The Low Anthem...

Well, here we go with another rash of concerts for fall. I guess the word rash seems as though it's an uncomfortable thing but believe me, nothing is further from the truth. Music is my life and being able to see live music performed by favorite people is a kiss to the heart.

The Low Anthem, consisting of multi-instrumentalists Ben Miller, Jeff Prystowsky, Jocie Adams and sometimes Mat Davidson have been a favorite of mine ever since discovering them on cd Baby's website a few years ago. I bought the first album and quickly snapped up the others as they were released. With any album, there are favorite songs but with this group, I find it hard to actually choose. People have asked me and I can usually only narrow it down to five or six after a lot of hemming and hawing.

They are a unique and extremely talented trio [sometimes quartet] who between them all play 34 instruments. Almost all vintage or antique. It has been said that they have in their possession, more antique instruments than the museum in Providence Rhode Island where they hail from.
And each of them is able to play almost all of the 34! I got to see this first hand last Wednesday night, Sept 14 when we attended their concert at the World Cafe LIVE in Philly.

The evening opened with guest artist William Elliot Whitmore, a singer/songwriter I'd never heard of before. But he didn't disappoint and was the perfect choice to open for a band like The Low Anthem. William played banjo, guitar and bass drum. Yes, you read that right - bass drum! It had a wonderful effect with what he did and we enjoyed him a lot!



Then with virtually no real break at all, Low Anthem entered the stage. They began their program by announcing they would do the songs in chronological order which got a laugh from the audience but really ended up working well for those recording their favorite songs.



I could fill this post with video I took of the evening but I think it would be better if you went to see them yourself if they come to your corner of the world. Philly was the first concert of the tour and they will work themselves cross country to California before going on hiatus to work on new things at home in Rhode Island. You will not be disappointed and since this tour will be their last, you won't get another chance if you pass on this one.

To Ben, Jeff, Jocie & Mat, plus past member Dan Lefkowitz, - thank you for three incredible albums that filled so many of my days, plus an evening I will never forget.

Eric Clapton in the 'Burgh...

A lifelong dream of mine came true last Thursday night, February 25th when we battled to stay ahead of one of the worst blizzards of the year and get from Philly to Pittsburgh ahead of the storm. The goal was to see my guitar idol Eric Clapton who was going to be appearing at the dear old Igloo (Mellon Arena). Having missed the chance to see him a number of times already, I was very nervous it would happen again as they talked of record breaking snowfall the day before the concert.

Could we make the 300 plus mile trip before the storm hit? Well, we were about to find out because we were not going to be deprived of another opportunity to see him.
And see the Igloo for the last time too, because that wonderful old arena, the oldest in the NHL, was slated to also be torn down within the month.

So we left the Mustang in our garage, knowing better than to take it on a snowy trip and sliding off the road. Instead we hopped into my 15 year old Escort GT knowing that if we had any chance at all of making it to Pittsburgh, my Pokey was going to be the one to get us there.


~Pokey resting on Laurel Highlands

We arrived in the Burgh and had time to spare...the weather still holding strong in that fair city.

After getting settled and having something to eat it was off to the Igloo like we had done so many times while living there and going to so many Penguins games. It was so bittersweet being back, knowing I was going to see Eric for the first time in my life - and seeing the Igloo for my last time.

Roger Daltrey was appearing with Eric and opened the show with some of his older Who stuff but much of his stuff was new to the audience. He did many covers of other artists and endeared himself immediately with the crowd. Opening his portion with I Can See For Miles and The Real Me, he also did a Taj Mahal cover of Freedom Ride. Levon Helm's song, Gimme A Stone was perhaps the favorite of the Daltrey set -

Finally, the moment everyone had come for. Eric strolled out on stage without any fanfare whatsoever, looking like a college professor dressed for a weekend visit to the market. He wore jeans, a plain blue button-down shirt and sneakers, his hair long, his manner quiet and unassuming.

When he played the opening chords of "Goin' Down Slow" he was suddenly transformed — as was I and the rest of the audience — through his brief 15-song, 90-minute set. The brevity of the show didn't matter. Like other singular artists — think Pavarotti, Baryshnikov or DeNiro — Clapton's talent defies description, and astounds even as it takes place before one's eyes. He seems almost lackadaisical in his approach to his craft, but the genius that emerges as his hands fly up and down the length of his guitar is astounding.

Four songs into the evening Clapton played "Old Love," an atmospheric, sweetly melancholic tune that featured one of his indescribable guitar solos. You start to think nothing would top this ... until the next song, a rousing version of "I Shot the Sheriff" which featured yet another breathtaking guitar solo. So went the entire evening. Even the obligatory acoustic run of songs, which featured "Driftin' Blues," "Nobody Knows When You're Down and Out," "Running on Faith" and "I've Got a Rock 'n' Roll Heart," transcended the usual limitations of such forays.

Instead of seeming indulgent, Clapton transformed the whole arena into an intimate club. The lighting - the general feeling given off - his quiet rapport with his listeners, made everyone feel that he was playing for them...only them. Everyone had "their" Clapton song and he accommodated most by giving them that. How do you top that?

Well, we are talking Eric Clapton here right? It's easy. He trotted out "Badge" from his tenure with Cream, and even though a keyboardist added some odd-sounding accompaniment (much to Clapton's amusement) the grandness of this magisterial song shone through. With another stunning solo unleashed, of course.

Clapton followed with sparkling versions of "Little Queen of Spades," "Before You Accuse Me," "Wonderful Tonight" and "Cocaine," the audience response increasing with each selection. And that was it! Suddenly it was over, save for a truncated, almost carnival-like version of "Crossroads" that ended the evening much, much too soon.

I wish I could have captured more video of this concert but to be honest, I was so wrapped up in what I was experiencing, I simply forgot to turn the Flip on when I maybe could have. However, I did get a few and will leave you with one....



So I had finally achieved the thing I've waited my entire life for. And now I want to do it again!

Moonalice

Once upon a time in America, there were musicians who played the music they wanted to play. They didn’t follow musical fads, they created them. They had lots and lots of fun with that and we had lots of fun listening. They were based in California - more specifically San Francisco, but within a very short space of time, they were embraced by a continent of music lovers. Bands like Hot Tuna and Jefferson Airplane, evolving to Jefferson Starship, and of course the Eagles and Poco, Buffalo Springfield and just to name a very few.

Some of these bands have largely stayed together – others have disbanded and gone solo or started up new ventures. So it is with Moonalice.

Moonalice is a band/tribe (sic) comprised of musicians Jack Casady of Hot Tuna, Jesus H Moonalice, the incredible Barry Sless (David Nelson Band, Phil Lesh & Friends) on bass, guitar and pedal steel, Sir Sinjin Moonalice (British born Pete Sears, also from Hot Tuna, Rod Stewart Band, Jefferson Starship et al.) on bass and keys, Chubby Wombat Moonalice (Roger McNamee) on guitar, bass, Blue Moonalice, Ann McNamee (Flying Other Brothers, Ann Atomic) on angelic vocals and percussion, and finally, Barry Sless and Dawnman Moonalice, Jimmy Sanchez (Boz Scaggs, Bonnie Raitt) on drums.

Last and certainly not least is G.E. Smith. Leader of the Saturday Night Live Band for about ten years, he also toured with Hall & Oates for a number of years, plus played with Dylan, Jagger, and Bowie.

As the story goes, Moonalice is a Native American tribe that dates back to the beginning of time. In later times, the tribe evolved into two major clans, one agricultural, the other nomadic. The nomadic Moonalice clans were known as bands. They wandered the continent, surviving on their wits and music. Their specialty was low tones. From time to time, the Moonalice hippies and bands would gather in pow wows that were known as gigs. More Woodstock than livestock, Moonalice gigs were quintessentially American, combining the vibes of New York, San Francisco and all points in between. Moonalice legend speaks of a mysterious 7th player – a bass player, naturally – who possessed prodigious talent. It is said by those who say such things, that the day will come when all members of the tribe will play bass together. And on that day the notion of low will be taken to new depths. Or possibly the notion of depth taken to new lows. As with all things, it’s really a matter of perspective.

The band started out with mirth but on the right foot too, when they enlisted legendary producer T Bone Burnett to help transform the highly regarded Moonalice live sound into a recorded project. Can this album really go bad? Of course not.

Pseudonyms aside, this album will charm you. Moonalice’s debut harkens back to a simpler time – a time when the world too, was somewhat simpler. Every problem could be solved by making love, not war and every coming together of people was the simple sharing of anything you had to share. Love, hemp, opinion, and a hatred of ‘the establishment’.

For those of us who grew up on California folk rock with a psychedelic twist, this album is a breath of fresh air – what we know and love, albeit maybe not as soft as in those days of caftans and granny prints. I do think they’ll pick up a few new followers with this album though. How can they not?

I have to say I love this album. Hearing G. E. Smith master the Telecaster once again in the only way he can, was worth the cost of the album right there. But there are bonuses too - Jack Casady's legendary full driving tone and innovative melodic bass work was there as well, the stormy melodic lines & sweeping chord work that earned him a place in the Rock and Roll Hall of Fame. But aside from musical qualities they bring you great tunes as well. From the Mark Knofler-esque sounding’ "Kick It Open" to the haunting "Blink Of An Eye" this will definitely get many hours of play at our house. I highly recommend everyone give this a listen - once you have it certainly won't be your last.

There's noone as Irish as Barack Obama...

I knew I was feeling an unconscious reason to vote for Barack too....

An Evening With Jackson Browne...

Aah, where to begin? I had the distinct pleasure of taking in what was to be my seventh Jackson Browne concert at the Tower Theater in Philly on Thursday night. Even the Tower itself is renowned for past performers like the Rolling Stones, Bruce Springsteen, James Taylor, U2, the Dave Mason Band. In fact, David Bowie played the Tower as his first ever in the USA concert. Paul Simon appeared there more than a few times and even a part of his One Trick Pony tour was recorded there, along with the VHS tape for marketing. An aging theater which I pray someone will restore to it's former beauty before it's too late. Just it's aura alone...but I digress.

What could possibly be left to say about this truly amazing, one of a kind man, Jackson Browne? No surprises he would be making an appearance at the Tower again. While he seems ageless from afar, he isn't, but he still has that boyishness that endears you to him.

I expected to see him appear sporting the beard that he had at Sundance Music Festival, and on the cover of Time The Conqueror, his new cd. But he surprised us once again when he quietly strolled onstage, like always no introduction and no pretension; no rock and roll attitude or 'sit up listen now, I'm a big star' personae. Just his familiar clean shaven face, the one I've known all these years, giving the audience his patented shy 'hi'. He came front and center and did what he's done for as long as I've followed him - enjoyed his audience as much as they enjoyed him.
That is one thing I've always admired about him - his rapport with his audience. He will laugh and talk with everyone - joking about himself and the situations he's found himself in as well.

We didn't have to sit through an opening band either. Jackson was all the opening band anyone in the theater wanted. He started the show with 'Boulevard' and seemingly played without any kind of set list, playing what popped into his head, although I'm sure there is a loosely structured one - there has to be, if you're going to play for three hours. He typically does and didn't disappoint this time either.

He joked, “I’m struggling with the self-knowledge that I’m lazy enough to just stand up here and do whatever you guys tell me to do.” While he doesn’t quite do that, he will kid with the person asking for a song that it was the best way to get him not to do that particular song.
The song of course, will show up a bit further in the show.
But this is his style and it allows him to occasionally take requests from the audience, which in turn gives him an opportunity to do the archival songs he may not otherwise get to do.

One song from the newly released cd was 'The Drums Of War'. The audience, up til then had been animated - swaying, dancing or singing along. But when the first drum-laden bars of this tune began, a hush fell over everyone and they just listened -rapt. If this is any indication of the contents of Time The Conqueror, Jackson has another hit album on his hands.

He had his longtime band with him also - Kevin McCormick (bass), Mark Goldenberg (guitars), Mauricio “Fritz” Lewak (drums) and Jeff Young (keyboards and backing vocals).

However, there were two new additions who are also on the new cd are backup singers. Chavonne Morris and Alethea Mills are two vocalists Jackson met in early 2001 while working with Washington Preparatory High School located in South Central Los Angeles. These girls are absolutely worth the price of the ticket on their own! They are one of the best things Jackson has done.

Lastly, he finished things off with I Am A Patriot and reminded everyone to get out and vote - and even with good reasons to talk about political things and law suits, he made no mention of candidates or policies being presented.

Having been to so many of his concerts now, there are so many little stories I could regale you with about him and how he chooses to conduct himself onstage. I think the thing I like best though, was never before more evident than it was last night - Jackson is true to form and has been since he appeared on the scene in the mid 1970's with the song that got my attention - Doctor My Eyes, and for me there was no turning back.

He really has proven he's conquered his time and not the other way around. His vocal chords don't yet know they'll be celebrating their 60th year on this planet October 9th.

As I said, a truly amazing man.

For myself, I will leave you with the song that went straight to my heart and is still my favorite today - Late For The Sky. I could have written these words about my own situation at the time myself, had I been talented enough. And one day, I'm sure I'll get through the whole song without crying.

Exile In America

A Matchbox Twenty concert review.

Well, they are back with a vengeance, and ask me if I could be happier?

I got to attend my sixth Matchbox Twenty concert last night at the Sovereign Arena in Reading PA. There are two things I will say about the groups’ performance Tuesday night. The first is – damn good to have them back! And second, kudos to them for the subtle changes they’ve make in the interim that have improved them in all the right places.

If someone had told me a few years ago I’d be saying this, I would have guffawed them. Because, in my opinion, the band was already just about as close to perfection as they were going to get. Yes of course, the bias of a fan speaking, but minor tweaking over this 'time-out' has led to more than a few minor changes and overall, to a more professional sound for the band.

First is the addition of drummer Ryan McMillan setting a really rock-solid bottom line. Switching Paul Doucette to rhythm guitar from drums has worked out very well.

Also the lighting for this show was designed to focus us on lead singer Rob Thomas. Whether this came as a surprise to new fans, or upset long time ones, I'm not sure. But recurrence of a thematic lighting scheme persisted throughout the concert, and it was done superbly.

In all twenty five songs of their set, the spotlight — or spotlights — constantly shone brightest on Rob. In fact, there were moments where a sheer black curtain was dropped from the rafters, dividing him from the rest of the band members and they were only silhouetted behind him.
A rather impressive visual as Rob himself held the multi-kilowatt beam to himself.

Having said that, I don’t believe for a moment that this was any kind of prima donna predisposition on the part of Rob, but more a case of a lighting dynamic designed to give the backing members an air of mystique, which it achieved beautifully. Having followed the band since the days when they were known as Tabitha’s Secret, I feel this was a spotlight technique used as a visual tool to preserve Rob's status, not just as the voice, but the face of Matchbox Twenty.

The evening opened with a new group, Mute Math – an electro-rock quartet out of New Orleans. They spent a half hour trying to dazzle with loud sounds and blinding strobes, giving some in the audience a chance to refresh their drinks before settling down again. In their favor, they had some uniqueness. But I was glad I was only subjected to a half hour of it.

After a short break we were treated to Alanis Morrisette. I've never been a huge fan of hers. I'm not saying she's bad, just not my type of music. Alanis played an hour-long set that included almost all of her breathy, exasperated vocal-driven songs — minus "Head Over Feet" — plus her haunting, yet amusing spoof of the Black Eyed Peas' "My Humps." And of course "Jagged Little Pill." One thing's for sure: her songs of a woman's relationship discontent resonated soundly with the disproportionately female audience.

I think it admirable that MB20 invited her to join their tour, but she didn't appeal to their audience. She had a following there though, sitting down front so she sang primarily to them.

Then finally MB20 came out to a resounding welcome from the audience. And we weren’t to be disappointed! The band is touring in support of their new album, Exile on Mainstream. In fact, they opened their show with a rousing rendition of "Let's See How Far We've Come," their latest hit single from that album.

From there, the concert moved into a shuffle of hit songs and new album cuts. Since the album is basically a greatest hits album with six new songs added, most of the concert gave fans what they wanted to hear — their favorites re-worked but remaining pretty much as they were the first time around. In between filler material, people perpetually yelled out for staples like "3 a.m.," "Unwell," or "Push" (the last song of the evening.)
And, to no one's surprise, as always, the band didn't disappoint.

Highlights of the concert included the last song before the encore. "Bright Lights," opened with a solo blues riff from guitarist Kyle Cook, which moved into a momentous rock version of the hit song. But before they wrapped up, the band broke into the first couple of verses of the Beatles' "She Came in Through the Bathroom Window" before circling back into the closing notes of "Bright Lights."

Another highlight was Rob taking a video camera from a woman in the front row & videoing the band for her, turning the camera on himself at one point and singing to it/her. Something I’m sure we will see on YouTube before long.

Finally, the most important thing to note is the band has kept everything they’ve always had going for them, like their rapport with their audience and their ability to do their songs from years back and never make them sound tired. But now, they’ve added a sweet glossing of professionalism that caps them off. I recommend to anyone, if you haven’t already, buy tickets and don’t miss this one.

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