Though the A-side is terrific, the B-side “Who Have I Become” might the best song that Best Coast has ever recorded.
The New Mendicants is the new project of Joe Pernice and Norman Blake.
Billy Bragg’s first album since 2008’s Mr. Love and Justice is a mesmerizing masterwork from one of the finest songwriters of the best three decades.
Sure enough, the set was an excellent mix of both Lps, not favoring one or the other, and the band was in sync.
So what about the actual music? Well, if you’ve never heard The Big Boys, this might be a good place to start.
Despite the liberal genre-hopping, this is a cohesive effort that really works and there’s little confusing it for anyone else’s vision.
The bottom line is that if you ever have a chance to see The Night Marchers, don’t miss them!
What a show, what a night and what a testament to Mould and his band that they still kick so much butt after all these years!
It’s rare that two artists of such quality share a Free at Noon bill.
For this go-round and perhaps to stick to theme of the documentary, Stabb and company were intent on replicating a 1982 style set.
Starting with the instrumental “Mango” and playing a set that mostly comprised material from their earliest days, Dag Nasty was just on for the entirety of their short but incredible set.
The musicianship is just off the charts and I love the 3-4 part harmonies in some of the songs as well.
Imagine a mild-mannered, 70-year old singer-songwriter in dark black sunglasses and a leather vest saying this stuff and you’ll get an idea of the weird, but cozy vibe of the show.
I took out my earplugs so I could hear their set in all of its glory and turned to a friend afterwards and said “wow”.
Newman was in fine spirits, joking with the crowd on numerous occasions between songs and even giving detailed (and very personal) explanations for the lyrics on songs like “Come Crash” and the aforementioned “The Heartbreak Rides”.
Keith Morris was in fine form, hounding the stage like a screaming banshee and living up to his verbose and confrontational reputation.
I think the speakers are still smoking from the heat generated by the version of “Aly Walk with Me” that was played and it’s over a week later!
All in all, I think this may be Dum Dum Girls’ finest moment up to this point.
Maximo Park played a fantastic set spanning their four albums, wisely focusing heavily on just-released new album The National Health (perhaps their career best) and their debut A Certain Trigger, by some measure their best records.
As the encore ended with the classic “Makes No Sense At All”, we left exhausted but utterly blown away by the absolutely great show we had just seen.
They opened up with “She May Call You Up Tonight” and followed it with “I’ve Got Something on My Mind” and “Pretty Ballerina”.
Finally! This is what Alternative Tentacles should’ve done all along with this material.
Oh well. I’ll stick to their records and hope for a better, tighter show next time.
This is a tome well worth reading not just for Yo La Tengo’s fans but anyone interested in indie rock’s travails from the late ’70s beginnings to today.
The set culminated with what I think is their greatest song to date, the stunning “Up All Night”, the closing track on The Only Place.
It’s fitting that Swedish free jazzers The Thing, a band named after a composition by Don Cherry, have now collaborated with his stepdaugher Neneh Cherry.
This was the Radiohead of the 2001 Amnesiac tour and the 2003 tour for Hail to the Thief, turning insular, jotty compositions into jaw-droppingly tight and powerful arena rock and it was a thrill to have them back!
What a difference four and a half years makes, or does it?
If Graham can just be as expressive on stage is he is on record and with proper sound, this band could be as dangerous and exciting live as they are on record.
Stamey’s interestingly-titled “Collide-oOo-Scope” and Holsapple’s moving “She Won’t Drive in the Rain Anymore” end the album on a huge high note before going into the finale title track.
When Barbato broke a string on B-side “Behind Your Eyes”, for example, they used the occasion to turn the song (only a little over two minutes on record) into an extended, impromptu, droning jam.
Still, that’s half of the four song demo and it as well as the four newer songs sound MUCH better than said demo.
She could sing the phone book and frankly I’d be OK with it, but thankfully the songs here are rich, melodically developed, rewarding and very soulful.
This feels like a natural progression from Castle Talk and is the band’s best album to date.
Nevertheless, we got a very short, 35-minute set that concentrated mostly on Interstellar with a few tunes from her 1st album thrown in.
Real Estate is a band with a very particular, mannered sound and they have to sound right to be fully effective.
If the rest of their proposed new album will be as good as this tune, then I’m already looking forward to it!
Audience members sung every word and there wasn’t one song that stood out in that regard that everyone was waiting for.
Stylistically, “Please Be My Third Eye” is a bit of a red herring as it’s much more up tempo than most of the material here.
This will be one of my favorite albums of 2012 and heralds the emergence of a brilliant talent in her own right,
Stinson projects a rock star aura that looks, breaths, feels and sounds just like the The Rolling Stones, The Faces and others of that ilk.
Although I’ve lived close to it for almost 6 years, this was my first visit to the venerable University of Pennsylvania frat house and venue.
Anyway, she more than lived up to the accolades with an hour long set that was focused almost exclusively on material from Tramp.
Despite the numerous guest stars, make no mistake. This is very much a Sharon Van Etten album.
Though there are light r’n‘b touches on a few of these songs, this is ultimately a singer-songwriter album and a great one at that.
Clearly this is an album made by 40 somethings instead of 20 somethings.
Though others may disagree, I think that this album is a mix of good and not so good.
Hermes’ lengthy and detailed tome reads a bit like the proto-punk diary From the Velvets to the Voidoids except that it covers virtually all of New York City’s then burgeoning musical styles between 1973 and 1977.
This is exactly what it says it is.
This album belongs in the same conversation as other classics of the genre and time period like Love’s Forever Changes and The Zombies’ Odessey and Oracle.
This collection is like manna from heaven for fans of this amazing, chaotic, passionate post-hardcore band.
An embarrassment of riches, this limited-edition collection plays not only a great outtakes album, but like one of their best albums period.
Honestly, it was my first time seeing them and I thought they were great from the first few notes.
Instead of a “normal” show with a headliner and an opener, this was something altogether quite different.
Bells were the surprise of the night and honestly stole the show for me.
Thankfully, this performance more than justified the $30 ticket price.
A concise description of the third track, the cleverly titled “Cyst and Decease”, would be “Captain Beefheart in Space”.
An idea that started a few years ago has led to a 7” on Matador.
This Lp pulls no punches and sounds as good in 2011 as I imagine that it must have in 1982.
All this would be enough, but as a bonus we get the first official version of The Faith’s 1981 demo.
With all that said, what about the music on here? Well, it’s amazing.
Their set was short but sweet.
So how did Wild Flag fit into this context? Quite splendidly.
Just from a creative stand point, to put myself out there like that was the scariest thing I’ve probably ever had to do and then to play it.
Within a few seconds of their set, I had beer spilled on me.
When I started listening to this album, I couldn’t stop playing it. Weeks later, I STILL can’t stop playing it. It’s that good.
ALL, on the other hand, were amazing.
Of the many times I’ve seen Ted Leo and the Pharmacists, I’d never had the chance to see them in such a great-sounding and intimate room.
This more stripped-down iteration fit in perfectly with the gentle, quiet vibe of this seated show
In fact, one could argue that he just keeps getting better and better.
This is really the recording debut of a new incarnation of the band.
Improved songwriting, musicianship and stage presence contributed to what was by far the best Vivian Girls live set I’ve ever seen.
Thurston’s set in the beautiful but very poorly ventilated church sanctuary drew heavily upon his recently released solo Lp Demolished Thoughts.
Singer Steve Polcari acted as if almost a quarter of a century hadn’t passed, jumping around all over the stage and showing off the energy of a frontman half of his age.
Still, this had the feel of a band playing to a bunch of friends and family and that’s basically what it was. It was an afternoon show to boot, so that made it even more family-friendly.
Opening with Bad Moon Rising‘s “Brave Men Run (in My Family)”, the first five tracks were a flurry of ’80s highlights.
There’s an old saying. It’s a cliché, but a true one. Where there’s a will, there’s a way. If you think about it in a different way, in the early ‘80s for a hardcore band and especially for a straight-edge band facing additional pressure in terms of not conforming to society’s standards on that level, it was unbelievable in terms of the odds.
At the end of his set, opening band The Gerunds came on stage and they proceeded to crank out two highlights of Reynolds’ tenure with ALL.
Wild Nothing played to a sold-out and jam-packed room at Johnny Brenda’s
Mainly, much of the book deals with Mould’s struggles to come to grips with who he really is.
This is surf-punk mixed with some psych and even new wave influences.
In other words, the new songs fit in so perfectly with the old stuff that The Smithereens should be commended.
For starters, this was the fourth time I’d seen them at the First Unitarian Church since early 2007.
All in all, there seemed to be a lot of love between artists on this evening as OFF! were specifically selected to open the tour by Dinosaur Jr and the mutual admiration and respect is always comforting to see.
The track list pulls more from Joe Jackson‘s past as opposed to Rain (the only album recorded with this lineup).
So what, might you ask, differentiated this year’s visit to World Cafe Live from their two previous Philadelphia appearances since their 2008 reunion?
Everything you’ve heard about this book, and for that matter, about Jack Grisham himself in his younger years, is absolutely true.
Frontman Jack Grisham had a maniacal, almost demonic grin on his face the whole time and was clearly enjoying himself on this evening.
Simply put, there’s no other band like them in the entire universe.
This is definitely recommended for fans of the softer, more adult-oriented and mature side of power-pop.
One song is called “Naked Reagan”. If you get the reference, you’ll love this.
Costello and his band took the stage and blazed through four songs, opening with “I Hope You’re Happy Now”.
Featuring just Eleanor on lead vocals and Matt on piano and backing (and occasional lead) vocals, this was Fiery Furnaces stripped down to the core.
He also tackled Hüsker Dü‘s “Could You Be the One”? and Lungfish’s “To Whom You Were Born”.
The performances of “Graffiti,” “No Pain No Gain” and “Late Night” completely obliterated their recorded versions.
The encore consisted mostly of guitarist Tom Watson singing a set of Minutemen classics.
On the surface, the pairing of veteran singer/songwriters Jill Sobule and John Doe seems, well, odd. In reality, though, nothing could be further from the truth.
Much more dynamic, energetic and confident as a live band now than in their earlier days, Pains are now a bona-fide headlining act.