Shop our Big Takeover store for back issues, t-shirts & CDs
Follow The Big Takeover
Playing in New York for the second time in a few months, Buffalo Tom seem to be playing out more than they usually do, possibly because of the recent release of their new album Three Easy Pieces. In any case, they almost never play outside of their hometown of Boston or New York, so it was a pleasure to hear mix old favorites with stellar selections from the new album. Openers Frightened Rabbit warmed up the crowd nicely with a a sound approximating the headliners’, but speedier.
Not really a typical solo show, the evening started off with a Q&A session. For about 30 minutes, a WXPN DJ asked Mould a variety of questions, all of which he answered insightfully and with much humor (I’ll never utter the phrase “papa bear” again without laughing or at least snickering). After that, he played a short, 45 minute solo set (part acoustic, part electric). To be honest, I thought the acoustic segment was fairly boring and he seemed to be stretching his voice quite a bit (he was fighting off a cold, to be fair). However, when he brought the electric out and played HUSKER DU classics like “I Apologize” and “Celebrated Summer” (both from 1985’s New Day Rising), whatever reservations I had about the set were quickly forgiven.
The night concluded with a screening of his new DVD A Circle of Friends, which chronicles the 2005-2006 tour for his excellent Body of Song, but since we didn’t stay for it, I can’t comment on it.
Yes, this was our second night in a row at World Cafe Live, but on this particular night the setup was considerably different from the norm. Instead of having seats, this beautiful room was turned into a seat-free, GA punk club for an evening and the crowd (many mohawks, leather, spikes and chains abounded) reflected that as well. In any case, on to the show. Simply put, it was incredible. I had no idea that they were gonna play all of their 1979 debut Inflammable Material from start to finish, but midway through the set, that’s just what they did. It was a real thrill to hear songs they never play live like “Law and Order” or “Rough Trade”. Nostalgia was definitely the theme of the evening, with only 2 selections (“Strummerville” from 2004’s Guitar and Drum and a new song titled “The Liars Club”) going past 1981 and for me and the rest of the crowd, that was just fine, especially since this tour commemorates their 30th anniversary as a band.
I have a word of advice for lead singer JAKE BURNS, though. I’ve loved your music since I was a teenager, so I mean no offense, but please lose the hair piece!
Kilgour’s new album The Far Now, showcases the mellower side of the leader of New Zealand indie-pop legends THE CLEAN, but live, he sure knows how to kick up some noise, much in the same boat as LUNA’s DEAN WAREHAM or YO LA TENGO’s IRA KAPLAN. This was an excellent show, despite my lack of familiarity with much of his solo material. What’s even more exciting is that for the first time in 4 years, The Clean is coming to these shores in a few weeks and I can’t wait!
Melbourne, Australia’s Love of Diagrams are simply astounding. While most so-called post-punk and no-wave revival acts tame and inevitably water down the great music they aim to revive, Love of Diagrams not only captures the style, but the grit, energy, enthusiasm, playfulness and intensity of artists like (early) SIOUXSIE AND THE BANSHEES, PYLON (whose first single “Cool” they cover), AU PAIRS, GANG OF FOUR and even BUZZCOCKS circa 1979. I don’t use these comparisons lightly. If you like this era of music, you absolutely must see them live!
Statehood, who include the former rhythm section of THE DISMEMBERMENT PLAN among their ranks, opened the show nicely with a set that reminded me of mid ‘90s DC emo acts like HOOVER or KEROSENE 454, but with more polish, not too unlike Canada’s THE CONSTANTINES as well.
Although I actually prefer the 1970 U.S. release of this astounding 1969 album (creatively titled Shocking Blue) by the greatest band to ever come out of the ‘60s Beat explosion that captivated Holland (as well as much of the rest of the world), this 2004 reissue (complete with some awesome bonus tracks) is the only version of this album in print (unfortunately only as an import, but a reasonably priced one at least). If you don’t know this band, you probably at least know “Venus”, which was an international #1 hit in 1969. Thus, they’ve been considered a one-hit wonder, but upon listening to this material, a different conclusion emerges. Namely, on this record they were the missing link between THE JEFFERSON AIRPLANE and bands like BLONDIE. Or, if you will, imagine a more streamlined, pop-oriented Airplane with a similar vocalist, but better songs and melodies.
So why do I have a minor beef with this version? Well the U.S. version starts off with the awesome “Long and Lonesome Road”, a minor Dutch radio hit, and never lets up. It also omits the so-so “I’ll Write Your Name Through the Fire” and replaces it with the scorching “Send Me a Postcard”, another Dutch hit and perhaps their best song. This reissue, however, starts off with their cover of the traditional “Boll Weevil” and doesn’t really get going until the 4th track, the awesome “Love Machine” (which was covered by PENELOPE HOUSTON on her Snapshot EP).
Oh yeah, you might also know “Love Buzz” from NIRVANA’s cover (it was their first single and appeared on their first album Bleach). Their version is fine, but nothing beats the original!
A disappointing follow-up to At Home, Scorpio’s Dance dives headlong into the folk and blues influences hinted at on At Home tracks like “Boll Weevil” and “Poor Boy”. Still, it’s not a bad record by any means and features some absolutely great material like “Sally Was a Good Old Girl” and “Little Cooling Planet” as well as more experimental fare like “I Like Voodoo Music” (between this song and “Seven is a Number in Magic”, there seems to be a slight supernatural theme to this record). The best reason to get this, however, is for the inclusion of bonus tracks like “Send Me a Postcard”, perhaps their greatest recording, oddly placed here as a bonus track though it was recorded several years earlier.
There’s nothing like racing up I-95 listening to side 4’s “Reoccuring Dreams” (an over 15-minute instrumental freakout) as the soundtrack, hurrying on the way to a show by its composer, Bob Mould. Though this record is 23 years old and by his own admission, Mould is no longer the angry young man he used to be, it remains timeless and a work he is justifiably proud of.
The EP of the year? I think so, given that includes their two best tracks (“Pace or the Patience” and “The Pyramid”), a live Pylon cover (“Cool”) and a the awesome single “No Way Out”. I wish their album Mosaic was as consistent, though it’s really good nonetheless.
Although I prefer their previous album, 2005’s Strange Geometry, their new one God Save the Clientele has grown on me a lot, and this gorgeous tune is its highlight. It’s one of my favorite songs of the year.
