderly - Felice Brothers
4. So Well - Dawes
5. Ghost Woman Blues - the Low Anthem
6. Breach - The Tower and the Fool
7. Dear Puppeteer - Nathan Moore
8. A Machine Spiritual (In the People's Key) - Bright Eyes
9. Poison & Wine - The Civil Wars
10. Shame Shame - Dr Dog
11. Dear Avery - the Decemberists
12. Joelle - Surprise me mr Davis
13. Movin Away - My Morning Jacket

Grace Potters brings her brand of Vermont Rock to Lil Rhody

2011-04-01T12:57:00.010-04:00

In July of 2006 I was at the High Sierra Music Festival in Northern California. As is always the case in the 4 day long mid-sized festy, word travels fast among concertgoers and word began to spread about a young band from Vermont that you HAD to see (at High Sierra, most bands play multiple times so the first performance usually creates buzz for the second; particularly for unknown bands). Her name was Grace Potter and her band was the Nocturnals. At that point no one in California knew them. I remember seeing them at the “Vaudeville Tent” with about 50 other people and being blown away by not only her showmanship, but vocal prowess and her keyboard chops, she plays a Hammond B3! Potter and her cohorts also write great bluesy, rock infused soul songs and kick serious ass on stage. Last weekend I caught them for the second time.

As I stated before I only saw them once, years ago, and don’t have any albums. My girlfriend is a fan so I got us tickets and checked out their first ever headlining set in Providence (the previous night they sold out the 2500+ House of Blues in Boston). The show started with a couple tracks from the band’s eponymous album, also its most recent, but also mixed in a bunch of older tunes. They didn’t play the two songs I knew the best (“Toothbrush and a Table” and “Nothing but the water”) but we got some great jams and fun covers to boot.

Grace Potter is a natural front woman, she rocked a glitzy, sequenced outfit while dancing around the stage, hair a-blazin and hands a-clappin. She bounced between her front of stage mic and stage left organ set up all night, often in the same song. The crowd was broader in age than I expected but was also littered with groups of young woman singing every word. I wonder if these same girls seek out the Kesha’s and Gaga’s of the world as well or if Grace hold a more musically sophisticated and less pop savvy crowd?

Highlights of the night for me were the reggae tinged pop of “Goodbye Kiss”, the expansive blues “2:22” and hugely climactic “Medicine” that closed the show. Along with the originals the band offered a trio of cover songs, of which “Crazy on You” by Heart seemed to be the best fit. Oddly enough, Heart reminds me of my dad and when the song started I could picture him driving down the road belting Ann Wilson’s famous chorus at the top of his lungs. Overall the Nocturnal are a tight, fun band that seem to love being on stage and clearly cater to the crowd, a nice change from the many bands that take themselves too seriously.

openers: Blues and Lasers
Venue info:
parking: free parking on the street if you can find it or there are $10 lots throughout downtown Providence
layout: Theatre with a GA Floor and Seated Balcony
beer sitch: 3 bars with cocktails, wine and beers. $5 for a Sierra Nevada. $6.50 for a Vodka cocktail.
capacity: 2000 (probably 2/3 full)

Set List: Hot Summer Night, Joey, Goodbye Kiss, Big White Gate, 2:22, Oasis, Some Kind of Ride, One Short Night, Foolin Myself, Elvis Presley Blues (Gillian Welch cover), Benny Yurco guitar solo > Crazy On You (Heart Cover), Only Love, Sweet Hands, Paris (Ooh La La)
E: White Rabbit (Jefferson Airplane cover), Medicine
click on song titles for YouTube videos

Video of "Some Kind of Ride"

Acoustic/Electric Trey

2011-02-28T13:20:00.005-05:00

For the latest ”TAB” tour this February, Phish front man Trey Anastasio has gone back to the original format he had of one acoustic set and one electric set on his first solo tour in 1999. Last weekend at the House of Blues in Boston I caught the third show of the tour.

The biggest difference from normal Trey tours is obviously the return of the acoustic set. Previously, random acoustic engagements (Newport Folk, Bonnaroo, 10klakes) contained a set littered with simple strummy tunes like "Bouncin", "Sample in a Jar", "Water in the Sky" (he normally plays Phish songs acoustically). This tour he has been challenging himself with first attempts at rather difficult Phish songs and the HOB show was no different. First ever acoustic takes on songs like "Its Ice" and "Carini" were a nice surprise. He also tackled a couple “Page” songs, most notably "Lawn Boy" which contained the original jazzy feel complete with sax solo. At the end of his set he played the craptastic “Let me Lie” which starts out like a 5th graders first stab at lyric writing but ends with a pretty, layered culmination that sparkled with the backing vocals of Natalie Cressman and Jen Hartswick. The first set closed with a fun but sloppy “Hey ya” which just wasn’t as cool as it was on paper. How can you bail on the "To all the Beyonce's and Lucy Lui's" part?

The electric set gave us more energy but also a slew of predictable blues numbers and Trey's characteristic jam pop sleepers. The horns are the only thing that makes songs like "Valentine", "Ether Sunday", and "Sweet Dreams Melinda" tolerable. Highlights for me were the smoking hot "First Tube" through the "Magilla"/ "Black Dog" encore complete with Jen hartswick belting Plant’s classic vocal lines. Jams of the night were the contained yet dancy "Gotta Jibboo" and the expansive "Simple twist up Dave". If you are going to a Trey show to see a band on top of its game and in need of face melting than save your money for Phish, but if you want a fun, danceable twist on Big red’s trademark gleeful licks than you’ll have a great time.

openers: none
Venue info:
parking: free parking on the street is pretty easy as long as the Sox arent playing at home.
layout: square, club type room with GA floor and 1st balcony, seats in 2nd blacony
capacity: 2425 (sold out)

SET LIST: (links go to youtube videos)
Set 1: Sample in a Jar, Punch You In the Eye, Strange Design, AC/DC Bag, It's Ice, Bathtub Gin, Carini, Dog Faced Boy, Shine a Light, Sleep Again, Wilson, Chalk Dust Torture, Backwards Down the Number Line, Lawn Boy, Let Me Lie, Hey Ya

Set 2: I Done Done It > Valentine, In the Wee Wee Hours > Gotta Jibboo, Sweet Dreams Melinda, Burn That Bridge, Simple Twist Up Dave, Small Axe, Ooh Child, Tuesday, Ocelot, Ether Sunday, First Tube

Encore: Magilla, Black Dog

Video of "Carini" Acoustic

Bloodbuzz Ohio

2011-02-16T10:31:00.007-05:00

I've heard of the National but have never heard them before (at least knowingly - "indie" bands are all over commercials these days). So yesterday I saw a video of my buddy's band Big Light playing a song called "Bloodbuzz Ohio" at a Halloween gig they did last fall at the Las Tortugas festival in Yosemite. I was immediately taken aback. This song was fantastic. I googled the name in hopes to find lyrics and I discover that it's actually a song by The National. How did I not know this already? I guess they are just one of those bands that get lumped in to a lot of discussions I have and have read about, but have never checked out, oddly enough. No time like the present right?

I think I may have some sort of musical OCD because when I hear a new song that reaches me like this one does I cannot not listen to it. I've watched youtube videos of the band playing "BloodBuzz Ohio", downloaded their newest album High Violet, and have already learned how to play and sing it myself. just devoured. The last time a song did this to me was last summer when I heard Dawes' "That Western Skyline". It makes me feel alive...

Anywho, I share this story with you because in the wake of the Arcade Fire winning "Album of the Year" (which I'm ecstatic about) and reading about how awful the recording industry is suffering and giant corporate chains (like Borders, Tower records, etc) are going bankrupt; music by the people and for the people is flourishing. Clearly there are some people that don't "get it" (quite hilariously represented on FunnyOrDie.com) and still equate album sales with talent or don't search hard enough for quality music. But it's there, it's here. In a world where the Black Eyed Peas play on our biggest stage and 6 idiots from Jersey Shore are among Hollywood's elite; it's nice to know that the world is starting to become hip (pun intended) to the real artists. The ones that play music (or make films or "vandalize" public walls etc) because they HAVE to. NOT because they can make a quick buck or walk down a red carpet. I'm a musician - I don't make shit for money (in the words of the National "I still owe money to the money to the money I owe") but I wake up everyday grateful that I am able to do what I love for a living and I wouldn't change it for anything.

I stumbled upon the video below of a woman singing her interpretation of "BloodBuzz Ohio" with an ukulele (should it be "a" or "an" ukulele? an sounds weird but looks correct). I don't know who she is or what her deal is but i do know that she "gets it" and that brings a smile to my face.

Hey Phish, "Welcome tah Wustah, dawlah twuntee fiave"

2011-01-07T11:37:00.009-05:00

Phish 3.0's first shows at the Worcester Centrum (now the DCU Center) proved a nice warm up to NYE in NYC but the band obviously saved the big stuff for MSG. However, I went on night 2 and had a blast. I can't over analyze Phish shows anymore because it gives me a headache. There are always imperfections and slow/new numbers that don't stand out but overall this band kills it on a nightly basis.

The first set was book-ended by new songs from Joy but in between we got a huge bust out - a cover of Taj Mahal's "She Caught the Katy (And Left me a Mule to Ride)" (first since 1998) - solid versions of "Stash" and "Wolfman's Brother" and a hilarious beginning to "Alaska" complete with Trey playing a Sarah Palin doll in to the mic. The doll was loaded with vocal samples of pure Palinisms like “We eat therefore we hunt it”, “pretty relevant important stuff, to me anyway” and “yeah quit makin things up”. The band's vocals were a little off due to Trey's hoarse voice but musically, they were dead on.

The second set started with a nice "Carini" but it never entered the major key jam realm as it has the past year. A nice "Back on the Train" > "Limb by Limb" heated things up before the cool down mid second set, which was eventually saved by "Harry Hood". And what a "Hood" it was. Atypical to most "Hood's" this one featured strong band interplay and bouncy, staccato rhythmic jamming before cruising back in to the climax we all know and love. A solid yet uneventful "Bug" closed the show before a great encore of the Rolling Stone's Exile on Main St classic “Shine a Light” which ushered the almost capacity crowd in to the cold night with warm hearts and big smiles.

Opener/s: none
Venue Info:
beer sitch: $7 Miller Lite's
parking: Street parking if you get there right at 6pm (when the 2hour limit stops) or Garages/Lots for $20+
layout: Arena, end stage
Capacity: 14,900 (95% capacity)

Set List from phish.net
Set 1: Kill Devil Falls, My Mind's Got a Mind of its Own, Alaska[1], She Caught the Katy and Left Me a Mule to Ride, Wolfman's Brother, Pigtail[2], Stash, Bouncing Around the Room > Rift, Stealing Time From the Faulty Plan, The Birdwatcher[3]

Set 2: Carini > Backwards Down the Number Line > Back on the Train[4] -> Limb By Limb > The Wedge > Frankie Says > Albuquerque, Harry Hood > Bug

Encore: Shine a Light

[1] Trey used a device that played Sarah Palin quotes. [2] Debut. [3] Phish Debut. [4] Streets of Cairo tease from Trey.
Notes: She Caught the Katy was last performed on July 21, 1998 (323 shows). Trey used a device that played Sarah Palin quotes during Alaska and after the debut of Pigtail. This show also featured the Phish debut of Birdwatcher. Back on the Train featured a Streets of Cairo tease from Trey.

Surprise, It's the Slip

2011-01-06T12:57:00.012-05:00

Let me start of by saying sometimes things happen for a reason. Sometimes you can expect something and then be blown away by the unexpected. What I expected to see on December 27^th at the Narrows was a show by Surprise Me Mr Davis, but due to a blizzard what I got was a sprawling 2 set throw-down of songs new, old and virtually forgotten by my favorite band on the planet. Instead of cancelling the show due to 2 members not making it, the Slip (the trio are 3/5 of Davis) decided to go ahead with the show.

I have been seeing the Slip for 14 years and have loved them through every twist and turn in their musical style (and trust me there have been a few) but it's not often we get them all in one show. The show started on the quiet side with beautiful renditions of "74" and the much coveted but unreleased "Reddish Moon" before bringing down the house with the new "Give the Devil Back His Heart"(found on the Barr Brothers record). The boys seemed loose and playful; willing to reach deep in to their catalog to please the crowd that dug themselves out of the previous day's blizzard to make the show. Inspired by taking requests for the 2^nd set they shocked us with stellar versions of "Headshot > Meowskers" (featuring the tastiest bass solo ever) and old favorites like the "Weight of Solomon" (w/ Brad on piano) and the latin jazz of "Yellow Medicine" which hasn't been played in years.

Many people have argued that the Slip has forgotten about the old stuff and play the same old set of Eisenhower era material at every show but on this night they showed how a vast repertoire of a variety of sounds can gel perfectly for one evening. Hopefully they'll keep it going this way.

Opener/s: none
Venue Info:
beer sitch: BYOB
parking: free lot behind venue or plenty of street parking
layout: top floor of an old mill building. big open space
Capacity: 550 (probably half full)

1: (75min) 74, Reddish Moon, Driving Backwards with you, Give the Devil Back His Heart, New Tune*, Paper Birds, Mudslide, before You Were Born
2: (73 min) If you Knew, intro jam > Mother Wolf, Headshot > Meowskers, Solomon**, Yellow Medicine***, Predicting the Rain, Poor Boy, Soft Machine
E: Children of December, If One of Us Should Fall**
* chorus lyrics include "I dont care...I dont dare" ** Brad on baby grand piano (1st verse only on IOOUSF), *** w/ "Zion" jam. This show was just tremendous. Andrew put out "request sheets" for people at set break to request songs with.

download the show here
View photos by Phrazz here

A Trip Down Memory Lane with Weezer

2011-01-05T12:40:00.009-05:00

I love Weezer. I know in the past 5 year or so they have really become pop culture whores with songs about Beverly Hills, Lady Gaga/MGMT mashup covers, duets with Lil Wayne and an album named after a Lost character but they still are a kick ass band. I'm under the impression that their first 2 albums are their best and they have slowly regressed since then, so when they announced this "Memories tour" in which they would cover all of the Blue Album and Pinkerton on subsequent nights I was all about it. I opted for the Pinkerton show over the Blue Album and I stand by my choice. Although Blue Album is a blockbuster and one of the best debut albums in the last 20 years, Pinkerton is top 10 of all time for me. I know its whiny and self produced but I just love its rawness and intimacy.

The band took the stage for the first of 2 sets and launched in to the new single, "Memories", before taking us down memory lane with a reverse chronological greatest hits set covering every album (except Raditude) and even a couple b-sides ("Susanne" & "You Gave Your Love to Me Softly"). Pat was out front on guitar for the first set while some roadie played drums which freed Rivers up to run around the stage, walk through the crowd and climb all over their stage set up. Weezer has a really hardcore following so it was fun to be in a room of 2,000+ people that knew every word to every song. Highlights for me were "Perfect Situation", "Susanne" and the expansive "Only in Dreams" set closer.

Set break lasted about 20min before a slide show was presented by longtime road manager Karl Koch documenting the band's early years. It was full of old pics, show posters and stories were shared. Then came the 2^nd set, Pinkerton front to back. From the first feedback of “Tired of Sex” to the last G chord of "Butterfly" I was as happy as a “kid in some kind of a store”. They flawlessly marched through the 14 year old disc to the vast delight of the adoring crowd. The energy during those 35 minutes was insane and I'll never forget it. While sometimes I think band's playing full albums is gimmicky and unnecessary, Pinkerton is one of those albums brilliant from start to finish and they nailed it. Bravo.

Opener/s: Free Energy
Venue Info:
beer sitch: $12 for 24oz Harpoon drafts
parking: Not much street parking in that part of Boston, take the T
layout: Theatre with Balcony
Capacity: 2,763, sold out.

Hits Set: Memories, Pork and Beans*, The Greatest Man That Ever Lived (Variations on a Shaker Hymn), Perfect Situation, Dope Nose**, Island in the Sun, Hash Pipe, You Gave Your Love to Me Softly , Susanne, Only in Dreams
Pinkerton Set: Tired of Sex, Getchoo, No Other One, Why Bother?, Across the Sea, The Good Life, El Scorcho*, Pink Triangle, Falling for You, Butterfly***

The first set featured Josh Freese on drums and Pat Wilson on guitar. * w/ Brian Bell on vocals for one verse. ** w/ Scott Shriner on vocals. *** Rivers on acoustic, Karl Koch on drums.

Check out this compilation of various songs from the night.....

Deer Tick does Newport (again)

2010-11-24T11:43:00.008-05:00

Ah Dee r Tic k, you boozy bastards…I caught my 8^th Deer Tick show in the past 2 years a couple weeks ago in Newport at the Blues Cafe (which has started booking relevant original bands as opposed to has bins and cover bands - kudos!). The past couple times they were in Providence (their home town) they were noticeably road weary and celebratory (read: drunk) so musically the shows were pretty sloppy. But since they put out a new album this summer (Black Dirt Sessions) I figured I would check out how they were sounding.

The show started off with the obligatory "Easy" (seriously; 8 shows = 7 "easy" openers) but then veered towards new territory with an alternate slow rendition of the classic "Ashamed" and then some new songs and covers to boot. The band was loose but not unstrung. Surrounded by fans, friends and family (Ian's mom was in the house - see pic to the right) it was less of a party and more of a "lets show the people that support us how far we've come" type of set. Some tight jams like “Mange” and “Baltimore Blues” highlighted the show for me and proved that this band can really play if they want. Newish guitarist Ian O'Neill, lent his vocals to "Now Its Your Turn" which provided a nice break from McCauleys rasp. Also new to the DT family is keyboardist/saxophonist Rob Corwell who brought some delightful textures and density to the often sparseness of DT’s arrangements.

Openers the Sk inny Millionares started off the night with some fun Rockabilly that got the early crowd's energy in a great spot for Deer Tick. Check out the video below (from last years show in newport) of the band's so called "greatest hits" medley - Baltimore Blues, Ashamed & Art isn't real - to get a better idea of the scene.

Set List: Easy, Ashamed*, Twenty Miles, Mexican Home (John Prine), Make Believe, Hope is Big, Little White Lies, Art Isn’t Real (City of Sin), Now its Your Turn**, Happy birthday***, Choir of Angels, Very Deep, Baltimore Blues No 1, Sink or Swim, Daydreaming (Middle Brother cover), Replacements cover, Christ Jesus, Mange

E: These Old Shoes, Cheap Sunglasses (ZZ Top), Chrismas All Summer Long****
* down tempo arrangement. ** Ian on lead vocals. *** for someone in the crowd. **** w/ “Crazy train” teases.

Opener/s: Skinny Millianaires
Venue Info:
beer sitch: $6 for drafts. $3.50 for a PBR
parking: Plenty of street parking (in winter)
layout: Club with a GA floor with an upstairs that has a big whole in the ground to look down at the stage.
Capacity: 300, sold out.

Greg Brown - live in Pawtucket

2010-11-16T10:24:00.008-05:00

Greg Brown is absolutely hypnotizing. When he opens his mouth for a story or a song you can’t help but to be drawn in. About a week ago he played what was the first sit down show at the newly opened Met Café in Pawtucket. Mr. Brown, aided with his brand new Seagull guitar, treated the crowd to about 90 minutes of stories, laughter, singing and dynamite acoustic blues licks.

Greg has a plethora of songs and since its just him up there you don’t know which song (or arrangement) you were going to get, he can literally play anything he remembers. As far as I'm concerned, he played all the classics that got me hooked on his entire catalog. Balancing humor (“Fat Boy Blues”) with sincere love songs (“Spring Wind”); odes to simple family life (“Canned Goods”) with tales of life on the road (“Mose Allison Played here”) - a Greg Brown show is truly a window in to this man’s inner being. The guy is just the embodiment of honest music. Greg Brown doesn’t sing songs because he wants to, it’s because he has to. As always, he pays homage to his roots in his show. With Merle Haggard and Mose Allison covers, Greg lets you see how he became the songwriter he is today.

His whole catalog gets considered at his shows from his newest composition to some of his oldest. It's amazing how he can captivate you with songs he released 25+ years ago as well as brand new ones and even songs that aren’t his. As a singer/songwriter myself, I marvel at this guy's longevity and continued relevancy. He is truly a folk icon. Check out the video below for a small interview and some snapshots of him performing live on Mountain Stage.

Set List: Evening Call, Fat Boy Blues, Freak Flag, Spring Wind, Laughing River, Skinny Days, You Drive Me Crazy, What Happened? (Merle Haggard), He Reached Down (Iris Dement), If I Had Known, Cheapest Kind, Canned Goods
E1: Ever Since the World Ended (Mose Allison), Mose Allison Played Here
E2: One Wrong Turn

Opener/s: none
Venue Info:
beer sitch: $5 bucks for harpoon IPA, $2.50 for a Gansett, nice.
parking: Plenty of street parking
Capacity: 515, probably third full.

This is why I hate people/press using chart positions to validate a band

2010-11-07T10:36:00.005-05:00

Until recently the top 3 artists with the most number of charted singles in music history were 1. Elvis (108) 2. James Brown (91) and of course, 3. The Beatles with 71 - not bad considering they (technically) only had a 7 year career. Makes sense, right? Well now, according to Rolling Stone, the Beatles have been bumped out of the top three by Glee, a fucking television show.

Now i have never seen a full episode of Glee and I think Jane Lynch is hilarious so I can't knock something I haven't tried but i can say this.....Billboard numbers and units sold DO NOT fucking matter! Stupid people buy terrible music all day long. Parents buy 13 year olds shitty music to shut them up and people that don't want to think happily lap up the latest shit pie baked for the lowest common denominator found on the iTunes home page. Yes, the likes of Creed, Nickelback and the Jonas Brothers have sold millions but does that mean they are any kind of representation of music in the world? NO. Its shit like this that makes me so mad - Nathan Moore just turned 40 years old and tours the country with the aid of public transportation and friends couches while living out of a duffel bag while the Nickelback argue over what jet to take to which vacation home they want to visit this week(well, probably). Wake up America! Music is not a bag of Doritos and a microwave dinner, try going to a farmer's market for once in your life.

Phish, back in the Ocean State

2010-10-29T11:30:00.007-04:00

After seeing Phish 73 times in 19 different states in the past 16 years it was a treat to get a show that was only 4 miles from my house. Love it. Before the show I went to a little BBQ hosted by some friends on the west side of town and then we all cabbed it (30 year old phish fans are quite responsible you know) downtown. Providence was going off, gone were the huge police presence of years before and we were allowed to roam the streets around the venue. Even Trinity brewhouse set up a huge pre-post party tent with a band playing dead covers and general classic roll awesomeness.

A couple minutes before show time we headed in to find a nice spot on the floor. I love the floor but I am also 6’3’’ and don’t ever sit during Phish shows. Anywho, the vibe was pretty cool inside the Dunk, security was lax and wristbands made the floor less susceptible to poachers so there was plenty of dancing room. The boys kicked off the night with a rare first set “Down with Disease” which was followed by a fairly straight forward set that included some of my personal faves like “Funky bitch”, “Fluffhead” and “Moma Dance”. After a solid first set I was looking forward to the boys opening it up a bit more during the second frame, and that they did.

Phish jump started the second set with this fall tour's first "Rock and Roll" which kept up the energy before segueing perfectly in to "Carini", which gelled in to an atypical major key jam before giving way to "Mike’s > Sanity > Weeks" sando (see the video below of Mikes > Sanity). This was only my third "Sanity" and my first since 1998 and it was on fire. More of a fun song than musically demonstrative one but still, I had a big grin the whole time. The set meandered from there for a bit before culminating with an outstanding "2001 > Loving Cup" closer that got the whole crowd back in to the show. Overall the boys are playing the best since they have since the return and man it looks like they are having a blast, judging by Tuesday’s Manchest er show, this weekends Atlantic City 3-night run is something I’m regretting missing. Oh well, There’s always Worcester!

Opener/s: none
Venue Info:
beer sitch: $7 Budlights, brutal.
parking: pain in the ass. Some parking garages are around and random lots throughout downtown PVD
layout: arena
capacity: 14,000 (sold out)

Set 1: Down With Disease, Funky Bitch, Fluffhead, Roses are Free > Rift, The Moma Dance > Ocelot, NICU, Sample in a Jar, Julius
Set 2: Rock and Roll > Carini > My Problem Right There, Mike's Song > Sanity > Weekapaug Groove, Suzy Greenberg, Light, Character Zero, Also Sprach Zarathustra > Loving Cup
Encore: First Tube

My Morning Jacket re-opens Portland's State Theatre

2010-10-25T11:07:00.007-04:00

Last Friday My Morning Jacket was the first band to play the newly renovated State T heatre in Portland, ME. I never went to the old theatre but this place is pretty cool. It reminds me of a cross between Lupos in PVD and The Flynn thea tre in Burlington. An old theatre with an open dance floor and a small balcony set pretty far back in the room. Portland is always a good time for me b/c I have a bunch of college buddies that live there. I drove up on Friday, pregamed at a buddies and a crew of 7-8 of us headed downtown.

The band hit around 8pm and did not let up for a good 2.5 hours. “Wordless Chorus” opened the show with Jim James scampering around the stage with a cape on, fully using the eerie backlighting to present a ghostly visual along witht the songs ghostly chorus of “Aaaaahhhhs”. Since I was in party mode most of the night I was focused more on energy and fun than disentcing anything musically. The band played a handful of new songs that didn’t reel me in upon first listen but probably will with time as MMJ usually does with me.

Highlights for the show for me we the monstrous singalong “Mahgeeta”, the reggae-ish bounce of “Phone Went West”, the improv and build up to “Dondante” and of course the balls to the wall 2^nd encore “One Big Holiday” that may rival “Tweezer (Reprise)” as the best concert closer ever, IMO. Just getting people all in a frenzy, the energy in that room was fantastic. The Jacket are in the midst of a 5 night run in NYC where they will play a different album in its entirety every night. Other than that you’ll just have to check them out next tour, which I strongly urge you to do if you want to see, as my buddy put it “The best rock and roll band in the USA today….the new Pearl jam.”

1: Wordless Chorus, Gideon, The Way That He Sings, Heartbreakin Man, They Ran, Golden, Chills, Evelyn Is Not Real, Anytime, Mahgeetah, Carried Away, Wonderful (The Way I Feel), I'm Amazed, Circuital, Dondante, Smokin From Shootin, (end of) Run Thru, Touch Me I'm Going To Scream Pt.2, (end of) Lay Low
E1: Butch Cassidy, Steam Engine, Touch Me I'm Going To Scream Pt.1, Off The Record, Highly Suspicious, Phone Went West
E2: One Big Holiday

Opener/s: none
Venue Info:
beer sitch: $5 micro brews and $3 MGD tall boys. Not bad prices but long ass lines.
parking: there are garages and a small amount of street parking. I walked from my buddies gf’s house.
layout: theatre, with an open floor. Seats in the back of the floor and balcony.
capacity: 1,450 (sold out)

Seeing Pavement Live, finally...

2010-10-22T11:11:00.003-04:00

Stephen Malkmus was the only artist I could think of in which I thought that their solo career was better than the band that made them famous. That thought may be in jeopardy now. Last night I saw Pavement, and they effing killed it. The highly anticipated reunion tour rolled through Boston's Agannis Arena and by all accounts, the band is playing better than they ever have.

They relied heavily on their first two albums which at first I wasn't that fond of (I like the last two albums best) but then I realized how good the songs were. Off kilter, lo-fi indie rock icons like “Summer Babe” and “Gold Soundz” converted to full on arena rockers executed with purpose and precision. The band threw in some instrumental deep tracks that provided fluidity to the set and generally abrasive album songs like “Conduit For Sale!!!” amped up the crowd to huge energetic proportions. As much as this tour may me a money maker, it is surely not gimmicky. Hype-man Bob Nastokovich's stage banter, unique backing vocals and solid percussion made sense to me finally and Spiral Stairs' rhythm guitar and pop sensibilities were a nice counter to Malkmus' free associative approach.

Highlights of the night for me was hearing the mellower “Stop Breathing” and “Here” attain a level of beauty I hadn't noticed before. The “Fin > Cut Your Hair” closer showcased the often regarded as sloppy band's ability to explore sounds and jams with preciseness. If you are a fan of Pavement I suggest you get to a show while you still can and see nostalgia come alive like you've never seen it before.

Jenny Lewis and her new “Jenny & Johnny” band with boyfriend Johnny McPinkShirt kicked off the evening with what sounded like their whole album front to back. The only old track was "Next Messiah" which would have been good except for Johnny's distorted, treble heavy acoustic guitar sound. If Rilo Kiley (Take-offs and Landings/Execution of all things era) is a 10, this current incarnation of Lewis is a 3, tops.

Pavement: Silence Kit, Starlings of the Slipstream, Two States, Trigger Cut, In the Mouth a Desert, Stereo, Date w/ Ikea, Stop Breathin, Gold Soundz, Conduit for Sale!, Loretta's Scars, Grounded, Summer Babe, Frontwards, Unfair, Chesley's Little Wrists, Heckler Spray, Fight This Generation, Perfume-V, We Dance, Brinx Job, Fin > Cut Your Hair
Encore: Rattled by the Rush, Kennel District, Range Life
Encore 2: Spit on a Stranger, Shoot the Singer (1 Sick Verse), Here

Jenny & Johnny: Scissor Runner, Committed, My Pet Snake, Just Like Zeus, Straight Edge of the Blade, Slavedriver, Just One of the Guys, Big Wave, Animal, The Next Messiah

Opener/s: Jenny & Johnny
Venue Info:
beer sitch: $7 bucks for harpoon IPA, $6 for Bud or Bud Light. Plastic pint cups.
parking: There are a couple garages around the arena that charge $20 I think. But there is plenty of street parking south of Comm Ave if you don't mind walking a couple blocks.
Capacity: 7,200. The seats at either end of the arena were blocked off so it was probably more like 5,000 or so. The show was technically not sold out but the seats looked filled.

Broken Social Scene @ The House of Rules, Boston

2010-10-22T10:35:00.011-04:00

Broken Social Scene is really fun to see live. They could be this really obnoxious hipster collective that takes themselves too seriously but they don't. They know about the towns they play in, they banter with the front row and even crack each other up with inside jokes on stage. Musically, they share the wealth for the greater good even though Kevin Drew is clearly the frontman. They come to party and they do not disappoint. I last saw them in 2006 at the Greek in Berkely o/f Bloc Party (Currently auditioning for VH1's Where are they now?). I also saw the Kevin Drew “solo” tour in 2008 so it was nice to see a full band headlining show.

They started the show with Kc Accidental, the opening track on You Forgot it in People and set the tone for what was to come. Although relying heavily on Forgiveness.. and the Self titled, the band busted out some gems like “Anthems”, “Looks Just Like the Sun” and "Cause = Time". If you haven't seen BSS before it can be a little overwhelming. There are as many as 10 people on stage all rotating between percussion, keyboards, basses and guitars. There are even 2 guys that play flute, sax and coronet. With such a huge prduction, its amazing how tight and legit they are on all the instruments. Nothing sounds cluttered, its all just adding layers to benfit the greater good.

Touring female singer Lisa Lobsinger was up to the task of singing Feist, Emily Haines and Amy Milan's lines and added her own impressive stamp on "Anthem...", "7/4 shoreline" and "All to All". Guitarist Andrew Wynn even sang worthy lead vocals on “Looks Just Like the Sun”. While each member was capable to step up to the plate, fun hijinks (like running around the stage, singing in the crowd and even crowd surfing across the whole room - see pic of Kevin Drew) were not distractions.

Openers the Sea and Cake were steller. Its obvy BSS are big fans as 4 different members sat in with them and kevind drew gave a nice introduciton. Singer Sam Prekops haunting yet upbeat voice is truly a treat live. I didnt know much of their material but the "Parasol" closer made me realize i need to listen to more Sea and Cake.

BSS Setlist: KC Accidental, Texico Bitches, Cause = Time, 7/4 (Shoreline), Fire Eye'd Boy, Forced to Love, All to All, Stars & Sons, Sweetest Kill, Guilty Cubicles, Superconnected, Art House Director, Hotel Play Video, Lover's Spit, Romance to the Grave, Anthems for a Seventeen Year Old Girl, Ungrateful Little Father, Meet Me in the Basement, World Sick, Water in Hell
E:Looks Just Like the Sun, Chase Scene, Pacific Theme, Ibi Dreams of Pavement

Opener/s: The Sea & Cake
Venue Info:
beer sitch: $6 PBRs, savages in this town
parking: free parking is available around the venue easily unless the Sox are playing (which they were, against the Blue Jays, and Kevin drew wouldt shut up about it). Fenway is literally across the street.
layout: square, club type room with GA floor and 1st balcony, seats in 2nd blacony.
Capacity: 2,425 sold out

Worlds are colliding: BTS takes on the Dead

2010-10-01T13:21:00.003-04:00

So I'm going to see Built to Spill on Saturday night at the new Met cafe in lovely Pawtucket on Saturday night. I can't friggin wait. Not only is this a brand spankin new venue (RI translation - "It's the new Met cafe, which is where the old Blackstone Club used to be) only 2 blocks from my house but these guys are in my top 5 to boot! Anywho, I was looking at some set lists from this tour to see what they've been playing and I keep seeing "Ripple" pop up. I found this clip of the song on Youtube. I think it's pretty cool and I like how they put their own spin on in and basically bail on the famous acoustic guitar intro - which is also the vocal melody. Bravo boys, bravo. See you on Saturday!

EDIT: Saw the show, it was great as usual. The new venue reminds me of the old Lupos w/out a blacony. Here's the set lists.

10/2/10 The Met, Pawtucket, RI
Nowhere Nothin' Fuckup, In the Morning, Hindsight, You Were Right, Reasons, Planting Seeds, Ripple, Stop the Show, Else, Time Trap, The Weather, Pat, Carry the Zero
Encore: Randy Described Eternity, Car, Conventional Wisdom

Opener/s: Revolt Revolt, Pretty & Nice
Venue Info:
beer sitch: $5 bucks for harpoon IPA, $2.50 for a Gansett, nice.
parking: Plenty of street parking
Capacity: 515, probably half full.

Tuning the Devil's Harp with the Barr Brothers

2010-09-24T12:54:00.005-04:00

These days the guys in the Slip have diversified so much that it’s rare to see BAM onstage just as The Slip. That doesn’t mean that the boys aren’t making amazing music. The newest side project is B and A’s take on beautiful folksy/Americana music (yes I realize the band is Canadian, but its still Americana!), The Barr Brothers. The brothers Barr are joined by some friends from Montreal, this tour is harpist Sarah Page and multi-instrumentalist Andres Vial.

Last Memorial Day weekend the band rolled through Providence to deliver a great show at the artsy Firehouse 13. The somewhat short set (they only have one album) featured pretty much every tune on the album plus a number from brad’s solo guitar album, The Fall Apartment, and some new gems. There are certain themes and imagery that find themselves at the core of this band’s music - women that got away, the Devil, mythology, searching, reflection - that differ from the Slip’s more abstract lyrical canon. Whether principal songwriter Brad Barr has been evaluating his own life or letting Nathan Moore’s influence seep in to his musical subconscious is not known, what is known is the personal connection the listener makes with these lyrics is more intense than I’ve experienced with the Slip or Surprise me.

Slow ballads like “Cloud” and “Beggar in the Morning” showcase Brad’s more delicate side whilst singing in a register most befitting to his vocal prowess. A friend of mine thinks that the lyrics to “Cloud” could be adapted into a children’s book and as I listen to the song I can visualize the imagery and message of this wonderful song, Different sounds and textures added to Barr’s songs (I saw him do most of these at a solo show a couple years ago) provided a finely woven musical quilt that would keep anybody warm on a cold winters day. Now you may not dance your ass off, like at Surprise Me at their best or have your bell rung by the avant-rock soundscapes of the Slip but you will find yourself tapping along with a smile as these 4 musicians make beautiful music with Barr’s best lyrics to date as a focal point. If you haven’t bought this CD yet, do it NOW. And go see them if they ever get out of the northeast.

Opener: n/a
Venue Info:
Beer sitch: Full beer and Wine Bar. Ranging from Murphys Stout to Narraganset Tall Boys for $2.50.
Parking: easy, free parking on the street.
Layout: Rock club atmosphere in an old Firehouse. GA, about 10 rows of folding chairs were set up.
Capacity: not sure, probably 200 or so. About 1/2 full

Set List: (72min) Beggar in the Morning, Gone, Old Mythologies, Give the Devil Back His Heart, Ooh Belle, The Devil's Harp, Lord I Just Can't Keep From Crying, Sarah Through the Wall, If You Leave Me, Cloud

E: (13min)Deacon's Son, Let There Be Horses

Modest Mouse has Everything Down to a Science

2010-09-20T13:03:00.005-04:00

So I saw Modest Mouse back in July at the House of Blues in Boston. It was awesome. No more Johnny Marr but the boys still sound great. Set lists are changed for every show and it seem like they are playing equally from all of their catalog. Since it was so long ago and I have 3 other “reviews” to post soon I'm just going to leave you with this set list and some videos (follow the set list links) I found on Youtube. In case you were wondering, Modest Mouse is alive and well and are finally a legit live act.

Opener/s: Morning Teleportation
Venue Info:
beer sitch: $6 PBRs, ugh
parking: free parking is available around the venue easily unless the Sox are playing. Fenway is literally across the street.
layout: square, club type room with GA floor and 1st balcony, seats in 2nd blacony
capacity: 2,425 (sold out)

7/25/10 Show: Missed The Boat, Paper Thin Walls, Never Ending Math Equation, Autumn Beds, We've Got Everything, Float On, Dramamine*, Bukowski, Tiny Cities Made Of Ashes, The View, Blame It On The Tetons, Out Of Gas, Here It Comes, Black Cadillacs, Shit Luck, Parting Of The Sensory

Encore: Satin In A Coffin, Gravity Rides Everything, Trucker's Atlas, Spitting Venom

* with “Life Like Weeds” tease

Dr. Dog - Shadow People video

2010-09-17T11:41:00.002-04:00

I love that bands still make videos now that MTV is a shitty reality tv show channel for 12-year-olds. The internet is the new music television. Dr. Dog are a band that never cease to amaze me. Yes, you can accuse them of sounding a lot like themselves but that has to do with the formula they've perfected and the analog recording equipment they use. Their albums are all quality beginning to end and their shows are tight, fun and energetic as hell. The band is on tour in support of their latest album Shame Shame, you can check out tourdates HERE. In the meantime watch the video for "Shadow People".

I'm getting a big kick out of this new Cee-lo tune

2010-08-23T20:54:00.001-04:00

I Feel the Feeling I Forgot

2010-08-04T13:28:00.008-04:00

Ah Phish, how I love thee. So Ive been seeing these guys for over 15 years and these were my 71^st and 72^nd shows. As a wee pup I used to pour over every minute detail of every show (if you still do – this blog may be better for you to get a review of these shows) but now to paraphrase Trey – "it’s all about the energy". I don’t care if they don’t explore uncharted territory for 30 minutes or miss a change or even play the occasional craptastic new song. The fact is that with bands charging an arm and a leg these days for 75 minutes of music, Phish deliver energetic, incredible, extensive shows every night. period.

I spent the first set of Hartford on the lawn – lots of room, puffer friendly and hangin with friends. Solid set (except for the new shitty, repetitive, unoriginal love tune “summer of 89”) with nice versions of Wolfman’s and Reba really stuck out. I got stubbed in to the pavilion for the second set – soooo much better. You can see the whole band and the light show wash over the crowd. Highlights of the 2^nd set were definitely the Tweezer > Theme, the latter being one of my favorite phish tunes ever. The encore was the real treat at this show. After the quirky, but rare “Sleeping Monkey” (dedicated to a phan who asked for the song the previous night) there was the unprecedented double "Tweezer Reprise". They literally play the song twice in a row – see the video above. The energy in that building was insane – everyone dancing like crazy with smiles ear to ear. If that doesn’t epitomize the joy that Phish can bring to their crowd I don’t know what does.

The second show I caught this tour was at Great Woods (now called Corporate Sponsor #3) which was 20 minutes from my house and the site of my 2^nd ever show almost 15 years prior to the day. We got to the show mad early and bbq’ed it up and I had a bottle of Jameson which is never a good combo. But whatevs. The show was great – we got a new cover, a new song ("Dr Gabel", which I liked a lot) and a bust out, Camel Walk – so I couldn’t really ask for more. Highlights for me were definitely the Sneakin Sally > Light > 46 Days sandwich. Full of nice jams, but not meandering like some often do. The "Loving Cup" closer was also a real treat. I hadn’t seen 3.0 do it yet and we cover it in Commas. IMO Phish play it better than the Stones, but don’t tell anyone I said that. Anywho – if you like phish today or yesterday and they come to your town your should go. If you don’t expect ’97 era ridiculousness then you wont be disappointed. They are rejuvenated and having a blast, its def worth your $50.

Opener/s: none
Venue Info:
beer sitch: taxed beers at corperate venues run you a good $8-10 bucks a pop
parking: free parking is available at Great Woods but Hartford I suggest throwing down money to park at one of the car dealerships or businesses near the venue to avoid cops and traffic leaving the show
layout: amphitheatres with pavilions and lawns
capacity: Great woods is 19,900, Hartford is 30,000. GW sold out but Hartford did not.

06/18/10 Comcast Theatre, Hartford, CT
Set I: Fee> Rift, Wolfman's Brother, Summer of '89*, Foam, Possum> The Moma Dance> Julius, Reba, Cavern
Set II: Halley's Comet> Light> Billy Breathes, Tweezer> Theme from the Bottom> Harry Hood> Wading in the Velvet Sea, Stealing Time From The Faulty Plan
Encore: Sleeping Monkey> Tweezer Reprise, Tweezer Reprise
* First Time Played

06/22/10 Comcast Center, Mansfield, MA
Set I: Lit O Bit*, Camel Walk, Possum, The Divided Sky, Dirt, Sample in a Jar, Kill Devil Falls, Dr. Gabel**, Run Like An Antelope
Set II: Mike's Song> I am Hydrogen> Weekapaug Groove, Sneaking Sally Through the Alley> Light> 46 Days, Limb By Limb, Golgi Apparatus, Slave to the Traffic Light, Loving Cup
Encore: First Tube
* First Time Played (Rita Clarke and The Naturals). ** First Time Played

Dave Rawlings Machine - Two Tickets to Paradise

2010-06-25T20:02:00.006-04:00

The Barr Brothers - BUY THIS CD NOW

2010-06-08T12:33:00.003-04:00

I just love it when I discover a new album that wont let me take it out of my CD player (yes CD's - i for one dislike compressed music). The New Barr Brothers CD is my new go to. Yet another side project from the Slip boys - this one is a group they founded in their new haunt of Montreal and showcases Brad Barr's soft, intuitive, folky side - think equal parts Nick Drake, Leonard Cohen and Nathan Moore with some African polyrhythms and ball- busting blues thrown in for good measure. The arrangements, filled out by brother Andrew (drums, percussion, toys), Sarah Page (Harp, not Harmonica, Harp) and Miles Perkin (Keys, Bass) on this album bring new textures and depth to the guitar based songs that Ive seen Brad play solo many a time; making this album perfect for quiet evenings, sipping whiskey on your back porch.

I'm not going to review it because I'm sick of album reviews, they are mostly subjective and pretentious and written by morons. I also hate doing it, which is why I stopped writing album reviews for JamBase and TinymixTapes. So....Im just letting you know that this underground masterpiece exists - the rest is in your hands. Follow the link to hear a delicious in studio performance and interview HERE and look below for some cool videos shot on location in Montreal of some of the bands songs. After listening go HERE to buy the CD directly from the band. That is all

THE BARR BROTHERS - Ooh, Belle from Mitch Fillion on Vimeo.

THE BARR BROTHERS - Lord I Just Can't Keep From Cryin' from Mitch Fillion on Vimeo.

Steppin Out with Steel Pulse

2010-06-02T12:57:00.008-04:00

God I forgot how much fun Reggae music can be. Last week a friend offered me free VIP seats to S teel Pulse at Lupos. Total last second deal but I had no plans after bocce so I went. I have listened to Steel Pulse since i was in high school and seen then before before so I knew a great deal of their material.

We got to the show and Giant Panda Dub Squad was on - a bunch of white boys playing reggae but it was pretty good i guess. We got some beers and made our way ot the VIP booth. This is the way to see shows. elevated above the crowd, plenty of dancing room and a great view of everything going on.

Given that this concert was a couple weeks ago Im just going to pass along some videos and pics of the night and not really review it much. I can say that they sounded great, front man David Hinds is a great band leader often leading the band through atypical hits in an otherwise typical reggae progression. The band mixed classic tunes like “Ravers”, “Chant a Psalm” and “Steppin Out” with some newer material that I was not familiar with. The packed floor was dancing wildly and was obviously ignited from hits off the bands two most famous albums True Democracy and Earth Crisis (both 25+ years old). So if you are a reggae fan and are on the fence about seeing Steel Pulse when they roll through your town, just do it. You will not be disappointed.

Opener/s: Giant Panda Guerilla Dub Squad
Venue Info:
Beer sitch: Lupos has a full, reasonably priced bar. $5 sam Adams or Sierra Nevada's are usually my go to.
parking: free street parking was easy to find b/c it was a weeknight
layout: Theatre with a GA main floor and reserved seating in the balcony
capacity: 2,000 (I'm guessing 300-400 were in attendance)

"Slappin da beyass, mon"

The Low Anthem; Building Arks with Music

2010-05-04T13:14:00.011-04:00

A couple weeks ago the State of Rhode Island flooded like no one had seen in 100 years. Rivers overflowed, basements flooded, roads and bridges were destroyed and many families lost valuable belongings and suffered a great deal of property damage. Upon hearing this, Providence based band turned global touring act, The Low Anthem decided to make the hometown stop on their spring tour a benefit show for flood victims and ended up raising $3,000...well done.

I’ve seen the Low Anthem a lot in the past couple years since meeting the band in April of 2008 on their first ever tour outside of Rhode Island (as supporting act for Surprise me Mr Davis), so a Wednesday night show didn’t reel me in at first. But as soon as I heard about the benefit show I knew I couldn’t pass it up. Listen to music AND help those in need, how could you not? I arrived to the show late (Bruins playoff hockey has sucked me in) only to hear the final number of the middle band, Tallahasee. I completely missed the opening set by local band The ‘Mericans, next time I guess.

Lupos is a big theatre, much too big for the Anthem, especially on a week night. But after selling out smaller rooms like the Avon Theatre and Firehouse 13, they were forced to make the jump to the 2,000 theatre in downtown Providence. The band came onstage to the 1/3 filled floor (the balcony was closed) and began with “Oh My God Charlie Darwin”, assumedly played due to the songs chorus “Oh My God, the water’s all around us”. “Ticket Taker”, a love song from the view of a ticket attendant for an Ark followed. It’s one of my favorite song’s in the band’s repertoire but for some reason lead singer Ben Knox Miller abandons his whispery, subtle vocals for a more direct, full voice approach which I flat out don’t like on this particular tune.

Despite the amount of instruments on stage and a new member (multi-instrumentalist Mat Davidson) the Low Anthem are a quiet band. You could hear the crowd chattering near the bar which almost seemed louder than the band. As the set picked up, the crowd got drowned out thankfully. The band rattled through a set I've seen them play a million times before (well, this was my 11th TLA show but you know what I mean) before except for some new songs. “Apothecary Love” has a nice sentiment but sounds just like all their other songs and “Ashes” which featured the band huddled around one mic in 4 part harmony was a nice change of pace but never really went anywhere interesting. There are only so many variations of I, IV and V chords I can stand in one set. Strong tunes of the night were “Don’t Let Nobody Turn You Around” and the early era of the band staple “This God Damn House”. The former featured an improved Miller behind the drum kit and the only song the band plays that his “growl” voice works on (IMHO). Bassist Jeff Prystowsky killed the bass intro (as usual) and Jocie Adams lent some nice bluesy electric guitar bends and strong vocal harmony in to the mix. They latter gave us the ghostly cell phone “trick” in which the band encourages the crowd to join Miller and call their friends at the show and hold their phones together thus creating an eerie sonic effect. Its such an original trick that it never gets old. To see what I mean watch the end of this video I found on Youtube.

I left about an hour in to the band's set, being it midnight on a school night and all. I have to admit, the band sounded great. Lupo’s sound system supplied a clean, full sound; their drumming has drastically improved (the band members platoon on drums depending on the song) and newcomer Mat Davidson has a great knack for vocal harmonies and accompaniment skills. A mostly empty room with a chattering crowd and no seats is just not the best venue for a folk band. They would better be suited to keep selling out smaller listening rooms. For a young band on the rise I have to say they’ve come along way in the past 2 years and continue to progress and improve their level of musicianship. If you have never seen them, go, their unique arrangements and instrumentation are a breathe of fresh air.

Opener/s: Tallahasee, The 'Mericans
Venue Info:
Beer sitch: Lupos has a full, reasonably priced bar. $5 sam Adams or Sierra Nevada's are usually my go to.
parking: free street parking was easy to find b/c it was a weeknight
layout: Theatre with a GA main floor and reserved seating in the balcony
capacity: 2,000 (I'm guessing 250-300 were in attendance)
1: Oh My God Charlie Darwin, Ticket Taker, To the Ghosts Who Write History Books, On My Way Home*, Apothecary Love*, Sally Where'd You Get Your Liquor From, Don't Let Nobody Turn You Around, This God Damn House, Ashes*, Sad and Guilty Feeling*
* not sure of title, new tunes.

Surprise me Mr. Davis - The Band that Eats Morning For Breakfast

2010-05-04T12:43:00.011-04:00

Surprise Me Mr. Davis may be the best super-group that you’ve never heard of. Made up of avant- rock trio The Slip, Singer/Songwriter Nathan Moore and virtuosic jazz pianist Marco Benevento, the band hit the road for a quick 5 show jaunt around Southern New England and NY in support of their latest release The Man Who Eats Morning for Breakfast EP on Royal Potato Family. I caught the band twice on this run; one in an intimate, listening room setting in Cambridge, MA and the other in an artsy, refurbished Firehouse (turned club) in Providence, RI.

4/13/2010 – Club Passim, Cambridge, MA

This was my first trip to Club Passim, which is a nonprofit Arts center that doubles as a tasty vegetarian restaurant called "Veggie Planet". The room fits around 100 patrons and people were seated at tables of 4 with GA single seats lining the walls. The sold out show in such an intimate setting offered a chance for Davis to play more intricately, rather than just rocking out. The band played mellow versions of songs like "Summer of My Fall" and "Roses and Bottles" to go along with the sit down vibe of the venue.

The stage was very cramped and the guys literally had to climb over a monitor and Marc's pedals to get to their instruments. Newest member, Marco was on an upright piano and had a little keyboard on top of it. Nathan switched between his "troubador" guitar (the one he won in Telluride) and the baritone uke all night. Andrew Barr had a broken down kit, no rack toms and only 2 cymbals other than the hi-hat. He had lots of toys including shakers, wine glasses filled with water, and some sort of bamboo sticks (see picture to the right) he played on his knees during "Nowhere From Here To Go". All in all a great room and great vibe for the band.

Opener: n/a
Venue Info:
Beer sitch: The restaurant served wine and 2 beers from local Cambridge brewing Co, an Amber and a Pale for $5. They came in small plastic glasses but were tasty.
Parking: free parking on the street is pretty tough, I found it about 6 blocks away. There is also a parking garage near the venue that charged $8 if Passim validates your ticket.
Layout: One room in a basement with stage against the wall. Tables of 4 in the middle of the room and individual seats line the wall, this was a sit down show
capacity: 125 (sold out)

1: (8:17) Tombstone*, Sleepyhead, Summer of My Fall, If You Knew, Emily Green, One Sick Knave, Hollow, Mardi Gras Song, Roses & Bottles

2: (9:37) Joelle, The Shouters**, Nowhere from here to Go, Poor Boy, Maybe Some Day, Home Away From Home, As the Crow Flies

E: Woo-Hoo Blues*** > Everything Must Go

Show ended at 10:41pm. * Brad on baritone ukelele, everyone else a capella. ** Nathan sang through his Harmonica Mic while sitting on the ground. He was quoting lyrics from "Fat King of Gods" during the song's intro. *** brand new short upbeat blues tune written by Nathan the day before the show. The band didn't know it and jammed along with Nathan before going in to "Everything Must Go".

4/15/2010 – Firehouse 13, Providence, RI

Firehouse 13 is a refurbished Fire Station on the west side of Providence. Basically, the venue is in the main space of the building where they kept the firetrucks. It’s a long room about as wide as the stage (which has recently been elevated to 4 feet. Yesssss!!!). The less than half filled room crept up tight to the stage as soon as the band hit which allowed for the band to feed off the energy. Unlike Cambridge, this was a standing room club with a light show and good sound system. The stage is bigger and the band had more room to interact with each other on stage.

We got a lot of repeats which is the case these days when the band doesn’t rehearse much and barely gigs; but “Summer of My Fall” and "The Shouters” were noticeably more energetic. The band threw in some more upbeat songs such as the heavy hitting “I'm No Good At All” and funky stomper, “Sissyfuss”, which opened up to a jam session with Nathan leaving the stage and the Slip and Marco just going for it. Highlights for me were the retro sounding reggae/soul number “That’s the Way” and danceable, go with the flow themed “Little Boat”.

Opener: n/a
Venue Info:
Beer sitch: Full beer and Wine Bar. Ranging from Murphys Stout to Narraganset Tall Boys for $2.50.
Parking: easy, free parking on the street.
Layout: Rock club atmosphere in an old Firehouse. GA, no seats
Capacity: not sure, probably 200 or so. About 1/3 full

1: (97 min) Tombstone, Rose & Bottles, Summer of my Fall, If You Knew, Sleepyhead, New tune*, Emily Green, Im No Good at All, Maybe Some Day, Sissyfuss, Joelle, The Shouters, That's the Way, One Sick Knave, Poor boy

E1: (10 min) As the Crow Flies, Little Boat

E2: (12 min) Nowhere from Here to Go**, Everything Must Go

* just Nathan and Brad, Marc sang some harmonies. ** started as Nathan solo and the rest of the band trickled on stage.

Wilco: Killing them Softly...and Loudly

2010-04-16T11:22:00.005-04:00

Okay, so this post is pretty after the fact but I’ve been busy as of late. I saw Wilco on Easter at Lupos in Providence. It was awesome. By far the longest show the band has ever done in my presence. Before heading to Europe, Wilco embarked on a short 2 week jaunt through the Midwest/Northeast on an “Evening With” Tour which should read “no opening band so we are going to play forever”. Playing 2,000 seat venues when the band can clearly fill 5,000+ venues, the demand was huge and everything sold out which led to a very energetic atmosphere.

So after a nice Easter meal with some family, my girlfriend and I headed back to PVD and went to the show. Being a Sunday, we were pretty tired from the weekend but I wanted to show her what a Wilco show was all about, being in My Top 5 fave bands and all. We found a nice little area on Nels’ side fairly close so that we could see well and had some room. The band came out hot. After the cheeky “Price Is Right” theme music over the PA, the band launched into Wilco (the Song) (see video below) as they often do these days. The first “electric” set was filled with newer, more exploratory songs like “Bull Black Nova” and “Impossible Germany”. During the feedback/noise ending of “Poor Places” the band’s crew set up an acoustic “living room” style stage complete with mini drum kit, keyboards, stand up bass and old lamps convey the intimate vibe. They proceeded to play an 8 song acoustic set which featured alternate arrangements of the usually heavily electrified “Spiders” and “Heavy Metal Drummer” as well as some mellower, typically acoustic older songs. My favorites were the rare Loose Fur cover “Laminated Cat” (previously only found at Jeff Tweedy solo shows before this tour) and the alcoholic ode, “Passenger Side” which provided a great sing along.

After the “acoustic” set the band launched back into more upbeat, older material. Rockers from “Summerteeth” and “Being There” are always welcome for the old school fans but short, 4-chord stompers can get a little monotonous at times, even from Wilco. Clocking in at over 3 hours, the 39 song show showed off Wilco’s stamina, diversity and genuine dominance of the American Rock and Roll scene. This band is for real and I will take the Pepsi challenge wth anyone to prove these guys may have just edged out My Morning jacket as America’s BEST band. That’s right, I said it.

There was no photography at the show so the pic above is from a show last summer in Portland Maine, the video I found on youtube is from the Lupos show.
Opener: n/a
Venue Info:
Beer sitch: 3 bars in the GA room meant short lines. Prices were decent too, I got a Sam Adams for $5
parking: free parking on the street is pretty if you don’t mind walking a little bit. There are also plenty of $10 parking lots around the venue.
layout: Theatre with a GA main floor and reserved seating in the balcony
capacity: 2,000 (sold out)

04/04/2010: Lupos, Providence, RI
1: Wilco (The Song), Bull Black Nova, You Are My Face, I Am Trying To Break Your Heart, One Wing, Radio Cure, Sonny Feeling, Summer Teeth, Misunderstood, She's A Jar, Handshake Drugs, Impossible Germany, California Stars, Poor Places > segues to Acoustic Set > Spiders (Kidsmoke), What's The World Got In Store, War On War, Forget The Flowers, Heavy Metal Drummer, Laminated Cat, Passenger Side, Airline To Heaven > Segues back to Electric Set > A Shot In The Arm, Jesus, Etc, You Never Know, I'm Always In Love, Hate It Here, Easter Bunny ditty*, Theologians, Too Far Apart, Walken, I'm The Man Who Loves You, Red-Eyed And Blue, I Got You (At The End Of The Century), Thank You Friends**

E: Dreamer In My Dreams, Casino Queen, Outtasite (Outta Mind)

* Michael played a little jam of a computerized voice on his keyboard saying “Easter Easter easter Bunny” while the band danced and jammed along for a minute or two. * Big Star cover.

Big Light: New Album and First ever East Coast shows

2010-03-11T11:32:00.005-05:00

I know Ive written about these guys recently but that was sort of a teaser, if you will. Now, the album is out and the band is on the road. Animals in Bloom is the sophomore release (first full length) by the band Big Light, and tonight they will rock New Jersey! Didnt see that one coming eh? First let me mention what they will be playing before where.

After the bouncy but edgy “Good Time of the Year” (think, what Phish could have accomplished with “Backwards Down the Number Line” if they didn’t seek lyrical advice from 10 year olds) we finally get “Monster”. I have to say I'm a bit biased as I was one of the first people front man Fred Torphy taught the song to years ago; and I engineered it's first recording in my old living room in Tahoe with members of my old band, Two Out Rally. Anywho, aside from the “Scooby Doo Do” stuff in the beginning, this song has matured into an effing gem. A punchy rhythm, huge guitars and Torphy's fragmented, deceivingly dark lyrics that seem to just roll off his tongue ("Ready to go, cocaine & camera phone, hopelessly young...”). Can anyone say college rock radio hit?

Although principal songwriter Fred Torphy hails from Rhody, there is no mistaking that Big Light is a San Francisco band. Songs like “Rainbow Eyes” and “Caution” evoke images of people and places in the city, painting a vivid picture of the bands make up . “Triceratops” sounds like nothing you’ve heard before, but it seems familiar, despite its angularity and abrasiveness. But that’s a good thing; it makes the change to the guitar break that much more welcomed. What makes this album stand out amongst the masses of unestablished bands out there is not only the songwriting, but the production. Engineer/Producer Jeremy Black (of Apollo Sunshine) worked with the band on its debut EP but now has seemed to grow with the band. The album is rich with layers and textures, vocal tracks, guitars and Bradly Bifulco's drums have never sounded better on any previous recording. So do yourself a favor and buy this album!

Fresh off a couple west coast gigs last weekend (including the band’s first headlining show at SF’s Independent), the band will play their first ever shows east of the Mississippi. Tonight they play guitarist Jeremy Korpas’ old stomping grounds, Asbury Park with Korpas’ old band Green Tag Sale. Saturday night is their NYC debut at Sullivan Hall. Being that the band is ¾ east coast transplants, this should prove to be a packed, energetic, stellar show. You if you live in the tri-state area or are an east coast music lover in need of a road trip this weekend, do yourself a favor and go see Big Light. Also, if any readers know peeps in Austin, Big Light will be at SXSW all next week in various locales.

new broken Social Scene track, "World Sick"

2010-02-22T13:04:00.004-05:00

Broken Social Scene has just announced that they are releasing a new album, Forgiveness Rock Record in May! After a couple BSS Presents: (insert band member here) albums they are back at full force and I for one am psyched. I saw the full band (minus famous lady cohorts) at the beautiful Greek Theatre in Berkeley, CA in 2006 and they killed. So enjoy this track by entering your email (to go on their fan list I presume) and a download link will be sent to your email.

They are also playing a select amount of dates in Europe and the U.S. to promote the album. For tour info go here

Big Light: "Animals in Bloom" due March 2nd

2010-02-15T12:19:00.005-05:00

Ok, so I kinda know some of the guys in the band and actually grew up about a half mile from frontman and fellow White Thighs, Fred Torphy. But if I didnt i would still spread the word of Big Light. The San Fransisco based quartet is about to release their first full length album on reapandsow.

A couple songs have made their way on to the internet so I thought i would pass 'em along. "Monster" has been kicking around the WHite Thighs repertoire for atleast 3 years now and has been given a makeover by Big Light. Gone is the slow vampy intro, the horn lines, the drawn out middle section and in are some new vocal lines and shot in the arm. The song is now a 3 minute, radio ready, indie rock gem. The second song, "Triceratops" can be found on the band's myspace page. A little more abrasive but a lot more creative. It's just dirty. You'll see what I mean.

The full album Animals in Bloom, check out the trailer below, is due in a couple weeks and the band can be seen playing a hand ful of gigs around Northern California, New York and Austin in the coming months. So check em out if you live around those cities.

Happy VDay folks..."Ooh-wee, that gal's the gal for me"

2010-02-14T17:50:00.004-05:00

Just came across this Felice Brothers tune called "Love Me tenderly" on my lastfm channel and i friggin love it. I saw these guys open for Bright Eyes once but only caught one tune, "Frankie's Gun". I think I need to listen to them more. I gotta say, I'm really enjoying this surging indie-Americana scene thats coming to prominence. Anywho, being it Valentine's Day and All, enjoy this lovely number from the Felice Bros.

Lyrics:
My baby told me, darling your can't get a pardon better get a parole
I told her I'd be out by morning When the sun is dawning with a money roll
Oh-wee that gal's the gal for me, She loves me tenderly

I walk with my brand new slacks and my hair slicked back down to Donny's pier
Donny wants me to buy him a bottle but I blew my wallet on a chandelier
All for my loving gal Lenore who loves me tenderly

A bottle of scotch A dime sack and a diamond watch, wouldn't you like that?
A bottle of gin A typewriter and a violin, wouldn't you like that?

I left my blue eyed lady and went with Tony Mercedes to the gambling ring
I lost my diamond watch but in the parking lot I took it back again
All for my loving gal Lenore who loves me tenderly

A sunny day A shotgun and a Chevrolet Wouldn't you like that?
A painted scene Of horses on a city green Wouldn't you like that?

for a studio version of the song click here

Trey and Classic TAB - HoB, Boston, MA 2.12.10

2010-02-14T16:44:00.005-05:00

I cruised up to Fenway last Friday night to catch Trey and his “Classic TAB” band at the House of Blues (the old Avalon) located about 30 feet from the green monster. It was another solo mission as my girlfriend is in Central America and unfortunately, none of my friends were able to get tickets. Anywho, now that Phish is back together it's nice to see a Trey show not as a replacement for Phish, but as a nice addition to Phish. After waiting in line for a good 20 minutes, the security searching like crazy which surely caused the huge line (all the way back to the Cask n Flagon at one point), I got ushered up to the 2^nd level of the venue which is basically a 10ft wide hallway wrapping around the room. So if you are not 6'5” or in the first row or two good luck seeing the stage.

New to this tour from the last Trey tour was the addition of a 3 piece horn section which, IMO makes all the difference. Somewhat monotonous songs like “Gotta Jibboo”, “Shine” and “Alaska” take on new levels with the brass textures. The show's set list was a nice mix of solo Trey tunes, Phish B-sides ( “Birdwatcher” for ejemplo) and the Farmhouse tunes. I definitely like the material from the self titled album the best but the newer songs sound better with Tony and Russ on rhythm detail, this is definitely my favorite TAB incarnation. The band has debuted a handful of new songs this tour which honestly don't really do it for me although, “Song of Life” is aight I guess. Highlights for me were songs like “Cayman Review”, Money Love and Change” and “What's Done”. The 2 covers of the night are among my favorites that they do, an instrumental take on the Wailer's “Small Axe” and the Dire Strait's “Sultans of Swing”. The latter containing a horn arrangement of Knopfler's iconic guitar solo. As much as I'd like to see Trey rip that solo up, I like his attempt to arrange it for horns.

As with many Trey shows, it had its peaks and valleys (by which I mean perennial suck fests with grade school level lyrics such as “Let me Lie”) but overall, the energetic dance numbers are what you take with you when you go. Dancing is important, remember I said that. As for the venue, yikes. This place kinda sucks except if you have a good view of the stage and don't need to pee ever. For the entire 2^nd and 3^rd level there is only one bathroom with 2 stalls and 1 urinal. Ridiculous...PBR's are $6 a pop (a sixer is 4 bucks at the drug store a block from my house) and security was tight. I had to empty my pockets, get frisked and take off my hat, then get my General Admission ticket scanned by atleast 4 people before entering the concert hall. I'm 6'3'' so luckily I can pretty much find a place to see anywhere but for shorter people, good luck and get there early if the show is sold out. Alright, Im trying to keep this thing short so click on the videos for a sample of the music. Trey is playing throughout the east and mid-west and south this run so go catch him if you're not too jaded and could use a good night of groove-centric, fun songs.

openers: none

Venue info:
parking: free parking on the street is pretty easy as long as the Sox arent playing at home.
layout: square, club type room with GA floor and 1st balcony, seats in 2nd blacony
capacity: 2425 (sold out)

02/12/10 House of Blues, Boston, MA
Set I (86min): Shine, Cayman Review, Push On Til the Day, What's Done, Birdwatcher, Mozambique, Night Speaks To A Woman, Alaska, Let Me Lie, Plasma, Tuesday
Set II (83min): Drifting, All That Almost Was, Sand, Goodbye Head> Gotta Jibboo, Small Axe, Valentine, Money Love and Change, Show Of Life, Dragonfly
Encore (13min): Sultans of Swing, First Tube

Show: Dr. Dog at Lupos in PVD. 1.29.10

2010-02-13T16:59:00.011-05:00

I caught Dr. Dog a couple weeks ago in Providence (thankfully - For some reason most bands dont think of the 2^nd largest city in new England – get bent Worcester - as a valid tour stop) and they tore the roof off of Lupos' 40% filled room. I couldn't get any interest from friends so it was a solo mission which sometimes I like, actually. As usual it was a good time, that band looks like they are having a complete blast playing together on stage. It's probably my favorite thing about them. This is the 3^rd time I've seen them and they never disappoint. New to this tour is drummer Eric Slick aka “Teach” who is a big time Philly session-man and has toured with Adrian Belew Trio. He's probably the most famous graduate of the Paul Murphy School of Rock and obviously kicks friggin arse. I didnt write a set list, figure'd I'd stay in the moment on this one, save for the few photos and vids I took, but I do recall quite a mix of the repertoire.

Highlights for me included “Aint it Strange”, “Oh No” and “My Friend”. The band also played some new songs (their next album drops April 4^th) which slid right in to the rotation nicely. Dr. Dog doesn't necessarily switch up their approach much, the beauty of which lends itself to a fluid and consistent shows. Ive never said “Man, I wish they would stop with all this crappy new shit and stick with the classics” like a lot of bands with at least 5 releases under their belts. The Dog's new tune's are just classics you haven't memorized yet, these guys are great fucking songwriters albeit unabashedly derivative of the Beatles' and the Bands' of the world.

Lupos is always a good time when it's not juiced. Its nice to have some wiggle room. The band decorated the stage with animal heads and plants giving a more theatrical vibe than I've seen them do before. Beer prices are relatively low – I was getting Sam Adams pints for 5 bucks – and the security was 'laxed, no searches which IMO helps contribute to a most enjoyable concert atmosphere (you can read that in a “Ted Theodore Logan” voice if you like). I believe DD is touring the whole country and Europe this spring/summer already have sets at Bonnaroo and High Sierra lined up so check em out when they come around. Which is in May with Deer Tick at the Paradise if “around” is Southeastern New England

Openers: the Growlers, Last Good Tooth <- Providence band

venue info:
Parking: Free parking is tough but available around the venue,
Layout: General Admission Theatre with balcony (that was closed)
Capacity: 2,000 (1,200 w/out balcony)

BearBlog V2.0 - "It's a new year, i got a new change of gear, I swear"

2010-02-13T14:09:00.018-05:00

Welcome back Reader(s)!. So it's been about a year since I last updated the BearBlog and I decided I would start up again. The previous years of posts consisted mainly of CD and concert reviews where I nitpick the minute details of the band's music. After a while I started writing for online music mags like Jambase and Tiny Mix Tapes and just over did it. As much as I enjoyed free tickets, photo passes and even backstage access at Newport Folk, I stopped enjoying concerts as I spent most of my mental capacity analyzing them instead of letting them take me to that “place” where only music can. In all reality I'll probably write for Jambase again at some point but for now I'm taking a breather from in depth coverage.

So...BearBlog v2.0 will be more of an account of the shows (no more album reviews, but possible heads-up to tours and album releases and "2 cents" on releases, music news and bands will be posted) that answer questions like ...anything new this tour? Is the band playing well together? Is the venue cool? Did security grab your balls and feel you up upon entrance? Did you spend more money on beer than you did on the ticket?... That type of stuff. I'm also gonna write in a more free associative style, be less formal and post pics and videos whenever I can.

Another direction I'd like to take is to concentrate more on local music in addition to the national acts I see. I live in Rhode Island (home to up and comers like Deer Tick and The Low Anthem) and there is lots of good music in the air, so if you don't live there, you may never have heard of some of the bands I will cover.....but thats a good thing. New music is good. So enjoy, read, research, click and listen, discuss, recommend, spread the word and most importantly GO SEE LIVE MUSIC!

Gimme a You, Gimme a Yeah, Gimme a Smokin' Hot

2008-12-17T11:26:00.004-05:00

Nathan Moore is perhaps the most underrated songwriter of the last ten years. While lending his talents to ThaMuseMeant and Surprise Me Mr. Davis (his electro-folk band in which avante-rockers The Slip, back him) he still has enough new material to release 2 solo albums in as many years. The latter, You Yeah Smokin' Hot, was released digitally about a month ago. With no physical release yet and little promotion (songs from the album aren't even streaming on his myspace page) YYSH perhaps one of the years best under the radar releases, blending Moore's trademark song craftsmanship with tight, homey arrangements.

I've heard Nathan describe 2008 as his "Gotta Make It" year as he introduced the album's opening track at live shows. The song highlights Moore's studio band's ability to play along masterfully with his dynamics and the tempo change from the verse to chorus. The album weaves between various facets of Moore's life; from new love ("She Made Me Love") to tales of rock excess ("Lost and Found"); acceptance of one's tendencies ("Daydream in the Real World") to searching for a new solutions ("Gotta Be").

"Safe and Sorry" is a perfect example of Moore's ability to put his inner self on display while sounding like he's singing for all of us at the same time. Lyrics like "Still I know these are brighter days, not the kind you just throw away...we already got too much collateral damage nowadays" and "In my heart there is a war, don't know which side I'm fighting for but I'm sure I'm fighting" resonate deeply considering the times we're in.

One of the most melodically soothing songs is the sweet ode to love's little pleasures. Moore's lilting triplet guitar pattern is grounded nicely by his band's steady backbeat. "Tell Me More" is an examination of the mystery of a new love with touching words like "Something 'bout the way you sort of smile and cry at the same time just gets me high" which evoke the feeling of the excitement we get when we love something and don't know why.

Whether or not 2008 is actually the break out year Moore has hoped for remains to be seen. However, with having already toured the country as a solo folkie act or the free wheelin' front man for Surprise Me Mr. Davis, graced the cover of State of Mind Magazine and even won the coveted Telluride Folk Festival's Troubadour Contest (which granted him a main stage slot in front of 10,000 fans on the festival's main stage); the release of his best album since 2002's Sad Songs Make Me Happy is only icing on the cake. As one of his lyrics suggests "I may not be a star but at least I'm not trying", Nathan Moore is out there and doing it the way it should be done, letting the music speak for itself. Now do your part and let that music in to your life – you will not be disappointed.

rating: Home Run

key tracks: "Gotta Make It", "Safe & Sorry", "Tell Me More"

You can find a live review of Nathan Moore I wrote here

"Gotta Make It" Live video from 4/8/08 in Burlington, VT. Video by Cleantone

Dr Dog in Hell

2008-11-12T11:38:00.002-05:00

I saw Dr. Dog play at Club Hell in Providence, RI a month ago. I wrote a review of it for JamBase but they haven't posted it yet. So I'll hold out for a little and then post it here if they don't use it. In the meantime here is a video of the band encoring with "Die Die Die". This version features opening act, the Delta Spirit, on various purcussive instruments. Sorry the video is a little dark...I was in Hell after all.

Blitzen Trapper - "Furr"

2008-09-26T11:54:00.001-04:00

Check out my review of Pacific Northwest indie-poppers, Blitzen Trapper's new album Furr right here

Mogwai - the Band, not the Gremlin

2008-09-23T10:30:00.002-04:00

I reviewed The Hawk is Howling, the new album by Scottish post-rock veterans, Mogwai for tinymixtapes.com - check it out here

Greg Brown : A Man and His Guitar

2008-08-04T23:32:00.003-04:00

Greg Brown is one of those artists that not many people have heard of (at least among the people I’ve talked to), but those who have absolutely love him. I noticed this when I showed up to see him play a solo acoustic show at the Narrows Center for the Arts in Fall River, MA - a decent sized art space in an old mill building - to see the place was wall to wall packed. Luckily, I live in Rhode Island, a state where everybody knows somebody. Naturally, when I was just about to settle for standing room only in the back of the room, my friend showed up and had a table reserved for us in the front row – I felt like I was in Goodfellas as we made our way up to the stage.

Apparently Iowa had been flooding like crazy and Greg barely made it out of his town to catch the flight (this was a make up show, so he was not on tour). Clad in overalls, no shirt and a blazer – I believed him when he said he didn’t even get to pack. Mr. Brown started the night off with 2 “flood songs” before playing a set filled with highlights from his whole career. From the tale of playing dive bars (“Mose Allison Played Here”) to a stories of the workin man ("Down at the Mill") and perhaps the best song ever written from the perspective of a man reflecting upon his entire life (“Spring Wind”) – Greg showed that he can sing about anything. I wish however, his musical tastes were as broad as his topical ones. He rattled off so many simple blues songs that each song seemed to bleed into the next. He played mostly in the key of D (Greg likes to use drop-d tuning a lot) and doesn’t switch up time signatures or that much.

Greg's candor with the audience showed how comfortable he is in his own shoes. He can weave wonderful stories in with funny anecdotes that set up songs better than anyone I’ve seen. It was a great treat to see one of my favorite songwriters and one of our finest true folk heroes while he's still got it. I suggest you do the same.

Set List: Flood Song?, Evangeline, Blues Go Walkin', Like a Dog, Mose Allison Played Here, Ever Sinced the World Ended*, Hey Baby Hey, If the Holy Spirit Moves Me**, Backslider, Oily Boys, Treat Eachother Right?, River Will Take You, Down at the Mill, Driftless, One Wrong Turn, Kern River***, Nothing in Rambling?, Fat Boy Blues

E:Who Woulda Thunk It, Spring Wind, Hobo's Lullaby****

? not sure of title. * Mose Allison cover. ** SOn House Cover. *** Merle Haggard cover. **** Woody Guthrie cover.

Pearl Jam wraps up tour in Mansfield

2008-07-03T14:35:00.009-04:00

So last week I finally crossed out one of my top “bands I need to see live before I die” at Great Woods (now the Comcast Center – but not in my book) with Seattle rockers Pearl Jam. I’ve always loved Pearl Jam since Ten came out when I was 11 years old, but lost touch with their music in the middle years (Yield, Binaural). I got back into them when Riot Act came out but never had a chance to see them live. I figured they were the type of band that hits the road and plays the crap out of whatever album they are supporting and maybe throw in some older hits. Boy was I wrong.

As the lights dimmed before 20,000 screaming fans at PJ’s final show of their summer tour, I started to get giddy. I haven’t seen a massive show (one at an arena, amphitheatre type place with over 10,000 people) since my days of following Phish. It’s really an amazing feeling to been in the same “room” as 20,000 people – the energy makes you feel alive. When the first chords of “Wash” ( a old gem that appears on the band’s Lost Dogs compilation and hasn’t been played live in 2 years!) delighted the screaming fans, I knew I spent my $70 wisely.

Eddie and company launched into an eclectic, energetic set mixing an equal amount of songs from ALL their albums. Present were the monster hits like “Better Man”, “Alive” and “Elderly Woman…” but they also treated fans to rarities like “Bee Girl”, “Footsteps” and “Garden”. The band was tight, the sound was great for a huge shed but most impressive was the ragin’ light show they brought that you don’t often see in the rock world (what I mean is not just a huge stage production, but a cohesive light show that feeds off every sonic crest and trough, every musical turn...and vise versa). The only thing I could have done with out was Vedder's preachiness about Bush and the war in Iraq. I totally agree with his viewpoint, but I don't really know why being a great singer gives him the right to rant about politics. But hey that is kind of his M.O. and that was probably the 2 bottles of wine (that he drank on stage) talking. So I'll let it slide.

In this day of hyped up indie bands that can’t fill a 60 minute set to save their lives, it’s refreshing to hear a band with over a dozen albums (including live releases) celebrate its entire repertoire with attentive, participating (sing-a-longs, synchronized hand gestures etc) fans that know and love that whole repertoire. It gives me hope that music lovers are still willing to grow with a band and not leave them for the next best thing. I’m now a full convert into the genius and superior rockademics of Pearl Jam. They are perhaps America’s greatest candidate to represent us in a worldwide battle of the rock and roll bands. You better believe I will be making every attempt to see PJ next time they're in my area. Check out the set list and some vids I found on youtube below

Set List: Wash, Last Exit, Save You, Severed Hand, Animal, MFC, Elderly Woman Behind The Counter In A Small Town, 1/2 Full, Corduroy, Given To Fly, Even Flow, Education, Satan's Bed, Whipping, Glorified G, Do The Evolution

encore: Bee Girl, Who You Are, Better Man(Save it for Later), Garden, Why Go

encore 2: No More, Once, Footsteps, Alive, Rockin' In The Free World

I have seen the Light...and it is Big!

2008-07-03T13:03:00.005-04:00

A new wing of the ever growing White Thighs music collective has just spread its wings. Some of my good friends and band mates have released a brand spanking new 7 song EP on reapandsow records. With a couple reworked White Thighs west coast staples ("Heavy" and "Separation Anxiety"), a Nathan Moore cover ("Safe and Sorry") and some delicious new gems; the EP will have you humming their indie-rock melodies all day long. Although 4 guys in the band are among the dozen or so members of the bi-coastal cult outfit, the White Thighs, don't expect any cheeky hijinks here. Big Light is quite a departure from the White Thighs patented goofball motifs as Torphy explains in new verse of "Heavy" that "We lost our funny but we found our sound".

San Francisco's Big Light is the brainchild of Fred Torphy, Jamie Fordyce and Bradly Bifulco and with the addition of keyboardist Colin Hoops (Kanvus), bassist Steve Adams (ALO), multi-instrumentalist Dan Hurley (Two Out Rally) and percussionist Cochrane McMillan they are now a 7-ball wrecking crew. Check out their music here then go by their new EP and go see them live this summer (if you happen to live in California). They are about to head out on the road with Surprise Me Mr. Davis after 2 sets at the wonderful High Sierra Music Festy this weekend in Quincy, CA. In the famous words of Al Cerrone "You'll be glad you did!"

The Dead's Power Trio

2008-06-09T23:15:00.004-04:00

I wrote a review for a recent Kreutzmann-Burbridge-Murawski (KBM) show in Providence on jambase.com - check it out here

New Beck Single: "Chem Trails"

2008-05-30T11:33:00.001-04:00

Thanks to the folks at imeem you can stream Beck's new single "Chem Trails" right here. word

Chemtrails - Beck

To Hell and back with Cursive

2008-05-02T23:31:00.001-04:00

Club Hell is exactly what you think it is; a dark dingy rock club located in the manufacturing district one of America's oldest cities. It's loud, the doormen and bouncers are willing to fight anyone who looks at them cockeyed and the plethora of demonic figurines holding lit candles makes you wonder what the hell a club located about 10 miles from the Station is doing with open flames. Club Hell is usually home to mosh festivals powered by hardcore punk and metal "bands" so much to my surprise (and chagrin) Cursive booked the venue to debut some new tunes they've been working on. Despite the atmospheric conditions of Club hell I love Cursive (Tim Kasher is a wonderful blend of Conor Oberst and Maynard James Keenen) and I wouldn't miss a chance to check out some of their new songs even if it meant a trip to....well, hell.

The night started an hour late with sets by some shitty 3 guitar band from Omaha and North Providence's locals, Deer Tick. Both are marginally talented, unoriginal one trick ponies. I mean Deer Tick even covered "La Bamba" for Chrissake (yeah, I read Salinger). Given the club's 12:30 am curfew, by the time Cursive took the stage at 11:20 I knew I had waited around for a mere hour of music that I actually wanted to see. That's not to say that they aren't a great band, but come on man. I'm sick of these bands (especially ones with a catalog as big as Cursive's) that won't even fill a respectable 90 minute set (last winter I saw Band of Horses headline a show at Lupos with a 55 minute set - including the encore! I mean I've seen a 58 minute "Runaway Jim" for Chrissake). One good thing about the night is Cursive has some damn fine new songs and I am PSYCHED about their new album. Alternating the new ones with some classics, the band tore through "Bad Sects", "Art is Hard" "Martyr" and "Sink to the Beat". As a setlist junkie, I admired Kasher's insistence on playing bits of his whole repetoire and not running through the latest album like so many bands often do.

Kasher is a delightful energetic frontman that plays to the whole room. He managed to sing a song from every microphone on every part of the stage including closing the night behind the drummer for a vocal chord thrashing rendition of "Some Red Handed Sleight of Hand". All in all the show was a good club set but the sound man sucked (Kasher's mic crackled at every scream) and the crowd sucked (pushing and shoving one another is apparently fun, but i dont see it) but hey, thats what you get i guess....when your in hell.

Set List: Live in the Now Live in the Know*, A Gentleman Caller, Dorthy at 40, Caveman*, jam > Sierra, Please Stand*, The Casualty, Confessional*, Tell it to the Back Door*, Bad Sects, At My Best When I'm At My Worst*, Art is Hard, Goin to Hell*

E: Big Bang, Sink to the Beat, Martyr, Some Red Handed Sleight of Hand

* new song, not sure of title.

Dr. Moore vs. Mr. Boyd: Nathan flies solo

2008-04-08T15:38:00.001-04:00

Nathan more is a very humble man considering the great degree of talent and the song writing prowess he often displays at his shows. You’d think that a musician who has made it (in the sense that he makes a living doing his art) and has performed all over the country with various bands (ThaMuseMeant and Surprise Me Mr. Davis) would be more comfortable entertaining an audience that hangs on his every word. However he still can be found rambling about his lack of professionalism and apologizing for tuning on stage. Nathan is 37 years old and has just embarked on his first ever solo tour which much to his surprise, has gone quite well. He has a new album in the can, a magazine cover and a new manager - not to mention a very well received album that is barely a year old and an upcoming tour with Surprise Me Mr Davis, the band in which the Slip back him.

Last weekend the tour brought him to Parima, a quaint Thai restaurant located just off the famed Church Street walking mall in Burlington, Vermont. Parima has just opened an “acoustic lounge” with small tables illuminated by candle light, couches, love seats and various other comfortable relaxing devices. Complete with rich tapestries lining the walls and a piano in the corner, this is the perfect place to see a man sing his sorrows away with only an acoustic guitar and a harmonica at his disposal.

Nathan started the show (two glasses of red wine by his side) with “Mardi Gras Song” while interweaving a story of how he had sinned the night before and needed to confess, between the song’s actual verses. If there ever was a song with that exemplifies onomatopoeia it is “Mardi Gras Song”. With it’s jangly, Creole infused rhythm guitar and tick-tock clock sound effects you can actually feel yourself stumbling down Bourbon Street in search of your next hurricane. After the self-reflective and poignant “Blue Sky Blue” Nathan literally ripped his set list into pieces and declared that he didn’t need it anymore. An act that conveyed his desire to live in the moment the rest of the night.

A big chunk of the set was filled with new songs like the week old “Dumbo’s Ears” and “Mouse”, a tale of a late night musical reveries between himself and a pint sized rodent with a miniature fiddle and a thimble for drinking ripple. Nathan barely touched upon his latest solo album (2007's “In His Own Worlds”) signifying that he was playing for atmosphere that night and not for the possibility of possible album sales. My kind of show.

After a slew of older songs like “Lord Lord Lord”, "If I Didn't Love You" and “Talkin Walkin Round Town Blues” he closed with “Rolling Home”, a tribute to small town life and his brothers who live in Staunton, Virginia. In between the set and encore Nathan sat down on a bench on the stage and just absorbed the moment while engaging some of the crowd in some simple small talk, unsure of whether they wanted an encore or not. When one fan announced “We’re not ready to leave yet” he responded with a nervous laugh and quick quip “I guess this is an encore in the folk world”.

It’s nice to see a performer with no predisposition about how a concert is supposed to go. When a request for “Summer of My Fall” was yelled from the abyss he responded with playing that song, not skirting around the situation. Nathan plays music for himself first but knows he couldn’t be doing what he does without his small but loyal fan base. Although he is only playing for less than 50 people in a small room at a restaurant, he couldn’t be more thankful for it. As one of his lyrics goes “I may not be a star but at least I’m not trying”, well Nathan....keep doing what your doing and hopefully the rest of the world will catch on.

Set List: Mardi Gras Song, Blue Sky Blue, I Want to be in a Movie, Dumbo's Ears*, Lord Lord Lord, Before You Were Born, Mouse, Angel of Delight, Summer of My Fall, Muddy River, Don't Fall For Me, If I Didn't Love You, Walkin Talkin Round Town Blues, Meet the Man, Cowboy Anarchy, Rollin Home

E: Don't Have to Say You're Sorry (Til Ya Go), Tell Me More

*not sure of title. Joe Adler opened the show.

4/4/08 - Stephen Malkmus @ the Mass Moca

2008-04-08T15:36:00.000-04:00

The Mass MoCA is an amazing contemporary arts complex located in the sleepy mountain town of North Adams, MA smack dab in the heart of the Berkshires. It resides in a 13 acre lot in the downtown area that used to be home to factories and mills. The complex provides a great venue for visual, perfomance and media arts and as Stephen Malkmus put it “ this is a great use of tax dollars”. Malkmus and his band, the Jicks, played their brand of jammed out indie rock at the Hunter Center, the MoCA’s Fillmore sized concert auditorium.

Drawing heavily from their new album, Real Emotional Trash, Malkmus lead his band through a pretty standard set. Albeit very exploratory to the untrained ear, all of the “jams” were basically note for note versions of their album versions. The only true improv I noticed was a dark spacy outtro to the idiosyncratic melodic pop found in “It Kills”.

Malkmus’ unassuming banter was refreshing as he would tell funny stories, crack jokes with his bandmates and answer some of the crowd’s questions (he even riffed on a little Sabbath when someone shouted “play Ironman!”). After they played “We Can’t Help You”, Malkmus entertained us with a celebrity encounter that could only happen to him. Apparently basketball star Manute Bol had called him recently and told him how much he loved Stephen’s music and thought of “We Can’t Help You” as his theme song every time a prospective donator declined to support one his various non-profit programs.

After the standard set (in regards to what songs were played), the Jicks let their hair down a little by jamming on a funny arabic themed jam while introducing eachother to start the encore (see video below). Then they delved into their back catalogue with two songs from his middle two solo releases and one unreleased song which I had never heard before. If you take the show for what it was, than it was a well executed, fun set of completely original music. It’s just hard to digest when I know he has four albums under his belt (not to mention Pavement's whole catalog, but he doesn't play those songs anymore) but still played 80% new material during the main set of his show. I know that this is standard issue in the music biz but sometimes its nice to be a little left of center, somewhere I know Malkmus has resided his entire career.

Set List: Dragonfly Pie, Gardenia, It Kills, Elmo Delmo, Cold Son, Baltimore, We Can’t Help You, Water and a Seat, Hopscotch Willie, Wicked Wanda, Real Emotional Trash

E: band introductions, Pencil Rot, Run Lady Run*, Vanessa From Queens

* not sure of title. John Vanderslice opened the show.

Thanks to pineapplecircus for the youtube videos.

Wilco at the Schubert Theatre, New Haven, CT 2.24.08

2008-02-26T14:26:00.000-05:00

Wilco is a great Rock and Roll band. Period. Perhaps even America’s finest at the moment (among relevant bands, sorry Bruce and Tom). They have the players, the front man, the right gear and most importantly a vast, brilliant repertoire. This tour is unlike any other recent Wilco tours because they are not directly promoting an album and thus are playing a mixed bag of all 8 of their studio albums (including the Mermaid Avenue records). They are even soliciting requests via their website and playing the top choices at each different stop. The tour kicked off with a five night stand at the Riviera Theatre in Chicago where they played 96 different songs (out of a total 160 played - just to give you an idea of what I mean by vast repertoire). As a huge fan of the band, I was pretty psyched to see what they were going to play at the Schubert.

The Schubert is a (relatively) small theatre in the run down Connecticut city of New Haven. Home of Yale and a grotesque waterfront filled with huge gasoline refineries. The venue, which usually houses plays (Camelot featuring Lou Diamond Phillips was coming up later in the month. Really? Lou? Remind me to miss that one) is a historic venue with two balconies and 12 small private boxes lining the walls. It’s small, has great acoustics and a 19th meets 21st century decor. Perfect for a Wilco show.

The band opened with the sweet lullaby “Remember the Montain Bed” (which was nice because I was still waiting for a beer in the lobby) before launching into the fan favorite sing-a-long “California Stars”. Of the first 9 songs, 8 were off of different albums. Ah, now that’s a quality set list! It was interesting to see how the new guys interpreted the older material because only 2 of the band’s current members are on their first 5 albums. New guitarist Nels Cline added wonderful lap steel lines to the older more county-fide material and drummer Glenn Kotche infused his distinct style into the older straight ahead rhythms of Ken Coomer (Wilco’s original drummer).

The main set of the show conveyed how versatile this band can be. From the bluegrass tinge of “Airline to Heaven” to the riffy jams of “Impossible Germany", the meloncholy space of “Radio Cure” to the county funk of “Walken” and even the barn burning rocker “Always in Love". Wilco can do it all. Unfortunately this can also lead to many slow songs next to fast songs in such a way that the crowd never gets into a groove and wants to dance. Until the encore that is. The band played a 6 song feverish encore that kept the whole place on its feet for the remainder of the show concluding with the epic trifecta of rockers from Being There.

The John Doe band opened the show with their brand of predictable rock that is as about as original and exciting as their name. Needless to say, I spent the opening set wandering around the lobby with my vodka tonic.

Set List:Remember the Mountain Bed, California Stars, Company in My Back, Pot Kettle Black, A Shot in the Arm, Radio Cure, You Are My Face, Side With the Seeds, Pick Up the Change, Hotel Arizona, I’m Always in Love, Impossible Germany, Jesus Etc, Misunderstood, Airline to Heaven, Theologians, Walken, I’m the Man Who Loves You, On and On and On

E: Hate it Here, Heavy Metal Drummer*, Red Eyed and Blue, I Got You, Monday, Outtasite (Outta Mind)

* w/ alternate verse that starts "She lifted up her shirt at the Battle of the Bands..."

A little West Africa comes to Western Rhode Island

2008-02-18T16:22:00.001-05:00

Who says Rhode Island doesn’t have any culture? Rhode Islanders know how to eat, lay at the beach, catch wind and waves alike and root on incredibly good athletic teams however, we don’t really know squat when it comes to music. Aside from our folk festival and the Station fire, there’s not much going on in the musical world of the Ocean State. Last night, the world came to us as Master Kora player Toumani Diabate and his Orchestra swept through the University of Rhode Island.
Toumani, best known in the western world for his album with Taj Mahal, is fusing traditional West African music (Kora, Balophone, Djembe) with modern instruments (Electric bass and guitar, drumkit) and it is delightful. Everyone in the packed house was clapping, dancing or tapping their feet to his bands infectous ostinato-laden grooves.

Diabate opened the show with a couple oldies, try 500 year oldies, that got the place a shaking before settling down into some softer songs that highlighted each instrument on its own (a la many jazz solos). Its incredible to think how someone so steeped in tradition (he is a 71st generation Kora player in his family, how do you like them apples?) can still bring new life to his art and transfer it effortlessly to even the youngest members of the student body.

The only non-traditionally African song of the night came with a nice tease of Dave Brubek’s “Take Five” during a Balophone solo to which Diabate scolded from behind his Kora, “No No, play something they don’t know”. Well, that may have been the only melody I recognized the whole night but I assure you with music as the world’s greatest communicator, I knew excactly where they were coming from.

Apollo Sunshine @ the Milky Way (1.25.08)

2008-02-18T16:09:00.000-05:00

Here’s a video clip (courtesy of Cleantone) of Apollo Sunshine’s recent hometown gig at the Milky Way Lounge in the Boston Suburb of Jamaica Plain. The band has been holed up in the studio mixing their 3rd release and decided to test out some new songs at one-off gig. Joining Apollo on the bill was the horn tinged flavor of The Self Righteous Brothers and the young Brit-rock throwbacks, Wonderful Spells.

The Milky Way is a small, dingy basement club that is has a duck pin bowling alley on one side of the room and a small stage at the other. The sold out show was jam packed near the stage and provided a welcome intimate setting for one of the areas finest psychedelic art-rock bands…

1: Brain Wave?, ?, Better Change Your Mind , Magnolia, 666: Coming of the New World Government, Brotherhood of Death, Today is the Day > Lord, Papa Woody, Bach, Phyllis

Celebrating "Providence Day" with Bright Eyes

2007-11-19T17:46:00.001-05:00

Once again my faith in Conor Oberst is fully restored. I just have to face the fact that unlike his studio efforts, his live performances can be hit or miss. Last spring I saw the big production Bright Eyes (with strings, horns and 2 drummers) drunkenly blast through a predictable set supporting Cassadaga. Last weekend, I saw the stripped down, sober version flex whichever muscle supports their vast repertoire. Bright Eyes played two hours comprising of a splendid mix of selections from six different albums (plus one new song and 2 covers).

In typical fashion the band hit the stage first, setting up the entrance of their dark haired brainchild, before easing into “An Attempt to Tip the Scales" (a song that was released seven years ago). This was music to my ears, literally and figuratively. Note to self: See Bright Eyes when they are not directly promoting a new album, the set list is much more enjoyable.

Conor continued to lead the band, which this tour only consisted of 5 members (including Conor, last spring there were twelve), through a wonderful journey that celebrated his entire catalogue. He even threw in the rare “Spring Cleaning” which is off his split EP with Nena Dinova, a song he doesn’t even sing on the album. Conor kept the crowd engaged with funny banter complete with a declaration of his own holiday, Providence Day. “Providence Day is now a holiday that takes place of the Saturday before Thanksgiving of every year ” he decreed, much the enjoyment of the huge Rhode Island crowd.

For some of the encore Conor brought out his opening bands (Nick Freitas and the Felice Bros.) to help with sing-a-long style takes on Neil Young’s “Walk On” and Tom Petty’s “Walls” (which I thought to be a great cover choice). Most people would cover an older Petty tune but that man has continued to write gems his whole career. I forgot how much I liked that song. The show closed with a politically fueled stampede of a song that fans are dubbing “Roosevelt’s Room” (there is no official title for the unreleased song) which culminated with destroying guitars, mic stands and the drum kit. We get it Conor, you’re pissed off.... but at least you have your songs to pass the time.

Set List: An Attempt to Tip the Scales, Another Traveling Song, Four Winds, You Will..., Arienette, Arc of Time, Method Acting, If the Brakeman Turns My Way, Spring Cleaning, Bowl of Oranges, Poison Oak, Old Soul Song (For the New World Order), A Song to Pass the Time

E: Lover I Don’t Have to Love, Lua*, Walk On**^, Walls***^, Roosevelt’s Room

* w/ One of the Felice Bros on Accordian. ** Neil Young cover. *** Tom Petty cover. ^ with Nick Feitas and all of the Felice Bros.

Broken Social Scene lacks their famous cohorts, but not heart

2007-11-14T19:46:00.000-05:00

It’s recently been relayed to me that my reviews on this blog are often overly critical. Well too bad, (Eminem once said “Will Smith don’t have to cuss in his records, well I do. So fuck him and fuck you too!” Some may say that is a harsh lyric, I think its hilarious and spot on. Anywho...) I’m a musician and I know what I’m talking about. Plus, this was never intended to be a blog where “everybody wins”. I write it how I see it, it’s all I can do. That said, Broken Social Scene blew my fucking face off last night, so you’re in for a positive one.

In support of first installment of the “Broken Social Scene Presents” series, Kevin Drew’s Spirit If..., The band (well half of it. No horns or leading ladies this night) sold-out the intimate Paradise Rock Club in Boston. This incarnation of BSS featured some typical players and some new ones, most notably American Analog Set’s Andrew Kenny.

The band took the stage at 9:15 (they left the stage at close to 11:45, nice) and launched into “Lucky Ones” off the new disc before playing the first of many older tunes, “Cause = Time”. I like. The entire band seemed to be fighting a head cold, all were drinking water or tea (Kevin even bitched about the ceiling fan on the stage not being turned off saying “I’m smart enough to know that cold sweat on your neck is not a good thing”) but they didn’t let it bring the show down. If anything, they rocked harder.

The intimacy of the crowd allowed Kevin and Brendan to hear all of the crowd’s (mostly innane) shout outs. One guy even called for “Freebird” to which Kevin quipped, “Whatever positive things you have contributed to society, you took them all back with that remark”...Classic. The thing about BSS is that their music is powerful, arty and amazing enough that they could be high on their horse and be total dicks. However, they are so down to earth that you just want to smoke a joint with them and pick their brains. They politely rejected song requests they couldn’t pull off (like “Shoreline”, which they teased briefly) without the assistance of a female vocalist and even brought a guy onstage who requested the very song they were about to play, before “Gang Bang Suicide”.

Aside from all the hilarious and interesting banter, the music was fantastic. With only 6 people on stage (there can be up to 14), the songs still resonated deeply with the crowd and got the whole place dancing and singing along. “Backed Out on the....” and “Major Label Debut (fast)” bursted with energy and purpose alike. There was no crowd chit-chat, all eyes were on BSS. It was nice to be at a show were everyone was so involved and attentive, a real group outing. Reminds me of many Phish shows I’ve seen back in the day where everyone was stoked about what they saw. The end of the night was a one guitar accompanied crowd sing-a-long of Spirit If’s closer “When it Begins” which was a moment I’ll never forget. The song is simple but brilliant and in the words of Drew himself, possibly “too beautiful to fuck”.

The opener, Seattle’s Arthur and Yu, played some pretty indie-folk but unfortunately the soundman must have been out smoking a butt during their set. The bass way too high in the mix and you could barely hear the vocals. Alright here's my one critical letter of the night - Dear Arthur and Yu, two guitarists playing the exact same chord shape at the same time the whole show is not that cool, also don’t be afraid to play a minor chord once in a while.

Set List: Lucky Ones, Cause = Time, Fucked Up Kid, Safety Bricks, Tbtf > Stars and Sons, Brendan Canning song*, Bullet in Your Head**, Backed out on the..., Superconnected, So Hard to Shake It***, Gang Bang Suicide, Farewell to the Pressure Kids, Major Label Debut (fast), 7/4 Shoreline tease > It's All Gonna break

E: When it Begins > feedback**** > jam

* from Brendan's forthcoming solo album. ** not sure of title so I guessed. *** American Analog Set song, guessed on title.**** the whole band left the stage (as did much of the crowd) but Brendan stayed and played a bunch of feedback until the rest of the band came out and jammed for a bit. Andrew Kenny (of American Analog Set) played keyboards and guitar the whole show.

Have a Beer with Brad Barr: Solo show at Matt Murphy's Pub

2007-10-29T20:56:00.000-04:00

Sometimes the best things in life are free. Recently in Brookline, MA, I was lucky enough to have one of those nights. Brad Barr (of the SLIP) played a free solo show for mostly friends and bar patrons at one of his favorite watering holes, Matt Murphy’s Pub. I assume he likes it, both the Slip and Surprise Me Mr. Davis have played unannounced warmup gigs there before.

The night started late (as usual) with Brad hitting the “stage” at almost midnight. At that point the bar was packed and the chatty crowd combined with Brad sitting in a chair (thus being hidden from all except those in the first row or two) created the atmosphere of just hanging out with friends and catching audio pieces of some guy in the corner playing some guitar. Except that guy is fucking Brad Barr!

After the first set the crowd thinned a little and my friends left so I was able to get up close and not converse with anyone, perfect show conditions. There was Brad , surrounded by a ring of glow lights playing music for his friends, as if we were in someone’s livingroom. He reeled through Slip songs and solo instrumental pieces alike, breaking out the whole arsenal from the eardrum piercing distortion on “Broke the Promised Land” to the beautiful lullaby “Suffocation Keep”. His only cover of the night (if you don’t count the slew of Nathan Moore songs) came with a half time, effects laiden, gentle waves of guitar loops in the reverb sea take on Bob Dylan’s “Boots of Spanish Leather” which absolutely took my breathe away. Its been said many times that the Slip’s success is (unfortunately) hinged upon the lack of strong singer. I won’t argue with the fact that Brad may not be the best singer, but man, he has a great natural voice.

1: Beggar in the Morning,?, Before You Were Born, Deacon's Son, Sarah Through the Wall, Yea Yeahy, Ooh Belle, ?

2: Nowhere From Here to Go, Broke the Promised Land, Toy keyboard intro* > Let There Be Horses, Instrumental?, Suffocation Keep, Boots of Spanish Leather**, The Woods

* Brad had a toy keyboard with a drumbeat that he looped, it did not continue into "horses.." ** Bob Dylan cover.

Sean Hayes and Jenny Owen Youngs: Folk the Paradise

2007-10-29T20:41:00.000-04:00

The Paradise Lounge is a small café style venue adjacent to the famous Paradise Rock Club in Boston. Last Friday I went to an evening performance by acoustic-pop starlet Jenny Owen Youngs with a supporting set by grizzled indie-folk veteran, Sean Hayes. Yeah, that’s right HE was the supporting act.

Youngs seems to be having the ride of her life, traveling around playing her brand of pessimistic but pretty pop with friends since college (her band formed while they were sociology majors at NYU). She seems like one of the boys, not afraid to rag on her single drummer or put down the audience for not liking Harry Potter (which was actually quite annoying, she wouldn’t drop it the whole show) and yelling “Fuck You ” to another audience member who requested “Hot in Herre” (Yes she does a folk version of the Nelly song, almost as lame as the Gourds “Gin and Juice”) while she was discreetly introducing that very song, but sings like one of the girls (hows that for a run-on, Fuck You ). Her piercing voice and bouncy acoustic feel mask the pain and self-loathing often found in her lyrics. Songs like “Drinking Song” and “Fuck Was I?” relay the sentiment that she is often not taken as seriously as she’d like and is typically type-cast in her real life. Jenny definitely came out of the gate hot, but she has a lot more writing to do if she wants her career to last. She barely had enough material to make it through an hour long set and didn’t even do an encore.

Sean Hayes and his trio opened the show hitting the stage at 5:59, I told you it was an evening show. I got turned on to Hayes when a friend of mine gave me a mix cd of his songs over a year ago. I immediately took to this guy and his unique voice and lyrical genius. He can give you the simple lyrics as well as rich, cryptic descriptions of all of life’s facets. Hayes is a veteran of the folk circuit, with over 5 albums to his credit, and it’s refreshing to see he is just happy to be playing his music to anyone who will listen. Hayes’ set was culled mostly from his last 2 albums but he through in a couple older tunes such as “Mary Magdalene” which he claimed to be the first song he ever wrote (that was worth recording) and the audience requested “Smoking Signals” which he taught to his band as they played it. The best quip of the night was when Hayes said he was relieved that a World Series game was not being played that night because he was afraid no one would be at the gig. He told the crowd “Last time I was here (in Boston), the Patriots were in the Super Bowl and only 5 people showed up to the gig!”. Maybe he should come back sometime in early February, he seems to bring his good luck wherever he goes...

Sean Hayes’ set: Time, Politics, Mary Magdalene, Rattlesnake Charm (Dream Machine), Onion, 3am, Feel Good, Fucked Me Right Up, All For Love, Smoking Signals, Guantanamo, Big Black Hole and the Little Baby Star

Jenny Owen Youngs’ set: Coyote, Drinking Song, Tell them Whatever You Want*, Voice on Tape, Porchrail, Woodcut, From Here, Fuck Was I, PS, If I Didn’t Know*, Secrets up to Here*, Hot in Herre**
* not sure of title so I guessed. ** w/ "Wonderwall" (Oasis) teases

Smashing Pumpkins provide nostalgia but little relevance

2007-10-19T16:54:00.000-04:00

The last time I was at the Providence Performing Arts Center (aka PPAC) I was about 12 years old watching “Grease” with my grandmother. Needless to say, last night was a little different. Smashing Pumpkins whirled into Providence last night, another stop on their reunion tour in support of the new album Zeitgeist. I haven’t gotten Zeitgeist yet, nor do I own their previous 3 albums. Lets just say I went to see some of my favorite mid-nineties rock and roll songs, early era Pumpkins.

Although the set list drew mostly from the new album and previous industrial ones (like Machina 1+2 and Adore) they did throw some classics down. First off was the seldom heard “Starla”, a wonderful tune hidden in the second half of Pisces Iscariot. The next big tune for me was the orchestral opus “Tonight Tonight” which didn’t disappoint. I was extremely impressed with the lights at the show. The Pumpkins had huge triangular lighting rigs and a lighting designer who surely knew the band very well. Lots of synchronizing with the music, not just random light scenes which is so often the case these days.

The one draw back would have to be the volume. I hate to be an old fart but if I didn’t know the song, there was no way to decipher any lyrics. Billy’s voice was drowned (Oh I wish they played “Drown”!) out by the mass fuzz of the guitars and drums. The only part where the beautiful historic theatre’s acoustics were put on display was during the solo acoustic portion of the show. Billy playing a solo “1979" made me wish the whole show was solo acoustic. It sounded “Like buttah” (to quote Linda Richman). After a terrible closing song complete with crappy sing along “I love Rock and Roll” teases ( I mean come on guys, I think even Britney covered that song) the Pumpkins reemerged to encore with the epic rocker, “Cherub Rock”, which sent me back to my eighth grade bed room listening to Siamese Dream. Which, admittedly was the reason I was there in the first place.

The opener was the trendy, overrated, shoegazing, effects-dependent Explosions in the Sky. These 4 guys from Texas (big whoop) spend more time crouching on their knees toying with their effects pedals than actually playing their instruments. Their sound is cool for about 2 minutes until you realize everything they do sounds the exact same. Lamo.....

Set List: Starla, United States > Star Spangled Banner* > United States, Bleeding the Orchid, Neverlost, Stand Inside Your Love, Tonight Tonight, Tarantula, Ava Adore, Bullet With Butterfly Wings, Home, Bring the Lights, 1979**, Perfect**, God and Country**, Set the Ray to Jerry, Today, Thats the Way My Love Is, Superchrist, Doomsday Clock, Heavy Metal Machine > I love Rock and Roll***

E: Cherub Rock

* Just Billy and Jimmy. ** solo acoustic. “Perfect” had Jimmy on Tambourine. *** Joan Jett cover, one verse only

Apollo Sunshine and Dr. Dog at the Paradise

2007-10-04T14:12:00.000-04:00

Watch out world, here comes Apollo Sunshine. Last night, the band kicked off their co-headlining month long tour with Philly Phab Phive - Dr. Dog. The Boston show is the only one that Apollo took the stage second and I’m glad that I got to see it. Back as a 4 piece (and sometimes 5) Apollo is now capable of replicating the huge sound they create in a studio. The band has been holed up in a studio in upstate New York all summer, possibly making their finest album to date (judging by the plethora of new tunes they dropped on us), and they are ready to let the world hear it. There have been no leaks of the new material. Their myspace page has been littered with fuzzy drum jams and hilarious 2 minute covers (such as “(Always Look on the) Brightside”) so this was the first time I was able to hear what they have been up to.

Apollo took the stage and launched in to one of the said new tunes before delving into their repetoire with “Lord”, which evolved into a drum jam with all 4 members playing some sort of percussive instrument. The problem I have today with many indie-rock bands is they never jam stuff out. Apollo have great songs and they could easily just stick with the material but they love to experiment and just go off. They are master musicians (all attended Berklee School of Music) and are capable of playing anything you put in front of them such as basses, guitars, keyboards, drums and any effects boxes you wanna throw at them. They are slaves to sound. Frontman Jesse Gallagher even set up a mic on drummer Jeremy Black’s snare drum and was able to run it through a delay box to create a distorted echo effect (a la many old reggae dub albums) with the hit of a button. Both him and guitarist Sam Cohen had multiple keyboards and effects rigs at their disposal and new guitar player (Quentin?) had a mini drum set up next to him.

Although the band played 65% new material, they did treat the crowd to a couple classics from their sophmore release but unfortunately nothing off Katonah(savages in this town). The big two, “Flip!” and “Today is the Day” (which I hear may be on a Jeep commercial soon), tore the roof off the place with the whole crowd singing along. The always expansive “Phyllis” closed the show but seemed more tame than versions I’ve heard before (Of course last time I heard this song live the band had all eaten some sort of fungi).

Philadelphia’s 70's throwback neo-folk rockers, Dr. Dog opened the show (they are headlining the rest of the tour though) with a 64 minute set touching on their entire catalogue (3 albums and a bunch of unreleased stuff that's streaming from weallbelong.net). These guys aren’t doing anything the Beatles or the Band hasn’t done before but atleast they mimic the best. Their 3 part harmonies came through a little fuzzy in the club’s distorted sound system but were there none the less. I also dig the use of cool diminished chords but their overall harmonic progressions are nothing special. The two singers have such unique vocal styles and shapes that it was nice to put the voice with the face. My favorite song of theirs “The World May Never Know” was alternately arranged into more of a fast shuffle, which I didn’t care for too much. Other than that all the songs sounded excactly like the album version. The Dog don’t quite have the chops or artistic drive that I like in Apollo so much but they do write some damn good drinkin’ songs.

Dr. Dog's set: Ain’t it Strange, The Pretender, The World May Never Know, From, The Girl, Could Use a Hand^, My Old Ways, Hole in Roof^, Keep a Friend, Easy Beat, Worst Trip, Today, Fool’s Life, Call your Bluff^, Die Die Die, The Way the Lazy Do

^ not sure of title so I guessed.

Apollo Sunshine's set: Leavin (Ain’t as Hard as it Used to Be)^, Lord > drums* > Lord, Blue^, Magnolia, Evil^, Piano fugue instrumental^, Who’s That that Walks Around^, Today is the Day, African Cover**, Long to Touch You^, Flip!, Oblivious^

E: Poppa Woody***, Phyllis***
^ new song, not sure of title. * w/ all 4 members on drums. ** Cover song, taken from a compilation found on David Byrne’s world music label. ** w/ tenor sax guest. A guest percussionist also sat in most of the show.

2007: A Jacob Fred Jazz Odyssey

2007-10-03T14:36:00.000-04:00

Ever since the break up of Phish I have concentrated wholly on lyrical based music in terms of writing and listening too. I was sick of all the jam bands because although they created the desired tension and release with their music, lets face it, they write songs about stupid shit. Goodbye to Phish, moe, Galactic - Hello to Bright Eyes, Modest Mouse and Rilo Kiley. But lately I’ve been sick of how boring the latter's concerts are. No surprises, no crazy covers, terrible light shows and virtually the same set list every night. And NO ONE even dances anymore, argh!

Last Saturday night I took a step backward and went to an all instrumental show with neo-space jazz cats, Jacob Fred Jazz Odyssey. The Fred played at a local artist's commune called the Narrows complete with church pews for seats and a wonderful BYOB policy. Truly a great environment for organic music. JFJO hails from Oklahoma (which must have something in its water considering the Flaming Lips are from OKC) but I have only seen them at HSMF in Cali. Recently they added a new drummer who is rediculous. Alongside monsters such as bassist Reed Mathis and pianist Brian Hass, the Fred might just be the best young original instrumental act out there and it showed that night. I don’t know any of their songs but I did notice a vocalless devouring of the Beatles “Happiness is a Warm Gun” that would send Brad Mehldau into a cheer. The small crowd was absolutely floored. The whole show there was no talking (you could hear a pin drop except the music was playing ), no flash cameras, and plenty of dancing in the back row. A truly unique vibe considering the state of concert goers and their damn cell phones these days.

Opening the show was The Life Effect, a jazz super goup (so to speak), which consists of pure improvisation between Brad and Andrew Barr (The SLIP who by the way survived my musical shift by shifting their music to more progressive indie rock, but that's another story), JFJO’s Reed Mathis and Saxophonist Jim Hobbes of the Fully Celebrated Orchestra. Unfortunately I arrived late due to another wedding (Congrats Dean and Lizzie ) so I only saw one “song” of theirs. I walked in as Brad and Andrew were both playing drums while Jim was going off. Then Brad hopped on his guitar and free styled some lyrics over a bluesy vamp with Andrew beating on an old oil drum. It was short, but it was nice to see the Barr’s get back to their improv roots.

Rilo Kiley shimmers, but doesn't really shine

2007-10-03T14:23:00.000-04:00

Rilo Kiley is perhaps my favorite indie-pop band going these days (although they probably won’t be around too much longer with Jenny Lewis’ stock as a solo act rapidly rising) so naturally I was super excited to see them live for the first time at a classic venue I had never been to. Due to the Avalon’s stupid curfew (its 10pm, then the venue becomes a dance club - lame-o ) I missed both opening acts and arrived just in time to wait for 30 min for Rilo’s set.

The Avalon is a well renowned venue in Boston, that is closing down for renovations in a couple weeks, located directly behind Fenway Park’s notorious “Green Monster”. That however is the club’s only plus. The Avalon was way oversold and I couldn’t even maneuver onto the floor. The main room looks like a Quonset hut, complete with a rounded roof. It sounds like one too. The acoustics in there are terrible but maybe I was just too far back.

Rilo hit the stage and launched into a nice but note for note version of “It’s a Hit” before running through a pleasing at times but mostly predictable, lackluster set. The problem with bands like Rilo Kiley, who create studio masterpieces (in my opinion), is they can’t quite pull it off onstage. Even with the help of members from the opening band, on horns and keyboards, the songs just didn’t have that umph (yeah umph) that the studio sheen provides. All the fifteen year olds cheered like crazy between songs but NO ONE danced. That’s pretty bad considering Rilo has just made a DANCE album. Seriously - check it out.

Highlights for me included the Blake solo number “Ripchord” which he played on a ukelele and the softer numbers like “With Arms Outstretched” and “A Man/Me/Then Jim”. They also threw down a funked out ska-ish reworking of Jenny’s solo song “Rise Up with Fists”. Drummer Jason Boesel was kept at bay most of the night supplying boring “boom chick ba-boom chick” beats throughout. How about a little syncopation buddy? Only on the shows closer did he really let loose like he does so much on the albums. I’m definitely glad I got to see Rilo Kiley though, way more than I led on in this review, buts its only because I like their albums SO MUCH and wanted to see how they worked as a band - and I say Jenny has her red shoes on, she’s ready to go...

Set list: It’s a Hit, Close Call, Portions for Foxes, Paint Peeling, Breakin Up, Dreamworld, Moneymaker, Waves and Wires, Ripchord, With Arms Outstretched, A Man/Me/Then Jim, Under the Blacklight tease > Silver Lining, I Never, Smoke Detector, 15, Rise Up with Fists!!!*, Greetings in Braille**, Spectacular Views

E: Does He Love You?

* Jenny Lewis and the Watson Twins cover. ** The Elected cover.

B. Barr and Percy Boyd do Brooklyn

2007-10-03T14:12:00.000-04:00

If there ever was a band that puts the intimacy of the venue they play over the flashyness of a big room with lights, it is Surprise Me Mr. Davis. I have seen them everywhere between historic folk venues (Mill Valley’s “The Sweetwater”) to small pup tents in camp sites (High Sierra’s “Camp Harry”). Last week after they played Brooklyn’s tiny Union Hall (which they sold out in 2 seconds) bandleaders Nathan Moore and Brad Barr booked an even more intimate, free gig the following Monday at Brooklyn’s Pete’s Candy Store.

I was unable to attend the Union Hall show (Congrats again Pete and La ) but I was able to motivate some friends to check out one of the best folk singers in the business on a cool Monday night in Williamsburg. Honestly, for me I could compare this night to Eric Clapton opening for Neil Young. Brad and Nathan are by far the biggest musical infuences I have ever had. Nathan has literally hundreds of songs about every subject mostly in a tradition folk vein, musically and poetically speaking. Brad (guitarist for the SLIP as well) is a genre defying guitar virtuoso whose intricate melodies and open tuning masterpieces out weigh his strained, delicate voice.

Pete’s Candy Store is a venue literally the size of a railway train car. It’s long and narrow and and only holds around 30 people, even with a majority sitting on the floor. Brad and Nathan seem to like it this way, the “living room” atmosphere as I call it. Brad started the show with a 45 min set mostly littered with slower Slip songs like “Ooh Belle” and the Grey’s Anatomy star “Life in Disguise” before turning the stage over to Nathan. Mr. Moore showcased mostly new songs (for Nathan that means songs he’s written that week) before inviting Brad to finish the set with him on slide guitar and backing vocals. As the two blasted through the closer (which I requested) “You Don’t Have to Say Your Sorry (Til You Go)” (an videotaped, below) I sat there as happy as a kid in a candy store, oh wait, I was.

Brad's set: intro* > Predicting the Rain, Instrumental Rag^, Beggar in the Morning^, Before You Were Born, Ooh Belle, Fools Gold**, Life in Disguise, Let There Be Horses

* w/ lyrics like "If I was Lost" which i think was just improv over the arabic-sounding PTR riff. ** w/ Brad's friend Lasa (sp?) on lead vocals. ^ not sure of title so I guessed

Nathan's Set: Don't Go*, Wasted as Ted, Good Time Gambler^, Gotta Make It, Sometimes There's Wine, Sissy Fuss, Hollow, Nowehere From Here to Go, Rules, Richest Man Alive, Lost Man in a Foreign Country, Don't Have to Say You're Sorry (Til You Go)

* w/ drum beat and loops. ^ not sure of title, so I guessed. Brad sat in with Nathan from "Gotta Make It" on.

6/8 Umphrey's McGee @ Truckee Park

2007-06-11T20:50:00.000-04:00

Ah Jambands, gotta love em, I think, wait... Last night the summer music series at the Truckee River Regional Park had its second show of the year. Chicago based jammer’s Umphrey’s McGee (Picture is from the first Vegoose, I had no camera at the Truckee show) laid down plenty of two chord “wankfests” for the 1/3 capacity crowd.

Since Phish broke up to pursue their respective crappy solo careers I have split from the jam scene. You see, I don’t want a burger if I can’t have steak, I want sushi. However, after winning a pair of tickets through a local radio station (thanks again KTKE) I figured a (garden) burger every once in a while couldn’t hurt. So I met up with some buddies and checked out what the kids were up these days. When we parked we met some heads that drove all the way from Oregon (Although it’s one state away, they had been driving for 10 hours). You’d think that would be a good sign that Umphrey’s was capable of throwing down.

I will say that Umphrey’s puts on a solid show. 2 full sets and a great light show decorated the aspens that surrounded the back of the outdoor stage. What they don’t have are quality songs. Singer/guitarist Brendan Bayliss has a decent voice but his range is quite small. I wish these jambands put a little more energy into the song writing part of their act though. If I had to listen to a studio Umphrey’s disc I’d probably have to shoot myself in the face. (That’s an expression I like to use, if it’s over the top than I’m sorry... well not really.)

The one good “song” of the night came with the encore, some sort of rant about a character named “Alex”. It had a funky little groove and something that jambands seem to forget about when they're too busy bolstering their chops, a decent vocal melody!

Set 1: Professor Wormbog, 2x2 > Great American^ > Partyin' Peeps, Intentions Clear > Great American, Wife Soup

Set Two:Plunger# > "Jimmy Stewart" > Plunger > "Jimmy Stewart"# > In the Kitchen** > Rainbow Country > Anchor Drops > In the Kitchen, Lenny > Andy's Last Beer

Encore: Alex's House > Got Your Milk (Right Here)

Notes Frame of Mind opened. ^ with Josh Scott (Frame of Mind) on harmonica. # with In the Kitchen tease. ** with bass solo
I took the setlist off of Umphreys.com (I don't know their song titles)

6/1 Arcade Fire rocks the Greek Theatre

2007-06-11T20:42:00.000-04:00

review to come soon...

Set List: intro > Black Mirror, Keep the Car Running, No Cars Go, Haiti, Neighborhood #2 (Laika), Black Wave/ Bad Vibrations, In the Backseat, Intervention, (Antichrist Television Blues), Ocean of Noise, Neighborhood #1 (Tunnels), The Well and the Lighthouse, Neighborhood #3 (Power Out) > Rebellion (Lies)

E: Cold Wind, Wake Up

Review: Wilco's "Sky Blue Sky"

2007-06-11T20:38:00.000-04:00

So this album came out about a month ago but I have to say I am loving Wilco’s new Sky Blue Sky. Wilco is a band that reinvents itself with nearly every new offering. Sky Blue Sky gives free reign to Nels Cline screeching, melodic and playful guitar work while showcasing Tweedy’s most direct lyrics to date.

The disc starts with Jeff singing “Maybe the sun will shine today, the clouds will roll away..”which is the perfect start to any commuters day. Musically the band has taken a much more organic approach, leaving out the noise effects and loops it has incorperated in the past. Straight ahead rock songs like “Hate it Here” and “Walken” mix perfectly with throwback folk anthems such as “You are My Face” and “What Light” as if The Band was backing Woody Guthrie.

Rating: home run

Key songs: “Either Way”, “Impossible Germany”, “What Light”

The Slip: 2 Nights at The Indy

2007-05-14T21:09:00.000-04:00

The Slip threw down for 2 nights at SF's the Independent on April 27th and 28th. New tunes old tunes, first time covers, horns, steel drums, holy fuck they had it all. It would take me too long to review such a stellar 2 night stand so here are the set lists. If you dont know the songs than too bad for you!

Night 1

1: The Landing^ > Children of December^, Even Rats, There's A Lie, The Shouters, Weight of Solomon, Broke the Promised Land, Black Telephone

2: intro > The Soft Machine, If One of Us Should Fall^, Get Me With Fuji, Wine and White Soda, Poor Boy >Long Way to the Top > Poor Boy, Drown in My Own Tears*^, Steel Drum Zion**^

E: Heartbreaker***

^ w/ horns. Rob on Trombone and Kasey on tenor sax (from Disappear Incompletely). * Ray Charles cover ** Brad on drumkit, Andrew on steel drum, Marc on guitar. basically a jam but there were lots of "Zion" teases. *** Led Zeppelin cover

Night 2
I: Living Loving Maid*, Airplane/Primitive, Chasing Rabbits, There's A Lie, Cowboy Up, Suffocation Keep,Gaunte Debutante

II: All I Saw Was You , Portrait of a Scientist as a Young Man, Anything You Want** > Sometimes True To Nothing, I Hate Love, Ooh Belle, Even Rats

E: Steel Drum Zion jam***, Life in Disguise

* Led Zeppelin cover, completes the seque from the end of last night's Heartbreaker. ** Spoon cover. *** w/ all members of Holy Fuck

Bright Eyes @ the Greek Theatre 5.4.07

2007-05-14T20:55:00.000-04:00

Conor Oberst has my dream job. Not only does he have complete control of his art, but he has the means to recruit brilliant musicians (Emmylou Harris, Jim James, M. Ward, Jenny Lewis, Gillian Welch to name a few) to realize it. Last Friday he and his friends held a neo-art-folk summit at the classic Greek Theater in Berkeley. On the bill with him was a nice dip in the reverb sea with My Morning Jacket’s Jim James and a duo set from the devilishly angelic Gillian Welch and the incomparable David Rawlins.

Bright Eyes’ set started with the same psychic/orchestral sample that starts their new album Cassadaga (which is a gem BTW) while the stage swirled with the real time effects of a guy behind an overhead projector. Throughout the show this artist scribbled, painted and de-petaled flowers on an overhead projector that displayed images as big as the Greek’s massive stage. This was very original in my opinion but also very distracting at times.

Conor led his 12-piece ensemble through most of Cassadaga’s songs while only touching on 2 other albums from his vast repertoire (annoyingly but understandably given most of the musicians on stage were the ones that sessioned for Cassadaga). Highlights included a reworked Calypso infused version of “First Day of My Life” from 2005's I’m Wide Awake, It’s Morning and a nice rocking but definitely acoustic take on the once computerized “I Believe in Symmetry” (off of Wide Awake’s fraternal twin Digital Ash in a Digital Urn).

Due to time constraint’s Bright Eyes played only a 50 minute set (Conor even scathed “Apparently the stage turns into a pumpkin at a certain time so we have to speed things up”) before squeezing in an all-star 3 song encore (not including the “Happy Birthday” singalong to a friend). It started with Jim James singing lead on John Prine’s classic “All the Best”. Then came a great version of Gillian’s “Look at Miss Ohio” followed by a error filled but genuine “At the Bottom of Everything” to close down the night.

The MVP of the night goes to Gillian Welch and David Rawlins whose set captivated the 2/3 capacity crowd. Songs like “Orphan Girl” and a steam engine fueled cover of Johnny Cash’s “Jackson” prove that sometimes 2 can be better than 12.

Bright Eyes set: Clairaudients, Hot Knives, Middleman, First Day of My Life, Make a Plan to Love Me, Classic Cars, No One Would Riot For Less, Cleanse Song, I Believe in Symmetry

E: All the Best, Happy Birthday, Look at Miss Ohio, At the Bottom of Everything

Gillian and Dave: Orphan Girl, Elvis Presley Blues, My First Lover, No One Knows My Name, Do it Anyway?, I Want to Sing That Rock and Roll, One Job, Revelator, By the Mark, Jackson

Jim James: Anytime, Dancehalls, Hopefully, I Will be There when you Die, X-mas Curtain, Gideon, ?, Bermuda Highway, ?

Modest Mouse sets sail

2007-03-12T20:41:00.000-04:00

As you listen to the first few measures of a seemingly ancient pump organ play, a tiny voice should echo in the back of your skull, “Ladies and Gentleman: Isaac Brock presents his twisted tales of the sea”. “March into the Sea” is in fact the title of the first track on Modest Mouse’s new album. It is also the first opening album track to be in 6/8 since 1996's This is a Long Drive..( “Dramamine”.) Not that anyone should know that anyway (Although they do rock out in 6/8 quite well). “March into the Sea” swells from loud crests to pretty troughs where Brock sings “Treat me like the sea, oh so salty and mean” before cackling into oblivion like an old Sea Captain.

Next up is the new wave dance rock-y radio single,“Dashboard”, which I am starting to come around on, not quite yet though. The album finally stands on its own as a new offering by the third track (when I say new, I mean it. Modest Mouse is constantly changing either in influence or in personnel). We Were Dead Before the Ship Even Sank marks the debut of new guitarist and ex-Smith, Johnny Marr. The Modest Mouse of 2007 first becomes present with “Fire it Up”’s electronic beats and Marr’s brand of ethereal guitar licks.

Nautical themes continue to dominate lyrical content with “Florida” and “Missed the Boat”. The latter of which is a classic window into Brocks brilliant indie-pop songsmithing, complete with Shins’ leader James Mercer lending some of his unique tenor. (In my opinion Mercer and Jim James are the two best high-registered male vocalists going.) There is a lot of MM’s patented choppy neurotic dance rock (“We’ve Got Everything”, “Education”) on the disc, but the slower tunes are where the album excels. “Little Motel” is the most soothing song Brock and the Boys have ever put out. They even dabble musically in the nautical themes as Marr’s blissfull slide guitar solo builds into such chaos I can actually hear the seagulls squawking around.

As with some other Modest Mouse album’s, they have packed too many songs on there. Clocking in at over an hour, though nice, does not help the solidarity of the album. The eight and a half minute epic “Spitting Venom” should have been the icing on the cake. MM even breaks out the big horn arrangements to accompany Marr’s “King of the Castle” influenced ostinato riffs and Brocks layered vocal conclusions during the songs drawn out ending. Yes, the sea was angry that day my friends but the good news is, we were already dead.

Rating: triple

Key songs: “Fire it Up”, “Missed the Boat”, “Little Motel”, “Spitting Venom”

2/4: M. Ward solo at Bimbo's, San Francisco

2007-02-07T23:39:00.000-05:00

As a musician I realize how hard it is to captivate a crowd - especially when you are playing by yourself. Last Sunday night, M. Ward did just that when he completed the latter show of a two night stand at San Francisco’s Bimbos 365 club. (The photo to the left was taken the first time I saw Ward, at the Newport Folk Festival in 2005. I didn't bring my camera to Bimbos) This was my first time at Bimbos, and I think I have discovered my new favortite place to see a show in the city ( Well, when I’m on the west coast. New York will always be my true “The City” - Not unlike The Slip being “The Boys” now as opposed to Phish being “The Boys” 7 years ago). Bimbos reminds me of the Copa Cabana but on a larger level. Complete with satin(looking) curtains on the wall and the small booths that circumvented the room. And on that night, whether you were with your wife or girlfriend (a Goodfellas reference, stay with me people), you were paying attention to neo-old timey alt-folk champion Matt Ward instead. That’s right, Sufjan Stevens ain’t got nothin’ on this guy.

M. started the show (yeah, in a parallel unverse, Ward invents gadgets for James Bond) with a note for note version of “Duets for Guitars 3" while walking around the stage slapping his black guitar like he was jockeying at the Kentucky Derby. It’s amazing, not only can you distinguish Ward’s voice from any other in the world but his guitar sound screams “I am Matt Ward!” as well.

Ward set the first of his many guitar loops of the night with his unique slide intro to “Oh Lonesome Me” (I song I absolutely adore and want to cover myself but haven’t got around to learning yet) which seemed like a perfect match for M’s raspy yet large vocal range. Midway through the set M. sat down to the baby grand piano to break up the instrumentation a bit. He started with an alternate arrangement to End of Amensia’s “Carolina” (which I do cover, both with Commas and Two Out Rally) before playing the (obviously) George Harrison inspired “Here Comes Sun Again”.

With so many organic sound effects present on Ward’s records it was interesting to see how he would fill the space as a one man show. He used everything from his guitar to the pedal on his piano to set loops and even had two vocal microphones set up. One with the warmth of his studio efforts and one with enough reverb to trump Jim James. There was hardly ever a break in between songs too. He would start a loop, then tune his guitar for the next song and go right into it. The entire time the crowd was hollaring for an encore echoes of “Undertaker” still rang through the P.A. system.

For the encore M brought out his opener, Victoria Williams and her bassist, Greg Jarvis. This was not a wise choice. I missed her opening set but the second she opened her mouth I didn't feel bad about it. I won’t go off on her (because I could, not impressed) but lets just say she didn't know the words, seemed nervous on stage and was less enjoyable to listen to than "a kitten on fire or a baby in a blender” (alright that was harsh, but I think that is a great My Morning Jacket line so I’m usin’ it. For those who care the line continues “...blender, both sound as sweet as a night of surrender”). Ward did his best to accomodate for his guest by playing one of her tunes and some universal cover choices such as “Moon River” and “Stand By Me”. The highlight of the encore was “Big Boat” which was an audience request. In a set list dork's world like my own, this was a nod to the 1,100+ foot cruise liner, Queen Mary, which sailed (well, was pulled by a tug boat) under the Golden Gate bridge earlier that day.

1: Duets for Guitars Number 3, Chinese Translation, Oh Lonesome Me, Eyes On the Prize, Portland Rain?, Color of Water* > Sad Sad Song, Carolina^, Here Comes the Sun Again^, In Dreams**^ > Today’s Undertaking^, Poison Cup, Magic Trick, Fool Says, Right in the Head, Let’s Dance, Undertaker

E: Moon River^^, Victoria Wlliams’ song^^, When Will I Be Loved^^***, Big Boat^^, Stand By Me^^

* guitar intro only, then he went into Sad Sad Song. ** Roy Orbison cover, only played one verse. *** w/ “Sitting on the Dock of the Bay” (Otis Redding) tease before song ^ played on the piano. ^^ w/ Victoria Williams on backing vocals and Greg Jarvis on bass.

Stephen Malkmus and the Jicks @ Harlow's, Sacramento, CA

2007-01-16T01:42:00.000-05:00

I am in love...again. Her name is Joanna and she plays bass for Stephen Malkmus and the Jicks, (See the shoeless beauty in the background of the picture above). She is from Placerville, CA which is located smack dab in the drab of California’s "Central Valley". Last night in the heart of said valley, Sacramento, she and her band mates returned home to a packed house at the city’s top rock club, Harlow’s. Ringleader Stephen Malkmus, formerly of Pavement (perhaps the most aptly named band ever considering the strip-mall, gas station and concrete laden town in which the band was formed, Stockton CA) lead his backing group, The Jicks, through a monstrous set fueled with a plethora of new material mixed with a uniform blend of past (solo career, no Pavement songs as usual) favorites.

I arrived halfway through the opener’s set with out knowing just how perfect this show would be. Harlow’s was packed, but not shoulder to shoulder, so maneuvering during the show was a breeze yet it still held the vibe of a sold-out show. In between bands I was even able to get a vodka tonic, pee, run in to my buddy (and fellow Ocean Stater T.K.) and find my way to the absolute dead front and center of the venue. Perfect. Armed with a fresh drink, a one-y pack and an empty bladder I waited for the king of indie-rock (well at least second in line to the throne behind Lou Reed, in my book) to take the stage.

The curtain flew open as the first fluttery notes of “Water and a Seat” echoed through the club’s PA system. Malkmus, sporting a snazzy 70's porno ‘stache for the tour, finger picked with ease between rhythm and lead guitar lines. For the amount of singing he does, its amazing how rarely you’ll find Malkmus plainly strumming barre chords along with his vocal deliveries. That would be far too easy. The second tune, “Pencil Rot” displayed just how rhythmic and quirky Malkmus’ music often is. This tour marks the debut of the newest Jick, Vacaville’s own Janet Weiss (of the now defunct indie-pop girl group, Sleater-Kinney), and I wanted to see how well she could drum to Malkmus’ atypical music. She passed with flying colors mastering every hit and time change proving she is possibly the best female rock drummer in existence, at least in my existence.

Then the band started to treat the crowd with the first of 7 brand new songs, presumably from the new album he is about to drop (soon I hope). I like to see music I’m familiar with when I go to a show, but this new batch of tunes is so strong that as the listener, I didn’t mind whatsoever. The new songs often provided tasty grooves for the band to improvise over and improvise they did. The Jicks jam more than any indie-rock ever, even Built to Spill. Given my history of cutting my concert-going teeth with jam bands, this was a welcoming virtue for me. It was great to see a tight 4 minute song like “It Kills” expand into a 10+ minute throw down. Yes, “It Kills” killed it.

During the band’s encore Malkmus bantered about how much Sacramento has changed since he left town almost a decade ago, presumably in his best sarcastic rouse, and introduced all the band members and which suburb they were all from (Keyboardist/Guitarist Mike Clark even attended Sacramento State University). After a brief but fitting “Stairway to Heaven” tease the Jicks launched into the barn burning “Baby C’mon” which even got the indie kids dancing, so you know it rocked. Why this guy is not selling out 3,000 seat theaters is beyond me, but its nice to catch a hot club show every once in a while.

The opening band, Entrance, played a mediocre set while trying to be indie’s answer to the Jimi Hendrix Experience way too much. The lead singer/guitarist spent too much time distilling feedback from his amps than actually playing his instrument. The rhythm section however proved to be very tight, and possibly rocks out in 3 harder than any band I’ve ever seen.

Set: Water and a Seat, Pencil Rot, Real Emo Trash*, Animal Midnight, Dragonfly Pie*, Merry Go Round*, Pennywhistle Thunder*, Walk into a Mirror*, Baltimore Again*, Mama, It Kills, Hopscotch Willie*, Jo Jo’s Jacket

E: The Hook, “banter/band intros”, Baby C’Mon
* denotes new tune. I got the titles from a guy who got the band’s actual set list after the show.

The Slip on 12/29 at Lupos in Providence, RI

2007-01-08T18:02:00.000-05:00

The Slip used to be one of those bands where fans wouldn’t even want to listen to studio recordings. Why would I want to listen to Does when I have a dozen soundboard recordings or accurately placed stage AUDs? I mean there is no way to capture the live aura of this band in the studio (even though they do make great records, the shows are incomparable). Well after the release of Eisenhower, I’m afraid times have changed. The band’s new studio album is filled with such a glorious amount of ear candy that Veruca Salt would surely overdose. Unfortunately the band still plays venues that provide a crappy live sound and facilitate often unlistenable fan recordings. Which is why I throw Eisenhower in my CD player these days, not their latest stop at San Francisco’s Independent.

Last Friday night, the Providence providers kicked off their 3 night New Years run at one of their favorite hometown haunts, Lupo’s. I have seen virtually every show the band has ever played at Lupo’s, old and new (the venue moved locations about 3 years ago). The Slip’s hometown holiday shows are a time for many fans to re-connect with old friends, catch up on what their favorite band is up to and just plain rock out. I arrived halfway into the third song, “Airplane/Primitive” (due to an engagement party I was at, congrats again Tim and Kate). Fresh off a 3 week long stint as My Morning Jacket’s opener, where they were only allowed a 30 minute slot, I figured the band would rely heavily on older tunes and embrace their headlining set. I was wrong.

The great thing about the Slip is that they have been together for over 10 years and have an outrageous amount of songs in their catalog, but annoyingly they seem to play only the new material, even for the fans that know them best. “New” songs (that have been beaten to death) like “Even Rats”, “Children of December”, “The Soft Machine” and “I Hate Love” continue to litter the band’s set every single night. I know I know, what’s wrong with playing the new stuff? Nothing I guess. It’s just I know what this band could pull out of their back pocket. Yes, if you go to see other indie rock bands like Broken Social Scene or Stephen Malkmus, you’re going to see all the songs on whatever album they are promoting. That’s how it works in the rock world. This is why the Slip are so good, they don’t have to rely on an era of their career, it is all great.

After “Airplane” came the new “There’s A Lie”, which is a nice tune but resembles Neil Young’s “Unknown Legend” melody a little too much. The band then proceeded to play a fairly predictable set of the new songs. The only instrumental songs came with segued “Moderate Threat > Cowboy Up”. I love the former, but the latter is becoming a boring wank on a minor third riff that every other band in the world has incorporated into at least one of their songs. I miss the old instrumentals.

The highlight of the show for me came during a reworked version of “The Weight of Solomon” which is on their first album released in 1997 Finally, a nod to the older heads. The show closing and seldom played (why?) “Sometimes True To Nothing” was another treat. After a not-so-rockin cover of the Who’s “Baba O’Reilly” the band launched into a predictable and boring version of “Children of December” complete with 16 year old fans shouting “I know this song, it’s on their myspace page ”(well, probably). Then the hometown crowd was yelling so loud the band came out for a second encore (the houselights were even turned on) which is a rare occurrence in the Slip world. We knew we were going to get something special. Nope, just another “If One of Us Should Fall” for the umpteenth time. I know the boys are just trying to be consistent and sell the new album in hopes of getting some commercial success, but I’m afraid they starting to alienate even the oldest of fans. Brad, Marc and Androo, I love your band and ALL your songs. Please play them once in a while, you weren’t formed yesterday.

Setlist: All I Saw Was You*, Even Rats, Airplane/Primitive, There's A Lie, The Soft Machine, Little Song, I Hate Love**, Paper Birds, Moderate Threat > Cowboy Up, The Weight of Solomon***, Let There be Horses, Sometimes True to Nothing

E: Baba O’Reilly, Children of December

E2: If One of Us Should Fall

* new arrangement ** w/ “Birdland” (Weather Report) teases. *** new arrangement with Brad on guitar

Album Review: The Shin's "Wincing the Night Away"

2007-01-08T17:47:00.000-05:00

Congratulations are in order for this new album from Zach Braff heroes, the Shins. The band, which could easily churn out simple strummy indie pop forever, shows signs of true growth with the release of their third album, Wincing the Night Away. The Shins previous albums ranged from abrasive almost annoying rockers to sweet, wonderful acoustic love songs. The new album takes both of those sounds and meshes them together perfectly to create a “new” Shins for the 21st century.
The record starts with a soft lilting arpeggio and James Mercer’s atypical voice welcoming you to ponder something besides cheesy love and obscure similes before launching into a driving rock beat not unlike many early Strokes songs. “Sleeping Lessons” proves the Shins are still figuring out their sound, but they know where they want to go. The album’s single “Phantom Limb” is probably the song closely related to the bands two previous albums. I don’t really care for the song until the “oh oh ohs” at the end which build nicely.
My favorite track is “Sea Legs” which finds the band experimenting with break beats and syncopated strumming. This song kind of sums it up, the band isn’t just creating a nice back drop to Mercer’s simple acoustic ditties. The four members are consciously creating a sound for themselves. Less strumming, more harmonies, and much more thought out bass lines and arrangements. The Shins are also incorporating more synth sounds into their music which creates beautiful textures similar to Nigel Godrich’s influence on Beck albums.
Wincing... loses a little steam towards the end before it is saved by “A Comet Appears”, a nice slow tune that could have easily been on Chutes to Narrow. The only difference, James is writing about broader sentiments and less first person mush. Lyrics like “Let’s carve my aging face off, fetch us a knife, start with my eyes. Down so the lines form grimacing smile” and “I click my heels, get the devils in line. A list of things I could lay the blame on that give me a way out. A tool we devise to make sinking stones fly” show this man is dealing with changes in his life. After seeing the Shins at Vegoose in 2005 I figured the fad would pass and we wouldn’t hear much from them. Hopefully, this album proves me wrong. We’ll let the kids decide.

Key Tracks: "Sleeping Lessons", "Sea Legs" and "A Comet Appears"

rating: triple

The Slip: 11/11 at the Independent, San Francisco, CA

2006-11-14T20:42:00.000-05:00

Hot on the heels of their first studio album in 4 years, the Slip have hit the road on a cross-country tour. For the west coast leg they are headlining, with the Montreal group The Lovely Feathers opening, before hopping on with My Morning Jacket in Chicago. Last Saturday night the Slip stopped by one of their favorite haunts, San Francisco’s The Independent. The Slip have been playing the Independent for a couple years now and it is showing. They sold-out the club for the first time ever. To quote Vince Vaughn, “Yes, my boys are all grows up.”

The boys (I refer to the Slip as “the boys”. Some have used that nickname for the Dead or Phish. The Slip are “The Boys” in my musical world) took the nicely decorated stage (there were leaves all over the mic stands and Andrew had his PVC pipes set up and all disco'd out) and launched into "The Soft Machine". Well, technically they played the intro first, which is tracked as “First Panda in Space” on the new record, but I think of it as a part of “The Soft Machine". After a solid “Poor Boy” they played the first of 3 new songs that night. “Little Song” is a nice slow tune that evolves in to an indie-pop foot stomper.

The Slip have many east coast friends that have relocated to the west (myself included) and it’s always a big reunion when the boys come to town. Brad noted this by dedicating “Wine and White Soda” to “old friends”. One of my night's highlights was the new acoustic tune “Life in Disguise” which I last heard on a rooftop last summer (see my “funny story” sidenote in my Eisenhower review below). This song is even more amazing live with Marc and Andrew providing perfect backing textures before picking it up for the “name dropping” ending lines. The boys closed the show in the same manor they have been doing a lot these days. Although “Children of December” is one of my favorites, the band has beat this song to death. It’s unfortunate that a band with such a huge, diverse repertoire basically uses one song as a fall back crutch to close “big” shows.

The encore was the best part of the night. Andrew started it off with the intro to “Happy Snails” complete with the PVC pipes. After a nice but predictable rendition of the ballad “If One of Us Should Fall”, I could see Brad telling Marc and Andrew what to go into next during the end of the song. Within seconds they segued into a rediculous version of jazzy/space-funk instrumental “Get Me with Fuji”, which proves they don’t have to play the indie-rock card in order to bring the fucking house down.

I completely missed the Lovely Feathers set so I can’t say how they were. I heard they were loud and the keyboardist played the whole show in his boxers, which apparently was not a flattering look. Also, sorry for the lack of details to this review, but I was hanging with a lot of old friends and probably drank about 3 too many Whiskey and Coke doubles.

Set list: The Soft Machine, Poor Boy, Little Song, Airplane/Primitive, Even Rats, Wine and White Soda, Life in Disguise, There's a Lie, slow acoustic tune?, Moderate Threat > Cowboy Up > Paper Birds, Children of December

E: Happy Snails, If One of us Should Fall > Get Me with Fuji

Album Review: The Slip's "Eisenhower"

2006-11-08T23:04:00.000-05:00

After years of waiting, The Slip (www.theslip.com) finally released their new album in to the world. Even though Eisenhower is the first studio release by the band in over four years, it has hardly any new material on it. The band has been road testing the bulk of this album since as far back as 2003, but even the oldest songs sound fresh on the new disc. Eisenhower is a cohesive collection of staples from BAM’s current live repertoire. In fact, "Mothwing Bite" is the only song fans haven’t (supposed to have) heard yet. This record, to me, has a feeling like a new home. What I mean is that when you move into a new house, you have all your old stuff with you, but the you get to set it all up in a different place. Something old, yet with a new style.

The album starts with perhaps the band’s two most famous songs. "Children of December" won best rock song in a Boston-based contest years ago and "Even Rats" has been featured on the popular playstation game "Guitar Hero" for about a year. So the first "new" recording I heard on the disc was the elegant piano intro to the amazing ballad "If One of Us Should Fall". This song was also released on the band’s 2003 release Alivealectric (which proves it was written before M. Ward’s song "Post War" which has an almost identical feel) but fans will love the slick and properly arranged studio version. Next comes the Marc penned (when this song first appeared live it was known as "Marc’s new tune", I assume he wrote the main riffs at least) "Airplane/Primitive". Although similar, the studio version doesn’t compare to what this song does live, which is definitely a good thing. The Slip are one of the best live bands in America and cannot be contained in a studio setting.

"Suffocation Keep" makes a glorious return on the album. The song, once played frequently, has been shelved (aside from a few bust outs) from their live shows as of late. Brad has ditched the old timey vocal effect for the soft, raspy approach and with the addition of a cello and Nellie Fleischner’s siren-like backing vocals, the song makes a nice transition into the studio world. "Life in Disguise" is the eighth track on the album, and possibly my new favorite. Co-written by Isaac Taylor (James’ son, mmm... Jameson), this sweet acoustic tune shows how far Brad Barr has come with his vocal abilities. (Funny story: One of the first times I ever heard this song Brad Barr was playing it on a rooftop in San Francisco after a show at the Hotel Utah. Drunkenly, I started to accompany him with the best knee/thigh slapping ever, or so I thought. He was so cool about it that he even gave me a knee slap solo mid song. What a champ that guy is.)

"Mothwing Bite" is the only song on the record that has yet to be performed live. It is perhaps the most poppy offering on the disc as well. Let’s just say it’s really polished. The song’s refrain contains the album’s best line too, "Boom, my lord, if you ever get back to Little Compton". That’s right, my hometown (which the Barr Bros. frequented many summers in the past) gets a shout-out in a Slip song. ‘Bout effing time. A great, well produced but not restrained version of "Paper Birds" closes the album. This song has perhaps the hottest intro going (which is separately tracked and named "The Original Blue Air") and proves that although The Slip may sing a lot more, they haven’t forgotten how to write groundbreaking, multi-part, musical masterpieces.

Rating: Grand Slam

key tracks: "Even Rats", "Suffocation Keep", "Life in Disguise", "Paper Birds"

Trey band kicks off Vegoose

2006-11-02T17:38:00.000-05:00

I arrived in Las Vegas for the Vegoose festival late Friday evening with my dancing shoes on. After dumping my bags at the front desk of the Jockey Club (which was lovingly dubbed "the Jock Strap" by some of the 8 inhabitants of room 504), I headed down the strip (and a mile or so off it) to the Orleans Arena for the first of many shows to be seen this wonderful weekend.

Trey Anastasio helped kick the second annual Vegoose festival off with a late-night show supported by pedal steel virtuoso, Robert Randolph and his Family Band. The arena, at least three times as large as last year’s sold out Alladin Theatre venue, was about 1/4 full for most of the show which hinted that fans have begun to lose faith in Trey’s capability to throw down at hyped up gigs. I must say though, Trey had some fun in store for us regardless of the empty seats.

After the so-so "Simple Twist up Dave", the band launched into the first of 4 Phish/Trey hybrids with the grammy nominated "First Tube" which featured a raucous outro jam completely atypical from any "First Tube" I’ve seen. Next, he invited Robert Randolph to sit in for a go at Jimi Hendrix’s classic "Stone Free" and the swamp-funk of the Phish favorite "46 Days". After a few less than desirable new tunes Trey closed his set with an outstanding blissed out version of the groovy launchpad "Gotta Jibboo". Although there were some moments of mediocre meandering, most of the jams tonight flowed forward while building lots of energy. It’s also great to see a real light show again, I’ve been seeing far too many indie bands who wouldn’t know how to light a candle, much less the empty canvass of an arena wall.

Trey’s support for the show, Robert Randolph and his Family Band, played a rockin’ set full of many songs from their new album (I presume, I didn’t recognize any songs) and warmed the crowd up nicely for Trey with their southern blues tinged pop-rock. I must say, RR’s bassist has one of the best falsetto voices going.

Set list: Simple Twist Up Dave, First Tube, Stone Free*, 46 Days*, Sweet Dreams Melinda, Push On Til the Day, What’s Done, Goodbye Head, Plasma, Gotta Jibboo -> jam
E: Mr. Completely, Tuesday
* w/ Robert Randolph on pedal steel guitar.

Vegoose: Day 1

2006-11-02T17:17:00.000-05:00

As I walked through the gates to the first day of the Vegoose festival, I heard the flutters of Cat Power’s "The Greatest" floating through the air. The queen of introverted performance and her Memphis Rhythm band (featuring members of Stax Records’ house band, Booker T and the MG’s) kicked off my festival in the early afternoon last Saturday. When I say "my festival", I mean just that. With over 40 bands and a plethora of shops, art exhibits, impersonators, costumes, chance run-ins and even carnival rides, there is no way any 2 people at Vegoose experienced the exact same event.

This year’s festival was held at the same location as last years, but the layout was slightly altered. Instead of using the Sam Boyd Stadium as the "Double Down" stage, this year all the stages were in the same field located behind the stadium. This allowed for more set time accuracy and a lot less walking between stages. However, this also caused a lot more audio bleeding between stages. Built to Spill’s Doug Martsch even quipped in between songs, "You guys hear that noise coming from the other stages, good, it’s part of our show."

After Cat Power’s amazing set, which drew heavily and sequentially from 2006's The Greatest, I walked all of 50 yards to see freak-jazz icons Medeski, Martin and Wood with special guest, saxophone legend Maceo Parker. Just one example of how my different musical worlds came within inches of colliding that weekend. The highlight of the afternoon sets, for me, came with the freight train with a hard blues engine and an indie-pop caboose known as the Raconteurs. Despite the intense heat bearing down (Jack White announced to that "An old goth queen like myself might melt if I don’t put on some sun screen.") the band raged through a set of songs from their only album, Broken Boy Soldiers. However, the Racs’ mixed things up by instilling new arrangements and feels into the songs and even switching vocal lines. For example, on the single "Steady As She Goes" Jack sang Brendan's lines on the record and vice versa.

Next cam the only reggae act of the festival, Damien "Jr. Gong" Marley and his huge stage entourage which included a flag waver. That’s right, one of his band members danced around the stage waving a Rasta flag the entire set. I want that man’s job. Marley ran through some hits from his latest Welcome to Jamrock album while mixing in some of his father’s classics like the outstanding version of "Concrete Jungle".

The Mars Volta played after Marley and about 30 seconds into their set I ran as far away as possible. I don’t know what people see in those guys. All of them seem to be in their own world just wanking away on their instruments (unimpressively I might add) without any band congruence whatsoever. Little did we know what a great choice we had made to ditch the Volta party. Our crew wandered in to the Clubs Tent without knowing what brilliance we were about to witness. The Yard Dogs Road Show is unlike anything I have ever seen. Their 10 plus members (all dressed in crazy outfits recalling the days of Vaudville) all played multiple instruments and had tremendous circus side show talents. Their act had swanky horn driven hooks mixed with comedy, magic tricks, sword swallowing and Burlesque style choreography. Check this group out, you will be blown away.

After hanging on the west side of the festival for the whole day, I ventured to the main stage to receive my dose of straight ahead rock and roll. First up, the Black Crowes. When the Black Crowes announced their break up in 2000, I figured I had missed the boat on perhaps my favorite Southern rock band of all time (Well maybe they're in second between Skynyrd (3) and the Allman Bros.(1)). But as you all know, band breakups are as successful as marriages these days. Sometimes when you're at a festival with 30,000 people the best moments come when you’re alone. While my friends were all at Jurassic 5, I indulged in the rock and roll that saved my highschool life. When the Crowes’ busted through hits like "Halfwhere to Everywhere", "High Head Blues", "Jealous Again" and "Remedy" I got down harder than the winner of a "pants-down dance-off".

The first day culminated with legends, Tom Petty and the Heartbreakers. The crowd noticeably headed for the gates halfway through their set once Tom started to deviate from his uber-hits, but nothing would have stopped me from enjoying one of my 7th grade heros. Petty, dressed in a ruffled leather jacket and his standard yellow telecaster, sauntered around the stage with his hands high in the air as if he was recreating Russell’s "Golden God" scene from Almost Famous. Before playing the Bo Diddly penned "Mannish Boy" Petty stated that they had learned the song from the Yardbirds which proves just how long the Heartbreakers had been doing their thing. To close the show, Petty sent off the remainder of the crowd to the strip with an average run-through of his first hit, "American Girl", while echoes of "Oh yeahs" and "Alright"’s swam in our heads giving us Vegas folks some advice to try and "make it last all night".

Set lists of bands I knew well enough to take. A "?" indicates I’m not sure of the songs title.

Cat Power: intro -> The Greatest, Living Proof, Lived in Bars, Could We, Empty Shell, Willie, the Moon, Sweet Time?, Satisfaction, Where is My Love, Anything But Love*
* a cappella with her whole band lined up front stage chorus line style.

The Raconteurs: Intimate Secretary, Level, Steady as She Goes, Together, Store Bought Bones, It Ain’t Easy?, Broken Boy Soldiers, Blue Veins, Hands

The Black Crowes: Halfway to Everywhere, Sting Me, Gone, Seeing Things, High Head Blues, Up on Cripple Creek, The Seven Seas?, Soul Singing, Wiser Time, Cursed Diamond, Jealous Again, By Your Side?, Remedy

Tom Petty: Listen to Her Heart, Mary Jane’s Last Dance, I Won’t Back Down, Free Fallin’, Saving Grace, Mannish Boy, blues tune?, Good to Be King, blues tune?, Cabin Down Below, Don’t Come Around Here No More, Refugee, Runnin’ Down a Dream
E: You Wreck Me, Mystic Eyes, American Girl

Vegoose: Day 2

2006-11-02T15:15:00.000-05:00

You’d be surprised how hard it is to get somewhere in Las Vegas by noon (even when you gain an hour the night before). However, I did manage to make it to the festival for Band of Horses’ 12:20 set, and no I didn’t even have time to indulge in a tasty casino buffet beforehand. After last year, where I showed up at 3 or 4pm, I told myself I was going to see as much music as humanly possible this year.

So a little after noon with an overpriced festival smoothie in hand, I watched one of my favorite new bands with about 50 other champs who rallied to get out that early. I first shunned Band of Horses due to their similarity to the early My Morning Jacket sound but after giving them a chance, I soon fell in love with their only release, Everything All the Time . Thankfully, seeing who these guys were destroyed any lingering comparisons to MMJ. They started with the slow and sweet "Part One" about which the lead singer stated, "We thought we’d start you guys off with a boring song, so it can only get better from here." The band then marched through a set heavy on their album while tossing in a lackluster new tune and a decent Eels cover to close. One disappointment was that they only played for 35 minutes when their slot was for 45. I mean, what’s the world coming to when bands big enough to play the Fillmore can’t even play a 45 minute set?

After B of H, I ran over to the nearby "Snake Eyes" stage to see what I was really there for. Of all the bands playing this weekend, Built to Spill is my absolute favorite. I placed myself front and center and got ready to bask in the warm Nevada sun while BTS showered me with three-guitar soundscapes. What differs BTS from most 2 or 3 guitar bands is these guys barely play chords. They divvy up the melody and rhythm so well that everyone is playing something different on various parts of the neck while conveying the harmonic progression of each song perfectly. Trying to make up for B of H’s short set, BTS (you following my abbreviations clearly?, good) hit the stage 10 minutes early and started to jam out in A major (no I don’t have perfect pitch, I was so close I could see which frets they were playing, nice). Annoyingly, the stage manager was a hard ass and came out and told the band they couldn’t play loud until their scheduled start time. So BTS jammed super quietly and at 1:15 on the dot, they exploded with a storm of feedback, fuzz and reverb laden guitars. After 20 minutes since the start of the jam they found their way into the new hit "Traces". Unfortunately during "Traces", Doug Martsch’s effects rig fell off the bench next to him and seemingly broke as he was rewiring his gear mid-song. After another track from their new album, "Liar" (which was aborted and restarted), the band left You in Reverse completely and threw down a set of classics. The highlight for me came with the olde (you like that spelling miss j?) gem "Nowhere Nothing Fuckup" which I had heard on late nineties BTS bootlegs but had never seen. After the feedback frenzy at the end of "Randy Described Eternity", Doug threw his laminate out in the crowd and my friend Parker got it! He got to go backstage and Doug signed his costume (some O.R. scrubs) with his nickname (apparently), Dug. Nicely done Dug and Co., maybe one day people will give you guys some more credit and you’d be headlining festivals like this.

As the feedback from BTS lingered, I walked over to the Rhythm Devils and after a few standard issue Dead covers I headed back to see my second favorite female performer at the festival, the lovely, talented and extremely insane, Fiona Apple. Apple came out on fire while launching into the rocking "Get Him Back" and pouring every ounce of emotion she had into the microphone. After the painfully beautiful "Shadowboxer", Fiona announced that "You guys are my last audience, ever". Was she serious? Is this really it? I guess we’ll find out soon. At the end of her set she announced the band and again said "I love these guys so much, its hard to imagine never playing with them again." And to further my conspiracy theory, they let her play 2 encores, something no other band (except the stage headliners, which she was not) got to do the whole festival. If this is true, I’m so glad I caught her at Vegoose, because she absolutely blew my cape off.

From Fiona I sprinted to the "Clubs Tent" to see my favorite woman on this planet (of the ones I’ve never met, of course) Las Vegas’ own, Jenny Lewis. The Rilo Kiley front woman ran through an amazing revival-esque set complete with clap-alongs, costume changes and stomping renditions of new tunes and cuts from Rabbit Fur Coat alike. Along with Jenny, the Watson Twins shined with their concert hall quality vocal harmonies producing a sound much bigger than I thought Lewis’ band was capable of. However, in the middle of the set I was at a crossroads. While Miss Lewis was captivating the small tent audience, two jam band legends were combining efforts to make every Phish and Dead fan’s wet dream a reality. So as the last notes of Jenny’s closer "I was Born Secular" rang, I again strapped on my PF Flyers (yeah that’s a Sandlot reference, I’m not afraid) and booked it to the "Double Down" stage for Phil Lesh and Trey Anastasio.

I missed the first part of Phil and Trey’s set and walked in during the terrible Trey crap song, "Sleep Again". I guess I didn’t have to leave Jenny’s set so quickly after all. However, after a sloppy but energetic cover of "Like a Rolling Stone" (which in classic rock star Trey fashion, he stole the chorus’ tasty organ lick from the guy actually playing an organ, John Medeski) the band launched into the only Phish song of the set, "Back on the Train". Mike Gordon guested playing both banjo and Trey’s guitar for a little while. Yes, this would be the song I danced hardest to all weekend. Please Trey, stop playing your self indulgent jam pop and bring the boys back! Phil and Trey closed with the classic Dead sandwich of "Help > Slipknot > Franklin’s" and go at the Buddy Holly classic "Not fade Away" which took a while for me to accept Trey’s style of playing dead tunes. All I wanted was Jerry to come to life and teach Trey how to play his shit right.

After a brief check in with Jim James (the MMJ frontman played a set of solo acoustic tunes while very good, was way to slow for a festival atmosphere) my night ended with my first experience with hip-hoppers, The Roots. (Well I also saw some of Widespread Panic, but I'm mad at Vegoose about them. Although the addition of Jimmy Herring on guitar makes them sound a lot better. They headlined over Phil and Trey. Does that mean the good people at Vegoose think that WSP is better than the Dead and Phish combined!?! blasphemy!) If you haven’t seen the Roots, go! Now! They are the tightest hip-hop band I’ve ever seen, yes they are a band, not a turntable in sight. I didn’t recognize any tunes except for the hit, "You Got Me" which featured a stellar guitar solo but lacked a female vocalist for the hook. Then they closed with the best medley of covers I have ever heard. I kid you not, the Roots played tight, one minute versions of hits by Sly Stone, Michael Jackson, Talib Kweli, Snoop, Wu-Tang, Salt-n-Pepa, Kanye West, Tribe and even a stab at Blue Oyster Cult’s "Don’t Fear the Reaper" complete with the SNL "Cowbell" gag. Brilliant!

Alright, time to wrap it up. What can I say, if you are any self respecting music fan get out to a festival near you sometime. In two days I saw old favorites, new discoveries and was blown away by artists I love but never got to see, until now. From Jazz to Hip-hop to indie rock to Jambands to a full burlesque cabaret troupe, Vegoose had it all! Here are some bests of the festy (in my humble opinion, of course).
Best set: Built to Spill
Best cover: Ben Folds doing Dr. Dre’s "Bitches Ain’t Shit".
Best new discovery: The Yard Dogs Road Show
Best guest appearance: Blackalicious’ Gift of Gab sitting in with Galactic
Best opener: Phil and Trey raging "Ghost" to start their late night show.
Best closer: The Roots’ monster medley
Best encore: Fiona Apple’s "Crimial" and a solo version of "Parting Gift" that could be the last we hear from her.
Best costume: Keim Time’s Donkey!

Set Lists:
Band of Horses : Part One, Wicked Gill, The Funeral, new tune, The Great Salt Lake, Weed Party, Monsters, The Showdown?*
* The Eels cover

Built to Spill : Jam, Traces, Liar, Made-up Chairs, You Were Right, Nowhere Nothing Fuckup, Fly Around My Pretty Little Miss, Carry the Zero, Randy Described Eternity

Fiona Apple: Get Him Back, To Your Love, Shadowboxer, The Way Things Are, Paper Bag, Sleep to Dream, Limp, Tymps (The Sick in the Head Song), Extraordinary Machine, On the Bound, Not About Love, Get Gone, Fast as You Can
E: Criminal, Parting Gift*
* Fiona at the piano, solo

Jenny Lewis with the Watson Twins: Run Devil Run, The Big Guns, You Are What You Love, Under the Charging Sky, Happy, band intros > See Fernando, Rise Up with Fists, new tune, Bye Bye Baby*, When Jack Killed Mom, I Was Born Secular
* Jenny and the Twins a cappella

Phil and Trey: Shakedown Street > Sweet Dreams Melinda > Row Jimmy, Let it Ride > Sleep Again, Like a Rolling Stone > Back on the Train* > Bird Song > Help on the Way > Slipknot > Franklins Tower, Not Fade Away
* w/ Mike Gordon on banjo and guitar

Talking About Commas release new EP.... for free!

2006-10-24T23:15:00.000-04:00

So I can't really review this EP, because I made it. But I thought I'd mention it anyway. Go to www.talkingaboutcommas.com to download the new 5 song EP from Talking About Commas. Let me know what you think.

Countdown to Vegoose

2006-10-18T17:28:00.000-04:00

Well its only a week away. They just released the schedule yesterday (http://www.vegoose.com/). Looks like this is what I'm seeing:

Saturday:

Cat Power
MMW w/ Maceo Parker
The Racontuers
The Mars Volta
The Black Crowes
Jurassic 5
Tom Petty

Sunday:
Band of Horses
Built to Spill
Fiona Apple
Phil and Trey
Jenny Lewis (pictured)
The Roots
Jim James (solo)
Widespread Panic

Looks like my only conflict is Jenny Lewis at the same time as Phil and Trey. That's right, god hates me. Stay tuned for pics and a full review after the festy! Hope to see some of you out there

Review: Trey Anastasio's "Bar 17"

2006-10-07T01:15:00.000-04:00

Let me start by saying that I love the band Phish. Trey Anastasio is the guitarist that made me want to play the instrument as a 14 year old pup. Not Jimi, not Jimmy, not Eric but Trey. That said, this man is getting too old or out of touch to make any relevant music. The once edgy, atonal, bliss filled composer has turned into a guy in his mid-forties who writes terribly cheesy, predictable wank-pop.

Bar 17 is Trey’s new album, it dropped (not because it’s hot, because it’s a bomb) last Tuesday. It features a dazzling array of almost every musician Trey has ever shared the stage with from Phish’s Mike Gordon and Jon Fishman to the Benevento/Russo Duo to John Medeski. Despite the all-star cast, the album refuses to accomplish anything noteworthy. There a few flashes of classic Trey but most jams are just mindless meandering ("Goodbye Head" and "Bar 17"). A couple decent moments are the poppy, vocal-layered outro to "Let Me Lie" and the Story of the Ghost-era funk of "What’s Done"’s verses.

I must admit that my problem with Bar 17 is mainly the vocals, both the singing and lyrical content. Trey’s voice seems strained on rockers like "Dragonfly" and "Mud City" and he can’t quite pull of the pretty falsetto style of "Empty House". Also, Trey seems to be borrowing more than just musical ideas from his daughter (Eliza helped write the music to "Goodbye Head"). Lyrics like "The skyrockets are alive and breathing", "Dance all night with your boots and your dragonfly", and "Gonna take my bike out, Gonna take my bike. Gonna ride it slowly, ride it just how I like" makes me think he and Tom Marshall need to have a serious talk. And no, I don’t want to go to Mud City, Trey, and how the hell can I "sail away to Cincinnati?". I will be seeing Trey at Vegoose in a couple weeks, part of my yearly Trey fix, let’s hope he plays a lot of cover songs.

Key tracks: "What’s Done", "Goodbye Head", "Cincinnati"’s intro music. (Rating: single)

Bonus disc 18 Steps’ key tracks: "Dark and Down", "Discern". (rating: double)

Review: Beck's "The Information"

2006-10-04T23:42:00.000-04:00

When I first heard that The Information was produced by Nigel Godrich (who also produced Beck’s Mutations and Sea Change) I figured it would be a mellow album full of faux-string soundscapes and beautiful melancholy. To my surprise, this thing is an all-out dance party as if Odelay and Guero’s love child got a little too drunk one night and made out with Midnite Vultures. “Elevator Music” gets things going with a Guero-espque space-bass-trash-rap-funk that is as groovy as anything he’s done. “Cell Phone’s Dead” has two magnificent changes that shouldn’t be in the same song, but Beck makes it work as he always does.
The famed Radiohead producer Nigel Godrich, lets his presence known on tracks like “Soldier Jane” and “Movie Theme” both of which he co-wrote. “Soldier Jane” has Beck experimenting with fast, dirty drumbeats under slow, pretty changes a la Godrich’s work on many Radiohead songs like “Morning Bell” for example (although if Radiohead wrote this song, I bet it’d be in 7/4). “1000BPM” proves to be this record’s club scene infiltrator a la Guero’s “Hell Yes” and Midnite Vulture’s “Hollywood Freaks”. Unfortunately, after a strong start the record seems to ramble on a bit and probably doesn’t need to be 15 tracks long. All of this culminates with a ridiculous rant about space travel that shows although Beck makes amazing music, he can still be an egomaniacal (so I’ve heard) Scientologist (sadly, a fact).
There are 2 amazing bonus’ to this disc (if you don’t burn it like a chump). One is the album comes with no artwork. The listener can decorate the entire sleeve, cover and back with stickers that come in the CD. I’ve posted my version above, the top is my back, and the bottom, my cover. Also, Beck has attached a bonus DVD that includes low-budget/high-art music videos for each song on the album. It is a definite must-see.
Key Tracks: "Cell Phone's Dead", "Strange Apparition", "No Complaints" (Rating: triple)

9/4-6: An Apollo mini-tour

2006-09-27T00:34:00.000-04:00

I know people are always telling you to "check out this new band" and usually it goes in one ear and out the next (atleast with me). With the internet changing the way we discover music, there are too many bands for one set of ears to process. My advice: Listen to me and go see Apollo Sunshine (www.apollosunshine.com) . Although, they are not that new (they have 2 stellar albums) they are "new to me". I first heard Apollo when they opened for the Slip last NYE at Pearl St. Ballroom in Nothampton, MA. I must admit, I was not immediately sold. However, another run-in at High Sierra this summer and 2 Reno/North Tahoe gigs surely did the trick. Yes its true I may be a little biased (my friend was their tour manager, they stayed at my house, they collectively kicked my ass in whiffle ball) but these guys are one of the best live bands I have ever seen! It's a shame they were the opener on this tour (they supported the Duo) because I could have used a lot more music! Here are the setlists (to the best of my recollection)

Monday 9/4 Ciao, Reno, NV
Bold As Love
I Was on the Moon
cover*
new tune**
Lord
Sex Machine***
* Off of a compilation album released on David Byrne's label. African sounding.
** slow tune w/ Jeremy on bass.
*** w/ Fred Torphy on guitar.

Wednesday 9/6 Crystal Bay Club, Crystal Bay, NV
P-Funk cover
Today is the Day
Flip
African sounding cover
Magnolia
Crosstown Traffic >
I was on the Moon
new tune
Phyllis

The first show was at this wine bar/pizzaria that just opened in Reno. Very nice, but no stage and more importantly, no people. There were about 30 people at this show so Apollo went off for the hell of it. The African cover is a song they heard (according to Jeremy) on a compilation released by David Byrne's "Luaka Bop", a world music label. The nights highlight was a raucous version of James Brown's "Sex Machine" w/ Sam on bass, Fred Torphy on guitar and Jesse doin his thang on the mic and sampler.
The Crystal Bay was a MUCH nicer venue, complete with million dollar lighting and sound gear (seriously, its a casino). The band tore through their set again while mixing it up quite a bit. The back to back "Flip!" and "Today is the Day" (possibly my new favorite song) blew my mind. The standard Hendrix cover however was intriguing because I used to hear the Slip (another Boston-based rock trio) cover the same song ages ago. Who does it better? I'll never tell (hint hint: BAM). The other cool thing was the tight segue from Traffic into the poppy favorite "I Was on the Moon". The highlight of tonight's gig was the redonkulous jam in Phyliss. Apollo certainly orbited the moon that night, what a show.

p.s. The Duo is way overated, nuff said

Welcome

2006-09-17T16:19:00.000-04:00

Hello All