Filed under: Concert Review | Tags: Beer, Ben Gibbard, Brooklyn, Chris Walla, Death Cab For Cutie, Hipsters, Jimmy A., McCarren Park Pool, Rogue Wave, Soul Meets Body, The Sound of Settling, Thunderstorms
When Jimmy and I decided to brave the kind of unbearable heat usually reserved only for those who have taken up residence on the sun (or for Eugene Morris Jerome in “Biloxi Blues”) and head to Williamsburg’s McCarren Park pool to see indie’s reigning band of the moment Death Cab For Cutie, we were expecting a strong live performance from the group who had continually showed such brilliance on its recordings over the last few years. A few hours later, and in the midst of a drenching downpour, it was safe to say those expectations were dashed and the only thing that could be considered as a silver lining on this disappointing night was that I actually got a seat on the L train out of “Hipster Hell”.
From the moment I arrived and was greeted by the pierced, seemingly tourette’s syndrome suffering girl who handed me a flyer for a future Gogol Bordello show at the pool, I entered the venue’s cavernous gates and knew I wasn’t in Kansas anymore. Whether it was the asthma inducing humidity or the hordes of skinny jean clad, clever slogan tee wearing (yes, I even witnessed an appearance by the elusive “DIKFORE” ringer tee), $125 haircut styled with the grease of not showering for a week, just got back from a garage sale held by the members of “The Hives”, unfiltered cigarette inhaling, microbrew swilling scenesters or the pre-pubescent scantily clad, sign toting, text obsessed children of the corn who looked like they got lost on the way to “High School Musical On Ice”, all I knew was this was quickly becoming my least favorite place to see a show.
First up were opening act Rogue Wave, who were met with as much enthusiasm as Rick Ross at an all you can eat buffet. The crowd barely made a sound until the openers played their only recognizable number, the M&M advertising ditty “Lake Michigan” which elicited a polite ovation from the seemingly annoyed crowd, whose conversations had just been interrupted so rudely by what looked to be a hard working group of performers who deserved better.
Right about 8 pm, the skies darkened and the fog machines went full blast to welcome the highly anticipated headliners to the stage. Those of us hoping that the sound problems would be resolved in time for DCFC’s foray, which were so glaring during the opener’s set, were immediately disappointed. As lead singer Ben Gibbard strained to be heard above the music (the instruments all seemed to be at the same level as the vocals) on “Bixby Canyon Bridge”, it was clear that the best we could hope for on this night was a strong stage show from the Seattle quartet. While the band played a balanced and well thought out set mixed with both fan favorites “The New Year”, “Soul Meets Body” and the wonderful “Crooked Teeth” as well as new compositions “Long Division”,”Grapevine Fires” and “I Will Possess Your Heart” (which sounded much better live than on the album) , the overall show suffered from a lack of excitement and showmanship. While the girls howled over Gibbard’s obvious weight loss and newly added mutton chops, the frontman’s non existent stage presence and quickly grating movements (he looked like he was standing on a broken sit and spin as he continuously toggled beween both sides of his microphone) made this performance quite bland and unenjoyable. (What was with the constant spitting on the stage as well? If anyone should have been spitting, it should have been those of us left with a horrible taste in our mouths after paying $50 for this underwhelming spectacle).
The night’s only highlight (and it didn’t take much to be a highlight on this night) was when Gibbard stood alone in a spotlight and offered up a hauntingly beautiful rendition of the group’s ode to endless love “I Will Follow You Into The Dark”. An appreciative audience sang along, hooked on every word, but once again he missed out on an opportunity to take the show to the next level by relinquishing the song to the crowd and embracing the massive sing-a-long even for a few lines. This gaffe combined with numerous technical problems and terrible sound had me hoping more for an end to the show rather than an extended performance. After two more disappointing songs, it seemed mother nature was agreeing with me. As the band was about to launch into their hit “The Sound Of Settling”, guitarist Chris Walla commented on “the interesting light show going on” behind the crowd. The lightning began to fill the sky and the thunder crackled as the remaining crowd bellowed along with DCFC “Baa-Baa-Baa”. But as soon as the wind began to pick up, and the lighting rig above the stage bounced in the air like Rosie O’Donnell on a bungee cord, Gibbard and Co. cut bait on their abbreviated performance and thanked the crowd for coming to a smattering of boos. Moments after they left the stage and the assembled mass made their way through the gates, the skies would open up drenching all who had not yet gotten to the G or L subway lines.
As I walked along Driggs Ave., jumping over puddles and cursing the heavens on my way to the Bedford Ave. station, I found myself thinking about two things. One, I hope that in a few weeks when I return to McCarren Park to see DJ Shadow and Cut Chemist, that the sound tech working that night has a semblance of a clue. Second, DCFC proved to me once again that the artists who can translate the magic of their studio work to the stage (i.e. Gnarls Barkley, Kanye West, The Killers) are few and far between and should be greatly appreciated when given the chance to see these artists live. Maybe on another night with better sound, DCFC could deliver the goods, but after seeing last night’s abysmal overall performance, I would say the odds of that night ever coming to fruition are slim and none.
Photos: Brooklyn Vegan
Filed under: Concert Review | Tags: 1980's, Central Park, Concert, Duran Duran, Justin Timberlake, Red Carpet Massacre, Simon LeBon, The Reflex, Timbaland
Last night in Central Park, Simon LeBon and friends attempted to transport the gathered masses back to their glory days of the 1980’s. Unfortunately, a rather enjoyable and spirited performance by the surprisingly on-point frontman would end up struggling to overcome an ill conceived mid-concert electronica showcase and a set list seemingly designed to kill momentum rather than build on it.
In a move seldom seen these days, the band actually took the stage at the time printed on the ticket (rather than the prima donna practice of making the fans wait in an attempt to generate manufactured crowd buzz) and proceeded to showcase their newest release, the Justin Timberlake and Timbaland produced “Red Carpet Massacre” by opening with three straight cuts from the album. While the new songs, especially “The Valley” were well received, it was obvious the crowd was ready for selections from DD’s extensive catalogue of hits. The boys finally gave the crowd what they wanted once the opening notes of early MTV standard “Hungry Like The Wolf” cut through the night’s twilight sky. The sing-a-long continued on “Planet Earth” and the crowd clamored for more when the band decided to take an unfortunate detour with “Falling Down” off the new record. While “Falling Down” is probably the strongest track on the new CD, the band missed an opportunity to take the show to another level and it would become a recurring theme throughout the show. The crowd surged again as DD bounded through “The Reflex”, “Save A Prayer” and in my opinion the best song of the night “View To A Kill” on which LeBon sounded just like he had 20 years earlier, but once again they would pull the plug on the night’s growing electricity by turning the stage dark to set up for a strangely disconnected electronica set which included what seemed like extended mixes of “All She Wants”, “Warm Leatherette” and “Skin Trade”. Once LeBon mercifully ended that debacle and introduced the band, DD were finally ready to attempt a climb out of the hole they had dug for themselves and send the crowd home happy (or at least feeling like they got their money’s worth). DD reached it’s highest level of the night on the body shaking “Notorious” and “Girls on Film”, the crowd favorite “Ordinary World” and the show stopping anthem “Wild Boys” bringing the loudest cheers of the evening from a still appreciative throng which seemed to excuse the band’s many missteps. The night ended when DD performed it’s biggest hit “Rio” as an encore and thanked the fans for their support.
The overall concert experience was quite enjoyable and DD proved that even a badly planned stage show and uneven set list can sink somewhat into the background amongst a night of truly strong musicianship, a throwback performance from one of the 1980’s biggest sex symbols and a crowd that wanted nothing more than to enjoy the memories of a time when songs were less about messages and meanings and more about fun.
Filed under: Albums You Should Own | Tags: Acoustic, Eirik Glambek Bøe, Erlend Oye, Kings of Convenience, Leslie Feist, Marcin Oez, Riot On An Empty Street, Whitest Boy Alive
Kings Of Convenience
Riot On An Empty Street (2004)
About the Artist: Kings of Convenience is the collaboration of uber DJ/Singer Erlend Oye (The Whitest Boy Alive) and singer/songwriter Eirik Glambek Boe (Kommode). Together since 2000, the duo has released 3 albums and are currently in Mexico working on a new album that will be released sometime in 2008. Both artists have also released solo projects like Oye’s wonderful album “Dreams” with his “The Whitest Boy Alive” partner DJ Marcin Oez.
About the Album: Have you ever imagined what Simon and Garfunkel would sound like today if they had never broken up and were privy to current recording technology? The answer is Kings of Convenience and the album they would have made is Riot On An Empty Street. The heartfelt opener “Homesick” reminds of the classic road weary track “America” as Oye and Boe harmonize over breezy acoustic chords and paint a picture of longing and soul searching. Standout compositions like “Misread” (the only up-tempo piece included), “I’d Rather Dance with You” and the quietly powerful “Live Long” beg for multiple listens before they almost dare you to try to forget the beautiful melodies that will stick inside your brain. The one-two punch at album’s end with the folk influenced “Gold In The Air of Summer” and the moving collaboration with canadian songstress Leslie Feist “The Build Up”, which stands as their most stark and emotive single to date. Riot On An Empty Street is a truly complex and satisfying album that from beginning to end forms a sanctuary you will want to visit again and again.
Filed under: Concert Review | Tags: Cee-Lo Green, Danger Mouse, Gnarls Barkley, Highline Ballroom, St.Elsewhere, The Odd Couple
When Gnarls Barkley and the members of their back up band took the stage earlier tonight at the Highline Ballroom dressed to the nines in what looked like a scene out of “Back to the Future” complete with crisp white and blue tuxedos and Cee-Lo sporting a slick pompadour wig, I’m sure some of the assembled crowd were scratching their heads but after a song or two they probably realized what anyone who has listened to the duo’s latest offering “The Odd Couple” has discovered, so much more than the costumes they are about making great music.
From the moment Cee-Lo took the mic, he transformed into the “Soul Machine” with his voice slicing through the Danger Mouse arrangements at a surprisingly powerful level. The band struggled at first to match his intensity on the offerings from the new album but once they broke out the Violent Femmes cover and crowd favorite “Gone Daddy Gone” they found their groove and the show was about to truly take off and not look back.
Mixing strong new offerings like “Run”, “Who Will Save My Soul” and “Going On” with “Just a Thought”, “Boogie Monster” and their megahit “Crazy” (which Cee-Lo introduced as “the song that brought me all my fame and riches” with all the excitement of a man waiting to get a root canal) from their debut “St.Elsewhere”, Gnarls kept the crowd on it’s toes throughout the performance. Even though this show was the band’s first since the release of “The Odd Couple” it didn’t ram the new songs down the crowd’s throat but actually played a pretty balanced set which was much appreciated by those who might not have had a chance to truly appreciate the recent release.
After a quick retreat backstage so Cee-lo could remove his tux and his increasingly Don King-like wig, Gnarls returned to entertain the crowd with the infectious british invasion infused jam “Blind Mary” before finishing off the evening with the high energy “Smiley Faces”. A song which was the perfect end to a very good show and one in which Cee-Lo showed much more enthusiasm in his delivery than he had earlier while performing “Crazy”.
Having seen Gnarls perform before, I expected a good show going in but was truly surprised by Cee-Lo and his voice. Where last time it seemed to be an accompaniment to the music, this time his vocal was the main attraction and it more than lived up to, if not surpassed the billing. I would definitely recommend catching Gnarls on tour later this summer should you get the opportunity.
Photos: Jason Bergman @ Brooklyn Vegan
Filed under: Top 40 Albums | Tags: Counting Crows, Lists, Madonna, PJ Harvey, Public Enemy, U2
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35. U2 – Achtung Baby (1991)
Must Hear: One
Underappreciated Gem: Acrobat
This was the album that announced to the world that the “Band of the 80’s” was ready to lay claim to the next decade as well. From Bono’s proclamation of “I’m ready, ready for what’s next” at the outset to the chilling closer “Love Is Blindness”, Achtung Baby transforms U2 from arena rock flag wavers to industrial monsters but never loses sight of the band’s true vision and exquisite storytelling. “One” is arguably the greatest song the band has ever produced (rivaled only by “With or Without You” in my mind) and “Mysterious Ways”, “Even Better Than The Real Thing” and “Acrobat” are prime examples of the musicianship and growth that keeps U2 at the top of the heap even 17 years after this album’s release.
34. Madonna – True Blue (1986)
Must Hear: Open Your Heart
Underappreciated Gem: Live To Tell
A quintessential 80’s pop album, True Blue was the recording where Madonna succesfully made the leap from dance club diva to serious songstress. Led by three stunning mega hits, the latin flavored “La Isla Bonita”, the wistful yet melodic “Open Your Heart” and the controversial (at the time) teen pregnancy theme song and radio favorite “Papa Don’t Preach”, this album introduced Madonna to a whole new audience and a showed a leap forward in her musical maturity that makes this her finest single work.
33. Counting Crows – Recovering The Satellites (1996)
Must Hear: Angels of The Silences
Underappreciated Gem: Catapult
Following up their smash debut “August and Everything After” seemed like a daunting task for Adam Duritz and Co. but they not only equaled their previous foray but in terms of songwriting surpassed it. This album which is equal parts classic rock and heartfelt folk, becomes a showcase for Duritz’s voice from the beginning balladry of “Catapult” to the grand “Daylight Fading” and “Miller’s Angels” and the achingly sorrowful hit “A Long December” making it their most accomplished production yet.
32. Public Enemy – Fear of A Black Planet (1990)
Must Hear: Fight The Power
Underappreciated Gem: Burn Hollywood Burn
Public Enemy’s third album is everything a rap album should be. The messages brought to light by Chuck D and Flavor Flav on Fear of a Black Planet were urgent as a bullet and helped to bring awareness to the struggles of the inner city like no other album since Stevie Wonder’s “Songs in the Key of Life” and “Innervisions”. Whether it’s racism, sexism or social injustice, Chuck D goes after the offenders with one impassioned pronouncement after another. Flav even gets in on the act with the memorable “911 Is a Joke” that plays as catchy satire but is truly one of the most true indictments of urban policy anyone has ever come up with. A touchstone in making the rap genre more than just party music.
31. PJ Harvey – To Bring You My Love (1995)
Must Hear: Down By The Water
Underappreciated Gem: Send His Love To Me
This is the album on which PJ Harvey finally lived up to her early promise as a songwriter. She plots a a winding course through her feminine psyche that ranges from lament on “Working For The Man” to desire on “Long Snake Moan” and delirium on “Down By The Water”. With the caressing “Send His Love To Me”, Harvey puts a beautiful bow on what is the perfect gift to her fans, a completely engrossing album.
Filed under: Best and Worst | Tags: ACL Festival, Highline Ballroom, Live Shows, M.I.A., Mos Def
This is a series in which I will write about the best and worst of a wide range of topics. This week it’s Best and Worst Live Performances of 2007.
Best Live Performance MOS DEF “Black Radio” at the Highline Ballroom NYC May 26 2007
Arriving at the Highline Ballroom, I was excited but unsure what to expect from the show titled “Black Radio” but my apprehension was relieved immediately when Mos Def was welcomed onstage by an entire horn section. I knew this was going to be a different type of show and by the time the night was out, I knew I had witnessed a one of a kind performance. Throughout the first half of the show, Mos peppered the crowd with covers ranging from fun (Bell Biv Devoe’s “Poison”) to soulful (Stevie Wonder’s “Too High”) to sexy (Prince’s “If I Was Your Girlfriend” on which he dueted with Alice Smith) which were surprisingly well received by the crowd (even though it was laughable that the majority of the crowd went silent when prodded by Mos to sing along to “Poison”). Most of the crowd seemed to finally get what they were expecting when Mos’ Black Star partner Talib Kweli joined him onstage and the two of them blew through “Respiration” and “Definition” but the crowd excitement jumped to a whole different level once Q-Tip (looking strangely similar to Lou Bega in his panama beach wear) joined the party. The three then collaborated on Tribe’s “Check The Rhime” before Kweli and Tip left Mos to finish out the show with his “Napoleon’s Dynamite” and signature composition “UMI Says”. The show concluded with a spirited encore which saw Mos and Kweli trade verses on Kweli’s “Just to Get By”. By changing it up and not just doing a greatest hits set list favored by so many artists, Mos Def delivered a show that will not soon be forgotten by anyone lucky enough to be “rockin’ with the best” on that night in lower Manhattan.
Honorable Mentions: The Killers at Austin City Limits, Kaiser Chiefs at Beacon Theatre, Regina Spektor at Austin City Limits, Cypress Hill at Rock The Bells, Butch Walker and the Let’s Go Out Tonites at Austin City Limits and Jack’s Mannequin at Bamboozle Festival
Worst Live Performance M.I.A. at Austin City Limits Festival, Austin TX September 14th 2007
After discovering the album “Kala” to be a personal favorite, I had high hopes for the performance on the first day of the ACL Festival, unfortunately those hopes were dashed almost immediately once M.I.A. took the stage. Joined by a backup dancer who became an instant distraction, sound that was less than stellar and what seemed to be an obvious disconnect between the artist and the crowd, M.I.A. was completely unable to translate the freshness and fun of her recording to the live stage. After only a few songs, I found myself echoing the sentiments of the couple in front of me who muttered “We are missing LCD Soundsystem for this???” and it was only a few minutes more before I called it quits and headed over to see what turned out to be one of the better performances that afternoon.
Dishonorable Mentions: They Might Be Giants at Bowery Ballroom, Jedi Mind Tricks at Bamboozle Festival, Arctic Monkeys at Austin City Limits, Stephen Marley at B.B. King’s and Slayer at Roseland.
Filed under: Albums You Should Own | Tags: 1970's, Bryter Layter, Nick Drake
Nick Drake
Bryter Layter (1970)
About the Artist: Nick Drake was a very talented and very troubled musician. His bouts with depression and mental illness led to his death by an overdose of antidepressants in 1974. He recorded only three albums during his short career (Five Leaves Left, Bryter Layter and Pink Moon). His musical style could best be described as jazz-tinged folk with a dark, moody edge.
About the Album: Bryter Layter is the second of Drake’s three releases. Compared to the earlier Five Leaves Left, it could almost be considered upbeat. Drake was accompanied on the album by John Cale of The Velvet Underground and accomplished guitarist/singer Richard Thompson as well as many others. Drake used horns,flutes and string arrangements to lift “At the Chime of a City Clock” and “Hazy Jane I and II” to a jazzier and lighter place than his previous releases and piano and guitar to create the album’s most moving moment “One of These Things First”, a song about what could have been. Other notable tracks are “Fly” and the love lament “Northern Sky” (both featuring Cale) and the fragile “Poor Boy”. Bryter Layter is the perfect starting point for the uninitiated and one of the more celebrated albums of the 1970’s.
Filed under: Top 40 Albums | Tags: Elvis Costello, Lauryn Hill, Lists, Outkast, The Cure, TMBG
This is the first part in a series of posts that look at what I believe are the top 40 albums released from 1980 through 2008.
40-36
40. Elvis Costello and The Attractions – Imperial Bedroom (1982)
Must Hear: Beyond Belief
Underappreciated Gem: Man Out Of Time
While some will say “King of America” was a better album, I believe this was the perfect bridge between Elvis Costello’s earlier punk and rock oriented records and his later more complex recordings. “Beyond Belief” gives notice immediately that this is a special work and the next three songs work as an almost seamless piece of music leading into the moving “Man Out Of Time” and the simply gorgeous ” Almost Blue”. Imperial Bedroom stands as a wonderful achievement in a career full of extroardinary music.
39. Outkast – Stankonia (2000)
Must Hear: B.O.B.
Underappreciated Gem: Humble Mumble
When Big Boi and Andre 3000 decided to “change the game” they released one of the best hip hop albums in years. Channeling the best parts of P-Funk, the sexuality of Prince and the electricity of Southern Rap, Stankonia comes at you in many different ways but never disappoints. From the laments of love long gone in “Ms.Jackson” to the big pimpin’ style of “We Luv Deez Hoes” to the breathtaking poetry of “Humble Mumble” and bombastic explosion of “B.O.B.”, Outkast show that when true vision meets ambition that a great album can be realized.
38. They Might Be Giants – Flood (1990)
Must Hear: Your Racist Friend
Underappreciated Gem: Hearing Aid
They Might Be Giants (TMBG) were always considered the “cool” band for the “uncool”. Feted as “OUR” band by the math geeks and computer dorks, TMBG was the best kept secret in fringe rock for years until the release of “Flood”. When “Birdhouse In Your School” gained heavy rotation on MTV and the radio, TMBG gained a whole new audience and after hearing this album many of the new fans decided to come along for the whole ride. Songs like “Particle Man”, “Istanbul (Not Constantinople)” and “Birdhouse” draw you in with their catchy sing-a-long verses and melodic mix-ups like “Hearing Aid” and “Minimum Wage” make you want to visit again and again. Truly the Giants’ best album and one that hasn’t lost it’s ability to make you want to play it loud and dance by yourself just like you did the first time you heard it.
37. Lauryn Hill – The Miseducation of Lauryn Hill (1998)
Must Hear: To Zion
Underappreciated Gem: Superstar
With her distinctive voice, Lauryn Hill created an album which served as a voice for anyone who was looking for something more from hip-hop during the late 90’s. Focusing not only on her personal life (“To Zion” and “Lost Ones”) but also the state of hip-hop (“Superstar”) and the social concerns of not only the past but the future as well (“Every Ghetto, Every City” and “Final Hour”), Hill imagined a complex and thoughtful album that still somehow found time to explore the fun side of hip-hop.
36. The Cure – Disintegration (1989)
Must Hear: Lovesong
Underappreciated Gem: Homesick
Anyone who has experienced the joy and pain of being in love can recognize all of their most personal feelings laid out for them in the most poetic way in the words of Robert Smith on this epic album. “Disintegration” is the fully realized dream of a pop album for the affected masses. All 12 songs on the album are pieces that develop slowly around the listener and bring an evocative lush sound that captures your ear as well as the pit in your stomach.
