Recap: 2010’s McDowell Mountain Music Festival
I’ll admit, my first feeling was of disappointment when I found out a few months back that the 7th McDowell Mountain Music Festival was scaling down – from the spacious polo field of Scottsdale’s Westworld to the parking lot adjacent to the Compound Grill. But my feelings quickly changed to ones of thankfulness and support toward a genuinely good group of people who were determined not to fold it up and call it quits in these tough economic times.
After spending most of Saturday and all of Sunday at the festival, it was clear to me that not only had the festival organizers pulled it off, but they had created a very special and intimate experience for everyone involved. By scaling down the event and bringing everyone and everything closer together, it actually helped enhance the experience. I couldn’t help but feel a stronger sense of community than years past. By the end of the weekend, there were familiar and friendly faces everywhere I looked. And of course, the cozy atmosphere also brought us all closer to the great music.
There was no hot black asphalt to be found within the festival. Fresh green sod had been laid end to end, side to side. The food tent featured a delicious and unique menu provided by the adjoining Compound Grill – delicious turkey burgers, Korean BBQ tacos (teeny-tiny, but delicious), chicken & rice bowls, burritos, and churros with Prickly Pear Jam (a favorite of both my daughters). The beer tent featured about a dozen microbrews – New Belgium brews, Abita, Flying Dog, and others. There were vendors and crafts for the kids…
Flash Delirium
Really enjoying this new MGMT album, and especially the song “Flash Delirium”.
They made a video for this tune, and yeah, it’s pretty o-u-t t-h-e-r-e. An A for originality.
Live from Daryl’s House: T-Bone’s Last Performance
It’s been almost 2 months since the world lost Tom “T-Bone” Wolk from a heart attack at the age of 58. It’ll be an odd feeling to watch Daryl Hall go forward without T-Bone at his side.
The latest episode of Live From Daryl’s House is bittersweet, to put it mildly. It marks the final time that Daryl Hall and John Oates played with their longtime pal and music director. It takes place at the Jamaica Jazz and Blues Festival early this year. Joining Daryl, John and T-Bone are Maxi Priest and gray-dreadlocked Billy Ocean.
As usual with this great series, the behind the scenes footage between songs is just as enjoyable as the music (as is Shanique, the bartender at Memorabilia bar).
But it’s hard not to feel a helpless sadness as you watch T-Bone, so full of life and good humor at the time, knowing what was soon to come. At the same time, it’s a blessing to have footage like this, documenting his passion for music and life.
Maybe it’ll all make sense some day. For now though, it sure doesn’t. RIP T-Bone.
Watch Episode 29 of Live From Daryl’s House, featuring John Oates, Maxi Priest, and Billy Ocean
Ticket Giveaway: Late Night at the Compound with Steve Kimock & Crazy Engine
What are you up to this weekend? If you can make your way to north Scottsdale’s Compound Grill, you’ll find the surroundings taken over by the McDowell Mountain Music Festival. Vehicles will be kicked to the curb, sod will be laid down, a big stage will go up, and the people… they will come. Look forward to sets by Grace Potter & the Nocturnals, Trombone Shorty, Robert Randolph & the Family Band and others (see MMMF’s site for full lineup details).
Late Saturday night (showtime @ 11pm), within the cozy confines of the Compound Grill, Bay Area guitar whiz Steve Kimock will take the stage with his new band, Crazy Engine. Steve has been part of the jam/psychedelic/prog rock scene for a number of years. He co-founded Zero in the 80’s, formed his own Steve Kimock Band in 2000, and has played a part in Bob Weir’s Ratdog, Phil Lesh & Friends, and the Other Ones.
Joining Steve in Crazy Engine is longtime Jerry Garcia Band member Melvin Seals on Hammond B-3 and keys, Trevor Extor on bass and vocals, and his 22-year old son John Morgan Kimock on drums.
I’ll be there enjoying the show, so why don’t you? I’m giving away a pair of tickets. All you need to do to enter is leave a comment below. Keep in mind this is a late night show that starts at 11pm and will jam into the wee hours of the morning. If you’re serious about rocking out all night long with Steve Kimock & Crazy Engine, drop a comment in below. I’ve heard Steve’s a pretty amazing guitarist to see live, so this should be something extra special given the small club feel of the Compound Grill.
I’ll pick a winner from the Comments section on Thursday. Good luck!
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”
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
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!
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.
Visit BeauSoleil’s Site.
Music nerd Pete needed a photo avec Michael Doucet.
