Uneven vibrations: Only Pato Banton soars at Reggaefest

No matter how many times Shaggy told the crowd to "throw your hands in the air" during his hour-long set at the Pacific Amphitheatre on Sunday night, July 16, 2006, there was never the sense the less-than-capacity audience was ready to fully succumb to the dancehall reggae star.
Shaggy (whose real name is Orville Richard Burrell) brought plenty of good-time party music, blending reggae and hip-hop in equal measures with his ladies-man persona, to his headlining slot at the Orange County Fair ReggaeFest, which also featured Pato Banton and Wailing Souls.
That's not to say Shaggy's 11-song set completely faltered. There were moments, particularly during a strong cover of the Folkes Brothers' 1960 single "Oh Carolina," that he and several others singers blended R&B vocals with a "Peter Gunn"-style surf guitar lick to great effect.
The best stretch came when he delivered "In the Summertime" and "Angel" (a reworking of the country-Western classic "Angel of the Morning") back-to-back. However, some of his most recent material, "Hey Sexy Lady" and "Strength of a Woman," lacked punch.
Because of the seemingly endless between-songs chatter and efforts to get the crowd to respond to his pleas to wave their hands or call out this way or that, his performance never gained any lasting momentum. He might well take a pointer or two from his energetic namesake in the "Scooby-Doo" cartoons to keep the action moving ahead.
Birmingham, England's Pato Banton has been a force on the reggae scene for almost 25 years and continues to inspire, as he proved over the course of his 10-song set.
Backed by the powerful six-member Mystic Roots Band, the talented singer/toaster sang songs geared toward having a good time, but with deeper messages centering on his religious faith, the need for world peace and the legalization of marijuana (even while discouraging the use of hard drugs during a lively "Don't Sniff Coke").
However, his hour-long appearance really captured the artistic heights of the genre during performances of "One World (Not Three)," "Good News" and a spirited cover of Bob Marley's "Jamming" that got just about everyone dancing to the beat.
The Wailing Souls opened with a 40-minute set of Jamaican roots reggae that rarely impressed. With the notable exception of the speedy "Shark Attack," the set simply lacked the magic to touch the audience.

The Steve Miller Band dazzles in Costa Mesa

It’s worth noting that despite the wide-ranging string of radio hits that the Steve Miller Band scored in the 1970s and early 1980s, Miller and company can be an inconsistent live act.
However, in a 140-minute concert at the Pacific Amphitheatre in Costa Mesa on July 14, 2006, Miller, 62, showcased his considerable skills as a singer-songwriter – and most striking – as a guitarist before a sold-out crowd. Fans hoping to hear Miller play his hits were rewarded with energetic takes on “Swingtown” (which kicked off the night), “Living in the U.S.A.,” “Jungle Love” and “Jet Airliner.”
And those who wanted to tap into Miller’s 40-year love of the blues got rousing covers of Freddie King’s “Tore Down” and Robert Johnson’s “Crossroads,” as well as a reworked take of his own “Abracadabra” highlighted by virtuoso fret work.
Most of the evening’s highlights came while the ensemble was showcasing material off “Fly Like An Eagle,” an album that Miller told the crowd has just been remastered and is newly-available in a deluxe edition featuring 5.1 Surround Sound and includes previously unreleased material. A countrified “Dance, Dance, Dance,” psychedelic “Wild Mountain Honey” and infectious sing- and clap-along “Take the Money and Run” were among that 1976 album’s songs revisted by Miller during the 23-song set.
An epic version of “Fly Like An Eagle” was used to showcase the distinct talents of his five-man band, notably harmonica wizard Norton Buffalo and keyboardist-rapper Joseph Wooten. Buffalo’s strong skills on the blues harp were artfully mixed with full vocal harmonies during the encore, when a beautiful “Winter Time” reinforced that many of the Steve Miller Band’s strongest songs have been ignored by commercial radio.
Indeed, Miller has always been overshadowed by his commercial hits, stretching from “The Joker” in 1973 to “Abracadabra” in 1982. However, during his performance in Costa Mesa, he seemed to make a strong case for celebrating his unique style of blending blues and rock as uniquely as any artist of his generation. In fact, “The Joker” was reworked with a funk-rock feel that peaked when Miller and guitarist Kenny Lee Lewis played a twin-lead guitar attack reminiscent of Thin Lizzy.
The troupe ended the night with a haunting and powerful version of “Serenade,” which provided the perfect mix of rock and atmosphere to sum up a memorable evening of classic rock hits and electric blues.

Nils Lofgren ready to draw "Sacred Weapon" in OC

What do Bruce Springsteen, Neil Young and Ringo Starr have in common?
Well, in addition to being notable members of the Rock‘n’ Roll Hall of Fame in Cleveland, all three of the legendary artists have counted singer-guitarist Nils Lofgren as a seminal member of their band.
Now, Orange County residents have a rare chance to see one of rock’s most talented singer-guitarists when he performs an intimate solo acoustic show at the Coach House on Tuesday night, July 18.
Lofgren is on tour in support of his latest CD, “Sacred Weapon.” The newly-released disc features a dozen of Lofgren’s original songs, and features guest appearances by Willie Nelson (on the wonderful “In Your Hands”), David Crosby and Graham Nash (their beautiful harmonies are on display across the rocking “Frankie Hang On”), as well as Margo Reed, Martin Sexton, Bob Berberich and Mary Ann Redmond.
Lofgren, 54, comes to the Coach House on the heels of a two standout guest stints in June. He began the month by being invited to come on stage and perform with Springsteen’s Seeger Sessions Band when the ensemble came to Phoenix on June 3, and then on June 11 Lofgren performed at the Key Club in Cabazon with singer Paul Rodgers (Queen, Free, Bad Company), playing guitar on “Rock and Roll Fantasy,” “Can’t Get Enough of Your Love,” and other songs.
Lofgren got his first commercial break in 1970 when the then 17-year-old unknown was invited to play piano on Young’s seminal “After the Gold Rush” album. Lofgren is also a long-time member of Springsteen’s famed E Street Band, having replaced Little Stevie Van Zandt in 1984. He has continued to play with Springsteen, and toured as part of drummer Ringo Starr’s All-Starr Band in 1989. In addition to the recentlyreleased gem “Sacred Weapon,” Lofgren’s catalog of excellent solo releases includes 1991’s “Silver Lining,” 1992’s “Crooked Line” and 2001’s “Breakaway Angel.”
Nils Lofgren, Marcus Eaton and Los Angeles’ excellent roots rockers the Blooms will perform at the Coach House, 33157 Camino Capistrano, SJC, at 8 p.m. on July 18. Admission is $20. Information: 949-496-8930.

Springsteen continues to amaze

Last night, June 5th. A beautiful and only slightly chilly Monday night at the legendary Greek Theatre in Los Angeles.

Performing with the 17-member Seeger Sessions Band before a sold-out crowd, Bruce Springsteen did what I've seen him do countless times since the early 1980s. He lit a sonic fire, and the crowd responded. Anyone (myself included) who has come to believe folk music is largely about a solo artist or few artists playing a couple of acoustic instruments such as guitars and mandolins was likely shocked at the power of the folk-estra witnessed last night. Stretching folk and Americana in ways hardly imagined, vocal harmonies, sing-alongs with the audience, tinges of gospel, Dixie jazz, bluegrass and Delta blues and more were mixed in ways authentic and natural.

Whether singing American standards, or his own classics, Springsteen was truly a man on a mission. There was an anti-war thread to his between-song speak, but the music bounced artfully back and forth between strong spiritual-styled material ("O Mary Don't You Weep," "We Shall Overcome") and the upbeat, celebrative songs that got most concertgoers to their feet ("My Oklahoma Home," the night-ending "When the Saints Go Marching In"). The players in his band were amazing, truly. The horn section was a thrill and there was an energy equal, while different from his beloved E Street Band.

This was a show that ranks with the other seminal tours where I caught the Boss, ranking from the River tour to Born in the U.S.A. and the powerful Rising dates, post 9/11.

Here (as posted today in the Orange County Register) was his set list:
John Henry
O Mary Don't You Weep
Johnny 99
Old Dan Tucker
Eyes on the Prize
Jesse James
Atlantic City
Erie Canal
My Oklahoma Home
If I Should Fall Behind
Mrs. McGrath
How Can a Poor Man Stand Such Times and Live?
Jacob's Ladder
We Shall Overcome
Open All Night
Pay Me My Money Down
Encore
Bring Them Home
Ramrod
You Can Look (But You Better Not Touch)
When the Saints Go Marching In

Okay and Out?

I've been a bit out of it because of medical-related stuff, not feeling 100 percent and all that stuff, so the blog has been dry. Sorry.

I have been listening to music, but most of it has been related to getting articles finished for the Register. For example, I interview Van Morrison's daughter, singer-songwriter Shana Morrison tomorrow, so I have been busy listening to her 1999 CD ("Caledonia") this week getting ready for that phone chat. I'm also reviewing a bunch of local CDs for my May 26th column, notably the latest from The Attractions and The Prisoners Dilemma. There is also a new compilation CD with songs about Superman coming out in connection with the new movie "Superman Returns" and I'm going to review that too.

I'll check in again soon with a more comprehensive update!

Coachella 2006 - Day Two

Sunday, April 30, 2006

The morning (or early afternoon) after Depeche Mode delivered an energetic performance of “Never Let Me Down Again,” I wondered if that might well be the theme of the annual Coachella Valley Music & Arts Festival. After all, after witnessing all or part of almost two dozen sets on day one of the fest, artists here seldom disappoint.

Of course, I had to take a detour before getting to that Dave Gahan-promised land of never letting me down again courtesy of the noise of the Octopus Project. Performing at noon on the Outdoor Theatre stage, I could only listen in horror thinking of so many more talented artists that could be showcased. They made Gram Rabbit’s 2005 performance sound good.

Things got better quickly when Giant Drag took the same stage next around 1:05 p.m. I caught the first six songs delivered by the duo (singer-guitarist Annie Hardy and drummer/keyboardist Micah Calabrase). Although Hardy is often compared to Liz Phair or PJ Harvey, I thought she was funny and a true original. The Laguna Beach native is armed with loads of charisma and freely chatted with members of the audience positioned at the front of the stage. She delivered the funniest line of the weekend (“I saw Kanye yesterday; so did a bunch of lame white people”) and Giant Drag’s version of “Wicked Game” was an absolute winner.

Then it was off to see Youth Group, where I arrived near the Coachella Stage about 10 minutes into their set just in time to hear an amazing version of “Forever Young” (the band’s version of the Alphaville ‘80s classic is featured on “Music from the O.C.: Mix 5”), before the Sydney, Australia-based band played some great originals, notably the Pet Shop Boys meets Wire Train-styled “Shadowland.”

By this time Sunday, the temperature was clearly around 100 so I sat down in a shady area to catch the full set from Los Amigos Invisibles (2:14-3:10 p.m.) on the Coachella Stage. The Venezuela-born Latin dance group played an intoxicating mix of disco, funk and acid jazz that was perfect for the afternoon heat.

Looking back, the next band I caught was likely the most thrilling performance of Sunday. The Magic Numbers, two sets of siblings (Sean and Angela Gannon, Romeo and Michelle Stodart), are clearly as original as they are talented. During the group’s Coachella set (3:31-4:20 p.m. on the Coachella Stage), I heard musical echoes of artists ranging from the 1960s’ West Coast rock scene (the Mamas & the Papas, clearly), but there is something timeless about Romeo’s natural approach. Listening to the folk-tinged “Don’t Give Up the Fight” or the pretty vocal harmonies-rendered “I See You, You See Me,” I could envision those songs having been big hits 40 years ago. And (radio and Vh1 willing) they could be huge today too. “Love’s a Game” could have been penned by Burt Bacharach, while several new songs penned for the group’s forthcoming sophomore effort (notably the uptempo “Take a Chance”) sound like they are expanding the sonic reach of the quartet without any loss of magic.

Next, it was off to grab some pizza (as hot as it was, I needed more than water after spending 5 or 6 hours on the polo field) and check out Matisyahu’s 45-minute set from the shady comfort of a hill overlooking the big stage. His reggae-rock hybrid is catchy and his performance outdistanced the more celebrated Kanye West appearance a day earlier. “King Without a Crown” is an accessible track, but ultimately the mix of Hasidic chant, crunchy guitars and beatboxing left me somewhat cold. However, I can see hardcore fans of reggae being drawn by his spiritual fervor in ways that didn’t connect with me.

With the impending storm known as “Madonna” set to arrive at the Sahara Tent around 8:10 p.m., it was time to head over to get a place inside. First, there was a full-length set of sounds and sights courtesy of celebrated DJ-remixer-producer Paul Oakenfold. Despite the incredible heat inside the tent, people danced and danced during his extended set.

Madonna was set to play just after 8, but went on much later (I think she went on 30 minutes late, almost unheard of at Coachella) and only played around 35 minutes. I was positioned toward the back of the tent and really could only see the diva via the video screens. She seemed to put on an energetic show, but the heat and lack of clear sight lines left me ultimately disappointed. Damn, not being 6’4” when I go to these types of shows…I should have gone and checked out Bloc Party and the Yeah Yeah Yeahs instead.

Sunday night was a whirlwind of walking around and trying to see as much as I could before Coachella 2006 disappeared into the past. I wasn’t particularly impressed by Tool and only watched a few songs. Massive Attack, whose performance preceded Tool on the Coachella Stage, was better – especially when performing the more ethereal trip-hop side. When the band rocked, it was not as effective.

The Scissor Sisters were the perfect act to close things out, performing into the midnight hour. All fun, with the cool night and grassy plain in front of the Outdoor Theatre providing a spacious place to dance and groove.

Looking back, I caught all or parts of sets from more than two dozen acts. I only wish I had been able to check out twice that many. I wish I could have caught Cat Power, Imogen Heap, the Like, Bloc Party, Ted Leo/Pharmacists, Wolf Parade and Nine Black Alps.
And I’m sure many more were worth a look and listen too…

Coachella 2006 - Day One

How to cover a concert event that spans two 12+ hour-long days?

Having attended my first weekend Coachella Valley Music & Arts Festival in 2005, I was definitely more prepared for the 2006 event. It is impossible for any person to catch all the action at the fest, which played out at the Empire Polo Fields in Indio, California on Saturday and Sunday, April 29 and 30. But, unlike many of the hipsters who hang out in the V.I.P. area and only take in an occasional glance from the huge shady outdoor bar positioned overlooking the main Coachella Stage, I bravely fought off the heat (drank more water than a fish) and attempted to catch as much music as possible over both days this year.
I took notes when I could, wanting to jot down notable moments as they sprang up. Here is my account of day one.

Saturday, April 29, 2006
12:15 p.m.
The Section Quartet performed at the Coachella Stage, performing their Bach-to-basics baroque meets rock material. Of the 15 minutes I caught, I enjoyed the vigorous version of the Clash’s “London Calling” best; I thought versions of material penned by Radiohead and Franz Ferdinand were not as strong. Great musicians, but ultimately still a novelty-styled act.

12:38 p.m.
Walked over to the Sahara Tent to catch part of the set from Melbourne, Australia’s Infusion. A three-member ensemble with an electronic vibe; very enticing and had many in the crowd nodding their heads to the band. An extended version of a song that was performed while the words “Drop Down There” flashed on a large screen was really good; the trio’s sound often reminded me of New Order. Not a bad thing.

1 p.m.
Walked nearby to the Mojave Tent to catch an excellent set from Rob Dickinson. One of the highlights of Saturday. Performing songs off his 2005 solo disc, “Fresh Wine for the Horses,” as well as his work with Catherine Wheel, his entire 33-minute set was required, must-see stuff. Highlights ranged from his opening remarks (“You rock, hopefully I do”) to the wonderful songs themselves: a beautiful falsetto-anchored “My Name Is Love,” the gorgeous “Oceans” and a raw version of the Catherine Wheel gem “Crank.” And he closed out his amazing set with that band’s classic “Black Metallic.” Even performing solo with just a guitar, this was a powerful and memorable set.

1:38 p.m.
I high-tailed it back to the Coachella Stage (the sweltering afternoon sun be damned) to catch the already-rocking New Amsterdams. Being a Gram Parsons lover, the four or so songs I caught impressed me with an authentic solid alt-country vibe. I enjoyed “Bad Liar,” “Proceed with Caution” and several other songs performed by the quintet.

2:05 p.m.
Being from Orange County, Matt Costa was on my list of artists I absolutely had to catch. His set, played out on the Outdoor Theatre stage, kicked off with a solo stint performing accompanied by his guitar and harmonica before his band joined him to play material such as “Yellow Taxi” off his 2006 commercial debut, “Songs We Sing.” Costa has an appealing, laid back approach. Although his songs often lack punch, he provided a good change of pace to some of the high octane artists that came before and after him. He would be killer in a coffee shop or small venue.

2:43 p.m.
Back to the Coachella Stage. I tuned into the Walkmen to catch a few of their songs. The highlight of the portion of their set I caught was “Good For You’s Good For Me,” a song from their forthcoming album “A Hundred Miles Off.” Strong indie rock and I hope to catch a full-length set from the band sometime soon.

3:25 p.m.
Back and forth I went, seeing as much as I could despite the heat. Sometime around 3:25 I made it to the Outdoor Theatre to check out the Zutons, a band out of Liverpool (so I’ve read). Infectious, indie-styled alt rock. Faves I caught included the hard rocking “It’s the Little Things We Do,” vocal harmonies-anchored “Oh Stacey (Look What You’ve Done)” and 70s sing-along “You Will You Won’t.”

3:51 p.m.
I arrived at the Coachella Stage just after 3:50 p.m. to catch The Duke Spirit already in sonic motion. A very energetic and spirited performance, based on the 20 or so minutes I caught. Frontwoman Liela Moss is often compared to PJ Harvey and Patti Smith and I can confirm that struck me as pretty accurate.

5:09 p.m.
After a quick refreshment break, I was off and running across the grasslands to the Mojave Tent to catch Clap Your Hands Say Yeah (I love that band name!). It was packed and I honestly couldn’t get close enough to get a good look or listen at the band. Damn! What I can report is that the crowd loved them.

5:35 p.m.
Another long walk back to the Coachella Stage, this time to catch Common. Cliches aplenty, despite his being championed by Kanye West. It might have been the setting, or my mood, but I just didn’t even feel like listening. After a couple of songs, I was off to…

5:56 p.m.
Wow! I had heard of My Morning Jacket, but I admit to being clueless about this great band out of Kentucky until I heard ‘em in Cochella. The quintet floored me and I watched the Louisville-spawned outfit’s entire eight song set. I kept thinking they reminded me a bit of Neil Young & Crazy Horse meets the Replacements meets the Velvet Underground or something. I went out on Monday (the day after Cochella ended) and purchased the group’s 2005 album “Z.” I’ll be picking up My Morning Jacket’s other discs soon.

6:38 p.m.
Kanye West. A very popular artist who attracted huge crowd to the Coachella Stage. I still don’t get why he was at the fest. Especially after seeing his performance. Because he is such a big act or something, he went on late messing up everyone else’s set times to come, including Sigur Ros…

7:15 p.m.
Sigur Ros was set to take the stage at 7 p.m., but because of Kanye and that fall-out, the Icelandic troupe didn’t get to play until 7:15 and wound up only getting to play 45 minutes (instead of the before-promised 50 minutes). I have grown to love Sigur Ros over the past six or so months and the group definitely delivered in the precious time when the sun dropped and temps began to thankfully cool. Performing with string and horn players, my favorite chills came when they lifted the sky with a great song from “Takk..” (I think it was “Glosoli” – the Icelandic language is definitely foreign to yours truly). Like on CD, the group’s music is vast and otherworldly, and the setting of Coachella enhanced the sound. “Hoppipolla” also blew me away. Sigur Ros ranks with the Cocteau Twins and late-1980s U2 as having produced some of the most beautiful rock soundscapes ever.

8:30 p.m.
It has been a long day. I got up at 6 a.m. to drive out from Orange County to Coachella. So after the heat and all that, I’m at the point where I’m going to hang out by the Coachella Stage to catch the headliners for a bit and rest my burning, blistered feet. I’m glad I did. I had never seen Franz Ferdinand and they rocked. I loved the band, their youthful and loose energy. Rousing versions of “Take Me Out,” “Walk Away” and “Do You Want to,” as well as pretty much everything the Scotland band played worked on this night.

9:45 p.m.
Depeche Mode’s headlining set was strong, with the only “exception” being that frontman Dave Gahan sounded a bit weary in the vocal department. He hit the notes, but his voice lacked the punch when I saw him last year when the group first went on tour in support of “Playing the Angel.” But no doubt, the group was energetic and tight in performances of new gems such as “Precious” (as good as anything they’ve done), as well as many of their hits. I didn’t take many notes during the band’s set; I was too busy dancing to the groove.

11:30 and after
I ended the night catching a few minutes of She Wants Revenge and Daft Punk. It was a great way to cap a memorable day. Can anyone truly resist “One More Time”? It’s not likely, based that even right around midnight, it was impossible to get close to the Sahara Tent and I had to watch the performance projected on a big screen outside the tent.

Neil Young and "Living With War"

For any music fan, the place to be today is at Neil Young's official Web site where his forthcoming album "Living With War" is being played in full throughout the day. Some thoughts as it streams over my computer.

Track #1, "After the Garden," immediately establishes this is a project that may have put together quickly, but sounds great in terms of the performance. Neil has a great solo too; says lots with a simple melody line.

Track #2, the title song, has a gentle and forceful power with the chorus and his guitar sharing the audiospace; very nice. The thrid song, "The Restless Consumer," is more in the spirit on his work with Pearl Jam in the 1990s (think "Throw Your Hatred Down"), but more raw and almost like spoken word.

No matter one's specific political views, I think the universal themes Neil Young addresses are something most good people agree with. No more lies, an end to hunger, peace; I think where the difference between Americans are the causes of society's and the world's ills and how best to address them.

Track #4, "Shock and Awe" really rocks. It delivers with the fiery beat and crunch that Neil put to use with "Rocking in the Free World." Neil's voice and passion are evident; a great song. I'll be hitting repeat on this track when I get the disc for sure. When he sings "Thousands of bodies in the ground," it brings to mind the ultimate price that soliders and civilians often pay in places plagued by war. A nice horn (trumpet?) solo segues into a soaring chorus; this is the standout track so far, especially as a strong rocker. Neil unleashes blistering guitar work too, positioned around the trumpet and the song builds and builds. A real winner!

With a title like "Families," you know Neil is going to look at the ties that bind. The melody and delivery are emotive, and the chorus is just right. I'm now thinking this is truly one of the best albums of 2006, and Neil's best release since "Harvest Moon" (1992) or "Silver and Gold" (2000).

"Flags of Freedom," another strong vibe, midtempo and great vocal performance from the 60-year-old artist (can you believe he's 60, wow)...the harmonica is a great touch as well.

"Let's Impeach the President" has the feel of a 1960s protest song. "Roger and Out" sounds like some of Neil's alt country material - think 1978's "Comes a Time."

The album ends with "America the Beautiful," the many voices of the chorus that Young put together for the project coming together in an emotional finale. This is an outstanding album and even after a single listen, I'm impressed. I'm going to give it another listen.

I'm off to Coachella tomorrow morning and I'll check back with you next week when I return from Indio to OC.

Jack's Mannequin; a full-length show!

On April 14, Jack's Mannequin played a full-length headlining show at the Anaheim House of Blues. I saw Andrew McMahon and his band play a 35-minute show last month at the same venue, but seeing how they could pull off a more ambitious set was worth a return visit to Downtown Disney last Friday night.

Andrew appears to be getting stronger and stronger following his much-chronicled battle against leukemia, and even got up on top of his grand piano let in the set to perform before the capacity crowd. And the songs sounded great. "Bruised" (my favorite), "The Mixed Tape" and "I'm Ready" all sounded fiery and connected with the enthusiastic crowd.

I can't wait to hear the sophomore effort from Jack's Mannequin; hopefully we get that in 2007...

OCMAs, Stavesacre

I've been ever-so-busy lately. I went and was a presenter at the Orange County Music Awards last Saturday night. I forgot who actually won in the category where I was a presenter (Best Classic Rock), but they didn't show. Not nice. I saw many music friends throughout the night. Michael Ubaldini, Hugh, 9 Ball, Scarlet Crush - great to see all you talented folks!

Check my column out in the Show section of the Register on Friday. I had a long chat with Mark Salomon yesterday. He was very sick, but still talked to me for more than 30 minutes and it will lend itself to a good preview...

Less than a month until Coachella. Can't wait!

trespassers william; quiet fury

trespassers william is that rare band, like the Cocteau Twins and Sigur Ros, able to stir the air with a mix of emotive vocals, effects-drenched guitar work and artistic attention to using a evocative mix of spacious sounds to enhance intricate melodies.

It’s a recipe best heard to appreciate, and that’s exactly what an increasing number of listeners are doing. Sigur Ros’ latest effort “Takk…” was truly one of the best albums of 2005 and has earned the Icelandic outfit a featured slot at the upcoming Coachella Music Festival next month, and now Orange County-spawned trespassers william has matched that style of brilliance on its third full-length effort, “having”(released Feb. 28, 2006). Among the best songs on trespassers williams’ “having” are the remarkable “safe, sound,” melodic “my hands up,” sparse “no one” and haunting “low point.”
The disc closes with “matching weight,” an ambitious song that builds and immerses the listener in layers of sound including for the last six or so minutes when notes both dissonant and beautiful dance a sonic ballet together outside the confines of any traditional structure.

“Mostly it was just a change of pace. We had done some touring up here and we had started to fall in love with the area,” said guitarist-keyboardist Matt Brown of the group’s decision to relocate to Seattle inJanuary 2005. I interviewed him by phone earlier this month.
“We were all scattered throughout Southern California– in L.A., Long Beach and Orange County and all over the place – it was taking an hour and a half to get to rehearsal. It was getting kind of complicated and we didn’t necessarily all want to move to L.A. and Seattle was a city we all kind of agreed we could be central at that had a really great music scene and was beautiful,” Brown explained. In addition to Brown, trespassers william alsoincludes singer-guitarist Anna-Lynne Williams and bassist-keyboardist Ross Simonini. Long-time drummerJamie Williams recently left the group; drummer Nathan Skolrud will be playing for the group when they tour this spring. The tour will include a number ofSouthern California dates, including a homecoming show at the Detroit Bar in Costa Mesa on Thursday, April 20.

Completing “having” was remarkably easy, despite the fact that it marked the first time in the 10-year-old troupe’s career they chose to include an outside producer in the process.
“We pretty much did everything by our selves except when we went to Buffalo (Tarbox Road Studios) to mix it. Dave Fridmann has such a distinct style that even though he just mixed it; he is credited with co-production because of the arrangements – some he totally flipped on their heads. Some he left intact,”Brown recalled. “So it’s really probably the most of both (working alone, and collaborating with someone outside of theband); we’ve kind of been self-produced before but we’ve also had to sneak into the studio when we had a few free hours. So this is the first time we’ve actually had a big chunk of time to really make a record.”

The results are stunning and fans of artful otherworldly rock are lavishing “having” with praise.

“The record (‘having’) actually happened really fast. ‘Different Stars’ we did at the studio where I used to work at in Orange County (Sonikwire Studios in Irvine)– those guys were nice enough if there was free time to drag everyone, that’s why it took so long,” Brown said. “And then ‘having’ took so long, (but) not because we didn’t have the songs. ‘Different Stars’ got picked up by Bella Union first and then we did touring and then it got picked up by Nettwerk and all of these things just happened one after another, we did a lot of the writing at our rehearsal space in Santa Ana and at the end of last year, October to December (of 2004) a lot of the arranging and then pretty much over the course of just one month did all of the recording (in January2005). And then we did a couple of weeks here and a touch up at home and then about nine days of mixing with Dave and then we sat on it for awhile waiting forit to get mastered just because of label release dates and all that…”

And because of modern technology, fans going to see the band will hear trespassers william with the kind of expansive sound featured on record, a clear departure from the band’s semi-acoustic early live shows.
“Actually, it’s more like the records than it has been,” said Brown.“We have a set-up where there is a keyboard and synth-bass, and then like a little desk with a mixer and some effects…it’s probably more electric than acoustic these days.”

Catching up

Okay, okay. I don't post enough. Sorry!

But I've been busy listening and writing. You can read my Laurence Juber preview story in today's edition of the Orange County Register's Dana Point News. The legendary guitarist, who was with Paul McCartney's Wings from 1978 until 1981, is an amazing fingerstyle guitarist. He plays in Dana Point on Friday, March 24 and in Mission Viego on Sunday, March 26.

Also, make sure to catch up with my weekly Orange Pop column that runs on Fridays in the Show section of the OC Register. I featured Handsome Devil last Friday (March 17th) and I review a trio of local debuts in my column that runs tomorrow (March 24).

I'll check in with you again later today or tomorrow. Promise!

Rock Hall fall; does anyone care?

I saw today on Billboard.com all the reporting from the 21st annual Rock and Roll Hall of Fame induction dinner, held on March 13 (I can't say I'm sorry I missed it; I was watching a great new episode of "24").

Looking over the list of so-called rock icons and those inducted, I have to honestly say "Who cares?" Black Sabbath didn't perform; Ozzy Osbourne is burned out and should just fade away. Apparently, whenever he was asked a question in the press room, he apparently couldn't really hear very well and didn't say anything very insightful. Kind of like that stupid MTV show he did a few years ago that I couldn't stomach.

When it came to the Sex Pistols, they didn't even show up.

Blondie was kind of bizarre, with apparently some of the various members not getting along anymore. I wouldn't have cared 25 years ago and I still don't care. Especially when a band is celebrated for such disposable fluff as "Call Me" and "Rapture." I would much rather have seen the Cars (the most successful American new wave band of the late 1970s) or the Smithereens (they released their debut "Girls About Town" in 1980) get in there.

I'm torn about Lynyrd Skynyrd. I guess they deserve to get in. I just don't hear their music and think it belongs in the company of U2, the Beatles, Rolling Stones and Queen. It's like bands such as ZZ Top, Billy Joel and Aerosmith - they are pretty good (and commercially successful) bands but shouldn't the Hall be reserved for the best of the best in terms of artistry? I guess in an age where we can't give any child a failing grade because it might hurt their self esteem, that's what we're left with...

Miles Davis was a great jazz musician. Very deserving of many accolades. But until rockers such as Hall & Oates, the Cure, Badfinger and Cheap Trick get in, why is the Rock Hall worrying about jazz players? I don't get it...

Catch-up time

I have not been posting lately. Sorry.

I have been listening to music, writing my weekly columns for the OC Register and all that stuff, but nothing significant has compelled me to put down anything here as of late. So I just wanted to check in, say "hello" to you and share a non-music related item here.

I read today that NASA is honoring Walter Cronkite with an actual moon rock. I have a story about Walter Cronkite to share with you. In spring of 2004, I went to Orlando, Florida to attend a communications conference. While on my way back to Orange County, California, at the Orlando airport and waiting for the security check, right next to me in a wheelchair being wheeled by several airport/security persons was legendary CBS Evening News anchor Walter Cronkite. Everyone in line pretty much recognizes him and is pointing at him, etc. Although he has difficulty moving (he was in his late 80s two years ago), security makes him take off his shoes and checks him out as if he might be a terrorist. Is this junk silly or not? How many of the terrorist attacks in America, Israel, Iraq and everywhere Islamic facists are targeting innocents have been carried out by retired American newscasters?

I understand NASA is giving Cronkite, who is now around 90, a piece of the moon in rcognition of his decades of covering the space program. Our society should be going after the real terrorists, checking people coming from places such as Saudi Arabia and Yemen and making sure we know where all those people are.

Junos join race to bottom

We just survived the Grammys. Now, what to make of the upcoming Juno Awards, Canada's answer to the America's Grammy Awards.

I'm not going to reflect on every category. I don't have time, and I truthfully don't know all the artists well enough. But in the International Album Of The Year category, they have two albums that are a joke. Gwen Stefani's "Love.Angel.Music.Baby" and Kelly Clarkson's "Breakaway" are up for consideration. Artistry is obviously not the issue. I agree that female artists should be in the category; what about Aimee Mann's "The Forgotten Arm" or the Magic Numbers' self-titled debut - both released last year.

And I'm not sure, but why wasn't Neil Young (a native of Canada) nominated for "Prairie Wind" in that category. A wonderful album, at least it earned Young nominations in Best Songwriter and Adult Alternative Album categories where the winners will be announced on April 2.

However, credit our friends up north for nominated the LIVE 8 show from Toronto that featured a range of artists including Young, Bruce Cockburn and Tom Cochrane in the Music DVD of the Year field. Nice going.

Grammys: the good, the bad & the ugly

In the big scheme of things, I guess it doesn’t really matter.
The 48th annual Grammy Awards were staged at Staples Center in Los Angeles last night, and there was that anticipated mix of well-deserved prizes and ones that just left me shaking my head in disgust.
I tend to be negative when discussing the Grammys, so let me start out being positive. U2 was awarded “Album of the Year” for its great release “How To Dismantle An Atomic Bomb.”
In fact, much is being made today about U2 upstaging Mariah Carey because the Irish quartet took home a total of five Grammys – winning in all of its nominated categories. Hello! I’m sure most of the readers of this column agree U2 crafts epic, lasting songs that will be listened to decades from now. Mariah Carey? Are you kidding?
Her over-the-top performance left me reaching for the mute button on my remote!
But her performance outdistanced the peculiar return by Sly Stone. I know Sly is a funk icon and all that, but it wasn’t just the clownish white Mohawk extending high above his head; he looked like he couldn’t hit the right note on his keyboard if his life depended on it. It’s not surprising he hasn’t made a public performance that anyone knows about in forever. Pathetic.
It was great to see a few of the performances: U2 tearing through “Vertigo” (how sad that the duet with Mary J. Blige ruined “One”), McCartney and his band conquering “Fine Line” and trying to wake up the comatose crowd with boisterous “Helter Skelter.” I thought Bruce Springsteen appeared to be trying too hard (maybe because he was focusing on how he could get his anti-war quip in, “Bring them home” under the tape-delay censors), but “Devils and Dust” is an excellent song not heard enough by the industry-centric crowd that filled the L.A. arena on Wednesday night. And don’t forget about Coldplay, who delivered the band’s great “Talk.”
And I have to admit to enjoying the way Stevie Wonder and co-presenter Alicia Keys got the crowd singing along with an a cappella version of “Higher Ground,” much better than Madonna’s been-there-done-that dance-minded performance with poorly-animated apes Gorillaz. Bore-ing.
Perhaps the most interesting performance was the fusion of rockers Linkin Park, rapper Jay-Z and McCartney joining forces to perform “Yesterday.” It was every bit the success that the U2-Blige pairing was not.
Am I the only one who doesn’t get John Legend? Technically the guy can hit the right notes when he is singing and on his keyboard; but his voice lacks the distinctive beauty of a Wonder or even Maroon 5’s lead singer. It’s amazing he bested British rock trio Keane for Best New Artist. Hype often rules the day.
And did you know the much-deserving Aimee Mann won a Grammy? Well, sort of. Actually, she won a Grammy for the Best Recording Package. And her amazing music? Not even nominated.
That is a good place to note that the disposable Kelly Clarkson’s “Breakaway” (coming soon to a used bin near you) won over McCartney’s “Chaos and Creation in the Backyard” in the Best Pop Vocal Album race. Sad.
Perhaps the most ironic note was how comedian Ellen DeGeneres came out to introduce Paul McCartney, noting “Our next performer needs no introduction” before she left the stage.
Ironically, looking at the industry crowd and deciphering how McCartney, as well as Neil Young, failed to pick up a single Grammy, it’s easy to see a time when great artists will need introductions. Kelly Clarkson winning multiple Grammys and the aforementioned seminal artists none?
Some things never change.

Grammys Eve

Tomorrow the Grammy Awards arrive. It's interesting to see where the focus is today on the eve of the event. I just read an article by Associated Press Music Writer Nekesa Mumbi Moody, with the focus of that piece on Mariah Carey and how timely her comeback is as the Wednesday night, Feb. 8th awards night approaches.

Does anyone really think this so-called diva's music will be remembered beyond the hype of today? I could be wrong, of course, but listening to her over-the-top bombast and emotionally-chilled vocals, I can't help but think "who cares?" Is it just me? And she is in fine company this year, with Gwen Stefani nominated for something or another related to her forgettable solo debut "Love. Angel. Music. Baby."

U2's "How to Dismantle an Atomic Bomb" and Paul McCartney's "Chaos and Creation in the Backyard" are also nominated and deserve to be; now those are wonderful albums full of emotional depth and musical craft that showcase why pop music can still weave magic decades after it was born. Yet, McCartney has never won a Grammy for best album. He has won Grammys, dating back to his epic work with the Beatles. But it's amazing to think that Stefani and Carey might rob an artist of McCartney's standing from earning that prize.

But don't be surprised. It's the Grammys and that often means music comes last...

Coachella; then and next

Of course, lots to report on "Coachella Valley Music & Arts Festival."

Before I get into today's announcements, I did get to attend the L.A. premiere of the film on January 19, 2006. I meant to post my thoughts about the full-length film the next day, but I had to cover NAMM (the huge music conference) in Anaheim that day and all day the following day, so I was beat.

But the film is excellent. It's impossible to include performances from every act that has played since the fest's launch last century. So the director of the film, Drew Thomas (who was at the screening and made introductions), kind of puts you there. You get a sense of what makes Coachella so unique and so real. And all about the music. My favorite performances in the film came from Morrissey and Radiohead, but the overall film itself captures the magic in a way most recent concert pics have failed. When Zero 7 played, it reminded me of Hendrix at the Woodstock, a kind of saddness that rarely comes across on the silver screen in rock movies...

Now, today they announced the initial list of acts performing at the upcoming 7th annual Coachella, to be held in Indio on Saturday and Sunday, April 29-30. We already knew about Depeche Mode, but now comes word that Depeche Mode will be the final act on Saturday, while Tool will close the whole thing on Sunday. Other acts include two I haven't seen before and am really looking forward to seeing, Scotland outfit Franz Ferdinand and Iceland's Sigur Ros.

Sunday's highlights will likely come in sets delivered by the Yeah Yeah Yeahs, Scissor Sisters, Bloc Party and Sleater-Kinney. But then part of the magic of Coachella is not knowing who will blow you away.

Duran Duran at the new Key Club at Morongo

I plead guilty. It has been far too long since I've posted any truths here.

I have plenty of excuses. I've been busy attending musical events and writing about them for the Register and it's been crazy these past few weeks.

On Saturday, Jan. 14, I did go to the official launch of the new Key Club located inside the Morongo Casino Resort at Cabazon. I had never seen Duran Duran before, and especially since this was the original lineup playing in an intimate venue, it sounded like fun.

And if catching the band tear through 75 minutes or so of most of their biggest hits (they did omit "Rio," surprisingly) wasn't enough to get you there, checking out the newest club in the Southland sounded promising.

Duran Duran Set List at Key Club at Morongo

Hungry like the Wolf
Planet Earth
Is There Something I Should Know
Sound of Thunder
The Reflex
Ordinary World
Save a Prayer
Sunrise
Notorious
Nice
Girls on Film
(end of regular set; encore is below)
A View to a Kill
Wild Boys

I had expected there to be some excitement in the crowd, especially since near the stage it was strictly standing. To put it mildly, I was crushed. Many, many excited women who were revisiting their youths, big time. But to Duran Duran's credit, the band was great and many of the songs were delivered wonderfully. "Sunrise," "Nice" and "A View to a Kill" were among my favorites. The group's musical skills shone throughout the energetic set.

And the club is very posh. Check it out. www.keyclubmorongo.com.

A question of time

I spent most of this past weekend going through filing CDs, figuring out where to possibly put the growing number of releases I have. Which ones to keep handy. Which ones to put in storage, etc.

From the Beatles and Bruce Springsteen to Radiohead and Neil Young, I can't believe how much music has been produced in my lifetime. And how much of it is pretty good.

With all the bad news, and it comes relentlessly, it's good to know I can retreat and listen to a song. And there are plenty of songs to choose from. And even more in the wake of a pretty good 2005!

Best of 2005: 20 gems to recommend

It should come as no surprise that selecting and ranking the best albums of the year is among the most difficult tasks a pop critic undertakes. This list ranks albums, with my top choice being first (Neil Young being #1) and so on. I often get asked why a specific artist didn't make my list; often it's because I never received or had a chance to hear the album. For example, I never heard the Rolling Stones' "A Bigger Bang" or Kanye West's "Late Registration" so they were not considered. I only list albums I have heard.

Neil Young “Prairie Wind” (Reprise) – Rock’s most consistently-winning songwriter returns to the alt country territory of “Harvest” but with a lifetime of reflection to craft his first masterpiece of the ‘00s.

Sigur Ros “Takk” (Geffen) – As otherworldly as it is beautiful; this Icelandic outfit thankfully charts its own course and sounds glorious.

New Order “Waiting for the Sirens’ Call” (Warner Brothers) – Maybe because I heard this in the wake of the band’s Coachella appearance, but this set finds the band breaking new ground with its accessible and influential style.

Coldplay “X&Y” (Capitol) – The band’s strongest collection yet, highlighted by “Til Kingdom Come,” “Speed of Sound” and “What If.”

Embrace “Out of Nothing” (LAVA) – I’ve played this CD to death since its release earlier this year. Britpop with melodic and emotional depth.

Paul McCartney “Chaos and Creation in the Backyard” (Capitol) – Sir Paul crafted one of the most subtle and powerful albums of the year. Clearly his best work since the 1980s.

Aimee Mann “The Forgotten Arm” (Superego) – In an age of iPods and over-produced singles, 2005 found the onetime Til Tuesday singer releasing an intelligent and well-crafted concept album.

Doves “Some Cities” (Capitol) – Both symphonic and sparse, this album will continue to challenge and thrill listeners for many years to come.

The Magic Numbers “The Magic Numbers” (Capitol) – This genre-defying outfit comprised of two sets of siblings released the best debut of 2005. Magic indeed.

Gary Allan “Tough All Over” (MCA Nashville) – In the wake of the suicide death of his wife, songs such as “Best I Ever Had,” “I Just Got Back from Hell” and “Puttin’ Memories Away” convey a real world weight not heard in country music since Johnny Cash’s final recordings.

Honorable Mentions:

Franz Ferdinand “You Could Have It So Much Better” (Sony) – No sophomore slump here. The Scottish quartet unleashes an album worth of memorable material right for the times.

Ringo Starr “Choose Love” (Koch Records) – It’s easy to overlook Ringo’s contributions with the Beatles, or his dozen or so solo albums. Listen again; “Choose Love” boasts plenty of fun fireworks, specifically “Give Me Back the Beat” and Fab Four reminiscent “I Do.”

Glen Phillips “Winter Pays for Summer” (Lost Highway) – The third solo album from one-time Toad the Wet Sprocket frontman Glen Phillips, “Winter Pays for Summer” is also his best. Standouts include “Duck and Cover,” “Thankful” and “Don’t Need Anything.”

Moby “Hotel” (V2) – Until a few weeks ago, I was still thinking of placing this album in my Top 10, primarily because of the strength of two amazing tracks on the release, “Raining Again” and “Slipping Away.” A very strong album.

Hootie & the Blowfish “Looking for Lucky” (Vanguard) – Anyone who has actually listened to this album won’t be surprised it appears here. Anchored by political-charged material such as “State Your Peace” and “The Killing Stone,” clearly Darius Rucker and company’s best recording since 1994’s “Cracked Rear View.”

Bruce Cockburn “Speechless” (Rounder) – Although there are only three new works on this instrumentals-only collection, the strength of hearing Bruce Cockburn’s virtuoso guitar work shine is worth running out and grabbing this album. Cockburn, a hero in his native Canada, is a master at blues, jazz and country styles and works that defy categorization. Just listen to “The End of All Rivers.”

The John Butler Trio “Sunrise Over Sea” (Lava) – Jam rock, Americana, blues and more are minded by Australia’s John Butler Trio across this wonderful album. Great tunes to listen to on a long drive.

Various Artists/Soundtrack “The Chronicles of Narnia: The Lion, The Witch and the Wardrobe” (Disney) – Although I’m indifferent to Alanis Morissette’s “Wunderkind” song, the three other songs and instrumental music composed by Harry Gregson-Williams on the soundtrack are so strong it more than makes up for that one misstep. Particularly strong are Tim Finn’s “Winter Light” and Lisbeth Scott’s “Where.”

Various Artists “Lowe Profile: A Tribute to Nick Lowe” (Brewery Records) – Truly a labor of love, “Lowe Profile: A Tribute to Nick Lowe” finds singer-songwriter Walter Clevenger not only having produced the two-disc collection and releasing it on his Costa Mesa label, but also contributing an energetic version of “There’s a Cloud in my Heart.”
More than two dozen of Lowe’s songs are reworked by leading power pop, alt country and roots rock artists selected from around the world, including a number of Clevenger’s Orange County-based contemporaries. The Glimmer Stars (“Rollers Show”), Sparkle*Jets U.K. (“When I Write the Book”) and Chris Gaffney (“Crying in my Sleep”) rank among the many high achieving artists on the superb tribute. Other highlights on the collection include Eric Ambel’s version of “12 Step Program (To Quit You Babe)” and Michael Carpenter’s “(What’s So Funny ‘Bout) Peace, Love and Understanding?”

Various Artists/Soundtrack “Walk the Line” (Wind-Up) – Nothing but praise for the vocal performances by Joaquin Phoenix (as Johnny Cash) and Reese Witherspoon (playing June Carter). Sure their acting was wonderful in the film, but the musical performances are just as wonderful. And any chance to hear Cash’s wonderful songs in the spirit of the originals gets thumbs up from me, even if these reworkings inevitably fall short of the original masterworks.

No false Alarm; another fight worth noting

I read today that Alarm frontman Mike Peters has begun undergoing chemo treatments for Chronic Lymphocytic Leukemia. My heartfelt hopes for Mike to beat this thing.

I first saw the Alarm when the band opened for U2 in the early 1980s and was very impressed. I saw them again when I worked at a headlining show they had at Cal State Fullerton, and I reviewed the revamped Alarm a few years ago at the Galaxy Theatre in Santa Ana.

Peters never disappoints in concert and I wish him the best in his treatments and recovery!

Grammys silliness, remembering John Lennon

Okay, here we go again.

The Grammy Awards are all about popularity. Period. Today they announced the 48th Annual Grammy Awards Nominee list. The fact that anything credible in the pop and rock fields got on the list is really amazing.

How else to explain the following...

Aimee Mann's "The Forgotten Arm" was nominated in the Best Recording Package. But what about the amazing songs on the concept album? Ignored completely. I can think of a number of great songs off that disc that deserve to be in the Record Of The Year category. But what we get are the embarrassing likes of Mariah Carey's "We Belong Together" and Gwen Stefani's "Hollaback Girl."

In the Album of the Year category, if Mariah Carey wins for "The Emancipation of Mimi," they better allow some time. It took something like 20 people to produce, engineer and mix the thing. Gwen Stefani also needed a bit of help on "Love. Angel. Music. Baby"; there are at least 10 other names credited with creating that forgettable effort. It only took a handful (specifically producer Nigel Godrich) to complete Paul McCartney's amazing "Chaos and Creation in the Backyard" in the same field.

In Category 4, Best New Artist, it's funny. Keane is there; didn't their debut come out in early 2004 here (and even sooner in England)? Grammy voters are often confused and can't read a calendar.

And why, oh why, didn't New Order's excellent "Waiting for the Sirens' Call" or Moby's strong "Hotel" (songs "Raining Again" and "Slipping Away" are epic) get nominated in the Best Electronic/Dance Album category? Those were two of the best albums of 2005, especially New Order's latest. That keeps finding its way back into my CD player.

Let me remind the Grammy voters of some other great albums they forgot to mention. Embrace's "Out of Nothing," Bruce Cockburn's "Speechless" (which had a trio of new instrumentals that could fit in somewhere I'm sure), singer-songwriter Glen Phillips' "Winter Pays for Summer" and Limbeck's "Let Me Come Home" (which could fit in any of a number of country, pop or rock fields).

Well, at least they didn't totally forget Neil Young's "Prairie Wind," U2's "How to Dismantle An Atomic Bomb" and Coldplay's "X&Y."

And on a more serious note, much has been written this week about John Lennon. It was 25 years ago today that he was murdered. I always try to put aside all of the endless controversy about his life, and legacy as seemingly directed by Yoko Ono and go back and enjoy his music. His songs remain a mirror into his soul, and often into our own. Whether it was his early gems such as "In My Life," "Help" and "Nowhere Man," or his later solo work, it holds up and still speaks to me. And his voice, it just conveyed an honesty increasingly rare in rock - especially when you look at the slim list of notable young rockers on the Grammy list today. Rob Thomas...are you kidding?

True, it doesn't seem like it has been 25 years since John Lennon was taken from us. It's a loss that hurts as much now as it did then. In his wonderful "God," Lennon confessed "I just believe in me." Truth be told, music lovers still believe too.

Rock Hall names inductees; excuse me while I yawn

With the exception of the Sex Pistols, I just can't work up any kind of excitement about the list of names going into the Rock and Roll Hall of Fame in March 2006.

Miles Davis, jazz great. No connection to rock.

Black Sabbath, Blondie, Lynyrd Skynyrd...are you kidding me? Is this the best they can do. I have said it before, I'll say it today and again. Music put in the hall should have some lasting and artistic value. It should represent rock artists who craft original music that sounded great when it was recorded, and will have a lasting influence on listeners and other musicians. I really don't believe the work of Black Sabbath, Blondie and Lynyrd Skynyrd meets that test in the long run.

Artists are eligible to be inducted into the Rock Hall after at least 25 years have passed since their first record was released. Still no Hall & Oates, still no Gram Parsons, still no Cure. All those artists have been commercial successes, but also paved the way for others who came after.

But we get Blondie. You think she belongs alongside the Beatles and Buddy Holly? I didn't think so...with that kind of logic, I think we are doomed to see plenty of lightweight types join the ranks in the years to come.

Pay to Play? Think Green Day

There have been an untold number of critics who have fallen over each other in praise of Green Day's "American Idiot" seemingly for all of 2005 (the album was released in September 2004).

You would think the Green Day CD was so great that every radio music director in the land thought this was the best album since Nirvana's "Nevermind." And yet many of the year's best albums (including especially strong releases by Embrace, Neil Young, Aimee Mann, Bruce Springsteen and New Order) have sadly been largely ignored by commercial radio.

But after revelations today that Warner Music Group has had to pay up $5 million to settle a payola probe, we now know that Green Day, My Chemical Romance and even R.E.M. were among the bands who won airplay after the record company reportedly ponied up paid vacations, laptop computers, iPods and even Super Bowl tickets to get their music played over the airwaves. Sick, huh?

This isn't the first time New York State Attorney General Eliot Spitzer has shined a legal spotlight on the problem. Earlier this year, Sony BMG had to pay out $10 million to the state of New York for using so-called payola to get Jennifer Lopez some air time.

Spitzer, according to media reports, is still setting out after Universal Music Group and EMI Group, as well as Clear Channel Communications and others. If only radio would focus on playing good music, not worrying about collecting "goods" for themselves.

I would love to think this legal victory in the fight against pay-to-play tactics would make a difference. Somehow, I don't think it will.

Depeche Mode still wields sonic might

On Saturday, Nov. 19, it was time to make the trek to San Diego's ipayOne Center to see Depeche Mode. I didn't know what to expect because I had been playing the band's latest disc, "Playing the Angel," for a few days before the show and honestly was mixed on the CD.

But Depeche Mode didn't disappoint, and neither did the material from their new disc. Leading off with "A Pain That I'm Used to" and leading into "blues-tinged "John the Revelator," the new material was wonderful and blended well with the electronica act's classic material drawn from its seminal '80s and '90s releases.

Lead singer Dave Gahan remains most of rock's most energetic frontmen, and would pace and incite the crowd while twirling and getting many in the crowd to scream. And armed with a setlist that included propulsive songs such as "Behind the Wheel," "Personal Jesus" (featuring Martin Gore delivering some distinctive guitar work), "Policy of Truth" and "Enjoy the Silence," the concert grew stronger over its two-hour length. And with the well-crafted encore - including "Everything Counts" and "Nver Let Me Down Again" - the audience seemed as if it could dance all night.

I would love to tell you what Andrew Fletcher was doing behind his sci-fi styled console, but I really couldn't tell you. Despite my great view of him (I was seated to the side and he was often the only one I could see on stage clearly), he adds little to the proceedings. That made it even more clear how talented Gahan and Gore are as Depeche Mode continues to amaze fans and challenge itself musically.

dada: yes, rock still matters

dada and the Coach House in San Juan Capistrano share a bond that is legendary among fans of the Los Angelesbased original rock outfit. Little did bassist-singer Joie Calio and guitarist-singer Michael Gurley know that when they took the stage for the first time together to open for Mary’s Danish at the legendary venue in 1991, that it was the beginning of something very special.

dada – completed several months later with the addition of drummer Phil Leavitt and which has never boasted any other lineup – has gone on to record some of the most original and powerful albums of the 1990s and ‘00s. And there have always been performances at the Coach House to reconnect with fans who love seeing Calio, Gurley and Leavitt deliver marathon-length shows that stretch long into the night. dada returns to headline at the Coach House on Saturday night, November 19th.

In addition to performing songs from the trio’s acclaimed debut "Puzzle" (including tracks such as “Dizz Knee Land,” “Dim” and “Dorina”), dada will likely be performing material from the trio’s latest full-length release. “How To Be Found,” released in March 2004, finds the band exploring the vast stretches of the rock universe with excellent songs such as “The Next Train Out Of My Mind,” “Nothing Like You” and the accessible “Any Day The Wind Blows.”

The band’s catalog also includes 2003’s “Live: Official Bootleg (Vol. 1),” released by Coach House Records. “There is no other show for us like the Coach House; it has all the emotions of being the first show,” Calio told me in a May 2004 phone interview. “We were never that big in California, but we’ve done really well at the Coach House. It’s a very good synergy between us as a band and the Coach House as a venue.”

Audiences catching dada this Saturday night will get to see something increasingly rare in modern rock; musicians who exhibit equal measures of skill as songwriters, experts on their instruments and singers capable of dazzling with harmonies that recall the magic of the Byrds, Badfinger and – yes – even the Beatles.

Songs such as “Ask the Dust,” “Feet to the Sun” and “Hollow Man” are among the great songs that dada frequently features in concert. dada, Boxcar and Thriving Ivory will perform at the Coach House, 33157 Camino Capistrano, SJC, at 8 p.m. on Nov. 19. Admission is $17.50. Information: (949) 496-8930.

Paul McCartney concert is truly out of this world

Paul McCartney performing at the Arrowhead Pond of
Anaheim on April 12, 2005. Image credit: NASA

A night after performing a full-length 37-song set at the Arrowhead Pond of Anaheim on Nov. 11, 2005 that I unfortunately missed, Paul McCartney returned to perform an equally-ambitious show that stretched from 8:40 p.m. until 11:35 p.m. - that was just short of three hours! 

The reason McCartney's Saturday night show on Saturday, Nov. 12 stretched beyond its normal 2-1/2 hour length was out of this world. Really! Sir Paul announced early in the show that it was arranged with NASA for this evening's show to mark the first time that a live music event was being broadcast into space. 

True enough, the time came after he had already delivered 16 memorable songs. Via big screens, Sir Paul and the two astronauts on the International Space Station (flying by at 220 miles above Earth) were able to communicate and the sold-out crowd could view and cheer and be part of the historic event as well. Paul McCartney and his excellent band delivered a wonderful version of "English Tea" while NASA astronaut Bill McArthur and Russian Cosmonaut Valery Tokarev sipped some tea/coffee/some kind of liquid out of their squeeze packets. McCartney and company also performed "Good Day Sunshine," a perfect song to complete the task of waking the astronauts at the beginning of their day. McArthur got cheers from the crowd when he did a flip in space, and toward the end of the live feed, did a command flip performance when asked to do so by McCartney. 

McCarthur seemed especially thrilled that the Space Station residents were being treated to a show from the legendary performer. "That was simply magnificent," McArthur said, adding he considered McCartney an explorer too noting his creative contributions. The overall show was magical. Kicking off with "Magical Mystery Tour" and performing another three dozen tracks after that, the concert was equally a celebration of his unmatched catalog and the magic that greets his performances. There were the blistering rockers (notably "Live and Let Die" and "Helter Skelter" - oh joy!), the great new material from "Chaos and Creation in the Backyard" ("Fine Line," "Jenny Wren," "Follow Me"), the Beatles gems ("Blackbird," "Yesterday," "Let It Be," "I Will," and many more) and underappreciated solo/Wings material ("Let Me Roll It," "Maybe I'm Amazed"). And this is McCartney's best band since the Fab Four. No question. 

Virtuoso lead guitarist Rusty Anderson, guitarist-bassist Brian Ray, animated drummer Abe Laboriel Jr. and keyboardist Paul "Wix" Wickens all contribute vocals and energy that further enhances these shows (I caught the same lineup at the Pond in October 2002, and enjoyed the blend even more this past weekend). Indeed, Brian Ray nailed it when late in the show he stepped up to the mic and said, "This truly is the happiest place on Earth." 

I encourage anyone reading this who lives in Southern California to catch McCartney when he plays at Staples Center in Los Angeles on Nov. 29 or Nov. 30. I've caught McCartney a number of times stretching back to the mid-1970s when he fronted Wings. He truly keeps better and his shows have a kind of power and mystery that touches people of all ages. Even when he isn't being beamed into the heavens, McCartney is in a universe of his own.

Review by Robert Kinsler

Bruce Cockburn, Rusty Anderson: what's not to like?

Sorry about the extended delay in my posts. I truly have been busy and have actually not spent much time in front of my keyboard over the past week.

Where to start?
Last Friday, Nov. 4, I caught one of the best shows I've seen this year. Singer-songwriter Bruce Cockburn appeared in a solo setting at the Coach House in San Juan Capistrano. No openers or fill, just the Canadian great impressing a near-capacity crowd from 8:18 p.m. until 10:40 p.m. (there was a break from 9 p.m. to 9:27 p.m.).

But the show couldn't have been stronger. Bruce performed 21 selections, featuring instrumentals off his latest CD "Speechless," but also performing great songs such as "Wondering Where the Lions Are," "If a Tree Falls," "Put It in Your Heart" and "Pacing the Cage" (one of the most beautiful and tender songs I've ever heard) off his 1996 album "The Charity of Night." But then, I love just about everything he has written and recorded.

Although best known for penning probing songs that often tackle a mix of political and religious themes, Cockburn is an amazing guitar player and displayed those skills across his rewarding set at the Coach House. Highlights included the newly-penned "Elegy" and blues-flavored "King Kong Goes to Tallahassee."

He closed the show with a powerful and distinctive new song, titled "Mystery," that I hope is included on his next studio disc. A great night.

Also, check out my Orange Pop column in the Orange County Register today. It is a feature story on Rusty Anderson, who plays guitar in Paul McCartney's band. He is also an amazing guitarist, and his latest album, "Undressing Underwater," will appeal to fans of virtuoso guitar playing and good songwriting.

Sheryl Crow, Gavin DeGraw at the Hollywood Bowl

Singer-songwriter Sheryl Crow is one of the few artists to emerge in the first half of the 1990s who has continued to craft new material well into this decade that is still greeted with widespread commercial airplay and welcomed by mainstream audiences eager to hear her latest project.
In a two-hour headlining show Sunday night, Oct. 23, 2005 at the Hollywood Bowl, the nine-time Grammy winner delivered a generous retrospective of her hits-filled career while also casting the spotlight on her latest disc, "Wildflower."
That album, released Sept. 27, is filled with confessional tales focusing on her well-publicized romance with cyclist Lance Armstrong and larger explorations of the world such as her stirring, anti-war "Where has All the Love Gone" and her probing "Letter to God."
Performing more than 20 of her own songs and a few reworked covers by Cat Stevens, Bob Dylan and Elton John, the Los Angeles-based singer-songwriter seemed genuinely delighted to be performing at the fabled Hollywood Bowl, proclaiming during her encore, "It's so nice to come back and play in your back yard."
Backed by her four-member band and a large string section under the direction of David Campbell, Crow used the concert as a showcase for her skills as a vocalist and multi-instrumentalist who moved from guitar to bass to piano throughout the night.
The bad news for the enthusiastic audience was not Crow's choice of material or her performance, but rather the sound itself.
The band (drums, guitars, bass, keyboards) continuously drowned out the string section (which featured more than a dozen musicians), except in the quietest moments.
So while a countrified take on Dylan's "Mississippi" and her own "Strong Enough" were clearly enhanced by strings in the overall mix, they sounded muddled on straightforward rockers such as "If It Makes You Happy" and "My Favorite Mistake."
And, during many songs, such as the reworking of Stevens' "First Cut is the Deepest," the additional musicians simply came off like window dressing.
However, there is no doubt that the majority of fans came to hear Crow deliver her collection of hits, and she did not disappoint.
Many in the audience sat politely through much of the concert, but became more animated and enthusiastic when she performed titles such as "All I Wanna Do," "A Change Will Do You Good" and "Soak Up the Sun."
Show opener Gavin DeGraw is clearly looking to position himself as an artist who can carve out a lasting career in the tradition of Crow.
His seven-song set, highlighted by material such as the emotive "Crush" and accessible "Chariot," pleased many in the crowd, especially when the young singer-keyboardist ventured into the audience.
While songs such as "Chemical Party" and his biggest hit, "I Don't Want to Be," were delivered with zest, his sonic approach clearly recalls artists such as Maroon 5, Train and Billy Joel, and time will tell if he is able to develop a sound he can truly call his own.

Aimee Mann just keeps getting better

Only three nights after catching an impressive show from power-pop rockers 9 Ball in Fullerton on Oct. 11, I took in a stunning concert from Aimee Mann. I have seen the talented singer-songwriter a number of times, and she continues to amaze enthusiastic and loyal audiences whenever she performs. Count me as one who is both enthusiastic and amazed.

At the Anaheim House of Blues where I caught her two-hour performance on Friday, Oct. 14, she featured songs off her latest CD, "The Forgotten Arm," a concept album that continues to showcase her skills as a songwriter and keen observer of people and this crazy planet we call home.

She seemed to be especially confident and chatty with the crowd, encouraging people to write down their requests and throw them up to the stage. Dozens seem to take her up on the offer, resulting in her playing many of her classics such as "Red Vines," "Invisible Ink," "Deathly" and "4th of July." She even took a good-natured attempt at "Ray," a song she admitted wasn't ready for its sonic close-up this night. And her band continues to get better everytime I catch them.

But it was an incredible show, and I spent the weekend listening to her music - a bright spot as the Anaheim Angels lost 3 games in a row and the Chicago White Sox are now World Series bound. If I had Aimee's gift, I could turn that into a song...

Society's shift shakes music

There was a time - before interactive cellphones, high speed internet and on-demand everything - when movies were more about quality than box office positioning and music was a connection fans had with a particular act as they journeyed through albums growing and exploring new ground. Think Beatles, Bob Dylan, Neil Young, Peter Gabriel and U2 - you get the idead.

That sounds like a world away, huh? I can think of a number of classic artists who would have never released anything beyond a debut if they had come of age in the late '90s or this century. Cheap Trick is a famous example used by critics; the band's amazing self-titled debut was ignored. You still never hear anything from that LP, even on classic rock stations.

It wasn't until the band's third album they sold anything and scored a hit. Today, if an artist signed to a major label doesn't create a buzz or go Gold from the start, a major label is likely going to cut the chord.

That's one of the reasons I love writing the Orange Pop column for the Orange County Register. It runs just about every Friday (including today, where Michele Rene is featured). Here are artists who aren't selling millions of CDs. In fact, they are likely doing pretty good if they are selling hundreds. But they are doing it because they have no choice; the music matters to them and when it comes to playing original music in So Cal, getting paid is no given either.

This fall is a promising time to go out and see some of these real artists. Sure, the celebrated likes of Aimee Mann, Doves, U2, Paul McCartney and Bruce Cockburn are all coming to town either this month or next, but be sure to check out my column to get wind of the underground. You can read it at www.ocregister.com.

Never-Speechless Bruce Cockburn, Thunderhand Joe

On Wednesday morning, Sept. 28th, I had the chance to chat with Canadian singer-songwriter Bruce Cockburn for about 20 minutes or so. It marked the second time I've been able to interview him, and my preview story built around that insightful phone interview should be published on Nov. 3 in the Dana Point News and Capistrano Valley News, both published by the Orange County Register. After the story runs, I'll also check back with you here; I hope to catch his solo acoustic show at the Coach House in San Juan Capistrano on Friday night, Nov. 4th.

In the meantime, I encourage everyone to run out and purchase his latest album, "Speechless," released this past Tuesday. It is a wonderful all-instrumentals CD that fully casts the spotlight on his amazing skills as a guitarist and composer. In addition to featuring instrumentals stretching back throughout his 30+ career, the Rounders Records release features three new tracks that showcase an artist who keeps exploring new sonic territory. And the results are never less than wonderful. My story will focus on a discussion of his latest CD, "Speechless," as well as a bit about his participation at the Canadian Live 8 Concert held July 2, 2005 in Toronto. Other artists who played at the show included Bryan Adams, the Tragically Hip, Gordon Lightfood and Neil Young...

Also, check out today's edition of the Show section of the Orange County Register. I have a full-length story on one-time Redbone drummer Thunderhand Joe. His story is inspiring. Writing the feature earlier this week, it struck me how few Native Americans have their musical voices heard. For more information on Thunderhand Joe, or to hear selections from his debut CD, check out: http://cdbaby.com/cd/thunderhand

Looking ahead, I'll be checking out the Keane show at the Greek Theatre tonight. I loved the trio's set at Coachella earlier this year; some critics don't appreciate the band. I for one think they're crazy... This will also mark my first time seeing the openers, the Long Winters. I'll report back on the show next week. Promise.

Dead Can Dance, indeed

On Sunday, Sept. 25, I was fortunate to see another great show. Dead Can Dance, the Australia-based duo that crafted music that truly defied all genres in the 1980s and 1990s, came to the Hollywood Bowl as part of their first tour since 1994 or something.

Amazing. Performing with the LA Philharmonic, singer-guitarist Brendan Perry and vocalist Lisa Gerrard sounded perfect and performed a mix of Celtic, Renaissance-tinged folk, goth and Middle Eastern-flavored music to lasting and emotional impact. The concert was like being immersed in a sonic dream. Any of the songs performed, including well-known selections such as "How Fortunate the Man With None" and the sparse reworking of the traditional "The Wind That Shakes the Barley," would have been a highlight at any show. But across the more than two hours on Sunday that the concert stretched, it would be impossible to find an artistic element that didn't work.

Lisa Gerrard has a voice that recalls an opera diva, but with the otherworldly sound of a singer one might hear in a Irish pub. And Brendan Perry's far-reaching baritone also hit its marks whether singing alone or with Lisa. A simply wonderful experience.

Now, if only Cocteau Twins might return for another run.

Hall of Confusion

Okay, let me get this. The Rock and Roll Hall of Fame has just announced its next list of those being considered for induction. I get John Mellencamp; put him in pronto. The Sex Pistols and Lynyrd Skynyrd likely should be included, although their contributions don't match the likes of the Fab Four, Elvis and Stones.

But Miles Davis. Wasn't he jazz? Put him in the Jazz hall or something. Should they include opera tenor Placido Domingo too? Or Luciano Pavarotti?

And while they didn't put in Gram Parsons (the most significant alt country rock architect of the 20th century), they also have Blondie, the J. Geils Band and Cat Stevens on the list of those eligible. And the J. Geils Band. If they are simply looking at well-known names, shouldn't they have put in Hall & Oates? They scored a ton of hits and they have crafted great Blue-Eyed soul since the 1970s; put them in...

The Percy Sledge and O'Jays thing drove me crazy. Each had one hit that people know today. Shouldn't the Chantays ("Pipeline") and Surfaris ("Wipe Out") get in too?

By putting in weaker artists, the Hall of Confusion waters down the contributions of those pioneering artists who deserve a spot there. There is a reason the Beatles, Rolling Stones, Buddy Holly, Jimi Hendrix and Neil Young have crafted rock music that has lasted. If it doesn't meet that test, flunk it...

Smithereens, Katrina concerts keep me listening

I think I heard so much music over the weekend, my eardrums are buzzing!

It started Friday night, Sept. 9th. There was a long night at the Coach House in San Juan Capistrano. After listening to two opening bands (one was awful, bad, ughh!), the Smithereens finally came on well after 10 p.m. - I think it was actually around 10:30 or something. But the good news is they rocked so hard and so effectively, I forgot how tired I was.

They performed all their classic cuts, including "Blood and Roses," "Behind the Wall of Sleep," "Only a Memory," etc. Although their bassist Mike Mesaros was not there (his wife just had a baby and he was busy being dad), the fill-in guy was good and the show was loose and indicitive of the magic the ultimate bar band delivers everytime I see them.

Pat DiNizio remains a strong singer, while lead guitarist Jim Babjak smiles as he plays distinctive licks and Dennis Diken still plays with fury when the song ("Room Without a View" notably) demands. A great show.

On Saturday, I caught up and watched the tape of the hour-long "Shelter from the Storm" concert broadcast on Friday, as well as the four-hour benefit videocast by Vh1 and MTV. The highlights were in short supply. Neil Young was great both days, performing material off his forthcoming "Prairie Wind" CD. On Saturday he performed the beautiful "When God Made Me," a song that songs like it could have been penned another time. Especially the way he played it at the piano, with the beautiful but sparse backing efforts of a choir.

On Saturday, he was joined by Emmylou Harris and sang "This Old Guitar," a simple but authentic-sounding country western song. Can't wait to hear this CD when it's released later this month.

Also turning in solid entries were the Foo Fighters, with the flannel shirt-attired Dave Grohl leading the quartet through CCR's "Born on the Bayou," and Garth Brooks and Trisha Yearwood teaming up for CCR's "Who'll Stop the Rain?"

The important thing about the Hurricane Katrina efforts is obviously helping get people to donate and help out. But I'm just nitpicking about the music here. Mary J. Blige ruined U2's version of "One." I repeat, she ruined it. She has a vast range and big voice, but her voice was not up to the emotional challenge of singing the song.

At the Sunday event, leaders included U2 powering through "Love and Peace or Else," while Trent Reznor - in a hushed performance featuring him alone at his piano - brought chills with an emotive "Hurt." Pearl Jam ("Given to Fly") and Coldplay ("Fix You") also played well in support of the Gulf Coast suffering.

My thoughts were also with the survivors of 9/11 and their loved ones. Where have the four years gone, and have we forgotten?

Hurricane relief

Many of you are worn out by the endless coverage of Hurricane Katrina-related news 24/7. Of course, that is nothing compared to those who have endured the tragedy. My heart really goes out to them; the loss is simply beyond words or pictures or anything I've experienced.

There have already been countless efforts on behalf of the victims and I really believe most Americans do want to help, and many have. It's great that the Rolling Stones, Paul McCartney and Neil Young are among those going to perform this weekend on MTV/VH1. I hope in addition to asking us poor folk to give, they do something themselves. Paul McCartney or Mick Jagger wouldn't miss $1 million, so lets hope they are willing to give a bit. Neil Young's assistance with Farm Aid and his Bridge School Benefit demonstrates clearly where his heart and wallet are. America has been pretty good to them, so it would be great for them to go the extra mile this weekend! I don't expect Motley Crue, Sheryl Crow, Melissa Etheridge or Usher to be any good, but then they might look pretty fine compared to Kid Rock!

I didn't need to have a rock star tell me to give. I did it twice last weekend on my own, and I'll give more when I can. I did after 9/11 too. I'll be watching.

Topeka leads to Gypsy's Kiss

Is it Tuesday? Yes, it's Tuesday. Catching up late on the weekends musical happenings.
I caught two wonderful local shows this past weekend. On Saturday night, it was a double bill with Topeka and Walter Clevenger & the Dairy Kings at the Bamboo Terrace restaurant in Costa Mesa, while on Sunday I enjoyed an afternoon show at with Irish music outfit Gypsy's Kiss at the Harp Inn - also in C.M.

Topeka features singer-songwriter-guitarist Fletcher Harrington (of Cowboy Buddha fame), lead guitarist Brit Collins (of Moonhead) and singer Tanya Livingstone (of Blind Ruby). Performing excellent songs from their first CD, "Land Rush," as well as material from Fletcher's most recent solo CD, it was a powerful show. This is alt country with heart. The blending of voice and layers and arrangements worked strongly on Saturday night. I'm hooked. Information: www.lopie.com.

Next was the always rocking-good-time Walter Clevenger & the Dairy Kings. When a band rocks out with original tunes such as "Radio Sea" and "Supermarket Checkout Queen," as well as the infectious "Jonathan Doe," well the night is great. Clevenger is a songwriter whose material draws comparisons with artists ranging from Buddy Holly and Tom Petty to Nick Lowe, but his blend of power pop meets country is definitely his own. And his band is great. Learn more about this wonderful artist at www.walterclevenger.com.

And on to Sunday for a totally different kind of show. Gypsy's Kiss is an acoustic-styled Irish-Celtic music ensemble. The group put on a wonderful show, playing a blend of instrumental numbers and emotive songs.
"Star of the County Down" and "Black Velvet Band" were among many of the group's highlights. The group features the talents of Krysta Townsend (fiddle), Fred Salmon (electric bass, guitar), Kevin Moran (guitar, whistle, vocals), Heidi Kuyper (lead vocals) and Heidi Halbur (wooden flute, whistles).
Information: www.gypsykiss.us.

More thoughts about "greatest hits"

Not long ago I wrote how funny it was that artists who were too young to yet deserve a career retrospective, as well as those who never really had enough hits to warrant such a collection.

I was online today and discovered some other funny people who already have released such offerings. "The Best of Mandy Moore" is available, why? I likely couldn't name a single hit she has released, and even if I could, I'm sure it isn't worth the disc it's burned on.

Here are some "best of" collections you should seek out, in addition to my recommendations from earlier this month.
"The Best of...Lee Rocker - Burnin' Love"; this disc is great. If you think Rocker's career ended with the Stray Cats, you owe it to yourself to get this disc.

"Anything Anytime Anywhere," Bruce Cockburn's amazing 2001 collection of his best-known material. "If I Had a Rocket Launcher," "Lovers in a Dangerous Time," "Pacing the Cage" and "The Coldest Night of the Year" are only a few of the great songs on this powerful set.

Neil Young's "Greatest Hits" is exactly that. After all, we're talking "Like a Hurricane," "Heart of Gold," "Old Man," "The Needle and the Damage Done" and the list goes on. If you haven't discovered his music yet, do.

Tale of two concerts

Wow, don't be surprised I'm so tired. On Sunday night, Aug. 21st, I went to Coldplay in Irvine. Last night, Monday, I went to James Taylor at the Hollywood Bowl.

Both concerts were worth attending, but it was the James Taylor show that really blew me away. Surprised? Don't be. Coldplay was amazing when I saw the band at Coachella on April 30, 2005. But here, with a longer set and only a night after playing a full-length show at the same venue (Verizon Wireless Amphitheatre in Irvine), the band was good, but not great. Maybe it was because I was way back in the lawn area, a million miles from the stage. But there were plenty of great moments; "Yellow" and "Speed Of Sound" immediately coming to mind. Chris is a great lead singer, but the natural comparisons with U2 will always hurt. There is only one U2.

James Taylor is an original, and draws comparisons to ... James Taylor! He was amazing! It was my first time ever catching him in concert and it was worth the long drive to L.A. and the even more daunting journey home.

With the possible exception of recent shows by Aimee Mann and some of the better sets at Coachella, I can’t recall a concert where so many people stopped chattering and ignoring their cell phones in favor of listening to the music making – which is exactly the way it should be at a James Taylor concert.
Performing before an enthusiastic and capacity crowd at the legendary Hollywood Bowl on Monday night, the personable singer-songwriter demonstrated that his skills as vocalist, guitarist, bandleader – and comedian – remain formidable.
And while the audience was unusually hushed during beautifully-rendered acoustic-styled songs such as “Fire and Rain” (a masterpiece that never sounds dated; it brought tears to my eyes), “Carolina in My Mind” and “Sweet Baby James,” they would clap along without prompting during upbeat numbers such as “Your Smiling Face” and Latin-flavored “Mexico.”
Performing 25 songs stretching across more than two hours, Taylor and his 11-member band performed plenty of hits, but also took the audience on well-timed detours displaying his skills playing the blues, Celtic and even country-western styled material. His reading of the traditional Irish folk song “The Water is Wide” was simply gorgeous, with his rich baritone and acoustic guitar conquering the song’s timeless melody with a mix of authenticity and emotion as he was accompanied by virtuoso fiddle player Andrea Zonn.
Early in his show, Taylor introduced two songs he had written for the late Ray Charles. Both the tender “Nothin’ Like a Hundred Miles” and more driving “Everybody Has the Blues” also featured Taylor’s impressive guitar playing.
And recalling how he had toured with the Dixie Chicks last year, his band performed a rousing country version of that group’s “Some Days You Gotta Dance.”
Between songs, Taylor would tell stories and engage in humorous exchanges that usually hit home. At one point, a woman yelled out, “I love you James.” The singer replied, “I love you too,” before pausing and adding with a Bob Newhart-styled manner, “It seems like a funny time to bring it up.”
At another point, someone yelled out a request for a song. Taylor picked up a small chalkboard that featured the set list, looked at it and noted the band would get to that song later in the night.
His stories often recalling when and why specific songs were written, as well as engaging exchanges with the audience – including signing autographs for fans who made it to the edge of the stage – only added a dimension to the concert. Who knew “Sweet Baby James” was a cowboy lullaby or that a photo he saw in National Geographic magazine inspired the introspective “The Frozen Man”?
Toward the end of the night, Taylor and company performed energetic songs such as “How Sweet It Is (To Be Loved by You),” “Steamroller Blues” and “Summertime Blues” getting the audience to their feet.To close the night, Taylor returned to the stage with his three backing singers to perform a hushed and beautiful “You Can Close Your Eyes.” This was a night where offering up classic hits and nostalgia took a unquestionably back seat to Taylor’s loving and emotional delivery of the songs.

It gets more silly by the second

Are our attention spans really that short? Have computers, MTV, American Idol and all the rest of that stuff really blown out our collective ability to hang in there with an audience?

I don't know how old Hiliary Duff is and I don't really care, but I'm pretty sure she is still in her teens. She already has a greatest hits collection? Do people really need her "Most Wanted" collection. I bet she knows (and the money makers directing her career) know they better strike while the iron is hot.

It reminds me of what they did with Martika earlier this year, a nothing late '80s artist who had been forgotten by the masses. But when Eminem took her sole big hit "Toy Soldiers" and turned it into a hit ("Like Toy Soldiers") on his 2004 "Encore", Sony BMG hurried and released a Martika greatest hits collection. Anyone who saw (or met Martika - we were both on a television show together around 1986?) her knows she had little to no talent.

Here are other greatest hits collections that are a joke (they only had a hit or two, why bother?):

"The Best of Toni Basil: Mickey & other love songs" (I can't believe this was released!)
"Walking On Sunshine: the Greatest Hits of Katrina & the Waves" (Oh, please)
"Belinda Carlisle - Her Greatest Hits" (do any of these hold up, no!)
"Tiffany - Greatest Hits" (she should even be embarrassed)
"The Best of Naked Eyes" (if I hear "Always Something There to Remind Me again, I'll scream)


But there are a few bands that only scored big a time or two that should be checked out...Listen to these, really!

"The Very Best of Soft Cell" (artisty beyond "Tainted Love" to be sure)
"Look of Love: the Very Best of ABC" (sounds as good today as ever)
"The Fixx: Ultimate Collection" ("Driven Out," "Red Skies," "Stand Or Fall," "Saved By Zero," and much more. This is great)
"Blown to Smithereens: The Best of the Smithereens" (you can't go wrong here. One great rocker after another...)
"Big Star Story" (if you don't know this band, you should!)
"The Hollies' Greatest Hits" (they are great too)
"Retrospective: the Best of Buffalo Springfield" (Neil Young, Stephen Stills, Richie Furay - amazing stuff)

You're kidding, right

It's Friday. Why not have some fun.

Billboard reports Ashlee Simpson is in talks with "Saturday Night Live" to host and perform in connection with the release of her second CD in early October. Sick.

Wasn't faking it once bad enough? So "SNL" can't find any real musicians to feature on the show. Are they kidding? Here are a few suggestions: Dada, Dead Can Dance, Neil Young, Keane, Snow Patrol, New Order, Color Theory, Michael Ubaldini, Lee Rocker, Trespassers William, Rusty Anderson, Social Distortion, Aimee Mann, Bruce Cockburn and hundreds more. Maybe they can actually champion some real music. Now that's a stretch...

Check out my Orange Pop column in the Orange County Register today. I talk about Summerfest, a promising six-hour power pop-minded show coming to Stanton tomorrow, kicking off at noon. And it's free. All ages. You can read it via www.ocergister.com and click on the ENTERTAINMENT button on the left and you'll find my story under the Music area.

Have a great weekend everybody!

Classical Mystery Tour

Last Friday, I was able to catch a time machine back to the 196os. Indeed, Classical Mystery Tour is just that. Featuring a top-notch Beatles tribute band that performs with a 40-member orchestra, the performance was wonderful.

What makes the experience so amazing isn't simply that the four key players look so much like John, Paul, George and Ringo. But it it how they sound like them, move like them and how the arrangements of classics such as "A Day in the Life" and "Yesterday" benefit from the layers provided by violins, cellos, brass, etc. It truly elevates these concerts to a level seldom reached at rock 'n' roll shows.

The cast features Jim Owen (as Lennon), Tony Kishman (as McCartney), Tom Teeley (as Harrison) and Chris Camilleri (as Starr). Kishman was particularly strong and if he was left handed, people might think he was Paul his voice and look were so dead on...

Information: www.ClassicalMysteryTour.com.

Down and About

Hi Friends,

Where have I been. Listening to tunes - music.

Cowboy Junkies. Remember them? On August 16, they have a new record coming out.
It's called "Early 21st Century Blues" and is a strong 11-song collection featuring a mix of reworked covers by the likes of Bruce Springsteen ("Brothers Under the Bridge" and "you're Missing"), George Harrison ("Isn't It a Pity") and Bob Dylan ("License To Kill"), as well as several original songs penned by Cowboy Junkies guitarist Michael Timmins. And Margo Timmins still is armed with the most haunting and emotive of voices.

Berlin. Another name, band out of the past. The Fullerton-launched outfit, featuring singer Terri Nunn, performed a show at the Pacific Amphitheatre in Costa Mesa last month and among the songs played was an energetic version of Prince's "Erotic City." It led me to seek out getting a copy of the disc featuring the remake, the recently-released "4Play." Not bad, not bad at all. And fans of Peter Gabriel will love the rousing "Big Time." Nunn sounds strong on the album and it works...

On a sad note, I missed yesterday's performance by Harry and the Potters at the Dana Point Branch Library. I kid you not; there really is a punk band where they dress up like the popular wizards and crank out songs such as "Voldemort Can't Stop the Rock" and "Wizard Chess."
Check mate.

That's all folks. Pass me a pork chop.