New Band of Horses – “Laredo”
It’s mid-April, and though the whole album doesn’t release until May 18th, Ben and the boys at Band of Horses have bestowed upon us another track from Infinite Arms. “Laredo” doesn’t stray far from the Band of Horses “sound” (if you can call it that) – that mellow folk-rock vibe spearheaded by Ben Bridwell’s crystalline higher register voice.
The song is for sale on iTunes. Go git.
New Deer Tick: 20 Miles
Rolling Stone’s Rock & Roll Daily blog tipped me off a few days ago to a new album from Providence, Rhode Island’s Deer Tick. The new album, The Black Dirt Sessions, will be released on June 8th. Born on Flag Day, their 2nd album, was one of my favorites last year – a collection of raw and earnest roots/country/rock featuring the raspy lead vocals of John McCauley.
In the meantime, RS included a taste from the new one – a catchy one called “20 Miles” – a song that I instantly liked. These guys are in town this week too – another show I’ll regrettably miss. I’ve heard they put on a great live show. Oh well, hopefully I’ll see them at the ACL Festival in October.
Deer Tick – “20 Miles”
[audio:20Miles.mp3]Check out their last album, Born on Flag Day:
Muse at U.S. Airways Center: A Newbie’s Review
Whoever is responsible for the lighting, laser, and multi-video screen spectacle that accompanies Muse‘s live stage show should be showered with awards. Last night’s show at US Airways Arena was something to behold – a complete frontal assault on the senses.
I was asked by an old friend a few weeks ago if I had any interest in going to see Muse, with openers the Silversun Pickups. Not knowing a whole lot about either band, but having heard here and there of Muse’s incredible live show, I said “why not” and accepted.
“Uprising”, of course, hit my radar a few months ago, and I loved it immediately. I’ll take an anthemic blast of a tune like that any old day of the week – and that’s the best one of its kind I’ve heard in years. So when the lights went out in the arena, three giant skyscrapers lit up, a draping fabric fell from the top down, revealing the English trio on tall, elevated risers (making up the bottom quarter of the skyscrapers) – and the opening pulses of “Uprising” kicked in – I knew I’d come to the right place.
At first glance, guitarist/lead vocalist Matthew Bellamy – diminutive and not the “handsome” rock star type – wouldn’t strike one as the quintessential frontman. But strap a guitar on that man, listen to him sing and work a stage – and you’d be hard pressed to find a better performer. Bellamy’s voice soars – from a lower register to a beautiful falsetto – and it was apparent throughout the show why the band is mentioned in the same breath as Queen. Soaring, epic songs like the closer, “Knights of Cydonia” illustrated this quite well. Sort of like super-electro-21st-century Queen.
Bellamy also showed off his piano chops for “Feeling Good” (made popular by Nina Simone). And right up my alley, he channeled his inner Prince in the super-funky “Supermassive Black Hole”.
He had the arena in the palms of his hands with the crowd favorite “Starlight” – the whole crowd clapping in rhythm and singing along.
But I’d be remiss not to mention bass player Christopher Wolstenholme and drummer Dominic Howard – the tight rhythm section that have rounded out this power trio since their inception in the 90’s. The coolest moment with these two was midway through the show, when Wolstenholme stepped on to the drum riser behind Howard – which proceeded to elevate 20 feet in the air while they rotated around – and they tore into 3 minute bass and drum jam, complemented of course by a light show that added to the intensity and thrill, and which ended when the riser descended again to stage level.
The stage effects are a huge part of Muse’s show. They can almost be considered a fourth member of the band, they play such an important role. Throughout the show, the three giant columns that started off the show as skyscrapers, turned into a mind-blowing series of projected videos – psychedelics, dreamscapes, and some amazing live shots of the band. The accompanying light show was incredible as well.
And then there were the green lasers. They first made an appearance a few songs into the set during “New Born”. I can’t think of a more intense visual experience than what I witnessed during this song. The two subpar iPhone pics I included here were taken during the song, and don’t it justice in any way. I didn’t realize it until about halfway through, but I was grinning ear to ear as I watched these shards, patterns and lines of green light dance around the arena. I spotted who I think was the lighting tech shortly after the song. Standing at a console 10 feet behind the soundboard, headphones on and head bobbing, he manipulated the controls to the rhythm, clearly having fun while doing his job, and every part a member of the band as the three on stage.
I see what the fuss is about – and I’m glad I left my live show comfort zone to go check out something new. Muse has a new fan in me. As do the Silversun Pickups, whose 40 minute opening set showcased their distortion-driven indie rock.
Muse’s US Tour wraps up next weekend with a performance at Coachella. Then it’s off to Europe. The next time they come around my neck of the woods, you’ll find me there. And I’m dragging everyone I know.
Official Sites: Muse | Silversun Pickups
The Friday Five: April 9, 2010
Friday Five : ‘frī-(,)dā,-dē ‘fīv : On the sixth day of every week, I hit the shuffle button on my iTunes, then share the first five tracks and thought for each track. Sometimes there is a playlist involved, occasionally we’ll have a guest, but most of the time it’s just me. The rest is up to you, our friends and readers! Fire up your media player of choice and share the first five random track of your shuffle in the comments.
The Five:
“One More Try” by George Michael (from Faith, 1987)
Oh, the overwrought teenaged melodrama that accompanies this tune in my memory bank. I could fill pages, upon pages, of the tales of the end of the world, listening to Chicago, Richard Marx, and so much more wuss-rock. It’s a wonder I didn’t get my ass kicked every day. (It was every-other day.)
“Runaway” by Bon Jovi (from 7800º Fahrenheit, 1985)
I never really gave a shit about Jon-Bon until Slippery When Wet, but I was fully aware of the band during the pre-slippery era thanks to the VCR tapes my aunt would send with 8 hours of MTV content.
“Feels Good” by Tony! Toni! Toné! (from The Revival, 1990)
This song was inescapable during the summer of 1990. In retrospect, I don’t think that I liked it then quite as much as I do now. To be fair, in 1990 I was likely still heavily under the influence of the crew of metal-heads that I associated with. I was forced – peer pressure is a bitch – to keep my guilty pleasures under wraps, stashing my Prince and MJ records in lieu of the latest Megadeth and Metallica.
“Bad Romance” by Lady Gaga (from The Fame Monster, 2009)
While on some level I agree with M.I.A.’s recent assertion that Gaga is “the industry’s last stab at making itself important,” I can’t help but secretly enjoy the hell out of her over-the-top shtick.
“The Dragon” by The Guggenheim Grotto (from Happy the Man, 2009)
I’ve had the pleasure of seeing Ireland’s Guggenheim Grotto twice in the last month. With any luck, I’ll be seeing them again this weekend. If it seems a bit obsessive: I’ll fully admit it is, and with good reason. The duo’s songs are poetic and intimate, and tug at the heartstrings like few others can. If you are in the NYC area, I highly recommend making it to at least one of their upcoming shows. They are setting up residency at The Bowery Electric each Wednesday in June, and there is a good chance that you’ll run into me – and maybe Jason Hare – at any one of these shows.
What’s on your shuffle today?
Side Note: What do you guys think of the lala.com embedded tracks?
Elvis on The Frank Sinatra Show – March 1960
March of 1960 was a busy, eventful month for Elvis Presley. On March 1st, Elvis shipped off from Germany, returning home after a two year stint in the U.S. Army. Colonel Parker scheduled a train ride from New Jersey to Tennessee, alerting towns along the way that Elvis would be rolling through. Throngs of fans greeted him at every stop.On March 20th, Elvis and his entourage chartered a bus to Nashville for the first recording session that would become part of the Elvis Is Back
album. “Stuck on You” and “Fame and Fortune” were two of the songs recorded, and within 72 hours, 1.4 million records were pressed and shipped out. Along with regulars Scotty Moore and DJ Fontana, some of Nashville’s top session pros were brought in to help – including jazz guitarist Hank Garland and piano man Floyd Cramer.
Less than a week later, on March 26th, Elvis was in Miami for a taping of The Frank Sinatra show. Elvis performed “Fame and Fortune” and “Stuck on You”. Sinatra then came out for some awkward banter, followed by a joint medley of tunes: Sinatra’s “Witchcraft” and Presley’s “Love Me Tender.”
What a month… Within 26 days, Elvis had returned from Germany, recorded his first singles, and performed them on Sinatra’s TV show.
How’d he do it? Well, the truth is that by this time, Elvis had discovered amphetamines – the little white pills that were introduced to him while on tank maneuvers in Germany. It’s hard to gauge to what extent drugs had become a part of his life, but there was no turning back at this point.
It doesn’t diminish his stature as a performer though – not in my opinion. Yes, fast forwarding 10-15 years, it’s clear that his lifestyle choices were taking their toll. But in this moment in time – March 26th, 1960 – it’s amazing to see how natural and at ease he is as a performer. Keep in mind that during his 2 years away, he didn’t perform at all. And to deliver something like this just a few weeks after returning stateside… it’s still incredible – fifty years later.
[Source: Careless Love: The Unmaking of Elvis Presley]
New Band of Horses – “Compliments”
I’ve been trying to keep my cool about this new Band of Horses album. But with just a handful of weeks to go, the anticipation is building. And with the leak (?) of “Compliments” yesterday, well, I’m giddy with ants-in-my-pantsness.
Infinite Arms will be released on May 18th. You can pre-order the album right here
.
“Compliments” is posted at a number of sites, including Get Up Stay Down, Knox Road, This Mornin’ I Am Born Again, and The Mad Mackerel.
Enjoy!
The Friday Five: April 2, 2010
Friday Five : ‘frī-(,)dā,-dē ‘fīv : On the sixth day of every week, I hit the shuffle button on my iTunes, then share the first five tracks and thought for each track. Sometimes there is a playlist involved, occasionally we’ll have a guest, but most of the time it’s just me. The rest is up to you, our friends and readers! Fire up your media player of choice and share the first five random track of your shuffle in the comments.
The Five:
This week, I’m letting the music do the talking!
“You Really Got Me” by Van Halen (from The Best of Both Worlds, 2004)
“When I Come Around” by Green Day (from Dookie, 1994)
Apparently Prince doesn’t want anyone to hear this next tune. Probably a good thing, I’m just sayin’…
“Home” by Bria Valente (from Elixer, 2009)
“No Ordinary Love” by Sade (from The Best of Sade, 2001)
“Heard It on the Radio” by The Bird and the Bee (from Interpreting The Masters Volume 1: A Tribute To Daryl Hall And John Oates, 2010)
What’s on your shuffle today?
My Night with BeauSoleil at the Rhythm Room
I’ll put it this way: when I grow up, I want to be like Michael Doucet. And I want to be like the overwhelming number of older folks I spent time with last night. For the first time in thirteen years, traditional Cajun & zydeco virtuosos BeauSoleil came to Phoenix for a packed show at the Rhythm Room. Packed, that is, with smiling, dancing men and women in their 50’s, 60’s, and beyond. On a Wednesday evening.
Led by the charming Michael Doucet, his ever-present violin in tow (and favoring a broken right leg), the boys from BeauSoleil did not disappoint one bit. Michael has a calm, sage and zen-like presence, and good Lord can that man play the violin and sing like an angel. The band is in their 35th year together, and their high level of musicianship was on display as they tore through two sets of old favorites like “Zydeco Gris Gris” and “Jole Blon” (the Cajun national anthem”), and a bunch from their latest album Alligator Purse
– including “I Spent All My Money Loving You,” dedicated to the late Bobby Charles (who just passed away in January).
It was the first time I’d seen BeauSoleil up close. The only other time was from a distance a couple of years ago in a sweat-soaked tent at Austin City Limits Music Festival. The Rhythm Room is a small, intimate, box shaped blues club – and the perfect venue to enjoy BeauSoleil (and my favorite venue in Phoenix).
Being so close, you get the opportunity to study the characters in the band: accordion player Jimmy Breaux was a personal favorite. Short in stature, but playing those large & joyous accordion riffs, his legs locked in rhythm. Fiddle and bass player Mitch Reed was also in the zone, accompanying Michael on some fantastic joint fiddle/violin moments – and when on his standup electric bass, I’d watch him concentrate on Michael – completely in synch with every nook and cranny of Michael’s violin playing.
And who doesn’t love a little washboard? Billy Ware held it down on the ol’ washboard, and worked in some triangle as well. Tommy Alesi on drums, and Michael’s brother David Doucet on guitar rounded out the band.
It’s hard to convey how nice it felt to be among some of the older set last night. Just to look around and see 50, 60, even 70 & 80 year olds smiling and fully enjoying live music. An older gentleman – clearly in his 80’s – spent at least half of the show out on the floor, dancing with his partner. It warmed my heart.
It reaffirmed my faith in humanity a bit, and made me realize where my musical tastes are based. I have an extremely eclectic taste in music – but I realize there’s a theme that runs throughout the songs and artists I love: it’s vitality. Life. The joy and celebration of being alive.
BeauSoleil exudes that quality – that Joy. As short and sweet as life is, the important thing is to celebrate. And my older friends and I at the Rhythm Room last night did just that – with just a little help from BeauSoleil avec Michael Doucet. And it’s clear to me – at forty years old this year – that I’ll be celebrating with music for the rest of my days, as my older friends showed me last night.
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Visit BeauSoleil’s Site.
Buy BeauSoleil’s music.
Stream BeauSoleil on Lala.
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Music nerd Pete needed a photo avec Michael Doucet.
