I cherish the opportunity to be able to see rock and roll legends perform. There are some whom I will never see due to being born too late (Jerry Garcia, Freddie Mercury, Buddy Holly, just to name a few), so I feel like it is important to try my best to see anyone who is still living and out there performing. I've been disappointed in the past by some of these performers either because the years have been extremely unkind to their voices and abilities or because they have a difficult time concealing that the passion for the music is gone and they are performing because "it's their job." I honestly did not know how it would be seeing one of the biggest classic rock icons in the world 30 years past what was arguably his prime, but I was not even remotely disappointed. In fact, I walked away from this show with a new-found respect for someone whom I already respected quite a lot.
I admit to being a big Led Zeppelin fan, as much as I admit to not keeping up with what Robert Plant has been up to since those days. I wasn't really paying attention when he and Jimmy Page were continuing to work together, and I never listened to his 2007 collaboration with Alison Krauss (although now I will have to). I don't know quite what I was thinking--I guess I had it in my head that Zeppelin was gone and that anything beyond that would be sub-par.
Turns out, Plant has done what I admire any musician for doing. He has adapted his style and taken his creativity in an entirely different direction without sacrificing any of the quality. His current band, Band of Joy, is a lovely mix of southern classic rock and folk-ey gospel. It never occurred to me that "Black Dog" could be slowed down, funked up, and injected with female vocal harmony, just like I never would have imagined "Ramble On" accompanied by a stand-up bass and a slide guitar. I was equally surprised that Plant could adapt his voice to be mellow and smooth as seamlessly as he can hit those wailing high notes he has always been famous for.
I cannot ignore the amazing arsenal of instruments that came out during this performance. There were multiple mandolins, a mandoguitar, a lap slide guitar, a banjo, a stand-up bass, and even spoons. That shows me that the musicians of the Band of Joy are incredibly versitile. Not only did they pull out an entire music store and show their mastery on every instrument that was played, but they sang in five-part harmony (with Plant) in nearly every song. True vocal talent is hard to come by these days, so I am that much more impressed when I hear it, especially on stage. I can't wait to hear some of those monster harmonies again like in "House of Cards," "Satan Your Kingdom Must Come Down," and the Darrell Scott-led cover of "Satisfied Mind."
As any of the Zeppelin fans in the room were, I, too, was happy to see Plant pull out all the stops in "Rock and Roll" and perform that in traditional Zeppelin fashion. It was fun to see that he still has the raw power he is known for, and it was cool to watch the band take on that edginess that surely is a departure from their usual style. Needless to say, I was pleasantly surprised throughout the whole show, and I am thankful to the fortunate connections I had for even making it possible for me to be there. I hope the Band of Joy continues for some time, as there is nothing more obvious than the fact that everyone in that group lives and breathes all that is music. Anyone with that kind of passion (and talent) needs to continue to share it.
Friday, April 29, 2011
Tuesday, April 26, 2011
CD Review: Breathe Carolina--Hello Fascination (Fearless Records, released 18 August 2009)
Sometimes, I am frustrated by the digital age and how it has affected the production of music. On one hand, it seems like anyone with a computer can become a recording artist these days, regardless of talent. On the other hand, the advances in basic recording software have allowed some truly talented people to create music and bring it to the masses when it would have previously been cost-prohibitive to do so. Such is the case with Breathe Carolina, a duo from Denver. Rumor has it, their first album, It's Classy, Not Classic was created using only the Mac recording program, Garage Band, and without any of the benefits of a studio. Pretty cool.
This album is their second, and it was recorded in a studio. It's a bit difficult to describe the style of the album, as they make use of several different styles throughout. If there is such thing as a rock-dance-pop-electronica-hardcore band, this is it. Most of their use of technology creates a poppy-dancey feel that you don't normally experience in typical rock music. At the same time, one of their vocalists, Kyle Even, uses different pitches of screaming in several of the tracks, which is an element you don't normally experience in typical pop music. I am not generally a huge fan of scream vocals, however, the way the screaming is mixed with the clean vocals of David Schmitt is interesting.
The opening track to this album, "Hello Fascination," is incredibly catchy and certainly lends itself to dancing. It's upbeat enough that I think my mother would like it, and then there is the screaming to attract the more hardcore-type fans. "Welcome to Savannah" sounds more like a mainstream rock song until the crazy electronic breakdown in the middle. Some others, like "Dressed Up to Undress," "Tripped and Fell in Portland," and "Can I Take You Home?" blend into the background for me as a typical dance club soundtrack, and then there's "Rescue," which is almost ballad-like.
I love the fact that these guys are making music without relying on crazy-expensive tools. I love the fact that they are throwing the rules out the window and mixing styles many wouldn't have thought to mix. I love that they're from Denver (and in my opinion, quite a bit more talented than some of the Denver bands who have hit it big in the last few years). I think they already have a spark of originality that many newer bands have difficult finding, and I think they are going to continue to evolve into an extremely cool act that music-lovers should pay attention to. I have not seen them perform live, which is sort of a litmus test to me for how much raw talent a band really has, however I have heard that their live shows do their recording justice. They apparently bring three or four touring musicians with them so that they are able to create their studio magic with real instruments on stage.
I'm excited to hear more, and I hope more people in Denver (including the folks at 93.3) get to know them so that they can start experiencing the level of success I believe they deserve. Check them out if you want something catchy and fun, yet a little bit different.
Track Listing:
1. Hello Fascination
2. I'm the Type of Person to Take it Personally
3. Take Me to Infinity
4. Dressed Up to Undress
5. I.D.G.A.F.
6. Welcome to Savannah
7. I Have to go Return Some Videotapes
8. The Dressing Room
9. Tripped and Fell in Portland
10. Can I Take You Home?
11. My Obsession
12. Velvet
13. Rescue
This album is their second, and it was recorded in a studio. It's a bit difficult to describe the style of the album, as they make use of several different styles throughout. If there is such thing as a rock-dance-pop-electronica-hardcore band, this is it. Most of their use of technology creates a poppy-dancey feel that you don't normally experience in typical rock music. At the same time, one of their vocalists, Kyle Even, uses different pitches of screaming in several of the tracks, which is an element you don't normally experience in typical pop music. I am not generally a huge fan of scream vocals, however, the way the screaming is mixed with the clean vocals of David Schmitt is interesting.
The opening track to this album, "Hello Fascination," is incredibly catchy and certainly lends itself to dancing. It's upbeat enough that I think my mother would like it, and then there is the screaming to attract the more hardcore-type fans. "Welcome to Savannah" sounds more like a mainstream rock song until the crazy electronic breakdown in the middle. Some others, like "Dressed Up to Undress," "Tripped and Fell in Portland," and "Can I Take You Home?" blend into the background for me as a typical dance club soundtrack, and then there's "Rescue," which is almost ballad-like.
I love the fact that these guys are making music without relying on crazy-expensive tools. I love the fact that they are throwing the rules out the window and mixing styles many wouldn't have thought to mix. I love that they're from Denver (and in my opinion, quite a bit more talented than some of the Denver bands who have hit it big in the last few years). I think they already have a spark of originality that many newer bands have difficult finding, and I think they are going to continue to evolve into an extremely cool act that music-lovers should pay attention to. I have not seen them perform live, which is sort of a litmus test to me for how much raw talent a band really has, however I have heard that their live shows do their recording justice. They apparently bring three or four touring musicians with them so that they are able to create their studio magic with real instruments on stage.
I'm excited to hear more, and I hope more people in Denver (including the folks at 93.3) get to know them so that they can start experiencing the level of success I believe they deserve. Check them out if you want something catchy and fun, yet a little bit different.
Track Listing:
1. Hello Fascination
2. I'm the Type of Person to Take it Personally
3. Take Me to Infinity
4. Dressed Up to Undress
5. I.D.G.A.F.
6. Welcome to Savannah
7. I Have to go Return Some Videotapes
8. The Dressing Room
9. Tripped and Fell in Portland
10. Can I Take You Home?
11. My Obsession
12. Velvet
13. Rescue
Thursday, September 16, 2010
CD Review: St. Etienne--So Tough (Warner Brothers, released 9 March 1993)
Apparently, I'm on a bit of an English indie kick. This album came to me at the recommendation of my friend, David, a fellow dancer. Dancers are such a wonderful resource for cool music! I was given three of St. Etienne's albums to listen to, and this one stood out to me the most out of the three. They have seven studio albums out there, so I have probably barely scratched the surface, but the best way I can describe what I've heard so far is "the kind of music you hear in a really cool coffee shop and have to ask the barista what it is." I think a new genre needs to be created for THAT.
Sarah Cracknell's voice is intoxicating. It's not extremely dynamic, nor does it dominate. She has a very even tone, and rarely fluctuates range or intensity. Yet, it draws the listener in. It's almost as if she is quietly summoning you to come closer so that she can tell you the answer to life (or something equally profound). The first track on the album, "Mario's Cafe" is a perfect example of this. Although the next couple of tracks are not particularly vocal, you are already in. If you're listening on headphones, you're anticipating what's next. If you're listening with this in the background, you're quietly grooving while carrying on your conversation. Hypnotic? Maybe.
My favorite tracks on the album come back to back right in the middle. "You're in a Bad Way" has a catchy melody and is more upbeat. Music is a very visual experience for me, and I can envision people dancing casually while listening. Or, again, people sitting in a cafe nodding to the beat and tapping fingers and toes as they sip and converse. "Hobart Paving" is a lovely ballad that starts out a little slow and then builds as it goes. I don't particularly understand what the lyrics mean (which I will touch on more), but the vocals are delicately woven and enticing all the same. "Leafhead" again is more upbeat and dance-y. This is one of those songs where I don't know where the melody is going to go next. I love songs that make me guess like that.
A huge strength of this album is the instrumental work. They use all sorts of things you would not expect (flutes, harpsichords, some sort of middle eastern instrument that has a proper name that I don't know), not to mention lots of electronic sampling. One of the tracks ("Conchita Martinez") includes a sample from Rush's "Spirit of Radio," which gained major points in my book, even though that was not one of my favorite tracks on the album. I enjoy electronic creativity if it is not abused. They also interject quick transitions between each song that are random in nature and don't seem to have a whole lot to do with the songs they are sandwiched between. I think it's kind of a nice little break. Makes you pay attention.
I am a little frustrated at my inability to connect with the lyrics. Poetry in music is important to me (although not the be-all-end-all). It's not that the lyrics are bad or non-sensical... it's just that I'm not moved. Some of that could be my own lack of experience with this band. Sometimes lyrics have a story that one could only know by getting to know a particular artist better (i.e. Phish and their lyrical nonsense). It could also be that this music is designed to be the background to something else (like dancing or hanging out at a cafe) and the lyrics shouldn't be so involved in such cases. I'm not sure.
Now that I've dipped my toes in, I want to hear more. I want to see how their style evolved over the years, as this album was only their second. I know there were some personnel changes over the years, and that always takes bands for a turn. This is a group I will certainly look into more and fall back on when I need a relaxed ambiance.
Track Listing:
1. Mario's Cafe
2. Railway Jam
3. Date With Spelman
4. Calico
5. Avenue
6. You're In a Bad Way
7. Memo to Pricey
8. Hobart Paving
9. Leafhound
10. Clock Milk
11. Conchita Martinez
12. No Rainbows For Me
13. Here Come Clown Feet
14. Junk the Morgue
15. Chicken Soup
16. Join Our Club
Sarah Cracknell's voice is intoxicating. It's not extremely dynamic, nor does it dominate. She has a very even tone, and rarely fluctuates range or intensity. Yet, it draws the listener in. It's almost as if she is quietly summoning you to come closer so that she can tell you the answer to life (or something equally profound). The first track on the album, "Mario's Cafe" is a perfect example of this. Although the next couple of tracks are not particularly vocal, you are already in. If you're listening on headphones, you're anticipating what's next. If you're listening with this in the background, you're quietly grooving while carrying on your conversation. Hypnotic? Maybe.
My favorite tracks on the album come back to back right in the middle. "You're in a Bad Way" has a catchy melody and is more upbeat. Music is a very visual experience for me, and I can envision people dancing casually while listening. Or, again, people sitting in a cafe nodding to the beat and tapping fingers and toes as they sip and converse. "Hobart Paving" is a lovely ballad that starts out a little slow and then builds as it goes. I don't particularly understand what the lyrics mean (which I will touch on more), but the vocals are delicately woven and enticing all the same. "Leafhead" again is more upbeat and dance-y. This is one of those songs where I don't know where the melody is going to go next. I love songs that make me guess like that.
A huge strength of this album is the instrumental work. They use all sorts of things you would not expect (flutes, harpsichords, some sort of middle eastern instrument that has a proper name that I don't know), not to mention lots of electronic sampling. One of the tracks ("Conchita Martinez") includes a sample from Rush's "Spirit of Radio," which gained major points in my book, even though that was not one of my favorite tracks on the album. I enjoy electronic creativity if it is not abused. They also interject quick transitions between each song that are random in nature and don't seem to have a whole lot to do with the songs they are sandwiched between. I think it's kind of a nice little break. Makes you pay attention.
I am a little frustrated at my inability to connect with the lyrics. Poetry in music is important to me (although not the be-all-end-all). It's not that the lyrics are bad or non-sensical... it's just that I'm not moved. Some of that could be my own lack of experience with this band. Sometimes lyrics have a story that one could only know by getting to know a particular artist better (i.e. Phish and their lyrical nonsense). It could also be that this music is designed to be the background to something else (like dancing or hanging out at a cafe) and the lyrics shouldn't be so involved in such cases. I'm not sure.
Now that I've dipped my toes in, I want to hear more. I want to see how their style evolved over the years, as this album was only their second. I know there were some personnel changes over the years, and that always takes bands for a turn. This is a group I will certainly look into more and fall back on when I need a relaxed ambiance.
Track Listing:
1. Mario's Cafe
2. Railway Jam
3. Date With Spelman
4. Calico
5. Avenue
6. You're In a Bad Way
7. Memo to Pricey
8. Hobart Paving
9. Leafhound
10. Clock Milk
11. Conchita Martinez
12. No Rainbows For Me
13. Here Come Clown Feet
14. Junk the Morgue
15. Chicken Soup
16. Join Our Club
Friday, September 10, 2010
CD Review: Mika--Life in Cartoon Motion (Universal Records, Released 27 March 2007)
I'm in love. I heard this album in a friend's car while listening casually, and I was sure I was listening to some long-lost Freddie Mercury side project. Never in a million years would I have imagined that there is actually another voice out there like Freddie's. I want to be careful here: I understand that Mika is NOT Freddie Mercury, and I understand that I may receive serious backlash for even comparing the two, however, I bet you will understand what I'm talking about if you give the album a spin. Even Brian May (Queen guitarist) has mentioned that he is impressed with what this guy is doing and has invited Mika to sing with the remaining Queen members a few times. Like I said, I'm in love. Not having seen Queen live is one of my biggest "born too late" regrets, and I may have found a way to get sort of close.
Anyway, back to the album. It's hard for me to form a solid overall impression because there seem to be a lot of eclectic styles involved. There is a heavy disco influence on several of the songs, and he makes good use of technological enhancements. While I always appreciate creative use of technology, I was also happy to see videos of live performances and to see musicians on the stage playing real instruments. I think electronica absolutely has its place in the music industry, and I appreciate it for what it is, however, I get irritated by studio magic that is used to cover a lack of talent. That is not the case here.
Tracks like "Love Today," "Lollipop," and "Big Girl (You Are Beautiful)" make it difficult for me to sit down while listening. Being back in the dancing world, I am finding myself more and more drawn toward music that makes me want to get up and dance with reckless abandon. Those are the types of songs I see myself turning to over and over again when I need to clean the house. I could also see myself flipping to those songs repeatedly when I feel the urge to attempt to lindy hop to something random. There is no shame in dancing around your home by yourself!
While demonstrating the ability to create dance-able songs, Mika also showcases his ability to form lovely and meaningful ballads on this album ("Any Other World," "Over My Shoulder," "Happy Ending"). My personal favorite is "Happy Ending." There is a lot of layering used, especially at the end, which I think is very effective. Again, not to freak anyone out with the Queen comparison, but the way the ending is dubbed, it reminds me of how "Somebody to Love" was created. Despite the lyrics of that tune being rather sad, the song is a total pick-me-up as a result of the way it is constructed. Shows that sappy love songs don't always have to be depressing.
I want to make a particular note about "Grace Kelly." This song has become my new theme song. If you choose to look it up, read the lyrics carefully, as they are not what they seem at first. I think it is a brilliantly written song. The music is catchy, he has a chance to show off his crystal-clear falsetto, the piano is a compliment to the melody without being overbearing, and the lyrics capture my attitude as of late. This song is a demonstration that Mika does not apologize for who he is, nor do I think anyone should.
I know he has put out an album since (The Boy Who Knew Too Much), and I have caught a couple of single tracks off of it. I look forward to listening to that album in its entirety to see how his style has developed and/or changed. Apparently, he has been writing some more and is working on a third full-length project. Based on the videos I've seen, he seems to put on quite a show, so maybe someday I will see him sing live. Rumor has it, he has never used auto-tune, even in the studio, which I think is incredible. I can see where this type of music would rub some people the wrong way, but I say give it a listen. Let me know.
Track Listing:
1. Grace Kelly
2. Lollipop
3. My Interpretation
4. Love Today
5. Relax, Take it Easy
6. Ring Ring
7. Any Other World
8. Billy Brown
9. Big Girl (You Are Beautiful)
10. Stuck in the Middle
11. Erase
12. Happy Ending
13. Over My Shoulder (hidden track)
14. Grace Kelly (acoustic, iTunes bonus track)
Anyway, back to the album. It's hard for me to form a solid overall impression because there seem to be a lot of eclectic styles involved. There is a heavy disco influence on several of the songs, and he makes good use of technological enhancements. While I always appreciate creative use of technology, I was also happy to see videos of live performances and to see musicians on the stage playing real instruments. I think electronica absolutely has its place in the music industry, and I appreciate it for what it is, however, I get irritated by studio magic that is used to cover a lack of talent. That is not the case here.
Tracks like "Love Today," "Lollipop," and "Big Girl (You Are Beautiful)" make it difficult for me to sit down while listening. Being back in the dancing world, I am finding myself more and more drawn toward music that makes me want to get up and dance with reckless abandon. Those are the types of songs I see myself turning to over and over again when I need to clean the house. I could also see myself flipping to those songs repeatedly when I feel the urge to attempt to lindy hop to something random. There is no shame in dancing around your home by yourself!
While demonstrating the ability to create dance-able songs, Mika also showcases his ability to form lovely and meaningful ballads on this album ("Any Other World," "Over My Shoulder," "Happy Ending"). My personal favorite is "Happy Ending." There is a lot of layering used, especially at the end, which I think is very effective. Again, not to freak anyone out with the Queen comparison, but the way the ending is dubbed, it reminds me of how "Somebody to Love" was created. Despite the lyrics of that tune being rather sad, the song is a total pick-me-up as a result of the way it is constructed. Shows that sappy love songs don't always have to be depressing.
I want to make a particular note about "Grace Kelly." This song has become my new theme song. If you choose to look it up, read the lyrics carefully, as they are not what they seem at first. I think it is a brilliantly written song. The music is catchy, he has a chance to show off his crystal-clear falsetto, the piano is a compliment to the melody without being overbearing, and the lyrics capture my attitude as of late. This song is a demonstration that Mika does not apologize for who he is, nor do I think anyone should.
I know he has put out an album since (The Boy Who Knew Too Much), and I have caught a couple of single tracks off of it. I look forward to listening to that album in its entirety to see how his style has developed and/or changed. Apparently, he has been writing some more and is working on a third full-length project. Based on the videos I've seen, he seems to put on quite a show, so maybe someday I will see him sing live. Rumor has it, he has never used auto-tune, even in the studio, which I think is incredible. I can see where this type of music would rub some people the wrong way, but I say give it a listen. Let me know.
Track Listing:
1. Grace Kelly
2. Lollipop
3. My Interpretation
4. Love Today
5. Relax, Take it Easy
6. Ring Ring
7. Any Other World
8. Billy Brown
9. Big Girl (You Are Beautiful)
10. Stuck in the Middle
11. Erase
12. Happy Ending
13. Over My Shoulder (hidden track)
14. Grace Kelly (acoustic, iTunes bonus track)
Saturday, August 21, 2010
Rush, 18 August 2010 (Red Rocks Amphitheater)
I have never written about Rush before. I have never done this because my whole experience with this band and their music has been too overwhelming for me to form coherent words about. Why write about this show? Because it was the perfect night for a Rush show. I saw them on the 16th as well, but the 18th was special. I was late to the show because I was attending a late-night staff meeting at work. During said meeting, it was announced that our program is closing, and we are all losing our jobs. It was a little much to take in all at once, and Rush was the best distraction that could have been offered.
Unlike on the 16th, the band was basically flawless. I was glad to have seen the show on the 16th so I could catch some of the gems from the beginning of the set (especially "Presto" and "Time Stand Still" which I had never heard live), however they were musically off, and technology was giving them a fit. Everyone seems to agree it was not one of their best shows. At the same time, I secretly like it when they mess up... proves them human. The show on the 18th was every bit the musical and technological genius I have come to expect from these guys.
They did some things that they are not typically known to do. There was more than one incident involving Geddy Lee (bassist) and Alex Lifeson (guitarist) up at the front of the stage just wailing away, throwing caution to the wind. Their show was controlled and professional as always, yet it seems like they are letting go just a little. We all know how much raw talent each of them has, and it seems as though they are becoming more and more willing to let it all hang out instead of choreographing each note. For example, the third verse of "Closer to the Heart" was altered into this funky, jam-tastic triplet section. Don't even get me started on what they did to the entire stretch of "Working Man."
I cannot allow "The Camera Eye" go unnoticed. To my knowledge, this tour marks the first time this was ever played. Never before have I heard such an even-volumed wall of sound delivered. That is the drawback of a live show--depending on where you are sitting, you will hear either more guitar, more bass, whatever. These three guys know how to work a sound system. The slow 4/4 section that leads up to the first verse was so powerful, i had a cartoon-like vision of the music literally blowing everyone's hair back. It was loud, but not overly so. Just strong. Intense. And the video they paired with the tune was perfect.
Another highlight was the new tune, "BU2B." I like this one best out of the two new ones released, but I was not prepared for how incredible it would sound live. I forget sometimes how hard their style can be. The pyro and lighting that accompanied this tune brought power to it that cannot be achieved on recording. I was glad to see some of the lyrics incorporated into the video--due to the tune being new, I don't know the lyrics word for word yet. Of course, much of my draw to their music lies in the brilliantly written lyrics, so it helped to see them pointed out as I was already being physically affected by the music.
It's always good to hear the classics ("The Spirit of Radio," "Tom Sawyer," "Freewill," among others), and I feel like the setlist was pretty balanced between the big well-known tunes and others that aren't played as often. Hearing Moving Pictures in its entirety was a treat for any true fan and reminded me of cool tunes like "Witch Hunt" and "Vital Signs" that don't always immediately come to mind when I think of Rush.
Geddy's voice sounded good, although it seems as though he may have tour fatigue. Or altitude fatigue. He sounded strong and nailed the high notes, but he had some noticeable out-of-tune spots. Unusual for him. On the other hand, his bass tone was brutal (more so than usual), which made up for any weak spots in his voice. Alex was in rare form. His energy was higher than I've ever seen it, and he was taking risks with his solos that I'm not used to seeing him take. Sometimes it worked, sometimes it didn't, but it was so cool to see him really putting it out there. And I have to give Neil Peart (drummer) credit. His solo was mesmerizing to me. He keeps pushing himself to achieve new rhythm combos, and the effort pays off. I found myself in sort of a trance-like state during the solo. I sure hope I can move with that much dexterity and agility when I am his age.
I'm thankful that I got to go straight from bad news at work to such a great musical experience. I took precautions to not further damage my hearing, and am happy to say that it didn't affect the intensity. In fact, I felt the music more than I ever have due to not hearing it with the same incredible volume. Perhaps I will start doing that regularly at concerts. We'll see ;)
Unlike on the 16th, the band was basically flawless. I was glad to have seen the show on the 16th so I could catch some of the gems from the beginning of the set (especially "Presto" and "Time Stand Still" which I had never heard live), however they were musically off, and technology was giving them a fit. Everyone seems to agree it was not one of their best shows. At the same time, I secretly like it when they mess up... proves them human. The show on the 18th was every bit the musical and technological genius I have come to expect from these guys.
They did some things that they are not typically known to do. There was more than one incident involving Geddy Lee (bassist) and Alex Lifeson (guitarist) up at the front of the stage just wailing away, throwing caution to the wind. Their show was controlled and professional as always, yet it seems like they are letting go just a little. We all know how much raw talent each of them has, and it seems as though they are becoming more and more willing to let it all hang out instead of choreographing each note. For example, the third verse of "Closer to the Heart" was altered into this funky, jam-tastic triplet section. Don't even get me started on what they did to the entire stretch of "Working Man."
I cannot allow "The Camera Eye" go unnoticed. To my knowledge, this tour marks the first time this was ever played. Never before have I heard such an even-volumed wall of sound delivered. That is the drawback of a live show--depending on where you are sitting, you will hear either more guitar, more bass, whatever. These three guys know how to work a sound system. The slow 4/4 section that leads up to the first verse was so powerful, i had a cartoon-like vision of the music literally blowing everyone's hair back. It was loud, but not overly so. Just strong. Intense. And the video they paired with the tune was perfect.
Another highlight was the new tune, "BU2B." I like this one best out of the two new ones released, but I was not prepared for how incredible it would sound live. I forget sometimes how hard their style can be. The pyro and lighting that accompanied this tune brought power to it that cannot be achieved on recording. I was glad to see some of the lyrics incorporated into the video--due to the tune being new, I don't know the lyrics word for word yet. Of course, much of my draw to their music lies in the brilliantly written lyrics, so it helped to see them pointed out as I was already being physically affected by the music.
It's always good to hear the classics ("The Spirit of Radio," "Tom Sawyer," "Freewill," among others), and I feel like the setlist was pretty balanced between the big well-known tunes and others that aren't played as often. Hearing Moving Pictures in its entirety was a treat for any true fan and reminded me of cool tunes like "Witch Hunt" and "Vital Signs" that don't always immediately come to mind when I think of Rush.
Geddy's voice sounded good, although it seems as though he may have tour fatigue. Or altitude fatigue. He sounded strong and nailed the high notes, but he had some noticeable out-of-tune spots. Unusual for him. On the other hand, his bass tone was brutal (more so than usual), which made up for any weak spots in his voice. Alex was in rare form. His energy was higher than I've ever seen it, and he was taking risks with his solos that I'm not used to seeing him take. Sometimes it worked, sometimes it didn't, but it was so cool to see him really putting it out there. And I have to give Neil Peart (drummer) credit. His solo was mesmerizing to me. He keeps pushing himself to achieve new rhythm combos, and the effort pays off. I found myself in sort of a trance-like state during the solo. I sure hope I can move with that much dexterity and agility when I am his age.
I'm thankful that I got to go straight from bad news at work to such a great musical experience. I took precautions to not further damage my hearing, and am happy to say that it didn't affect the intensity. In fact, I felt the music more than I ever have due to not hearing it with the same incredible volume. Perhaps I will start doing that regularly at concerts. We'll see ;)
Wednesday, March 17, 2010
Phish Festival 8, 30 October - 1 November 2009 (Empire Polo Grounds, Indio, CA)
This was a little while ago, so it's not like I can pull out a whole bunch of technical details or anything... but because it is the first and only Phish festival I've managed to attend across all these years, I felt like it deserved some attention. Before I dive into the music aspect of this, I just want to express my amazement at the whole setup. From others who have been to other Phish festivals, it sounds like this one paled in comparison. That said, I was impressed. From the ferris wheel to the giant balloon-lighty-up-thingy to the castle-coil to the fire art to the immaculate port-a-potties... the whole thing was a sight to behold. The weather was gorgeous and the people were great.
I had a notion that it would be interesting to experience the festival as a member of the Work Exchange Team. First of all, I thought it would give me a chance to give back by putting in some sweat to make the show happen. Second of all, it made the show free. I already had to trek out to CA (of course, I was headed out there anyway, but that's beside the point), so a free three days of music was enticing. I'm not going to go into a lengthy tirade bashing the WET, but suffice it to say I won't be doing that again probably. Had to try it... now I know. Email me if you're ever considering it so I can fill you in on some things they may not tell you.
Anyway, I missed the Friday night set. I didn't get into LAX until quite late that night.
Got to Indio in plenty of time Saturday afternoon to catch all three sets. I have to admit, I was concerned. The last Phish show I saw was on 4 July 2000, and they were sounding rough. They were all irritated with each other, their jams were directionless, and the crowd was just miserable to be around. When they announced their hiatus, I was relieved in a weird way. I was not particularly interested in their comeback in 2004 basically because I figured it would be more of the same. When I caught wind of the 2008 comeback, my curiosity just got the best of me.
I was so impressed at how good they sounded. Their vocals were tight and their jams were well controlled. Trey Anastasio just seemed... happy. It was like they were enjoying it again, and that was cool to see. I think it really reflects in the music when the artists are not having a good time. From that afternoon set on Saturday, I also noticed how much each band member has advanced individually in the years that they haven't been playing as Phish. Particularly noteworthy was Mike Gordon and this whole new level of funk he's reached on the bass. He was always outstanding, but now his tone and style are just fithy dirty. In a good way. The crowd was mellow and everyone was just having a good time.
Saturday night, all the stops came out. The Halloween set (a full cover of the Rolling Stones album Exile on Main Street) was great, although I was using that time to explore the vastness of the field setup. I had some fun with the fire art (it was interactive--hard to explain) and drew on the walls inside the coil-castle (which was encouraged). There were lots of vendors set up in the concert field, so I walked around just taking the music in. They absolutely did the album justice. I still would have liked to have heard them try MGMT's Oracular Spectacular, which they were supposedly considering, but I'll take old school Stones any day.
The third set was outstanding, as I was able to get up close and personal. Most notable were Fluffhead and YEM. Back in the day when I was going to a lot of Phish shows, there were certain songs that spawned audience-wide glow stick wars. This is no longer the case. Glowsticks are being thrown en masse at all times. Fortunately, most concert-goers have switched to the thin and flimsy glow sticks instead of the hard shelled chem lights that hurt like hell when they hit you in the head. It's actually really cool because they chuck 'em in coordination with the climaxes in the music. Such a fun scene. And Chris Kuroda really outdid himself with the light show. I'm always impressed with his genius, but this was a level above what I remembered.
Sunday, I didn't get to see or hear much. I was working all day off site for the WET, and I had heard that the acoustic set they pulled out in the afternoon was just so-so. I have since heard this set on a recording, and it was absolutely fantastic. Vocally, they are sounding better than they ever have. Really. The harmonies are spot-on and they are blending much better than they used to (and they always blended pretty well). It was interesting to see a big jam song like "The Curtain" done unplugged, and I never would have expected them to attempt "Wilson" without the electric guitar. Those kind of surprises are what make Phish fun to see over and over. You just never know what they're going to try and do. Wish I'd seen it in person.
I caught the very tail end of the last set on Sunday and just stood at the back of the field, taking in the light show. It was a very nostalgic experience for me. I had so many memories along the way of all the random shows I travelled to see... all the crazy things that would happen along the way. I was reminded why I love live music and how I just love the way it brings people together. I do want to see Phish again because it seems like they really are on top of their game. I also want to get my butt out to another Phish festival if they have one, just for the experience. They sure do know how to put on a show.
I had a notion that it would be interesting to experience the festival as a member of the Work Exchange Team. First of all, I thought it would give me a chance to give back by putting in some sweat to make the show happen. Second of all, it made the show free. I already had to trek out to CA (of course, I was headed out there anyway, but that's beside the point), so a free three days of music was enticing. I'm not going to go into a lengthy tirade bashing the WET, but suffice it to say I won't be doing that again probably. Had to try it... now I know. Email me if you're ever considering it so I can fill you in on some things they may not tell you.
Anyway, I missed the Friday night set. I didn't get into LAX until quite late that night.
Got to Indio in plenty of time Saturday afternoon to catch all three sets. I have to admit, I was concerned. The last Phish show I saw was on 4 July 2000, and they were sounding rough. They were all irritated with each other, their jams were directionless, and the crowd was just miserable to be around. When they announced their hiatus, I was relieved in a weird way. I was not particularly interested in their comeback in 2004 basically because I figured it would be more of the same. When I caught wind of the 2008 comeback, my curiosity just got the best of me.
I was so impressed at how good they sounded. Their vocals were tight and their jams were well controlled. Trey Anastasio just seemed... happy. It was like they were enjoying it again, and that was cool to see. I think it really reflects in the music when the artists are not having a good time. From that afternoon set on Saturday, I also noticed how much each band member has advanced individually in the years that they haven't been playing as Phish. Particularly noteworthy was Mike Gordon and this whole new level of funk he's reached on the bass. He was always outstanding, but now his tone and style are just fithy dirty. In a good way. The crowd was mellow and everyone was just having a good time.
Saturday night, all the stops came out. The Halloween set (a full cover of the Rolling Stones album Exile on Main Street) was great, although I was using that time to explore the vastness of the field setup. I had some fun with the fire art (it was interactive--hard to explain) and drew on the walls inside the coil-castle (which was encouraged). There were lots of vendors set up in the concert field, so I walked around just taking the music in. They absolutely did the album justice. I still would have liked to have heard them try MGMT's Oracular Spectacular, which they were supposedly considering, but I'll take old school Stones any day.
The third set was outstanding, as I was able to get up close and personal. Most notable were Fluffhead and YEM. Back in the day when I was going to a lot of Phish shows, there were certain songs that spawned audience-wide glow stick wars. This is no longer the case. Glowsticks are being thrown en masse at all times. Fortunately, most concert-goers have switched to the thin and flimsy glow sticks instead of the hard shelled chem lights that hurt like hell when they hit you in the head. It's actually really cool because they chuck 'em in coordination with the climaxes in the music. Such a fun scene. And Chris Kuroda really outdid himself with the light show. I'm always impressed with his genius, but this was a level above what I remembered.
Sunday, I didn't get to see or hear much. I was working all day off site for the WET, and I had heard that the acoustic set they pulled out in the afternoon was just so-so. I have since heard this set on a recording, and it was absolutely fantastic. Vocally, they are sounding better than they ever have. Really. The harmonies are spot-on and they are blending much better than they used to (and they always blended pretty well). It was interesting to see a big jam song like "The Curtain" done unplugged, and I never would have expected them to attempt "Wilson" without the electric guitar. Those kind of surprises are what make Phish fun to see over and over. You just never know what they're going to try and do. Wish I'd seen it in person.
I caught the very tail end of the last set on Sunday and just stood at the back of the field, taking in the light show. It was a very nostalgic experience for me. I had so many memories along the way of all the random shows I travelled to see... all the crazy things that would happen along the way. I was reminded why I love live music and how I just love the way it brings people together. I do want to see Phish again because it seems like they really are on top of their game. I also want to get my butt out to another Phish festival if they have one, just for the experience. They sure do know how to put on a show.
Saturday, March 13, 2010
CD Review: Candlebox--Into the Sun (Silent Majority Recordings, released 22 July 2008)
First of all, I'm back for real this time. I regret that there are a ton of shows I've seen in the past two years that probably won't get their due review... but I guess sometimes life takes us in directions we don't expect, and we become distracted from things we started. Nonetheless, I've been re-inspired, and would like to share some of the gems I've found recently.
On to Candlebox. Remember these guys from the early-mid 1990's? Like many of you probably, I figured they shared a similar fate to many of the bands from that time. Creative differences... lust for the spotlight/money... drugs... whatever the cause of death, I figured they had broken up and died somehow. Apparently they did go through a bit of a hiatus, and then they came back with a vengeance.
I admit that I am not that well-versed in their early stuff. I know some of their stand-out hits that got played on the radio a lot ("Far Behind," "You"), but I don't own any of their older albums and could only make superficial remarks about their sound. When I heard they were touring in 2008, I had to see what it was all about. I expected some tired, washed-up individuals just looking to hold on to a former life... BOY was I surprised. I was blown away by what I saw live, and immediately went out and bought the new album they were supporting with that tour.
Kevin Martin's voice is pyrotechnical. He has an impressive range and can hit notes in the stratosphere without screaming. He can also scream without it grating on the listener. His lyrics are raw, and he is able to deliver the emotional nature of them even in the studio. He goes from pissed off ("Stand," "How Does It Feel") to sentimental ("Miss You," "Consider Us") and somehow stays genuine throughout.
They've never been known for incredibly intricate guitar work, however Peter Klett has a keen ability to create riffs and solos that fit the atmosphere without being overbearing. He is given the opportunity to show what he can do in an extended intro to the ballad "Breathe Me In," and it's impressive. He blends when he needs to, and he shows off when there is space. The tone of his work is beautiful, which is especially important in the slower, more emotional songs. At the same time, he finds the grit he needs to pull off the rawness and anger in some of the others.
I'm a fan of interesting melodies--moments where songs take an unexpected turn. Melodically, I think the title track is one of the best. I'm always impressed when bands can put together chords and progressions that most people would not have thought of. If I find myself being able to predict the melody of a song when I've never heard it before, I'm oddly disappointed. For car-singing purposes, "Into the Sun" was a difficult one to master at first due to it's odd progressions, however as a listener, that's the type of creativity that keeps me interested.
You may have heard "Miss You" on the radio. I have not yet, but I know it's out there. I also know that, while the song was written by Kevin about losing his father, there is a connection to missing loved ones who are overseas fighting for our country. Candlebox released a music video of this song which is based around soldiers leaving home and coming back. It's available on YouTube, and I highly recommend you take a look.
This album has surprisingly become one of my favorite go-to's. I just don't get tired of it for some reason. I never thought I'd be chasing after a band who seemed to be well over their prime. Now that I've gone back to listen to their older albums, I've learned that they were always decent, and they have matured and developed into a band that has quite a lot of depth. I'll for sure be watching for the next time they're in town and I can't wait to see what happens when they get back in the studio.
Track Listing:
1. Stand
2. Bitches Brewin'
3. Surrender
4. Into the Sun
5. Underneath It All
6. Miss You
7. How Does It Feel
8. A Kiss Before Dying
9. Breathe Me In (Intro)
10. Breathe Me In
11. Lover Come Back to Me
12. Consider Us
13. The Answer (iTunes Bonus Track)
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