Sunday, December 10, 2006
Can't say to what extent my appreciation for this record is due to Tom Breihan, who trumpeted it highly. I wrote an absolutely ridiculous review for recess, but alas, it was not posted online. My central conceit was completely silly, but I think my judgement was correct. What first got me were the grittier, faster-paced beats, some reminscent of Wu-Tang, other MF Doom-produced, and I can't imagine who couldn't dig Ghost namechecking David Koresh and "Laffy Taffy" in the same song. Originally, I was pretty cold toward "Back Like That," the single featuring Ne-Yo, seeing it as little more than a commerical ploy. That's probably true, but with repeat listens I've come to appreciate it more--it's the kind of song that pops into your head unexpectedly (and often at inopportune times) and stays as long as it wants, whether you like it or not.
Ghost probably could have just made Fishscale and More Fish (released this month) a single album and cut some fat, but so it goes. He's gritty, witty and wise without all the damn indie baggage of, say, Doom.
7. Neil Young, Living With War
Probably not quite worth the ranking I'm giving it. Still, for a record produced with Ryan Adams-like speed, this record's songs are impressively good. Neil was taking a courageous stand, speaking out where cats like John Mayer sit "waiting for the world to change," if not quite matching Steve Earle. He's full of genuine righteous anger; as with all protest music, it comes across as silly sometimes. I'm also not sure where he got this love affair with the trumpet, but recorded at low-fidelity--as this record certainly is--it's striking how similar the horn sounds to Neil's own guitar sound. And with the release of a Crazy Horse set recorded with Miles opening (previously released) maybe we can find the roots of Neil's entirely distinctive, bastard guitar style.
Alright, maybe not. But this is far better than Are You Passionate? and incomparably better than the embarrassing Greendale. Some of the songs are confusing (what is the garden?), some try a little too hard (the main part of "The Restless Consumer," although the rap at the end is excellent, delivered in what my dad calls "Neil's best 'Hey kids, get off my damn lawn' voice). I hoped "Lookin' for a Leader" would be a remake of "Lookin' for a Lover," but it wasn't; it's pretty good anyway, and sure sounds like a call for Obama in '08. "Flags of Freedom" is an excellent Dylanesque short-story/vignette. Maybe it's just me, but I find it incredibly moving. But then, I get choked up hearing the Byrds sing "He Was A Friend of Mine."
And yes, let's impeach the president for lying and misleading our country into war, abusing all the power we gave him and shipping all our money out the door.
8. Medeski Scofield Martin and Wood, Out Louder
This may be a better record than it seems based on my ranking, but Scofield's material tends to take a while to settle before it can really be accurately judged, so I'm being cautious. Scofield hired MMW to back him on 1997's A Go Go and they produced one of the best records of the 1990s and created the jazz-jam scene. I'd be surprised to see this record have that kind of staying power, and it's very different--more varied textures, from the bass and the melodica especially, a denser sound, and a slightly less acerbic sound from Sco. Crucially, it's more adventurous than A Go Go too, with freer, farther out sounds than the very accessible guitar-and-organ and guitar-and-clavinet jams on the earlier record.
9. Bill Frisell/Ron Carter/Paul Motian, Bill Frisell, Ron Carter, Paul Motian
Every now and then, it seems, the Friz puts together one of these bands, a one-album supergroup, like 2001's Bill Frisell with Dave Holland and Elvin Jones. It seems like when this happens, he can't think of a good title for a record (or more likely, the label wants something to sell); he also apparently can't come up with any good compositions, which would explain why this record has only two Frisell originals, one previously recorded, 1 Motian tune, previously recorded, and one Carter co-write, a Miles Davis classic. There are 6 others, 4 of which are in his regular (and fairly small) live rotation, and 1 of which ("I'm So Lonesome I Could Cry").
Bill also has a weird timidity when he plays on "real" jazz records, from Kenny Wheeler's Angel Song to John Scofield's Grace Under Pressure. On that latter, he pretty nearly steals the show from the leader, but keeps this measured, softer-edged tone, and he does the same here. It's as if his shyness, buried when performing with his own band, is reawakened by the big names around him, which is silly, because he can clearly stand toe-to-toe with any of them. All that said, the whole band sounds great if a little bit chilly. Definitely his best since Blues Dream, Grammy win for Unspeakable notwithstanding.
10. I'm indecisive, so I have four more:
Lupe Fiasco, Lupe Fiasco's Food and Liquor. He namechecks Cornel West, which is enough for inclusion here so far as I'm concerned. Again, I'm not really qualified to comment on rap, but this is a great record all around.
Black Keys, Magic Potion. Rubber Factory was probably the best record of 2004; coming off that, even a near miss like this is excellent. Less Zeppelin next time, though, please.
Willie Nelson, Songbird. The only thing that could have made this Ryan Adams-produced record, with a Ryan tune and with Ryan's backing band, the Cardinals, any better would have been to cut Willie out entirely and make it a Ryan record. Unfortunately, that would have made it a lot better, top-5 material; instead, it's buried down here. I still don't get Willie, but whatevs.
Elvis Costello and Allan Toussaint, The River in Reverse. A soulful, well-played and well-written Katrina record. Like Neil's protest music, a dangerous proposition, executed with elan.
Appendix: What I haven't heard that I maybe should have
Cat Power, The Greatest
The Game, Doctor's Advocate
Jay-Z, Kingdom Come
Ghostface Killah, More Fish
Beck, The Information
Gnarls Barkley, St. Elsewhere
Saturday, December 9, 2006
1. Bob Dylan, Modern Times
How outrageous is it that this only got nominated for a Grammy in, like, Modern Folk/Americana? (For the record, those who were nominated were the Dixie Chicks [dull], Justin Timberlake [see below], Gnarls Barkley [meh, whatever], John Mayer [who makes Natalie Maines' political views seem fascinating], and RHCP [whose record was about 1.5 discs longer than it ought to have been].)
This band is tight and the songs are excellent. Dylan keeps reeling them off, and with humor and elegance. Without indulging in too much critical BS-speak, he songs here are often touching and profound; he also is frequently hilarious:
“I’m gonna raise an army, some tough sonsa bitches
I’ll recruit my army from the orphanages.”
Confused? Luckily, he wraps this verse up with the clarifying
“I’ve sucked the milk out of a thousand cows.”
Whatever you say, bud.
As I wrote in recess, Dylan is one of the two greatest artists
2. Justin Timberlake, FutureSex/LoveSounds
Middle-school Davey—who wasn’t even that discriminating a listener—is furious with me for this one. Hell, so is my dad. It’s true, though—this record is absolutely stunning. It’s not about Justin; he’s got a fine voice and all, but the props go to Timabland (although JT’s lyrics are insipidly trite; I suppose when you’re him you don’t have to worry too much about effective pick-up lines, but I swear he starts half the verses on this disc with, “I’ve been around the world …”).
I didn’t really get into “Promiscuous” like everyone else did, but this I can dig. The songs are long—often clocking in at five, six, seven minutes—lushly arranged (a synthesizer rainforest, if you will) and marvelously structured. “LoveStoned,” the best track on the record, avoids the static trap of most pop music, moving forward throughout based solely on the merit of the beat with lyrics playing no role whatsoever. The beat drops out and leaves a rhythm guitar part; then things slowly rebuild back up to the finish. This is how all pop songs should be. I’m also infatuated with the synth response to everything JT sings on “My Love”; sounds like fingers on a balloon, if that makes any sense at all. I have a bad feeling this is going to sound absolutely ridiculous and dated in five, ten years, but right now we all ought to just revel in it. Also, bonus points for his thoughts on the K-Fed-Britney break-up.
3. The Decemberists, The Crane Wife
A late rally brings the Decemberists into my top 3. I discovered them last weekend when I downloaded The Crane Wife, which was an excellent decision. It was love from the first chord of “The Crane Wife, Pt. 3.” I’m generally inclined to agree with the assessment Chris Ott laid down in the Voice about Colin Meloy’s general pretension and silliness, but that does nothing to demean the music. “O
4. Jack DeJohnette with Bill Frisell, The Elephant Sleeps But Still Remembers
A live record, so I'm kind of cheating here. but I reckon the extensive post-production work from Ben Surman makes this a valid pick. Despite Surman's fingerprints, the amount of sound that the duo puts out is pretty stunning for a live setting. I've heard lukewarm things about the tour that DeJohnette, Frisell, and bassist Jerome Harris were on this fall, but this record works beatifully. Frisell, the best and most innovative guitarist working in jazz, and one of greatest musicians in the world overall, can sometimes get mellow and even soporific, but the veteran drummer keeps him from complacency. Jagged banjo tracks, for example, may not sound so hot alone, but in the setting of the record it works. This disc, to me, sounds like industry, all grit and dust and clanging and metal striking metal and smoke and grime and oil. I'm not a fan of post-production, but this is tasteful. On several tracks, Surman modulates one of Frisell's riffs down an octave or two to create a bassline; this fits in remarkably well and places the jams in a deep and funky pocket. Can we expect a studio effort from these two anytime soon? Here's hoping.
5. Beirut, Gulag Orkestar
Zach Condon, I'm pretty confident, thinks I'm a moron. But he was nice to me anyway. Which wins points with me. It would have sucked to have gotten a lot of condescension off a high-school drop out. Then again, he's not the typical pretentious indie star (see Meloy, Colin, above), a humble, white t-shirt-wearing, trumpet-playing 19-year-old. I'll be damned if I can comment on his lyrics, which seem quite simple but are generally unintelligble. Musically, however, he does successfully conjure up a sepia-toned melancholic nostalgia--a nostalgia for something none of his listeners, I'd imagine, ever experienced. Maybe that's easier than recreating the real thing; I don't know, but it's magical, all gypsy drums, burnished brass and street-corner violin. I'm admittedly skeptical about Condon's ability to sustain this project; his press materials make much of his previous, teenage projects (a doo-wop record?), but for me they suggest a short musical attention span. I don't know if I'll like whatever his next project is, but the buzz around this one was justified.
Tuesday, November 21, 2006
I just read about yet another one of those lists, although I actually missed it by a week. Oh well, so did the Post .... So apparently Time has compiled a list of the greatest records of all-time. Every music nerd has an opinion and can painstakingly deconstruct such a list, and no one wants to read that (the authors, in fact, for all their mistakes, were smart enough to preempt that in their introductory graf, saying that it's intended to provoke discussion, which it probably would were it not in Time). Instead, I have broken down several lists by decade and race. Keep in mind, each of these lists purports to be the greatest records (not albums!) of all time.
So now, without further ado, the lessons I learned:
1. The recording industry began in the late 1950s with some guy names Elvis Presley. That's right, there were no recordings before then. It all began with Elvis, but some guy named Miles Davis picked up on it pretty quick and cut some record called Kind of Blue in 1959. It's sure a good thing that happened, 'cause what would hipsters do without discs to talk about? OK, so a couple of the lists (Rolling Stone and Time) include Robert Johnson's stuff, which ends up in the 1960s on my tally sheet because that's when the tracks were first compiled and re-issued. No consideration, however, of Louis Armstrong, Glenn Miller, Duke Ellington, Benny Goodman, Al Jolson, Charlie Parker, Charley Patton, etc. Or Miles' excellent Milestones, for example, which is better than f*&ing anything Tina Turner ever put out (I'm looking at you on this one, VH1).
2. Marvin Gaye is the greatest black musician the world has ever produced. Runners-up: Miles, Prince, Public Enemy, Jimi Hendrix, John Coltrane, Michael Jackson (yeah, about that ...). Actually, it might be more accurate to say that he produced the greatest black album of all time. What's Going On comes in at 27, 4, 6 and present (Time doesn't number), handily defeating all challengers. Jimi's close in places, and usually has between 1 and 3 records on the chart (except NME); both Bitches Brew and Kind of Blue rate consistenlty high; Purple Rain's a fave, as is It Takes a Nation of Millions to Hold Us Back. Based on frequency of appearance, Miles, Jimi and Jacko are actually the greatest black artists we've produced.
3. Rap's a mostly white art form. Apparently, there was some band called Public Enemy which was pretty important, and another called N.W.A. But if you really want to hear rap, you have to go to its most authentic proponents: the Beastie Boys and Eminem. Jay-Z, Nas, Wu-Tang, Dre, Eazy etc are amateurs compared to these cats. Which leads me to my next lesson ...
4. Black people haven't really had that much effect on the development of American popular music. Take it from these guys--American music didn't really grow out of the blues and Afro-American gospel forms. Amiri Baraka, Ellison--hell, every non-racist (and most likely some racists, too) critic ever--was wrong. That must explain why there are hardly any blues artists, only Miles and Trane as token jazz artists, very little soul, etc. Here are the number of "white" records vs. "black records":
Time: 64 vs. 36
Rolling Stone: 68 vs. 32
NME: 90 vs. 10
VH1: 71 vs. 29
[A note on methodology: Some of these were judgement calls; Jimi Hendrix Experience records were counted as black (with apologies to Noel and Mitch), while the Allman Brothers were counted as white (with apologies to Jaimoe).]
5. The '60s and '70s were pretty much the greatest time for music. Ever. Unless you're one of the hipsters at NME, in which case you have to be contrarian (Hipster, n. translation: no historical memory) and have lots of albums from the '80s and '90s, too. 79 of Rolling Stone's top 100 were in these two decades, 48 for Time, 72 for VH1, 45 for NME.
Clearly, I'm joking here. Are the editors of all of these publications racists? I have to say no, and not only because I might try to get a job from some of them some day. And clearly the historical distribution of the music has more to do with the audience and authors, than, say, reality.
There was some hullaballoo a few months back when Sasha Frere-Jones suggested Stephin Merritt of the Magnetic Fields was a racist. See, Merritt made a list of the top 100 songs of all time or something and it had too few black artists for her tastes. Since my musical taste runs toward a lot of jazz and soul, I tend to like a lot of black artists and would imagine that a such a list would be poorer, but not racist.
Anytime you place the "all-time greatest" label on something, you're stepping in to dangerous waters; it's this overstepping of terminology that bothers me. Actually, the fact that NME's list is straight-up 90% white is concerning too, but whatever. Just watch your words, guys--and if you mean "since 1960, and not including any folk or classical records and only a choice few jazz records," then say that, dammit.
Monday, November 20, 2006
I'm brutally unqualified to write on anything classical except maybe ecclesiastical choral music, but here goes anyway ... There's a twist, I s'pose.
Let's start with a cliche: "Jazz is anything you can tap your foot to." It's a quote which is frequently (and probably apocryphally) attributed to Duke Ellington. Jazz is also what Durham resident Branford Marsalis is best known for. I tried my damnedest to tap my foot to the two works he played with Duke's Ciompi Quartet last night. Two conclusions, which I didn't really need all this artifice to say: One, it wasn't jazz, but two, it was pretty interesting.
(Aside: Having been in Page two nights in a row, have you ever noticed how different the chatter before a classical concert sounds as compared to before a jazz concert? Similarly high-brow, and yet the overall sound is very different.)
I had a somewhat difficult time concentrating for the first half of the concert, a Mozart divertimento and a string quartet by Mendelssohn, with the previous night's (mis)adventures post-Masada still working themselves out. I will say this: There is never enough viola. On the other hand, violist Jonathan Bagg sounded a bit scratchy in some places, not quite achieving a pure tone. First violinist Eric Pritchard, meanwhile, is fun to watch--he always seems ready to leap out of his chair, and lo and behold, no sooner had they hit the final note of the Mozart than he did just that. The Mendelssohn was denser musically than the Mozart and I liked it better, especially the playful bandying back and forth of a riff in the adagio non lento, the second movement.
The second half was composed (ha!) of a premiere (marc faris' Mountain Music) and a repeat of another work Branford and Ciompi premiered in 2003 (Mark Kuss' Reminiscence). Branford was on soprano for both. Imagine if Trane hadn't taken up that horn--Branford might not play it, either! He has a beautiful, clear, core tone. I very much liked faris' piece. It reminded me, actually, of Wayne Horvitz's Four + 1 Ensemble, especially the string vs. horn thang. The work was lyrical, but seemed to be trying very hard to remain a bit spiky, as in an early section with cello and viola pizzicatti where the music lurched rather than flowed forward. What faris was going for, perhaps, but a little unsettling, and it seemed as though Marsalis and the violins really wanted to overcome the jolting low end and surge forward. I liked the work, and could really feel the Appalachian aura the composer described in his program notes, although my own personal conception of the Blue Ridge might not be so mighty and aggressive. Kuss' piece, meanwhile was cozy and lyrical, but overall didn't make much impression on me.
The sax-string interplay is quite pleasant--the tone and register of the soprano meant Marsalis could blend when he wanted and fade into the ensemble. The rest of the time, he seemed to be playing--well, not against the others, nor with them, nor completely on top, as a soloist. The sax line seemed to roll above, below and with the strings, lapping about fluidly.
I'm always struck by the different sound of modern harmony, something I wish I understood more. Where the Mozart and Mendelssohn seem closed, a layer of glass covering them--even the airy, pleasant Mozart--the twin Marc/ks' pieces seem to have big holes in the harmony, big enough to drive a musical truck through. It's not a hole in the score; there's just a space there, and I don't know how well I'm describing it. Here's hoping it makes at least a modicum of sense.
Friday, November 17, 2006
In the 1960s, soul jazz and hard bop were the thing. It was arguably reductionist and non-progressive, but it sure does feel good--basic jazz crammed with gospel and blues. It was undeniably black music. Saxophonist John Zorn--who has played with some veterans of that era, like organist Big John Patton--is doing something similar with his Masada project. It's real visceral, gut-bucket stuff infused with tradition. But to his credit, Zorn doesn't try to imitate a culture that isn't his: Masada celebrates his own Jewish heritage, using parallel cultural elements to what Horace Silver used. (If Blue Note was the leader of the soul jazz crowd, can we call Zorn's Tzadik label Jew Note?)
Acoustic Masada, which played at Duke this evening, consists of at least two Jews (Zorn and drummer Joey Baron) and at least one other guy who may be (bassist Greg Cohen--I'm stereotyping based on the name). Trumpeter Dave Douglas rounds out the quartet. The band actually functions on two planes--Douglas and Zorn tend to be the more Jewy part of the band, blowing over Sephardic scales, while Baron and Cohen are in many ways a conventional rhythm section.
Friday's performance was excellent, but not quite worth the standing ovation it got. The set fell too easily into a pattern. First, they'd play a ridiculously intense, high-speed, free number, then a melodic, modal tune. The latter are remarkable tours-de-force, running a wide gamut of speeds and dynamics, but the larger pattern was just too strong.
I especially enjoyed watching Baron, who's like Gene Krupa on cocaine. He was unmiked and still was exceptionally loud; I have several tapes where he plays and the drums are always too loud and distorting on the recording. It wasn't that way where I was sitting, but I can imagine it's damn near impossible for a taper to get a good mix. If Max Roach and Connie Kaye "dropped bombs," Joey carpet-bombs you with daisy cutters. Zorn was occasionally conducting him--on some of the best numbers, he conducted the hits on certain sections, even during his solos. As a result, it became a meta-solo, consisting of not only him but drums also. Baron was fun to watch, too--he was so amused by all the interplay and was having such a blast, laughing as he played. All that said, there were a couple tunes where I could have done with a little less out of the kit.
Douglas was also good; haters (me included) tend to attack him for his chilliness and remove. Zorn helped to loosen him up a bit, I think, but he still plays with this sort of dry, ironic tone, a musical smirk, and I don't like it (too much like me, probably). A couple times, it seemed like Baron was playfully jabbing and sparring; but Douglas remained aloof, raising his voice as necessary but never really throwing himself into it.
Zorn's just the opposite--he's totally into it. His compositions are great, intricate and passionate, and his writing for two horns (another similarity to the front lines like Lee Morgan and Joe Henderson or Blue Mitchell and Junior Cook on those Blue Note sides). The free stuff is fun, too, and the combination of rhythmicality (rhytmicism?) and strong rapport between all four players means it works well. He does a lot of crazy fluttering stuff, which sounds a lot like noise but takes on a special meaning in the context. I don't pretend to understand what the hell he's doing (I'm only half-convinced he does) , but almost everyone else did: in one solo, after a weird thang, he went back to a tonality and people all erupted in applause, even though he was still playing the solo. This strikes me as pseudo-artsy bullshit on their part. They don't know what it means either. (I should have asked him about, but I froze up when I met him. Oh, well.) Even the onstage banter was weird and unintelligible. I don't get it all, but it makes me feel good, which works for me. I give the show 7 or 8 out of 10 overall.
A note on the band's appearance: they play really close together, and all four look so different. The tousled-haired Zorn came out in a t-shirt and camo cargo pants with tortoise-shell glasses. Douglas, true to his image, had chunky black glasses, black pants and a black shirt (and a black leather jacket, too). Cohen is a tall, gangly, professorial type, grey-haired and dressed in a far-too-large button-down shirt. Joey was t-shirted and shaved bald. A hilarious sight, altogether.
Thursday, November 16, 2006
Short riff today. Look for John Zorn and Branford Marsalis in this space in the next coupla days.
Kelefa Sanneh has one of his typical socio-critical columns today in the Times. Sanneh, for the uninitiated, is the best critic working today (at least that I've read), a former Voice writer who now seems to cover mostly hip-hop and country--apparently these are the only two things Pareles, Chinen and Ratliff can't cover, so he got the very asymmetrical beat. He covers them both with cleverness and skill, although recently he's seemed kind of formulaic ... One of his formulae is this kind of piece.
This one is about a documentary about what's wrong with the pop music business. Kelefa focuses on the hypocrisy of the commentators, pointing out that there's no real examination of their own tastes.
Lots of people like to complain about how what's popular is only popular because record execs and Clear Channel (or choose your own bogeyman) feed it to us (sorry, too lazy to look for citations on this. Trust me!). I'm pretty convinced that if CBS and Warner decided they were only going to give us "good" music--as defined by, uh, me--and phased it in over a decade or so, there wouldn't be much difference in record sales. I also think they should do that, and realize they won't. But I have limited patience with this argument, 'cause I think people genuinely do like a lot of pop (and why shouldn't they? A lot of it is ridick pleasant).
We were discussing a work by the 16th century Spanish dramatist Lope de Vega in class today. Lope was unabashedly formulaic and populist; he wrote dozens, even hundreds, of works using a very few different plot lines, each adopted a little bit. In one text, he admits that he's happy to flout the classical rules of drama as long as people like it. Id est, he didn't give a shit about high art or any such rubbish. He pokes fun at himself in this regard (see La dama boba), but he sticks by it; he also takes some pot shots at the academias, organizations of petty nobility who sat around and talked about works like his--the effete, tight-shirt-wearing, hipster elitists of their day, if you will (Lope was one of them himself). Lope was incidentally a rival of Miguel de Cervantes, a failed dramatist who also wrote a little story that laid the foundations of the modern novel. The more high-brow Cervantes was not a fan of Lope--he envied his success (I see Doyle Bramhall II in K's column as the logical analogue).
We didn't really go into enough detail to know what kind of critical acclaim Lope got at the time. Now, though, he's considered one of the greats of Spanish drama, a writer on the order of that rival of his, and his works are taught at pretentious institutions such as my own. So as much as hipsters and pretentious jazzbos hate it, what are the chances that Medeski, Martin and Wood are going to outlast goddamn Futuresex/Lovesounds or "Promiscuous Girl"? Probably pretty low; even "worse," those are going to be canonical works, well-respected for their influence, craftmanship, and artistry. And the guys in that movie Kelefa writes about? They're going to look like some asses, man.
Tuesday, November 14, 2006
This paean was written directly after returning from seeing The Black Keys at the Cat's Cradle down the road in Carrboro, NC.
The Cradle is odd because it's so iconic, but it's also located right in a strip mall and could just as easily be taken for a five-and-dime from the street. The night's first great moment came when I marched right up to the doorman, told him I was on the list, and was promptly let in gratis. Makes one feel almost legitimate. (Here's my preview from recess, the arts and entertainment section of The Chronicle, Duke's student newspaper: http://www.dukechronicle.com/media/stora...
Openers were the Black Angels, who were passable, but if we'd been lost any longer (and we were lost for quite awhile) it wouldn't have been a shame--they were sort of like My Morning Jacket, but heavier and dronier, with less poppiness. NB: I can't stand MMJ ...
The Keys team/setup is sick complicated for a two-man band--three or four techs, lights, etc etc etc--and it took forever to get them ready, which I passed by pushing Andrea forward, so that by the beginning of the set she and John and I were pretty close to the front. The guitar tech tuned up Dan's Telecaster, but alas, all he played for the set was a white SG custom. Pat's set, meanwhile, was pushed up right up to the edge of the stage, which was pretty cool. Major downside: the rather putsy couple in front of us who were treating those around to an extensive display of PDA. Eww. Probably Tar Heels ...
Dan comes out, says they're the Black Keys (applause) from Akron, Ohio (at which point I emit a cheer which prepared those around me for deafening volume we were about to experience). They then launch into a bizarrely twisted "Thickfreakness"--Dan was doing some weird things with the rhythm of the main riff (I notated all of this in my official, Chronicle-issued reporter's notebook--made, as it happens, in Akron!). I was pretty ecstatic already, and then they went into "Girl Is On My Mind.' The repertoire was pretty evenly divided between (1) Rubber Factory, (2) Magic Potion, and (3) The Big Come Up and Thickfreakness. Some personal faves outside of the opening two: "Set You Free" and "Your Touch" back-to-back, "10 A.M. Automatic," "Grown So Ugly," "Stack Shot Billy."
At the risk of being the snob who likes earlier stuff, I'm still having trouble getting into Magic Potion, although they burned some of those tunes down tonight. I coulda done with fewer of them, but whatever; judging by the crowd's reaction, they know Rubber Factory and Potion better than the previous couple. Novices!
Dan was sporting a railroad-themed jacket (didn't Mary Stormer say *Pat* was into trains when he was a teenager?) but otherwise looked pretty rockstar. He sorta bounds around the stage during his solos, and he's as likely to be turned toward the wall doing rockstar moves as toward Pat or the audience--it's not so much that's he's antisocial a la Miles, but rather that he just doesn't even think about it. Awesome. When he sings, he does this funny little shift-back-and-forth dance, a little like Richard Thompson, actually. That's about the only way he's like RT--he has none of RT's nuance plays insanely loud and distorted through a Marshall, and he gets away with a lot of what might be sloppiness on the fretboard because it's just turned up so damn loud. It's absolutely brilliant. Pat looks pretty much the way you'd expect on stage based on the way he looks generally and the way he sounds.
After buying a t-shirt ("I know the artist. He used to bag my groceries!"--I've got to be almost intolerable; how John and Andrea put up with it I don't know), I was hoping to talk to Pat and/or Dan; despite the roadie's assurance that there was no way they'd come out, I walked out of the club to see the bird-like Pat Carney himself standing there, smoking a cigarette. I of course went up to introduce myself (I was wearing my RCCC Akron shirt, natch) and told him who I was and how I'd written a story on them and how I lived on Highland and how I knew Barry and Barry and his mom from St. Paul's. (I've tried to replicate the silliness of my vocal cadence talking to him in the above, unpunctuated sentence ...). He was friendly if spare of words, but I didn't want to be That Guy, so I told him I'd see him at Angel Falls before scampering back to Andrea and John, who laughed at me. Bastards.
Overall, a top notch show. Having played on at least one stage as them (Lime Spider) and been to other clubs they played, I wish I'd seen them in Akron; maybe later. And having seen some other, considerably less interesting bands on those stages, I can't imagine how thrilling it must have been to walk into, say, Annabell's in 2000 or 2001 to see this unbelievable and original band blowing like mad. Wow.