No matter how many times Shaggy told the crowd to "throw your hands in the air" during his hour-long set at the Pacific Amphitheatre on Sunday night, July 16, 2006, there was never the sense the less-than-capacity audience was ready to fully succumb to the dancehall reggae star.
Shaggy (whose real name is Orville Richard Burrell) brought plenty of good-time party music, blending reggae and hip-hop in equal measures with his ladies-man persona, to his headlining slot at the Orange County Fair ReggaeFest, which also featured Pato Banton and Wailing Souls.
That's not to say Shaggy's 11-song set completely faltered. There were moments, particularly during a strong cover of the Folkes Brothers' 1960 single "Oh Carolina," that he and several others singers blended R&B vocals with a "Peter Gunn"-style surf guitar lick to great effect.
The best stretch came when he delivered "In the Summertime" and "Angel" (a reworking of the country-Western classic "Angel of the Morning") back-to-back. However, some of his most recent material, "Hey Sexy Lady" and "Strength of a Woman," lacked punch.
Because of the seemingly endless between-songs chatter and efforts to get the crowd to respond to his pleas to wave their hands or call out this way or that, his performance never gained any lasting momentum. He might well take a pointer or two from his energetic namesake in the "Scooby-Doo" cartoons to keep the action moving ahead.
Birmingham, England's Pato Banton has been a force on the reggae scene for almost 25 years and continues to inspire, as he proved over the course of his 10-song set.
Backed by the powerful six-member Mystic Roots Band, the talented singer/toaster sang songs geared toward having a good time, but with deeper messages centering on his religious faith, the need for world peace and the legalization of marijuana (even while discouraging the use of hard drugs during a lively "Don't Sniff Coke").
However, his hour-long appearance really captured the artistic heights of the genre during performances of "One World (Not Three)," "Good News" and a spirited cover of Bob Marley's "Jamming" that got just about everyone dancing to the beat.
The Wailing Souls opened with a 40-minute set of Jamaican roots reggae that rarely impressed. With the notable exception of the speedy "Shark Attack," the set simply lacked the magic to touch the audience.
Tuesday, July 18, 2006
The Steve Miller Band dazzles in Costa Mesa
It’s worth noting that despite the wide-ranging string of radio hits that the Steve Miller Band scored in the 1970s and early 1980s, Miller and company can be an inconsistent live act.
However, in a 140-minute concert at the Pacific Amphitheatre in Costa Mesa on July 14, 2006, Miller, 62, showcased his considerable skills as a singer-songwriter – and most striking – as a guitarist before a sold-out crowd. Fans hoping to hear Miller play his hits were rewarded with energetic takes on “Swingtown” (which kicked off the night), “Living in the U.S.A.,” “Jungle Love” and “Jet Airliner.”
And those who wanted to tap into Miller’s 40-year love of the blues got rousing covers of Freddie King’s “Tore Down” and Robert Johnson’s “Crossroads,” as well as a reworked take of his own “Abracadabra” highlighted by virtuoso fret work.
Most of the evening’s highlights came while the ensemble was showcasing material off “Fly Like An Eagle,” an album that Miller told the crowd has just been remastered and is newly-available in a deluxe edition featuring 5.1 Surround Sound and includes previously unreleased material. A countrified “Dance, Dance, Dance,” psychedelic “Wild Mountain Honey” and infectious sing- and clap-along “Take the Money and Run” were among that 1976 album’s songs revisted by Miller during the 23-song set.
An epic version of “Fly Like An Eagle” was used to showcase the distinct talents of his five-man band, notably harmonica wizard Norton Buffalo and keyboardist-rapper Joseph Wooten. Buffalo’s strong skills on the blues harp were artfully mixed with full vocal harmonies during the encore, when a beautiful “Winter Time” reinforced that many of the Steve Miller Band’s strongest songs have been ignored by commercial radio.
Indeed, Miller has always been overshadowed by his commercial hits, stretching from “The Joker” in 1973 to “Abracadabra” in 1982. However, during his performance in Costa Mesa, he seemed to make a strong case for celebrating his unique style of blending blues and rock as uniquely as any artist of his generation. In fact, “The Joker” was reworked with a funk-rock feel that peaked when Miller and guitarist Kenny Lee Lewis played a twin-lead guitar attack reminiscent of Thin Lizzy.
The troupe ended the night with a haunting and powerful version of “Serenade,” which provided the perfect mix of rock and atmosphere to sum up a memorable evening of classic rock hits and electric blues.
However, in a 140-minute concert at the Pacific Amphitheatre in Costa Mesa on July 14, 2006, Miller, 62, showcased his considerable skills as a singer-songwriter – and most striking – as a guitarist before a sold-out crowd. Fans hoping to hear Miller play his hits were rewarded with energetic takes on “Swingtown” (which kicked off the night), “Living in the U.S.A.,” “Jungle Love” and “Jet Airliner.”
And those who wanted to tap into Miller’s 40-year love of the blues got rousing covers of Freddie King’s “Tore Down” and Robert Johnson’s “Crossroads,” as well as a reworked take of his own “Abracadabra” highlighted by virtuoso fret work.
Most of the evening’s highlights came while the ensemble was showcasing material off “Fly Like An Eagle,” an album that Miller told the crowd has just been remastered and is newly-available in a deluxe edition featuring 5.1 Surround Sound and includes previously unreleased material. A countrified “Dance, Dance, Dance,” psychedelic “Wild Mountain Honey” and infectious sing- and clap-along “Take the Money and Run” were among that 1976 album’s songs revisted by Miller during the 23-song set.
An epic version of “Fly Like An Eagle” was used to showcase the distinct talents of his five-man band, notably harmonica wizard Norton Buffalo and keyboardist-rapper Joseph Wooten. Buffalo’s strong skills on the blues harp were artfully mixed with full vocal harmonies during the encore, when a beautiful “Winter Time” reinforced that many of the Steve Miller Band’s strongest songs have been ignored by commercial radio.
Indeed, Miller has always been overshadowed by his commercial hits, stretching from “The Joker” in 1973 to “Abracadabra” in 1982. However, during his performance in Costa Mesa, he seemed to make a strong case for celebrating his unique style of blending blues and rock as uniquely as any artist of his generation. In fact, “The Joker” was reworked with a funk-rock feel that peaked when Miller and guitarist Kenny Lee Lewis played a twin-lead guitar attack reminiscent of Thin Lizzy.
The troupe ended the night with a haunting and powerful version of “Serenade,” which provided the perfect mix of rock and atmosphere to sum up a memorable evening of classic rock hits and electric blues.
Thursday, July 13, 2006
Nils Lofgren ready to draw "Sacred Weapon" in OC
What do Bruce Springsteen, Neil Young and Ringo Starr have in common?
Well, in addition to being notable members of the Rock‘n’ Roll Hall of Fame in Cleveland, all three of the legendary artists have counted singer-guitarist Nils Lofgren as a seminal member of their band.
Now, Orange County residents have a rare chance to see one of rock’s most talented singer-guitarists when he performs an intimate solo acoustic show at the Coach House on Tuesday night, July 18.
Lofgren is on tour in support of his latest CD, “Sacred Weapon.” The newly-released disc features a dozen of Lofgren’s original songs, and features guest appearances by Willie Nelson (on the wonderful “In Your Hands”), David Crosby and Graham Nash (their beautiful harmonies are on display across the rocking “Frankie Hang On”), as well as Margo Reed, Martin Sexton, Bob Berberich and Mary Ann Redmond.
Lofgren, 54, comes to the Coach House on the heels of a two standout guest stints in June. He began the month by being invited to come on stage and perform with Springsteen’s Seeger Sessions Band when the ensemble came to Phoenix on June 3, and then on June 11 Lofgren performed at the Key Club in Cabazon with singer Paul Rodgers (Queen, Free, Bad Company), playing guitar on “Rock and Roll Fantasy,” “Can’t Get Enough of Your Love,” and other songs.
Lofgren got his first commercial break in 1970 when the then 17-year-old unknown was invited to play piano on Young’s seminal “After the Gold Rush” album. Lofgren is also a long-time member of Springsteen’s famed E Street Band, having replaced Little Stevie Van Zandt in 1984. He has continued to play with Springsteen, and toured as part of drummer Ringo Starr’s All-Starr Band in 1989. In addition to the recentlyreleased gem “Sacred Weapon,” Lofgren’s catalog of excellent solo releases includes 1991’s “Silver Lining,” 1992’s “Crooked Line” and 2001’s “Breakaway Angel.”
Nils Lofgren, Marcus Eaton and Los Angeles’ excellent roots rockers the Blooms will perform at the Coach House, 33157 Camino Capistrano, SJC, at 8 p.m. on July 18. Admission is $20. Information: 949-496-8930.
Well, in addition to being notable members of the Rock‘n’ Roll Hall of Fame in Cleveland, all three of the legendary artists have counted singer-guitarist Nils Lofgren as a seminal member of their band.
Now, Orange County residents have a rare chance to see one of rock’s most talented singer-guitarists when he performs an intimate solo acoustic show at the Coach House on Tuesday night, July 18.
Lofgren is on tour in support of his latest CD, “Sacred Weapon.” The newly-released disc features a dozen of Lofgren’s original songs, and features guest appearances by Willie Nelson (on the wonderful “In Your Hands”), David Crosby and Graham Nash (their beautiful harmonies are on display across the rocking “Frankie Hang On”), as well as Margo Reed, Martin Sexton, Bob Berberich and Mary Ann Redmond.
Lofgren, 54, comes to the Coach House on the heels of a two standout guest stints in June. He began the month by being invited to come on stage and perform with Springsteen’s Seeger Sessions Band when the ensemble came to Phoenix on June 3, and then on June 11 Lofgren performed at the Key Club in Cabazon with singer Paul Rodgers (Queen, Free, Bad Company), playing guitar on “Rock and Roll Fantasy,” “Can’t Get Enough of Your Love,” and other songs.
Lofgren got his first commercial break in 1970 when the then 17-year-old unknown was invited to play piano on Young’s seminal “After the Gold Rush” album. Lofgren is also a long-time member of Springsteen’s famed E Street Band, having replaced Little Stevie Van Zandt in 1984. He has continued to play with Springsteen, and toured as part of drummer Ringo Starr’s All-Starr Band in 1989. In addition to the recentlyreleased gem “Sacred Weapon,” Lofgren’s catalog of excellent solo releases includes 1991’s “Silver Lining,” 1992’s “Crooked Line” and 2001’s “Breakaway Angel.”
Nils Lofgren, Marcus Eaton and Los Angeles’ excellent roots rockers the Blooms will perform at the Coach House, 33157 Camino Capistrano, SJC, at 8 p.m. on July 18. Admission is $20. Information: 949-496-8930.
Tuesday, June 06, 2006
Springsteen continues to amaze
Last night, June 5th. A beautiful and only slightly chilly Monday night at the legendary Greek Theatre in Los Angeles.
Performing with the 17-member Seeger Sessions Band before a sold-out crowd, Bruce Springsteen did what I've seen him do countless times since the early 1980s. He lit a sonic fire, and the crowd responded. Anyone (myself included) who has come to believe folk music is largely about a solo artist or few artists playing a couple of acoustic instruments such as guitars and mandolins was likely shocked at the power of the folk-estra witnessed last night. Stretching folk and Americana in ways hardly imagined, vocal harmonies, sing-alongs with the audience, tinges of gospel, Dixie jazz, bluegrass and Delta blues and more were mixed in ways authentic and natural.
Whether singing American standards, or his own classics, Springsteen was truly a man on a mission. There was an anti-war thread to his between-song speak, but the music bounced artfully back and forth between strong spiritual-styled material ("O Mary Don't You Weep," "We Shall Overcome") and the upbeat, celebrative songs that got most concertgoers to their feet ("My Oklahoma Home," the night-ending "When the Saints Go Marching In"). The players in his band were amazing, truly. The horn section was a thrill and there was an energy equal, while different from his beloved E Street Band.
This was a show that ranks with the other seminal tours where I caught the Boss, ranking from the River tour to Born in the U.S.A. and the powerful Rising dates, post 9/11.
Here (as posted today in the Orange County Register) was his set list:
John Henry
O Mary Don't You Weep
Johnny 99
Old Dan Tucker
Eyes on the Prize
Jesse James
Atlantic City
Erie Canal
My Oklahoma Home
If I Should Fall Behind
Mrs. McGrath
How Can a Poor Man Stand Such Times and Live?
Jacob's Ladder
We Shall Overcome
Open All Night
Pay Me My Money Down
Encore
Bring Them Home
Ramrod
You Can Look (But You Better Not Touch)
When the Saints Go Marching In
Performing with the 17-member Seeger Sessions Band before a sold-out crowd, Bruce Springsteen did what I've seen him do countless times since the early 1980s. He lit a sonic fire, and the crowd responded. Anyone (myself included) who has come to believe folk music is largely about a solo artist or few artists playing a couple of acoustic instruments such as guitars and mandolins was likely shocked at the power of the folk-estra witnessed last night. Stretching folk and Americana in ways hardly imagined, vocal harmonies, sing-alongs with the audience, tinges of gospel, Dixie jazz, bluegrass and Delta blues and more were mixed in ways authentic and natural.
Whether singing American standards, or his own classics, Springsteen was truly a man on a mission. There was an anti-war thread to his between-song speak, but the music bounced artfully back and forth between strong spiritual-styled material ("O Mary Don't You Weep," "We Shall Overcome") and the upbeat, celebrative songs that got most concertgoers to their feet ("My Oklahoma Home," the night-ending "When the Saints Go Marching In"). The players in his band were amazing, truly. The horn section was a thrill and there was an energy equal, while different from his beloved E Street Band.
This was a show that ranks with the other seminal tours where I caught the Boss, ranking from the River tour to Born in the U.S.A. and the powerful Rising dates, post 9/11.
Here (as posted today in the Orange County Register) was his set list:
John Henry
O Mary Don't You Weep
Johnny 99
Old Dan Tucker
Eyes on the Prize
Jesse James
Atlantic City
Erie Canal
My Oklahoma Home
If I Should Fall Behind
Mrs. McGrath
How Can a Poor Man Stand Such Times and Live?
Jacob's Ladder
We Shall Overcome
Open All Night
Pay Me My Money Down
Encore
Bring Them Home
Ramrod
You Can Look (But You Better Not Touch)
When the Saints Go Marching In
Tuesday, May 23, 2006
Okay and Out?
I've been a bit out of it because of medical-related stuff, not feeling 100 percent and all that stuff, so the blog has been dry. Sorry.
I have been listening to music, but most of it has been related to getting articles finished for the Register. For example, I interview Van Morrison's daughter, singer-songwriter Shana Morrison tomorrow, so I have been busy listening to her 1999 CD ("Caledonia") this week getting ready for that phone chat. I'm also reviewing a bunch of local CDs for my May 26th column, notably the latest from The Attractions and The Prisoners Dilemma. There is also a new compilation CD with songs about Superman coming out in connection with the new movie "Superman Returns" and I'm going to review that too.
I'll check in again soon with a more comprehensive update!
I have been listening to music, but most of it has been related to getting articles finished for the Register. For example, I interview Van Morrison's daughter, singer-songwriter Shana Morrison tomorrow, so I have been busy listening to her 1999 CD ("Caledonia") this week getting ready for that phone chat. I'm also reviewing a bunch of local CDs for my May 26th column, notably the latest from The Attractions and The Prisoners Dilemma. There is also a new compilation CD with songs about Superman coming out in connection with the new movie "Superman Returns" and I'm going to review that too.
I'll check in again soon with a more comprehensive update!
Thursday, May 04, 2006
Coachella 2006 - Day Two
Sunday, April 30, 2006
The morning (or early afternoon) after Depeche Mode delivered an energetic performance of “Never Let Me Down Again,” I wondered if that might well be the theme of the annual Coachella Valley Music & Arts Festival. After all, after witnessing all or part of almost two dozen sets on day one of the fest, artists here seldom disappoint.
Of course, I had to take a detour before getting to that Dave Gahan-promised land of never letting me down again courtesy of the noise of the Octopus Project. Performing at noon on the Outdoor Theatre stage, I could only listen in horror thinking of so many more talented artists that could be showcased. They made Gram Rabbit’s 2005 performance sound good.
Things got better quickly when Giant Drag took the same stage next around 1:05 p.m. I caught the first six songs delivered by the duo (singer-guitarist Annie Hardy and drummer/keyboardist Micah Calabrase). Although Hardy is often compared to Liz Phair or PJ Harvey, I thought she was funny and a true original. The Laguna Beach native is armed with loads of charisma and freely chatted with members of the audience positioned at the front of the stage. She delivered the funniest line of the weekend (“I saw Kanye yesterday; so did a bunch of lame white people”) and Giant Drag’s version of “Wicked Game” was an absolute winner.
Then it was off to see Youth Group, where I arrived near the Coachella Stage about 10 minutes into their set just in time to hear an amazing version of “Forever Young” (the band’s version of the Alphaville ‘80s classic is featured on “Music from the O.C.: Mix 5”), before the Sydney, Australia-based band played some great originals, notably the Pet Shop Boys meets Wire Train-styled “Shadowland.”
By this time Sunday, the temperature was clearly around 100 so I sat down in a shady area to catch the full set from Los Amigos Invisibles (2:14-3:10 p.m.) on the Coachella Stage. The Venezuela-born Latin dance group played an intoxicating mix of disco, funk and acid jazz that was perfect for the afternoon heat.
Looking back, the next band I caught was likely the most thrilling performance of Sunday. The Magic Numbers, two sets of siblings (Sean and Angela Gannon, Romeo and Michelle Stodart), are clearly as original as they are talented. During the group’s Coachella set (3:31-4:20 p.m. on the Coachella Stage), I heard musical echoes of artists ranging from the 1960s’ West Coast rock scene (the Mamas & the Papas, clearly), but there is something timeless about Romeo’s natural approach. Listening to the folk-tinged “Don’t Give Up the Fight” or the pretty vocal harmonies-rendered “I See You, You See Me,” I could envision those songs having been big hits 40 years ago. And (radio and Vh1 willing) they could be huge today too. “Love’s a Game” could have been penned by Burt Bacharach, while several new songs penned for the group’s forthcoming sophomore effort (notably the uptempo “Take a Chance”) sound like they are expanding the sonic reach of the quartet without any loss of magic.
Next, it was off to grab some pizza (as hot as it was, I needed more than water after spending 5 or 6 hours on the polo field) and check out Matisyahu’s 45-minute set from the shady comfort of a hill overlooking the big stage. His reggae-rock hybrid is catchy and his performance outdistanced the more celebrated Kanye West appearance a day earlier. “King Without a Crown” is an accessible track, but ultimately the mix of Hasidic chant, crunchy guitars and beatboxing left me somewhat cold. However, I can see hardcore fans of reggae being drawn by his spiritual fervor in ways that didn’t connect with me.
With the impending storm known as “Madonna” set to arrive at the Sahara Tent around 8:10 p.m., it was time to head over to get a place inside. First, there was a full-length set of sounds and sights courtesy of celebrated DJ-remixer-producer Paul Oakenfold. Despite the incredible heat inside the tent, people danced and danced during his extended set.
Madonna was set to play just after 8, but went on much later (I think she went on 30 minutes late, almost unheard of at Coachella) and only played around 35 minutes. I was positioned toward the back of the tent and really could only see the diva via the video screens. She seemed to put on an energetic show, but the heat and lack of clear sight lines left me ultimately disappointed. Damn, not being 6’4” when I go to these types of shows…I should have gone and checked out Bloc Party and the Yeah Yeah Yeahs instead.
Sunday night was a whirlwind of walking around and trying to see as much as I could before Coachella 2006 disappeared into the past. I wasn’t particularly impressed by Tool and only watched a few songs. Massive Attack, whose performance preceded Tool on the Coachella Stage, was better – especially when performing the more ethereal trip-hop side. When the band rocked, it was not as effective.
The Scissor Sisters were the perfect act to close things out, performing into the midnight hour. All fun, with the cool night and grassy plain in front of the Outdoor Theatre providing a spacious place to dance and groove.
Looking back, I caught all or parts of sets from more than two dozen acts. I only wish I had been able to check out twice that many. I wish I could have caught Cat Power, Imogen Heap, the Like, Bloc Party, Ted Leo/Pharmacists, Wolf Parade and Nine Black Alps.
And I’m sure many more were worth a look and listen too…
The morning (or early afternoon) after Depeche Mode delivered an energetic performance of “Never Let Me Down Again,” I wondered if that might well be the theme of the annual Coachella Valley Music & Arts Festival. After all, after witnessing all or part of almost two dozen sets on day one of the fest, artists here seldom disappoint.
Of course, I had to take a detour before getting to that Dave Gahan-promised land of never letting me down again courtesy of the noise of the Octopus Project. Performing at noon on the Outdoor Theatre stage, I could only listen in horror thinking of so many more talented artists that could be showcased. They made Gram Rabbit’s 2005 performance sound good.
Things got better quickly when Giant Drag took the same stage next around 1:05 p.m. I caught the first six songs delivered by the duo (singer-guitarist Annie Hardy and drummer/keyboardist Micah Calabrase). Although Hardy is often compared to Liz Phair or PJ Harvey, I thought she was funny and a true original. The Laguna Beach native is armed with loads of charisma and freely chatted with members of the audience positioned at the front of the stage. She delivered the funniest line of the weekend (“I saw Kanye yesterday; so did a bunch of lame white people”) and Giant Drag’s version of “Wicked Game” was an absolute winner.
Then it was off to see Youth Group, where I arrived near the Coachella Stage about 10 minutes into their set just in time to hear an amazing version of “Forever Young” (the band’s version of the Alphaville ‘80s classic is featured on “Music from the O.C.: Mix 5”), before the Sydney, Australia-based band played some great originals, notably the Pet Shop Boys meets Wire Train-styled “Shadowland.”
By this time Sunday, the temperature was clearly around 100 so I sat down in a shady area to catch the full set from Los Amigos Invisibles (2:14-3:10 p.m.) on the Coachella Stage. The Venezuela-born Latin dance group played an intoxicating mix of disco, funk and acid jazz that was perfect for the afternoon heat.
Looking back, the next band I caught was likely the most thrilling performance of Sunday. The Magic Numbers, two sets of siblings (Sean and Angela Gannon, Romeo and Michelle Stodart), are clearly as original as they are talented. During the group’s Coachella set (3:31-4:20 p.m. on the Coachella Stage), I heard musical echoes of artists ranging from the 1960s’ West Coast rock scene (the Mamas & the Papas, clearly), but there is something timeless about Romeo’s natural approach. Listening to the folk-tinged “Don’t Give Up the Fight” or the pretty vocal harmonies-rendered “I See You, You See Me,” I could envision those songs having been big hits 40 years ago. And (radio and Vh1 willing) they could be huge today too. “Love’s a Game” could have been penned by Burt Bacharach, while several new songs penned for the group’s forthcoming sophomore effort (notably the uptempo “Take a Chance”) sound like they are expanding the sonic reach of the quartet without any loss of magic.
Next, it was off to grab some pizza (as hot as it was, I needed more than water after spending 5 or 6 hours on the polo field) and check out Matisyahu’s 45-minute set from the shady comfort of a hill overlooking the big stage. His reggae-rock hybrid is catchy and his performance outdistanced the more celebrated Kanye West appearance a day earlier. “King Without a Crown” is an accessible track, but ultimately the mix of Hasidic chant, crunchy guitars and beatboxing left me somewhat cold. However, I can see hardcore fans of reggae being drawn by his spiritual fervor in ways that didn’t connect with me.
With the impending storm known as “Madonna” set to arrive at the Sahara Tent around 8:10 p.m., it was time to head over to get a place inside. First, there was a full-length set of sounds and sights courtesy of celebrated DJ-remixer-producer Paul Oakenfold. Despite the incredible heat inside the tent, people danced and danced during his extended set.
Madonna was set to play just after 8, but went on much later (I think she went on 30 minutes late, almost unheard of at Coachella) and only played around 35 minutes. I was positioned toward the back of the tent and really could only see the diva via the video screens. She seemed to put on an energetic show, but the heat and lack of clear sight lines left me ultimately disappointed. Damn, not being 6’4” when I go to these types of shows…I should have gone and checked out Bloc Party and the Yeah Yeah Yeahs instead.
Sunday night was a whirlwind of walking around and trying to see as much as I could before Coachella 2006 disappeared into the past. I wasn’t particularly impressed by Tool and only watched a few songs. Massive Attack, whose performance preceded Tool on the Coachella Stage, was better – especially when performing the more ethereal trip-hop side. When the band rocked, it was not as effective.
The Scissor Sisters were the perfect act to close things out, performing into the midnight hour. All fun, with the cool night and grassy plain in front of the Outdoor Theatre providing a spacious place to dance and groove.
Looking back, I caught all or parts of sets from more than two dozen acts. I only wish I had been able to check out twice that many. I wish I could have caught Cat Power, Imogen Heap, the Like, Bloc Party, Ted Leo/Pharmacists, Wolf Parade and Nine Black Alps.
And I’m sure many more were worth a look and listen too…
Wednesday, May 03, 2006
Coachella 2006 - Day One
How to cover a concert event that spans two 12+ hour-long days?
Having attended my first weekend Coachella Valley Music & Arts Festival in 2005, I was definitely more prepared for the 2006 event. It is impossible for any person to catch all the action at the fest, which played out at the Empire Polo Fields in Indio, California on Saturday and Sunday, April 29 and 30. But, unlike many of the hipsters who hang out in the V.I.P. area and only take in an occasional glance from the huge shady outdoor bar positioned overlooking the main Coachella Stage, I bravely fought off the heat (drank more water than a fish) and attempted to catch as much music as possible over both days this year.
I took notes when I could, wanting to jot down notable moments as they sprang up. Here is my account of day one.
Saturday, April 29, 2006
12:15 p.m.
The Section Quartet performed at the Coachella Stage, performing their Bach-to-basics baroque meets rock material. Of the 15 minutes I caught, I enjoyed the vigorous version of the Clash’s “London Calling” best; I thought versions of material penned by Radiohead and Franz Ferdinand were not as strong. Great musicians, but ultimately still a novelty-styled act.
12:38 p.m.
Walked over to the Sahara Tent to catch part of the set from Melbourne, Australia’s Infusion. A three-member ensemble with an electronic vibe; very enticing and had many in the crowd nodding their heads to the band. An extended version of a song that was performed while the words “Drop Down There” flashed on a large screen was really good; the trio’s sound often reminded me of New Order. Not a bad thing.
1 p.m.
Walked nearby to the Mojave Tent to catch an excellent set from Rob Dickinson. One of the highlights of Saturday. Performing songs off his 2005 solo disc, “Fresh Wine for the Horses,” as well as his work with Catherine Wheel, his entire 33-minute set was required, must-see stuff. Highlights ranged from his opening remarks (“You rock, hopefully I do”) to the wonderful songs themselves: a beautiful falsetto-anchored “My Name Is Love,” the gorgeous “Oceans” and a raw version of the Catherine Wheel gem “Crank.” And he closed out his amazing set with that band’s classic “Black Metallic.” Even performing solo with just a guitar, this was a powerful and memorable set.
1:38 p.m.
I high-tailed it back to the Coachella Stage (the sweltering afternoon sun be damned) to catch the already-rocking New Amsterdams. Being a Gram Parsons lover, the four or so songs I caught impressed me with an authentic solid alt-country vibe. I enjoyed “Bad Liar,” “Proceed with Caution” and several other songs performed by the quintet.
2:05 p.m.
Being from Orange County, Matt Costa was on my list of artists I absolutely had to catch. His set, played out on the Outdoor Theatre stage, kicked off with a solo stint performing accompanied by his guitar and harmonica before his band joined him to play material such as “Yellow Taxi” off his 2006 commercial debut, “Songs We Sing.” Costa has an appealing, laid back approach. Although his songs often lack punch, he provided a good change of pace to some of the high octane artists that came before and after him. He would be killer in a coffee shop or small venue.
2:43 p.m.
Back to the Coachella Stage. I tuned into the Walkmen to catch a few of their songs. The highlight of the portion of their set I caught was “Good For You’s Good For Me,” a song from their forthcoming album “A Hundred Miles Off.” Strong indie rock and I hope to catch a full-length set from the band sometime soon.
3:25 p.m.
Back and forth I went, seeing as much as I could despite the heat. Sometime around 3:25 I made it to the Outdoor Theatre to check out the Zutons, a band out of Liverpool (so I’ve read). Infectious, indie-styled alt rock. Faves I caught included the hard rocking “It’s the Little Things We Do,” vocal harmonies-anchored “Oh Stacey (Look What You’ve Done)” and 70s sing-along “You Will You Won’t.”
3:51 p.m.
I arrived at the Coachella Stage just after 3:50 p.m. to catch The Duke Spirit already in sonic motion. A very energetic and spirited performance, based on the 20 or so minutes I caught. Frontwoman Liela Moss is often compared to PJ Harvey and Patti Smith and I can confirm that struck me as pretty accurate.
5:09 p.m.
After a quick refreshment break, I was off and running across the grasslands to the Mojave Tent to catch Clap Your Hands Say Yeah (I love that band name!). It was packed and I honestly couldn’t get close enough to get a good look or listen at the band. Damn! What I can report is that the crowd loved them.
5:35 p.m.
Another long walk back to the Coachella Stage, this time to catch Common. Cliches aplenty, despite his being championed by Kanye West. It might have been the setting, or my mood, but I just didn’t even feel like listening. After a couple of songs, I was off to…
5:56 p.m.
Wow! I had heard of My Morning Jacket, but I admit to being clueless about this great band out of Kentucky until I heard ‘em in Cochella. The quintet floored me and I watched the Louisville-spawned outfit’s entire eight song set. I kept thinking they reminded me a bit of Neil Young & Crazy Horse meets the Replacements meets the Velvet Underground or something. I went out on Monday (the day after Cochella ended) and purchased the group’s 2005 album “Z.” I’ll be picking up My Morning Jacket’s other discs soon.
6:38 p.m.
Kanye West. A very popular artist who attracted huge crowd to the Coachella Stage. I still don’t get why he was at the fest. Especially after seeing his performance. Because he is such a big act or something, he went on late messing up everyone else’s set times to come, including Sigur Ros…
7:15 p.m.
Sigur Ros was set to take the stage at 7 p.m., but because of Kanye and that fall-out, the Icelandic troupe didn’t get to play until 7:15 and wound up only getting to play 45 minutes (instead of the before-promised 50 minutes). I have grown to love Sigur Ros over the past six or so months and the group definitely delivered in the precious time when the sun dropped and temps began to thankfully cool. Performing with string and horn players, my favorite chills came when they lifted the sky with a great song from “Takk..” (I think it was “Glosoli” – the Icelandic language is definitely foreign to yours truly). Like on CD, the group’s music is vast and otherworldly, and the setting of Coachella enhanced the sound. “Hoppipolla” also blew me away. Sigur Ros ranks with the Cocteau Twins and late-1980s U2 as having produced some of the most beautiful rock soundscapes ever.
8:30 p.m.
It has been a long day. I got up at 6 a.m. to drive out from Orange County to Coachella. So after the heat and all that, I’m at the point where I’m going to hang out by the Coachella Stage to catch the headliners for a bit and rest my burning, blistered feet. I’m glad I did. I had never seen Franz Ferdinand and they rocked. I loved the band, their youthful and loose energy. Rousing versions of “Take Me Out,” “Walk Away” and “Do You Want to,” as well as pretty much everything the Scotland band played worked on this night.
9:45 p.m.
Depeche Mode’s headlining set was strong, with the only “exception” being that frontman Dave Gahan sounded a bit weary in the vocal department. He hit the notes, but his voice lacked the punch when I saw him last year when the group first went on tour in support of “Playing the Angel.” But no doubt, the group was energetic and tight in performances of new gems such as “Precious” (as good as anything they’ve done), as well as many of their hits. I didn’t take many notes during the band’s set; I was too busy dancing to the groove.
11:30 and after
I ended the night catching a few minutes of She Wants Revenge and Daft Punk. It was a great way to cap a memorable day. Can anyone truly resist “One More Time”? It’s not likely, based that even right around midnight, it was impossible to get close to the Sahara Tent and I had to watch the performance projected on a big screen outside the tent.
Having attended my first weekend Coachella Valley Music & Arts Festival in 2005, I was definitely more prepared for the 2006 event. It is impossible for any person to catch all the action at the fest, which played out at the Empire Polo Fields in Indio, California on Saturday and Sunday, April 29 and 30. But, unlike many of the hipsters who hang out in the V.I.P. area and only take in an occasional glance from the huge shady outdoor bar positioned overlooking the main Coachella Stage, I bravely fought off the heat (drank more water than a fish) and attempted to catch as much music as possible over both days this year.
I took notes when I could, wanting to jot down notable moments as they sprang up. Here is my account of day one.
Saturday, April 29, 2006
12:15 p.m.
The Section Quartet performed at the Coachella Stage, performing their Bach-to-basics baroque meets rock material. Of the 15 minutes I caught, I enjoyed the vigorous version of the Clash’s “London Calling” best; I thought versions of material penned by Radiohead and Franz Ferdinand were not as strong. Great musicians, but ultimately still a novelty-styled act.
12:38 p.m.
Walked over to the Sahara Tent to catch part of the set from Melbourne, Australia’s Infusion. A three-member ensemble with an electronic vibe; very enticing and had many in the crowd nodding their heads to the band. An extended version of a song that was performed while the words “Drop Down There” flashed on a large screen was really good; the trio’s sound often reminded me of New Order. Not a bad thing.
1 p.m.
Walked nearby to the Mojave Tent to catch an excellent set from Rob Dickinson. One of the highlights of Saturday. Performing songs off his 2005 solo disc, “Fresh Wine for the Horses,” as well as his work with Catherine Wheel, his entire 33-minute set was required, must-see stuff. Highlights ranged from his opening remarks (“You rock, hopefully I do”) to the wonderful songs themselves: a beautiful falsetto-anchored “My Name Is Love,” the gorgeous “Oceans” and a raw version of the Catherine Wheel gem “Crank.” And he closed out his amazing set with that band’s classic “Black Metallic.” Even performing solo with just a guitar, this was a powerful and memorable set.
1:38 p.m.
I high-tailed it back to the Coachella Stage (the sweltering afternoon sun be damned) to catch the already-rocking New Amsterdams. Being a Gram Parsons lover, the four or so songs I caught impressed me with an authentic solid alt-country vibe. I enjoyed “Bad Liar,” “Proceed with Caution” and several other songs performed by the quintet.
2:05 p.m.
Being from Orange County, Matt Costa was on my list of artists I absolutely had to catch. His set, played out on the Outdoor Theatre stage, kicked off with a solo stint performing accompanied by his guitar and harmonica before his band joined him to play material such as “Yellow Taxi” off his 2006 commercial debut, “Songs We Sing.” Costa has an appealing, laid back approach. Although his songs often lack punch, he provided a good change of pace to some of the high octane artists that came before and after him. He would be killer in a coffee shop or small venue.
2:43 p.m.
Back to the Coachella Stage. I tuned into the Walkmen to catch a few of their songs. The highlight of the portion of their set I caught was “Good For You’s Good For Me,” a song from their forthcoming album “A Hundred Miles Off.” Strong indie rock and I hope to catch a full-length set from the band sometime soon.
3:25 p.m.
Back and forth I went, seeing as much as I could despite the heat. Sometime around 3:25 I made it to the Outdoor Theatre to check out the Zutons, a band out of Liverpool (so I’ve read). Infectious, indie-styled alt rock. Faves I caught included the hard rocking “It’s the Little Things We Do,” vocal harmonies-anchored “Oh Stacey (Look What You’ve Done)” and 70s sing-along “You Will You Won’t.”
3:51 p.m.
I arrived at the Coachella Stage just after 3:50 p.m. to catch The Duke Spirit already in sonic motion. A very energetic and spirited performance, based on the 20 or so minutes I caught. Frontwoman Liela Moss is often compared to PJ Harvey and Patti Smith and I can confirm that struck me as pretty accurate.
5:09 p.m.
After a quick refreshment break, I was off and running across the grasslands to the Mojave Tent to catch Clap Your Hands Say Yeah (I love that band name!). It was packed and I honestly couldn’t get close enough to get a good look or listen at the band. Damn! What I can report is that the crowd loved them.
5:35 p.m.
Another long walk back to the Coachella Stage, this time to catch Common. Cliches aplenty, despite his being championed by Kanye West. It might have been the setting, or my mood, but I just didn’t even feel like listening. After a couple of songs, I was off to…
5:56 p.m.
Wow! I had heard of My Morning Jacket, but I admit to being clueless about this great band out of Kentucky until I heard ‘em in Cochella. The quintet floored me and I watched the Louisville-spawned outfit’s entire eight song set. I kept thinking they reminded me a bit of Neil Young & Crazy Horse meets the Replacements meets the Velvet Underground or something. I went out on Monday (the day after Cochella ended) and purchased the group’s 2005 album “Z.” I’ll be picking up My Morning Jacket’s other discs soon.
6:38 p.m.
Kanye West. A very popular artist who attracted huge crowd to the Coachella Stage. I still don’t get why he was at the fest. Especially after seeing his performance. Because he is such a big act or something, he went on late messing up everyone else’s set times to come, including Sigur Ros…
7:15 p.m.
Sigur Ros was set to take the stage at 7 p.m., but because of Kanye and that fall-out, the Icelandic troupe didn’t get to play until 7:15 and wound up only getting to play 45 minutes (instead of the before-promised 50 minutes). I have grown to love Sigur Ros over the past six or so months and the group definitely delivered in the precious time when the sun dropped and temps began to thankfully cool. Performing with string and horn players, my favorite chills came when they lifted the sky with a great song from “Takk..” (I think it was “Glosoli” – the Icelandic language is definitely foreign to yours truly). Like on CD, the group’s music is vast and otherworldly, and the setting of Coachella enhanced the sound. “Hoppipolla” also blew me away. Sigur Ros ranks with the Cocteau Twins and late-1980s U2 as having produced some of the most beautiful rock soundscapes ever.
8:30 p.m.
It has been a long day. I got up at 6 a.m. to drive out from Orange County to Coachella. So after the heat and all that, I’m at the point where I’m going to hang out by the Coachella Stage to catch the headliners for a bit and rest my burning, blistered feet. I’m glad I did. I had never seen Franz Ferdinand and they rocked. I loved the band, their youthful and loose energy. Rousing versions of “Take Me Out,” “Walk Away” and “Do You Want to,” as well as pretty much everything the Scotland band played worked on this night.
9:45 p.m.
Depeche Mode’s headlining set was strong, with the only “exception” being that frontman Dave Gahan sounded a bit weary in the vocal department. He hit the notes, but his voice lacked the punch when I saw him last year when the group first went on tour in support of “Playing the Angel.” But no doubt, the group was energetic and tight in performances of new gems such as “Precious” (as good as anything they’ve done), as well as many of their hits. I didn’t take many notes during the band’s set; I was too busy dancing to the groove.
11:30 and after
I ended the night catching a few minutes of She Wants Revenge and Daft Punk. It was a great way to cap a memorable day. Can anyone truly resist “One More Time”? It’s not likely, based that even right around midnight, it was impossible to get close to the Sahara Tent and I had to watch the performance projected on a big screen outside the tent.
Friday, April 28, 2006
Neil Young and "Living With War"
For any music fan, the place to be today is at Neil Young's official Web site where his forthcoming album "Living With War" is being played in full throughout the day. Some thoughts as it streams over my computer.
Track #1, "After the Garden," immediately establishes this is a project that may have put together quickly, but sounds great in terms of the performance. Neil has a great solo too; says lots with a simple melody line.
Track #2, the title song, has a gentle and forceful power with the chorus and his guitar sharing the audiospace; very nice. The thrid song, "The Restless Consumer," is more in the spirit on his work with Pearl Jam in the 1990s (think "Throw Your Hatred Down"), but more raw and almost like spoken word.
No matter one's specific political views, I think the universal themes Neil Young addresses are something most good people agree with. No more lies, an end to hunger, peace; I think where the difference between Americans are the causes of society's and the world's ills and how best to address them.
Track #4, "Shock and Awe" really rocks. It delivers with the fiery beat and crunch that Neil put to use with "Rocking in the Free World." Neil's voice and passion are evident; a great song. I'll be hitting repeat on this track when I get the disc for sure. When he sings "Thousands of bodies in the ground," it brings to mind the ultimate price that soliders and civilians often pay in places plagued by war. A nice horn (trumpet?) solo segues into a soaring chorus; this is the standout track so far, especially as a strong rocker. Neil unleashes blistering guitar work too, positioned around the trumpet and the song builds and builds. A real winner!
With a title like "Families," you know Neil is going to look at the ties that bind. The melody and delivery are emotive, and the chorus is just right. I'm now thinking this is truly one of the best albums of 2006, and Neil's best release since "Harvest Moon" (1992) or "Silver and Gold" (2000).
"Flags of Freedom," another strong vibe, midtempo and great vocal performance from the 60-year-old artist (can you believe he's 60, wow)...the harmonica is a great touch as well.
"Let's Impeach the President" has the feel of a 1960s protest song. "Roger and Out" sounds like some of Neil's alt country material - think 1978's "Comes a Time."
The album ends with "America the Beautiful," the many voices of the chorus that Young put together for the project coming together in an emotional finale. This is an outstanding album and even after a single listen, I'm impressed. I'm going to give it another listen.
I'm off to Coachella tomorrow morning and I'll check back with you next week when I return from Indio to OC.
Track #1, "After the Garden," immediately establishes this is a project that may have put together quickly, but sounds great in terms of the performance. Neil has a great solo too; says lots with a simple melody line.
Track #2, the title song, has a gentle and forceful power with the chorus and his guitar sharing the audiospace; very nice. The thrid song, "The Restless Consumer," is more in the spirit on his work with Pearl Jam in the 1990s (think "Throw Your Hatred Down"), but more raw and almost like spoken word.
No matter one's specific political views, I think the universal themes Neil Young addresses are something most good people agree with. No more lies, an end to hunger, peace; I think where the difference between Americans are the causes of society's and the world's ills and how best to address them.
Track #4, "Shock and Awe" really rocks. It delivers with the fiery beat and crunch that Neil put to use with "Rocking in the Free World." Neil's voice and passion are evident; a great song. I'll be hitting repeat on this track when I get the disc for sure. When he sings "Thousands of bodies in the ground," it brings to mind the ultimate price that soliders and civilians often pay in places plagued by war. A nice horn (trumpet?) solo segues into a soaring chorus; this is the standout track so far, especially as a strong rocker. Neil unleashes blistering guitar work too, positioned around the trumpet and the song builds and builds. A real winner!
With a title like "Families," you know Neil is going to look at the ties that bind. The melody and delivery are emotive, and the chorus is just right. I'm now thinking this is truly one of the best albums of 2006, and Neil's best release since "Harvest Moon" (1992) or "Silver and Gold" (2000).
"Flags of Freedom," another strong vibe, midtempo and great vocal performance from the 60-year-old artist (can you believe he's 60, wow)...the harmonica is a great touch as well.
"Let's Impeach the President" has the feel of a 1960s protest song. "Roger and Out" sounds like some of Neil's alt country material - think 1978's "Comes a Time."
The album ends with "America the Beautiful," the many voices of the chorus that Young put together for the project coming together in an emotional finale. This is an outstanding album and even after a single listen, I'm impressed. I'm going to give it another listen.
I'm off to Coachella tomorrow morning and I'll check back with you next week when I return from Indio to OC.
Tuesday, April 18, 2006
Jack's Mannequin; a full-length show!
On April 14, Jack's Mannequin played a full-length headlining show at the Anaheim House of Blues. I saw Andrew McMahon and his band play a 35-minute show last month at the same venue, but seeing how they could pull off a more ambitious set was worth a return visit to Downtown Disney last Friday night.
Andrew appears to be getting stronger and stronger following his much-chronicled battle against leukemia, and even got up on top of his grand piano let in the set to perform before the capacity crowd. And the songs sounded great. "Bruised" (my favorite), "The Mixed Tape" and "I'm Ready" all sounded fiery and connected with the enthusiastic crowd.
I can't wait to hear the sophomore effort from Jack's Mannequin; hopefully we get that in 2007...
Andrew appears to be getting stronger and stronger following his much-chronicled battle against leukemia, and even got up on top of his grand piano let in the set to perform before the capacity crowd. And the songs sounded great. "Bruised" (my favorite), "The Mixed Tape" and "I'm Ready" all sounded fiery and connected with the enthusiastic crowd.
I can't wait to hear the sophomore effort from Jack's Mannequin; hopefully we get that in 2007...
Tuesday, April 11, 2006
OCMAs, Stavesacre
I've been ever-so-busy lately. I went and was a presenter at the Orange County Music Awards last Saturday night. I forgot who actually won in the category where I was a presenter (Best Classic Rock), but they didn't show. Not nice. I saw many music friends throughout the night. Michael Ubaldini, Hugh, 9 Ball, Scarlet Crush - great to see all you talented folks!
Check my column out in the Show section of the Register on Friday. I had a long chat with Mark Salomon yesterday. He was very sick, but still talked to me for more than 30 minutes and it will lend itself to a good preview...
Less than a month until Coachella. Can't wait!
Check my column out in the Show section of the Register on Friday. I had a long chat with Mark Salomon yesterday. He was very sick, but still talked to me for more than 30 minutes and it will lend itself to a good preview...
Less than a month until Coachella. Can't wait!
Friday, March 31, 2006
trespassers william; quiet fury
trespassers william is that rare band, like the Cocteau Twins and Sigur Ros, able to stir the air with a mix of emotive vocals, effects-drenched guitar work and artistic attention to using a evocative mix of spacious sounds to enhance intricate melodies.
It’s a recipe best heard to appreciate, and that’s exactly what an increasing number of listeners are doing. Sigur Ros’ latest effort “Takk…” was truly one of the best albums of 2005 and has earned the Icelandic outfit a featured slot at the upcoming Coachella Music Festival next month, and now Orange County-spawned trespassers william has matched that style of brilliance on its third full-length effort, “having”(released Feb. 28, 2006). Among the best songs on trespassers williams’ “having” are the remarkable “safe, sound,” melodic “my hands up,” sparse “no one” and haunting “low point.”
The disc closes with “matching weight,” an ambitious song that builds and immerses the listener in layers of sound including for the last six or so minutes when notes both dissonant and beautiful dance a sonic ballet together outside the confines of any traditional structure.
“Mostly it was just a change of pace. We had done some touring up here and we had started to fall in love with the area,” said guitarist-keyboardist Matt Brown of the group’s decision to relocate to Seattle inJanuary 2005. I interviewed him by phone earlier this month.
“We were all scattered throughout Southern California– in L.A., Long Beach and Orange County and all over the place – it was taking an hour and a half to get to rehearsal. It was getting kind of complicated and we didn’t necessarily all want to move to L.A. and Seattle was a city we all kind of agreed we could be central at that had a really great music scene and was beautiful,” Brown explained. In addition to Brown, trespassers william alsoincludes singer-guitarist Anna-Lynne Williams and bassist-keyboardist Ross Simonini. Long-time drummerJamie Williams recently left the group; drummer Nathan Skolrud will be playing for the group when they tour this spring. The tour will include a number ofSouthern California dates, including a homecoming show at the Detroit Bar in Costa Mesa on Thursday, April 20.
Completing “having” was remarkably easy, despite the fact that it marked the first time in the 10-year-old troupe’s career they chose to include an outside producer in the process.
“We pretty much did everything by our selves except when we went to Buffalo (Tarbox Road Studios) to mix it. Dave Fridmann has such a distinct style that even though he just mixed it; he is credited with co-production because of the arrangements – some he totally flipped on their heads. Some he left intact,”Brown recalled. “So it’s really probably the most of both (working alone, and collaborating with someone outside of theband); we’ve kind of been self-produced before but we’ve also had to sneak into the studio when we had a few free hours. So this is the first time we’ve actually had a big chunk of time to really make a record.”
The results are stunning and fans of artful otherworldly rock are lavishing “having” with praise.
“The record (‘having’) actually happened really fast. ‘Different Stars’ we did at the studio where I used to work at in Orange County (Sonikwire Studios in Irvine)– those guys were nice enough if there was free time to drag everyone, that’s why it took so long,” Brown said. “And then ‘having’ took so long, (but) not because we didn’t have the songs. ‘Different Stars’ got picked up by Bella Union first and then we did touring and then it got picked up by Nettwerk and all of these things just happened one after another, we did a lot of the writing at our rehearsal space in Santa Ana and at the end of last year, October to December (of 2004) a lot of the arranging and then pretty much over the course of just one month did all of the recording (in January2005). And then we did a couple of weeks here and a touch up at home and then about nine days of mixing with Dave and then we sat on it for awhile waiting forit to get mastered just because of label release dates and all that…”
And because of modern technology, fans going to see the band will hear trespassers william with the kind of expansive sound featured on record, a clear departure from the band’s semi-acoustic early live shows.
“Actually, it’s more like the records than it has been,” said Brown.“We have a set-up where there is a keyboard and synth-bass, and then like a little desk with a mixer and some effects…it’s probably more electric than acoustic these days.”
It’s a recipe best heard to appreciate, and that’s exactly what an increasing number of listeners are doing. Sigur Ros’ latest effort “Takk…” was truly one of the best albums of 2005 and has earned the Icelandic outfit a featured slot at the upcoming Coachella Music Festival next month, and now Orange County-spawned trespassers william has matched that style of brilliance on its third full-length effort, “having”(released Feb. 28, 2006). Among the best songs on trespassers williams’ “having” are the remarkable “safe, sound,” melodic “my hands up,” sparse “no one” and haunting “low point.”
The disc closes with “matching weight,” an ambitious song that builds and immerses the listener in layers of sound including for the last six or so minutes when notes both dissonant and beautiful dance a sonic ballet together outside the confines of any traditional structure.
“Mostly it was just a change of pace. We had done some touring up here and we had started to fall in love with the area,” said guitarist-keyboardist Matt Brown of the group’s decision to relocate to Seattle inJanuary 2005. I interviewed him by phone earlier this month.
“We were all scattered throughout Southern California– in L.A., Long Beach and Orange County and all over the place – it was taking an hour and a half to get to rehearsal. It was getting kind of complicated and we didn’t necessarily all want to move to L.A. and Seattle was a city we all kind of agreed we could be central at that had a really great music scene and was beautiful,” Brown explained. In addition to Brown, trespassers william alsoincludes singer-guitarist Anna-Lynne Williams and bassist-keyboardist Ross Simonini. Long-time drummerJamie Williams recently left the group; drummer Nathan Skolrud will be playing for the group when they tour this spring. The tour will include a number ofSouthern California dates, including a homecoming show at the Detroit Bar in Costa Mesa on Thursday, April 20.
Completing “having” was remarkably easy, despite the fact that it marked the first time in the 10-year-old troupe’s career they chose to include an outside producer in the process.
“We pretty much did everything by our selves except when we went to Buffalo (Tarbox Road Studios) to mix it. Dave Fridmann has such a distinct style that even though he just mixed it; he is credited with co-production because of the arrangements – some he totally flipped on their heads. Some he left intact,”Brown recalled. “So it’s really probably the most of both (working alone, and collaborating with someone outside of theband); we’ve kind of been self-produced before but we’ve also had to sneak into the studio when we had a few free hours. So this is the first time we’ve actually had a big chunk of time to really make a record.”
The results are stunning and fans of artful otherworldly rock are lavishing “having” with praise.
“The record (‘having’) actually happened really fast. ‘Different Stars’ we did at the studio where I used to work at in Orange County (Sonikwire Studios in Irvine)– those guys were nice enough if there was free time to drag everyone, that’s why it took so long,” Brown said. “And then ‘having’ took so long, (but) not because we didn’t have the songs. ‘Different Stars’ got picked up by Bella Union first and then we did touring and then it got picked up by Nettwerk and all of these things just happened one after another, we did a lot of the writing at our rehearsal space in Santa Ana and at the end of last year, October to December (of 2004) a lot of the arranging and then pretty much over the course of just one month did all of the recording (in January2005). And then we did a couple of weeks here and a touch up at home and then about nine days of mixing with Dave and then we sat on it for awhile waiting forit to get mastered just because of label release dates and all that…”
And because of modern technology, fans going to see the band will hear trespassers william with the kind of expansive sound featured on record, a clear departure from the band’s semi-acoustic early live shows.
“Actually, it’s more like the records than it has been,” said Brown.“We have a set-up where there is a keyboard and synth-bass, and then like a little desk with a mixer and some effects…it’s probably more electric than acoustic these days.”
Thursday, March 23, 2006
Catching up
Okay, okay. I don't post enough. Sorry!
But I've been busy listening and writing. You can read my Laurence Juber preview story in today's edition of the Orange County Register's Dana Point News. The legendary guitarist, who was with Paul McCartney's Wings from 1978 until 1981, is an amazing fingerstyle guitarist. He plays in Dana Point on Friday, March 24 and in Mission Viego on Sunday, March 26.
Also, make sure to catch up with my weekly Orange Pop column that runs on Fridays in the Show section of the OC Register. I featured Handsome Devil last Friday (March 17th) and I review a trio of local debuts in my column that runs tomorrow (March 24).
I'll check in with you again later today or tomorrow. Promise!
But I've been busy listening and writing. You can read my Laurence Juber preview story in today's edition of the Orange County Register's Dana Point News. The legendary guitarist, who was with Paul McCartney's Wings from 1978 until 1981, is an amazing fingerstyle guitarist. He plays in Dana Point on Friday, March 24 and in Mission Viego on Sunday, March 26.
Also, make sure to catch up with my weekly Orange Pop column that runs on Fridays in the Show section of the OC Register. I featured Handsome Devil last Friday (March 17th) and I review a trio of local debuts in my column that runs tomorrow (March 24).
I'll check in with you again later today or tomorrow. Promise!
Tuesday, March 14, 2006
Rock Hall fall; does anyone care?
I saw today on Billboard.com all the reporting from the 21st annual Rock and Roll Hall of Fame induction dinner, held on March 13 (I can't say I'm sorry I missed it; I was watching a great new episode of "24").
Looking over the list of so-called rock icons and those inducted, I have to honestly say "Who cares?" Black Sabbath didn't perform; Ozzy Osbourne is burned out and should just fade away. Apparently, whenever he was asked a question in the press room, he apparently couldn't really hear very well and didn't say anything very insightful. Kind of like that stupid MTV show he did a few years ago that I couldn't stomach.
When it came to the Sex Pistols, they didn't even show up.
Blondie was kind of bizarre, with apparently some of the various members not getting along anymore. I wouldn't have cared 25 years ago and I still don't care. Especially when a band is celebrated for such disposable fluff as "Call Me" and "Rapture." I would much rather have seen the Cars (the most successful American new wave band of the late 1970s) or the Smithereens (they released their debut "Girls About Town" in 1980) get in there.
I'm torn about Lynyrd Skynyrd. I guess they deserve to get in. I just don't hear their music and think it belongs in the company of U2, the Beatles, Rolling Stones and Queen. It's like bands such as ZZ Top, Billy Joel and Aerosmith - they are pretty good (and commercially successful) bands but shouldn't the Hall be reserved for the best of the best in terms of artistry? I guess in an age where we can't give any child a failing grade because it might hurt their self esteem, that's what we're left with...
Miles Davis was a great jazz musician. Very deserving of many accolades. But until rockers such as Hall & Oates, the Cure, Badfinger and Cheap Trick get in, why is the Rock Hall worrying about jazz players? I don't get it...
Looking over the list of so-called rock icons and those inducted, I have to honestly say "Who cares?" Black Sabbath didn't perform; Ozzy Osbourne is burned out and should just fade away. Apparently, whenever he was asked a question in the press room, he apparently couldn't really hear very well and didn't say anything very insightful. Kind of like that stupid MTV show he did a few years ago that I couldn't stomach.
When it came to the Sex Pistols, they didn't even show up.
Blondie was kind of bizarre, with apparently some of the various members not getting along anymore. I wouldn't have cared 25 years ago and I still don't care. Especially when a band is celebrated for such disposable fluff as "Call Me" and "Rapture." I would much rather have seen the Cars (the most successful American new wave band of the late 1970s) or the Smithereens (they released their debut "Girls About Town" in 1980) get in there.
I'm torn about Lynyrd Skynyrd. I guess they deserve to get in. I just don't hear their music and think it belongs in the company of U2, the Beatles, Rolling Stones and Queen. It's like bands such as ZZ Top, Billy Joel and Aerosmith - they are pretty good (and commercially successful) bands but shouldn't the Hall be reserved for the best of the best in terms of artistry? I guess in an age where we can't give any child a failing grade because it might hurt their self esteem, that's what we're left with...
Miles Davis was a great jazz musician. Very deserving of many accolades. But until rockers such as Hall & Oates, the Cure, Badfinger and Cheap Trick get in, why is the Rock Hall worrying about jazz players? I don't get it...
Thursday, March 02, 2006
Catch-up time
I have not been posting lately. Sorry.
I have been listening to music, writing my weekly columns for the OC Register and all that stuff, but nothing significant has compelled me to put down anything here as of late. So I just wanted to check in, say "hello" to you and share a non-music related item here.
I read today that NASA is honoring Walter Cronkite with an actual moon rock. I have a story about Walter Cronkite to share with you. In spring of 2004, I went to Orlando, Florida to attend a communications conference. While on my way back to Orange County, California, at the Orlando airport and waiting for the security check, right next to me in a wheelchair being wheeled by several airport/security persons was legendary CBS Evening News anchor Walter Cronkite. Everyone in line pretty much recognizes him and is pointing at him, etc. Although he has difficulty moving (he was in his late 80s two years ago), security makes him take off his shoes and checks him out as if he might be a terrorist. Is this junk silly or not? How many of the terrorist attacks in America, Israel, Iraq and everywhere Islamic facists are targeting innocents have been carried out by retired American newscasters?
I understand NASA is giving Cronkite, who is now around 90, a piece of the moon in rcognition of his decades of covering the space program. Our society should be going after the real terrorists, checking people coming from places such as Saudi Arabia and Yemen and making sure we know where all those people are.
I have been listening to music, writing my weekly columns for the OC Register and all that stuff, but nothing significant has compelled me to put down anything here as of late. So I just wanted to check in, say "hello" to you and share a non-music related item here.
I read today that NASA is honoring Walter Cronkite with an actual moon rock. I have a story about Walter Cronkite to share with you. In spring of 2004, I went to Orlando, Florida to attend a communications conference. While on my way back to Orange County, California, at the Orlando airport and waiting for the security check, right next to me in a wheelchair being wheeled by several airport/security persons was legendary CBS Evening News anchor Walter Cronkite. Everyone in line pretty much recognizes him and is pointing at him, etc. Although he has difficulty moving (he was in his late 80s two years ago), security makes him take off his shoes and checks him out as if he might be a terrorist. Is this junk silly or not? How many of the terrorist attacks in America, Israel, Iraq and everywhere Islamic facists are targeting innocents have been carried out by retired American newscasters?
I understand NASA is giving Cronkite, who is now around 90, a piece of the moon in rcognition of his decades of covering the space program. Our society should be going after the real terrorists, checking people coming from places such as Saudi Arabia and Yemen and making sure we know where all those people are.
Thursday, February 16, 2006
Junos join race to bottom
We just survived the Grammys. Now, what to make of the upcoming Juno Awards, Canada's answer to the America's Grammy Awards.
I'm not going to reflect on every category. I don't have time, and I truthfully don't know all the artists well enough. But in the International Album Of The Year category, they have two albums that are a joke. Gwen Stefani's "Love.Angel.Music.Baby" and Kelly Clarkson's "Breakaway" are up for consideration. Artistry is obviously not the issue. I agree that female artists should be in the category; what about Aimee Mann's "The Forgotten Arm" or the Magic Numbers' self-titled debut - both released last year.
And I'm not sure, but why wasn't Neil Young (a native of Canada) nominated for "Prairie Wind" in that category. A wonderful album, at least it earned Young nominations in Best Songwriter and Adult Alternative Album categories where the winners will be announced on April 2.
However, credit our friends up north for nominated the LIVE 8 show from Toronto that featured a range of artists including Young, Bruce Cockburn and Tom Cochrane in the Music DVD of the Year field. Nice going.
I'm not going to reflect on every category. I don't have time, and I truthfully don't know all the artists well enough. But in the International Album Of The Year category, they have two albums that are a joke. Gwen Stefani's "Love.Angel.Music.Baby" and Kelly Clarkson's "Breakaway" are up for consideration. Artistry is obviously not the issue. I agree that female artists should be in the category; what about Aimee Mann's "The Forgotten Arm" or the Magic Numbers' self-titled debut - both released last year.
And I'm not sure, but why wasn't Neil Young (a native of Canada) nominated for "Prairie Wind" in that category. A wonderful album, at least it earned Young nominations in Best Songwriter and Adult Alternative Album categories where the winners will be announced on April 2.
However, credit our friends up north for nominated the LIVE 8 show from Toronto that featured a range of artists including Young, Bruce Cockburn and Tom Cochrane in the Music DVD of the Year field. Nice going.
Thursday, February 09, 2006
Grammys: the good, the bad & the ugly
In the big scheme of things, I guess it doesn’t really matter.
The 48th annual Grammy Awards were staged at Staples Center in Los Angeles last night, and there was that anticipated mix of well-deserved prizes and ones that just left me shaking my head in disgust.
I tend to be negative when discussing the Grammys, so let me start out being positive. U2 was awarded “Album of the Year” for its great release “How To Dismantle An Atomic Bomb.”
In fact, much is being made today about U2 upstaging Mariah Carey because the Irish quartet took home a total of five Grammys – winning in all of its nominated categories. Hello! I’m sure most of the readers of this column agree U2 crafts epic, lasting songs that will be listened to decades from now. Mariah Carey? Are you kidding?
Her over-the-top performance left me reaching for the mute button on my remote!
But her performance outdistanced the peculiar return by Sly Stone. I know Sly is a funk icon and all that, but it wasn’t just the clownish white Mohawk extending high above his head; he looked like he couldn’t hit the right note on his keyboard if his life depended on it. It’s not surprising he hasn’t made a public performance that anyone knows about in forever. Pathetic.
It was great to see a few of the performances: U2 tearing through “Vertigo” (how sad that the duet with Mary J. Blige ruined “One”), McCartney and his band conquering “Fine Line” and trying to wake up the comatose crowd with boisterous “Helter Skelter.” I thought Bruce Springsteen appeared to be trying too hard (maybe because he was focusing on how he could get his anti-war quip in, “Bring them home” under the tape-delay censors), but “Devils and Dust” is an excellent song not heard enough by the industry-centric crowd that filled the L.A. arena on Wednesday night. And don’t forget about Coldplay, who delivered the band’s great “Talk.”
And I have to admit to enjoying the way Stevie Wonder and co-presenter Alicia Keys got the crowd singing along with an a cappella version of “Higher Ground,” much better than Madonna’s been-there-done-that dance-minded performance with poorly-animated apes Gorillaz. Bore-ing.
Perhaps the most interesting performance was the fusion of rockers Linkin Park, rapper Jay-Z and McCartney joining forces to perform “Yesterday.” It was every bit the success that the U2-Blige pairing was not.
Am I the only one who doesn’t get John Legend? Technically the guy can hit the right notes when he is singing and on his keyboard; but his voice lacks the distinctive beauty of a Wonder or even Maroon 5’s lead singer. It’s amazing he bested British rock trio Keane for Best New Artist. Hype often rules the day.
And did you know the much-deserving Aimee Mann won a Grammy? Well, sort of. Actually, she won a Grammy for the Best Recording Package. And her amazing music? Not even nominated.
That is a good place to note that the disposable Kelly Clarkson’s “Breakaway” (coming soon to a used bin near you) won over McCartney’s “Chaos and Creation in the Backyard” in the Best Pop Vocal Album race. Sad.
Perhaps the most ironic note was how comedian Ellen DeGeneres came out to introduce Paul McCartney, noting “Our next performer needs no introduction” before she left the stage.
Ironically, looking at the industry crowd and deciphering how McCartney, as well as Neil Young, failed to pick up a single Grammy, it’s easy to see a time when great artists will need introductions. Kelly Clarkson winning multiple Grammys and the aforementioned seminal artists none?
Some things never change.
The 48th annual Grammy Awards were staged at Staples Center in Los Angeles last night, and there was that anticipated mix of well-deserved prizes and ones that just left me shaking my head in disgust.
I tend to be negative when discussing the Grammys, so let me start out being positive. U2 was awarded “Album of the Year” for its great release “How To Dismantle An Atomic Bomb.”
In fact, much is being made today about U2 upstaging Mariah Carey because the Irish quartet took home a total of five Grammys – winning in all of its nominated categories. Hello! I’m sure most of the readers of this column agree U2 crafts epic, lasting songs that will be listened to decades from now. Mariah Carey? Are you kidding?
Her over-the-top performance left me reaching for the mute button on my remote!
But her performance outdistanced the peculiar return by Sly Stone. I know Sly is a funk icon and all that, but it wasn’t just the clownish white Mohawk extending high above his head; he looked like he couldn’t hit the right note on his keyboard if his life depended on it. It’s not surprising he hasn’t made a public performance that anyone knows about in forever. Pathetic.
It was great to see a few of the performances: U2 tearing through “Vertigo” (how sad that the duet with Mary J. Blige ruined “One”), McCartney and his band conquering “Fine Line” and trying to wake up the comatose crowd with boisterous “Helter Skelter.” I thought Bruce Springsteen appeared to be trying too hard (maybe because he was focusing on how he could get his anti-war quip in, “Bring them home” under the tape-delay censors), but “Devils and Dust” is an excellent song not heard enough by the industry-centric crowd that filled the L.A. arena on Wednesday night. And don’t forget about Coldplay, who delivered the band’s great “Talk.”
And I have to admit to enjoying the way Stevie Wonder and co-presenter Alicia Keys got the crowd singing along with an a cappella version of “Higher Ground,” much better than Madonna’s been-there-done-that dance-minded performance with poorly-animated apes Gorillaz. Bore-ing.
Perhaps the most interesting performance was the fusion of rockers Linkin Park, rapper Jay-Z and McCartney joining forces to perform “Yesterday.” It was every bit the success that the U2-Blige pairing was not.
Am I the only one who doesn’t get John Legend? Technically the guy can hit the right notes when he is singing and on his keyboard; but his voice lacks the distinctive beauty of a Wonder or even Maroon 5’s lead singer. It’s amazing he bested British rock trio Keane for Best New Artist. Hype often rules the day.
And did you know the much-deserving Aimee Mann won a Grammy? Well, sort of. Actually, she won a Grammy for the Best Recording Package. And her amazing music? Not even nominated.
That is a good place to note that the disposable Kelly Clarkson’s “Breakaway” (coming soon to a used bin near you) won over McCartney’s “Chaos and Creation in the Backyard” in the Best Pop Vocal Album race. Sad.
Perhaps the most ironic note was how comedian Ellen DeGeneres came out to introduce Paul McCartney, noting “Our next performer needs no introduction” before she left the stage.
Ironically, looking at the industry crowd and deciphering how McCartney, as well as Neil Young, failed to pick up a single Grammy, it’s easy to see a time when great artists will need introductions. Kelly Clarkson winning multiple Grammys and the aforementioned seminal artists none?
Some things never change.
Tuesday, February 07, 2006
Grammys Eve
Tomorrow the Grammy Awards arrive. It's interesting to see where the focus is today on the eve of the event. I just read an article by Associated Press Music Writer Nekesa Mumbi Moody, with the focus of that piece on Mariah Carey and how timely her comeback is as the Wednesday night, Feb. 8th awards night approaches.
Does anyone really think this so-called diva's music will be remembered beyond the hype of today? I could be wrong, of course, but listening to her over-the-top bombast and emotionally-chilled vocals, I can't help but think "who cares?" Is it just me? And she is in fine company this year, with Gwen Stefani nominated for something or another related to her forgettable solo debut "Love. Angel. Music. Baby."
U2's "How to Dismantle an Atomic Bomb" and Paul McCartney's "Chaos and Creation in the Backyard" are also nominated and deserve to be; now those are wonderful albums full of emotional depth and musical craft that showcase why pop music can still weave magic decades after it was born. Yet, McCartney has never won a Grammy for best album. He has won Grammys, dating back to his epic work with the Beatles. But it's amazing to think that Stefani and Carey might rob an artist of McCartney's standing from earning that prize.
But don't be surprised. It's the Grammys and that often means music comes last...
Does anyone really think this so-called diva's music will be remembered beyond the hype of today? I could be wrong, of course, but listening to her over-the-top bombast and emotionally-chilled vocals, I can't help but think "who cares?" Is it just me? And she is in fine company this year, with Gwen Stefani nominated for something or another related to her forgettable solo debut "Love. Angel. Music. Baby."
U2's "How to Dismantle an Atomic Bomb" and Paul McCartney's "Chaos and Creation in the Backyard" are also nominated and deserve to be; now those are wonderful albums full of emotional depth and musical craft that showcase why pop music can still weave magic decades after it was born. Yet, McCartney has never won a Grammy for best album. He has won Grammys, dating back to his epic work with the Beatles. But it's amazing to think that Stefani and Carey might rob an artist of McCartney's standing from earning that prize.
But don't be surprised. It's the Grammys and that often means music comes last...
Tuesday, January 31, 2006
Coachella; then and next
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.
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.
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!
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