Despite the inclusion of too much new material, especially at the end of the show and particulary during the encores, The Stooges still put on an amazing show. Nothing can compare to the first time I saw them at Roseland in 2003, but that was a revelation since it was above and beyond my wildest expectations. Every show I’ve seen them do since then, by contrast, has just been an affirmation of their live stature.
This was my first time seeing Low and they didn’t disappoint. Focusing primarily on the excellent new Drums and Guns, they rocked the First Unitarian Church, albeit slowly and hypnotically, into a beautiful lullaby or – given the themes of violence on the new record – a weird nightmare. Openers Loney Dear were fun as well, a Swedish band with three records under its belt that owes a thing or two to THE ARCADE FIRE, BELLE AND SEBASTIAN and NEUTRAL MILK HOTEL, but without sounding too much like any of those more well-known bands.
The fact that God Save the Clientele sounds a lot like their previous albums and in particular 2005’s excellent Strange Geometry, should surpise no one. At this point, fans know they’re getting slow, gorgeous, expansive, psychedelic-influenced indie-pop and not, say, ‘77-style punk rock. At times, the influence of ROBYN HITCHCOCK’s mellower work is heard, but along with other like-minded bands such as GALAXIE 500 (and all of their offshoots) and more recently BEACH HOUSE, they’ve almost created their own genre at this point. Nevertheless, every Clientele record builds a little on the one preceding it and this one is no exception. A few songs at the end veer in a more rock-oriented direction, perhaps a sign of things to come. Overall, on the first few listens, this isn’t quite the revelation Strange Geometry was, but it’s a great listen on a miserable rainy day!
For whatever reason, I forgot to put this in my list from several weeks ago, but I really enjoyed it, so I think it’s worth mentioning. Boyd did a reading at this great independent bookstore (one of the few left in Center City, which is dominated by chain stores, including a Borders a few blocks away) from his new book White Bicycles: Making Music in the 1960’s. I haven’t read the book yet, but I look forward to doing so, as the excerpts he read were often revelatory and hilarious at the same time. For instance, did you know that American Bandstand (which was based right here in Philadelphia) had another host before DICK CLARK? Neither did I. And that’s before he even touches upon his production work with NICK DRAKE, SANDY DENNY, FAIRPORT CONVENTION, and other legends. In the reading, Boyd came across as level-headed and fair, but as a passionate lover of music who doesn’t suffer fools happily. He’s also in his mid ‘60s, but you would never be able to tell as he looks at least 15 years younger.
The middle album in Lowe’s brilliant trilogy that started with 1994’s The Impossible Bird and continued afterwards with this album and 2001’s The Convincer, this album isn’t quite the tour de force that The Convincer is. However, it comes really close. This album finds Lowe further refining his patented late-career makeover as a troubadour to whom you would turn at 2 AM with no one else around. This is clearly an “old man” record that never rocks out like his old stuff, but if you can get past that, there’s some wonderful music to be found here. A unique and brilliant mix of country, soul, roots rock, and even gospel (essentially touching upon many of the indigenous forms of American music), the highlights on this set include “Faithless Lover,” “Failed Christian” and “Man That I’ve Become”.
Although I already had the original THD 7” from 1993, I recently bought the CD reissue on Jade Tree since I saw it cheap. A short-lived SWIZ side project featuring three members of that excellent band (including singer SHAWN BROWN playing bass) and CHRIS THOMSON (then of IGNITION and later of CIRCUS LUPUS and MONORCHID) on vocals. Recorded in 1989, this record stands at odds with anything else coming out of DC during this time period. While other bands were expanding their musical pallette (many of them brilliantly), Fury defiantly flew the hardcore flag, having more in common with early ‘80s thrash bands but sounding not especially like any of them. So in summation, this is harsher stuff than even Swiz. It’s way harsher in fact, but like Swiz it’s stood the test of time quite well. The title track was oddly placed on Swiz’s only full-length album Hell Yes, I Cheated, and several other songs were in a skate video that I never saw (in fact, I only found that out from reading the liner notes to this reissue), but it wasn’t until 1993 when THD released this on a 7” that all of these songs were heard for the first time. Unavailable for years, this reissue makes this great 7” and DC hardcore artifact available once again. The sound is great and the liner notes are informative, though brief.
A completely different record from anything this prolific band has done in its long career, Drums and Guns finds ALAN SPARKHAWK and MIMI PARKER confronting the themes of violence, fear, hatred, war, and man’s inhumanity towards his fellow man. Instead of naming names, Drums and Guns attempts to understand the underlying roots of these problems, and for that Low should be commended. Furthermore, I think this will give it a longer shelf-life than many other protest songs or concept albums of this sort. Musically speaking, it also breaks new ground for the band. Producer DAVE FRIDMANN is back in the fold, but instead of the hard, pulsating rock of The Great Destroyer, this is an electronica-influenced record that reminds me of more recent RADIOHEAD, TV ON THE RADIO’s last album, and even PETER GABRIEL on occasion. Yet despite all this, it’s still Low, but they’re approaching minimalism from a completely different direction.
For many years, I’ve preferred Eno’s other ‘70s vocal albums to this landmark album from 1975. However, I’ve recently reevaluated it and I have to change my opinion a bit. A revelatory and groundbreaking record at the time of its release, Another Green World injected ambient soundscapes and minimalist electronica into the ‘70s art-rock world. Sure, Eno had played around with ambient structures starting with his 1973 solo debut Here Come the Warm Jets (in particular its second side) and moreso in his work with ROBERT FRIPP during the same period, but this was something different altogether. Eno only sings 5 of the tracks here and the rest are instrumental. Furthermore, unlike Here Come the Warm Jets and Before and After Science (and for that matter, DAVID BOWIE’s Low), there isn’t a clear “rock” and “ambient” side here. Thus it’s a little more difficult to process and get into. Plus, the hooks on the vocal tracks aren’t as obvious either. Nevertheless, this is still a beautiful album and the 2004 remaster sounds amazing as well.
Yes, Dr. Dog were the headliners and they played a great set with the crowd clearly there to see them, but Bardo Pond was the band of the night for me. They just simply blew me away. They’re as heavy as BLACK SABBATH, as noisy as MY BLOODY VALENTINE or SPACEMEN 3, and about ten times more psychedelic than either. Listening to them, you feel slightly out of tune with reality, their effects pedals creating imaginary instrumentation. Oh, and just imagine all that with a female singer (whose voice essentially functions as another instrument) playing a screeching flute over this. Before Bardo Pond, Illinois (who are really from Bucks County, PA) played a good set. Every song sounded different. At first they reminded me of THE DECEMBERISTS, but gradually everything from the French band PHOENIX to BAD BRAINS circa I Against I (perhaps because the distorted vocals on one song sounded like the ones H.R. sang from jail on “Sacred Love”) came to mind. As for The Spinto Band (who played before Dr. Dog), they got an amazing crowd response with girls dancing on the stage and what not, but aside from their brilliant “Oh Mandy” (which should make any future K-Tel best of the ‘00s compilation), none of their songs are all too memorable. They’re clearly having a good time up there, but they’re all sugar and no spice.
Although The Wipers are the most well-known (and well represented, with a total of 6 out of the 29 tracks) band here, this is a great compilation of Portland punk rock circa the late ‘70s and early ‘80s. Other bands include SMEGMA, STIPHNOYDS, NEO BOYS and SADO NATION. The CD is currently out of print, but you can order a CD-R from Zeno Records for only $6.
