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Van Morrison at DAR Constitution Hall ~ The Concert and the Interview

Washington, DC August 18, 2009 | 9:40 AM Categories: Live, Soul/R&B;


Van Morrison's gift was the ability to cop a religious experience from the little stuff--the shade of a redwood tree; Jackie Wilson on a staticky radio; a glass of water. Oh, and women--not for nothing was his first hit (with Irish rockers Them) an elision: Gloria, the chick, and gloria, the great hosanna.

That spiritual suggestibility came off rather muted on Thursday night, when Morrison brought his Astral Weeks revival tour to DAR Constitution Hall. Clad in his signature pinstripe suit, tinted sunglasses, and the fedora that's been glued to his head for the past decade, Van addressed the audience only once--at the end, to thank the band--and otherwise seemed more concerned with PA glitches than with, say, his immortal soul.

Beatles freaks love milestones, and when it comes to the big one--what moment portended the group's demise?--there's no shortage of possibilities. Was it the phone call Paul received chez the Maharishi informing him that the Beatles' business guru had died of a carbitral overdose? The half-baked Magical Mystery Tour project, Paul's money-hemorrhaging power-grab that Bob Spitz says "provided the first signs of their fallibility"? John's first meeting with Yoko Ono in 1966 (after which, John told Jan Wenner, "I decided to leave the group")? Any of the handful of times a Beatle traipsed out of the Let It Be sessions, swearing off the group forever, only to return?

...or, as numerous rock critics as well as the PR wing of Shout! Factory would have us believe, was it the Toronto Rock and Roll Revival Festival in September, 1969? Yesterday, Shout! rereleased D.A. Pennebaker's film of the Toronto concert (it's been off the shelves since BMG pulled a 2002 iteration), and in a wise marketing move the company has answered the above question with stirring finality: this concert, they assure us, "signalled the end of the Beatles."


Review: Tito Puente, Dance Mania

Tampa-Sarasota June 1, 2009 | 1:47 PM Categories: Latin, Reviews

El Cayuco - Tito Puente

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tito puente.jpgMainstream America's embracement of Latin music really took hold in the latter half of the 1950s with the "mambo craze." Despite its faddish overtones and eventual disintegration into novelty ("Mambo Italiano"), this particular craze inspired some terrific music, none better than Tito Puente's Dance Mania, which in 2000 was named one of the 25 "most significant albums" of the 20th century by the New York Times.

Little Feat

Charlotte June 1, 2009 | 1:41 PM Categories: Country, Folk, Reviews

Two Trains - Little Feat

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little feat.jpgThe latest incarnation of the band has been touring for more than 20 years, including founding member Bill Payne. Shaun Murphy, who played with the band since 1993, appearing on five albums, left the band this past February and will not be replaced.

Review: Bonnie 'Prince' Billy, Beware

Atlanta June 1, 2009 | 1:22 PM Categories: Folk, New Releases, Reviews

Today I Started Celebrating Again - Bonnie "Prince" Billy

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bonnieprincebilly.jpgDespite the foreboding title and bleak black and white cover art -- a curious nod to the first Danzig album -- Bonnie "Prince" Billy's Beware is an inviting entry into Will Oldham's haunting repertoire.

But a closer look reveals the layers of dark imagery hiding inside some of Oldham's most gorgeous, complex songs about the nature of love, happiness and existential rumination. Each song serves a cautionary tale, arriving as a Trojan horse that charms with a comfortable glow before opening up to expose its damaged character. The bucolic, acoustic strum and declaration -- "I want to be your only friend" -- that opens the album on "Beware Your Only Friend" suggests something more destructive than the naïve affections evoked by Oldham's words and sweet voice.


Skate rock (Think Sublime's genetic material crossed with that of Minor Threat) is a lot like milt. Some people get a mouthful of the creamy white stuff and think, "So this is fish sperm. Not bad!" Other people take a bite, move it around with their tongues, and then say to themselves, "Oh god, I just put fish balls in my mouth." They panic. They look for a trash can, a napkin, maybe some condiments to amend the taste. They crunch up crackers and squirt cocktail sauce directly into their gaping, fishy maws. When that doesn't work, they spit what's left into their hands and shove it in their pockets.

Record Review: Chester French's Love the Future

Washington, DC May 8, 2009 | 8:39 AM Categories: New Releases, Rock/Pop
chesterfrench-300x300.jpgIt was hard to cop a buzz from most of the northeast collegiate bands in the early oughts; the music was by and large unexceptional, and most of the musicians spent as much time in front of an easel--or wrapped around a bong--as they did practicing. But then there were the rumors coming out of Harvard: the college's most convincing band had a retro, jammy thing going on; they performed cheeky pop songs while wearing Bermuda tuxedos; their lead guitarist had a Trey-worthy tone but played with his back to the audience, Miles Davis-style, too aloof or too shy to give a proper rock 'n' roll performance.

A year later, I saw Chester French play a stuffed, sweaty Harvard venue known as the Fishbowl, and the guitarist had transformed. He gamboled about the stage, wagging his tongue at the audience and coining a curious update of the Chuck Berry duck-walk. Shredded, too. Their songs were generally OK, their stage presence above average, their ODB cover insolently upper-crust and a total slam-dunk.


Das Mötørbike: How an imaginary band became a merciless send-up of genre-flogging

Washington, DC May 8, 2009 | 8:31 AM Categories: Genres, Industry
bike.jpgAn occupational hazard in music criticism is the inevitable blurbology: over-hyphenated elevator pitches in favor of a new run of B-sides that "totally could have been A-sides" from a band seemingly defined by the number of genres it inhabits.

This was also the case in college. For example: someone mentions a group called, say, Dr. Pain and the Smooch of Death. "They're pretty cool," this person shrugs. (The shrug is always a warning sign.)

"What's it like?" you ask, bracing yourself.

"Oh, I dunno...it's, like, post-Punk-core with a dash of jizz-rock thrown in," this person will nod. You too will nod, and this person will endeavor to ply you with the grainy tracks in question; if there's weed in the room, you soldier through.


CD Review: Brandon Kirkley & The Firecrackers

Charlotte April 16, 2009 | 9:28 AM Categories: Alternative/Punk, New Releases, Reviews

Always - Brandon Kirkley & The Firecrackers

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The Deal: Charlotte quartet Brandon Kirkley & The Firecrackers independently releases six-song EP, What We Thought We Knew.

The Good: The band offers up pop-rock tunes on its debut. "One to None" has a radio-friendly groove to it and building chorus that you can easily see might be a live staple in their set. Singer Kirkley shows a bit of range in his vocals on "You Don't Know" with moments of falsetto and a bit of that rock 'n' roll power scream. The harmonica gave a nice touch on "Sunset City."

Review: PJ Harvey & John Parish, A Woman A Man Walked By

Tampa-Sarasota April 16, 2009 | 9:11 AM Categories: New Releases, Reviews, Rock/Pop

The Devil - P.J. Harvey

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pjharveyjohnparish.jpgBy the time she released her sixth solo album -- Stories From the City, Stories From the Sea -- Polly Jean Harvey had pretty much stretched her sound in every direction it could logically go.

1992's Dry was her fully formed indie-encapsulating debut; 1993's Rid of Me her Steve Albini-produced exploration of caterwauling noise; 4-Track Demos her raw, immediate bedroom snapshot; 1995's To Bring You My Love her confident, theatrical blues masterstroke; 1998's Is This Desire? her electronica-dabbling incorporation of folk-rock touches. What was left but to streamline her sound, spruce up the recording studio and record a steamy slab of hook-driven pop-rock?

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