Categories
Music

Amped Up for MOG @ CMJ Brooklyn Bowl Event (October 19, 2010)

I’m already a big fan of MOG, so it was a treat to be invited to a special CMJ show sponsored by the music subscription service. The event was held at Brooklyn Bowl and featured The Screaming Females, DOM and much loved Yo La Tengo.

Though MOG began as an online social network to help music fans share their likes and discoveries it has in the past year expanded into a full fledged music delivery system. For the nominal fee of $5.00 a month ($10 to be mobile) you have legal access to the continuously growing ocean of music on their servers These are not 30 second snippets from which you must choose to purchase, this is fully streamed tunes and albums.

As an inveterate collector, people have been surprised to hear me espousing the virtues of a subscription routine as my current source of music. I can only say that though I still have love of the “objects” of music delivery (LP’s, Cassettes, CD’s, 45rpm’s, even 8-Tracks) one issue arises after years of collecting – space. MOG comes along at just the time I have to ask the question “Where would I put the fruits of 50 years of collecting music if the physical collection continues to grow?”

What I find most rewarding about the MOG site is the ability to experiment to my heart’s delight. MOG effectuates its social origins to offer “moggers” playlist building and sharing options, as well as Facebook style friending of those who share similar tastes should they choose to do so. The “radio slider” on its player allows expansion of artists you’re hearing based on ID tags, therefore upping the likelihood you’ll find something new to enjoy.

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Screaming Females tear it up at MOG CMJ Party

Most importantly MOG offers the mobile user the ability to download as much music as their device can fit for those instances when connection is impossible or impractical, like when I’m driving through the Brooklyn Battery Tunnel on the way to a concert. At this moment in time that is the clincher, the “cake-and-eat-it-too” feature, that makes MOG the best choice of current subscription services.

So thanks to the MOG folks for creating a way for me to continue to feed my ravenous music appetite without welcoming a visit from the producers of “Hoarders”, thanks for turning me on to the Screaming Females (a band I love today which I did not know on Monday) and thanks to Abigail of MMN for the invitation and kind greeting. Yes, we really are considering MOG 6 month starter subscriptions as Christmas presents.

Categories
Music SkeletonPete Says

Rory Gallagher: “Ghost Blues” and Bottom Line Memories

I just finished my review of the newest Rory Gallagher DVD (Eagle Vision) for PiercingMetal. It’s called “Ghost Blues” and is a documentary on Gallagher’s life, including a bonus disc loaded with live performances from Beat Club in the early 1970’s. I love it. You can read why here.

Writing this review brought back memories of seeing Rory do his thing at The Bottom Line Club back in February 1976. That was an amazing night in a small 450 seat venue and a blistering performance. I remember he came out and plugged into a small amp that was simply propped on one of the club’s even then decrepit wooden chairs. I remember the incredible runs of false harmonics he plucked and a performance of my favorite acoustic number “Out On The Western Plain”. I also vividly remember that Roger Taylor, John Deacon and Brian May of Queen were in attendance and my friend Bill and I actually managed the bravado to go up and get handshakes and autographs.

Rory was supporting his Against the Grain album that tour and I still have the ticket taped to the back of the LP. $4.50 for a night of rock n roll nirvana.

Categories
Film & Television Series Music

“Stones In Exile” The Rolling Stones Documentary DVD

Stones In Exile
Director: Stephen Kajik
Eagle Vision DVD

Eagle Vision’s DVD documentary “Stones in Exile” follows the events surrounding the creation of The Rolling Stones’ now classic “Exile on Main Street” album. 40 years down the line it reveals how this seeming paean to the then disappearing “old weird” American came to be via previously sloughed tracks, the group’s financially forced retreat from their British homeland and a months long basement recording session/ endless house party in the south of France. Using contemporaneous film footage culled from Robert Frank’s “Cock Sucker Blues”, Dominique Tarle’s beautiful “fly on the wall” photographs, and a group of new interviews running from the informative to the ridiculous director Stephen Kijak (“Scott Walker, 30th Century Man”) does a credible job of separating some of the apocrypha from fact. Even though we find in the case of the Stones, “printing the legend” is often the same as printing the fact.

As a 2 LP opus released in June of 1972 “Exile On Main Street” exhibited the culmination of what The Stones had been stewing up from “Beggar’s Banquet” through “Let It Bleed” and “Sticky Fingers”. It represented the graduation of the band from students of the American music forms they revered – blues, country and gospel – to modern purveyors of those forms. Additionally it saw them turn a fun house mirror onto the topography of a post-sixties paranoid America. In one interview Martin Scorscese posits that the sixties actually ended in 1974, possibly thinking of his own documentary “The Last Waltz”, but he should know better. The sixties ended squarely at Altamont raceway in December of 1969. “Exile” laid out a musical landscape where the Devil’s Carny was set up right next to the traveling preacher’s tent show and the moral lines between them were becoming increasingly blurred. The Kent State shootings were past us and Watergate loomed ahead.

As Stones fans already know that the group records tons of material and stockpiles it for possible later use. During the course of the interviews both Mick and Keith try to convey that for them a Stones album is less a theme than a particular batch of finished tracks that happen to show up under one title and released on a particular date. Even so “Exile” hangs together as a dense gumbo of sin and salvation wrapped in the creepy Super 8mm frame blow-ups of Robert Frank’s film. Bringing that record home in 1972 was definitely a WTF moment for Stones fans, myself included. It was a beast with many heads that while daunting at first rewarded perseverance with unfolding mysteries even this far from it’s inception.

Dominique Tarle's images evoke the Stone's summer of exile

That “Exile” is the most Keith-centric of all Stones albums is revealed to be a quirk of geography rather than a musical statement since the recording studio was run out of the dank basement of Villa Nellcote, Keith and Anita’s rented residence. Other Stones were scattered hours away, which accounts for the shifting personnel on many tracks such as Mick Taylor on Bass guitar on “Tumblin’ Dice” and producer Jimmy Miller drums on “Happy”.

In what has become a de rigueur part of all “classic album” overviews, Mick and Charlie visit Jagger’s former home “Stargroves” and Olympic studios where many of “Exile’s” tracks were begun, to reminisce. It’s fun to watch Mick grudgingly delineate his memories as Charlie laconically disagrees. There is also some vintage footage of the “Rolling Stones truck thing” being hauled into the driveway of Villa Nellcote. Snippets of jams and studio dialog sprinkled here and there are a tantalizing peek at what we might have heard if the “Exile On Main Street” deluxe remaster had taken more of a “Jamming with Edward” approach.

Interviews with celebrities (“fans”) while totally superfluous in the body of the documentary are offered as lengthier edits in the bonus section and many prove to be quite enjoyable. Liz Phair’s devotion to the Exile album is palpable and I share her desire to never know what the actual lyrics to any of these songs are. Sheryl Crow, whose best work is informed by slinky Stones-ish rhythms, makes sense here too; Benicio DelToro and Will I. Am less so. It would have been nice to get some words from background vocalists Clydie King and Venetta Fields as part of the LA sessions section of the film. Their singing is often so far up in the mix as to over shadow Jagger.

I’ve read a couple of books and many articles detailing the summer at Nellcote over the years so I wasn’t sure I would glean much from this new DVD. I was pleasantly surprised to be treated to lots of footage and photos I hadn’t seen before. The documentary pulls all the info together in one place with nicely presented graphics and – mostly – informative interviews. I would have loved the ability to peruse Tarle’s images in a separate gallery one by one. “Stones in Exile” may also be the closest we’ll get to a quality look at Frank’s “CS Blues” footage; I think the naughty bits will keep it unreleased for a long long time.

Priced to sell, this piece warrants repeat viewings and should have a place in your collection.

Eagle has announced release of “Ladies and Gentleman, The Rolling Stones” the little seen film covering the 1972 tour, when the Exile material hit the road.. I’m especially looking forward to that one.

Categories
Photography

Sunset, Sunset

May 3, 2010
A spectacular spring sunset over Sunset Park Brooklyn, NYC. Click image to enlarge.

Categories
Music

Daniel Lanois and Black Dub @ Bowery Ballroom (2/17/2010)

It has always been a treat to see producer Daniel Lanois do his thing on stage during the years since the release of his first album “Arcadie”. I’ve been lucky enough to hear him perform at The Bottom Line back around the time of that first album and more recently at an excellent WFUV songwriter series at Carnegie Hall’s intimate Zenkel Theater. In this case Dan’s NYC appearance was to introduce a new project called Black Dub. Black Dub is Lanois in collaboration with longtime foil Brian Blade on drums, multi-instrumentalist/vocalist Trixie Whitley, and on this show Bassist Chris Thomas filling in for usual cohort Daryl Johnson.

For those not familiar with Lanois himself, it is likely you are more than familiar with the music he has helped to create as a record producer. His work with Brian Eno and U2, beginning with the transitional “The Unforgettable Fire” album, led – arguably – to their career highs, “Joshua Tree” and “Achtung Baby”. He manned the board for Peter Gabriel co-producing “So”, has worked with Bob Dylan twice and produced “Wrecking Ball” a savvy, career defining CD for Emmylou Harris. Some of my favorite work, including “Somewhere Down The Lazy River”, appears on the first solo album of his fellow Canadian transplant Robbie Robertson.

Though no opening act was listed, that space was essentially occupied by a video loop of images associated with Lanois’ “Omni Series” CD’s which unfortunately went on just a wee bit too long. Though many of the images were compelling, particularly an eery visual of Dan at the pedal steel with sound waves emanating around him, it didn’t stand up to its half hour long airing. From my vantage point in the balcony it was clear the fidgeting and muttering audience was getting quite restless after the repetitive presentation kicked in for the third time. Most of the attendees were polite but there were a few who were vocal about their displeasure. I‘m always interested in the experimental edge of the artists I follow – Dan especially, it’s part of his ethos and allure – but we got the point of the video the first time through. I don’t think I’m stretching the imagination to say that the crowd would have preferred an additional 10 minutes of Dan on the pedal steel improvising to the video. It was an unfortunate miscalculation that put a weird spin on the start of the show and it took the band a few tunes to warm up an audience that had already been worn out.

In the setting of Black Dub Lanois is less the front man and more like an amiable godfather or even “mid-wife” in the proceedings. Its very much an egalitarian effort, a nice tasty musical soup that relies on each player’s intuitive response to the other. Brian is a great technician but never serves technique over feel. He always seems to find completely unexpected fills that fit the mood perfectly. Trixie’s ability to switch instruments – alternating guitar, drums and keyboard – aids greatly in their ability to morph the mood throughout the set.

Though Trixie didn’t perform her single, the Etta James classic “I Would Rather Go Blind”, any disappointment was quelled by the inclusion of a new bluesy Black Dub original called “Surely You Were Meant To Be Mine”, which conjures up Stax style gospel soul. It is a little gem waiting to be polished up in the studio and could easily be imagined with an “I’ve Been Loving You Too Long” inspired horn section added. This is a grand slam, a killer tune. Another high point, “Silverado”, found Brian sitting on the floor behind his drum kit engrossed in Dan and Trixie’s beautiful harmonies. Dan carried the song along with rolling guitar crescendoes and it was a very intimate performance to a hushed crowd.

Brian and Chris Thomas have a history of work together in the Brian Blade Fellowship and they were locked together in groove-land throughout the night. Chris was smiling broadly, having a great time syncing with Brian, pounding his bass and adding background vocals. I only wish Brian was not sequestered away in the corner of the stage because such a large part of the audience was there to see him. He got an uproarious ovation when introduced.

On stage, weaving himself between the instruments and amps, videographer Adam Vorlick wielded a single camera. Its black & white output was broadcast on the screen behind the band and was also being webcast live across the planet. He did an excellent job of highlighting the group member’s interplay and expanding the show’s visual scope for the Bowery audience. His performance on the camera became an integral part of the show, much in contrast with the canned feel of video broadcast to jumbo-trons at stadium events; a nice touch that elevated the musical experience.

No Lanois show can be without a performance of fan favorite and signature tune “The Maker”. It’s been covered by Emmylou Harris and Willie Nelson on albums that Dan produced for them but it is his recording on “Arcadie” that is the benchmark. The double bass guitar track is a key feature of its appeal and hard to reproduce onstage. Black Dub slid into it tentatively but found the pocket during the first verse with Trixie joining the rhythm section on a second set of drums. They ended tight with the song’s powerful coda/refrain “Oh, river rise to the sea”. I’d love to see the dual drum aspect of Black Dub exploited more as it coalesces. A flat out percussion jam would be so right for this band.

My favorite performance of the evening was set closer “Ring the Alarm”, the only nod to Jamaican “dub” that Black Dub ventured.It was a nice opportunity for the band to stretch out, jam, and harmonize on its chanted lyric “ring the alarm, another sound is dying – hey -oh”. The encore included Dan and Brian laying down a quiet atmospheric guitar piece evoking his “Joshua Tree” era desert-scapes.

All together a good showing by a band that is still incubating but has the cojones to do it live in front of an audience. I’m truly looking forward to the upcoming album (set for spring release) and the next live show. In the meantime you can catch a lot of video of Black Dub on the official Daniel Lanois website.