Song of the Day 3/1/10
The best 666 songs of alltime countdown continues every day, all the way to #1. Monday’s song is #150:
McGinty & White – Rewrite
When he’s at the top of his game – and he usually is – there’s no better songwriter than Ward White. This is one of his more lyrically pyrotechnic efforts – breaking the fourth wall, loading on as many savage double entendres and puns as he can summon – from his excellent 2009 retro-60s psychedelic pop collaboration with keyboard genius Joe McGinty. The whole album is streaming at the link above.
Concert Review: Steve Wynn at Lakeside, NYC 2/19/10
When a band has as much fun onstage as Steve Wynn & the Miracle 3 had last night at Lakeside, it’s impossible not to get swept up in it. Over a career that spans parts of four decades (five if you count his early days in the late 70s),Wynn’s stock in trade has always been menace – that, and improvisation. These guys are the world’s tightest jam band. Wynn warned the crowd before they began that this wouldn’t be the usual set list – his birthday was coming up, and a milestone at that. But the show was anything but self-indulgent. The quartet spun a web of over a quarter century’s worth of riff-rock, psychedelia, Americana, a rare gem of a pop song and plenty of the growling, hallucinatory, overtone-laden post-Velvets stomp that established Wynn as one of the early titans of indie rock with his band the Dream Syndicate’s iconic 1981 debut album The Days of Wine and Roses. They closed the night with the title track, lead guitarist Jason Victor’s whirlwind of noise scattering pieces of alternate universes amidst the rhythm section’s 2/4 stampede.
Between that and the creepy foreshadowing of a another Dream Syndicate number, Some Kinda Itch, they careened through the bitter, wounded, gorgeously crescendoing Sustain, a hallucinatory, jangly version of the sinister Cindy It Was Always You (lyrics by George Pelecanos) and the epic sweep of No Tomorrow, morphing out of a hypnotic two-guitar charge into the striking contrast of its surprisingly upbeat retro-glamrock conclusion. Bass player Dave DeCastro (on a deliciously gritty-sounding shortscale Telecaster model) got to take a solo early on and made it a plaintive one; Linda Pitmon led a clinic in good fun, Keith Moon style, riffing off both the music and the lyrics and reaffirming her status as the best rock drummer around. Every other song, it seemed, Wynn would coerce Victor in from his forlorn stance by the window and the two would duel, Wynn’s jagged incisiveness versus his sparring partner’s wrathful, overtone-laden leave-me-alone roar.
Wynn’s ex-Green on Red buddy Dan Stuart materialized out of the crowd and led the band through an authentically gleeful version of Baby We All Gotta Go Down, from the legendary first Danny & Dusty record, way back in the 80s. The surprise of the night – there’s always one or two at every Wynn show – was Older, from Wynn’s cult classic Fluorescent cd, ominousness matched to catchy understatement. “Forgive me for living,” went the sarcastic refrain. He wrote that one about eighteen years ago. Predictably, Lakeside was packed, and conversations that would ordinarily be private suddenly were not. Some of the older faction groused about the crowded conditions: why doesn’t Wynn player bigger places? Answer: he does. Bowery Ballroom, for example, where he’s recently done gigs with both Danny & Dusty and his increasingly timely Baseball Project.
Concert Review: Tall Tall Trees at the Postcrypt Coffeehouse, NYC 1/29/10
Tall Tall Trees didn’t play shit tonight. To be more precise, they didn’t play Shit, their funniest song – and they have many. If there’s one New York band that screams out SUMMER FESTIVAL, it’s Tall Tall Trees. On the coldest night of the year so far, they brought a sly, slinky midsummer cookout vibe to the comfy stone basement spot that if rumor is to be believed is threatened with extinction (stay tuned). Beyond the fact that it would be a shame – not to mention a considerable loss to the Columbia student community – if the makeshift club closed, it was especially nice to be able to see these guys play without having to peer over the shoulders of the usual hordes who come out to see them in Manhattan locations further south.
These guys’ sound is indelibly their own, part oldtimey blues/gospel revivalists, part bluegrass and part jam band. Bassist Ben Campbell played snaky, swaying lines while Matthias Kunzli stomped and pushed the band on a multicultural mix of percussion instruments, guitarist Kyle Senna and frontman/banjo player Mike Savino artfully and amusingly trading off licks. The one big jam moment of the night came early, a bubbling cauldron between the two on a blissful version of Spaceman, one of the more psychedelic numbers on the band’s debut album (very favorably reviewed here back in August). A new number, the ragtime-inflected Walk of Shame, shamelessly chronicles the kind of stuff we do when we’ve had too much and we forget that we’re basically still at work.
“This is a traditional one,” Savino deadpanned, then led the band through another new song, Chocolate Jesus, a thoughtful digression on the kind of candy bar that even an Almond Joy can’t compare with. After a couple of easygoing, easy-to-like oldtime-flavored numbers, they wrapped up their too-brief set with a request, a fiery, incisive version of Sallie Mae. The album version is a smartly terse minor-key gospel-flavored song; live, the tale of the woman who left the poor guy with a house he couldn’t afford and a college loan he can’t pay resonated powerfully throughout the room full of undergrads, ending with a resounding boom as Kunzli smacked at his riq and practically knocked the little hand drum off its frame.
Tall Tall Trees play another even more incongruous small-room show at Banjo Jim’s at 5 (five) PM on Feb 5 for happy hour; it would make sense to say that you should get there early, which isn’t really much of an option unless you can sneak out of work somehow.
Concert Review from Somebody Else’s Archives: The False Prophets Live
http://www.youtube.com/falseprophetslive
A New York band from the 80s and early 90s signed to Jello Biafra’s Alternative Tentacles label, the False Prophets started out as punk bordering on hardcore and that’s pretty much how they were perceived, although they were far more ambitious, both lyrically and musically, than any of their compatriots from that era. They used horns and keyboards in addition to the standard bass/drums/guitar lineup, with all kinds of breaks, interludes and a very theatrical, somewhat performance art-oriented feel (check out their sprawling anarcho-art-rock monstrosity Marat-Sade to see how far outside they could go when they felt like it). Go to the first page of the 1988 CBGB footage and watch frontman Stephan Ielpi rail against gentrification. It was almost twenty years ago that he was forced out of his East Village apartment and exiled to what was then the wilds of Brooklyn. Plus ca change. That’s James White. of all people, playing sax on the intro to the absolutely hilarious Beautiful Day.
Check out the Rock Against Racism footage at Central Park and watch a teenage Debra Adele (now with Devi) playing nasty, off-the-edge-of-the-cliff blues-rock riffs. Pretty amazing to see how she’s evolved without losing any of the intensity of her punk rock years.
The Palladium footage includes one of their best songs, the deliriously melodic, almost powerpop number Limit of the Limitless. The False Prophets weren’t always the most articulate band, but they never sacrificed substance for style. As David Gilmour famously said, rock n roll means there are no rules and this band lived and breathed that philosophy. For anyone who was there, this will be a delicious blast from the past: just around the time that grunge was taking its first tentative, pretentious, self-involved steps out of the cesspool, here was a band that was all about their music and the society they lived in. May every kid who wants to start a band see this footage and be inspired to push the envelope as hard, fast and far as the False Prophets did.