When the Police took the stage at Dodger Stadium on Saturday night (June 23, 2007), it admittedly took me a bit to realize it really was Sting, Stewart Copeland and Andy Summers playing.
It has been so long since I had seen the band (I caught them at Hollywood Park in the early 1980s during the trio's "Synchronicity" tour), it kind of floored me for a minute. Then I decided to squash the rock critic inside me and just enjoy the two-hour ride.
Indeed, I had read reviews online over the past month or so noting how many of the band's great songs had been revamped and boasted new arrangements now. That was definitely true, with songs such as "Don't Stand So Close to Me" and an especially beautiful version of "Wrapped Around Your Finger" boasting different tempos and the hit "Roxanne" getting extended. But the power of the songs, and the unique sound and chemistry of the band was quickly apparent.
Highlights included the aforementioned "Wrapped Around Your Finger" and "Roxanne," as well as a stunning "King of Pain," rocking "Synchronicity II" and straight-forward "Message in a Bottle." All three musicians played with confidence and precision throughout the night, and the set list featured the majority of the Police's best-known songs ("So Lonely," "Every Breath You Take," the night-ending "Next to You"). It really was an amazing night and my hope is the performance makes it to DVD. And soon.
I have such great memories of the Police set, but I admit to being very disappointed at the Foo Fighters. Although Dave Grohl & company have released a number of strong singles, in concert Grohl ruined just about every song with needless screaming. He is a fine singer, but for whatever reason (maybe to compete with the '00s metalcore bands) he would yell over and over. Even "Learn to Fly" and "Everlong" were bludgeoned to death. Ouch!
Thursday, June 28, 2007
Friday, June 22, 2007
Tyrone Wells coming to Mouse House on Saturday
Orange County’s far-flung music scene has launched the successful careers of punk, pop, ska, blues and even country artists, but the burgeoning success of singer-songwriter Tyrone Wells draws few obvious ties with those movements.
The long-time Fullerton resident (who recently moved to Chino Hills) impeccably blends pop, rock, soul and blues with R&B across his latest album. Songs such as the folk rocker "Need," gospel-tinged rocker “What Are We Fighting For?” and melodic ballad “Sea Breeze” are among the many highlights on “Hold On,” his first-ever album released by a major label (Universal Republic).
Wells has seemingly been on a non-stop tour since the release of the 12-song set on Feb. 6, but he was in town earlier this month to perform two special benefit acoustic shows at the Plush Café for six-year-old CHOC patient Bailey Spoonhower. Wells returns home this weekend to perform a proper homecoming show with his full band at the House of Blues in Anaheim on June 23.
“I came here and went to Hope International University; it’s a little private school right across the street from Cal State Fullerton,” Wells said of the move from his native Spokane, Washington to Fullerton.
“I think when I left Spokane I thought that I was leaving music behind me and I was going to enter the professional world or something. But then I met some guys right away at the college that were great musicians so we formed a band at that point and basically there has been no looking back. It’s like I can’t imagine doing anything else.”
Wells is armed with a powerful voice, and uses that in the service of songs that mingle the singer-songwriter instincts of James Taylor with the soulful approach of Stevie Wonder. His distinctive and affecting voice is capable of tackling a variety of styles, and he is as comfortable playing alone with his acoustic guitar as he is backed by a full band. And that gift of writing, performing and entertaining came despite an admittedly conservative upbringing where the young son of a preacher was only exposed to gospel music.
“As I grew up and got into high school and stuff, my parents were a little bit lenient and I was able to listen to all kinds of stuff, but I think once I got into college I did a lot of research – listening research – behind the stuff that I had missed that was so great. You know great classic stuff like James Taylor, Simon & Garfunkel; I was really a huge fan of Stevie Wonder and still am, especially his earlier work.”
Wells established a strong following in Orange County before being signed, performing frequently at coffeehouses such as Fullerton’s McClain’s and the Plush Café. He also released several independent CDs, including “Snapshot” (2003) and “Live at McClain’s” (2005) before going into the studio with producer Chris Karn to work on “Hold On” in late 2005.
“I was basically just doing my own thing for about five or six years and had never talked to a major label,” Wells admitted.
“But then I released my last record, which is called ‘Hold On’ and within a month I had talked to almost every major label there was. It was really surreal for me because I had just been plugging along forever, and just thought maybe I’m not major label material, maybe I’m going to be an independent artist the rest of my life – which is not bad because I was doing fine.”
Wells, Kalai and Ernie Halter perform at House of Blues, 1530 S. Disneyland Dr., Anaheim, at 8 p.m. on June 23. For more information on that show, visit www.tyronewells.com.
To hear several full-length songs from Wells’ latest album “Hold On,” visit www.myspace.com/tyronewells.
The long-time Fullerton resident (who recently moved to Chino Hills) impeccably blends pop, rock, soul and blues with R&B across his latest album. Songs such as the folk rocker "Need," gospel-tinged rocker “What Are We Fighting For?” and melodic ballad “Sea Breeze” are among the many highlights on “Hold On,” his first-ever album released by a major label (Universal Republic).
Wells has seemingly been on a non-stop tour since the release of the 12-song set on Feb. 6, but he was in town earlier this month to perform two special benefit acoustic shows at the Plush Café for six-year-old CHOC patient Bailey Spoonhower. Wells returns home this weekend to perform a proper homecoming show with his full band at the House of Blues in Anaheim on June 23.
“I came here and went to Hope International University; it’s a little private school right across the street from Cal State Fullerton,” Wells said of the move from his native Spokane, Washington to Fullerton.
“I think when I left Spokane I thought that I was leaving music behind me and I was going to enter the professional world or something. But then I met some guys right away at the college that were great musicians so we formed a band at that point and basically there has been no looking back. It’s like I can’t imagine doing anything else.”
Wells is armed with a powerful voice, and uses that in the service of songs that mingle the singer-songwriter instincts of James Taylor with the soulful approach of Stevie Wonder. His distinctive and affecting voice is capable of tackling a variety of styles, and he is as comfortable playing alone with his acoustic guitar as he is backed by a full band. And that gift of writing, performing and entertaining came despite an admittedly conservative upbringing where the young son of a preacher was only exposed to gospel music.
“As I grew up and got into high school and stuff, my parents were a little bit lenient and I was able to listen to all kinds of stuff, but I think once I got into college I did a lot of research – listening research – behind the stuff that I had missed that was so great. You know great classic stuff like James Taylor, Simon & Garfunkel; I was really a huge fan of Stevie Wonder and still am, especially his earlier work.”
Wells established a strong following in Orange County before being signed, performing frequently at coffeehouses such as Fullerton’s McClain’s and the Plush Café. He also released several independent CDs, including “Snapshot” (2003) and “Live at McClain’s” (2005) before going into the studio with producer Chris Karn to work on “Hold On” in late 2005.
“I was basically just doing my own thing for about five or six years and had never talked to a major label,” Wells admitted.
“But then I released my last record, which is called ‘Hold On’ and within a month I had talked to almost every major label there was. It was really surreal for me because I had just been plugging along forever, and just thought maybe I’m not major label material, maybe I’m going to be an independent artist the rest of my life – which is not bad because I was doing fine.”
Wells, Kalai and Ernie Halter perform at House of Blues, 1530 S. Disneyland Dr., Anaheim, at 8 p.m. on June 23. For more information on that show, visit www.tyronewells.com.
To hear several full-length songs from Wells’ latest album “Hold On,” visit www.myspace.com/tyronewells.
Friday, June 15, 2007
Since I've Been Gone: Doheny, other strong shows
Since I last checked in here, I've been anything but idle. Just a couple of weeks after spending three days in Indio at Coachella, I got to cover the 2-day Doheny Blues Festival in Dana Point.
Day one (May 19, 2007) was capped off by an amazing set from Al Green (seen here in one of my favorite pics I shot that night). I had never seen the legendary singer before and it was a joy. Armed with a voice and engaging stage presence that thrill, the singer effortlessly sang many of his biggest hits with a warmth and enthusiasm that played out like he was the new kid on the block. In addition, the artists that performed in the hours leading up to Al Green also turned in fine sets, including a rejuvenated Fabulous Thunderbirds and an act that blew me away, Rhythm Council. Pianist-vocalist Henry Butler, guitarist-vocalist Papa Mali, sousaphone player Kirk Joseph and drummer Robb Kidd somehow fused New Orleans jazz, funk, Delta blues and Southern rock together across Rhythm Council's memorable 38-minute, 3-song set.
Susan Tedeschi is one of the formidable young talents hoping to continue to champion blues in the 21st century. Her powerful soprano and strong rhythm and lead guitar work were used throughout her solid full-length Main Stage set.
I can't say enough good things about the second day of the festival, which was staged on Sunday, May 20. Anyone who thought John Fogerty (pictured playing guitar) was going to close out the 2007 fest with a quick greatest hits set was thankfully mistaken. While many headliners who run the last lap in Dana Point simply plan an hour or so because the natives are restless and want to go home after enduring two full-length days in the outdoors, Fogerty and his five-man band blew the roof off the seaside, ceiling-less Main Stage on Sunday night. It was a thrill to be pressed up against the stage, watching this legend deliver an impressive set of great songs.
Over the course of a 23-song concert that stretched for 97 magical minutes, Fogerty injected the kind of power and memorable music making that will undoubtedly set the bar for future performers at the Doheny Blues Fest. He expertly played rockers (the show opening "Travelin' Band," blistering "Fortunate Son"), country-tinged classics ("Bad Moon Rising," "Down on the Corner") and stirring folk rock (Who'll Stop the Rain," "Deja vu (All Over Again)," "Have You Ever Seen the Rain?), moving around the stage with the enthusiasm to match.
The first wonderful performance to hit fans on Sunday came almost eight hours before Fogerty even took the stage, thanks to a delightful pairing of Kim Wilson (lead singer and harmonica player for the Fabulous Thunderbirds) and his band (including guitar wiz Kirk Eli Fletcher) with legendary harmonica player James Cotton. The audience at the usually intimate Backpoch Stage erupted in applause and a standing ovation when Cotton joined Wilson on stage. Cotton didn't disappoint, playing his instrument with fiery skill and later trading rapid-fire harp licks with Wilson.
Other highlights on Sunday included a great performance from the Blind Boys of Alabama and Steve Copeland & Raging Sun.
More recently, I got the chance to catch Tyrone Wells, James Grey, Micah Dahlberg and several other acoustic performances at a benefit for Bailey Spoonhower, 6, a cancer patient at Children's Hospital of Orange County. The show was held at the Plush Cafe in Fullerton on June 3. You can read more about the performers in my Orange Pop feature column that ran in the Orange County Register today profiling Tyrone Wells.
On June 9, I saw singer-songwriter Michael Ubaldini play a very good acoustic set at Alta Coffee in Newport Beach that included strong originals and a few well-worked covers. His wonderful originals included "Side By Side," "Honeysuckle Dew" and "The Unfaithful Wife."
Friday, May 04, 2007
Coachella 2007: a sizzling 3-day affair
Andrew McMahon (pictured at his piano) led his band Jack's Mannequin through a blistering set of original rock at the Coachella Valley Music and Arts Festival last weekend.When concertgoers talk about how "cool" it is in Coachella, they are seldom talking about the weather.
Indeed, the 2007 arrival of the Coachella Valley Music and Arts Festival (held April 27-29, 2007) came in customarily summer-too-soon fashion, with temperatures reaching particulary suffocating heights of 103 degrees in Indio on Saturday. However, on this - the first-ever three-day staging of America's most celebrated modern music festival - the music itself was generally strong enough to assist 60,000 or so daily attendees endure Mother Nature's fiery fury.
Friday saw several memorable artists, notably a welcome reunion by the Jesus and Mary Chain, with the band playing their heavy, layered 80s' alt rock in hypnotic fasion. The group played their best-loved songs, including "Happy When it Rains" and "Just Like Honey," the latter featuring actress Scarlett Johansson on backup vocals.
There has been a good deal of hype surrounding England's Arctic Monkeys since last year, so it was great to be able to see the band. While the group's songs didn't necessarily blow me away at first listen, there was no denying the power of the outfit as they charged through blistering tracks such as "I Bet You Look Good on the Dance Floor" and "Fake Tales of San Francisco," as well as the emotive "When the Sun Goes Down."
Despite some technical problems that led to a late start, ex-Pulp frontman Jarvis Cocker delivered a wonderful set on Friday night. Opening with the articulate gems "Fat Children" and "Don't Let Him Waste Your Time," other highlights included "Heavy Weather" and "I Will Kill Again."
The night ended (for me, anyway) with a dazzling performance by Icelandic singer Bjork. A mix of theater and music, and backed by a small female orchestra, she played songs from her forthcoming "Volta" CD, as well as older material.
Other acts I caught part of on day one and enjoyed included Satellite Party (featuring lead singer Perry Farrell), introspective singer Rufus Wainwright, bluegrass troupe Nickel Creek and retro-styled soul singer Amy Winehouse.
That brings me to Saturday, the second day of the fest. Like my first trip to Coachella (April 2005), I just about loved everything I took in on Saturday, April 28. With the possible exception of Pop Levi (the day's opening act, who I caught around 12:30 p.m.) and the Red Hot Chili Peppers (who I caught much later that day after the sun set), I saw one great performance after another.
The highlights were clearly blazing sets from Fountains of Wayne, Jack's Mannequin, Travis and Arcade Fire.
Fountains of Wayne took the stage at 2:40 p.m. and it was hot hot hot. Performing on the main stage, the band performed 13 power-pop rockers that helped beat the heat. Favorites? "Strapped for Cash" and the Beatles-flavored "Yolanda Hayes" (both off the band's new CD "Traffic and Weather").
It was seemingly still well over 100 degrees when I left the Coachella stage around 3:30 p.m. to go check out Jack's Mannequin on the Outdoor Theatre. When singer-songwriter-keyboardist Andrew McMahon took the stage, it was clear the one-time Dana Point resident/Something Corporate frontman knew he was in sonic heaven. As animated and on-fire as I've ever seen, McMahon led the band through a set heavy on all the best songs from 2005's "Everything in Transit," including "The Mixed Tape," "Kill the Messenger," "Dark Blue" and "La la Lie." The band also offered up a powerful cover of Tom Petty's "An American Girl."
Listening to Travis perform is an experience best heard. There is something about the group's Brit pop style that is warm, inviting and oh so melodic. On Saturday, lead singer-guitarist Fran Healy led the band through an essential list of winning old and new material. From new tracks such as "Selfish Jean" and the great single "Closer" to old faves like "Writing to Reach You," "Side" and set-ending "Why Does It Always Rain on Me," the dozen songs raced by like the screening of a classic movie. I wish I could play it again.
The Arcade Fire lived up to the continuing hype throughout an hour-long set later that night. Despite the fact that the sun had sunk below the mountains by the time the Montreal outfit took the stage, things would not cool down yet. From the performance of "Keep the Car Running" to the finale (an epic performance of "No Cars Go"), there is something arresting and intoxicating about the band that lives up to the acclaim that leads to a sort of love em/hate em mentality. After seeing the band for myself (despite soaring heat and crowds that slammed around me during the set), I couldn't have been more thrilled with the set.
I wasn't particularly impressed by headliners, the Red Hot Chili Peppers. Was it a case of burn out? I think it was simply the fact that the band seemed to be going through the motions, delivering endless unfocused jams and occasionally offering up a hit or two. No magic there.
Day Three came. Thankfully, the weather cooled a few degrees and my feet somehow agreed to make it through one more marathon-length day in Indio.
First came Mika, a Euro-dance styled singer-keyboardist who delivered a fun set of strong and sunny pop. The highlight wasn't the well-known single "Grace Kelly," but rather the more upbeat "Relax (Take It Easy)" and R&B-styled "Love Today."
Plenty of music was ahead. Highlight for me came in performances from the ELO meets Raspberries recalling the Feeling ("Sewn" was heavenly), post-punk garage rock playing Kaiser Chiefs, country legend Willie Nelson and New Zealand's masterful Crowded House. Mando Daio was an interesting rock quartet that I would see again, while a set from the hyped Kooks didn't impress me on this day.
Much has been written about the headlining set from Rage Against the Machine. There is no doubt the quartet played with a power, fury and anger that shook the Empire Polo Field to its knees on Sunday night at this much-anticipated reunion. But I was so angry at the way the band's large fanbase seemingly could care less about the cool spirit that is truly so much a part of past Coachella shows, especially when a Rage fan threw something at the face of Crowded House frontman Neil Finn, it's best not to get me started. Fans of Rage loved the show; the rest of us discerning listeners likely could understand the band's powerful approach, even while wishing their fans could appreciate the vast reaches of the Coachella universe.
See you next year!
Tuesday, April 24, 2007
No rain this weekend
So I haven't been posting. I have a good excuse. I have been slammed with preparing for Coachella. Sure, listening to music from many of the countless artists is one way to get ready. But the other is figuring out how to survive the near-100 temps!
On Earth Day, (this past Sunday, April 22nd), I went with two friends on a challenging 7-mile hike up in the San Gabriels. We made it up to the top of Strawberry Peak, about 6,100 feet above sea level. The last mile going up was very difficult; likely the most challenging climb I've done except Rattlesnake Canyon in Joshua Tree and Mt. Ontario back in 2000 (a 13-mile hike that left my feet, toes and knees black & blue for weeks).
The quiet, the cold, the beauty prepared me (in part) for the monster that will be a three-day Coachella Music Fest in Indio, April 27-29. The hike this past weekend was about pain and lasted a mere four hours or so. Coachella will be 12 hours a day, for three days. Am I ready?
Ask me in a week!
On Earth Day, (this past Sunday, April 22nd), I went with two friends on a challenging 7-mile hike up in the San Gabriels. We made it up to the top of Strawberry Peak, about 6,100 feet above sea level. The last mile going up was very difficult; likely the most challenging climb I've done except Rattlesnake Canyon in Joshua Tree and Mt. Ontario back in 2000 (a 13-mile hike that left my feet, toes and knees black & blue for weeks).
The quiet, the cold, the beauty prepared me (in part) for the monster that will be a three-day Coachella Music Fest in Indio, April 27-29. The hike this past weekend was about pain and lasted a mere four hours or so. Coachella will be 12 hours a day, for three days. Am I ready?
Ask me in a week!
Monday, March 12, 2007
Brad Delp: A well-deserved look back
I was shocked and very sorry to hear about the death of Boston lead singer Brad Delp; the 55-year-old musician was found dead in his New Hampshire home on Friday, March 9. I was fortunate to get to review Boston when they performed at Pacific Amphitheatre in front of a capacity crowd on August 7, 2004. As a tribute to this great singer, here is the text of my review that ran in the Orange County Register on Monday, Aug. 9, 2004. The photo was taken by Kelly A. Swift at the show in Costa Mesa. Robert Kinsler
More than an old feeling
Arena rock is celebrated by Boston in impressive outing before sold-out crowd.
Review by ROBERT KINSLER
Special to the Orange County Register
Is time travel possible?
It was on Saturday night, when a capacity crowd journeyed back to the late 1970s with Boston during a satisfying stop at Pacific Amphitheatre in Costa Mesa.
To hear a band that scored its biggest hits almost 30 years ago sound as good as Boston did over the course of 2 1/2 hours was impressive. Classic arena rock nuggets such as "More Than a Feeling," "Peace of Mind," "Smokin'" and "Something About You" equaled their magic on the band's legendary 1976 debut album, but the bigger surprise was that tunes from Boston's second and even third album sounded just as Herculean.
Even power ballads such as the admittedly overwrought "Amanda" and "Hollyann" worked in a concert setting because of the emotive vocals of Brad Delp and powerful contributions from the players.
The songs alone might have pleased the majority of the sold-out crowd, composed mostly of 40-something fans who were in junior high or high school when "Boston" (which has sold more than 17 million copies) was released on Aug. 8, 1976. But Boston's lineup of talented players was thankfully not content to simply play an hour or so of hits featured on the group's greatest hits collection and say goodnight.
As innovative as any arena rock guitarist of his generation (with the notable exception of Queen's Brian May), Boston mastermind Tom Scholz gave sonic fuel to many in the seats playing air guitar during the more famous solos. Although only Scholz and Delp remain from Boston's original lineup, the other five musicians that comprised the touring outfit were able to complete the songs fully with a mix of layered guitars, keyboards and vocal choruses.
Singer-guitarist Fran Cosmo would often help reach the highest of notes when Delp couldn't, while guitarists Anthony Cosmo (Fran's son) and Gary Pihl enhanced a sound atop the rhythm section provided courtesy of singer-bassist Kim Dahme and drummer Jeff Neal.
Opening with an aptly placed "Rock and Roll Band," Boston went on to perform more than two dozen other original songs. Highlights came often and kept fans on their feet for much of the night. During "More Than a Feeling," the crowd needed no prompting to sing along, while forceful performances of "Don't Look Back," "Cool the Engines" and "Foreplay/Long Time" easily outdistanced the original studio versions.
By the time Boston closed with "Smokin'," there were plenty of reasons to believe this was a concert experience that made arena rock worth celebrating again.
First Police, now R.E.M. (sort of...)
First the great news about the Police officially reforming to play the Grammys and tour this spring and summer (can't wait! I'll see many of you at Dodger Stadium in June).
Now, the original four members of R.E.M. (singer Michael Stipe, guitarist Peter Buck, bassist Mike Mills and ex-drummer Bill Berry) got together in the studio last year to record a cover of John Lennon's masterwork "#9 Dream" as part of a charity collection titled "Instant Karma: the Campaign to Save Darfur." I'm sure the band's recording (which goes out to radio this week, with the album itself set for release on June 12) is great and I can't wait to hear it.
As most of you know, I rarely talk about politics in this column. In fact, I am happy that R.E.M. and a number of other bands are (finally) working with Amnesty International to try to bring some attention to the terrible genocide going on in the Darfur region of western Sudan. I recall doing a story several years ago (2003, as I recall) about Costa Mesa-based singer-songwriter-composer Ken Tamplin, producer of the Sudan relief CD "Make Me Your Voice," an effort that got very little attention in the mainstream media. In fact, Tamplin was honored by President Bush for his efforts and I suspect because so many of the victims have been black Africans and/or Sudanese Christians and those doing the killing are mostly Muslim that the world has been afraid to speak out.
I think it would have been good for the U2s and R.E.M.s to focus on Sudan five or six years ago, and now I fear by the time something is done it will be too late. And I fear the world has lost its resolve to use force to stop the terrible murders and rapes going on in Sudan so it will be the killers who ultimately determine when the crimes stop. And that it a timeline that means innocent men, women and children will continue to die for far too long.
Now, the original four members of R.E.M. (singer Michael Stipe, guitarist Peter Buck, bassist Mike Mills and ex-drummer Bill Berry) got together in the studio last year to record a cover of John Lennon's masterwork "#9 Dream" as part of a charity collection titled "Instant Karma: the Campaign to Save Darfur." I'm sure the band's recording (which goes out to radio this week, with the album itself set for release on June 12) is great and I can't wait to hear it.
As most of you know, I rarely talk about politics in this column. In fact, I am happy that R.E.M. and a number of other bands are (finally) working with Amnesty International to try to bring some attention to the terrible genocide going on in the Darfur region of western Sudan. I recall doing a story several years ago (2003, as I recall) about Costa Mesa-based singer-songwriter-composer Ken Tamplin, producer of the Sudan relief CD "Make Me Your Voice," an effort that got very little attention in the mainstream media. In fact, Tamplin was honored by President Bush for his efforts and I suspect because so many of the victims have been black Africans and/or Sudanese Christians and those doing the killing are mostly Muslim that the world has been afraid to speak out.
I think it would have been good for the U2s and R.E.M.s to focus on Sudan five or six years ago, and now I fear by the time something is done it will be too late. And I fear the world has lost its resolve to use force to stop the terrible murders and rapes going on in Sudan so it will be the killers who ultimately determine when the crimes stop. And that it a timeline that means innocent men, women and children will continue to die for far too long.
Thursday, February 22, 2007
The Smithereens continue to rock. A great thing
I had hoped to post much earlier in the week than today, but have been sick since Feb. 14th. I got a sore throat that didn't go away, and the nasty little bug moved into my lungs and I'm on anitbiotics now. I am still winded when I tackle a single flight of stairs, so the energy just has been down.
Anyway, even when I was sick, I couldn't miss a chance to catch the Smithereens at the Coach House on Friday, Feb. 16th. I could have lived forever without seeing the opening band Boxcar. I think I caught them last year (I think they opened for dada at the same venue) and they were not any better this time around - 40 minutes of sonic pain. Enuff said.
Next came the Next. I had never caught the band before and didn't know their songs, but I was impressed by the lead singer's voice and the original rock material. The band fits comfortably alongside Big City Rock, a band that recalls the 1980s with a fresh spin.
Finally (and when you're ill, time crawls by), the Smithereens took the stage before a capacity crowd at 10:09 p.m. There is something about the quartet's unlikely mix of wonderful melodies and cruncy guitars, memorable harmonies and singer Pat DiNizio's dark lyrics that has a sound like no other artist. The band long-ago described it as AC/DC meets the Beatles and I think that description still fits. This was a good night for the band, with the New Jersey outfit featuring four songs off the newly-released Beatles tribute "Meet the Smithereens!" across the 125-minute set.
The Smithereens continue to be my favorite-ever bar band, playing a loose and energetic style that is timeless. Highlights included the kick-off number "Behind the Wall of Sleep," "Only a Memory" featuring lead guitarist Jim Babjak tearing it up and "Room Without a View" featuring drummer Dennis Diken on fire.
Here was the set list:
Behind the Wall of Sleep
House We Used to Live In
Only a Memory
Top of the Pops
Yesterday Girl
Cut Flowers
Don't Bother Me (George Harrison tune sung by Jim Babjak)
Deep Black
Under the Boardwalk (cover - impromptu)
Up on the Roof (another impromptu sung by Dennis)
I Wanna Be Your Man (the old Beatles Ringo classic sung by Dennis)
Miles From Nowhere
Cigarette (Pat DiNizio held a burning cig while delivering a knockout version)
In a Lonely Place
Especially for You
Spellbound
Blue Period
Drown in My Own Tears
She's Got a Way (great harmonies on this should-have-been a hit)
Room Without a View
Time and Time Again
Blood and Roses
(Encore starts)
I Want to Hold Your Hand (the Beatles classic delivered with power & style)
Hold Me Tight (another cut off "Meet the Beatles!"/"Meet the Smithereens!")
(impromptu jam of several oldies like "That's Life" and "Broadway")
A Girl Like You (seven minutes of firepower after midnight)
I'm a Fool in Love Wity You" (this was the last song the band played and Pat noted it is a new song. A great song that hooked me in from the beginning and I hope it is included on another Smithereens album soon!)
Anyway, even when I was sick, I couldn't miss a chance to catch the Smithereens at the Coach House on Friday, Feb. 16th. I could have lived forever without seeing the opening band Boxcar. I think I caught them last year (I think they opened for dada at the same venue) and they were not any better this time around - 40 minutes of sonic pain. Enuff said.
Next came the Next. I had never caught the band before and didn't know their songs, but I was impressed by the lead singer's voice and the original rock material. The band fits comfortably alongside Big City Rock, a band that recalls the 1980s with a fresh spin.
Finally (and when you're ill, time crawls by), the Smithereens took the stage before a capacity crowd at 10:09 p.m. There is something about the quartet's unlikely mix of wonderful melodies and cruncy guitars, memorable harmonies and singer Pat DiNizio's dark lyrics that has a sound like no other artist. The band long-ago described it as AC/DC meets the Beatles and I think that description still fits. This was a good night for the band, with the New Jersey outfit featuring four songs off the newly-released Beatles tribute "Meet the Smithereens!" across the 125-minute set.
The Smithereens continue to be my favorite-ever bar band, playing a loose and energetic style that is timeless. Highlights included the kick-off number "Behind the Wall of Sleep," "Only a Memory" featuring lead guitarist Jim Babjak tearing it up and "Room Without a View" featuring drummer Dennis Diken on fire.
Here was the set list:
Behind the Wall of Sleep
House We Used to Live In
Only a Memory
Top of the Pops
Yesterday Girl
Cut Flowers
Don't Bother Me (George Harrison tune sung by Jim Babjak)
Deep Black
Under the Boardwalk (cover - impromptu)
Up on the Roof (another impromptu sung by Dennis)
I Wanna Be Your Man (the old Beatles Ringo classic sung by Dennis)
Miles From Nowhere
Cigarette (Pat DiNizio held a burning cig while delivering a knockout version)
In a Lonely Place
Especially for You
Spellbound
Blue Period
Drown in My Own Tears
She's Got a Way (great harmonies on this should-have-been a hit)
Room Without a View
Time and Time Again
Blood and Roses
(Encore starts)
I Want to Hold Your Hand (the Beatles classic delivered with power & style)
Hold Me Tight (another cut off "Meet the Beatles!"/"Meet the Smithereens!")
(impromptu jam of several oldies like "That's Life" and "Broadway")
A Girl Like You (seven minutes of firepower after midnight)
I'm a Fool in Love Wity You" (this was the last song the band played and Pat noted it is a new song. A great song that hooked me in from the beginning and I hope it is included on another Smithereens album soon!)
Thursday, January 25, 2007
Where has the time gone? NAMM update & more
There has been plenty of big news since I posted at the beginning of the month. Grammy and Oscar nomination announcements, lineup announcements for the forthcoming Stagecoach and Coachella fests in Indio, and of course my trip to the NAMM show in Anaheim last weekend.
I was only able to make it to make two days, for half a day on opening day, Thursday, Jan. 18, and then back for most of Saturday, Jan. 20. In addition to getting to see and check out some exciting new musical gear, I also got to meet a few musical legends including Brian Wilson (see lower photo). It was definitely surreal meeting the architect of so many amazing Beach Boys classics. But the well-chronicled story of Brian's struggles played out before my eyes on Saturday afternoon where I waited in line at the Gibson booth to get an autograph and photo with the singer-songwriter. I said "Hello" and he kind of blankly responded. There were a number of photographers and autograph seekers circling like sharks, even cutting in front of those who had patiently waited for an hour or so in line. I will both fortunate and sad to have had this up-close encounter with an icon who seems to be spending part of his life in this world, and the other part in some far-off distant place. It was sad when some kind of handler/music rep thrust a guitar in front of him and asked him to sign it, treating him like a little boy and instructing him to "sign it clearly" that I found very offensive.
After meeting Brian Wilson, I was off to catch the press conference where Duran Duran bassist John Taylor unveiled a new Peavey Liberator Series of instruments, including a bass guitar. Then he signed autographs and chatted with fans. I am a big fan of the band's most recent album, the wonderful "Astronaut," and had John sign a copy of that release (see top photo). The line to meet John Taylor was even longer than the line to meet Brian Wilson. But that might have something to do with the John Taylor event being more heavily promoted and it being held in the main hall (whereas the Gibson booth was located upstairs and away from some of the main action).
Other highlights of my trek to NAMM were getting to see fingerstyle guitarist Laurence Juber perform an acoustic set at Martin Guitar Booth on Thursday, and meeting guitar virtuoso Gary Hoey for the first time on Saturday afternoon. I will have a complete technical-styled look at NAMM published in the Orange County Register on Friday, January 26 and you might want to check that out. I had a blast checking out the new gear at Roland and saw some pretty amazing stuff at Yamaha Corp. of America too, including an 8-pad digital drum set that will be released in summer 2007.
I'll report back tomorrow with thoughts on Coachella and other musical things.
Tuesday, January 02, 2007
OCNYE: A music lover's festival
Orange County really knows how to party.
Indeed, the return of Orange County New Year’s Eve – better known as OCNYE – provided area partygoers with plenty of options on Sunday (Dec. 31, 2006) night. They could spend their night in a VIP tent, watching the bright Orange Drop and fireworks at midnight, and celebrate while merely catching the evening’s headliners on the Main stage.
Or they could go on a mission to catch full or partial sets from the 24 or so artists playing across six stages positioned throughout the Orange County Fairgrounds in Costa Mesa. For the bold music lover, the second annual OCNYE provided its share of thrills and disappointments. But, then, isn’t that the joy of attending a music festival?
Indeed, those only catching the action on the main stage missed the best performances of the seven-hour event. Although Tommy Tutone (in a mostly acoustic showcase, with the “867-5309/Jenny” singer-guitarist accompanied only by a drummer) disappointed in the first 10 minutes of his set, a short walk to a nearby stage rewarded with an amazing full-blown performance by the Knack. Yes, the Knack.
Despite the death of the band’s original drummer, Bruce Gary, earlier in 2006, the Knack soared across the last 35 minutes of its set. Singer-guitarist Doug Fieger, who underwent surgery for the removal of two brain tumors only five months ago, led the group in a set that worked the audience near the stage into a festive frenzy.
Performances of their best-known songs (“Good Girls Don’t” and “My Sharona”) were not the only tunes that got the crowd moving. A medley that began with a cover of the Champs’ “Tequila” morphed into a strong mostly-faithful take on the Doors’ “Break on Through (To the Other Side)” that may well have been the single-strongest performance of the night.
Ultimately, the next five hours played out with a mix of memorable and forgettable moments. The Knack may have been the most surprising, but wasn’t the only surprise of the night. Another musical voice from the past also amazed; Thomas Dolby attracts a loyal and discerning audience to his shows nowadays and even in the less-than-sober vibe at OCNYE his opening with “One of Our Submarines” brought a decidedly Coachella-like aesthetic element to the night. That performance was no fluke, when the solo performer – immersed with high tech instruments and programming keyboards – performed winning versions of his “Europa and the Pirate Twins” and “Windpower” before bringing out a horn section to join him on gems such as “Hyperactive.”
The other standout appearance of the night went to Soul Asylum, whose versions of hits such as “Black Gold” and “Without a Trace,” as well as strong new material like “Crazy Mixed Up World” cast frontman Dave Pirner and his Midwestern band mates in an especially good light this night.
Other performances, including from headliners Blondie and Violent Femmes, were of a decidedly by-the-numbers variety. Blondie delivered a wide-ranging set featuring its genre-defying material including reggae (“The Tide Is High”), punk-tinged new wave (“One Way or Another”) and early rap (“Rapture”). Violent Femmes scored best with the one-two punch of “Blister in the Sun” and “Kiss Off” early in their set. I enjoyed the Romantics while they were performing, although I sadly had to run before they undoubtedly got to their biggest hits, notably "What I Like About You."
The Orange County music scene was also well-represented by bands playing on the Orange County Music Awards and outdoor stages, with Scarlet Crush striking hard with the title song off its forthcoming disc, “Sinners and Saints.”
Uneven performances from the Tubes (“She’s a Beauty” didn’t fly), Buckcherry (even hard rockers should listen to each other when they are on stage together) and Everclear (singer Art Alexakis’ voice was hoarse and painful to listen to) didn’t mar the night. After all, with six stages to choose from and an endless number of watering holes positioned around OCNYE, there were plenty of reasons to celebrate.
Indeed, the return of Orange County New Year’s Eve – better known as OCNYE – provided area partygoers with plenty of options on Sunday (Dec. 31, 2006) night. They could spend their night in a VIP tent, watching the bright Orange Drop and fireworks at midnight, and celebrate while merely catching the evening’s headliners on the Main stage.
Or they could go on a mission to catch full or partial sets from the 24 or so artists playing across six stages positioned throughout the Orange County Fairgrounds in Costa Mesa. For the bold music lover, the second annual OCNYE provided its share of thrills and disappointments. But, then, isn’t that the joy of attending a music festival?
Indeed, those only catching the action on the main stage missed the best performances of the seven-hour event. Although Tommy Tutone (in a mostly acoustic showcase, with the “867-5309/Jenny” singer-guitarist accompanied only by a drummer) disappointed in the first 10 minutes of his set, a short walk to a nearby stage rewarded with an amazing full-blown performance by the Knack. Yes, the Knack.
Despite the death of the band’s original drummer, Bruce Gary, earlier in 2006, the Knack soared across the last 35 minutes of its set. Singer-guitarist Doug Fieger, who underwent surgery for the removal of two brain tumors only five months ago, led the group in a set that worked the audience near the stage into a festive frenzy.
Performances of their best-known songs (“Good Girls Don’t” and “My Sharona”) were not the only tunes that got the crowd moving. A medley that began with a cover of the Champs’ “Tequila” morphed into a strong mostly-faithful take on the Doors’ “Break on Through (To the Other Side)” that may well have been the single-strongest performance of the night.
Ultimately, the next five hours played out with a mix of memorable and forgettable moments. The Knack may have been the most surprising, but wasn’t the only surprise of the night. Another musical voice from the past also amazed; Thomas Dolby attracts a loyal and discerning audience to his shows nowadays and even in the less-than-sober vibe at OCNYE his opening with “One of Our Submarines” brought a decidedly Coachella-like aesthetic element to the night. That performance was no fluke, when the solo performer – immersed with high tech instruments and programming keyboards – performed winning versions of his “Europa and the Pirate Twins” and “Windpower” before bringing out a horn section to join him on gems such as “Hyperactive.”
The other standout appearance of the night went to Soul Asylum, whose versions of hits such as “Black Gold” and “Without a Trace,” as well as strong new material like “Crazy Mixed Up World” cast frontman Dave Pirner and his Midwestern band mates in an especially good light this night.
Other performances, including from headliners Blondie and Violent Femmes, were of a decidedly by-the-numbers variety. Blondie delivered a wide-ranging set featuring its genre-defying material including reggae (“The Tide Is High”), punk-tinged new wave (“One Way or Another”) and early rap (“Rapture”). Violent Femmes scored best with the one-two punch of “Blister in the Sun” and “Kiss Off” early in their set. I enjoyed the Romantics while they were performing, although I sadly had to run before they undoubtedly got to their biggest hits, notably "What I Like About You."
The Orange County music scene was also well-represented by bands playing on the Orange County Music Awards and outdoor stages, with Scarlet Crush striking hard with the title song off its forthcoming disc, “Sinners and Saints.”
Uneven performances from the Tubes (“She’s a Beauty” didn’t fly), Buckcherry (even hard rockers should listen to each other when they are on stage together) and Everclear (singer Art Alexakis’ voice was hoarse and painful to listen to) didn’t mar the night. After all, with six stages to choose from and an endless number of watering holes positioned around OCNYE, there were plenty of reasons to celebrate.
Thursday, December 28, 2006
My top 10 CDs of 2006: the List had to come...
Top 10 albums of 2006 (With first album - Carbon Leaf - being best album of 2006)
Carbon Leaf “Love, Loss, Hope, Repeat” (Vanguard) – The potency of “Learn to Fly,” “Under the Wire” and “A Girl and Her Horse” alone might have landed this album in my top 10 for the year, but it is the strength and timeless territory of all the songs on “Love, Loss, Hope, Repeat” that make this a modern-day classic. Anyone wondering whatever happened to the supernatural quality of 1980s-era R.E.M. will find that rekindled with a listen to the latest disc from Richmond, Virginia-based Carbon Leaf.
L.E.O. “Alpacas Orgling” (Cheap Lullaby) – If you haven’t heard this album, make sure you do. There are echoes of Electric Light Orchestra, Cheap Trick and Traveling Wilburys all over the place. But with the kind of unrestrained elation exhibited across this 10-song effort, I’ll be playing these songs years from now. L.E.O. is a modern day version of the Traveling Wilburys, conceived by Bleu and also featuring notables like Mike Viola (The Candy Butchers), Steve Gorman (The Black Crowes) and Andy Sturmer (Jellyfish).
Rosanne Cash “Black Cadillac” (Capitol) – Written in the wake of the death of her mother (Vivian Liberto Cash Distin), father (Johnny Cash) and stepmother (June Carter Cash), Rosanne Cash’s “Black Cadillac” is a layered and emotional tribute that is a musical memoir to her loved ones and served to remind the rest of us that she is one of modern music’s most overlooked voices.
The Decemberists “The Crane Wife” (Capitol) – A beautiful and literate album that showcases this Portland, Oregon outfit’s unique and wide-ranging sound. From the instantly-memorable “O Valencia!” and folk rock-styled title track to the 70s-minded prog rock of the 12-1/2 minute “The Island,” Colin Meloy and company delivered a masterwork on “The Crane Wife.”
Keane “Under the Iron Sea” (Island Records) – Only time will likely tell if Keane’s broader brush strokes employed on the sophomore effort “Under the Iron Sea” will equal the accessible hits such as “Somewhere Only We Know” and “Everything’s Changing” on the trio’s “Hopes and Fears” debut. However, the darker shades that provide a strong undercurrent on “Crystal Ball,” “Try Again” and “Atlantic” made “Under the Iron Sea” one of the best rock albums of 2006.
Bruce Springsteen “We Shall Overcome: The Seeger Sessions” (Columbia) – This collection may boost material taken mostly from singer-songwriter-musicologist Pete Seeger’s songbook, but there is no denying that the sound and hootenanny- fashioned performances here capture the innumberable gifts that Bruce Springsteen brings to the musical table. Get the “American Land Edition” released in October 2006. It features an expanded 40-minute documentary and an 18-song CD that features some of the most compelling recordings released in 2006. “O Mary Don’t You Weep,” “Erie Canal,” “Pay Me My Money Down” and “Mrs. McGrath” are standouts.
The Gin Blossoms “Major Lodge Victory” (Hybrid/Red) – Every rock fan has a guilty pleasure that will bring them scorn – even from friends. I’ll admit it; I am a long-time fan of the Gin Blossoms. “Major Lodge Victory” marked a welcome return by the Tempe, Arizona rockers. And loaded with infectious rockers (“Long Time Gone,” “Learning the Hard Way”) and melodic ballads (“Heart Shaped Locket,” “The End of the World”), what’s not to love here?
The Distants “Broken Gold” (Blue Cave Records) – If members of the Cocteau Twins, Sonic Youth and Jane’s Addiction teamed to record an album in 2006, it might well sound like the Distants’ “Broken Gold.” The Los Angeles quartet is able to mix up ethereal moodiness with driving modern rock across the 10-song disc, which also includes a winning cover of the Cult’s “She Sells Sanctuary.”
Neil Young “Living with War” (Reprise) – Leave it to one of rock’s most prolific and unpredictable champions to release another classic. Written and recorded in under a month and featuring a 100-voice choir hastily recruited in Los Angeles, Neil Young’s “Living With War” rocks in a way that even the loudest contemporary metal and punk bands can’t. And more amazing, “Living with War” came a mere eight months after the release of Young’s beautiful acoustic gem “Prairie Wind.”
Los Lobos “The Town and the City” (Hollywood Records) – Is it my imagination, or does Los Lobos just keep getting better? Thirty or so years after the East L.A. outfit embarked on its musical journey, “The Town and the City” supplies a warm and wonderful overview of the quintet’s blend of rock ‘n’ roll, country, blues, country and Tex-Mex styles that make them one of rock’s most original music making groups.
Honorable Mentions, or the infamous 11-20 ranking:
Aimee Mann "One More Drifter in the Snow" (SuperEgo)
Tom Petty "Highway Companion" (Warner Bros.)
Garrison Starr “The Sound of You & Me” (Vanguard Records)
Nils Lofgren "Sacred Weapon" (Hilmer Music Publishing Co.)
Morrissey “Ringleader of the Tormentors” (Sanctuary Records Group)
Trespassers William “having” (Nettwerk)
Rock Kills Kid “Are You Nervous?” (Reprise/Warner Bros.)
Snow Patrol “Eyes Open” (A&M)
Glen Phillips “Mr. Lemons”
Delerium “Nuages Du Monde” (Nettwerk)
Carbon Leaf “Love, Loss, Hope, Repeat” (Vanguard) – The potency of “Learn to Fly,” “Under the Wire” and “A Girl and Her Horse” alone might have landed this album in my top 10 for the year, but it is the strength and timeless territory of all the songs on “Love, Loss, Hope, Repeat” that make this a modern-day classic. Anyone wondering whatever happened to the supernatural quality of 1980s-era R.E.M. will find that rekindled with a listen to the latest disc from Richmond, Virginia-based Carbon Leaf.
L.E.O. “Alpacas Orgling” (Cheap Lullaby) – If you haven’t heard this album, make sure you do. There are echoes of Electric Light Orchestra, Cheap Trick and Traveling Wilburys all over the place. But with the kind of unrestrained elation exhibited across this 10-song effort, I’ll be playing these songs years from now. L.E.O. is a modern day version of the Traveling Wilburys, conceived by Bleu and also featuring notables like Mike Viola (The Candy Butchers), Steve Gorman (The Black Crowes) and Andy Sturmer (Jellyfish).
Rosanne Cash “Black Cadillac” (Capitol) – Written in the wake of the death of her mother (Vivian Liberto Cash Distin), father (Johnny Cash) and stepmother (June Carter Cash), Rosanne Cash’s “Black Cadillac” is a layered and emotional tribute that is a musical memoir to her loved ones and served to remind the rest of us that she is one of modern music’s most overlooked voices.
The Decemberists “The Crane Wife” (Capitol) – A beautiful and literate album that showcases this Portland, Oregon outfit’s unique and wide-ranging sound. From the instantly-memorable “O Valencia!” and folk rock-styled title track to the 70s-minded prog rock of the 12-1/2 minute “The Island,” Colin Meloy and company delivered a masterwork on “The Crane Wife.”
Keane “Under the Iron Sea” (Island Records) – Only time will likely tell if Keane’s broader brush strokes employed on the sophomore effort “Under the Iron Sea” will equal the accessible hits such as “Somewhere Only We Know” and “Everything’s Changing” on the trio’s “Hopes and Fears” debut. However, the darker shades that provide a strong undercurrent on “Crystal Ball,” “Try Again” and “Atlantic” made “Under the Iron Sea” one of the best rock albums of 2006.
Bruce Springsteen “We Shall Overcome: The Seeger Sessions” (Columbia) – This collection may boost material taken mostly from singer-songwriter-musicologist Pete Seeger’s songbook, but there is no denying that the sound and hootenanny- fashioned performances here capture the innumberable gifts that Bruce Springsteen brings to the musical table. Get the “American Land Edition” released in October 2006. It features an expanded 40-minute documentary and an 18-song CD that features some of the most compelling recordings released in 2006. “O Mary Don’t You Weep,” “Erie Canal,” “Pay Me My Money Down” and “Mrs. McGrath” are standouts.
The Gin Blossoms “Major Lodge Victory” (Hybrid/Red) – Every rock fan has a guilty pleasure that will bring them scorn – even from friends. I’ll admit it; I am a long-time fan of the Gin Blossoms. “Major Lodge Victory” marked a welcome return by the Tempe, Arizona rockers. And loaded with infectious rockers (“Long Time Gone,” “Learning the Hard Way”) and melodic ballads (“Heart Shaped Locket,” “The End of the World”), what’s not to love here?
The Distants “Broken Gold” (Blue Cave Records) – If members of the Cocteau Twins, Sonic Youth and Jane’s Addiction teamed to record an album in 2006, it might well sound like the Distants’ “Broken Gold.” The Los Angeles quartet is able to mix up ethereal moodiness with driving modern rock across the 10-song disc, which also includes a winning cover of the Cult’s “She Sells Sanctuary.”
Neil Young “Living with War” (Reprise) – Leave it to one of rock’s most prolific and unpredictable champions to release another classic. Written and recorded in under a month and featuring a 100-voice choir hastily recruited in Los Angeles, Neil Young’s “Living With War” rocks in a way that even the loudest contemporary metal and punk bands can’t. And more amazing, “Living with War” came a mere eight months after the release of Young’s beautiful acoustic gem “Prairie Wind.”
Los Lobos “The Town and the City” (Hollywood Records) – Is it my imagination, or does Los Lobos just keep getting better? Thirty or so years after the East L.A. outfit embarked on its musical journey, “The Town and the City” supplies a warm and wonderful overview of the quintet’s blend of rock ‘n’ roll, country, blues, country and Tex-Mex styles that make them one of rock’s most original music making groups.
Honorable Mentions, or the infamous 11-20 ranking:
Aimee Mann "One More Drifter in the Snow" (SuperEgo)
Tom Petty "Highway Companion" (Warner Bros.)
Garrison Starr “The Sound of You & Me” (Vanguard Records)
Nils Lofgren "Sacred Weapon" (Hilmer Music Publishing Co.)
Morrissey “Ringleader of the Tormentors” (Sanctuary Records Group)
Trespassers William “having” (Nettwerk)
Rock Kills Kid “Are You Nervous?” (Reprise/Warner Bros.)
Snow Patrol “Eyes Open” (A&M)
Glen Phillips “Mr. Lemons”
Delerium “Nuages Du Monde” (Nettwerk)
Wednesday, December 13, 2006
The return of No Doubt, the Grammys: who cares?
Okay, the phrase for today is "Humbug."
Billboard ran an article penned by Jonathan Cohen yesterday (Dec. 12, 2006) that focused on the release of Gwen Stefani's newly-released second solo album. Rather than giving me cause for concern (as if I really care if No Doubt ever completes another album), the story only served to remind me how little her music ever really mattered.
Gwen is really just a product, like Madonna. The airbrushed, Adobe PhotoShop-styled flawless image of her with these silly sunglasses and alien hairstyle only cements that perception that even if she rejoined No Doubt, music would be the last thing on the band's mind. I have to be honest I hardly glanced at the recent Grammy nominations announcement. Does it really matter?
At the end of the day, those of you who really love music and feel excited about specific songs or artists won't be influenced by who wins what award. I won't stop listening to Paul McCartney, Neil Young or Keane if they miss out in their respective fields. Just as I know fans of John Mayer, the Red Hot Chili Peppers and overhyped Dixie Chicks won't stop listening whether or not they have field days when the 49th Grammy Awards are broadcast on Feb. 11, 2007.
Billboard ran an article penned by Jonathan Cohen yesterday (Dec. 12, 2006) that focused on the release of Gwen Stefani's newly-released second solo album. Rather than giving me cause for concern (as if I really care if No Doubt ever completes another album), the story only served to remind me how little her music ever really mattered.
Gwen is really just a product, like Madonna. The airbrushed, Adobe PhotoShop-styled flawless image of her with these silly sunglasses and alien hairstyle only cements that perception that even if she rejoined No Doubt, music would be the last thing on the band's mind. I have to be honest I hardly glanced at the recent Grammy nominations announcement. Does it really matter?
At the end of the day, those of you who really love music and feel excited about specific songs or artists won't be influenced by who wins what award. I won't stop listening to Paul McCartney, Neil Young or Keane if they miss out in their respective fields. Just as I know fans of John Mayer, the Red Hot Chili Peppers and overhyped Dixie Chicks won't stop listening whether or not they have field days when the 49th Grammy Awards are broadcast on Feb. 11, 2007.
Friday, December 01, 2006
Robert Lockwood Jr., gone but not forgotten
I would guess that it was Chuck Berry, the Fabulous Thunderbirds and Ike Turner that were the biggest draws at the Doheny Blues Festival when it was staged in Dana Point in September 2004.
But the best performer of the day was not among the headliners, nor among the young up-and-comers on the bill that day. In fact, it was the appearance of Robert Lockwood Jr. that made the fest so memorable for me. Lockwood, then nearing age 90, sang and played his electric 12-string guitar with emotional weight and purpose that defied his age. Lockwood, who was taught guitar by Robert Johnson and was likely the last living music link with the legendary bluesman, performed a magical 45-minute set at the Backporch Stage, including great versions of "C.C. Rider" and "Ramblin on My Mind."
He will be missed...
But the best performer of the day was not among the headliners, nor among the young up-and-comers on the bill that day. In fact, it was the appearance of Robert Lockwood Jr. that made the fest so memorable for me. Lockwood, then nearing age 90, sang and played his electric 12-string guitar with emotional weight and purpose that defied his age. Lockwood, who was taught guitar by Robert Johnson and was likely the last living music link with the legendary bluesman, performed a magical 45-minute set at the Backporch Stage, including great versions of "C.C. Rider" and "Ramblin on My Mind."
He will be missed...
Wednesday, November 22, 2006
News & Notes: The Fallen Stars, Coachella
Whew! Been awhile, eh?
Last Saturday night, Nov. 18, I caught a great bill at Marlin's Bar in Huntington Beach. I caught the entire hour-long set from a band I had never seen before, the quartet The Fallen Stars. Look for my feature on the band in the Orange County Register this Friday, Nov. 24.
The band delivered a great set. Wonderful songs, a strong chemistry on stage, everything really clicked. Inspired by a range of artists from Gram Parsons and Fleetwood Mac to Wilco and the Clash, the band plays frequently and there is no excuse not to catch them if you are in So Cal. Check out the band at www.MySpace.com/TheFallenStars.
Walter Clevenger & the Dairy Kings headlined. As always the band was terrific, and singer-songwriter Kenny Howes was filling in on keys for the night. Anyone who missed Walter & company can see him play a free show at the Galaxy Theatre on a bill with Scarlet Crush on Friday night, Dec. 1. Visit http://www.myspace.com/breweryrecords for more details about that special night...
Did you hear the latest? Coachella has been announced and it's growing from two days to three days. April 27, 28 and 29. How are we all to survive? Pray for cool days and cool music. It's only five months away...
Last Saturday night, Nov. 18, I caught a great bill at Marlin's Bar in Huntington Beach. I caught the entire hour-long set from a band I had never seen before, the quartet The Fallen Stars. Look for my feature on the band in the Orange County Register this Friday, Nov. 24.
The band delivered a great set. Wonderful songs, a strong chemistry on stage, everything really clicked. Inspired by a range of artists from Gram Parsons and Fleetwood Mac to Wilco and the Clash, the band plays frequently and there is no excuse not to catch them if you are in So Cal. Check out the band at www.MySpace.com/TheFallenStars.
Walter Clevenger & the Dairy Kings headlined. As always the band was terrific, and singer-songwriter Kenny Howes was filling in on keys for the night. Anyone who missed Walter & company can see him play a free show at the Galaxy Theatre on a bill with Scarlet Crush on Friday night, Dec. 1. Visit http://www.myspace.com/breweryrecords for more details about that special night...
Did you hear the latest? Coachella has been announced and it's growing from two days to three days. April 27, 28 and 29. How are we all to survive? Pray for cool days and cool music. It's only five months away...
Monday, November 06, 2006
DADA at the Coach House (a lifetime ago)
Has it really been more than a week since I caught DADA at the Coach House? Yes, it was way back on Saturday, Oct. 28th. And it was a great show that ran well past midnight.
I could go on and on about how the trio performed its usual blend of power-pop, alt-rock and jamming to great effect. But long-time fans of the band know all about that. What's impressive is how despite a lack of commercial airplay (at least here in So Cal) and relative lack of support by the media, the fans keep filling the Coach House whenever drummer-vocalist Phil Leavitt, bassist-vocalist Joie Calio and guitarist-vocalist Michael Gurley take the stage together.
At the Oct. 28 show, the band played plenty of classics ("Dizz Knee Land," "Dim," "Dorina"), but they also played a number of great new originals off the 2007 EP "A Friend of Pat Robertson." Talk about some great new songs! Gurley sang with hushed power during ""If Tears Were Balloons." And the song "72 Hours" was wonderful too. Another magical night courtesy of dada!
I could go on and on about how the trio performed its usual blend of power-pop, alt-rock and jamming to great effect. But long-time fans of the band know all about that. What's impressive is how despite a lack of commercial airplay (at least here in So Cal) and relative lack of support by the media, the fans keep filling the Coach House whenever drummer-vocalist Phil Leavitt, bassist-vocalist Joie Calio and guitarist-vocalist Michael Gurley take the stage together.
At the Oct. 28 show, the band played plenty of classics ("Dizz Knee Land," "Dim," "Dorina"), but they also played a number of great new originals off the 2007 EP "A Friend of Pat Robertson." Talk about some great new songs! Gurley sang with hushed power during ""If Tears Were Balloons." And the song "72 Hours" was wonderful too. Another magical night courtesy of dada!
Friday, October 27, 2006
DADA is coming! DADA is coming!
Although it has been more than 2½ years since Los Angeles-based dada released a full-length album of new material, fans of the much-admired trio have been getting a well-deserved taste of dada’s latest songs online. “7.1 Stereo” is a brawny riff rocker, while “A Friend of Pat Robertson” is filled with shimmering vocal harmonies layered atop a textured sonic landscape. Both songs can be heard at www.myspace.com/dadatheband, and a new EP featuring those songs should be available commercially before the end of 2006.
In addition, Gurley’s side project, Mike Gurley and the Nightcaps, recently issued the full-length “Euphoria.” The superb disc features 10 of Gurley’s originals (including a revamped take on dada’s “Last Train Out of My Mind”), a John Gilmore tune and several standards reworked in a style sure to please lovers of neo-swing and lounge music. Gurley delivers a strong vocal performance on the classic “My Funny Valentine,” as well as his own “Spoken For.”
The Coach House is a legendary destination for fans of dada since it was at the San Juan Capistrano venue that singer-guitarist Michael Gurley and bassist-singer Joie Calio took the stage for the first time together to open for Mary’s Danish in 1991. Several months later, with the addition of drummer Phil Leavitt, dada set out on a course that has led to the release of some of the best original rock music of the 1990s and this decade.
Dada makes an eagerly-anticipated return to the Coach House on Saturday night.
In addition to performing songs from the band’s memorable debut (Dizz Knee Land,” “Dim,” “Dorina”), dada will likely be performing several songs from the trio’s forthcoming EP, and 2003’s “Live: Official Bootleg (Vol. 1),” released by Coach House Records.
The crowd on hand to catch dada this weekend will get to see something increasingly rare in modern rock; musicians who exhibit equal measures of skills as songwriters, virtuoso musicians and singers capable of dazzling with harmonies that recall the magic of the Byrds, Badfinger and Crowded House. Dada typically performs energetic and marathon-length shows at the Coach House stretching close to three hours.
Citizen Joe and Boxcar will also perform on the bill with dada at the Coach House, 33157 Camino Capistrano, San Juan Capistrano, at 8 p.m. on Saturday, Oct. 28. Tickets are $20.
Information: 949-496-8930.
See you there!
In addition, Gurley’s side project, Mike Gurley and the Nightcaps, recently issued the full-length “Euphoria.” The superb disc features 10 of Gurley’s originals (including a revamped take on dada’s “Last Train Out of My Mind”), a John Gilmore tune and several standards reworked in a style sure to please lovers of neo-swing and lounge music. Gurley delivers a strong vocal performance on the classic “My Funny Valentine,” as well as his own “Spoken For.”
The Coach House is a legendary destination for fans of dada since it was at the San Juan Capistrano venue that singer-guitarist Michael Gurley and bassist-singer Joie Calio took the stage for the first time together to open for Mary’s Danish in 1991. Several months later, with the addition of drummer Phil Leavitt, dada set out on a course that has led to the release of some of the best original rock music of the 1990s and this decade.
Dada makes an eagerly-anticipated return to the Coach House on Saturday night.
In addition to performing songs from the band’s memorable debut (Dizz Knee Land,” “Dim,” “Dorina”), dada will likely be performing several songs from the trio’s forthcoming EP, and 2003’s “Live: Official Bootleg (Vol. 1),” released by Coach House Records.
The crowd on hand to catch dada this weekend will get to see something increasingly rare in modern rock; musicians who exhibit equal measures of skills as songwriters, virtuoso musicians and singers capable of dazzling with harmonies that recall the magic of the Byrds, Badfinger and Crowded House. Dada typically performs energetic and marathon-length shows at the Coach House stretching close to three hours.
Citizen Joe and Boxcar will also perform on the bill with dada at the Coach House, 33157 Camino Capistrano, San Juan Capistrano, at 8 p.m. on Saturday, Oct. 28. Tickets are $20.
Information: 949-496-8930.
See you there!
Tuesday, October 24, 2006
Tom Petty, Jackson Browne; magic in the desert
Life is hard, no doubt.
But, on occasion, it can be a blast.
Such was the case last Saturday night (Oct. 21), when I was lucky enough to catch full-length sets from Tom Petty & the Heartbreakers and Jackson Browne at Indian Wells Tennis Garden.
On a beautiful autumn night, it wasn't hard to enjoy two Rock 'n' Roll Hall of Famers in action under the stars on a comfortable night.
Of the two artists, headliner Petty & company delivered the stronger set. As part of his current 30th anniversary tour, Petty and his strong supporting cast (notably lead guitarist Mike Campbell, singer-multi-instrumentalist Scott Thurston and keyboardist Benmont Tench) played many of their best-known songs before an adoring crowd. And, at least for this listener, the finely-tuned troupe played Petty's three best rockers too: "I Need to Know" (lead vocals courtesy of Stevie Nicks), and later in the night, "Refugee" and "Runnin' Down A Dream" in a back-to-back blowout.
This was no mere bit of nostalgia. Rather, the band really rocked. Petty, smiling and greeting the audience after just about every song, really seemed to be having a great time. This was not the intense kind of experience that greets you at a Pearl Jam, Neil Young or U2 show, but rather the kind of festive celebration associated with Bruce Springsteen & the E Street Band's marathon-length encores that were so fun in the 1980s.
Honorary Heartbreaker Nicks took to the stage several times to play with Petty, including her first stint joining the group to play the classic "Stop Draggin' My Heart Around." She proved her pipes still carry that magical fire, and it was consistent magic throughout the night when she and Petty would sing together, including on the acoustic-styled "Insider."
Other highlights of the night? Although he has apparently played it live before, for me the inclusion of George Harrison's Traveling Wilburys gem "Handle With Care" was incredible. Always among my favorite songs, it was a moment where I wanted to sing, but didn't because you wanted to take in each magic note washing over you.
Opener Jackson Browne was in fine voice and came with a strong band, but his set focused a bit to heavily on recent material that was often lost on the crowd. When he did connect on all cylinders, it was with his better-known material, notably the forceful "For America" and hits such as "Running on Empty" and "Doctor My Eyes." But missing were great cuts such as "Tender is the Night" and "Boulevard." When playing 70 or so minutes, he could have offered a more balanced mix of old and new.
But, on occasion, it can be a blast.
Such was the case last Saturday night (Oct. 21), when I was lucky enough to catch full-length sets from Tom Petty & the Heartbreakers and Jackson Browne at Indian Wells Tennis Garden.
On a beautiful autumn night, it wasn't hard to enjoy two Rock 'n' Roll Hall of Famers in action under the stars on a comfortable night.
Of the two artists, headliner Petty & company delivered the stronger set. As part of his current 30th anniversary tour, Petty and his strong supporting cast (notably lead guitarist Mike Campbell, singer-multi-instrumentalist Scott Thurston and keyboardist Benmont Tench) played many of their best-known songs before an adoring crowd. And, at least for this listener, the finely-tuned troupe played Petty's three best rockers too: "I Need to Know" (lead vocals courtesy of Stevie Nicks), and later in the night, "Refugee" and "Runnin' Down A Dream" in a back-to-back blowout.
This was no mere bit of nostalgia. Rather, the band really rocked. Petty, smiling and greeting the audience after just about every song, really seemed to be having a great time. This was not the intense kind of experience that greets you at a Pearl Jam, Neil Young or U2 show, but rather the kind of festive celebration associated with Bruce Springsteen & the E Street Band's marathon-length encores that were so fun in the 1980s.
Honorary Heartbreaker Nicks took to the stage several times to play with Petty, including her first stint joining the group to play the classic "Stop Draggin' My Heart Around." She proved her pipes still carry that magical fire, and it was consistent magic throughout the night when she and Petty would sing together, including on the acoustic-styled "Insider."
Other highlights of the night? Although he has apparently played it live before, for me the inclusion of George Harrison's Traveling Wilburys gem "Handle With Care" was incredible. Always among my favorite songs, it was a moment where I wanted to sing, but didn't because you wanted to take in each magic note washing over you.
Opener Jackson Browne was in fine voice and came with a strong band, but his set focused a bit to heavily on recent material that was often lost on the crowd. When he did connect on all cylinders, it was with his better-known material, notably the forceful "For America" and hits such as "Running on Empty" and "Doctor My Eyes." But missing were great cuts such as "Tender is the Night" and "Boulevard." When playing 70 or so minutes, he could have offered a more balanced mix of old and new.
Thursday, October 19, 2006
Yoko Ono: Peace, Love and 'Show Me the Money'
There are countless Beatles fans who dislike Yoko Ono. And countless rock fans who love U2. So what do the two have in common?
Yoko Ono is a phony, a hitchhiker on the road to undeserved riches. All the way back to the 1960s, she has pretended her goal is to support and champion peace in the world, help deliver understanding for everyone else. Earth to Ono, "Start in your own Backyard."
It's not just the way she treated John Lennon's oldest son, Julian Lennon, keeping musical keepsakes from him that ultimately led to a well-publicized dispute a few years ago. Now, today comes word that Yoko has sued music company EMI Group PLC and a subsidiary for $10 million, claiming she was cheated out of royalties due from the sale of music by John Lennon.
I'm not a defender of the record industry. But the latest move from Yoko Ono, as well as recent news about Bono and the rest of U2 moving their music publishing company to the Netherlands to reduce their taxes can turn anyone into a cynic. According to a report published in Bloomberg on Oct. 16, at the same time the wealthy Bono is asking the Irish government to contribute more to Africa, he and the other members of U2 are effectively avoiding paying full taxes on the $110 million they earned in 2005. "Do as I say, not as I do" is an adage that works well here.
The Bloomberg story went on to note that guitarist David Evans (okay, okay, The Edge) has gone on the defensive, appearing on a radio station Newstalk on Oct. 2, stating "Our business is a very complex business...Of couse we're trying to be tax-efficient. Who doesn't want to be tax efficient."
I guess I wouldn't be so sarcastic if I didn't see so many people I know, specifically a number of struggling musicians, who live in small apartments or rented rooms in the decaying metropolis known as Southern California, while the members of U2 live in great big houses in wonderful neighborhoods while taking first-class vacations all around the globe. And Bono wants us to spend all of America's tax dollars too. I know a few people here at home who could use the dime.
I understand the music business is just that, a business. I just think these musicians want it both ways. They love to get up in front of a cheering crowd or at a press conference and talk about how evil big corporations and governments are. But at the end of the day, they really only care about themselves. Rock on.
Yoko Ono is a phony, a hitchhiker on the road to undeserved riches. All the way back to the 1960s, she has pretended her goal is to support and champion peace in the world, help deliver understanding for everyone else. Earth to Ono, "Start in your own Backyard."
It's not just the way she treated John Lennon's oldest son, Julian Lennon, keeping musical keepsakes from him that ultimately led to a well-publicized dispute a few years ago. Now, today comes word that Yoko has sued music company EMI Group PLC and a subsidiary for $10 million, claiming she was cheated out of royalties due from the sale of music by John Lennon.
I'm not a defender of the record industry. But the latest move from Yoko Ono, as well as recent news about Bono and the rest of U2 moving their music publishing company to the Netherlands to reduce their taxes can turn anyone into a cynic. According to a report published in Bloomberg on Oct. 16, at the same time the wealthy Bono is asking the Irish government to contribute more to Africa, he and the other members of U2 are effectively avoiding paying full taxes on the $110 million they earned in 2005. "Do as I say, not as I do" is an adage that works well here.
The Bloomberg story went on to note that guitarist David Evans (okay, okay, The Edge) has gone on the defensive, appearing on a radio station Newstalk on Oct. 2, stating "Our business is a very complex business...Of couse we're trying to be tax-efficient. Who doesn't want to be tax efficient."
I guess I wouldn't be so sarcastic if I didn't see so many people I know, specifically a number of struggling musicians, who live in small apartments or rented rooms in the decaying metropolis known as Southern California, while the members of U2 live in great big houses in wonderful neighborhoods while taking first-class vacations all around the globe. And Bono wants us to spend all of America's tax dollars too. I know a few people here at home who could use the dime.
I understand the music business is just that, a business. I just think these musicians want it both ways. They love to get up in front of a cheering crowd or at a press conference and talk about how evil big corporations and governments are. But at the end of the day, they really only care about themselves. Rock on.
Monday, October 16, 2006
Beyond 7 bringing its sound to San Clemente
With an extensive and rewarding discography that includes late 1990s efforts with Psychic Rain as well as Beyond 7’s 2004 debut “Here and Now,” the surefire duo of lead singer-guitarist Greg Stoddard and lead guitarist Brian Stewart have raised the bar again with the recently-released “Smoke.”
Armed with a dozen original songs and a strong rhythm section, Beyond 7’s “Smoke” boasts a winning combination of uptempo modern rock (“Drowning,” “Light of Day”) and strong ballads (“When You’re Gone,” “Last Man in the World”).
And, admits Stoddard, there is a kind of mathematical blueprint for the rock quartet’s winning formula.
“The songs we reject are great, but they are not quite good enough,” singer-guitarist Greg Stoddard said of the power of sonic subtraction. I interviewed him last spring in connection with the release of Beyond 7's latest studio disc. “We don’t want to cheat anybody. We want these songs to be a part of you.”
Since founding Psychic Rain a decade ago (he launched Beyond 7 with much-admired lead guitarist Brian Stewart in 2001), Stoddard has been writing and recording some of the most memorable and accessible modern rock in earshot, winning legions of fans while sharing the bill with groups such as the Gin Blossoms, Smithereens, Fixx, dada and Dramarama; in fact, Beyond 7 celebrated the release of the band’s full-length sophomore release “Smoke” when it opened for Dramarama at House of Blues in Anaheim in May.
In addition to Stoddard and Stewart, the Buena Park rock troupe features a strong one-two punch in the rhythm department courtesy of drummer Raul Hinojosa Jr. and bassist Moses Guerrero.
“We’re fortunate in all the shows we get; we couldn’t ask for anything else,” Stoddard said.
Although U2, Queen, Oasis, Cheap Trick and the Smiths might not seem to have much in common, each came to the forefront with the talents of a powerful singer and distinctive guitar player. Stoddard and Stewart bring that kind of magic chemistry to Beyond 7.
“We want to write and record great albums,” said Stoddard, noting while he continues to write many songs on his own, “Smoke” features five songs that he wrote with Stewart. “We take great pride in that.”
“Smoke” is not a concept album, yet it has that feel. Indeed, the album kicks off with the fiery “Light of Day,” which was the first song Stoddard wrote for the album.
“Since 9/11, not just myself but everybody kind of woke up; they use that as the beginning of a new era,” said Stoddard, explaining he has found many people often to refer to events having nothing to do with the War on Terror as either “pre” or “post” 9/11.
In “Light of Day,” Stoddard reflects on how he senses life has changed since the tragic events of Sept. 11, 2001, when he opens the song: “I can’t find my sunshine, rewind/I close my eyes, realize things aren’t quite right/morning’s turned to night.”
And “Smoke” ends its dozen-song run with the title cut, a poignant look at how quickly people can feel defeated by life’s relatively short run and limited chances to get it all right.
“This (the new album) is more about finding yourself and finding yourself in the world. ‘Smoke’ says everything we have is a temporary possession…our life is just like smoke,” Stoddard said. “It’s best to enjoy it while you have it and appreciate what you have.”
Beyond 7 will perform acoustic versions of the band's songs to Gordon James Grill & Bar, 110 N. El Camino Real, San Clemente, 9 p.m.-midnight on Saturdays, Oct. 21 and Oct. 28.
Information: 949- 498-9100
Armed with a dozen original songs and a strong rhythm section, Beyond 7’s “Smoke” boasts a winning combination of uptempo modern rock (“Drowning,” “Light of Day”) and strong ballads (“When You’re Gone,” “Last Man in the World”).
And, admits Stoddard, there is a kind of mathematical blueprint for the rock quartet’s winning formula.
“The songs we reject are great, but they are not quite good enough,” singer-guitarist Greg Stoddard said of the power of sonic subtraction. I interviewed him last spring in connection with the release of Beyond 7's latest studio disc. “We don’t want to cheat anybody. We want these songs to be a part of you.”
Since founding Psychic Rain a decade ago (he launched Beyond 7 with much-admired lead guitarist Brian Stewart in 2001), Stoddard has been writing and recording some of the most memorable and accessible modern rock in earshot, winning legions of fans while sharing the bill with groups such as the Gin Blossoms, Smithereens, Fixx, dada and Dramarama; in fact, Beyond 7 celebrated the release of the band’s full-length sophomore release “Smoke” when it opened for Dramarama at House of Blues in Anaheim in May.
In addition to Stoddard and Stewart, the Buena Park rock troupe features a strong one-two punch in the rhythm department courtesy of drummer Raul Hinojosa Jr. and bassist Moses Guerrero.
“We’re fortunate in all the shows we get; we couldn’t ask for anything else,” Stoddard said.
Although U2, Queen, Oasis, Cheap Trick and the Smiths might not seem to have much in common, each came to the forefront with the talents of a powerful singer and distinctive guitar player. Stoddard and Stewart bring that kind of magic chemistry to Beyond 7.
“We want to write and record great albums,” said Stoddard, noting while he continues to write many songs on his own, “Smoke” features five songs that he wrote with Stewart. “We take great pride in that.”
“Smoke” is not a concept album, yet it has that feel. Indeed, the album kicks off with the fiery “Light of Day,” which was the first song Stoddard wrote for the album.
“Since 9/11, not just myself but everybody kind of woke up; they use that as the beginning of a new era,” said Stoddard, explaining he has found many people often to refer to events having nothing to do with the War on Terror as either “pre” or “post” 9/11.
In “Light of Day,” Stoddard reflects on how he senses life has changed since the tragic events of Sept. 11, 2001, when he opens the song: “I can’t find my sunshine, rewind/I close my eyes, realize things aren’t quite right/morning’s turned to night.”
And “Smoke” ends its dozen-song run with the title cut, a poignant look at how quickly people can feel defeated by life’s relatively short run and limited chances to get it all right.
“This (the new album) is more about finding yourself and finding yourself in the world. ‘Smoke’ says everything we have is a temporary possession…our life is just like smoke,” Stoddard said. “It’s best to enjoy it while you have it and appreciate what you have.”
Beyond 7 will perform acoustic versions of the band's songs to Gordon James Grill & Bar, 110 N. El Camino Real, San Clemente, 9 p.m.-midnight on Saturdays, Oct. 21 and Oct. 28.
Information: 949- 498-9100
Thursday, October 12, 2006
I can't stop listening to Carbon Leaf
Although there are more than two months remaining in 2006, I am pretty sure my favorite album of 2006 is "Love Loss Hope Repreat," the latest release from Carbon Leaf.
I can't say enough great things about this disc, which somehow blends a bunch of legendary sounds and influences into something new. The Byrds-tinged 12-string guitar on "Learn to Fly" and the early-R.E.M. vibe on "Under the Wire" seem somewhat obvious, but there is something very refreshing and timeless about all the music here. So many of the songs explode with infectious hooks, but this is not power pop where the melodies hit you over the head. But it's hard not to hit repeat after "A Girl and Her Horse" or "Texas Stars" or even the introspective "The War Was in Color" end.
A truly great disc. Released by Vanguard Records, Carbon Leaf's "Love Loss Hope Repeat" is a great album.
I can't say enough great things about this disc, which somehow blends a bunch of legendary sounds and influences into something new. The Byrds-tinged 12-string guitar on "Learn to Fly" and the early-R.E.M. vibe on "Under the Wire" seem somewhat obvious, but there is something very refreshing and timeless about all the music here. So many of the songs explode with infectious hooks, but this is not power pop where the melodies hit you over the head. But it's hard not to hit repeat after "A Girl and Her Horse" or "Texas Stars" or even the introspective "The War Was in Color" end.
A truly great disc. Released by Vanguard Records, Carbon Leaf's "Love Loss Hope Repeat" is a great album.
Wednesday, September 27, 2006
ASIA (late, late - I know....)
I've been busy. Very busy.
So sorry, but just today I want to update you on the most recent show I caught - has it really been a full week already? I was lucky enough to catch a reunion of ASIA on Wednesday night, Sept. 20. It was my first time ever to hit the Vault 350 in Long Beach (Warning, get there late like I did and be prepared to stand).
I am old enough to have caught ASIA when they played in Long Beach (I don't recall where now; it has been 23 years or something) after the release of the band's self-titled 1982 debut. I can tell you while guitarist Steve Howe (of Yes fame), keyboardist Geoff Downes (the Buggles, Yes), singer-bassist John Wetton (King Crimson) and drummer Carl Palmer (Emerson Lake & Palmer) were great that night eons ago, they were magical on the last night of summer '06.
Performing all of the great songs from "Asia" and the sophomore effort "Alpha" with fire would have made the show memorable. But throwing in seminal tracks from their various other projects added to the power of the night.
While "Heat of the Moment" is the song best known to casual listeners and was a great way to cap the night, several of the other songs were delivered showcased the many strengths of the fifty- and sixty-something players. "Sole Survivor" has remained one of the best recordings from the 1980s and its power was increased in the live setting. The complicated arrangements of that song and others worked well, with the melodic hooks and emotive vocals of Wetton clearly hitting their marks. Other highlights of the winning night included "Don't Cry," a sparse "The Smile Has Left Your Eyes," "Only Time Will Tell" and "Roundabout." And the night's most unlikely moment came when the foursome performed a lively "Video Killed the Radio Star" (the first song/video ever aired on MTV).
And while the majority of citics continue to dismiss prog rock, I have to be honest. Far more than a guilty pleasure, songs such as "Cutting It Fine" and "Here Comes the Feeling" just flat out rocked.
So sorry, but just today I want to update you on the most recent show I caught - has it really been a full week already? I was lucky enough to catch a reunion of ASIA on Wednesday night, Sept. 20. It was my first time ever to hit the Vault 350 in Long Beach (Warning, get there late like I did and be prepared to stand).
I am old enough to have caught ASIA when they played in Long Beach (I don't recall where now; it has been 23 years or something) after the release of the band's self-titled 1982 debut. I can tell you while guitarist Steve Howe (of Yes fame), keyboardist Geoff Downes (the Buggles, Yes), singer-bassist John Wetton (King Crimson) and drummer Carl Palmer (Emerson Lake & Palmer) were great that night eons ago, they were magical on the last night of summer '06.
Performing all of the great songs from "Asia" and the sophomore effort "Alpha" with fire would have made the show memorable. But throwing in seminal tracks from their various other projects added to the power of the night.
While "Heat of the Moment" is the song best known to casual listeners and was a great way to cap the night, several of the other songs were delivered showcased the many strengths of the fifty- and sixty-something players. "Sole Survivor" has remained one of the best recordings from the 1980s and its power was increased in the live setting. The complicated arrangements of that song and others worked well, with the melodic hooks and emotive vocals of Wetton clearly hitting their marks. Other highlights of the winning night included "Don't Cry," a sparse "The Smile Has Left Your Eyes," "Only Time Will Tell" and "Roundabout." And the night's most unlikely moment came when the foursome performed a lively "Video Killed the Radio Star" (the first song/video ever aired on MTV).
And while the majority of citics continue to dismiss prog rock, I have to be honest. Far more than a guilty pleasure, songs such as "Cutting It Fine" and "Here Comes the Feeling" just flat out rocked.
Monday, September 18, 2006
The Return of The Tickets!
On Friday night, Sept. 15th, I should have been asleep. After all, I had got up at 5 a.m. (East Coast time) to catch a flight to return to Orange County from Washington, D.C. But here I was at Fitzgerald's Pub in Huntington Beach. A lack of sleep was fine, thanks to great sets from Walter Clevenger & the Dairy Kings (who opened the show with a 45-minute set), and then two-length sets from The Tickets.
It was great to see The Tickets. I hadn't seen them perform since the 1980s when I caught them at a Battle of the Bands show at Mile Square Park in Fountain Valley. The good news, the band rocked. And although it was a one-night only show (the band was celebrating the release of a CD collection issued by Brewery Records), it was magic. The band played a number of their best original songs during the opening set, and then returned to play reworked covers of songs from bands such as Led Zep and the Knack later in the night.
Here is a copy of my preview that ran in the Orange County Register on Sept. 15. Get this CD folks!
Orange Pop: Tickets finally make a CD
By ROBERT KINSLER
Special to the Register
One of the most eagerly anticipated power-pop releases of the year is actually a long-lost treasure recorded more than 17 years ago.
"The Tickets Make a Record," a 1990 cassette-only release by Orange County's the Tickets, has been scrupulously remastered by Walter Clevenger and is finally seeing the light of day in 2006. It includes a number of bonus tracks. Moreover, the longest-running lineup of the original band has reunited to perform at a CD release party tonight at Fitzgerald's in Huntington Beach.
Copies of the 14-song "The Tickets" CD will be available at the show. The Tickets featured singer-lead guitarist Bryan Shaddix, singer-rhythm guitarist Brian Martin (who replaced Donald Mabbott in 1988), drummer Marcos De La Cruz (currently a member of the popular Tijuana Dogs) and bassist Andy Winston, and were likely Orange County's most popular and talented unsigned outfit during most of the group's 1985-95 run.
"Walter gave me a call one day (in 2005) and got me interested in making a record," said Shaddix, who moved from his native Washington to Orange County in the mid-1980s to play music, but then moved to Modesto "to relax a little" in 2000.
Shaddix is thrilled with Clevenger's remix and remastering of the album. In addition to cleaning up the overall sound of the original tracks, he removed some of the dated-sounding echo and reverb that were commonly used throughout the 1980s. Clevenger also brought up the lead guitar solo in "Heartland," enhancing one of the standout songs on the disc.
"I think Walter got it. We didn't go overboard," Shaddix said. "It's definitely 'now,' but still has the Tickets feel to it."
The release of "The Tickets" on Brewery Records and the one-time reunion show by the band tonight isn't the end of renewed interest in the group. An alternative version of the song "Dream About Me" (slightly different than the cut included on "The Tickets") will also be featured on a companion CD that is being included with copies of John Borack's "Shake Some Action: The History of Power Pop," a forthcoming published guide to the 200 most essential power-pop CDs being sold by the nation's leading pop-rock label, Not Lame Recordings.
This year may long be recognized as the year that provided the world long-thought-lost recordings. Just last month, the release of YMC Records' "Waylon Sings Hank Williams" showcased a dozen Hank Williams songs recorded by Waylon Jennings in 1985. And Amoeba Records announced earlier this year that the label is preparing an album of unreleased material by the late alt-country pioneer Gram Parsons (who died in 1973) for release. Power-pop fans around the globe that have worn-out copies of the Tickets' vinyl and cassette releases will be amazed by Clevenger's remixing and mastering efforts across the disc.
"Eric (Garten) was surprised anyone contacted him after so many years; the original sessions were in 1989," Clevenger said. "He said Brian (Shaddix) was one of the most talented guys he ever worked with. And he was excited about this getting out on CD."
Garten, who co-produced "The Tickets Make a Record" with Shaddix at his For the Record studio in Anaheim, wasn't sure if he still had the master 24-track tapes. Frequently when artists don't purchase the tapes, they are wiped clean and reused. After a week-long search, Garten phoned Clevenger with the good news that he still had the master tapes with all of the original recordings.
"Eric called and said 'It sounds like it was recorded yesterday,' " Clevenger recalled.
Indeed, "The Tickets" sounds like something from the digital age, with Beatles-styled harmonies layered atop ringing guitars and in-the-pocket rhythms that equal the strong songs themselves.
"We went into it with the sense as if you are in the studio when we were recording the album," Shaddix said.
For Clevenger, imagining that he had traveled back in time to 1989 to participate in the original recording sessions couldn't have been easier.
"I've listened to this album so many times, I had it committed to memory," Clevenger said. "I made it sound as good as I could."
The Tickets' CD release party is at 9 tonight at Fitzgerald's, 19171 Magnolia St., Huntington Beach. Walter Clevenger & the Dairy Kings will open the show. Admission is $5.
Information: www.breweryrecords.com.
It was great to see The Tickets. I hadn't seen them perform since the 1980s when I caught them at a Battle of the Bands show at Mile Square Park in Fountain Valley. The good news, the band rocked. And although it was a one-night only show (the band was celebrating the release of a CD collection issued by Brewery Records), it was magic. The band played a number of their best original songs during the opening set, and then returned to play reworked covers of songs from bands such as Led Zep and the Knack later in the night.
Here is a copy of my preview that ran in the Orange County Register on Sept. 15. Get this CD folks!
Orange Pop: Tickets finally make a CD
By ROBERT KINSLER
Special to the Register
One of the most eagerly anticipated power-pop releases of the year is actually a long-lost treasure recorded more than 17 years ago.
"The Tickets Make a Record," a 1990 cassette-only release by Orange County's the Tickets, has been scrupulously remastered by Walter Clevenger and is finally seeing the light of day in 2006. It includes a number of bonus tracks. Moreover, the longest-running lineup of the original band has reunited to perform at a CD release party tonight at Fitzgerald's in Huntington Beach.
Copies of the 14-song "The Tickets" CD will be available at the show. The Tickets featured singer-lead guitarist Bryan Shaddix, singer-rhythm guitarist Brian Martin (who replaced Donald Mabbott in 1988), drummer Marcos De La Cruz (currently a member of the popular Tijuana Dogs) and bassist Andy Winston, and were likely Orange County's most popular and talented unsigned outfit during most of the group's 1985-95 run.
"Walter gave me a call one day (in 2005) and got me interested in making a record," said Shaddix, who moved from his native Washington to Orange County in the mid-1980s to play music, but then moved to Modesto "to relax a little" in 2000.
Shaddix is thrilled with Clevenger's remix and remastering of the album. In addition to cleaning up the overall sound of the original tracks, he removed some of the dated-sounding echo and reverb that were commonly used throughout the 1980s. Clevenger also brought up the lead guitar solo in "Heartland," enhancing one of the standout songs on the disc.
"I think Walter got it. We didn't go overboard," Shaddix said. "It's definitely 'now,' but still has the Tickets feel to it."
The release of "The Tickets" on Brewery Records and the one-time reunion show by the band tonight isn't the end of renewed interest in the group. An alternative version of the song "Dream About Me" (slightly different than the cut included on "The Tickets") will also be featured on a companion CD that is being included with copies of John Borack's "Shake Some Action: The History of Power Pop," a forthcoming published guide to the 200 most essential power-pop CDs being sold by the nation's leading pop-rock label, Not Lame Recordings.
This year may long be recognized as the year that provided the world long-thought-lost recordings. Just last month, the release of YMC Records' "Waylon Sings Hank Williams" showcased a dozen Hank Williams songs recorded by Waylon Jennings in 1985. And Amoeba Records announced earlier this year that the label is preparing an album of unreleased material by the late alt-country pioneer Gram Parsons (who died in 1973) for release. Power-pop fans around the globe that have worn-out copies of the Tickets' vinyl and cassette releases will be amazed by Clevenger's remixing and mastering efforts across the disc.
"Eric (Garten) was surprised anyone contacted him after so many years; the original sessions were in 1989," Clevenger said. "He said Brian (Shaddix) was one of the most talented guys he ever worked with. And he was excited about this getting out on CD."
Garten, who co-produced "The Tickets Make a Record" with Shaddix at his For the Record studio in Anaheim, wasn't sure if he still had the master 24-track tapes. Frequently when artists don't purchase the tapes, they are wiped clean and reused. After a week-long search, Garten phoned Clevenger with the good news that he still had the master tapes with all of the original recordings.
"Eric called and said 'It sounds like it was recorded yesterday,' " Clevenger recalled.
Indeed, "The Tickets" sounds like something from the digital age, with Beatles-styled harmonies layered atop ringing guitars and in-the-pocket rhythms that equal the strong songs themselves.
"We went into it with the sense as if you are in the studio when we were recording the album," Shaddix said.
For Clevenger, imagining that he had traveled back in time to 1989 to participate in the original recording sessions couldn't have been easier.
"I've listened to this album so many times, I had it committed to memory," Clevenger said. "I made it sound as good as I could."
The Tickets' CD release party is at 9 tonight at Fitzgerald's, 19171 Magnolia St., Huntington Beach. Walter Clevenger & the Dairy Kings will open the show. Admission is $5.
Information: www.breweryrecords.com.
Friday, September 08, 2006
George Fryer Combo rocks, off to NYC
I'm flying off to New York City tomorrow on a vacation and won't be blogging for another week or so. But before I left town I wanted to share with you about this great band I caught last Sunday, Sept. 3.
While the George Fryer Combo is one of Orange County's most talented bands, the group is equally among the most accessible and fan-friendly of music-making outfits.
There is generally never a charge when the quartet performs, and what could be more accommodating than regularly playing both evening and afternoon shows? Whereas Fryer's original songs, such as "You Make Me Happy" and "Still a Pawn," are highlights of any show, the Huntington Beach-based band gladly plays classic and modern-rock covers while making them their own.
That wide-ranging, easygoing approach has been extended into the recording studio and makes the George Fryer Combo's "New American Standards" CD a true gem.
George Fryer (lead vocals, guitar), Phil Vandermost (lead guitar, backing vocals), Dave Felde (bass) and Wolf Scheffler (drums) are uniformly strong, whether performing original material or reinterpreting the varied likes of Van Morrison, X, The Beatles and Herb Alpert.
"I (had) put out four original CDs. Every time we played a gig, I got asked, 'Do you have stuff you play live?' We went to Phil's studio and did it live," Fryer said of tracking the 15 songs on "New American Standards" in June and July of 2005. "All the instruments were live; we overdubbed vocals and guitars to sweeten it."
Vandermost had just started putting together a home studio when the George Fryer Combo was ready to record a follow-up to "Meow" (released at the beginning of 2005).
Fryer noted that "New American Standards" provides a snapshot of what the combo is doing right now. The troupe can play hundreds of songs, and many of the combo's best concert tunes are featured on the new CD. Herb Alpert's "The Lonely Bull (El Solo Toro)," Van Morrison's "Domino" and a strong and innovative medley of The Doors' "Soul Kitchen," Santana's "Evil Ways" and Cream's "Crossroads" are among the formidable classics redone, while seven of Fryer's originals are also showcased.
"We've been playing with this lineup for three years and developed a sound no one else has," Fryer said. The George Fryer Combo is the perfect house band for King Neptune's, a relaxed tavern in Sunset Beach where regulars and visitors can hang out, watch Sunday football and then catch live music.
"If someone comes in with a request, we'll try it even if we don't know it," Fryer admitted. On a recent Sunday afternoon at King Neptune's, the George Fryer Combo performed memorable versions of The Beatles' "Here Comes the Sun" and "One After 909," Neil Diamond's "Solitary Man," as well as Fryer's own "Teenage Lovesong" and "Goodbye (I Guess This Is)."
But which do they like most?
"My favorite song is everything we play," Vandermost said. "Plus, I like what George is doing with his own songs. I like to add to that."
The George Fryer Combo will perform at King Neptune's, 17115 Pacific Coast Highway, Sunset Beach, at 5 p.m. on Sept. 10 and Sept. 17 and 24. Admission to all shows is free.
Orange Slices
Orange County-based post-hard-core outfit Saosin will open for AFI at a string of upcoming area shows, including dates at the Bren Events Center in Irvine on Tuesday and the Long Beach Convention Center on Sept. 15. Saosin will be playing material off the band's self-titled Capitol Records debut, set for release Sept. 26. Several songs from "Saosin" (pronounced say-o-sin) can be heard on the band's MySpace page. Saosin will headline at the Troubadour in Hollywood on Sept. 26 in celebration of the CD release.
While the George Fryer Combo is one of Orange County's most talented bands, the group is equally among the most accessible and fan-friendly of music-making outfits.
There is generally never a charge when the quartet performs, and what could be more accommodating than regularly playing both evening and afternoon shows? Whereas Fryer's original songs, such as "You Make Me Happy" and "Still a Pawn," are highlights of any show, the Huntington Beach-based band gladly plays classic and modern-rock covers while making them their own.
That wide-ranging, easygoing approach has been extended into the recording studio and makes the George Fryer Combo's "New American Standards" CD a true gem.
George Fryer (lead vocals, guitar), Phil Vandermost (lead guitar, backing vocals), Dave Felde (bass) and Wolf Scheffler (drums) are uniformly strong, whether performing original material or reinterpreting the varied likes of Van Morrison, X, The Beatles and Herb Alpert.
"I (had) put out four original CDs. Every time we played a gig, I got asked, 'Do you have stuff you play live?' We went to Phil's studio and did it live," Fryer said of tracking the 15 songs on "New American Standards" in June and July of 2005. "All the instruments were live; we overdubbed vocals and guitars to sweeten it."
Vandermost had just started putting together a home studio when the George Fryer Combo was ready to record a follow-up to "Meow" (released at the beginning of 2005).
Fryer noted that "New American Standards" provides a snapshot of what the combo is doing right now. The troupe can play hundreds of songs, and many of the combo's best concert tunes are featured on the new CD. Herb Alpert's "The Lonely Bull (El Solo Toro)," Van Morrison's "Domino" and a strong and innovative medley of The Doors' "Soul Kitchen," Santana's "Evil Ways" and Cream's "Crossroads" are among the formidable classics redone, while seven of Fryer's originals are also showcased.
"We've been playing with this lineup for three years and developed a sound no one else has," Fryer said. The George Fryer Combo is the perfect house band for King Neptune's, a relaxed tavern in Sunset Beach where regulars and visitors can hang out, watch Sunday football and then catch live music.
"If someone comes in with a request, we'll try it even if we don't know it," Fryer admitted. On a recent Sunday afternoon at King Neptune's, the George Fryer Combo performed memorable versions of The Beatles' "Here Comes the Sun" and "One After 909," Neil Diamond's "Solitary Man," as well as Fryer's own "Teenage Lovesong" and "Goodbye (I Guess This Is)."
But which do they like most?
"My favorite song is everything we play," Vandermost said. "Plus, I like what George is doing with his own songs. I like to add to that."
The George Fryer Combo will perform at King Neptune's, 17115 Pacific Coast Highway, Sunset Beach, at 5 p.m. on Sept. 10 and Sept. 17 and 24. Admission to all shows is free.
Orange Slices
Orange County-based post-hard-core outfit Saosin will open for AFI at a string of upcoming area shows, including dates at the Bren Events Center in Irvine on Tuesday and the Long Beach Convention Center on Sept. 15. Saosin will be playing material off the band's self-titled Capitol Records debut, set for release Sept. 26. Several songs from "Saosin" (pronounced say-o-sin) can be heard on the band's MySpace page. Saosin will headline at the Troubadour in Hollywood on Sept. 26 in celebration of the CD release.
Tuesday, August 22, 2006
Dylan talks, but is he listening?
Reuters has published a story ("Dylan says modern recordings 'atrocious') today that got me to do some thinking.
According to the article filed from Los Angeles, the 65-year-old singer-songwriters was quoted by Rolling Stone magazine as saying "I don't know anybody who's made a record that sounds decent in the past 20 years, really."
I wonder if Robert Zimmerman has actually taken the time to listen. Neil Young has made a few classics during that stretch, notably "Harvest Moon" (1992) and "Mirror Ball" (1995). In fact, including efforts such as the rocking "Ragged Glory" (1990), beautiful "Prairie Wind" (2005) and raging "Living With War" (released earlier this year), Neil Young has released as many great albums since turning 40 as he did in the first part of his music-making career.
The same can be said for Canadian great Bruce Cockburn. Start with "Breakfast in New Orleans Dinner in Timbuktu" (1999), and then get a well-worth-it earful of "You've Never Seen Everything" (2003) and this year's powerful "Life Short Call Now."
Let me point Bob to another few artists who didn't even get started until the 1990s or '00s. The Cranberries' "Bury the Hatchet" is one of the best rock albums I've ever heard and Dolores O'Riordan never sounded better. The disc boasts a lyrical journey that blends global concerns with intimate struggles, and the music soars. American radio just didn't have the guts to give it a try when it was released in 1999.
And anyone who reads this blog frequently knows how strongly I feel about the work of a number of other '90s outfits, notably dada ("Puzzle," "American Highway Flower" and "El Subliminoso" are timeless efforts), Toad the Wet Sprocket ("Fear," "Dulcinea" and "Coil" still sound as fresh as ever).
And, of course, there well-recognized landmark efforts from the Cure ("Disintegration," "Wish"), U2 ("Achtung Baby," "All That You Can't Leave Behind"), Moby ("Play"), Keane ("Hopes and Fears") and Snow Patrol ("Final Straw") that are among the countless original music masterworks released during the stretch. Again, dismissing all music is great fodder for magazine articles. But, I think Bob Dylan might be better off listening to some music once in awhile.
And if all else fails, get a soundcheck courtesy of notable releases from Charlie Musselwhite, Dead Can Dance, Depeche Mode, Radiohead, Coldplay, World Party, Vinnie James, Altered State, Pearl Jam, Lee Rocker, Bright Blue Gorilla, Scarlet Crush, Walter Clevenger & the Dairy Kings, Mel, Lunar Rover, Michael Ubaldini, Social Distortion...the list goes on.
According to the article filed from Los Angeles, the 65-year-old singer-songwriters was quoted by Rolling Stone magazine as saying "I don't know anybody who's made a record that sounds decent in the past 20 years, really."
I wonder if Robert Zimmerman has actually taken the time to listen. Neil Young has made a few classics during that stretch, notably "Harvest Moon" (1992) and "Mirror Ball" (1995). In fact, including efforts such as the rocking "Ragged Glory" (1990), beautiful "Prairie Wind" (2005) and raging "Living With War" (released earlier this year), Neil Young has released as many great albums since turning 40 as he did in the first part of his music-making career.
The same can be said for Canadian great Bruce Cockburn. Start with "Breakfast in New Orleans Dinner in Timbuktu" (1999), and then get a well-worth-it earful of "You've Never Seen Everything" (2003) and this year's powerful "Life Short Call Now."
Let me point Bob to another few artists who didn't even get started until the 1990s or '00s. The Cranberries' "Bury the Hatchet" is one of the best rock albums I've ever heard and Dolores O'Riordan never sounded better. The disc boasts a lyrical journey that blends global concerns with intimate struggles, and the music soars. American radio just didn't have the guts to give it a try when it was released in 1999.
And anyone who reads this blog frequently knows how strongly I feel about the work of a number of other '90s outfits, notably dada ("Puzzle," "American Highway Flower" and "El Subliminoso" are timeless efforts), Toad the Wet Sprocket ("Fear," "Dulcinea" and "Coil" still sound as fresh as ever).
And, of course, there well-recognized landmark efforts from the Cure ("Disintegration," "Wish"), U2 ("Achtung Baby," "All That You Can't Leave Behind"), Moby ("Play"), Keane ("Hopes and Fears") and Snow Patrol ("Final Straw") that are among the countless original music masterworks released during the stretch. Again, dismissing all music is great fodder for magazine articles. But, I think Bob Dylan might be better off listening to some music once in awhile.
And if all else fails, get a soundcheck courtesy of notable releases from Charlie Musselwhite, Dead Can Dance, Depeche Mode, Radiohead, Coldplay, World Party, Vinnie James, Altered State, Pearl Jam, Lee Rocker, Bright Blue Gorilla, Scarlet Crush, Walter Clevenger & the Dairy Kings, Mel, Lunar Rover, Michael Ubaldini, Social Distortion...the list goes on.
Monday, August 21, 2006
Toad the Wet Sprocket conjures up magic at Galaxy
For me, the 1990s will forever be the decade about a handful of great bands who released strong and timeless material that has been largely overlooked by the world.
DADA, Altered State, the Cranberries and Toad the Wet Sprocket rank on the top of my list and the reason is obvious; excellent songs played with the perfect lineup of players.
On Saturday (August 19, 2006), I got to see the reunited Toad the Wet Sprocket when they made a highly-anticipated stop before a capacity crowd at the Galaxy Concert Theatre in Santa Ana.
Singer-guitarist Glen Phillips, guitarist-singer Todd Nichols, bassist Dean Dinning and drummer Randy Guss were truly firing on all sonic cylinders throughout the 22-song set, which kicked off at 9:30 p.m. and didn’t end until 11:10 p.m. I wish the band could have played all night.
Toad the Wet Sprocket – which played its first show on Sept. 3, 1986 – revisited material from throughout its small but decisive catalog, including audience favorites such as “Something’s Always Wrong” (which kicked off the 100-minute concert), “All I Want,” Crowing,” "Walk on the Ocean" and “Fly From Heaven."
The show was kind of split in half because Glen Phillips played a solo, 2-song acoustic set in the middle to showcase several recent songs. An affected “Easier” (off his “Winter Pays for Summer” disc) was especially strong, with Glen’s distinctive voice driving every line home.
It was also great to hear the ghost of Gram Parsons when the entire band played “Everything But You,” a country-styled song off his most recent disc, “Mr. Lemons.”
Toad the Wet Sprocket has always been a band able to fit comfortably into the folk rock category, but the cast artfully blends rock, pop, country and folk into a magic potion all its own.
For those who like a rock edge, “Hold Her Down” “Fall Down” and “Brother” (with Glen delivering some wah wah-anchored electric guitar work) delivered. For those who like the wistful and emotive songs, Todd sang lead vocals on a tender “Inside” and there were great readings of countrified tracks such as “Stupid,” “Nanci” and “Nightingale Song.”
And one song from 1997's tragically-overlooked “Coil” worked exceptionally well here; the confessional “Whatever I Fear” was among the night's highlights.
An aptly-placed “I Will Not Take These Things for Granted” closed the emotional show; it painfully clear the incredible night was coming to a close.
Come back soon guys, okay? We need you.
Toad the Wet Sprocket set list on Saturday, August 19, 2006:
Something’s Always Wrong
Whatever I Fear
Fly From Heaven
Windmills
Stupid
All I Want
Inside (Todd sang)
Hold Her Down
Come Back Down
GLEN ALONE WITH ACOUSTIC GUITAR
Back On My Feet (off "Abulum")
Easier (off “Winter Pays for Summer”)
ALL FOUR MEMBERS BACK ON STAGE TOGETHER
Everything But You (off “Mr. Lemons”)
Crowing
Nanci
Nightingale Song
Good Intentions
Jam
Brother
Fall Down
ENCORE
Crazy Life (Todd sang)
Walk on the Ocean
I Will Not Take These Things for Granted
DADA, Altered State, the Cranberries and Toad the Wet Sprocket rank on the top of my list and the reason is obvious; excellent songs played with the perfect lineup of players.
On Saturday (August 19, 2006), I got to see the reunited Toad the Wet Sprocket when they made a highly-anticipated stop before a capacity crowd at the Galaxy Concert Theatre in Santa Ana.
Singer-guitarist Glen Phillips, guitarist-singer Todd Nichols, bassist Dean Dinning and drummer Randy Guss were truly firing on all sonic cylinders throughout the 22-song set, which kicked off at 9:30 p.m. and didn’t end until 11:10 p.m. I wish the band could have played all night.
Toad the Wet Sprocket – which played its first show on Sept. 3, 1986 – revisited material from throughout its small but decisive catalog, including audience favorites such as “Something’s Always Wrong” (which kicked off the 100-minute concert), “All I Want,” Crowing,” "Walk on the Ocean" and “Fly From Heaven."
The show was kind of split in half because Glen Phillips played a solo, 2-song acoustic set in the middle to showcase several recent songs. An affected “Easier” (off his “Winter Pays for Summer” disc) was especially strong, with Glen’s distinctive voice driving every line home.
It was also great to hear the ghost of Gram Parsons when the entire band played “Everything But You,” a country-styled song off his most recent disc, “Mr. Lemons.”
Toad the Wet Sprocket has always been a band able to fit comfortably into the folk rock category, but the cast artfully blends rock, pop, country and folk into a magic potion all its own.
For those who like a rock edge, “Hold Her Down” “Fall Down” and “Brother” (with Glen delivering some wah wah-anchored electric guitar work) delivered. For those who like the wistful and emotive songs, Todd sang lead vocals on a tender “Inside” and there were great readings of countrified tracks such as “Stupid,” “Nanci” and “Nightingale Song.”
And one song from 1997's tragically-overlooked “Coil” worked exceptionally well here; the confessional “Whatever I Fear” was among the night's highlights.
An aptly-placed “I Will Not Take These Things for Granted” closed the emotional show; it painfully clear the incredible night was coming to a close.
Come back soon guys, okay? We need you.
Toad the Wet Sprocket set list on Saturday, August 19, 2006:
Something’s Always Wrong
Whatever I Fear
Fly From Heaven
Windmills
Stupid
All I Want
Inside (Todd sang)
Hold Her Down
Come Back Down
GLEN ALONE WITH ACOUSTIC GUITAR
Back On My Feet (off "Abulum")
Easier (off “Winter Pays for Summer”)
ALL FOUR MEMBERS BACK ON STAGE TOGETHER
Everything But You (off “Mr. Lemons”)
Crowing
Nanci
Nightingale Song
Good Intentions
Jam
Brother
Fall Down
ENCORE
Crazy Life (Todd sang)
Walk on the Ocean
I Will Not Take These Things for Granted
Earth, Wind & Fire shows that less is more
When Earth, Wind & Fire and Chicago toured last year, each group performed separate sets and segments of the show together, with EW&F clearly delivering the best moments at a September stop at the Greek Theatre. However, because of the dual design of that bill, the most magical moments of EW&F’s set were spread over 3 1/2 hours.
In a wonderful show at Verizon Wireless Amphitheater in Irvine on Friday night (August 18, 2006) clocking in at a mere 90 minutes, the genre- and time-defying EW&F performed a mix of energetic dance numbers and emotional ballads in ways simply not possible the last time the group rolled through the region.
What has always set EW&F apart from just about any other artist is the way the large ensemble can lock into a dance groove and use a blend of R&B, Motown harmonies, pop, funk and blues to joyous effect. “Shining Star” and “Saturday Nite” were highlights in the early part of the set, but the overall energy and excitement of the band and the connection with the audience continued to build.
And while the range of material covered by the 12-member touring version of the troupe stretched from disco to soulful ballads, there was cohesiveness courtesy of lead vocalist Philip Bailey, bassist Verdine White and the three-member horn section that lifted the performance of all of the songs. Even though inserting a ballad into the middle of a set could easily squash the momentum, EW&F had no worries on this night. During beautiful renditions of “Reasons” and “After the Love Has Gone,” Bailey’s soaring vocals provided the dramatics. During dynamic dance tunes such as “Sing A Song” and “September,” the mix of funky grooves, lush vocals, layered guitars and horn blasts propelled the music in unison with the moving crowd.
In fact, many in the near-capacity crowd stood for much of the concert, providing an additional boost to EW&F as the band played most of its big hits from the 1970s and early 1980s.
In a rare moment as concerts go, the performance of “Fantasy” boasted that magical moment when the combination of great song, talented players and tuned-in audience arrive at some distant place together.
Opener Chris Botti, an accomplished trumpet player, played a solid hour-long set that was a true amalgamation of smooth and adventurous jazz material. Botti and his excellent quartet excelled during instrumental versions of “Cinema Paradiso,” “A Thousand Kisses Deep” and “My Funny Valentine.”
In a wonderful show at Verizon Wireless Amphitheater in Irvine on Friday night (August 18, 2006) clocking in at a mere 90 minutes, the genre- and time-defying EW&F performed a mix of energetic dance numbers and emotional ballads in ways simply not possible the last time the group rolled through the region.
What has always set EW&F apart from just about any other artist is the way the large ensemble can lock into a dance groove and use a blend of R&B, Motown harmonies, pop, funk and blues to joyous effect. “Shining Star” and “Saturday Nite” were highlights in the early part of the set, but the overall energy and excitement of the band and the connection with the audience continued to build.
And while the range of material covered by the 12-member touring version of the troupe stretched from disco to soulful ballads, there was cohesiveness courtesy of lead vocalist Philip Bailey, bassist Verdine White and the three-member horn section that lifted the performance of all of the songs. Even though inserting a ballad into the middle of a set could easily squash the momentum, EW&F had no worries on this night. During beautiful renditions of “Reasons” and “After the Love Has Gone,” Bailey’s soaring vocals provided the dramatics. During dynamic dance tunes such as “Sing A Song” and “September,” the mix of funky grooves, lush vocals, layered guitars and horn blasts propelled the music in unison with the moving crowd.
In fact, many in the near-capacity crowd stood for much of the concert, providing an additional boost to EW&F as the band played most of its big hits from the 1970s and early 1980s.
In a rare moment as concerts go, the performance of “Fantasy” boasted that magical moment when the combination of great song, talented players and tuned-in audience arrive at some distant place together.
Opener Chris Botti, an accomplished trumpet player, played a solid hour-long set that was a true amalgamation of smooth and adventurous jazz material. Botti and his excellent quartet excelled during instrumental versions of “Cinema Paradiso,” “A Thousand Kisses Deep” and “My Funny Valentine.”
Friday, August 18, 2006
The Attraction pushes punk's envelope
It's no wonder the Attraction picked up honors in the Best Punk category at the Southern California Music Awards in February of 2006, and then nabbed top honors in the same category at the Orange County Music Awards two months later.
The group's 12-song debut, "Step Right Up!" is a must have for discerning listeners who love punk. And the Huntington Beach-based outfit's sound is vast enough to include alt-rock, power pop and reggae. The Roundhouse Productions-issued disc features instantly-memorable melodic tracks such as "Tales of a Liar" and "Farewell," as well as the wistful U2-flavored "Christmas Song," the hardcore assault of "Bleed" and reggae tune "Subject to Change." While the original July 2005 pressing of "Step Right Up!" recently sold out, the Attraction is repressing the disc in a special edition format that will include some live cuts.
"These are the greatest and most easy going guys I've ever been with in a band," said drummer Humper T, in an interview conducted after the Attraction tore through a strong 45-minute set at diPiazza in Long Beach on Aug. 10. The band's all-original lineup also features lead singer Lance Romance, guitarist Master John and bassist Beaver.
Watching the quartet perform together on stage, connect with a crowd and talk about the magic of firing on all cylinders, it's easy to see why the Attraction is likely the most aptly-titled outfit around. It's not the great songs alone; dressing in colorful attire and using some select lighting and sound effects to open their performances, they deliver a show that truly combines a powerful rock aesthetic with theater.
"It's fun. We all have grown," said Master John. "We've come in with an open mind. We throw the spaghetti against the wall and see what sticks." Added Lance Romance: "It's not just a band, it's a bond."
The Attraction has found a fast-growing fan base, thanks to airplay on Los Angeles' Indie 103.1 FM, as well as shows at large venues such as the Galaxy Concert Theatre in Santa Ana and opening for Guttermouth at Vault 350 in Long Beach. The band also headlined at the 15th annual Inkslinger's Ball, performing in front of its largest-ever audience at Angel Stadium in April.
Since playing its first show at Gallagher's in Huntington Beach on Oct. 11, 2003, the band has been writing, recording and playing music – all built around a mix of melodic choruses, catchy guitar riffs and enthralling shows. Very soon the Attraction will see if far-off audiences are as receptive as those in their own backyard; the band is playing at the Celebrity Night Club in Las Vegas tonight. In addition, it is going on a nationwide tour in October, including shows in connection with the CMJ Music Marathon festival in New York.
"This band is a second chance at life for me," admitted Beaver, who hadn't played music in several years before the Attraction. "I met Lance and we started the band three years ago. This is everything music should have been when I first started, being involved with a band that is more than four guys playing music. There is so much heart behind every song, but at the same time it's pure fun."
Lance Romance agrees: "I'm of the opinion, that (live) music has lost its entertainment value." That said there is no lack of substance in the Attraction's material. The ramifications of war ("Johnny") and the loss of loved ones ("Still Breathing" was written in the wake of the death of the lead singer's sister three years ago) are among the Attraction's most memorable songs.
"The word of mouth on us is ridiculous," Beaver said. "We haven't done pay to play (the system in which some clubs require artists to sell a minimum number of tickets to play). Once they (audiences) see us, they're sold."
The Attraction will perform at the South Bay Music Awards, 710 Pier Ave., Hermosa Beach, at 8 p.m. on Sept. 9.
Information: www.theattraction.net.
The group's 12-song debut, "Step Right Up!" is a must have for discerning listeners who love punk. And the Huntington Beach-based outfit's sound is vast enough to include alt-rock, power pop and reggae. The Roundhouse Productions-issued disc features instantly-memorable melodic tracks such as "Tales of a Liar" and "Farewell," as well as the wistful U2-flavored "Christmas Song," the hardcore assault of "Bleed" and reggae tune "Subject to Change." While the original July 2005 pressing of "Step Right Up!" recently sold out, the Attraction is repressing the disc in a special edition format that will include some live cuts.
"These are the greatest and most easy going guys I've ever been with in a band," said drummer Humper T, in an interview conducted after the Attraction tore through a strong 45-minute set at diPiazza in Long Beach on Aug. 10. The band's all-original lineup also features lead singer Lance Romance, guitarist Master John and bassist Beaver.
Watching the quartet perform together on stage, connect with a crowd and talk about the magic of firing on all cylinders, it's easy to see why the Attraction is likely the most aptly-titled outfit around. It's not the great songs alone; dressing in colorful attire and using some select lighting and sound effects to open their performances, they deliver a show that truly combines a powerful rock aesthetic with theater.
"It's fun. We all have grown," said Master John. "We've come in with an open mind. We throw the spaghetti against the wall and see what sticks." Added Lance Romance: "It's not just a band, it's a bond."
The Attraction has found a fast-growing fan base, thanks to airplay on Los Angeles' Indie 103.1 FM, as well as shows at large venues such as the Galaxy Concert Theatre in Santa Ana and opening for Guttermouth at Vault 350 in Long Beach. The band also headlined at the 15th annual Inkslinger's Ball, performing in front of its largest-ever audience at Angel Stadium in April.
Since playing its first show at Gallagher's in Huntington Beach on Oct. 11, 2003, the band has been writing, recording and playing music – all built around a mix of melodic choruses, catchy guitar riffs and enthralling shows. Very soon the Attraction will see if far-off audiences are as receptive as those in their own backyard; the band is playing at the Celebrity Night Club in Las Vegas tonight. In addition, it is going on a nationwide tour in October, including shows in connection with the CMJ Music Marathon festival in New York.
"This band is a second chance at life for me," admitted Beaver, who hadn't played music in several years before the Attraction. "I met Lance and we started the band three years ago. This is everything music should have been when I first started, being involved with a band that is more than four guys playing music. There is so much heart behind every song, but at the same time it's pure fun."
Lance Romance agrees: "I'm of the opinion, that (live) music has lost its entertainment value." That said there is no lack of substance in the Attraction's material. The ramifications of war ("Johnny") and the loss of loved ones ("Still Breathing" was written in the wake of the death of the lead singer's sister three years ago) are among the Attraction's most memorable songs.
"The word of mouth on us is ridiculous," Beaver said. "We haven't done pay to play (the system in which some clubs require artists to sell a minimum number of tickets to play). Once they (audiences) see us, they're sold."
The Attraction will perform at the South Bay Music Awards, 710 Pier Ave., Hermosa Beach, at 8 p.m. on Sept. 9.
Information: www.theattraction.net.
Monday, August 07, 2006
Santana; a sound of his own
Like B.B. King, Carlos Santana is one of a handful of guitarists who have a sound so readily recognizable it has become a timeless style all its own. Performing before a near-capacity crowd at Verizon Wireless Amphitheater on Monday night, July 31, 2006, the legendary guitarist led his nine-member troupe on a 2-1/2-hour journey that reached artistic highs even while making some missteps. Before Santana was catapulted back into the spotlight with the success of his 1999 album “Supernatural,” he was best known by fans for his distinctive guitar work and his band’s puercussion-heavy jams. But with that release, and the similarly-formatted followups(“Shaman” and “All That I Am”) boasting well-known guests such as Rob Thomas, Dave Matthews and Los Lonely Boys, Santana has also become a hitmaker. Over the course of his concert on what should have been a beautiful night under the stars (I barely survived all the cigarette smoke engulfing me from every which way...), the 59-year-old guitarist juggled those two sides of his career effectively. There were extended jams where he traded solos with wonderful organ player ChesterThompson and several other members of his band, and he mixed up the set list to reflect flamenco, blues andLatin rock genres he has explored since forming his first group 40 years ago. His fiery and virtuoso guitar work, often delivered amidst a backdrop of horns, congas, timbales and the driving work of drummer Dennis Chambers usually was on the mark. Santana’s guitar work was great throughout the night, but the ensemble at large scored best with material that broke up the extended jams and solos that frequently slowed the momentum of the show. Indeed, along drum solo delivered during the early part of the encore actually proved to be the perfect incentive formany concertgoers to beat the traffic and call it anight. So when Santana and company performed relatively faithful versions of hits such as “Smooth” and the classic “Black Magic Woman,” it actually swept the audience back into the show, getting many on their feet to dance and bring a necessary ingredient to Santana’s pleasing mix. “No One to Depend On” was particularly effective in fusing the best musical and vocal elements that define the Santana sound. Singer Andy Vargas was an energetic and strong-voiced singer throughout the night, while trombone player JeffCressman’s work was particularly strong. All eight songs in Anthony Hamilton’s eight-song set were played well and the Charlotte, North Carolina native delivered serviceable R&B with the help of a strong six-man band and three female backing vocalists. But with the exception of a rousing “Chyna Black,” there was predictability to the sound and the set ultimately didn't catch fire.
Moody Blues deliver a wide-ranging night of music
Who knew the Moody Blues remain one of classic rock’s most powerful rock outfits? Performing before a near-capacity crowd at the Pacific Amphitheatre in Costa Mesa on July 30, the band delivered amemorable concert featuring strong material pulled from across four decades. In a performance that outdistanced the combined efforts of a four act 1960s-themed bill that shared the same stage a week earlier (Vanilla Fudge,Quicksilver Messenger Service, Jefferson Starship and John Kay & Steppenwolf), the Moody Blues made a powerful case for an often-overlooked legacy across a gracious 19-song set that is the band’s only performance this summer. And fans of the group’s most recent collection, 2005’s “Lovely to See You: Live from the Greek,” were basically treated to that same set list here in Costa Mesa. The group (which features three long-time members, as well as four strong supporting members used this night) wasn’t afraid to rework original hits, notably when singer-guitarist Justin Hayward and bassist-singer John Lodge wanted to jam. While “Nights in White Satin” (off the group’s 1967 debut “Days of Future Passed”) remains their best-known album rock track, it was truly only one of a number of highlights. In concert, the group’s psychedelic-styled lush 1960s material (“Nights inWhite Satin,” “Tuesday Afternoon”) blended well with 1970s rockers and more recent pop-styled material that led to a bona fide comeback for the Moody Blues in the1980s. Not many bands have strong material stretching across 40 years, and the Moody Blues didn’t waste that vast repertoire over the course of two hours on Sunday. And rather than just playing hits that mirrored the classic album versions, the seven-member troupe brought urgency to many of the songs. “Tuesday Afternoon” was enhanced by Hayward’s finger-picking style and the support from Norda Mullen on flute.The Moody Blues broke the show into two parts, with each half featuring folk-styled rock and more upbeat rockers. “Steppin’ in a Slide Zone,” “I Know You’re Out There Somewhere” and “The Story in Your Eyes”showcased the band’s natural rock instincts in the first half, while the beautiful “Lean on Me (Tonight)” featured Lodge’s emotive vocals in a setting that showcased the group’s ability to connect with an audience in quieter moments. But truly, the Moody Blues really took off when they delivered a second set. Hayward remains a virtuoso and expressive guitarist, and his skills on the frets were showcased during a muscular “I’m Just A Singer (in aRock and Roll Band)” and again during an extended “Ride My Seesaw” that had everyone in the theater on their feet. And while the haunting “Nights in White Satin” was understandably effective with Hayward’s voice soaring, more recent material (notably the beautiful “DecemberSnow”) was just as thrilling.
Thursday, July 20, 2006
Nils Lofgren, Marcus Eaton, the Blooms; great night!
I'm still reeling after catching a trio of wonderful artists at the Coach House in San Juan Capistrano several nights ago (Tuesday, July 18).
Headlined by E Street guitarist Nils Lofgren, the bill also included singer-guitarist Marcus Eaton and the Blooms (featuring singer-songwriter Allan Goodman).
The magic kicked in at 8 p.m.
Right on time, Fullerton-based The Blooms (singer Allan Goodman, lead guitarist Marcus McMillan and singer Kimberly Ann) took the stage. I had seen Goodman years ago (likely in the mid to late 1990s) as a solo acoustic act, but this show was far greater than any of those performances. His skills as a singer and songwriter are impressive, and the harmonies with Kimberly Ann worked really well. The trio's set included "Someday Maria," "I Wish I Knew What You Wanted," the country-tinged "All the World," "Still," and the infectious rocker "Good Enough." It was a wonderful 30-minute set and I look forward to hopefully catching a fully-electric set from Goodman with a full band soon.
I had never seen Marcus Eaton before Tuesday. Wow, what a guitarist. He performed solo, using a variety of effects and looping devices to build songs on stage and then play guitar and sing over those structures over the course of his 48-minute set. Eaton, whose voice often sounded like that of John Mayer to my ears, featured a number of new songs from his latest CD, "The Story of Now," including the Bruce Cockburn-styled "Drug" (which served as his set opener), rocking "Candle to the Sun" and "Standing Still." Eaton is a singular talent and that was obvious after catching him for the first time.
There is something completely unjust about an artist with Lofgren's talent performing before a less-than-capacity crowd at the Coach House. But those at the show know they were part of the fortunate few; this was a concert that will not be quickly forgotten. His 90-minute show featured Lofgren performing solo (the last time he performed at the Coach House in the 1990s was with a full band) and showcasing his skills as singer, songwriter, guitarist and keyboardist. He opened with the beautiful "Blue Skies" and then picked things up with "You." Both songs provided a chance to hear some of Lofgren's wonderful early 1990s solo work before he introduced a song off his latest album, the aptly-titled "Sacred Weapon." He noted that "Frankie Hang On" was written about a soldier wounded, but in a hurry to get better so he could go back and rejoin his fellow troops again. But his wife didn't want him to go back. It was a serious moment, but Lofgren broke the ice when he apologized that David Crosby and Graham Nash (who sing with him on the CD) couldn't be with him on stage since they were busy with the current CSNY reunion tour. The song was delivered with the kind of emotional and melodic intensity that has matched his supporting work for Springsteen and Neil Young.
The highlights came frequently throughout Lofgren's set: "Girl in Motion" (his extended solo was a gem), "Keith Don't Go" (written for Keith Richards), and a blistering version of Bruce Springsteen's "Because the Night," as well as his entire encore (which included an acoustic "No Mercy" and set-ending "Shine Silently").
There are those anxious for the Boss & E Street Band to regroup and play again soon. But I, for one, am glad Lofgren had a break from that gig to record an impressive new album and head out on tour. One of the best shows I've seen this year. Come again soon Nils...
Headlined by E Street guitarist Nils Lofgren, the bill also included singer-guitarist Marcus Eaton and the Blooms (featuring singer-songwriter Allan Goodman).
The magic kicked in at 8 p.m.
Right on time, Fullerton-based The Blooms (singer Allan Goodman, lead guitarist Marcus McMillan and singer Kimberly Ann) took the stage. I had seen Goodman years ago (likely in the mid to late 1990s) as a solo acoustic act, but this show was far greater than any of those performances. His skills as a singer and songwriter are impressive, and the harmonies with Kimberly Ann worked really well. The trio's set included "Someday Maria," "I Wish I Knew What You Wanted," the country-tinged "All the World," "Still," and the infectious rocker "Good Enough." It was a wonderful 30-minute set and I look forward to hopefully catching a fully-electric set from Goodman with a full band soon.
I had never seen Marcus Eaton before Tuesday. Wow, what a guitarist. He performed solo, using a variety of effects and looping devices to build songs on stage and then play guitar and sing over those structures over the course of his 48-minute set. Eaton, whose voice often sounded like that of John Mayer to my ears, featured a number of new songs from his latest CD, "The Story of Now," including the Bruce Cockburn-styled "Drug" (which served as his set opener), rocking "Candle to the Sun" and "Standing Still." Eaton is a singular talent and that was obvious after catching him for the first time.
There is something completely unjust about an artist with Lofgren's talent performing before a less-than-capacity crowd at the Coach House. But those at the show know they were part of the fortunate few; this was a concert that will not be quickly forgotten. His 90-minute show featured Lofgren performing solo (the last time he performed at the Coach House in the 1990s was with a full band) and showcasing his skills as singer, songwriter, guitarist and keyboardist. He opened with the beautiful "Blue Skies" and then picked things up with "You." Both songs provided a chance to hear some of Lofgren's wonderful early 1990s solo work before he introduced a song off his latest album, the aptly-titled "Sacred Weapon." He noted that "Frankie Hang On" was written about a soldier wounded, but in a hurry to get better so he could go back and rejoin his fellow troops again. But his wife didn't want him to go back. It was a serious moment, but Lofgren broke the ice when he apologized that David Crosby and Graham Nash (who sing with him on the CD) couldn't be with him on stage since they were busy with the current CSNY reunion tour. The song was delivered with the kind of emotional and melodic intensity that has matched his supporting work for Springsteen and Neil Young.
The highlights came frequently throughout Lofgren's set: "Girl in Motion" (his extended solo was a gem), "Keith Don't Go" (written for Keith Richards), and a blistering version of Bruce Springsteen's "Because the Night," as well as his entire encore (which included an acoustic "No Mercy" and set-ending "Shine Silently").
There are those anxious for the Boss & E Street Band to regroup and play again soon. But I, for one, am glad Lofgren had a break from that gig to record an impressive new album and head out on tour. One of the best shows I've seen this year. Come again soon Nils...
Tuesday, July 18, 2006
Uneven vibrations: Only Pato Banton soars at Reggaefest
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.
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.
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.
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