Friday, September 07, 2007

Virgin Festival
Toronto Islands
2007-09-08
Day 1


So after the debacle that was the Virgin Festival 2006 Richard Branson promised he would make it up to Toronto.

You remember 2006 don't you? Second day headliner Massive Attack was replaced by local bar-band Broken Social Scene. The first day headliner, The Flaming Lips, had their set cut to only 4 songs. This due to Gnarles Barkley's inflated sense of their importance and a curfew, so the rich Islanders could get their sleep.

This is his idea of making it up?

He's a lying bastard at best. Already cancelled, after being announced and attracting fans, Amy Winehouse & The Hives. And no offer of a ticket refund even though those were the primary reasons for paying for a two-day pass. Add to that about 4 more announced-then-cancelled acts and you start thinking he's just jerking your chain. Don't be satisfied with Bjork and the Pumpkins as headliners. They were included in the US version which also got Incubus, Modest Mouse, Cheap Trick, Chris Cornell, The Beastie Boys and The Police, in place of a long list of bands that you wouldn't recognize. Weird concept of "make up" that Branson has there. It could be worse...they could have been pleased with last years shortcomings.

Next year I'll enjoy spending the $200.00 on about 6 different nights...but not at any Virgin event.

So I'm down to one day I think I might be able to tolerate.

Except for the way they make the main stage so 'name-heavy' that it takes away any chance of seeing a multitude of bands. With 3 stages (as opposed to last years 2 because I don't count the disco-tent-dj-stage as real music) there is so much overlap that you either have to live with 20 minutes of 20 bands or just hunker down by the main stage for the 'big' acts.

I use that term loosely as k-OS is no substitute for Amy Winehouse and the Stars are no substitute for the Hives.

On the 'good news' front, my Church Audio mics and preamp came in and I've got an Edirol R-09, so I'm hoping to get my first high-quality, 24 bit capture. If I can figure out how everything works in time.

One bright spot, as I head towards the Ferry Docks, Amy's spot is still open and TBA is slotted to play. Now if Branson really cared about quality he will have reached down deep and convinced the White Stripes to start their fall tour a few days early.

As if.

My prediction is we'll get someone like The Salads, or whoever came in second in the local radio contest for a spot at VFest.

So Saturday was a lovely day. The sun was high and it was hot. Kudos to the Ferry staff who moved us across the water in record time. Security was almost non-existant.
As for the VFest crew...well, they leave a little to be desired. After exiting the ferry we're hearded into a fenced enclosure waiting for the gates to open. Shouldn't be too bad, it's 10 minutes to 1, and sure enough, right at 1, an officious looking dude rides up to the entrance on a golf-cart...but doesn't open it. About 10 after 1 some guy with a clipboard does the same thing. Did I mention it's hot? At 1:15 I'm doing an interview with a reporter who likely works for a local paper. Rather than spew my venom on Branson & Co. I tell her I'm happy with the situation and it's really going to be up to the bands to make it a great day. By 1:20 pm we can hear the opening bands onstage and the doors finally open.

Without time to check out the venue I decide to drop The Vincent Black Shadow from the schedule and head over to the small stage where The Jon Levine Band is putting on a pretty energetic set to the gathered multitude of...oh, about 12 of us. As I say 'hello', he says 'goodbye' and within minutes Dragonette is onstage.

Now if you've searched around the internet then let me tell you Dragonette's reputation exceeds them. I thought they were going to be much raunchier. Of course it's hard to convey oozing sexuality at 2 in the afternoon on a sun-drenched stage. Lead singer Martina Sorbara is dressed almost demurely in a white demi-t and a skin-tight body suit. But she moves real good. The music is infectious, relying on a mid-80's synth-pop center, it's substanially muscled up by the work of bassist Dan Kurtz and guitarist Will Stapleton. It's like a cross between Nelly Furtado and Chrissy Hynde.
They did a good job of engaging the audience with a short 7-song set. Not a lot of time to build to a crescendo, so they just knocked them off in quick succession and ended up with an honorable showing in a tough time slot. Martina attacks the mic with a fervour normally reserved for ... well, for the sake of decorum let's say a tasty ice cream cone. She has a saucy mouth to go along with her salacious tales. The music needs to become a little more hardcore to jive with their personas. Definitely worth another look.

Local hip-hop god, K-OS, was a late addition to the lineup. Probably replacing The Coral. I'll say this: It's far from the worst decision made by the organizers. That'll come later. Though he seemed to be receiving a decent amount of respect from the large crowd K-OS admonished them on a couple occassions to move a little. That's the biggest downside to these types of festivals, besides the short set times...there's no guarantee your people are going to be present in force, so you may not always feel the love. His set closes with Danke Shein leading into a lively Sunday Morning and though it's a little late in the day I've finally heard the first song I recognize.

A quick stage change and UK songstress M.I.A. takes flight. Tight little cutie, dressed in pink and black leather. Short shorts too. She wins the "most captivating lead" category for the day. Her energy seemed boundless as she bounced from side to side, reaching out to the audience by setting up on the risers that extend from the main stage. Before 'Bird Flu' she invites some people up to dance and, against the obvious wishes of venue security, at least 50 people make it up there to provide a chorus line of sorts. Her set closes with a brief stint of body surfing. Very trusting lady.

Time now to track down a quick burger and drink as Amy Winehouse's replacement gets set to take the stage. No, it's not the White Stripes.

It's Kid Koala.

Who?

Exactly.

He was on the 2006 bill. Made my list of "artists not to see". To add injury to insult his set lasts only 15 minutes. You see, he's a DJ, and try as he might, he could do nothing to stop the hot sun from melting his records.

That leaves an excruciating one hour wait before the Arctic Monkeys set. Not enough time to catch another act but just enough time to suck the life out of an audience sitting in the ... did I tell you it was hot?

Who the f*ck are the Arctic Monkeys? Well, maybe a one-album band. In fairness, the new songs are exactly along the mold of the first album. Saucy power pop. They just haven't garnered the same amount of acceptance among the fanbase.

It was painfully evident that the greatest reaction was held for the holdovers from Whatever People Say I Am, yada, yada, yada. Most of the songs from Favourite Worst Nightmare were met with increased chattering in the crowd, save the opening numbers, This House Is A Circus and Brianstorm, which packed a punch and got the set off to a roaring start. It was in the middle portion, following a couple hits and before the closing hit-laden final segment, that the show lagged a little. Again, it's likely a by-product of the event but it was still a tad disappointing. What little stage chatter we got seemed to be further evidence that this is not something particular to the Toronto crowd as the onstage jokes were about how the audience really liked, and responded to, the old songs. I would suggest that rather than poke fun at them ("see i told you they would like this one", in response to the cheers that greeted Fake Tales), the band should appreciate their fans enthusiasm and get to writing songs that will be accepted with the same fervour. The relative silence that greeted 5 out of 6 of the following songs, all the new ones, should be testament to that.

These guys are a lot of fun live and I think they have talents not yet seen so I'll be back when they come to a venue that will let them display those characteristics.

Last band of the night, Interpol. (I'm skipping the bird-lady, Bjork. She's from Iceland you know, though they just call it "Land" there. Soon that's what we'll all be calling it.)After I got over the shock that David Spade was the lead singer I settled back to really enjoy a set that sounded like a marketable Joy Division. It was the best set of the day. I can't tell you much about it because I'm not at all familiar with their repetoire. I kept passing on them because I thought they were a German techno-metal band like Kraftwerk or something. It's that whole Euro-name. I do know David Spade isn't their singer, though.

On a side note, vegans may want to stay away from the Interpol site link.

Great work by the bands.

Terrible job by the VFest organizers who've had my money for almost 6 months. Promised a lot more than they delivered.
Didn't make up for last year.
Owe us still for this year.
I haven't even mentioned the sickening commercial crap all around these festivals. It'll be a long time before Branson gets me back to one of these things. But that's ok, I'm guessing I'll be seeing concerts long after this guy is done promoting them.

Saturday, August 18, 2007

The White Stripes
Patriot Center
Fairfax VA
2007-07-28


"Okay, you hear and see it and it's going to happen fast. Now, you're not going to get it all, and you might hear the wrong words, and then afterwards, see I can't...I won't be able to talk to you afterwards..."
Bob Dylan in Don't Look Back.

He could have been looking ahead.

An above average show from an artist that never fails to amaze. I'm on about my 18th show with Jack and there's always something new...and a promise that's not likely to change soon.

Overall the show was a little shorter than some this year but filled with more than enough special moments to warrant a "BEST EVER" or two in the immediate afterglow.

Standard opener in Dead Leaves And the Dirty Ground from the breakthrough third album, White Blood Cells. Usually the first two slots are fast-paced warm-ups Tonight it was done at about 3/4's speed. Not quite the 'rip your face off' pace it usually has. I think it was better for the care he took with the song.

What You Might Have Missed:
"I didn't feel so bad till the sun went down (plaintive moan)
then I come home
no one to wrap my arms around."
He did a 'timrod' on this one and just stole those words from Son House.

Always like it when he steps over to talk to Meg in a spot where you expect the second 'candy cane' song. Jack opts to do a verse of Icky Thump (normally the third song) and create a medley with When I Hear My Name, the song likely slated for the #2 slot. The extended center of this song explores the melody of WIHMN before
Jack closes with the remainder of an energetic Icky Thump. A two-fer.

What You Might Have Missed: WIHMN...not much to this one besides a monster beat. Icky Thump; "White Americans, what?/ Nothing better to do?/Why don't you kick yourself out?/You're an immigrant too?"

The long musical interlude had the effect of slowing the tempo, making this opening trio of songs a little less driven than normal. Later in the show Jack questions the audiences enthusiasm, saying he can't tell if they're excited or bored. He might have laid the seeds for a reticent audience in the opening segment. Icky Thump closes with some intensity but that momentum is lost during the rather long break for a guitar switch before Death Letter Blues. This made no difference in the quality of the opening, it just made it slightly different than your average show.

Death Letter Blues has moved up the set list a few slots. It's traditionally the blow-out guitar extravaganza of the night...or one of a few, in any case. In slot #4 it's shorter by a few minutes but no less intense. This song is the best modern-rock
interpretation of a Mississippi Delta Blues song I've ever heard. Jack's love of the blues is evident in most of what this band does but this song shows his unconscious talent. He has tapped into the soul of this music and it's passion explodes where it
may have merely simmered in the original version. We got a very good version tonight.

What You Might Have Missed: The ghost of Son House slapping his knee.

A show without Cannon is no show at all. When it's paired with Little Room, instead of it's normal mate, John the Revelator, it becomes a rare moment to savour. I'm not sure why we didn't get JtR but if you listen at the point the song switches and Meg
starts her beat, Jack is laughing, saying "oh, oh, oH, OH, OH", as if he is reading her lead and gives her what she's playing. Maybe he's not the control freak some make him out to be.

What You Might Have Missed: "Lord above, how could man, be evil?"

Hotel Yorba is fun filler at the best of times. And fun filler at the worst of times. Mostly it's just fun filler.

What You Might Have Missed: It's country night in Virginia.

Finding It Harder To Be A Gentleman is another treat. Love the songs where Jack switches from piano to guitar.

What You Might Have Missed: "every single girl needs help/ climbing up a tree/ you know it don't take much/to satisfy me"

And now for the NIN-moment, complete with disco ball and crowd grunts. Slowly Turning Into You is the center piece of the whole set. Jack pulls out all the audience-participation tricks and light-show he has at his disposal.
Lovely moody piece that kind of noodles along until we get the hook and Jack implores the crowd to chant on queue. Great lyrics, the song is broken into two segments...the primary verses and the chant...which is where he really channels Trent. A little exploration of love-hate, coming down sqaurely in favour of love.

What You Might Have Missed: "I even love it when you're faking it/And it might sound a little strange for me to say to you/But I'm proud to be you/ And I'm slowly turning into you"

Next up another rarity...an instrumental. Instinct Blues tease with Rat tease, basically the primary riffs from both those songs repeated alternately three times. Sometimes, most times in fact, when you get these musical teases you get a song
with lyrics attached to them. Lately the Rat tease has accompanied Martyr For Your Love and for a brief moment at the end of the triumvirate pair of teases it sounds like that is what we're getting, then he breaks down into the chords for
One More Cup of Coffee.

Coffee was extremely well done and much more enjoyable than the last time I heard it, while ducking flying beer pints in Glasgow. He really nails this, the quaver in his voice is bang on.

What You Might Have Missed: Likely not a beat.

Martyr For My Love For You is fast becoming a favorite from the new record. I don't worry too much about the possible age difference between the main characters or the reason he has to be a martyr, it's just a bitter-sweet story told with an edge and from a perspective not often seen in rock. He has come close to mastering that pregnant pause before he delivers the title...tonight it was excruciatingly long and he waited as long as we could bear.

What You Might Have Missed: the tricky word dance that is the opening verse; "She was sixteen and six feet tall/ In a crowd of teenagers comin' out of the zoo /She stumbled started to slip and fall / Teeter-tottered on the top of patent leather shoes /I happened to catch her and said, /"maybe these ruby shoes are a little cumbersome for you"

Meg always gets a good reception from the audience. Deservedly so too. For all people want to argue about her drumming style I'll say this: Jack White can play solo, he can play with the Raconteurs or he can back Dylan...he'll always be great.
He'll only be The White Stripes when Meg is on the drums. She's a much stronger singer now than she was a few years ago. Gotta like the way Jack sits at the back of the stage, with his back to the audience, and lets her have her moment. He also
takes the opportunity to mention it's her Virginia debut, as the Stripes are playing this state for the first time.

What You Might Have Missed: this is one creepy song.

What You Couldn't Have Missed: Meg's kinda cute when she's coy.

One verse of Do is a gift, tonight we get the second verse. Unfortunately it's coupled with/lost in a medley with Black Math, a screamfest that has it's own charm though it may not be immediately evident.

What You Might Have Missed: the angst in Do, "it doesn't matter cause my eyes are lying/and they don't have emotion/don't wanna be social, can't take it when they hate me/but i know there's nothing i can do "

What You Surely Missed: the slam at the education system in Black Math, mostly because he absolutely butchered the lyrics on this one. He repeated the first verse twice, almost catching himself the second time by putting the last couplet of the first verse in there. Hedoes nail the middle verse: "Mathematically turning the page/Unequivocally showing my age/I'm practically center stage/Undeniably earning your wage/Maybe I'll put my live on ice/And teach myself, maybe that'll be nice."
Then he spits out one line of the last verse, the wrong line, and packs it in, closing with guitar and drums.

Let's Shake Hands is another 'candy cane children' song, a single, not on any album. Well loved by one and all. Too raucous to be called filler but not that complex.

What You Might Have Missed: "oh, say my name/ oh, baby say my name/ you can do what you wanna do/ you can do it in a garbage can/say my name."

Ball and Biscuit finds Jack having some trouble with his onstage monitors. He claims it sounds like "donkey", which is a strange description for an audio sensation. He keeps on trucking though and we get a good sounding version from our side.

What You Might Have Missed: Having played this song live with Dylan he was channeling him a bit early on...dropping words from lines, either
by design or through sloppiness or distraction.

Hardest Button To Button is appropriate the day after the debut of the Simpson's.

What You Might Have Missed: I don't care to go on about the more popularly recognized tracks. It's the gems I'm looking for.


On to the encore. A fairly full first set clocking in around 60 minutes so I don't expect more than a half hour in the next segment.

The Blue Orchid tease at the start of the encore was actually a relief...not too keen on the song. An extra bonus when he broke into Screwdriver and even that was up another notch when we get the alternate opening verse. I don't know what monkey Jack was talking about but that was an enjoyable experimentation in ad-lib. He really extends this song as Meg finds a groove and elicits a wailing refrain of "got
a little feelin' goin' now" to close.

What You Might Have Missed: "what am i supposed to think?/drop a nickel in the sink/i love people like a brother now/ but i'm not gonna be their mother now/ what if someone walked up to me/ and like an apple cut right through me?/ i'm not just gonna stand their grinnin'/ i'm not the one that's sinnin'/screwdriver!"

300 MPH Torrential Downpour Blues is one that has to grow on you. Tonights version might not be the one to turn the trick. It was a little slow to start though he did nail the final verse. Jack visits his fetish for three's (and red-headed women) in this song probably better suited for a concert hall rather than an arena. It's not the easiest song on the new record to replicate live so many points for effort
and outcome. The lyrics to the whole tune are substantially changed in the center portion.

What you might have missed: the screamfest that closes the song and somewhat approximates this; "But I can't help but wonder if after I'm gone will I still have these three hundred mile per hour, finger breaking, no answers makin', battered dirty hands, bee stung and busted up, empty cup torrential outpour blues...." which is where it ends as Jack leaves out the closing couplet:
"One thing's for sure: in that graveyard
I'm gonna have the shiniest pair of shoes"

He admonishes the crowd for it's silence before sucking up to them and talking to some chick in a red dress.

Seven Nation Army sees the return of the malfunctioning monitors and Jack's whine.

We Are Going To Be Friends in yet anothe 'candy cane children' song. I like it. The wife doesn't. You can decide.

Now we get to the absolute gem of the evening, Sam's Place, a Buck Owen's cover. First a little useless information. Back in '05 when I was about a year into my 'bored with Dylan' phase, Cece had completed my database of Stripes songs.
I turned my energies to producing a couple compilation of rare songs and blues covers. One of the comps was called: Jack White's Kitchen: Rare Songs Well Done, a nod to Robert Johnson's Come In My Kitchen that appears on the disc. That comp opens
with a bunch of songs that contain the name 'Jack'... Jack On Fire, Everywhere I Go, I'm Jack and Black Jack Davey. I also had a song, played only once and unidentified, that came from a 2003 show. The taper called it "Oh Well", due to it's appearance
throughout the song. I subtitled it Jack's Prayer, because Jack is talking to God in the song and that would make four consecutive songs with "Jack" in the title. Flash forward to Icky Thump where that song appears as Little Cream Soda. Around the Stripes boards I came across a post that posited that Ben Blackwell, a member of the Stripes camp, passed on a 'show' with song called "Jack's Prayer" that had only been done live once. Legend (if we can build it) has it that Jack liked it so much he did a slight rework and put it out.

Now one might think that was stretching it a bit but Sam's Place is also on that comp. It's likely just as rare. I don't have all the shows but I have more than a handful. If we ever get Red Death at 614 all doubt will be eradicated.

So Buck Owen's, eh? told you it was country night. This was a terrific version of the song and a real special treat. Nothing to say about this song except enjoy it as many times as you can.

A really good version of I Just Don't Know What To Do With Myself, a song I'm at risk of tiring of but really enjoyed this evening.

What You Saw: a rock god.


Songs By Record:

"The White Stripes '(self-titled)

Cannon
When I Hear My Name
Do

"De Stijl"

Death Letter (Son House)

"White Blood Cells"

Dead Leaves and the Dirty Ground
Hotel Yorba
I'm Finding It Harder To Be A Gentleman
Little Room
I Think I Smell A Rat (tease)
We Are Going To Be Friends

"Elephant"

Seven Nation Army
Black Math
I Just Don't Know What To Do With Myself (Bacharach)
In the Cold Cold Night
Ball and Biscuit
The Hardest Button To Button

"Get Behind Me Satan"

Blue Orchid (tease)
Instinct Blues (tease)


"Icky Thump"

Icky Thump
300 MPH Torrential Downpour Blues
I'm Slowly Turning Into You
A Martyr For My Love For You


Singles

Let's Shake Hands

Covers (not included above)

One More Cup of Coffee (Dylan)
Sam's Place (Owens)









The White Stripes
2007-07-28
Patriot Center
George Mason University
Fairfax VA



Disc 1/Main Set
Intro
Dead Leaves
*Icky Thump>When I Hear My Name>Icky Thump
Death Letter
*Cannon>Little Room>Cannon
Hotel Yorba
*Finding It Harder to Be a Gentleman
*Slowly Turning into You
*Instinct tease>Rat tease Medley
*One More Cup of Coffee
*Martyr For My Love For You
Cold, cold, night
*Do >Black Math
Let's Shake Hands
Ball & Biscuit
Hardest Button to Button

Disc 2/Encore
*Blue Orchid tease>Screwdriver (monkey version)
300 MPH Torrential Downpour Blues
Jack Talks
Seven Nation Army
We Are Going to Be Friends
*Sam's Place
*I Just Don't know what to do with myself



Dime Torrent of Show

Hunger City Torrent

Friday, August 10, 2007

Perry Farrell's Satellite Party
Opera House Toronto ON
2007-08-10


Perry Farrell brought his latest project into Toronto this week, showcasing Satellite Party at the cozy Opera House, for what is promised to be "a night of absurdist, glamazon, alt-rock mayhem." Much like his name he has always been on the periphery of the new music scene, his first band, Psi Com, being in the hardcore, quasi-underground scene with LA heroes X and Black Flag.

Jane's Addiction followed and fame not too far behind. He hasn't been able to shake the shadow of Jane's Addiction, falling on-and-off the wagon through the years. That's not a bad thing. It was a seminal period, that brief time when talent and energy results in unconscious creation.

He was, and still is, a major player in the development of the Lollapalooza Festival, in 1991 and through the decade. This transformed the summer concert going scene in North America. On the heels of the European industry, with the help of the success of this project, large festivals are almost the sole means of seeing major acts once the season turns.

In the intervening years he's continued to explore and expand musically, his most notable incarnation being the wonderfully visual Porno For Pyros, a highlight of 1994's Woodstock reunion, where he gave a speech on the equality of man that rivalled Lincoln's opening to the Gettysburg Address...ok, maybe not, but it was a flag-waving moment for egalitarianism.

Perry is a hippy out of time, and that implies nothing negative from this corner. His personal interests find him putting his time and money where his heart and mouth are...be it in Sudan, working for the Free Tibet movement or organizing a Purimpalooza in 2006 to showcase Jewish musical styles.

It seems nothing ever gets finished, or left behind, in Perry's world. Satellite Party has had a rocky start, be it by design or not, and has coped with a couple band shake ups in it's short life time. This show is only the 3rd on the current leg of the tour to promote "UltraPayloaded". In a recent blog Perry alluded they would compensate for the new personnel by mixing in some older tracks while they develop their chops. I can't see that as bad news.

Rock Star-INXS-loser Neil Carlson is fronting an Aussie/American power-pop band called Mink. Tonight they got the call, armed with their sixty (60!) songs written since their inception waaaaay back in early 2006, to warm the crowd. Of course, I don't know a band alive who did 60 worthwile songs in their first year of existence, so I just think...can you say: "shot your load?"

Neil bursts onstage with a ton of energy, looking like a thin Jim Morrison. Leather jacket, bare chest, dog-tag jewellery, oversized sunglasses and stage moves that are, at best, derivative, and at worst, awkward. It's like he's undecided whether he wants to channel Mick Jagger or Johnny Rotten(note: he does a better pogo than cock-walk). If he tones down the prima-donna posing this band has a chance of finding a niche with their straight-forward power-pop, led by a firestorm on drums, Stella Mozgawa. Now there's a person who moves fluidly and Neil could do with watching some film of her antics. Coolness is an intangible thing, you can look the part but you gotta feel it to carry it off.

On first listen the highlight of their set was a cover, Bowie's Suffragette City. A couple of their original tunes stood out...the upcoming single, Talk To Me, being the most memorable.

Eight songs later it's time for the main set.

With the stage quickly cleared the Satellite Party don't make us wait too long for their entrance. It's apparent, as soon as he steps on stage from the wings, that the crowd is here to lavish some love on Perry. It's a shame it's not a bigger crowd but you couldn't have found a more enthusiastic one. Throughout the night Farrell kept a steady stream of banter going with the audience at the front of the stage. Besides sharing his bottle of wine he accepted two beers, one mickey of Canadian Club and a joint from the adoring throng. After all, it is a party.

The recent departure of ex-Extreme guitarist Nuno Bettencourt and drummer Kevin Figg forced a change in direction for Satellite Party. Farrell quickly rounded up Nick Perri, formerly, and perhaps still, of the Philadelphia outfit Silvertide, who you might have heard covering a couple Dylan tunes on the soundtrack for Lady in the Water. Jordan Plonsky, of unknown origin, is in on drums. The band had some hurried rehearsals and decided to dig into the more familiar back-catalogue to narrow the learning curve from disparate parts to Satellite Party.

Which is a bonus for someone who's waited way too long to see Perry Farrell live.

The show opens with an anthem to bull-headedness called Ain't No Right, from Jane's Addictions third album, the breakthrough Ritual De Lo Habitual. The audience joins in right away as Perry spits venom with a smile. By songs end everyone has a glisten on.

Next up, a breather in Tahitian Moon, an hypnotic, harrowing, homage to unconditional love and the vagaries of a swift current. Not many songs like that in the rock oeuvre. This is from the short-lived career of Porno For Pyros, Perry's answer to the massive attack of fame that followed 'Ritual' and led to the demise of JA. I could play the hook on this song in one continual loop. A great back-yard hammock tune.

There are smiles all around the stage as the band is swimming in the love. Back up singer, exotic tightie extraordinaire, and, oh right, wife, Etty Farrell, ups the beauty quotient onstage all by herself. She feeds off the excitement of the crowd, sometimes miming the events in the song lyrics or just soaking up the mood being created by her beau's Party while gyrating agains the speaker banks. At times she seems almost overwhelmed by the response, her joy leaping out of her eyes as she watches Perry and the crowd engage in a virtual orgy. Not the extravagant show that was Porno For Pyros, but just as sensual.

Satellite Party is as much an IDEA as it is a thing. Perry's always got something going on and this time it has to do with 'solutionists.' The world inhabited by the Party seems to be cross between Hedonism II, 1984 and the Yellow Submarine. Survival is found in love. The wet messy kind too.

Insanity Rains is the story of the beat-down, when the bottom falls out. Nice moment when they dub in a piece of the Clash's Armaggedeon Time...no justice tonight!
Salvation for the Party comes in Hard Life Easy, where love is a salve for the bruised and battered.

The Satellite also moves...so time travel is on the schedule. Perry's taking trinkets from the crowd, signing cd's and tickets, when he's handed a gold bracelet. Holding it up for inspection he announces: "Fantastic, this is a beaut. Looks like it's real gold or something. See back in the day I couldn't afford this kind of thing but I would go, and I would just STEAL IT..." The crowd goes wild as the band breaks into the classic Been Caught Stealing. It's just a simple fact, for sure. Audience participation is over-the-moon on this one. During a late musical break Perry leans over, steals a camera from the hands of a rail-hugger, and takes a couple pics of her from the stage before handing it back. 600 greedy bastards close the song with chants of MINE, MINE, MINE. The band sounds great and the whole venue is energized another tier higher. "Never has theivery been so rewarded, thank you so much," Perry says as the crowd cheers wildly, "I so enjoy stealing, it's such a pleasure to be here with you."

Sensing he's soared to high, and not caring, Perry sends the fans into another state of frenzy by announcing he's "coming down the mountain" as he reaches back to Jane's second album.

Back to the Party Platform with the single,Wish Upon A Dog Star . No, not Keanu's band. Nor is he taking sides in the XM vs Sirius battle.
I think it's about the fireworks that would ensue if Christ bedded Cleopatra, but you can come up with your own wish.

Stage banter sets up another Porno For Pyros moment, and I'd forgotten all about this one, the insightful, Pets. OK, maybe it's more sardonic and cynical. A thesis on the plight of mankind whose only hope for survival is that some benevolent superior being will domesticate us. It's got a beat, you can dance to it, I give it an 87. Al Gore should co-opt it as his theme song.

The main set closes with the bands title song, both album and group, Ultra Payloaded Satellite Party, a call to arms of sort.

Perry keeps the party going with the encore opener, sister song to the set closer, Only Love, Let's Celebrate. Hard to argue with the sentiment.

Back to the Jane's Addiction catalogue for a loose, STOP, which kind of slowed down to a crawl, more than stopped. Another fan favorite and only the 5th singalong of the night. Another tale of man's inability to see the folly of his ways.

Jane Says is drowned out by the crowd. It's a dark song and though you fret for Jane you can feel the hope shine through as long as there's still tomorrow. Great end to the show which never lagged for energy. Not the longest show I've seen but it delivered and surpassed expectations for fun.

Support the band.
Buy the record.
See the show.

Download available at dime

Thursday, April 12, 2007

Maria Muldaur
Naughty, Bawdy and Blue Tour
Hugh's Room Toronto ON
May 8-9, 2007

Maria Muldaur was a shooting star in the paradise that was Top 40 Radio back in the early '70s. Her cross-over hit, Midnight At The Oasis, was an infectious jazz-infused, aural treat every time it came across the airwaves.

You're 15 minutes are up, thank you very much.

But, wait, there's more. Over the years she's kept producing music, with long pauses between incarnations.

More recently she's been visible through a couple of Bob Dylan projects. Her interview in Scorcese's No Direction Home was second only to Joan Baez' for being interesting and informative without being exclusionary. In 2006 she released an album of Dylan covers...love songs, called Heart of Mine.

This year she's touring a blues romp as she continues to interpret her roots and the roots of rock. The new album Naughty, Bawdy and Blue, is a tribute to classic female blues singers of the 1920's - 1940's, including Victoria Spivey, Ma Rainey and the incomparable Bessie Smith.

Come back next week for a full concert review.


Maria's myspace Page

Anjani Thomas
in a Leonard Cohen Presents
2 Night Stand at The Drake
April 25-26,2007


Anjani Thomas was in Toronto this past week for two shows at the cozy Drake Hotel. She's touring the recently released Leonard Cohen collaboration, Blue Alert.

This showcase launched in Europe back in March with some radio promos and live showcases. I was more than pleased to see Leonard sit in on a couple songs with her at a Warsaw record release promo and thought that was reason enough to get tickets for both nights in Toronto. He introduced her at a couple club shows. It's since been reported that Leonard, who usually sits in a 'Zen-like trance'when she sings, will not be in Toronto. I'm taking them on their word there but will keep a keen eye on the crowd.

The North American leg of this tour consists of only 8 shows so far, I'm betting it will be as sweet as it is short.

Anjani also has the distinction of launching a month of Toronto shows that will feature some classy and talented torch singers, from Maria Muldaur to Amy Winehouse and closing with Joan Armatrading. If fortune smiles they will be joined by a June date featuring Marianne Faithfull. All these women have talent and an edge. I think I'm going to enjoy this.

On the surface, Anjani is the least adventurous of those acts but she has one unique advantage...Cohen's words. Blue Alert is a collaborative effort, something more than Leonard-by-proxy but something less than Leonard. And to say that besmirches no one, you gotta climb a lot of steps in the Tower of Song to reach him, even if he's still looking up at Hank. She plays these songs pretty straight. A little jazzy-scat riff once in awhile, a bit of a diva reach for the high notes on occassion, but nothing that overwhelms the words. She really respects the emotion of the lyrics and you can tell by watching her that she pours all her energy into conveying them

Anjani has been an integral part of Cohen's act since she first signed on to do the backing vocals on Hallelujah in 1984. She's been an even more integral part of his life for most of the past decade as she and Cohen are...well, at the very least, friends-with-benefits. It's said that when Anjani sings Leonard sits front-and-center, enthralled. Well Leonard may have been born at night but it wasn't last night. I mean, how long can anybody sing in a given day? If I was 73 I'd sit enthralled in front of this 48 year old songstress and think it was a small price to pay for her company. Even if she couldn't sing. But she can.

The Drake Hotel is an upscale establishment on the western outskirts of Toronto's alt-club mecca, the Queen St West Strip. On his end of the neighbourhood there's a whole slew of less dangerous lounge-type bars for the more chronologically-challenged. Prime among those, the Gladstone, a Rolling Stones themed bar and the Cadillac Lounge. In the same league, The Drake. If it weren't for gentrification we boomers would have nowhere to drink.

The Underground Room holds about 200 people. Bench seats and fold out chairs provide a comfortable environment for an hour of soothing jazz stylings. Too bad we had to sit for an hour and a half before the start of the show. It'll be better tomorrow, I'll drink more, sit less. Wine glasses out numbered beer and liqour glasses combined. Broken wine glasses tied broken beer bottles, 1-1. Maybe I won't drink more, there's people here who have that under control.

So we await the arrival of the engenue, Anjani. Oh right, forgot to mention. The emphasis in on the last syllable. Read that sentence again and see how it sounds now.
That kind of pretentiousness is just perfect for this chandeliered basement room. There was a day it would have been a smoky, hazy, hole-in-the-wall but we're past that now. The disco ball looks a little out of place.

Any sense that we're putting on airs is immediately quelled when the very personable performer lights on stage with a 'girl-next-door-aw-shucks' appreciation for all the attention. Most photo's we see of her online are glamour shots. The moving version of Anjani is much more accessible, more magnetic, doesn't look like she'll break if you touch her.

She's backed by a four-man band and a female backup singer. Every one of them has their damper on. The music is soft, the vocals are soft, almost whispered, most every song. And no one is in a hurry to get to the end of the tune, each one drifts. Her voice is the vehicle that transports you along this emotive river of life. Or at least, that's how it's supposed to come off. As Blue Alert is a 'mood' record, this atmosphere works very well. It would have been nice to see more of the pace displayed in the lone non-album cover this evening, The Gypsy's Wife, but it's not my show to arrange, just to watch.

The show opens with a vow, No One After You. A story about how love can be revealed to even the most experienced practioner well after you think you've mastered all the gadgets.

That vow is juxtaposed with a peek through the Innermost Door to view final moment of another relationship. One where memory is the last tangible asset, where the starting comes after the parting.

Anjani, who has been standing center stage with a hand mic for the opening numbers, moves to the piano to deliver a Blue Alert, a sensory assault on the mind. A vivid word-picture of the power of passion and how wanting something can be an emotional minefield. There's perfume burning, shrapnel flying, soldiers hitting the dirt, bits of beauty everywhere, a woman telling you no and somebody bleeding from the lip.

And that's only the first verse.
It's woman as supreme being. Be careful what you wish for, you may not be able to handle it.

The Golden Gate is a travelogue of sorts, a descriptive narrative of the streets of San Francisco. A little lighter fare to ease the angst.

On the Leonard front she said he'd been with her in Europe and in New York on Tuesday but had grown tired and decided to go home to Montreal rather than come to Toronto. A shame, it would have been cool just to have him do the introduction

Half the Perfect World sounds like it could be a biographical account of the beginning of Leonard and Anjani's relationship. The woman in question was in her 30's when they met, already self-sufficient, already experienced. It's like a gender-mirror of Suzanne as the author finds himself serving her tea. It's really about two perfect worlds, equal halfs, finding themselves at the right time. Neither has a need that would weigh down the coupling, having found themselves at a time when they are weightless and transparent. At a time when 'no counting had begun'. There's a lot packed into a very few words and there's no mistaking the joy Anjani gets from singing this song with images of sex under mosquito netting where the giving and getting is shameless and reciprocal.

That is one raunchy song and even the 'blouse all undone' in Crazy To Love You, doesn't come close to the same heat level.

Band introduction to let the audience cool down. It's getting steamy in here. Actually we're past steamy to sweaty hot. The chlorine dripping from the ceiling pipes kind of gives the room an overall locker-room scent. Tomorrow I'm sitting on the left side.

The Gypsy's Wife is about as close to 'rocking' as we're going to get tonight as we take a brief break from the performance of the complete Blue Alert album.

Never Got To Love You is a song about the regret left behind when opportunity knocks and you're busy elsewhere. It's about pining for the time you could have put to better use. The moments you could have told her the things that would make sure she'd never leave. What I can't tell is if that time covered an entire relationship or a single night at a sky resort in Quebec. Having done a name-check during this song for the town of St Jovite, she tells us that Leonard warned her never to go there, she wouldn't like it. Of course she'd already asked the audience if any one had been there and a half dozen excited fans pumped their hands. She counted only two of them. When asked why Leonard would say that she found herself back-tracking and mumbled something about him not being 'that kind of bar guy', or something to that effect.

The lilting Thanks for the Dance, somewhat reminiscent of Take This Waltz, swings back and forth in a call-and-response kind of way, presenting words and lines as a counter-weight to each other. It's a throwaway song about throwaway emotions. The nonchalance of the brush-off is the antithesis of the sentiment found in the song that preceeded it tonight.

For her first encore Anjani covers a second Cohen original, As the Mist Leaves No Scar then closes the show with a 'fare the well' solo piano version of Nightingale.
Before As The Mist Leaves No Scar she talked about Leonard having written that when he was 17. She compared it to the stuff she was writing at that age and was humbled.

All in all a very enjoyable and successful Canadian debut.


Visit Anjani's MySpace Page

Sunday, April 08, 2007

Hank Pine & Lily Fawn
in the Hootenanny Revue
Starlight Lounge Waterloo ON
2007-04-07




So ten of us pull up to a table at the Starlight Lounge for an evenings worth of well priced entertainment with the Hootenanny Review, a travelling minstrel show with some fine Canadian talent. It's the last night of the Revue, so it's too late for me to convince you to go out and see it. But it's not too late to catch the hightlight of the evening: Hank & Lily. More on that in a bit.

The Hootenanny is a roots based revue filled with mostly orignal material from a cast of, well if not thousands, 8. At least tonight. It seems the group morphs. Taking MC duties tonight, and this tour I believe, is the enticing babe in a sundress and docs, Carolyn Mark. Cute and edgy, how can you not like that? She also carried a heavy load in the show, closing the main set with a wonderfully sardonic song, Two Kinds of Women.

Luther Wright joined Carolyn on a handful of songs and presented a strong mini-set of his own throughout the night, covering Steve Goodman's If She Were You and blowing the house away with a raucous request rendition of I Got A Broken Fucking Heart.

Cape Breton star Jim Bryson had some moments, when the lethargy caused by the racoon ribs he had for dinner wasn't dragging him down. He played a bunch of instruments and did some leads, as did all performers. By the second set he seemed in a groove and delivered a crowd-pleasing I Wanna Go Home.

We had a song or two from other support artists, Joey Wright, a regular, and Andrew Vincent, a guest. Dan Whitely provided excellent mandolin support throughtout the evening and even took a turn on drums.

Glowing-diva-of-the-night award goes to the 'banging for two', effervescent, pleasantly plump, cute as a button, Jenny Whitely. This whole piece should have been about her, and would have been if it wasn't for the chances we have in the next week to track down Hank & Lily live. Jenny's gonna take a breather soon. Hope she comes back with a vengance 'cause she's got a voice that can't be beat and some great songs as well. Though I liked them all I'd sure like a reprise of Banjo Girl and When It Rains I Pour.

All this was absolutely worth the price of admission.

But we got substantially more.

Hank Pine & Lily Fawn are an interesting duo, to say the least. He's got a face like a mask, welding goggles, leather body suit with shark fins and metal gauntlets, with shit-stomping boots. OK, he dresses like my son. She's a pixie. OK, a pixie on acid. Little antlers and tats on the arms. All 'katebushy' with the vocals in an endearing way. It's an act that must be seen...but listening don't hurt either.

They got 5 songs between the two sets and displayed a capacity to enthrall that was due to a combination of elements from interesting lyrics, funky instruments (a gas can guitar and a saw), tap dancing skills, roboticized vocals reminiscent of the sound Jack White got from his copper mic this past year and chutzpah up the wazoo.

They open with something that feels like a post-apocalyptic walk through the forest where Red Riding Hood found her troubles. A spooky otherworldy feel to the song is peeled back to unveil a most hypnotic and unforgettable hook... "don't be afraid /(don't be afraid)/ until I tell you why you ought to be afraid." How something can be so soothing and ominous at once is beyond me.

The second song sees the fairy tale theme continue with an appearance by the 3 Little Pigs going to market. It might be called Pushed & Pulled. I don't quite get this one yet but I'll keep listening and watching until it sinks in.

Last song of the first mini-set is called North America, a place where it's in the soil, it's not in the blood. Another spooky tale of... (see above).

Lily opens the second mini-set with a love song, her first, and it's about...love. The thing, and what it does. It starts as a lament and explodes into a 'can-can' complete with a tap-dance break. Lily squeaks out some salacious lyrics during what might be called Love You Don't Know Me: "love has come out me / like sap down a tree..." and "though i have been warned of the birds and the bees/ i still want you when you sting me."

The set closes with a song that may be called Prison Song, an Orwellian cautionary tale about a NWO where everything is a crime and everyone is watching you. One slip and you'll be in the big grey building up on the hill. And not in a good way. The song comes complete with a new-age chain-gang audience-participation jungle-chant. (That's more hyphenated words than you'll see anywhere outside of a Quebec phone book.)

Look around their website for dates, more music and more info. I'm not sure yet what they are, but I'm pretty sure they're worth deciphering.

Saturday, April 07, 2007

Dr Hook feat. Ray Sawyer
2007-04-06
Johnny B Club Whitby ON


Johnny B's is a roadhouse bar just off Highway 401 a few miles east of Toronto. The only thing missing is the cage around the stage. It's in downtown Whitby, one of the bedroom communities that contain Toronto's urban sprawl. Everyone with a good union job or middle-management position in the '70's and '80's thought they were movin' on up as they left the big-bad-city for the 'burbs. Didn't quite work out that way as union jobs and middle-management positions are on the endangered species list. Whitby, if it ain't the place the mullet was born it is the place it went to die in the guise of a skullet.

Secondarily, if we're ever in need of a large supply of bleach to fight an offensive in a chemical war...I'm sure there are gallons of it in Whitby. More faux-blondes-per-capita than Hollywood. I would have asked one of the ladies why someone with lovely blonde hair like hers would die her roots black, but I thought better. In Whitby, when you insult a girl she calls her boyfriend over...so he can hold her smokes and beer while she kicks your ass. Think of them as urban-hicks.

Which is why it's the perfect place for the likes of Dr Hook.

In an attempt not to be early for an event (a symptom of my OCD) we don't even leave home until 20 minutes after doors. Inside the cozy bar (capacity probably 200) I'm smilin' hard as I only have 20 minutes before show time...not to gruelling. Time for a quick Jack and coke...only to have them announce we have an opening act, ironically named Roadhouse. Eh, how bad can it be? A 45 minute set then the Dr will be on at 9 pm. Or so I thought. Sometime around 10:20 the band was wrapping up it's extensive 'opening' set. (FTR, it was only 10 minutes shorter than the main set.) Not bad for a garage cover band. Good song selection for this crowd of boomers. I remember The Letter, Stuck in the Middle With You, and a more than passable version of Billy Idol's White Wedding.

I'm standing at the soundboard for tonight's show, hoping I'm not too obvious with my rig. I did move into the crowd for a couple songs but the 'room noise' was pretty much the same drone no matter where you stood. With a crowd like this, out for a raucous good time on a Friday night, what you usually get is a lot of talking during the lesser known songs and sing-a-longs on the hits. By 11 pm, when the band takes the stage, many of the patrons are walking a couple step sideways for every one step forward. We got us a power-drinking crowd. But a well behaved one as there was no trouble to be seen...just a lot of happy, pudgy, dancers.

And it's no wonder because Ray Sawyer and his buddies deliver the goods. Everything from the raunciest to the sweetest that the late, great, Shel Silverstein could write up.

The show gets off with a swaying good start as the band opens with Walk Right In, an invitation to all to join in the fun. You Make My Pants Wanna Get Up and Dance ups the ante, escalating the movement from walking to dancing, and the crowd loosens their vocal chords for the first of many singalongs for the evening.

From the back, near the soundboard, the vocal mic seems a little too low in the mix. I recognized the chords to A Couple More Years before I could pick up the lyrics. First highlight of the evening, actually made the trip out here worthwhile all on it's own. This song was the only highlight of Dylan's Hearts of Fire movie in the late '80's. A terrific song, among the best Silverstein left us. Unfortunately this crowd is waiting for only one (1) ballad tonight so the conversation level remains at a steady hum. The song is not served well by the environment.

Unlike Freaker's Ball, which fits in just fine, thx. Dr Hook continues to balance the raucous with the melodic as the band blasts through the party song and counters with the sweet, if creepy, Only Sixteen.

The pattern continues as the salacious Get My Rocks Off is juxtaposed against the angst of When You're Love With A Beautiful Woman.

One more kick at the can with the humourous I Got Stoned And I Missed It (source of Afroman's hit, And Then I Got High) and the sweet thoughts of Sharing the Night Together.

The good Dr and the band then swing into the heart of the set as they punch through
The Millionaire, Baby Makes Her Blue Jeans Talk and Queen of the Silver Dollar. The main set closes with more great comic-music in Everybody's Getting Big But Me and the anti-thesis to that complaint, fan favorite, Cover of the Rolling Stone

Well, that's almost all of what I came for. The night's late, a couple less familiar songs lead the encore and I'm happy to hear the smash hit Sylvia's Mother before I find the door.

Would have liked to have heard Ballad of Lucy Jordan, Makin' Natural and True Love...but that's a testament to how much this band has to bring. It ain't like it was before time ravaged all, and it wasn't just time ravaging the Dr, but it was an entertaining trip down memory lane and a celebration for the survivors.

Wednesday, April 04, 2007

A Night At The Ren
Part 2
2007-03-31
Mike Ford (formerly
of Moxy Fruvous)

The second set at the Ren featured the musical, and comedy, stylings of Mike Ford. This guy has grown from street-busking legend to the 21st Century's Gordon Lightfoot.

The first time I had a chance to talk to Mike he was just wrapping up his sixth song onstage at Massey Hall, back in 1992. Moxy Fruvous were opening for Bob Dylan during his two night stand. Fortunately I'd clued into the burgeoning new music scene in Toronto (Canada really) that featured artists like The Barenaked Ladies, The Waltons, The Rheostatics (they are still out and about) and the aforementioned, Moxy Fruvous. The thing about Canadian rock/pop that's different from American pop/pulp is...the artists up here are way too smart for their own good. Take a look at The Hip. I mean they are made for the American market...until they decifer the lyrics...what'd'ya mean? debunk an American myth? (This assessment does not apply to the Americans I have met personally, who are all liberals...well, liberals to me, in their own country they are considered commie-scum.) But I digress. Where were we? Right, talking to Mike Ford. Anyway, those radical Dylan fans were growing tired of having their notions challenged and were three songs into chanting "we want Bob", "we want Bob". Privately, in my section of Massey Hall, I was telling those around me those hecklers were nuts...they were missing what was going to be the best part of the evening. So after song 6 some open-minded-60's-type-Aquarius-7th Sun/Son-radical yells "Get off the stage!" From my seat in the balcony I yell back: "Nevermind that, sing another song." (I knew full well they were only 6/7ths through their massive repertoire and we were going to get the hilariously acerbic Gulf War Song next.) Someone from the Fru-crew; it mighta been the other guitar player who leads on King of Spain, it might have been the long-haired guy with the French name, it definitely wasn't the silent bass playing Murray Foster, but for purposes of this story and because the statutes of limitations on my memory have long run out, we're gonna say it was Mike Ford, shot back, "Thanks Dad." So it was I came to be introduced to him some 15 years as he's at The Ren in support of a couple New York friends.



Mike opens with the traditional barn-burner, Ain't No More Cane. Though I've heard him do this once before I must have been more impaired that evening because tonight, at the age of 50, I learned something new...another place Bob Dylan stole another song. This rendition includes the line "Said, Alberta why don't you let your hair hang down/ You let it hand right down until it touches the ground." Terrific chain gang song with plaintive wail and indignant, ney bombastic, proclamations. It's not a lament for a nation, but it's a decent lament.

The Seaway tells the story of miles on the interior seaway of the Great Lakes and the ports of call along the way. It honours those who take those jobs no one knows exists and are repaid by discovering a world few get to see.

Well warmed up and into his third Chocolate beer, Mike figures it's time to stretch it out a little and we get the manically fast chorus of Huge on the Luge. Think John Prine if he'd grown up north of the 49th. Try this, really fast: "He was huge on the luge/when his cheeks went rouge/no fluke with a touque/subzero subterfuge/look at grandpa cruise/like a demon on the booze/not a stooge like scrooge/really huge on the luge." Admit it, it feels good. That, my friends is Mike at only quarter-speed.

Playing to the Dylan-fans he knows are always in attendance when his friends Mike Skliar and Ken Ficara venture north from the 5 boroughs, the next tune we get tries to f*ck with our heads. As the opening chords ring you think, "alright, spanish harlem incident! Bob don't play this much nowadays." Then the words to I Dreamed I Saw St Augustine (Spanish Harlem Incident dub) pour out. Neat trick. I've seen Bob play one song and sing another. Just not on purpose.

Now when I said Mike is a 21st century Gordon Lightfoot that might have been a disservice...and not to Gordon Lightfoot. I speak only of the very Canadian, topical or historical, nature of the songs, I'm not speaking to anyone's talents, for that, I'm not qualified. The next four songs lead us on a wild ride through Canadian history, from the excellent Louis & Gabriel, to a song about American-born urbanist Jane Jacobs, on to the mythical Voyageurs and closing with an homage to the rebel, D'Arcy McGee...where I learned another thing!

Louis Riel pissed off a lot of people in Ontario. There's a lesson in there for the PQ somewhere. Mike places him squarely where he belongs in our pantheon: a man before his times...or at least a man out of time. I remember being conflicted about Riel in grade school. Seems he should be a hero...but he did some bad things. A tough call for those who write the text books. (For you Americans think of John Brown.) Riel, and his friend Gabriel Dumont, were complex men in a complex land. The story, as told here, is more interesting than anything i got outa school.

Jane Jacobs. What can I say? Bet she knew Scarborough was gonna suck long before they renovated the Town Center.

Les Voyageurs is a campfire song that would have fit well in an aquatic Blazing Saddles. Except I would do that to the horses.

The final song in this segment, really a showcase for Mike's Canada Needs You Vol. 1, is D'Arcy McGee, a tale of a rebel who sought to find his way in Canada when our nation was forming, and met his end on Sparks St. and the hands of some even more whacked-out rebels, allegedly, the Fenians (think Siin Fein in diapers). Now that's a little ironic as they once were friends. What I learned here was that D'Arcy was a poet and songwriter, a la Joe Hill. No wonder our students think Canadian history is boring...we're missing the chance to make it exciting.

The next portion takes us into Mike's Stars Shone On Toronto album...more or less.

The Great Hall gives props to the majestic Union Station from where you can board a train to all-points-Canada. As long as you're not going to Sault-Ste-Marie.

Saskatchewan, a minor song from the soon to be released Satellite Hot Stove album, gives about all the due owing to that flat piece of land. You can tell which songs you write for the wife and which ones you write for the boys.

Eco-song Tank is reminiscent of the zany energy of Moxy Fruvous, a gentle, or not so gentle, shot at those who need an SUV (tank) to take Brittany to braces and little Brandon to the bank."

And it's back to the Fruvous catalogue for Heat-Seeker Boy, a cautionary tale about the fickle finger of fame.

Next is the title song from Stars Shone on Toronto, a song about the Great Blackout of 2003. I do remember that night...but not like Mike relates it. I was scheduled to leave at 4:00 am in the morning to drive south to Pennsylvania for a Dylan concert at Bushkill. Leaving work that fateful afternoon I knew I needed gas and was not at all upset that power was temporarily out and the stations weren't pumping. We spent the night eating melting icecream, not unlike the song, but could not relax enough to get the 'back to the earth' feeling this song evokes. We should have one day each year where all the power, around the world, is shut off so we can see the firmament, turn of the Playstations " and live a little more like people way back when." Except for the hospitals.

From "Canada Needs You Volume 2" we get a song about the slaughter that was Vimy Ridge, the third largest gathering of Canadians on that fateful Easter weekend. Not sure of the title but I'll go with "Creeping Barrage".
Man, how many more of these songs are we gonna need to write if we haven't learned in almost a hundred years? I'm glad Phil Ochs ain't alive today...he couldn't take this state of affairs. A bit of the John Brown feel to this song...Dylan's John Brown, not the abolitionist one.

Next, a WORLD DEBUT, from the forthcoming Satellite Hot Stove, Open For Business (how I learned to love Thomas Daquino and Allan Gregg of Decima Research and stop worrying) (Macadorian Homesick Blues). Now I'm not an industry guy but I'd shorten that just a tad. This shit is too good. I can't post it here because this is gonna pay for Mike's grandkids university. It's another nimble word dance that Mike almost nails, then recovers nicely by repeating a verse he stumbled into at machine-gun speed. Do not miss this when it's released this summer.

Mike dives into the catalogue of the Arrogant Worms, Kingston comedy/song legends, for the hilarious We're Not Americans(?best guess). Well, hilarious if you're not an American. But what is an American? Aye, there's the rub.

Another song from the unreleased record, and it's nice of Mike to try them out on us because they sound great, Maurice, pays homage to the Rocket. I'm not big on hockey songs, not counting The Hockey Song and maybe Clear Track, Here Comes Shack and, ok, 50 Mission Cap...hey, do Canadians write songs about anything BUT hockey?

Mike takes one more run at vocal gymnastics with the meth-fueled I've Been Everywhere (Canadian Dub). OK, maybe meth has nothing to do with it but it's still a toe-tapping romp.

Show closes with another unreleased song, The Easter Gap, a song for Torontonians who stare out into the lake.

Great show. A ton of songs, a handful of debuts and more entertainment for the buck than we deserve.

Thanks to Randy at the Ren, Mike and Ken, Mike Ford and Mr MikeL Productions.

Monday, April 02, 2007

A Night At The Renaissance
March 31, 2007
Part 1
Mike Skliar &
Ken Ficara



The Ren plays host to many local artists, keeping alive the spirit of the Greenwich Village coffeehouses of the late sixties...a spirit that is sorely missed these days. On occassion the owner, Randy, let's our friends from the fine city of New York take over the stage. Mike Skliar and Ken Ficara represent two of the five boroughs with grace and humour. They are a different breed, New Yorkers, but not to be feared. Mike dabbles in law during the sunlight hours and counters that dark-side by creating liberal-humourist pop songs in the vein of Ray Stevens. I'm not sure what Ken does for a 'day job', it's likely something between the Peace Corps and Greenpeace.

They are joined this evening by Mike Ford a founding member of Toronto's busking-legends, Moxy Fruvous. This guy oozes maple syrup. His first toy wasn't a teddy bear, it was a polar bear. Not a stuffed one either. Canadiana at it's most irreverant and entertaining.

Tonight's festivities are being captured by Mr MikeL Productions and we're hoping for a tight, energetic, one-hour DVD.

But first, three hours of song.

Mike Skliar opens with a rendition of a song Frank Sinatra put on the airwaves, The Coffee Song. And yes, they do have an awful lot of coffee in Brazil. And bio-fuels. It's the bio-fuels that's gonna get them in trouble.

Mike steps up to the mic to deliver The Mike Song, always a welcome inclusion. Besides Skliar and Ford, we have Mr MikeL, my son, and at least one other Mike in the audience. A light poke at parents' inclination to pick popular names for their children.

Ken Ficara's composition, Preserved Fish, a tale of a young Colonial-American child blessed with not-so-popular a name, gives us the other side of the child-naming dilemma. Straight from the hills of West Virginia...or some such hokey abode. For the names, I vote for Mike.

The Future laments the fact science hasn't quite kept up with science-fiction...and when it did, it wasn't all it was cracked up to be. No jet-packs. No Jetsons. For all the things we have that save us time we still wonder where the time went. Still not sure if Ken's a cynic or a realist.

The next portion of the opening set has Mike doing a cover (Bob Dylan's Tryin' To Get To Heaven), a parody (the wonderful If You See Bob, Say Hello) and two original tunes, The Birthday Song and Orange is the New,Whatever. The latter song may be the only one written about the Christo Gates. If memory serves there have been plenty of 'birthday' songs, more than a few Dylan covers and one or two parody songs.

Mike invites his nephew, the young Eric Miller, to the stage to deliver a version of Neil Young's Heart of Gold. Eric has been slowly getting his stage legs, having played back-up guitar on previous outings. Tonight he's solo and taking a big step forward in his development. The audience at the Ren is always 'performer friendly' and they listen attentively and applaud appreciatively.

Mike closes his portion of the opening set with a Rev. Gary Davis tune, Death Don't Have No Mercy. A fitting segue into Ken's mini-set of roots music.

Ken's a bit of an aficiando of harmonica's of one sort and another. I couldn't tell you what kind they were but every toy brought a new sound. He opens with an original tune, a poke in the eye of carbon pigs, called Hummer. And while hummers may suck, it's not in a good way. It's a dystopia, he says. If I wasn't into my 4th Jack'nCoke of the night I'd give you a hyperlink to a definition of 'dystopia'. A topical tune with some nice turns of phrases and an uncomfortable observation: as you're filling your tank, it's the terrorists that are laughing all the way to the bank.

Ken closes his set with an harmonica based Sh'e Big Sh'e Mor, and if that title's correct it's absolutely a fluke, and an American fiddle-tune, Stephen Foster's Angelina Baker.

Mike Skliar is back to open the second set with a couple originals. The toe-tapping cautionary tale, Mothers Advice, becomes a vehicle for some down-home harp playing from Ken. After opening with a cover of a Sintra song Mike unveils his homage to Frank called...Frank, a picture postcard trip through the career of a renaissance man of a different era.

Whiskey for Breakfast sees Ken really kicking it up. Ken's harp serves the bluegrass repetoire well and Mike plays the sidekick support with an aplomb that attests to his comic timing.

Mike invites his niece, Emma Carlin, onstage to help him through a rendition of With A Little Help From My Friends, a mellow break before Mike and Ken launch into the close of their set.

First a rollicking cover of Dylan's Down in the Flood followed by a few originals. Charlie Brown's Nightmare delves into the post-Schultz world of our favorite Peanuts characters. What I Meant To Say, shows us what happens when your mind and your mouth work independently of each other. Then Mike delivers his 'parallel universe' hit, 12 to 20, a crowd-pleasing raunchy tale of unrequited love.

Everyone is back onstage to share verses of Dylan's You Ain't Goin' Nowhere in an ensemble close to the first half of tonights entertainment.

Big thanks go out to Mike and Ken for thinkin' about us when they head North. Got to see lots of friends as the Canadians came out from the winter.


Up Next: A Night At The Ren: Part 2 Mike Ford's set

Upcoming Shows:

Friday April 6 Dr Hook
Saturday April 7 The Hootenany
Wednesday April 25 Anjani
Thursday April 26 Anjani
Tuesday May 8 Maria Muldaur
Wednesday May 9 Maria Muldaur
Friday May 11 Arctic Monkeys
Saturday May 12 Amy Winehouse
Sunday May 13 Amy Winehouse
Tuesday May 29 Joan Armatrading

Friday, January 12, 2007

Robert Gordon
with Chris Spedding
Cadillac Lounge
2007-01-13


OK, lets get the 2007 concert season underway. And what better way to start than by reprising the best concert of 2006.

FTR, Top 5 Most Enjoyable Sets of 2006 were...
Robert Gordon/Chris Spedding X2 Cadillac Lounge in August
Raconteurs Cleveland OH in August
Nine Inch Nails London ON in March
Buck 65 V Fest Toronto in September and
Junior Brown Ottawa Blues Fest in July

I expect to see all but Junior Brown again this year. Junior will have to cross the border again 'cause we're on a travel sabbatical while we refurbish the house.
Only exception will be if we need to travel for Leonard Cohen.

Robert Gordon is doing a few shows on this side of the ocean in the company of Chris Spedding before crossing the waves to do a more extensive tour in Europe backed by "Red Hot", a Gordon covers band of sorts. That will be the 30th Anniversary of his 15 minutes of fame following the release of Rockabilly Boogie. The promise for that tour is all the hits plus a few from the new album. This show, at the Caddy, was promoted as the CD Release Party. Actually, mispromoted, but it's no big deal. Robert took the time out to mention that Sam, the owner of the Cadillac Lounge, jumped the gun a bit. The new CD will be released in July or August. It's finished recording and Robert was backed by the Jordonaires. Should be fun when it comes out.

Cece and I get to the Caddy early, 'cause I'm never late. Apparently Gordon and Spedding were a little late arriving from Detroit as the soundcheck was just wrapping up at 7:30 pm. We only heard the one song so I had no time to set up to tape. Just as well, the only other people in the bar were with the artists. It was a perfect opportunity to stop in and say hello to the artists...except for the mics attached to the lapels of my shirt. As it is we just eavesdrop on the most mundane of conversations as the two stars try to figure out if they should eat before or after their set. Robert looks hungry. Chris looks tired. The hotel wins out.

We're told the show starts at 9:00 pm SHARP. What we're not told is that The Royal Crowns are opening. They were pleasant enough, in a Stray Cats rockabilly kind of way. As their set was wrapping up I figured I'd head out to the car from some pre-show herb and to get my rig all attached. Stepping out onto Queen St West I check for cars as I rummage in my fanny pack, extracting the pre-amp and plugging the mics in just as I reach the opposite curb and lift my head just in time to dodge around Robert Gordon. He was standing outside the Rolling Stones bar across from the Caddy, having a smoke. Though to invite him to the car for a treat...but not for long. He made his way back into the bar as I got prepped.

At 10:45...not so sharp, Chris and Robert take the stage. We get pretty well the same set we had those two nights in August, with maybe two variations. Spedding's guitar work is more aggressive and Gordon is in good voice. Another prime performance.

Here's a link to the August reviews with a song-by-song breakdown, rather than cover similar ground here .

The crowd up close to the stage was great tonight...very attentive and appreciative. In the post-show scrum I was able to make a trade with a Finnish photographer; her photo's for an audio copy of the show. She's doing some scouting for the upcoming Euro tour and had an opportunity to snap a ton of pics.

There's a torrent of this show running at Dime

Tuesday, December 12, 2006

Carole Pope
Gladstone Hotel
8 pm & 10 pm
2006-12-07


When 2006 rolled around I didn't know it was going to be a retro year. It's like I woke up in the hey-day of the New Wave era. If it wasn't the Buzzcocks or Charlatans UK, it was Robert Gordon and Billy Bragg. If it wasn't them it was bands that owed their existence to music created in those years between 1979-1982...the Arctic Monkeys who cop a few licks from the Jam and the Raconteurs who are reviving the Detroit Garage scene. So it's fitting I come to close out the year with a trip back down memory lane to see Carole Pope.

I first saw Carole Pope in 1974 doing a Saturday matinee show at the Colonial Tavern on Yonge St. This venue was a 'home away from home' for blues greats like John Lee Hooker, Sonny Terry and Brownie McGhee. It's days as a 'happening' place were numbered. So were Yonge Streets. No more Meet Market, no more Nickelodeon. I was still too young to drink at this time, my older cousin happened upon her set the day before and was so blown away he convinced me to make my way over and try to get in. Security wasn't what it used to be, if it was ever anything.

There were about 5 people in the place as Carole and Kevan Staples, her partner in Rough Trade, went through the gyrations. I would have said 'motions' but once you've seen Carole you know they're gyrations. This was very early in their public career, before they had a recording contract.

Some people exude sensuality.
Carole sweated sex.

In tight leather, front zipper opened to the mid-rif, hand jammed deep into her crotch as she screamed her way through the hormonally fueled paeon to lesbian lust unrequited, High School Confidential, she was like nothing I'd ever seen before. Not even on film as this was pre-cable, pre-VHS and pre-porn explosion. I was a fan.

A couple of years later I saw her do two sets at a punk-club called The Edge, in Toronto. The New Wave scene was percolating in Toronto. We had live music clubs up the wazoo, from Larry's Hideaway to Lee's Palace to that club on St Joseph's St where I saw John Cooper Clarke. The Edge had been home to two other shows of an overtly sexual nature, at least an alternative style, as I saw both Wayne County and the Electric Chairs as well as post-op, Jayne County perform live sets. Now Carole's 'alt-lifestyle' was not so apparent to me back at the dark, empty Colonial. There were no girls in the audience then, it's a tap house. So, naturally, I thought she was talking to me from that stage. Turns out not. Over the intervening years Rough Trade developed a hard-core following among the sisterhood. This was a little more apparent in the packed confines of The Edge where sapphic love dolls performed tongue dances in every nook and cranny of the place. What else they used their nooks and crannies for I can't relate here.

An interesting side-bar to this show, local comic Martin Short, a regular at the Toronto chapter of the Second City Review and a high-school friend of Carole's, was opening the show. A weird combination, I thought. It's not like the fan bases will have a lot of overlap. It's more a Venn Diagram with two circles that never meet. Well, not never, Cece and I were there. Most of the audience was not in the mood for a stand up act. One gentleman in particular figured he'd voice his opinion using a mug of beer. Martin stood onstage, soaked and pointed out to the audience to ask: "How many people think that guy is sitting beside someone who is saying 'Man, you're an idiot!" (loud cheers) "How many people think that guy's girlfriend is thinking twice about putting out later?" (loud cheers) "How many people think that guy has a dick 'this' big?" (holding fingers one inch apart to loud cheers). Regained a little respect, Martin did. What he didn't do is show up the next night to finish the stand.

Besides being on the cutting edge of the performance art that is live rock n roll, Kevin and Carole also delved into the outer reaches of available recording technology. In search of a sound as vital and raw as Caroles weapons they recorded a 'direct-to-disc' record of their material, ostensibly a live performance as they cut the two sides 15 times each and selected the best two recordings. Once the disc started recording it took everything, even the between record breaks are actually live dead air...one mistake, the side was fucked. They printed 30,000 copies. Mine is number 9494.

For much more on the history of Rough Trade take a look at this page:
Much More on Rough Trade Page

Now go back up a line and take a look at that page I linked to. Both Carole and Kevan have had some interesting projects through the years I lost track.

Came upon this brief two-set appearance quite by happy accident, which is how most good things occur. We decide to see the whole evening and find ourselves in what can only be described as a 'lesbian bar', let's just say the demographics are becoming more obvious as time rolls on, or I'm becoming more staid. Terrific atmosphere though, everyone seems excited about seeing their friends and seeing their hero.

Both sets are very similar, only one song from the first set didn't appear in the second, Americana. She added Twist of the Knife and a brief foray into Birds of A Feather in the late show.

She opens with a song about the fall of Rough Trade, You Can't Go Back. A little ironic these many years later as she is going back. The band is being inducted into the Indie Artists Hall of Fame in the spring of 2007 and she'll be doing some reunion gigs with Kevan.

For news on current Carole check out her myspace page: Carole's MySpace Page

The set list leans heavily on material from last years Transcend release. Songs not unlike those she was doing in '74, perhaps a little less salacious although with titles like 'Seduction', 'Love Strikes Hard' and the song about eating pussy, 'Edible Flower', it's hard to see where she's mellowed.

Come to think of it, she hasn't changed much, still looking sleek and mean as ever, she's a tight 56, even if she alludes to the toll the years have taken. She's done ok, it seems, having celebrated, surrendered to, then survived the pleasures her new home in LA has to offer.

Big audience favorite was the 'screamo' version of High-School Confidential, her signature song, or albatross, depending on the day, I guess. A world-class pop tune, a aural painting you can visualize without effort. Great lyrics, great delivery. When Carole is finally resting in the tower of song alongside a coughing Hank Williams, a self-deprecatory Leonard Cohen and a medicinally-clean Marianne Faithful, she will be required to play this tune. Hope I'm passing by when she does.

The wonderful 'All Touch/No Contact', which was re-recorded for Transcend was also well received. This song is a classic. As good as anything Cole Porter or Bob Dylan ever wrote, or Elvis ever performed. OK, so I'm prone to hyperbole, it's still great shit. A fusion of tight lyrics and a hot, passionate delivery. I don't think the true genius of this song can be conveyed in words but I'm gonna give it a spin, 'cause words I got.

Three verses, one repeated twice and one slightly shorter than the other two.
The bridge is repeated twice.
Pretty simple, eh? The best ones always are on the surface until you unravel them.

First off, the title: All Touch and No Contact. That's a book all by itself. It plays into the relationships explored in the song and dances around one of the similies. It could be about a marriage 20 years in. It could be about a quick meeting behind the door of the mens room stall.

First verse deals with the girl-girl tryst.
Our protaganist is pushing the face of her love interest away. Carole punches out the words, letting us know who's in charge, if not who's on top. "I pushed, her tense face, away from me./ I pushed her tense face away from me." Same words, subtle difference in the phrasing. The first time she says it the statement is declaratory. The second time it's a narrative description of something that has happened. Something that's happened in a brief instant, while deep in the throes of a passionate embrace, or just breaking from one, perhaps. Has our hero been rejected?
Or disappointed? Or has she seen herself in a mirror? Her partner lays there, with "the hard smile, the voice going on/ like a razor blade on glass." Ouch! That is cold. It seems our anti-diva has bedded her worst nightmare, Paris Hilton. There is a breathless pause between the short laundry list. 'smile' and 'voice', all mouth. That 'razor blade on glass' is just pure magic. Besides being a great methaphor describing the hard, cutting, coldness of the distant or self-absorbed love interest, it also hints of the devil behind the emotions, that other partner of razor blades and glass, cocaine.
After the title line we get the awakening... "it hit me like a slap, all touch and no contact."

The second verse visits a boy-girl hook up. From the outset we see something different in the dynamics of the relationship. "I pushed, his hands, away from me." Guys are always so tactile, eh? Wouldn't be caught dead staring into anybody's face but are ever ready to grope. This tryst seems fueld by booze as all that remains are "splintering fragments of conversation". Or perhaps that's all the guys are capable of delivering. The awakening here is "like a knife in the back". Less intimate than a slap, but definitely more of a 'deal breaker'.

The repeated bridge seems to belong with this verse, sounds like it may have been the denouement of the evening: "Tense my body for the final attack/ All touch, no contact." That's one sad vision of love.

One floating verse, really a precursor to the other two, describes how this mess all gets started as the singer takes us back to early in the evening when she saw "challenging eyes over the edge of a cocktail glass/ hoping i'd react." Or maybe it's the night after, when the same scene gets played out.

As words on the page the song is pretty strong. When performed it's a monster.

Two other points of high interest, besides the excellent quality of the performances of Weapons, was the outing for "Americana" in the first set and Birds of A Feather in the late set. "Americana" is right up there with some of the best descriptive narratives of life in modern, post 9/11 America I've heard this year. That includes Neil Young doing "Living With War", Peaches doing "Impeach My Bush", Billy Bragg singing a new version of "Waiting For the Great Leap Forward" and Randy Newman sardonically poking a stick at the "Great Nations of Europe."
"Birds of A Feather" to close the night was a short and special treat. Ain't nothing like being surrounded my like-minded people and celebrating it.

Wednesday, November 29, 2006

The Raconteurs
Opening for
Bob Dylan



Enjoyed an interesting mini-tour on the eastern seaboard this fall where I had the pleasure of seeing Jack White and his Raconteurs open 4 different shows for the Man, the Master, Bob Dylan. The past and the future all rolled up in one. And that’s just Jack White. It says a lot for Jack’s drawing power that the Dylan show in Philadelphia, Nov. 18,2006, was my 101st lifetime but I wouldn’t have passed a hundred if the Racs weren’t the opening set. I was perfectly content to take in the 4 Canadian dates and end my Dylan concert-going career at 99 shows. I could then have spent the rest of my life saying: “I saw Bob Dylan 99 times! Would have seen him a hundred but three digits is a little excessive, don’t you think?” Not to be. The lure of Jack White, the lure of Boston, the lure of friends at every show and a party around every corner, were a little too much to convince me to show restraint.

The reasons this tour ticket was a match made in heaven are just too numerous to list here, I’ll focus on the opening act. The Raconteurs are bringing a limited set list and a lot of volume to the stage. Jack’s committed to making this manifestation of his unstoppable talent something distinctly different from the White Stripes. It’s a much more structured schtick. These are new-age outlaws. Their history reaches back to the spaghetti westerns of the ‘60’s, they grew up riding their broomstick-horses and fightin’ and ‘ ‘cussin’ in the mud and the blood and the ginger beer. (You see why we have Bang Bang in the set list?) They are boys and men and boys again. They are broken boys. They are soldiers and cowboys. Their sound is mired in the garage-band ethos of MC5 and the Stooges. (You see why we have the original composition 5 on the 5 and the cover, Headin’ For the Texas Border, in the set list?)

Four blistering shows, two in Boston on the weekend of the 11th and 12th of November. The next weekend we get one show in Fairfax and one show in Philadelphia. The Raconteur portion of the tour consists of 8 shows. We’re seeing shows #2,3,7 and 8. A few interesting sub-themes crop up during the two lost weekends. One is the volume. Two is the audience response. Three is the volume. Four is the band response. Five is the volume. Six is the anti-climactic ‘Jack ‘n Bob’ component.

The pre-show music, courtesy of the opening band, is Ramones, great feel good songs to get everyone’s eardrums warmed up. When lights go down the introductory music is supplied by Sergio Leone’s score for Once Upon A Time in America. Just to establish a mood. . (Check out some studio shots of that production to see where the album cover came from.) The band generally comes on during this segment and launches into a “Hands intro” before breaking into either Intimate Secretary or Hands itself. I prefer it when Hands is up front because that means we get something even more kick-ass to close the show. We got the variations split down the middle, two of each. One evening we get the distinct added pleasure of the band continuing the OUATIA theme music on their own instruments before switching to Hands.

The set is broken down into a few distinct components: The opening portion, primarily straight-up rock, consisting of the original tunes; Hands, and/or Intimate Secretary and Level. Steady As She Goes makes an appearance if Hands isn’t played. All these songs serve to warm up the band and the audience but it’s just an appetizer. The most notable change made in this segment was the flowering of Level, once a cute 4 minute pop-song, now an 8-minute guitar blow-out. Steady As She Goes was given a couple different treatments, the best of which was the slow version, emulating the single. The set lists are static but the arrangements change every night. OK, not so much the ‘arrangement’ as the delivery. Some variation is tossed into virtually every song to make it just a little bit (or a lot) different than the last time you heard it.

Band intro’s come after that brief opening three-song flurry. Brendan Benson alternates with Jack White when doing the band intros. Thankfully they are filling the air space with less ‘banter’ during these opening sets. Sometimes trying to be cute takes away from the act and Jack and Brendan have a tendency to egg each other on to the point of silliness. I could relate a show where the Capital of Asia was the subject under discussion onstage, but I won’t. Still the band intros proved to be the point where the artists would convey their feelings to us. Starting right up with the first night in Boston, only the second show, and already the news getting back to the band was that the music was too loud for the old Dylan fans. Not this fan, that’s for sure, but I did hear some comments to that effect, when I could hear anything at all. Brendan closes his introductions with this little quip: “You can take your earplugs out now, we’re going to do some acoustic numbers.” There was a day off in between the opening night in Portland ME and this show in Boston so the band had time to read some reviews, even scour the ‘Net or talk to flesh-and-blood fans. They didn’t see my blog or find my posts at the Dylanpool or drop me a line, because the last thing on my ‘complaint list’ would have been the volume. The following weekend Jack continues this theme by making similar comments and introducing the band as “The Earplugs”, instead of by their proper name. It was cute enough. Perhaps an easy target given the generation gap between the artists and their fan bases, but it threatened to grow mean. Following song #3, Steady As She Goes, Jack starts the intro’s by announcing: “OK, that was the duration of our set, we’re all done. HAAAAA! Some people, ah, some people would wish so…”

Second part of the Raconteurs extravaganza is ostensibly the “acoustic portion”, as Brendan alluded. This consists of Together and Yellow Sun, two original compositions, most likely written primarily by the more gentile Brendan. You get both, or you get one with a cover like It Ain’t Easy or A House Is Not A Motel. I absolutely love Together, the way it sounds, what it says, how it’s delivered. It contains one of the best rhymes of the millenia, to date: “I’m adding something new to the mixture, to bring a different hue to your picture.” Well done, A rhyme inside a rhyme within the lines and a subtle tongue twist on phonetically similar words to close the couplet.

Third part of the show is the heart and soul of the Raconteurs, a mini-opera in 4 parts, think of it as Jack’s 4 Seasons: Store Bought Bones – Bang Bang – Broken Boy Soldiers – Blue Veins! That is a killer 30 minutes any night. 40 minutes some nights. Once in awhile, if they are playing back-to-back shows in the same city, you’ll get a slight variance in the sequence. It’s all very alphabetical though: SBB-BB-BBS-BV. Economic use of letters, eh? Jack’s always had a thing for “3’s”, from the Stripes days. I love the acronym-cum-palindrome that the first three songs of this opera make up, SBBBBBBS. This segment of the show is live performance rock at its apex. From the extended intro to SBB, called the ‘Bane Rendition’ but eerily reminiscent of Norman Greenbaum’s Spirit in the Sky, through to the muddy blues intro on Blue Veins, this is captivating music. Every song is an emotional journey from ear-splitting screams to soft whispered wishes. From hard pounding drums, courtesy of the best drummer I’ve seen onstage this year, Patrick Keeler, through to Jack’s guitar, it’s relentlessly pounding, concussive, rock n roll. Even within this segment there’s room for movement. The treatment Bang, Bang gets every night is a little different. A copper mic set up at the rear of the stage is often employed in BBS and sometimes in BB, to the chagrin of many I’m sure. The intro to Blue Veins is a song by itself and the crowd often applauds at the end, thinking they’ve heard an instrumental, before Jack explodes into the song. One night, having missed his cue to return to the mic during an instrumental break in Blue Veins, Jack treated us to a little ad-lib, spoken-word, interlude: “I looked her straight in the eyes/there was nobody else there but me and her/ and I said straight to her/ I think you know exactly what I’m talking about/ you’ve probably all been there once or twice yourself/ and for a second you probably believed it….”

From here to the end of the show it’s all gravy. This opening set doesn’t allow for much in the way of extra songs so it’s been either Steady As She Goes or Hands coupled with a cover, Headin’ for the Texas Border, more often than not. In their longer set you’re likely to get a song in here with heavy local interest…a cover of Shocking Blue in the Lower Countries or The Beatles in Liverpool…just to show you they’re paying attention.

The tour ended with no reprise of the “Jack ‘n Bob” collaboration that I witnessed in Detroit a couple years ago. Didn’t think it would happen, but you can always hope. For the most part the Dylan community took very well to the band. That made the stage comments all the more strange. People either have a finely tuned ear for criticism or they don’t get enough opinions. Though it’s absolutely of no consequence there were a couple moments in the Philly that closed the Raconteurs portion of the tour, that could be construed to be sour grapes. OK, maybe that’s a bit strong.

Besides the blurb about the early set ending quoted earlier, during Store Bought Bones, just before the song breaks into a mantric chant of “you can’t buy what you can’t find what you can’t” Jack inserts: “All the hippies say.” Hmmm, is that a shot. Maybe some spill-over from not being invited onstage? If he felt at all slighted that Dylan didn’t even thank the opening band he shouldn’t be…Dylan rarely does unless the band has a buxom, smiling babe playing fiddle.