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 ;)
Saturday, August 21, 2010
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)
Thursday, August 23, 2007
CD Review: Yes--90125 (Atlantic Recording Corporation, released 7 November 1983)
It's been a while, but certainly not due to lack of interest on my part or anything like that. If anything, I've been more musically awake this summer than I have in a long time. I've been busy re-discovering my favorite band (Rush), which has led to all sorts of strange events and experiences.
Eventually, I do want to write about Rush (and their entire musical collection, not to mention their dynamite 2007 Snakes & Arrows Tour), but I just can't do it right now for the same reasons I can't effectively write about The Grateful Dead or Phish or Pink Floyd right now--the task is just too daunting. Stay tuned for all of that.
Instead, I decided to delve into the collection of a band that Rush claims influenced them more than a little. I've always known about Yes (and for those of you who think you've never heard of them, you are most certainly familiar with "Owner of a Lonely Heart," which is the opening track of this album), but I've never paid much attention. Their music just never grabbed me for whatever reason. After listening to Rush so much over the last few months, I think my ears must just have been primed to hear this, because I am enjoying this music MUCH more than I thought I would.
I did some research and discovered that during their 90125 Tour, Yes would open the show with the quick instrumental "Cinema" (which is actually the 5th song on the album) and then follow it with "Leave It." Since they were opening their shows this way, I figured I would listen to the album that way as well--start with track 5, and go in order from there. I was immediately taken by musical complexity I had no idea Yes possessed. "Cinema" is an absolute balls-to-the-wall showcase of the instrumental ability of everyone in the group, particularly the bass of Chris Squire and the keyboards of Tony Kaye.
"Leave It" is the perfect follow-up to that introduction, as it begins with an a cappella vocal section, which just fits after being blindsided by some in-your-face instrumental work. There is also an element of funk in this song that I'm sure contributed to the development of the sound that a band like Primus would eventually be known for. The 80's iconic classic "Owner of a Lonely Heart" displays traces of this sound as well.
Like Rush, they also have a knack for unusual time signatures, particularly evident in "Changes." Rhythm and time signature are not necessarily obvious to those who haven't studied music, but they do create interest and surprise within a tune. Not many bands feel comfortable working with unusual rhythms, so I am always impressed when they have the guts to try. For Yes, it works well and helps add to their unique sound.
"Our Song" reminds me a bit of something The Who or The Moody Blues might have done. It has soaring melodies that make me think of the Tommy soundtrack. "It Can Happen" (which has one of the coolest bass riffs I've ever heard) and "Hearts" are in that same category. I am so impressed at their versatility--I just had no idea they could pull off different styles with such ease.
Vocally, they sound like no one else. Jon Anderson's voice is as unmistakable as Geddy Lee's, and with 90125, they did a lot of experimentation with harmony, adding some great texture to already phenomenal instrumental work. I will admit to not particularly connecting to a lot of the lyrics, but I am also spoiled after listening to the genius of Neil Peart for a while now. I can overlook spacey lyrics when the music is good.
This album was supposed to be a comeback album of sorts. Yes has gone through quite a few personnel changes over the years, and this was a reunion of most of the original members. I would not say that it sounds like the older stuff they had done--they evolved substantially during their times working on other projects. I don't claim to know much about their collection as a whole--I'm just scratching the surface at this point--but I do believe this is a solid album, and listening to it has made me want to delve into the rest of it.
Eventually, I do want to write about Rush (and their entire musical collection, not to mention their dynamite 2007 Snakes & Arrows Tour), but I just can't do it right now for the same reasons I can't effectively write about The Grateful Dead or Phish or Pink Floyd right now--the task is just too daunting. Stay tuned for all of that.
Instead, I decided to delve into the collection of a band that Rush claims influenced them more than a little. I've always known about Yes (and for those of you who think you've never heard of them, you are most certainly familiar with "Owner of a Lonely Heart," which is the opening track of this album), but I've never paid much attention. Their music just never grabbed me for whatever reason. After listening to Rush so much over the last few months, I think my ears must just have been primed to hear this, because I am enjoying this music MUCH more than I thought I would.
I did some research and discovered that during their 90125 Tour, Yes would open the show with the quick instrumental "Cinema" (which is actually the 5th song on the album) and then follow it with "Leave It." Since they were opening their shows this way, I figured I would listen to the album that way as well--start with track 5, and go in order from there. I was immediately taken by musical complexity I had no idea Yes possessed. "Cinema" is an absolute balls-to-the-wall showcase of the instrumental ability of everyone in the group, particularly the bass of Chris Squire and the keyboards of Tony Kaye.
"Leave It" is the perfect follow-up to that introduction, as it begins with an a cappella vocal section, which just fits after being blindsided by some in-your-face instrumental work. There is also an element of funk in this song that I'm sure contributed to the development of the sound that a band like Primus would eventually be known for. The 80's iconic classic "Owner of a Lonely Heart" displays traces of this sound as well.
Like Rush, they also have a knack for unusual time signatures, particularly evident in "Changes." Rhythm and time signature are not necessarily obvious to those who haven't studied music, but they do create interest and surprise within a tune. Not many bands feel comfortable working with unusual rhythms, so I am always impressed when they have the guts to try. For Yes, it works well and helps add to their unique sound.
"Our Song" reminds me a bit of something The Who or The Moody Blues might have done. It has soaring melodies that make me think of the Tommy soundtrack. "It Can Happen" (which has one of the coolest bass riffs I've ever heard) and "Hearts" are in that same category. I am so impressed at their versatility--I just had no idea they could pull off different styles with such ease.
Vocally, they sound like no one else. Jon Anderson's voice is as unmistakable as Geddy Lee's, and with 90125, they did a lot of experimentation with harmony, adding some great texture to already phenomenal instrumental work. I will admit to not particularly connecting to a lot of the lyrics, but I am also spoiled after listening to the genius of Neil Peart for a while now. I can overlook spacey lyrics when the music is good.
This album was supposed to be a comeback album of sorts. Yes has gone through quite a few personnel changes over the years, and this was a reunion of most of the original members. I would not say that it sounds like the older stuff they had done--they evolved substantially during their times working on other projects. I don't claim to know much about their collection as a whole--I'm just scratching the surface at this point--but I do believe this is a solid album, and listening to it has made me want to delve into the rest of it.
Track Listing:
1. Owner of a Lonely Heart
2. Hold On
3. It Can Happen
4. Changes
5. Cinema
6. Leave It
7. Our Song
8. City of Love
9. Hearts
The newly released version is remastered and also includes the following tracks:
10. Leave It (Single Remix Version)
11. Make It Easy
12. It Can Happen (Cinema Version)
13. It's Over (Previously Unissued)
14. Owner of a Lonely Heart (Extended Remix)
15. Leave It (A Capella Version)
Monday, April 2, 2007
Emerald City, 30 March 2007 (Denver, CO)
This may be the coolest and weirdest venue I've ever been to in my life. Actually (for those of you who grew up in Northern Virginia), it reminded me a lot of Planet NOVA in that it was tiny, quirky, and where everyone who was ANYONE would go see random local bands get their start. The place had no sign on the outside, so we weren't even sure we were where we were supposed to be, but with the amount of people walking in and the loudness that ensued when the door opened, we took our chances. Apparently, the place used to be an old art warehouse (albeit, a small one), and there is still some really bizarre art hanging on the walls and from the ceiling. All of it just made for an interesting ambiance--a perfect place for a local show.
They actually have a decent sound system there. In a place that small, you wouldn't expect any huge technical advances, but their PA system delivers a fairly even sound, and a very LOUD one, at that. They also have a projector, but it was out of commission when we were there. There are a few couches dispersed throughout the room(s), and there is a loft in the back of the room with the main stage. I would absolutely go there again, if for no other reason than to just sit in the back and watch the scene. It was a good people-watching night.
As far as the music, it was impressive. The first band we heard was called Cast Upon Alcott, and their set was definitely good. What stood out to me about them was that they definitely had a great feel for rhythm. I love it when bands get experimental with time signatures--it keeps everyone guessing and shows musicianship. Their lead singer is a screamer, and he does that very well. I just wish he would sing every now and then also. While I applaud anyone who can scream like that (especially without ruining their voice), melody is very important to me. During their set, there were some parent-types taking pictures, which makes me think that some (or all) of them are on the younger side. It's great that they're getting this kind of experience now--the earlier the better. Remember the movie High Fidelity? Their sound is very similar to those punk skater kids John Cusack ends up producing for. Vince & Justin, I believe. Someone broke a guitar string at the end, so they were unable to play their last song, but a solid set, anyway.
Next came The Sunsets Before He Died, who claimed this was their first show ever. Mike from Skyrise to Martus confirmed that as being true. I was shocked. They were actually VERY well polished for that being their inagural performance. I have to admit that the specifics are a little lost right now--I should mention the fact that this show was on a Friday, which meant that I was up at 0330 for work, did not sleep during the day, and it was already 11pm. I wrote some things down, but looking at it now, it doesn't make a whole lot of sense. Not my best research! They did do a cover song that I didn't recognize, but that everyone loved. Everyone was on their feet, dancing, and the band seemed to really enjoy playing it. There's no feeling like your first show--I hope to see them again so I can actually have some coherent thoughts about it. I sure liked what I heard.
Skyrise to Martus came on next, and since that's who we were there to see, we made our way up to the front. Because there was no actual stage, I was standing right in Mike's face and probably nearly got pelted with a bass a few times. It was nice to be right there--everything sounds different from way up close like that. It was cool to hear them again, this time knowing more of their material. As usual, they put out an excellent set--shorter than the last one, I think--and I maintain my opinion that they have something special about them. They have the potential to go a long way if they stay together and if they want to go for it. From my angle, I got to watch the drummer, Joshua, a little more, and I'm even more impressed than I was the other night. He has an incredible ear for rhythm and is able to pull out some really varied and unique moves on a fairly small kit. He's also extremely energetic (which is always fun to watch), and probably loses 5 lbs. durinig every show. My only complaint was that I couldn't hear the vocals that well. It could have been where I was standing--I was not in the direct line of the PA speakers, and I was kind of getting this weird mix of reverb and floor monitor sound. It's a shame, because I think they are vocally very strong. As I said before, Ryan has a powerful belt in him, and Mike sings some good harmonies--he should really be more assertive with them.
We left after their set (if we hadn't, I would have curled up right there in the corner and passed out), but I'm glad we went. We got to see an interesting place, that we'll hopefully revisit... and I think we've officially become skyrise to Martus groupies. It's probably going to be a while before we get out to any more shows, but my ears can probably use the break. It'll be nice to delve into some albums for a little bit. Any suggestions--send 'em my way.
They actually have a decent sound system there. In a place that small, you wouldn't expect any huge technical advances, but their PA system delivers a fairly even sound, and a very LOUD one, at that. They also have a projector, but it was out of commission when we were there. There are a few couches dispersed throughout the room(s), and there is a loft in the back of the room with the main stage. I would absolutely go there again, if for no other reason than to just sit in the back and watch the scene. It was a good people-watching night.
As far as the music, it was impressive. The first band we heard was called Cast Upon Alcott, and their set was definitely good. What stood out to me about them was that they definitely had a great feel for rhythm. I love it when bands get experimental with time signatures--it keeps everyone guessing and shows musicianship. Their lead singer is a screamer, and he does that very well. I just wish he would sing every now and then also. While I applaud anyone who can scream like that (especially without ruining their voice), melody is very important to me. During their set, there were some parent-types taking pictures, which makes me think that some (or all) of them are on the younger side. It's great that they're getting this kind of experience now--the earlier the better. Remember the movie High Fidelity? Their sound is very similar to those punk skater kids John Cusack ends up producing for. Vince & Justin, I believe. Someone broke a guitar string at the end, so they were unable to play their last song, but a solid set, anyway.
Next came The Sunsets Before He Died, who claimed this was their first show ever. Mike from Skyrise to Martus confirmed that as being true. I was shocked. They were actually VERY well polished for that being their inagural performance. I have to admit that the specifics are a little lost right now--I should mention the fact that this show was on a Friday, which meant that I was up at 0330 for work, did not sleep during the day, and it was already 11pm. I wrote some things down, but looking at it now, it doesn't make a whole lot of sense. Not my best research! They did do a cover song that I didn't recognize, but that everyone loved. Everyone was on their feet, dancing, and the band seemed to really enjoy playing it. There's no feeling like your first show--I hope to see them again so I can actually have some coherent thoughts about it. I sure liked what I heard.
Skyrise to Martus came on next, and since that's who we were there to see, we made our way up to the front. Because there was no actual stage, I was standing right in Mike's face and probably nearly got pelted with a bass a few times. It was nice to be right there--everything sounds different from way up close like that. It was cool to hear them again, this time knowing more of their material. As usual, they put out an excellent set--shorter than the last one, I think--and I maintain my opinion that they have something special about them. They have the potential to go a long way if they stay together and if they want to go for it. From my angle, I got to watch the drummer, Joshua, a little more, and I'm even more impressed than I was the other night. He has an incredible ear for rhythm and is able to pull out some really varied and unique moves on a fairly small kit. He's also extremely energetic (which is always fun to watch), and probably loses 5 lbs. durinig every show. My only complaint was that I couldn't hear the vocals that well. It could have been where I was standing--I was not in the direct line of the PA speakers, and I was kind of getting this weird mix of reverb and floor monitor sound. It's a shame, because I think they are vocally very strong. As I said before, Ryan has a powerful belt in him, and Mike sings some good harmonies--he should really be more assertive with them.
We left after their set (if we hadn't, I would have curled up right there in the corner and passed out), but I'm glad we went. We got to see an interesting place, that we'll hopefully revisit... and I think we've officially become skyrise to Martus groupies. It's probably going to be a while before we get out to any more shows, but my ears can probably use the break. It'll be nice to delve into some albums for a little bit. Any suggestions--send 'em my way.
Wednesday, March 28, 2007
Rockapella, 22 March 2007 (Strathmore Music Center, Bethesda, MD)
I was lucky to be in town visiting my parents when I was, because Rockapella happened to be singing in the area, and it's been over a year since I last saw them. They have been such an inspiration to me, both musically and personally, that I really try to see them and support them whenever I can. I'm glad I had the chance--the show was phenomenal, as expected.
First of all, a note about the Strathmore. They started building it in 2005, right about when I first bought my condo in nearby Rockville. I knew it was going to be a fine arts center, but it turned out to be one of the nicest halls I've ever been in. It's not terribly huge--it holds about 2000, but the architechture and the interior are both amazing. The acoustics in the concert hall were unparalleled, and for a Rockapella show, acoustics are key. Granted, I was sitting in about the 10th row, but my parents, who were significantly further back than me, said that they could hear everything as clearly as if they were in the front. I wish I'd had more opportunities to go to the Strathmore when I lived there--I would love to see a full symphony orchestra perform there. I imagine it would blow the crowd right out of the room.
Anyway, back to Rockapella. As their name suggests, they are a vocal group--as in no instruments, drums, or drum machines. A cappella music is a truly unique art, and it's not for everyone. That being said, I think Rockapella does an amazing job of performing a variety of styles. There's something for everyone in their music. Plus, I think it would be impossible to see what they do in person and not be impressed. Jeff Thatcher, their vocal percussionist is an act completely on his own. You may have also heard them, even if you don't realize you have. If you remember the children's game show "Where in the World is Carmen Sandiego?" from the early '90s, then you will remember Rockapella performing the theme song (and random skits) during every episode. They also recorded a very famous Folger's Coffee commercial in the late '90s, which got a lot of radio airplay and was even on TV for a while. Their lineup has changed, but the concept remains.
They opened the show with a few of their newer songs, which, to my knowledge, have not been recorded in the studio yet. I don't know the names of them, but I can tell you they are much more upbeat and rock-like than most of the stuff they've been doing lately. Their new(ish) baritone, John Brown, is a dancer and a motown fanatic. His influence is immediately apparent in these newer songs, and I love it. I've never seen these guys have so much energy and get so funky on stage. I wish I knew the songs better, but they sure are giving off great vibes. I can't wait until they can get in the studio for a bit.
They showcased some new material, but also pulled some great ones out of the vault for us. I was thrilled to hear "People Change," as it's not one they do very often. I still think Scott Leonard has possibly the most incredible voice I've ever heard, and he oozes with emotion every time he sings that one. George showed off his butter-like bass smoothness in his rendition of "Papa Was a Rolling Stone," which always gets the crowd excited, and we got to hear John belt out a beautiful version of "Stand By Me." Kevin's shining moment was in a beautiful new ballad called "California Sad Eyed Girl," and then they followed that with "Lazy River," another one that rarely comes out on stage. We got an off-mic treat at the end, and with the acoustics in that hall, they were every bit as audible as they were with microphones--even at one point when Scott turned around to face the people sitting behind the stage. They encored with "Zombie Jamboree," which still, to this day, makes me laugh.
The crowd was a mix of fans and season ticket holders--and they had mixed opinions about the show. Most everything I heard was positive, though, and I believe Rockapella will be performing at the Strathmore in the future. I stuck around afterwards just to say hi, as it's nice to chat for a few minutes after not seeing them for so long. They told me they'd be out in Colorado sometime this summer, so I'll be looking forward to that. If you ever get the chance, you should definitely see them. Even if you're not into the music, you can't deny the talent.
First of all, a note about the Strathmore. They started building it in 2005, right about when I first bought my condo in nearby Rockville. I knew it was going to be a fine arts center, but it turned out to be one of the nicest halls I've ever been in. It's not terribly huge--it holds about 2000, but the architechture and the interior are both amazing. The acoustics in the concert hall were unparalleled, and for a Rockapella show, acoustics are key. Granted, I was sitting in about the 10th row, but my parents, who were significantly further back than me, said that they could hear everything as clearly as if they were in the front. I wish I'd had more opportunities to go to the Strathmore when I lived there--I would love to see a full symphony orchestra perform there. I imagine it would blow the crowd right out of the room.
Anyway, back to Rockapella. As their name suggests, they are a vocal group--as in no instruments, drums, or drum machines. A cappella music is a truly unique art, and it's not for everyone. That being said, I think Rockapella does an amazing job of performing a variety of styles. There's something for everyone in their music. Plus, I think it would be impossible to see what they do in person and not be impressed. Jeff Thatcher, their vocal percussionist is an act completely on his own. You may have also heard them, even if you don't realize you have. If you remember the children's game show "Where in the World is Carmen Sandiego?" from the early '90s, then you will remember Rockapella performing the theme song (and random skits) during every episode. They also recorded a very famous Folger's Coffee commercial in the late '90s, which got a lot of radio airplay and was even on TV for a while. Their lineup has changed, but the concept remains.
They opened the show with a few of their newer songs, which, to my knowledge, have not been recorded in the studio yet. I don't know the names of them, but I can tell you they are much more upbeat and rock-like than most of the stuff they've been doing lately. Their new(ish) baritone, John Brown, is a dancer and a motown fanatic. His influence is immediately apparent in these newer songs, and I love it. I've never seen these guys have so much energy and get so funky on stage. I wish I knew the songs better, but they sure are giving off great vibes. I can't wait until they can get in the studio for a bit.
They showcased some new material, but also pulled some great ones out of the vault for us. I was thrilled to hear "People Change," as it's not one they do very often. I still think Scott Leonard has possibly the most incredible voice I've ever heard, and he oozes with emotion every time he sings that one. George showed off his butter-like bass smoothness in his rendition of "Papa Was a Rolling Stone," which always gets the crowd excited, and we got to hear John belt out a beautiful version of "Stand By Me." Kevin's shining moment was in a beautiful new ballad called "California Sad Eyed Girl," and then they followed that with "Lazy River," another one that rarely comes out on stage. We got an off-mic treat at the end, and with the acoustics in that hall, they were every bit as audible as they were with microphones--even at one point when Scott turned around to face the people sitting behind the stage. They encored with "Zombie Jamboree," which still, to this day, makes me laugh.
The crowd was a mix of fans and season ticket holders--and they had mixed opinions about the show. Most everything I heard was positive, though, and I believe Rockapella will be performing at the Strathmore in the future. I stuck around afterwards just to say hi, as it's nice to chat for a few minutes after not seeing them for so long. They told me they'd be out in Colorado sometime this summer, so I'll be looking forward to that. If you ever get the chance, you should definitely see them. Even if you're not into the music, you can't deny the talent.
Saturday, March 24, 2007
Iliff Park Saloon, 18 March 2007 (Aurora, CO)
We had planned to go to this show a week or two ago when we heard that a local Denver band called Random Hero would be playing. We'd listened to their stuff online and were really impressed. They actually remind me of a band from back in DC called Waking State. I'm alway curious about bands who have female lead singers--I guess it's cool to see girls out there being successful at something I honestly didn't have the guts to go through with. Anyway, we wanted to see if what we heard on recording was as good in person.
The night ended up being completely different than we were shooting for, but in a great way. First of all, the venue itself is adorable. It's kind of a hole-in-the-wall, but they've got pool tables and a fully stocked bar. I also happened to notice that they host both beer pong tournaments and buzz-in trivia nights. It seems to be a pretty well-known place among the local crowd--the walls were donned with photos of karaoke contests and tons of flyers for various bands. The stage area was bigger than I would have expected from a place like that--a band could get a real good setup going there if they wanted to.
We got there insanely early (we were told 6pm, so we were there RIGHT on time), as we did not realize there would be six bands and that Random Hero would be the last band to play (putting them on stage around 11pm or so). We figured we'd shoot a few games of pool, see if anyone was worth listening to, and take off pretty shortly. When the first guy started playing, we stayed pretty firm in our decision. It's not that he was bad or anything--I admire anyone who has the courage to write a bunch of stuff and then go perform it in front of any people, even if it's just two randoms playing pool who aren't really paying attention. I wish I could remember his name, but I can't for the life of me. Whatever works--I hope he keeps writing, and I hope he continues to get out there and sing. No one should be denied the opportunity to share music.
Next was a real treat. A group called Skyrise to Martus came on and completely defied our expectations. My first observation was how much energy they had, despite the small crowd. They were obviously playing for their own benefit, and to be honest, I think that makes music come across much more genuinely. I think there is always a time and a place to work the crowd, but there's nothing better than watching a band who so clearly just loves doing what they're doing. The music itself was also pretty darn impressive--they show definite musical talent in every song they perform.
Ryan, who does the lead vocals, has a powerful belt and seems to never miss a note. They've put together some nice harmonies in a couple of the songs, which I think is one of the marks of a quality group. Luis does most of the lead guitar work (although Ryan does a little bit also) and has incredible technical ability. He also very clearly has the ear for knowing when to go on a rant and when to blend, which helps the group stay versatile as they move from song to song. All of this combined with Mike's excellent bass tone--it's a little bit higher than I'm used to hearing, which makes it come out a little stronger--and Joshua's fast and furious drumming makes for a great show both on an entertainment and a technical level.
My favorite song they played is called "Red Light Tragedy" and it is up on their MySpace page
(www.myspace.com/skyrisetomartus). I definitely suggest you check it out--it is definitely the anthem of their set, and although they didn't end with it, they probably should. They could really bring the house down. They are playing again this Friday and I'm extremely excited to see them again, this time armed with having listened to their music more and actually knowing it. I want to see them do well--they just have enormous potential.
The next band that came out was Ashfield. While they also clearly have talent, I just was not as blown away by their creativity. It sounded to me like they took the approach of trying to write a bunch of singles. While that could be a good goal, in their case, it caused every song they played to sound very similar to the one before it. I considered asking them for their setlist from the night, but the most I thought about it, the more I realized that it wouldn't make a difference--everything has already blended together in my head and may as well have been one song. Again, I'm not discounting their talent at all, I just would like to see them push it a little more--not be afraid to experiment. Maybe it's simply a result of me not knowing their music well enough, and perhaps I'll feel differently about it the next time I see them. I also was probably reeling a bit from being so pleasantly surprised at the band before them.
The last band we stuck around for (it was getting very late) was Asylum Cinema. I knew it was going to be an extremely interesting set as I watched them set up. As the tenor sax, violin, and bongo drums appeared, I started bracing myself for what was to come. Now, this is a band that's got style. They successfully fuse reggae with electronic with classical with hard rock. I've honestly never heard anything like it before. Their collective energy probably radiated outside the building, and their talent absolutely surpasses most local bands I've seen in any city. Every single member of the band is a complete powerhouse. If you want to hear a guy who can belt out with beautiful tone and perfectly in tune, but then deliver a powerful scream the next minute... or watch a guy display fabulous classical training on both piano and violin, and then pull out the most vicious funk on a 5 string bass... or see a bassist with lightning fast fingers who can also rival Flea and Mike Gordon with his slapping ability... or just hear some serious epic breakdowns (yes, that is plural)... then this is a band for you. Even though I took a ton of notes during their set, I'm actually having trouble writing about it. I almost feel like you need to just hear it for yourself. They have a page at www.myspace.com/asylumcinema and it is definitely worth checking out.
So what was going to be a low-key night actually turned into a night of exciting finds. I'm looking forward to seeing all three bands again at some point, hopefully sooner rather than later. I'll definitely go back to the Iliff Park Saloon, even if just to have a drink and shoot some pool. I want to thank the guys from Skyrise to Martus for hanging out and just generally being nice and fun people, and thanks to everyone for the music. Good night, and till next time.
The night ended up being completely different than we were shooting for, but in a great way. First of all, the venue itself is adorable. It's kind of a hole-in-the-wall, but they've got pool tables and a fully stocked bar. I also happened to notice that they host both beer pong tournaments and buzz-in trivia nights. It seems to be a pretty well-known place among the local crowd--the walls were donned with photos of karaoke contests and tons of flyers for various bands. The stage area was bigger than I would have expected from a place like that--a band could get a real good setup going there if they wanted to.
We got there insanely early (we were told 6pm, so we were there RIGHT on time), as we did not realize there would be six bands and that Random Hero would be the last band to play (putting them on stage around 11pm or so). We figured we'd shoot a few games of pool, see if anyone was worth listening to, and take off pretty shortly. When the first guy started playing, we stayed pretty firm in our decision. It's not that he was bad or anything--I admire anyone who has the courage to write a bunch of stuff and then go perform it in front of any people, even if it's just two randoms playing pool who aren't really paying attention. I wish I could remember his name, but I can't for the life of me. Whatever works--I hope he keeps writing, and I hope he continues to get out there and sing. No one should be denied the opportunity to share music.
Next was a real treat. A group called Skyrise to Martus came on and completely defied our expectations. My first observation was how much energy they had, despite the small crowd. They were obviously playing for their own benefit, and to be honest, I think that makes music come across much more genuinely. I think there is always a time and a place to work the crowd, but there's nothing better than watching a band who so clearly just loves doing what they're doing. The music itself was also pretty darn impressive--they show definite musical talent in every song they perform.
Ryan, who does the lead vocals, has a powerful belt and seems to never miss a note. They've put together some nice harmonies in a couple of the songs, which I think is one of the marks of a quality group. Luis does most of the lead guitar work (although Ryan does a little bit also) and has incredible technical ability. He also very clearly has the ear for knowing when to go on a rant and when to blend, which helps the group stay versatile as they move from song to song. All of this combined with Mike's excellent bass tone--it's a little bit higher than I'm used to hearing, which makes it come out a little stronger--and Joshua's fast and furious drumming makes for a great show both on an entertainment and a technical level.
My favorite song they played is called "Red Light Tragedy" and it is up on their MySpace page
(www.myspace.com/skyrisetomartus). I definitely suggest you check it out--it is definitely the anthem of their set, and although they didn't end with it, they probably should. They could really bring the house down. They are playing again this Friday and I'm extremely excited to see them again, this time armed with having listened to their music more and actually knowing it. I want to see them do well--they just have enormous potential.
The next band that came out was Ashfield. While they also clearly have talent, I just was not as blown away by their creativity. It sounded to me like they took the approach of trying to write a bunch of singles. While that could be a good goal, in their case, it caused every song they played to sound very similar to the one before it. I considered asking them for their setlist from the night, but the most I thought about it, the more I realized that it wouldn't make a difference--everything has already blended together in my head and may as well have been one song. Again, I'm not discounting their talent at all, I just would like to see them push it a little more--not be afraid to experiment. Maybe it's simply a result of me not knowing their music well enough, and perhaps I'll feel differently about it the next time I see them. I also was probably reeling a bit from being so pleasantly surprised at the band before them.
The last band we stuck around for (it was getting very late) was Asylum Cinema. I knew it was going to be an extremely interesting set as I watched them set up. As the tenor sax, violin, and bongo drums appeared, I started bracing myself for what was to come. Now, this is a band that's got style. They successfully fuse reggae with electronic with classical with hard rock. I've honestly never heard anything like it before. Their collective energy probably radiated outside the building, and their talent absolutely surpasses most local bands I've seen in any city. Every single member of the band is a complete powerhouse. If you want to hear a guy who can belt out with beautiful tone and perfectly in tune, but then deliver a powerful scream the next minute... or watch a guy display fabulous classical training on both piano and violin, and then pull out the most vicious funk on a 5 string bass... or see a bassist with lightning fast fingers who can also rival Flea and Mike Gordon with his slapping ability... or just hear some serious epic breakdowns (yes, that is plural)... then this is a band for you. Even though I took a ton of notes during their set, I'm actually having trouble writing about it. I almost feel like you need to just hear it for yourself. They have a page at www.myspace.com/asylumcinema and it is definitely worth checking out.
So what was going to be a low-key night actually turned into a night of exciting finds. I'm looking forward to seeing all three bands again at some point, hopefully sooner rather than later. I'll definitely go back to the Iliff Park Saloon, even if just to have a drink and shoot some pool. I want to thank the guys from Skyrise to Martus for hanging out and just generally being nice and fun people, and thanks to everyone for the music. Good night, and till next time.
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