THE GRATEFUL DEAD 1.28.87

Posted on September 6th, 2009 by ekko

A classic rock post, you young turks!

The Dead were never better than when they played their hometown. I’m choosing to share this show, even though the quality is below what I generally like, because the set list is so great and because, other than an atrocious Eyes of the World, they play pretty well here. There’s a first set, first song Shakedown (my favorite place in the line up for this song, as it helps them get their groove on throughout the night), a rare Beatles cover, Brother Esau,

It’s especially well done for 1987, the year after Jerry returned from his coma with a black cruddy liver.  Around this time is when the quality of Jerry’s memory and playing really started to deteriorate (and, ironically, it’s when they started to get “Touch of Grey” popular), so you can hear him stammer over lyrics several times.  But it’s still Jerry.  A fascinating thing about this band is to watch as drugs and hard living slowly destroy a genius guitar player.  This is one stage of the band’s life.

Zip file below.

Grateful Dead
1/28/87
San Francisco Civic Center

Shakedown Street
Get Back
Peggy-O
Walkin’ Blues
It Must Have Been The Roses
It’s All Over Now (Rolling Stones cover)
Row Jimmy
My Brother Esau
Bird Song
Jack Straw
When Push Comes To Shove
Samson And Delilah
Black Muddy River
He’s Gone
Spoonful
Drums – Space
Eyes Of The World
Black Peter
Around And Around
Sugar Magnolia

ZIP

VIDEO OF THE DAY (mini-movie edition)

Posted on September 6th, 2009 by ekko

I know this is stupid, but I think it’s funny.

COUNTING CROWS-TRAVELING CIRCUS AND MEDICINE SHOW

Posted on September 6th, 2009 by ekko

Oh Christ an I aggravated.  I spent an hour writing a great post about how amazing The Counting Crows‘ tour with Spearhead and Augustana, and then wordpress crashes.  Arggh!  I don’t know about you, but I have a hard time writing a second time with the same passion.  But these guys deserve it, so here it goes again.

On the show’s site, Adam Duritz warns to get there on time because as soon as the curtain rises, they’ll all be on stage jamming together.  What it didn’t say was that before the show even started, Adam would play a couple impromptu acoustic songs, including his powerful rendition of The Ghost in You.

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When he was done, it was about 7:15pm and Adam left saying, “You all better get your asses in your seats.  I wanna see asses in the seats when we come back.”

IMG_1764

As promised, at 7:30 sharp the curtain went up and a joyous, raucous and loud arrangement of Van Morrison’s “Caravan” started out the evening, with everyone on stage at once. Spearhead took a solo song next, and then Counting Crows came back to do some of their hits.  Throughout the night, The Adam bounced around playing hype man and harmony to Augustana and Spearhead songs, and vice-versa.  All played together, and the love and fun they felt was evident and contagious.  The show brought male strippers, a prank involving Nirvana’s “Smells Like Teen Spirit,” Adam’s wardrobe changes to signal an upcoming cover, a toilet bowl and, literally, the kitchen sink (used in a Stomp!-like percussion solo).

It’s easy to forget how talented the Counting Crows are as a band when you hear their studio work, because Duritz’s vocals are so commanding, but each of them are amazingly talented musicians.  The key to being in a band is being able to be part of a whole, which all of them so phenomenally well.  Each got a few solo moments to shine, and pretty much blew every other musician off the stage.  Except for Spearhead’s lead guitarist, who is a remarkably versatile and skilled solo player.  Yet the night was not about competition, it was about teamwork and sharing a love of music.  I know it sounds kinda hippy-dippy, but these are three San Francisco groups who clearly share a bond (they don’t share the same label, after all).  In particular, Franti and Duritz have known each other for decades–both bands came up at the same time in San Francisco, back when I lived there, and both have released many great records.  It was great watching them all trade verses on each others’ songs, and on covers . . . I’ve never seen anything like it.  Sure, some bands do this on tour for a song or two, but to share the stage for the entire night?  Unheard of.  Duritz deserves an award–he’s not usually thought of for his humility–and has revealed himself to be an innovator on the level of Perry Farrell (who created Lollapalooza).  More bands need to do this.

IMG_1782

But a special paragraph belongs to Spearhead.  As fantastic as it was to see the Crows, Franti’s band has truly come into their own, with a top 40 single that led Universal Republic to pick up their distribution from indie-label ANTI.  Franti is a charismatic emcee and a great frontman.  At one point, to sing their new big single, he brought all the children onstage (pictured above).  And throughout, his love and gratitude shone through.  He is the genuine article.

A touching element of the show is their commitment to local causes.  At every leg of the tour, they’d pick out a few local charities and bring them to the arena.  Then, the artists would periodically come out and tell the audience about them.  Not enough bands do this nowadays–it’s a great way to remind us all what music is really about.  The show I was at featured, among others, House of Ruth, which has helped a few people I know deal with spousal abuse.  They also talked about the Counting Crows project, GreyBird Foundation, and Franti discussed C.A.R.E., the global anti-poverty organization.  And they did it with sincerity, without being preachy.

I don’t have a copy of the show I saw, but I found this one from the same tour (August 28, 2009).  The set lists are pretty much the same, and you can tell from the recordings how wonderful the show was.  P.S.-Thank you Sneak Attack Media.  You guys got us great seats.  You’re the best.

The tour is over, but if he brings this around again, don’t miss it.

set 1

Caravan
Hello Bonjour
Mrs. Potter’s Lullaby
Colorblind
Omaha
Sweet Virginia
Sweet And Low
Meet You There
Boston
You’ve Gonna Walk (Don’t Look Back)
Everybody Ona Move
All I Want Is You
The Sound of Sunshine
I Got Love For You
Delta Lady

set 2

When I Dream Of Michelangelo
Children In Bloom
A Little Bit Of Riddim
Yell Fire!
Say Hey (I Love You)
Just Like a Woman
Fire
Dust
Why Should You Come When I Call
Hanging Around
Cecilia
Hey World (Remote Control)
Raise a Ruckus Tonight > Rain King
With A Little Help From My Friends > Rain King
Message from Adam
This Land Is Your Land > Band Intros

ZIP FILE

COUNTING CROWS
Adam Duritz – Vocals and Piano
Charles Gillingham- Piano, Organ, Mellotron, Harmonica, and Accordian
Dan Vickrey – Guitar and Banjo
David Immergluck – Guitar, Mandolin, Pedal Steel, and Bass
David Bryson – Guitar
Jim Bogios – Drums

SPEARHEAD
Micheal Franti – voice
Carl Young – bass
Dave Shul – guitar
Manas Itiene – drums
Raliegh Neal – keys
Cherine Anderson – special guest

AUGUSTANA
Dan Layus – vocals, guitar, piano
Jared Palomar – bass, vocals
Justin South – drums
Chris Sachtleben – lead guitar, mandolin, lap steel
John Vincent Fredericks – piano, hammond b3, vocals

PICTURE OF THE DAY

Posted on September 6th, 2009 by ekko

Hollywood FLOSS-“ Art-or-fi$cal Intelligence”

Posted on September 5th, 2009 by ekko

Who is Hollywood F.L.O.S.S.?

Okay, so half of dude’s name is a pseudonym, the other half an acronym (Hollywood FLOSS (Flawless Lawless Opposing Stagnant Situations)), and his latest project uses a dollar sign in place of an “S”. From the jump, Hollywood seems to begging you to think of him as something different from everyone else. When Prince did this, by calling himself “The Artist Formerly Known As Prince” and then simply using a glyph, it seemed desperate but at least you knew he had the chops to back it up. What about Mr. FLOSS? Does he have what it takes?

I’ll answer that question with a question.

Remember Lupe Fiasco? He was the hottest thing in the world a few years ago, and delivered one of the best debut rap albums of the past 10 years. Lupe was a bit like Jay-Z, in that he had a large vocabulary and clever rhymes, delivered in a flow that said, assertively, “I am the greatest of all time.” But Lupe was also a bit like Kanye West, whose style is a lot like Jay-Z’s only West doesn’t have as good a command of language so he tosses in pop culture references and nonsense words when he’s struggling to make his point. (You all remember his “I’ll do anything for a Klondike . . . anything for a blonde dyke” verse, don’t you?) Lupe walked a line between Kanye and Jayhova, tending to fall on the Jay-Z side of the divide. Well, Hollywood walks the same line, but he tends to lean more towards Kanye’s side. He’s clever, but he’s not afraid to fill lines, literally, with “something something something” when necessary. Or
when it’s funny. He also drops many pop culture references, often in off-beat and unexpected ways. In fact, Hollywood FLOSS may be the most playful MC I’ve heard in years.

He’s been nominated for Best Underground Artist and Best New Act by the Houston Press this year, and it’s easy to see why. Check out the mixtape, below, for one of the best single-artist mixtapes of the year. It’s good enough to be an album.

GET THE MIXTAPE

Or just taste a key song:

Better Times Hollywood FLOSS feat. KIDD The Great

PICTURE OF THE DAY

Posted on September 5th, 2009 by ekko

CAPTAIN AMERICA REBORN

Posted on September 5th, 2009 by ekko

Captain America is my favorite superhero.  There, I said it.  Batman may have a more interesting legend.  Wolverine may be part of a better-plotted gestalt.  Spider-Man may look cooler.  But still, I love Cap the most.

Why?

Maybe it’s because he made it okay for nerds to also be patriots?  Maybe it’s the irony of a blonde-haired, blue-eyed Christian being the scourge of the Nazi

John Byrne was the second best Cap man.

John Byrne was the second best Cap man.

party—everything they dreamed of, coming to destroy them.  Maybe it’s his raw idealism, something that, especially in the post-Frank Miller Dark Knight universe is sorely lacking.  Maybe it’s because the ultimate Frisbee player in me admires the way his shield bounces around every panel and always seems to come back to him.  I don’t know, and I don’t care.  I just know I dig the dude.  And one of the sorriest things in comic books is that he’s rarely been given a writer who understands his true nature.  I enjoyed Mark Millar’s portrayal of Ultimate Cap, but that wasn’t Cap.  I wanted the John Byrne Captain America—the one who believed in his country’s ideals more than its leaders.  And it wasn’t until Ed Brubaker that we really got one.

From the beginning, Brubaker wove Cap’s WW2 throughout his legend, fleshing out the Red Skull (no pun intended) so that he became less of a cipher for evil and more of a bitter-but-intelligent National hero—sort of a Mr. Glass to Cap’s Unbreakable Bruce Willis.  In the very first story arc that Brubaker took on, in Cap #1, he wove the cosmic cube and a blurry past, marked by a time-out from life in suspended animation, into Cap’s very personality, showing how troubling it was for Steve Rogers to have missed out on decades of life.  Brubaker reintroduced Bucky Barnes, gave Cap a more logical, intimate relationship with SHIELD, and showed how hard it is to be Cap’s coworker, let alone friend.

And then, in issue #25, he killed him.

I hated Ed for that.  I hated Joe Queseda, Marvel’s Editor-in-Chief, for The Civil War, and I hated Ed for killing off Steve Rogers.  And then I hated him more for not bringing Steve back.  But then he created a Bucky with depth and passion, a Falcon who was so much more than a sidekick, and a Nick Fury with depth.  And then I appreciated not having Steve around.  I even stopped missing him, even though I knew he was about as dead as Bruce Wayne (i.e., he’s not dead at all).

Now, two issues deep into Captain America Reborn, it all starts to make sense.  And it’s clear that Brubaker knew where he was going with this right from the beginning.  It all started with the Red Skull trying to take over Cap’s body, with the cosmic cube and alterations of time and memory, and it looks like that’s where it’s going to end.

What happened in Reborn?  Basically, we learned that Zola/Skull/Faustus’ assassination was never designed to kill Cap, it was designed to freeze him in the time stream so that Red Skull could occupy Cap’s body.  Just as the body was pulled through the time stream into Zola’s lab, Sharon saw it and destroyed the machine.  As a result, Skull had to jump into someone so he jumped into another Zola-type construct.  But what happened to Cap?  Well, he is now unmoored.  His consciousness is reliving his experiences without the linear boundaries of time.  The question now is, when will Cap stop moving and where is his physical body?

Most of the time, writers use flash-backs to fill pages or kill time.  They’re useless and, usually, not done well.  But Brubaker has been using them to paint a full picture of America’s greatest hero . . . And of Cap’s allies and enemies as well.  With the exception of Captain America #601, Brubaker has dropped clues and hints throughout his run on Captain America as to what was coming.  Yes, time travel is generally a stupid copout.  Yeah, I’d have preferred it if the gun Sharon shot Steve with was some of kind of virus that stopped his heart and brain activity, but somehow his super soldier status revived him, but that would be a tough sell, particularly since there’s been talk of an autopsy having been done and we’ve never seen any evidence that Cap is a Deadpool-like healer.  He’s tough, but he can’t survive having his organs removed or his heart stopped.  Or at least there’s never been any indication in the past that he could do
such things.

Plus, the use of time has been such an important part of Brubaker’s style on this book that it just makes sense here.  We see Cap re-live important events in his life and struggle to change them, but also we see him frightened about the side-effects if he does try to change them.  And as much as I hate the tie-ins to Dark Reign, here it makes sense.  Captain America needs to come back to take down Norman Osborn.  If Marvel tries to do anything less, they’ll be disappointing many fans who are already irritated at everything that has happened since Civil War.

Epting rocks.

A final word about the art: Butch Guice is the artist for Ultimates, and seems incapable of drawing a non-Ultimate Cap.  Too bad.  Brubaker has had some great artists who know how to draw pulp during his run, most notably Epting, but here the art is dark without form.  This is not Guice’s best work.  It’s not enough to turn me off, though, because even mediocre Guice is better than most.  (But not better than Epting.)

THE CHINESE STARS-”Heaven on Speed Dial”

Posted on September 4th, 2009 by ekko

What the fuck is this noise? If you wanna piss off your parents, listen to sonic indie punkers The Chinese Stars, whose latest, “Heaven on Speed Dial,” will be a digital-only release on 10/20/09. Although it’s somewhat reminiscent of the style of the champions of this genre, Death From Above 1979, it’s also got a cleaner style and more melody. Usually, this kind of music hides defects in lyrical, vocal, or instrumental ability. But I don’t get that sense from this band.

Everything about this, the the Chinese Stars’ third full-length record, from the press release that talks about “their own brand of rock’n'roll justice” to the so cute band picture above suggests that I should hate this band. Including their in-your-face noiserock, which seems to say “This is what we’re doing and if you don’t like it, fuck you.”

And yet I don’t. It’s really fucking cool.

Rabbit Face

BONUS COVER!

Needle and the Damage Done (dedicated to Michael Jackson)-Pearl Jam

PICTURE OF THE DAY

Posted on September 4th, 2009 by ekko

VIDEO OF THE DAY: Barney Hits Em Up

Posted on September 3rd, 2009 by ekko

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