Of course, lots to report on "Coachella Valley Music & Arts Festival."
Before I get into today's announcements, I did get to attend the L.A. premiere of the film on January 19, 2006. I meant to post my thoughts about the full-length film the next day, but I had to cover NAMM (the huge music conference) in Anaheim that day and all day the following day, so I was beat.
But the film is excellent. It's impossible to include performances from every act that has played since the fest's launch last century. So the director of the film, Drew Thomas (who was at the screening and made introductions), kind of puts you there. You get a sense of what makes Coachella so unique and so real. And all about the music. My favorite performances in the film came from Morrissey and Radiohead, but the overall film itself captures the magic in a way most recent concert pics have failed. When Zero 7 played, it reminded me of Hendrix at the Woodstock, a kind of saddness that rarely comes across on the silver screen in rock movies...
Now, today they announced the initial list of acts performing at the upcoming 7th annual Coachella, to be held in Indio on Saturday and Sunday, April 29-30. We already knew about Depeche Mode, but now comes word that Depeche Mode will be the final act on Saturday, while Tool will close the whole thing on Sunday. Other acts include two I haven't seen before and am really looking forward to seeing, Scotland outfit Franz Ferdinand and Iceland's Sigur Ros.
Sunday's highlights will likely come in sets delivered by the Yeah Yeah Yeahs, Scissor Sisters, Bloc Party and Sleater-Kinney. But then part of the magic of Coachella is not knowing who will blow you away.
Tuesday, January 31, 2006
Monday, January 23, 2006
Duran Duran at the new Key Club at Morongo
I plead guilty. It has been far too long since I've posted any truths here.
I have plenty of excuses. I've been busy attending musical events and writing about them for the Register and it's been crazy these past few weeks.
On Saturday, Jan. 14, I did go to the official launch of the new Key Club located inside the Morongo Casino Resort at Cabazon. I had never seen Duran Duran before, and especially since this was the original lineup playing in an intimate venue, it sounded like fun.
And if catching the band tear through 75 minutes or so of most of their biggest hits (they did omit "Rio," surprisingly) wasn't enough to get you there, checking out the newest club in the Southland sounded promising.
Duran Duran Set List at Key Club at Morongo
Hungry like the Wolf
Planet Earth
Is There Something I Should Know
Sound of Thunder
The Reflex
Ordinary World
Save a Prayer
Sunrise
Notorious
Nice
Girls on Film
(end of regular set; encore is below)
A View to a Kill
Wild Boys
I had expected there to be some excitement in the crowd, especially since near the stage it was strictly standing. To put it mildly, I was crushed. Many, many excited women who were revisiting their youths, big time. But to Duran Duran's credit, the band was great and many of the songs were delivered wonderfully. "Sunrise," "Nice" and "A View to a Kill" were among my favorites. The group's musical skills shone throughout the energetic set.
And the club is very posh. Check it out. www.keyclubmorongo.com.
I have plenty of excuses. I've been busy attending musical events and writing about them for the Register and it's been crazy these past few weeks.
On Saturday, Jan. 14, I did go to the official launch of the new Key Club located inside the Morongo Casino Resort at Cabazon. I had never seen Duran Duran before, and especially since this was the original lineup playing in an intimate venue, it sounded like fun.
And if catching the band tear through 75 minutes or so of most of their biggest hits (they did omit "Rio," surprisingly) wasn't enough to get you there, checking out the newest club in the Southland sounded promising.
Duran Duran Set List at Key Club at Morongo
Hungry like the Wolf
Planet Earth
Is There Something I Should Know
Sound of Thunder
The Reflex
Ordinary World
Save a Prayer
Sunrise
Notorious
Nice
Girls on Film
(end of regular set; encore is below)
A View to a Kill
Wild Boys
I had expected there to be some excitement in the crowd, especially since near the stage it was strictly standing. To put it mildly, I was crushed. Many, many excited women who were revisiting their youths, big time. But to Duran Duran's credit, the band was great and many of the songs were delivered wonderfully. "Sunrise," "Nice" and "A View to a Kill" were among my favorites. The group's musical skills shone throughout the energetic set.
And the club is very posh. Check it out. www.keyclubmorongo.com.
Monday, January 09, 2006
A question of time
I spent most of this past weekend going through filing CDs, figuring out where to possibly put the growing number of releases I have. Which ones to keep handy. Which ones to put in storage, etc.
From the Beatles and Bruce Springsteen to Radiohead and Neil Young, I can't believe how much music has been produced in my lifetime. And how much of it is pretty good.
With all the bad news, and it comes relentlessly, it's good to know I can retreat and listen to a song. And there are plenty of songs to choose from. And even more in the wake of a pretty good 2005!
From the Beatles and Bruce Springsteen to Radiohead and Neil Young, I can't believe how much music has been produced in my lifetime. And how much of it is pretty good.
With all the bad news, and it comes relentlessly, it's good to know I can retreat and listen to a song. And there are plenty of songs to choose from. And even more in the wake of a pretty good 2005!
Thursday, December 29, 2005
Best of 2005: 20 gems to recommend
It should come as no surprise that selecting and ranking the best albums of the year is among the most difficult tasks a pop critic undertakes. This list ranks albums, with my top choice being first (Neil Young being #1) and so on. I often get asked why a specific artist didn't make my list; often it's because I never received or had a chance to hear the album. For example, I never heard the Rolling Stones' "A Bigger Bang" or Kanye West's "Late Registration" so they were not considered. I only list albums I have heard.
Neil Young “Prairie Wind” (Reprise) – Rock’s most consistently-winning songwriter returns to the alt country territory of “Harvest” but with a lifetime of reflection to craft his first masterpiece of the ‘00s.
Sigur Ros “Takk” (Geffen) – As otherworldly as it is beautiful; this Icelandic outfit thankfully charts its own course and sounds glorious.
New Order “Waiting for the Sirens’ Call” (Warner Brothers) – Maybe because I heard this in the wake of the band’s Coachella appearance, but this set finds the band breaking new ground with its accessible and influential style.
Coldplay “X&Y” (Capitol) – The band’s strongest collection yet, highlighted by “Til Kingdom Come,” “Speed of Sound” and “What If.”
Embrace “Out of Nothing” (LAVA) – I’ve played this CD to death since its release earlier this year. Britpop with melodic and emotional depth.
Paul McCartney “Chaos and Creation in the Backyard” (Capitol) – Sir Paul crafted one of the most subtle and powerful albums of the year. Clearly his best work since the 1980s.
Aimee Mann “The Forgotten Arm” (Superego) – In an age of iPods and over-produced singles, 2005 found the onetime Til Tuesday singer releasing an intelligent and well-crafted concept album.
Doves “Some Cities” (Capitol) – Both symphonic and sparse, this album will continue to challenge and thrill listeners for many years to come.
The Magic Numbers “The Magic Numbers” (Capitol) – This genre-defying outfit comprised of two sets of siblings released the best debut of 2005. Magic indeed.
Gary Allan “Tough All Over” (MCA Nashville) – In the wake of the suicide death of his wife, songs such as “Best I Ever Had,” “I Just Got Back from Hell” and “Puttin’ Memories Away” convey a real world weight not heard in country music since Johnny Cash’s final recordings.
Honorable Mentions:
Franz Ferdinand “You Could Have It So Much Better” (Sony) – No sophomore slump here. The Scottish quartet unleashes an album worth of memorable material right for the times.
Ringo Starr “Choose Love” (Koch Records) – It’s easy to overlook Ringo’s contributions with the Beatles, or his dozen or so solo albums. Listen again; “Choose Love” boasts plenty of fun fireworks, specifically “Give Me Back the Beat” and Fab Four reminiscent “I Do.”
Glen Phillips “Winter Pays for Summer” (Lost Highway) – The third solo album from one-time Toad the Wet Sprocket frontman Glen Phillips, “Winter Pays for Summer” is also his best. Standouts include “Duck and Cover,” “Thankful” and “Don’t Need Anything.”
Moby “Hotel” (V2) – Until a few weeks ago, I was still thinking of placing this album in my Top 10, primarily because of the strength of two amazing tracks on the release, “Raining Again” and “Slipping Away.” A very strong album.
Hootie & the Blowfish “Looking for Lucky” (Vanguard) – Anyone who has actually listened to this album won’t be surprised it appears here. Anchored by political-charged material such as “State Your Peace” and “The Killing Stone,” clearly Darius Rucker and company’s best recording since 1994’s “Cracked Rear View.”
Bruce Cockburn “Speechless” (Rounder) – Although there are only three new works on this instrumentals-only collection, the strength of hearing Bruce Cockburn’s virtuoso guitar work shine is worth running out and grabbing this album. Cockburn, a hero in his native Canada, is a master at blues, jazz and country styles and works that defy categorization. Just listen to “The End of All Rivers.”
The John Butler Trio “Sunrise Over Sea” (Lava) – Jam rock, Americana, blues and more are minded by Australia’s John Butler Trio across this wonderful album. Great tunes to listen to on a long drive.
Various Artists/Soundtrack “The Chronicles of Narnia: The Lion, The Witch and the Wardrobe” (Disney) – Although I’m indifferent to Alanis Morissette’s “Wunderkind” song, the three other songs and instrumental music composed by Harry Gregson-Williams on the soundtrack are so strong it more than makes up for that one misstep. Particularly strong are Tim Finn’s “Winter Light” and Lisbeth Scott’s “Where.”
Various Artists “Lowe Profile: A Tribute to Nick Lowe” (Brewery Records) – Truly a labor of love, “Lowe Profile: A Tribute to Nick Lowe” finds singer-songwriter Walter Clevenger not only having produced the two-disc collection and releasing it on his Costa Mesa label, but also contributing an energetic version of “There’s a Cloud in my Heart.”
More than two dozen of Lowe’s songs are reworked by leading power pop, alt country and roots rock artists selected from around the world, including a number of Clevenger’s Orange County-based contemporaries. The Glimmer Stars (“Rollers Show”), Sparkle*Jets U.K. (“When I Write the Book”) and Chris Gaffney (“Crying in my Sleep”) rank among the many high achieving artists on the superb tribute. Other highlights on the collection include Eric Ambel’s version of “12 Step Program (To Quit You Babe)” and Michael Carpenter’s “(What’s So Funny ‘Bout) Peace, Love and Understanding?”
Various Artists/Soundtrack “Walk the Line” (Wind-Up) – Nothing but praise for the vocal performances by Joaquin Phoenix (as Johnny Cash) and Reese Witherspoon (playing June Carter). Sure their acting was wonderful in the film, but the musical performances are just as wonderful. And any chance to hear Cash’s wonderful songs in the spirit of the originals gets thumbs up from me, even if these reworkings inevitably fall short of the original masterworks.
Neil Young “Prairie Wind” (Reprise) – Rock’s most consistently-winning songwriter returns to the alt country territory of “Harvest” but with a lifetime of reflection to craft his first masterpiece of the ‘00s.
Sigur Ros “Takk” (Geffen) – As otherworldly as it is beautiful; this Icelandic outfit thankfully charts its own course and sounds glorious.
New Order “Waiting for the Sirens’ Call” (Warner Brothers) – Maybe because I heard this in the wake of the band’s Coachella appearance, but this set finds the band breaking new ground with its accessible and influential style.
Coldplay “X&Y” (Capitol) – The band’s strongest collection yet, highlighted by “Til Kingdom Come,” “Speed of Sound” and “What If.”
Embrace “Out of Nothing” (LAVA) – I’ve played this CD to death since its release earlier this year. Britpop with melodic and emotional depth.
Paul McCartney “Chaos and Creation in the Backyard” (Capitol) – Sir Paul crafted one of the most subtle and powerful albums of the year. Clearly his best work since the 1980s.
Aimee Mann “The Forgotten Arm” (Superego) – In an age of iPods and over-produced singles, 2005 found the onetime Til Tuesday singer releasing an intelligent and well-crafted concept album.
Doves “Some Cities” (Capitol) – Both symphonic and sparse, this album will continue to challenge and thrill listeners for many years to come.
The Magic Numbers “The Magic Numbers” (Capitol) – This genre-defying outfit comprised of two sets of siblings released the best debut of 2005. Magic indeed.
Gary Allan “Tough All Over” (MCA Nashville) – In the wake of the suicide death of his wife, songs such as “Best I Ever Had,” “I Just Got Back from Hell” and “Puttin’ Memories Away” convey a real world weight not heard in country music since Johnny Cash’s final recordings.
Honorable Mentions:
Franz Ferdinand “You Could Have It So Much Better” (Sony) – No sophomore slump here. The Scottish quartet unleashes an album worth of memorable material right for the times.
Ringo Starr “Choose Love” (Koch Records) – It’s easy to overlook Ringo’s contributions with the Beatles, or his dozen or so solo albums. Listen again; “Choose Love” boasts plenty of fun fireworks, specifically “Give Me Back the Beat” and Fab Four reminiscent “I Do.”
Glen Phillips “Winter Pays for Summer” (Lost Highway) – The third solo album from one-time Toad the Wet Sprocket frontman Glen Phillips, “Winter Pays for Summer” is also his best. Standouts include “Duck and Cover,” “Thankful” and “Don’t Need Anything.”
Moby “Hotel” (V2) – Until a few weeks ago, I was still thinking of placing this album in my Top 10, primarily because of the strength of two amazing tracks on the release, “Raining Again” and “Slipping Away.” A very strong album.
Hootie & the Blowfish “Looking for Lucky” (Vanguard) – Anyone who has actually listened to this album won’t be surprised it appears here. Anchored by political-charged material such as “State Your Peace” and “The Killing Stone,” clearly Darius Rucker and company’s best recording since 1994’s “Cracked Rear View.”
Bruce Cockburn “Speechless” (Rounder) – Although there are only three new works on this instrumentals-only collection, the strength of hearing Bruce Cockburn’s virtuoso guitar work shine is worth running out and grabbing this album. Cockburn, a hero in his native Canada, is a master at blues, jazz and country styles and works that defy categorization. Just listen to “The End of All Rivers.”
The John Butler Trio “Sunrise Over Sea” (Lava) – Jam rock, Americana, blues and more are minded by Australia’s John Butler Trio across this wonderful album. Great tunes to listen to on a long drive.
Various Artists/Soundtrack “The Chronicles of Narnia: The Lion, The Witch and the Wardrobe” (Disney) – Although I’m indifferent to Alanis Morissette’s “Wunderkind” song, the three other songs and instrumental music composed by Harry Gregson-Williams on the soundtrack are so strong it more than makes up for that one misstep. Particularly strong are Tim Finn’s “Winter Light” and Lisbeth Scott’s “Where.”
Various Artists “Lowe Profile: A Tribute to Nick Lowe” (Brewery Records) – Truly a labor of love, “Lowe Profile: A Tribute to Nick Lowe” finds singer-songwriter Walter Clevenger not only having produced the two-disc collection and releasing it on his Costa Mesa label, but also contributing an energetic version of “There’s a Cloud in my Heart.”
More than two dozen of Lowe’s songs are reworked by leading power pop, alt country and roots rock artists selected from around the world, including a number of Clevenger’s Orange County-based contemporaries. The Glimmer Stars (“Rollers Show”), Sparkle*Jets U.K. (“When I Write the Book”) and Chris Gaffney (“Crying in my Sleep”) rank among the many high achieving artists on the superb tribute. Other highlights on the collection include Eric Ambel’s version of “12 Step Program (To Quit You Babe)” and Michael Carpenter’s “(What’s So Funny ‘Bout) Peace, Love and Understanding?”
Various Artists/Soundtrack “Walk the Line” (Wind-Up) – Nothing but praise for the vocal performances by Joaquin Phoenix (as Johnny Cash) and Reese Witherspoon (playing June Carter). Sure their acting was wonderful in the film, but the musical performances are just as wonderful. And any chance to hear Cash’s wonderful songs in the spirit of the originals gets thumbs up from me, even if these reworkings inevitably fall short of the original masterworks.
Wednesday, December 28, 2005
No false Alarm; another fight worth noting
I read today that Alarm frontman Mike Peters has begun undergoing chemo treatments for Chronic Lymphocytic Leukemia. My heartfelt hopes for Mike to beat this thing.
I first saw the Alarm when the band opened for U2 in the early 1980s and was very impressed. I saw them again when I worked at a headlining show they had at Cal State Fullerton, and I reviewed the revamped Alarm a few years ago at the Galaxy Theatre in Santa Ana.
Peters never disappoints in concert and I wish him the best in his treatments and recovery!
I first saw the Alarm when the band opened for U2 in the early 1980s and was very impressed. I saw them again when I worked at a headlining show they had at Cal State Fullerton, and I reviewed the revamped Alarm a few years ago at the Galaxy Theatre in Santa Ana.
Peters never disappoints in concert and I wish him the best in his treatments and recovery!
Thursday, December 08, 2005
Grammys silliness, remembering John Lennon
Okay, here we go again.
The Grammy Awards are all about popularity. Period. Today they announced the 48th Annual Grammy Awards Nominee list. The fact that anything credible in the pop and rock fields got on the list is really amazing.
How else to explain the following...
Aimee Mann's "The Forgotten Arm" was nominated in the Best Recording Package. But what about the amazing songs on the concept album? Ignored completely. I can think of a number of great songs off that disc that deserve to be in the Record Of The Year category. But what we get are the embarrassing likes of Mariah Carey's "We Belong Together" and Gwen Stefani's "Hollaback Girl."
In the Album of the Year category, if Mariah Carey wins for "The Emancipation of Mimi," they better allow some time. It took something like 20 people to produce, engineer and mix the thing. Gwen Stefani also needed a bit of help on "Love. Angel. Music. Baby"; there are at least 10 other names credited with creating that forgettable effort. It only took a handful (specifically producer Nigel Godrich) to complete Paul McCartney's amazing "Chaos and Creation in the Backyard" in the same field.
In Category 4, Best New Artist, it's funny. Keane is there; didn't their debut come out in early 2004 here (and even sooner in England)? Grammy voters are often confused and can't read a calendar.
And why, oh why, didn't New Order's excellent "Waiting for the Sirens' Call" or Moby's strong "Hotel" (songs "Raining Again" and "Slipping Away" are epic) get nominated in the Best Electronic/Dance Album category? Those were two of the best albums of 2005, especially New Order's latest. That keeps finding its way back into my CD player.
Let me remind the Grammy voters of some other great albums they forgot to mention. Embrace's "Out of Nothing," Bruce Cockburn's "Speechless" (which had a trio of new instrumentals that could fit in somewhere I'm sure), singer-songwriter Glen Phillips' "Winter Pays for Summer" and Limbeck's "Let Me Come Home" (which could fit in any of a number of country, pop or rock fields).
Well, at least they didn't totally forget Neil Young's "Prairie Wind," U2's "How to Dismantle An Atomic Bomb" and Coldplay's "X&Y."
And on a more serious note, much has been written this week about John Lennon. It was 25 years ago today that he was murdered. I always try to put aside all of the endless controversy about his life, and legacy as seemingly directed by Yoko Ono and go back and enjoy his music. His songs remain a mirror into his soul, and often into our own. Whether it was his early gems such as "In My Life," "Help" and "Nowhere Man," or his later solo work, it holds up and still speaks to me. And his voice, it just conveyed an honesty increasingly rare in rock - especially when you look at the slim list of notable young rockers on the Grammy list today. Rob Thomas...are you kidding?
True, it doesn't seem like it has been 25 years since John Lennon was taken from us. It's a loss that hurts as much now as it did then. In his wonderful "God," Lennon confessed "I just believe in me." Truth be told, music lovers still believe too.
The Grammy Awards are all about popularity. Period. Today they announced the 48th Annual Grammy Awards Nominee list. The fact that anything credible in the pop and rock fields got on the list is really amazing.
How else to explain the following...
Aimee Mann's "The Forgotten Arm" was nominated in the Best Recording Package. But what about the amazing songs on the concept album? Ignored completely. I can think of a number of great songs off that disc that deserve to be in the Record Of The Year category. But what we get are the embarrassing likes of Mariah Carey's "We Belong Together" and Gwen Stefani's "Hollaback Girl."
In the Album of the Year category, if Mariah Carey wins for "The Emancipation of Mimi," they better allow some time. It took something like 20 people to produce, engineer and mix the thing. Gwen Stefani also needed a bit of help on "Love. Angel. Music. Baby"; there are at least 10 other names credited with creating that forgettable effort. It only took a handful (specifically producer Nigel Godrich) to complete Paul McCartney's amazing "Chaos and Creation in the Backyard" in the same field.
In Category 4, Best New Artist, it's funny. Keane is there; didn't their debut come out in early 2004 here (and even sooner in England)? Grammy voters are often confused and can't read a calendar.
And why, oh why, didn't New Order's excellent "Waiting for the Sirens' Call" or Moby's strong "Hotel" (songs "Raining Again" and "Slipping Away" are epic) get nominated in the Best Electronic/Dance Album category? Those were two of the best albums of 2005, especially New Order's latest. That keeps finding its way back into my CD player.
Let me remind the Grammy voters of some other great albums they forgot to mention. Embrace's "Out of Nothing," Bruce Cockburn's "Speechless" (which had a trio of new instrumentals that could fit in somewhere I'm sure), singer-songwriter Glen Phillips' "Winter Pays for Summer" and Limbeck's "Let Me Come Home" (which could fit in any of a number of country, pop or rock fields).
Well, at least they didn't totally forget Neil Young's "Prairie Wind," U2's "How to Dismantle An Atomic Bomb" and Coldplay's "X&Y."
And on a more serious note, much has been written this week about John Lennon. It was 25 years ago today that he was murdered. I always try to put aside all of the endless controversy about his life, and legacy as seemingly directed by Yoko Ono and go back and enjoy his music. His songs remain a mirror into his soul, and often into our own. Whether it was his early gems such as "In My Life," "Help" and "Nowhere Man," or his later solo work, it holds up and still speaks to me. And his voice, it just conveyed an honesty increasingly rare in rock - especially when you look at the slim list of notable young rockers on the Grammy list today. Rob Thomas...are you kidding?
True, it doesn't seem like it has been 25 years since John Lennon was taken from us. It's a loss that hurts as much now as it did then. In his wonderful "God," Lennon confessed "I just believe in me." Truth be told, music lovers still believe too.
Monday, November 28, 2005
Rock Hall names inductees; excuse me while I yawn
With the exception of the Sex Pistols, I just can't work up any kind of excitement about the list of names going into the Rock and Roll Hall of Fame in March 2006.
Miles Davis, jazz great. No connection to rock.
Black Sabbath, Blondie, Lynyrd Skynyrd...are you kidding me? Is this the best they can do. I have said it before, I'll say it today and again. Music put in the hall should have some lasting and artistic value. It should represent rock artists who craft original music that sounded great when it was recorded, and will have a lasting influence on listeners and other musicians. I really don't believe the work of Black Sabbath, Blondie and Lynyrd Skynyrd meets that test in the long run.
Artists are eligible to be inducted into the Rock Hall after at least 25 years have passed since their first record was released. Still no Hall & Oates, still no Gram Parsons, still no Cure. All those artists have been commercial successes, but also paved the way for others who came after.
But we get Blondie. You think she belongs alongside the Beatles and Buddy Holly? I didn't think so...with that kind of logic, I think we are doomed to see plenty of lightweight types join the ranks in the years to come.
Miles Davis, jazz great. No connection to rock.
Black Sabbath, Blondie, Lynyrd Skynyrd...are you kidding me? Is this the best they can do. I have said it before, I'll say it today and again. Music put in the hall should have some lasting and artistic value. It should represent rock artists who craft original music that sounded great when it was recorded, and will have a lasting influence on listeners and other musicians. I really don't believe the work of Black Sabbath, Blondie and Lynyrd Skynyrd meets that test in the long run.
Artists are eligible to be inducted into the Rock Hall after at least 25 years have passed since their first record was released. Still no Hall & Oates, still no Gram Parsons, still no Cure. All those artists have been commercial successes, but also paved the way for others who came after.
But we get Blondie. You think she belongs alongside the Beatles and Buddy Holly? I didn't think so...with that kind of logic, I think we are doomed to see plenty of lightweight types join the ranks in the years to come.
Wednesday, November 23, 2005
Pay to Play? Think Green Day
There have been an untold number of critics who have fallen over each other in praise of Green Day's "American Idiot" seemingly for all of 2005 (the album was released in September 2004).
You would think the Green Day CD was so great that every radio music director in the land thought this was the best album since Nirvana's "Nevermind." And yet many of the year's best albums (including especially strong releases by Embrace, Neil Young, Aimee Mann, Bruce Springsteen and New Order) have sadly been largely ignored by commercial radio.
But after revelations today that Warner Music Group has had to pay up $5 million to settle a payola probe, we now know that Green Day, My Chemical Romance and even R.E.M. were among the bands who won airplay after the record company reportedly ponied up paid vacations, laptop computers, iPods and even Super Bowl tickets to get their music played over the airwaves. Sick, huh?
This isn't the first time New York State Attorney General Eliot Spitzer has shined a legal spotlight on the problem. Earlier this year, Sony BMG had to pay out $10 million to the state of New York for using so-called payola to get Jennifer Lopez some air time.
Spitzer, according to media reports, is still setting out after Universal Music Group and EMI Group, as well as Clear Channel Communications and others. If only radio would focus on playing good music, not worrying about collecting "goods" for themselves.
I would love to think this legal victory in the fight against pay-to-play tactics would make a difference. Somehow, I don't think it will.
You would think the Green Day CD was so great that every radio music director in the land thought this was the best album since Nirvana's "Nevermind." And yet many of the year's best albums (including especially strong releases by Embrace, Neil Young, Aimee Mann, Bruce Springsteen and New Order) have sadly been largely ignored by commercial radio.
But after revelations today that Warner Music Group has had to pay up $5 million to settle a payola probe, we now know that Green Day, My Chemical Romance and even R.E.M. were among the bands who won airplay after the record company reportedly ponied up paid vacations, laptop computers, iPods and even Super Bowl tickets to get their music played over the airwaves. Sick, huh?
This isn't the first time New York State Attorney General Eliot Spitzer has shined a legal spotlight on the problem. Earlier this year, Sony BMG had to pay out $10 million to the state of New York for using so-called payola to get Jennifer Lopez some air time.
Spitzer, according to media reports, is still setting out after Universal Music Group and EMI Group, as well as Clear Channel Communications and others. If only radio would focus on playing good music, not worrying about collecting "goods" for themselves.
I would love to think this legal victory in the fight against pay-to-play tactics would make a difference. Somehow, I don't think it will.
Tuesday, November 22, 2005
Depeche Mode still wields sonic might
On Saturday, Nov. 19, it was time to make the trek to San Diego's ipayOne Center to see Depeche Mode. I didn't know what to expect because I had been playing the band's latest disc, "Playing the Angel," for a few days before the show and honestly was mixed on the CD.
But Depeche Mode didn't disappoint, and neither did the material from their new disc. Leading off with "A Pain That I'm Used to" and leading into "blues-tinged "John the Revelator," the new material was wonderful and blended well with the electronica act's classic material drawn from its seminal '80s and '90s releases.
Lead singer Dave Gahan remains most of rock's most energetic frontmen, and would pace and incite the crowd while twirling and getting many in the crowd to scream. And armed with a setlist that included propulsive songs such as "Behind the Wheel," "Personal Jesus" (featuring Martin Gore delivering some distinctive guitar work), "Policy of Truth" and "Enjoy the Silence," the concert grew stronger over its two-hour length. And with the well-crafted encore - including "Everything Counts" and "Nver Let Me Down Again" - the audience seemed as if it could dance all night.
I would love to tell you what Andrew Fletcher was doing behind his sci-fi styled console, but I really couldn't tell you. Despite my great view of him (I was seated to the side and he was often the only one I could see on stage clearly), he adds little to the proceedings. That made it even more clear how talented Gahan and Gore are as Depeche Mode continues to amaze fans and challenge itself musically.
But Depeche Mode didn't disappoint, and neither did the material from their new disc. Leading off with "A Pain That I'm Used to" and leading into "blues-tinged "John the Revelator," the new material was wonderful and blended well with the electronica act's classic material drawn from its seminal '80s and '90s releases.
Lead singer Dave Gahan remains most of rock's most energetic frontmen, and would pace and incite the crowd while twirling and getting many in the crowd to scream. And armed with a setlist that included propulsive songs such as "Behind the Wheel," "Personal Jesus" (featuring Martin Gore delivering some distinctive guitar work), "Policy of Truth" and "Enjoy the Silence," the concert grew stronger over its two-hour length. And with the well-crafted encore - including "Everything Counts" and "Nver Let Me Down Again" - the audience seemed as if it could dance all night.
I would love to tell you what Andrew Fletcher was doing behind his sci-fi styled console, but I really couldn't tell you. Despite my great view of him (I was seated to the side and he was often the only one I could see on stage clearly), he adds little to the proceedings. That made it even more clear how talented Gahan and Gore are as Depeche Mode continues to amaze fans and challenge itself musically.
Thursday, November 17, 2005
dada: yes, rock still matters
dada and the Coach House in San Juan Capistrano share a bond that is legendary among fans of the Los Angelesbased original rock outfit. Little did bassist-singer Joie Calio and guitarist-singer Michael Gurley know that when they took the stage for the first time together to open for Mary’s Danish at the legendary venue in 1991, that it was the beginning of something very special.
dada – completed several months later with the addition of drummer Phil Leavitt and which has never boasted any other lineup – has gone on to record some of the most original and powerful albums of the 1990s and ‘00s. And there have always been performances at the Coach House to reconnect with fans who love seeing Calio, Gurley and Leavitt deliver marathon-length shows that stretch long into the night. dada returns to headline at the Coach House on Saturday night, November 19th.
In addition to performing songs from the trio’s acclaimed debut "Puzzle" (including tracks such as “Dizz Knee Land,” “Dim” and “Dorina”), dada will likely be performing material from the trio’s latest full-length release. “How To Be Found,” released in March 2004, finds the band exploring the vast stretches of the rock universe with excellent songs such as “The Next Train Out Of My Mind,” “Nothing Like You” and the accessible “Any Day The Wind Blows.”
The band’s catalog also includes 2003’s “Live: Official Bootleg (Vol. 1),” released by Coach House Records. “There is no other show for us like the Coach House; it has all the emotions of being the first show,” Calio told me in a May 2004 phone interview. “We were never that big in California, but we’ve done really well at the Coach House. It’s a very good synergy between us as a band and the Coach House as a venue.”
Audiences catching dada this Saturday night will get to see something increasingly rare in modern rock; musicians who exhibit equal measures of skill as songwriters, experts on their instruments and singers capable of dazzling with harmonies that recall the magic of the Byrds, Badfinger and – yes – even the Beatles.
Songs such as “Ask the Dust,” “Feet to the Sun” and “Hollow Man” are among the great songs that dada frequently features in concert. dada, Boxcar and Thriving Ivory will perform at the Coach House, 33157 Camino Capistrano, SJC, at 8 p.m. on Nov. 19. Admission is $17.50. Information: (949) 496-8930.
dada – completed several months later with the addition of drummer Phil Leavitt and which has never boasted any other lineup – has gone on to record some of the most original and powerful albums of the 1990s and ‘00s. And there have always been performances at the Coach House to reconnect with fans who love seeing Calio, Gurley and Leavitt deliver marathon-length shows that stretch long into the night. dada returns to headline at the Coach House on Saturday night, November 19th.
In addition to performing songs from the trio’s acclaimed debut "Puzzle" (including tracks such as “Dizz Knee Land,” “Dim” and “Dorina”), dada will likely be performing material from the trio’s latest full-length release. “How To Be Found,” released in March 2004, finds the band exploring the vast stretches of the rock universe with excellent songs such as “The Next Train Out Of My Mind,” “Nothing Like You” and the accessible “Any Day The Wind Blows.”
The band’s catalog also includes 2003’s “Live: Official Bootleg (Vol. 1),” released by Coach House Records. “There is no other show for us like the Coach House; it has all the emotions of being the first show,” Calio told me in a May 2004 phone interview. “We were never that big in California, but we’ve done really well at the Coach House. It’s a very good synergy between us as a band and the Coach House as a venue.”
Audiences catching dada this Saturday night will get to see something increasingly rare in modern rock; musicians who exhibit equal measures of skill as songwriters, experts on their instruments and singers capable of dazzling with harmonies that recall the magic of the Byrds, Badfinger and – yes – even the Beatles.
Songs such as “Ask the Dust,” “Feet to the Sun” and “Hollow Man” are among the great songs that dada frequently features in concert. dada, Boxcar and Thriving Ivory will perform at the Coach House, 33157 Camino Capistrano, SJC, at 8 p.m. on Nov. 19. Admission is $17.50. Information: (949) 496-8930.
Monday, November 14, 2005
Paul McCartney concert is truly out of this world
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| Paul McCartney performing at the Arrowhead Pond of Anaheim on April 12, 2005. Image credit: NASA |
A night after performing a full-length 37-song set at the Arrowhead Pond of Anaheim on Nov. 11, 2005 that I unfortunately missed, Paul McCartney returned to perform an equally-ambitious show that stretched from 8:40 p.m. until 11:35 p.m. - that was just short of three hours!
The reason McCartney's Saturday night show on Saturday, Nov. 12 stretched beyond its normal 2-1/2 hour length was out of this world. Really! Sir Paul announced early in the show that it was arranged with NASA for this evening's show to mark the first time that a live music event was being broadcast into space.
True enough, the time came after he had already delivered 16 memorable songs. Via big screens, Sir Paul and the two astronauts on the International Space Station (flying by at 220 miles above Earth) were able to communicate and the sold-out crowd could view and cheer and be part of the historic event as well. Paul McCartney and his excellent band delivered a wonderful version of "English Tea" while NASA astronaut Bill McArthur and Russian Cosmonaut Valery Tokarev sipped some tea/coffee/some kind of liquid out of their squeeze packets. McCartney and company also performed "Good Day Sunshine," a perfect song to complete the task of waking the astronauts at the beginning of their day. McArthur got cheers from the crowd when he did a flip in space, and toward the end of the live feed, did a command flip performance when asked to do so by McCartney.
McCarthur seemed especially thrilled that the Space Station residents were being treated to a show from the legendary performer.
"That was simply magnificent," McArthur said, adding he considered McCartney an explorer too noting his creative contributions.
The overall show was magical. Kicking off with "Magical Mystery Tour" and performing another three dozen tracks after that, the concert was equally a celebration of his unmatched catalog and the magic that greets his performances. There were the blistering rockers (notably "Live and Let Die" and "Helter Skelter" - oh joy!), the great new material from "Chaos and Creation in the Backyard" ("Fine Line," "Jenny Wren," "Follow Me"), the Beatles gems ("Blackbird," "Yesterday," "Let It Be," "I Will," and many more) and underappreciated solo/Wings material ("Let Me Roll It," "Maybe I'm Amazed").
And this is McCartney's best band since the Fab Four. No question.
Virtuoso lead guitarist Rusty Anderson, guitarist-bassist Brian Ray, animated drummer Abe Laboriel Jr. and keyboardist Paul "Wix" Wickens all contribute vocals and energy that further enhances these shows (I caught the same lineup at the Pond in October 2002, and enjoyed the blend even more this past weekend). Indeed, Brian Ray nailed it when late in the show he stepped up to the mic and said, "This truly is the happiest place on Earth."
I encourage anyone reading this who lives in Southern California to catch McCartney when he plays at Staples Center in Los Angeles on Nov. 29 or Nov. 30. I've caught McCartney a number of times stretching back to the mid-1970s when he fronted Wings. He truly keeps better and his shows have a kind of power and mystery that touches people of all ages. Even when he isn't being beamed into the heavens, McCartney is in a universe of his own.
Review by Robert Kinsler
Friday, November 11, 2005
Bruce Cockburn, Rusty Anderson: what's not to like?
Sorry about the extended delay in my posts. I truly have been busy and have actually not spent much time in front of my keyboard over the past week.
Where to start?
Last Friday, Nov. 4, I caught one of the best shows I've seen this year. Singer-songwriter Bruce Cockburn appeared in a solo setting at the Coach House in San Juan Capistrano. No openers or fill, just the Canadian great impressing a near-capacity crowd from 8:18 p.m. until 10:40 p.m. (there was a break from 9 p.m. to 9:27 p.m.).
But the show couldn't have been stronger. Bruce performed 21 selections, featuring instrumentals off his latest CD "Speechless," but also performing great songs such as "Wondering Where the Lions Are," "If a Tree Falls," "Put It in Your Heart" and "Pacing the Cage" (one of the most beautiful and tender songs I've ever heard) off his 1996 album "The Charity of Night." But then, I love just about everything he has written and recorded.
Although best known for penning probing songs that often tackle a mix of political and religious themes, Cockburn is an amazing guitar player and displayed those skills across his rewarding set at the Coach House. Highlights included the newly-penned "Elegy" and blues-flavored "King Kong Goes to Tallahassee."
He closed the show with a powerful and distinctive new song, titled "Mystery," that I hope is included on his next studio disc. A great night.
Also, check out my Orange Pop column in the Orange County Register today. It is a feature story on Rusty Anderson, who plays guitar in Paul McCartney's band. He is also an amazing guitarist, and his latest album, "Undressing Underwater," will appeal to fans of virtuoso guitar playing and good songwriting.
Where to start?
Last Friday, Nov. 4, I caught one of the best shows I've seen this year. Singer-songwriter Bruce Cockburn appeared in a solo setting at the Coach House in San Juan Capistrano. No openers or fill, just the Canadian great impressing a near-capacity crowd from 8:18 p.m. until 10:40 p.m. (there was a break from 9 p.m. to 9:27 p.m.).
But the show couldn't have been stronger. Bruce performed 21 selections, featuring instrumentals off his latest CD "Speechless," but also performing great songs such as "Wondering Where the Lions Are," "If a Tree Falls," "Put It in Your Heart" and "Pacing the Cage" (one of the most beautiful and tender songs I've ever heard) off his 1996 album "The Charity of Night." But then, I love just about everything he has written and recorded.
Although best known for penning probing songs that often tackle a mix of political and religious themes, Cockburn is an amazing guitar player and displayed those skills across his rewarding set at the Coach House. Highlights included the newly-penned "Elegy" and blues-flavored "King Kong Goes to Tallahassee."
He closed the show with a powerful and distinctive new song, titled "Mystery," that I hope is included on his next studio disc. A great night.
Also, check out my Orange Pop column in the Orange County Register today. It is a feature story on Rusty Anderson, who plays guitar in Paul McCartney's band. He is also an amazing guitarist, and his latest album, "Undressing Underwater," will appeal to fans of virtuoso guitar playing and good songwriting.
Wednesday, October 26, 2005
Sheryl Crow, Gavin DeGraw at the Hollywood Bowl
Singer-songwriter Sheryl Crow is one of the few artists to emerge in the first half of the 1990s who has continued to craft new material well into this decade that is still greeted with widespread commercial airplay and welcomed by mainstream audiences eager to hear her latest project.
In a two-hour headlining show Sunday night, Oct. 23, 2005 at the Hollywood Bowl, the nine-time Grammy winner delivered a generous retrospective of her hits-filled career while also casting the spotlight on her latest disc, "Wildflower."
That album, released Sept. 27, is filled with confessional tales focusing on her well-publicized romance with cyclist Lance Armstrong and larger explorations of the world such as her stirring, anti-war "Where has All the Love Gone" and her probing "Letter to God."
Performing more than 20 of her own songs and a few reworked covers by Cat Stevens, Bob Dylan and Elton John, the Los Angeles-based singer-songwriter seemed genuinely delighted to be performing at the fabled Hollywood Bowl, proclaiming during her encore, "It's so nice to come back and play in your back yard."
Backed by her four-member band and a large string section under the direction of David Campbell, Crow used the concert as a showcase for her skills as a vocalist and multi-instrumentalist who moved from guitar to bass to piano throughout the night.
The bad news for the enthusiastic audience was not Crow's choice of material or her performance, but rather the sound itself.
The band (drums, guitars, bass, keyboards) continuously drowned out the string section (which featured more than a dozen musicians), except in the quietest moments.
So while a countrified take on Dylan's "Mississippi" and her own "Strong Enough" were clearly enhanced by strings in the overall mix, they sounded muddled on straightforward rockers such as "If It Makes You Happy" and "My Favorite Mistake."
And, during many songs, such as the reworking of Stevens' "First Cut is the Deepest," the additional musicians simply came off like window dressing.
However, there is no doubt that the majority of fans came to hear Crow deliver her collection of hits, and she did not disappoint.
Many in the audience sat politely through much of the concert, but became more animated and enthusiastic when she performed titles such as "All I Wanna Do," "A Change Will Do You Good" and "Soak Up the Sun."
Show opener Gavin DeGraw is clearly looking to position himself as an artist who can carve out a lasting career in the tradition of Crow.
His seven-song set, highlighted by material such as the emotive "Crush" and accessible "Chariot," pleased many in the crowd, especially when the young singer-keyboardist ventured into the audience.
While songs such as "Chemical Party" and his biggest hit, "I Don't Want to Be," were delivered with zest, his sonic approach clearly recalls artists such as Maroon 5, Train and Billy Joel, and time will tell if he is able to develop a sound he can truly call his own.
In a two-hour headlining show Sunday night, Oct. 23, 2005 at the Hollywood Bowl, the nine-time Grammy winner delivered a generous retrospective of her hits-filled career while also casting the spotlight on her latest disc, "Wildflower."
That album, released Sept. 27, is filled with confessional tales focusing on her well-publicized romance with cyclist Lance Armstrong and larger explorations of the world such as her stirring, anti-war "Where has All the Love Gone" and her probing "Letter to God."
Performing more than 20 of her own songs and a few reworked covers by Cat Stevens, Bob Dylan and Elton John, the Los Angeles-based singer-songwriter seemed genuinely delighted to be performing at the fabled Hollywood Bowl, proclaiming during her encore, "It's so nice to come back and play in your back yard."
Backed by her four-member band and a large string section under the direction of David Campbell, Crow used the concert as a showcase for her skills as a vocalist and multi-instrumentalist who moved from guitar to bass to piano throughout the night.
The bad news for the enthusiastic audience was not Crow's choice of material or her performance, but rather the sound itself.
The band (drums, guitars, bass, keyboards) continuously drowned out the string section (which featured more than a dozen musicians), except in the quietest moments.
So while a countrified take on Dylan's "Mississippi" and her own "Strong Enough" were clearly enhanced by strings in the overall mix, they sounded muddled on straightforward rockers such as "If It Makes You Happy" and "My Favorite Mistake."
And, during many songs, such as the reworking of Stevens' "First Cut is the Deepest," the additional musicians simply came off like window dressing.
However, there is no doubt that the majority of fans came to hear Crow deliver her collection of hits, and she did not disappoint.
Many in the audience sat politely through much of the concert, but became more animated and enthusiastic when she performed titles such as "All I Wanna Do," "A Change Will Do You Good" and "Soak Up the Sun."
Show opener Gavin DeGraw is clearly looking to position himself as an artist who can carve out a lasting career in the tradition of Crow.
His seven-song set, highlighted by material such as the emotive "Crush" and accessible "Chariot," pleased many in the crowd, especially when the young singer-keyboardist ventured into the audience.
While songs such as "Chemical Party" and his biggest hit, "I Don't Want to Be," were delivered with zest, his sonic approach clearly recalls artists such as Maroon 5, Train and Billy Joel, and time will tell if he is able to develop a sound he can truly call his own.
Monday, October 17, 2005
Aimee Mann just keeps getting better
Only three nights after catching an impressive show from power-pop rockers 9 Ball in Fullerton on Oct. 11, I took in a stunning concert from Aimee Mann. I have seen the talented singer-songwriter a number of times, and she continues to amaze enthusiastic and loyal audiences whenever she performs. Count me as one who is both enthusiastic and amazed.
At the Anaheim House of Blues where I caught her two-hour performance on Friday, Oct. 14, she featured songs off her latest CD, "The Forgotten Arm," a concept album that continues to showcase her skills as a songwriter and keen observer of people and this crazy planet we call home.
She seemed to be especially confident and chatty with the crowd, encouraging people to write down their requests and throw them up to the stage. Dozens seem to take her up on the offer, resulting in her playing many of her classics such as "Red Vines," "Invisible Ink," "Deathly" and "4th of July." She even took a good-natured attempt at "Ray," a song she admitted wasn't ready for its sonic close-up this night. And her band continues to get better everytime I catch them.
But it was an incredible show, and I spent the weekend listening to her music - a bright spot as the Anaheim Angels lost 3 games in a row and the Chicago White Sox are now World Series bound. If I had Aimee's gift, I could turn that into a song...
At the Anaheim House of Blues where I caught her two-hour performance on Friday, Oct. 14, she featured songs off her latest CD, "The Forgotten Arm," a concept album that continues to showcase her skills as a songwriter and keen observer of people and this crazy planet we call home.
She seemed to be especially confident and chatty with the crowd, encouraging people to write down their requests and throw them up to the stage. Dozens seem to take her up on the offer, resulting in her playing many of her classics such as "Red Vines," "Invisible Ink," "Deathly" and "4th of July." She even took a good-natured attempt at "Ray," a song she admitted wasn't ready for its sonic close-up this night. And her band continues to get better everytime I catch them.
But it was an incredible show, and I spent the weekend listening to her music - a bright spot as the Anaheim Angels lost 3 games in a row and the Chicago White Sox are now World Series bound. If I had Aimee's gift, I could turn that into a song...
Friday, October 07, 2005
Society's shift shakes music
There was a time - before interactive cellphones, high speed internet and on-demand everything - when movies were more about quality than box office positioning and music was a connection fans had with a particular act as they journeyed through albums growing and exploring new ground. Think Beatles, Bob Dylan, Neil Young, Peter Gabriel and U2 - you get the idead.
That sounds like a world away, huh? I can think of a number of classic artists who would have never released anything beyond a debut if they had come of age in the late '90s or this century. Cheap Trick is a famous example used by critics; the band's amazing self-titled debut was ignored. You still never hear anything from that LP, even on classic rock stations.
It wasn't until the band's third album they sold anything and scored a hit. Today, if an artist signed to a major label doesn't create a buzz or go Gold from the start, a major label is likely going to cut the chord.
That's one of the reasons I love writing the Orange Pop column for the Orange County Register. It runs just about every Friday (including today, where Michele Rene is featured). Here are artists who aren't selling millions of CDs. In fact, they are likely doing pretty good if they are selling hundreds. But they are doing it because they have no choice; the music matters to them and when it comes to playing original music in So Cal, getting paid is no given either.
This fall is a promising time to go out and see some of these real artists. Sure, the celebrated likes of Aimee Mann, Doves, U2, Paul McCartney and Bruce Cockburn are all coming to town either this month or next, but be sure to check out my column to get wind of the underground. You can read it at www.ocregister.com.
That sounds like a world away, huh? I can think of a number of classic artists who would have never released anything beyond a debut if they had come of age in the late '90s or this century. Cheap Trick is a famous example used by critics; the band's amazing self-titled debut was ignored. You still never hear anything from that LP, even on classic rock stations.
It wasn't until the band's third album they sold anything and scored a hit. Today, if an artist signed to a major label doesn't create a buzz or go Gold from the start, a major label is likely going to cut the chord.
That's one of the reasons I love writing the Orange Pop column for the Orange County Register. It runs just about every Friday (including today, where Michele Rene is featured). Here are artists who aren't selling millions of CDs. In fact, they are likely doing pretty good if they are selling hundreds. But they are doing it because they have no choice; the music matters to them and when it comes to playing original music in So Cal, getting paid is no given either.
This fall is a promising time to go out and see some of these real artists. Sure, the celebrated likes of Aimee Mann, Doves, U2, Paul McCartney and Bruce Cockburn are all coming to town either this month or next, but be sure to check out my column to get wind of the underground. You can read it at www.ocregister.com.
Friday, September 30, 2005
Never-Speechless Bruce Cockburn, Thunderhand Joe
On Wednesday morning, Sept. 28th, I had the chance to chat with Canadian singer-songwriter Bruce Cockburn for about 20 minutes or so. It marked the second time I've been able to interview him, and my preview story built around that insightful phone interview should be published on Nov. 3 in the Dana Point News and Capistrano Valley News, both published by the Orange County Register. After the story runs, I'll also check back with you here; I hope to catch his solo acoustic show at the Coach House in San Juan Capistrano on Friday night, Nov. 4th.
In the meantime, I encourage everyone to run out and purchase his latest album, "Speechless," released this past Tuesday. It is a wonderful all-instrumentals CD that fully casts the spotlight on his amazing skills as a guitarist and composer. In addition to featuring instrumentals stretching back throughout his 30+ career, the Rounders Records release features three new tracks that showcase an artist who keeps exploring new sonic territory. And the results are never less than wonderful. My story will focus on a discussion of his latest CD, "Speechless," as well as a bit about his participation at the Canadian Live 8 Concert held July 2, 2005 in Toronto. Other artists who played at the show included Bryan Adams, the Tragically Hip, Gordon Lightfood and Neil Young...
Also, check out today's edition of the Show section of the Orange County Register. I have a full-length story on one-time Redbone drummer Thunderhand Joe. His story is inspiring. Writing the feature earlier this week, it struck me how few Native Americans have their musical voices heard. For more information on Thunderhand Joe, or to hear selections from his debut CD, check out: http://cdbaby.com/cd/thunderhand
Looking ahead, I'll be checking out the Keane show at the Greek Theatre tonight. I loved the trio's set at Coachella earlier this year; some critics don't appreciate the band. I for one think they're crazy... This will also mark my first time seeing the openers, the Long Winters. I'll report back on the show next week. Promise.
In the meantime, I encourage everyone to run out and purchase his latest album, "Speechless," released this past Tuesday. It is a wonderful all-instrumentals CD that fully casts the spotlight on his amazing skills as a guitarist and composer. In addition to featuring instrumentals stretching back throughout his 30+ career, the Rounders Records release features three new tracks that showcase an artist who keeps exploring new sonic territory. And the results are never less than wonderful. My story will focus on a discussion of his latest CD, "Speechless," as well as a bit about his participation at the Canadian Live 8 Concert held July 2, 2005 in Toronto. Other artists who played at the show included Bryan Adams, the Tragically Hip, Gordon Lightfood and Neil Young...
Also, check out today's edition of the Show section of the Orange County Register. I have a full-length story on one-time Redbone drummer Thunderhand Joe. His story is inspiring. Writing the feature earlier this week, it struck me how few Native Americans have their musical voices heard. For more information on Thunderhand Joe, or to hear selections from his debut CD, check out: http://cdbaby.com/cd/thunderhand
Looking ahead, I'll be checking out the Keane show at the Greek Theatre tonight. I loved the trio's set at Coachella earlier this year; some critics don't appreciate the band. I for one think they're crazy... This will also mark my first time seeing the openers, the Long Winters. I'll report back on the show next week. Promise.
Wednesday, September 28, 2005
Dead Can Dance, indeed
On Sunday, Sept. 25, I was fortunate to see another great show. Dead Can Dance, the Australia-based duo that crafted music that truly defied all genres in the 1980s and 1990s, came to the Hollywood Bowl as part of their first tour since 1994 or something.
Amazing. Performing with the LA Philharmonic, singer-guitarist Brendan Perry and vocalist Lisa Gerrard sounded perfect and performed a mix of Celtic, Renaissance-tinged folk, goth and Middle Eastern-flavored music to lasting and emotional impact. The concert was like being immersed in a sonic dream. Any of the songs performed, including well-known selections such as "How Fortunate the Man With None" and the sparse reworking of the traditional "The Wind That Shakes the Barley," would have been a highlight at any show. But across the more than two hours on Sunday that the concert stretched, it would be impossible to find an artistic element that didn't work.
Lisa Gerrard has a voice that recalls an opera diva, but with the otherworldly sound of a singer one might hear in a Irish pub. And Brendan Perry's far-reaching baritone also hit its marks whether singing alone or with Lisa. A simply wonderful experience.
Now, if only Cocteau Twins might return for another run.
Amazing. Performing with the LA Philharmonic, singer-guitarist Brendan Perry and vocalist Lisa Gerrard sounded perfect and performed a mix of Celtic, Renaissance-tinged folk, goth and Middle Eastern-flavored music to lasting and emotional impact. The concert was like being immersed in a sonic dream. Any of the songs performed, including well-known selections such as "How Fortunate the Man With None" and the sparse reworking of the traditional "The Wind That Shakes the Barley," would have been a highlight at any show. But across the more than two hours on Sunday that the concert stretched, it would be impossible to find an artistic element that didn't work.
Lisa Gerrard has a voice that recalls an opera diva, but with the otherworldly sound of a singer one might hear in a Irish pub. And Brendan Perry's far-reaching baritone also hit its marks whether singing alone or with Lisa. A simply wonderful experience.
Now, if only Cocteau Twins might return for another run.
Tuesday, September 20, 2005
Hall of Confusion
Okay, let me get this. The Rock and Roll Hall of Fame has just announced its next list of those being considered for induction. I get John Mellencamp; put him in pronto. The Sex Pistols and Lynyrd Skynyrd likely should be included, although their contributions don't match the likes of the Fab Four, Elvis and Stones.
But Miles Davis. Wasn't he jazz? Put him in the Jazz hall or something. Should they include opera tenor Placido Domingo too? Or Luciano Pavarotti?
And while they didn't put in Gram Parsons (the most significant alt country rock architect of the 20th century), they also have Blondie, the J. Geils Band and Cat Stevens on the list of those eligible. And the J. Geils Band. If they are simply looking at well-known names, shouldn't they have put in Hall & Oates? They scored a ton of hits and they have crafted great Blue-Eyed soul since the 1970s; put them in...
The Percy Sledge and O'Jays thing drove me crazy. Each had one hit that people know today. Shouldn't the Chantays ("Pipeline") and Surfaris ("Wipe Out") get in too?
By putting in weaker artists, the Hall of Confusion waters down the contributions of those pioneering artists who deserve a spot there. There is a reason the Beatles, Rolling Stones, Buddy Holly, Jimi Hendrix and Neil Young have crafted rock music that has lasted. If it doesn't meet that test, flunk it...
But Miles Davis. Wasn't he jazz? Put him in the Jazz hall or something. Should they include opera tenor Placido Domingo too? Or Luciano Pavarotti?
And while they didn't put in Gram Parsons (the most significant alt country rock architect of the 20th century), they also have Blondie, the J. Geils Band and Cat Stevens on the list of those eligible. And the J. Geils Band. If they are simply looking at well-known names, shouldn't they have put in Hall & Oates? They scored a ton of hits and they have crafted great Blue-Eyed soul since the 1970s; put them in...
The Percy Sledge and O'Jays thing drove me crazy. Each had one hit that people know today. Shouldn't the Chantays ("Pipeline") and Surfaris ("Wipe Out") get in too?
By putting in weaker artists, the Hall of Confusion waters down the contributions of those pioneering artists who deserve a spot there. There is a reason the Beatles, Rolling Stones, Buddy Holly, Jimi Hendrix and Neil Young have crafted rock music that has lasted. If it doesn't meet that test, flunk it...
Monday, September 12, 2005
Smithereens, Katrina concerts keep me listening
I think I heard so much music over the weekend, my eardrums are buzzing!
It started Friday night, Sept. 9th. There was a long night at the Coach House in San Juan Capistrano. After listening to two opening bands (one was awful, bad, ughh!), the Smithereens finally came on well after 10 p.m. - I think it was actually around 10:30 or something. But the good news is they rocked so hard and so effectively, I forgot how tired I was.
They performed all their classic cuts, including "Blood and Roses," "Behind the Wall of Sleep," "Only a Memory," etc. Although their bassist Mike Mesaros was not there (his wife just had a baby and he was busy being dad), the fill-in guy was good and the show was loose and indicitive of the magic the ultimate bar band delivers everytime I see them.
Pat DiNizio remains a strong singer, while lead guitarist Jim Babjak smiles as he plays distinctive licks and Dennis Diken still plays with fury when the song ("Room Without a View" notably) demands. A great show.
On Saturday, I caught up and watched the tape of the hour-long "Shelter from the Storm" concert broadcast on Friday, as well as the four-hour benefit videocast by Vh1 and MTV. The highlights were in short supply. Neil Young was great both days, performing material off his forthcoming "Prairie Wind" CD. On Saturday he performed the beautiful "When God Made Me," a song that songs like it could have been penned another time. Especially the way he played it at the piano, with the beautiful but sparse backing efforts of a choir.
On Saturday, he was joined by Emmylou Harris and sang "This Old Guitar," a simple but authentic-sounding country western song. Can't wait to hear this CD when it's released later this month.
Also turning in solid entries were the Foo Fighters, with the flannel shirt-attired Dave Grohl leading the quartet through CCR's "Born on the Bayou," and Garth Brooks and Trisha Yearwood teaming up for CCR's "Who'll Stop the Rain?"
The important thing about the Hurricane Katrina efforts is obviously helping get people to donate and help out. But I'm just nitpicking about the music here. Mary J. Blige ruined U2's version of "One." I repeat, she ruined it. She has a vast range and big voice, but her voice was not up to the emotional challenge of singing the song.
At the Sunday event, leaders included U2 powering through "Love and Peace or Else," while Trent Reznor - in a hushed performance featuring him alone at his piano - brought chills with an emotive "Hurt." Pearl Jam ("Given to Fly") and Coldplay ("Fix You") also played well in support of the Gulf Coast suffering.
My thoughts were also with the survivors of 9/11 and their loved ones. Where have the four years gone, and have we forgotten?
It started Friday night, Sept. 9th. There was a long night at the Coach House in San Juan Capistrano. After listening to two opening bands (one was awful, bad, ughh!), the Smithereens finally came on well after 10 p.m. - I think it was actually around 10:30 or something. But the good news is they rocked so hard and so effectively, I forgot how tired I was.
They performed all their classic cuts, including "Blood and Roses," "Behind the Wall of Sleep," "Only a Memory," etc. Although their bassist Mike Mesaros was not there (his wife just had a baby and he was busy being dad), the fill-in guy was good and the show was loose and indicitive of the magic the ultimate bar band delivers everytime I see them.
Pat DiNizio remains a strong singer, while lead guitarist Jim Babjak smiles as he plays distinctive licks and Dennis Diken still plays with fury when the song ("Room Without a View" notably) demands. A great show.
On Saturday, I caught up and watched the tape of the hour-long "Shelter from the Storm" concert broadcast on Friday, as well as the four-hour benefit videocast by Vh1 and MTV. The highlights were in short supply. Neil Young was great both days, performing material off his forthcoming "Prairie Wind" CD. On Saturday he performed the beautiful "When God Made Me," a song that songs like it could have been penned another time. Especially the way he played it at the piano, with the beautiful but sparse backing efforts of a choir.
On Saturday, he was joined by Emmylou Harris and sang "This Old Guitar," a simple but authentic-sounding country western song. Can't wait to hear this CD when it's released later this month.
Also turning in solid entries were the Foo Fighters, with the flannel shirt-attired Dave Grohl leading the quartet through CCR's "Born on the Bayou," and Garth Brooks and Trisha Yearwood teaming up for CCR's "Who'll Stop the Rain?"
The important thing about the Hurricane Katrina efforts is obviously helping get people to donate and help out. But I'm just nitpicking about the music here. Mary J. Blige ruined U2's version of "One." I repeat, she ruined it. She has a vast range and big voice, but her voice was not up to the emotional challenge of singing the song.
At the Sunday event, leaders included U2 powering through "Love and Peace or Else," while Trent Reznor - in a hushed performance featuring him alone at his piano - brought chills with an emotive "Hurt." Pearl Jam ("Given to Fly") and Coldplay ("Fix You") also played well in support of the Gulf Coast suffering.
My thoughts were also with the survivors of 9/11 and their loved ones. Where have the four years gone, and have we forgotten?
Wednesday, September 07, 2005
Hurricane relief
Many of you are worn out by the endless coverage of Hurricane Katrina-related news 24/7. Of course, that is nothing compared to those who have endured the tragedy. My heart really goes out to them; the loss is simply beyond words or pictures or anything I've experienced.
There have already been countless efforts on behalf of the victims and I really believe most Americans do want to help, and many have. It's great that the Rolling Stones, Paul McCartney and Neil Young are among those going to perform this weekend on MTV/VH1. I hope in addition to asking us poor folk to give, they do something themselves. Paul McCartney or Mick Jagger wouldn't miss $1 million, so lets hope they are willing to give a bit. Neil Young's assistance with Farm Aid and his Bridge School Benefit demonstrates clearly where his heart and wallet are. America has been pretty good to them, so it would be great for them to go the extra mile this weekend! I don't expect Motley Crue, Sheryl Crow, Melissa Etheridge or Usher to be any good, but then they might look pretty fine compared to Kid Rock!
I didn't need to have a rock star tell me to give. I did it twice last weekend on my own, and I'll give more when I can. I did after 9/11 too. I'll be watching.
There have already been countless efforts on behalf of the victims and I really believe most Americans do want to help, and many have. It's great that the Rolling Stones, Paul McCartney and Neil Young are among those going to perform this weekend on MTV/VH1. I hope in addition to asking us poor folk to give, they do something themselves. Paul McCartney or Mick Jagger wouldn't miss $1 million, so lets hope they are willing to give a bit. Neil Young's assistance with Farm Aid and his Bridge School Benefit demonstrates clearly where his heart and wallet are. America has been pretty good to them, so it would be great for them to go the extra mile this weekend! I don't expect Motley Crue, Sheryl Crow, Melissa Etheridge or Usher to be any good, but then they might look pretty fine compared to Kid Rock!
I didn't need to have a rock star tell me to give. I did it twice last weekend on my own, and I'll give more when I can. I did after 9/11 too. I'll be watching.
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