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Mid-Atlantic
Regional Report
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Edited by Anthony Coloneri
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The
End of The Road By Steven Shepard You know last year I saw the passing of Stanley Kubrick. This year it's Blind Man's Sun. In 98 it was Seinfeld. What's to be next? I do know that if anyone lays a hand on Homer Simpson, keep in mind that: It is with a heavy spirit that I write these words. Not I. I is fine. Or that. Most certainly not these. The words are eclectic and imaginative. They're Blind without the Sun and the rather relaxed travels of Man. The words are of a band called Blind Man's Sun that have broken up and gone their own path. The day is the 20th of March. The Rangers lost. It's cloudy out and I seethe as I type every word. Blind Man's Sun is no more. A press release by manager Mike Chiapetta announced the sad ending of a 6 year journey for the members of the Sun. I can't help wondering: What if? But before I get to that, let's start with the music. In October of 98, the Modern Day Critic phoned on the Lukewarm Line with specific instructions to be at the Wetlands for Blind Man's Sun. I arrived at New York's tastiest venue with tired legs and a throbbing ache. The Critic and I began to burn when the Sun came out and the pain began to wither away. For the next 3 hours or so, I was captivated and at the mercy of the energy. Kevin Romanski's marimba was sending the vibrations round the room with flare. JD Daddis's piano brought down-home stomp, beauty, and bounce. The smooth thump of Bob White's bass playing worked well with Drummer Darren Gage snapping the beats along. The guitar duo of Dave Chiapetta and Marco Femino were perfect compliments in harmony and tone. Mr. Chiapetta's solos popped a few eyeballs and took the magic to another level. And both Mr. Daddis and Mr. Femino did an admirable job of pounding out the vocals above the mania. A month or so after the Wetlands show, Blind Man's Sun were back in New York City to celebrate the release of their latest double CD Of The Spheres at the Elbow Room. It was at this show that it happened. At this show I didn't think they might be a great band, I fucking knew it. It was when Bob and Dave were churning out the fresh, white-boy funk of So I'm Singin. Dave's guitar was starting to light up the room. JD was grinding out the rhythm on his keys and shaking the booties round with his voice. It was a display of creativity, imagination, and genius. I swear to you all that the Jam Gods were smiling in approval over the room that night. Anyone doesn't believe it, just listen to a tape of Dave's guitar solo on >Mental Affairs. During the summer of 99,' Blind Man’s Sun moved onward with their live tapes hidden away in frozen carbonite. The Sun did a fantastic run of weekly shows at Hoolingan's in Long Branch, New Jersey. Every Wednesday night, the shows were not only good, but sometimes immaculate. One night they were perfect for over 2 hours. From the opening combo of Spates>Sprockets to the musical madness throughout. They were right on, at least to me, all night. They played new songs like >FiddleFeet Go Boy, and others I can't recall. There had to have been a >Living Conditions. I don't know. It was all so good that it's a mess. It was so good I want to hold onto hope for it again. Towards the end of that summer, with the Endor World of the Sun Chronicless looming, I honestly began to sense the end. At the Chronicles, the Sun and their management gave all they had. It was visual, electrifying, and of course audio. The 1..4' that closed either the 4th or 5th show was love inspiring. We all lifted our hands in salute at the peak of Dave's solo. Looking back, I think we all said good-bye. Don't believe me? Ask the Modern Day Critic. Fittingly, he was right there with me again. So now Blind Man's Sun will release some of the final show from the Sun Chronicles. All be it only a single CD and not some of the band's best work, I'm sure it should be in your CD library along with Of The Spheres and the band's self-titled first album. Everyone should have 1..4' and occasionally we all need a little It's Not Your Way. I know not the reasons the Sun have split and it's none of my business anyway. I certainly couldn't provide any insight into creative differences and I've never managed a band in my life. I managed a restaurant and I still struggle with myself but it's all right. In my stilted and kooky way it makes a little sense. We'll move on. When's the next Biscuits show? I just thought it would be more fun to move on with the Sun. Don't believe me? Get your hands on a tape.
Stories
Of Days Into Nights - Conehead Buddha By Steven Shepard Set I When Conehead Buddha opened their 1st set at the Lion's Den with the rapid fire bop of My Way, I realized what the overlying theme of today's travels would be: Simple. You see I have a bit of a pre-concert ritual (even though I've only done it once) of listening to some of the most spun jams of my week past. On this night it was the uplifting spirit of Eyes Of The World first. Jerry's guitar whistled and shook through my noggin on the Path ride in. I hummed in my head through the chilly air down Bleecker on My Way to the Lion's Den. When Conehead Buddha greeted me with the mad fun house composition My Way I was yearning for homespun harmonies and not complex adrenaline. I know it's a tad unfair for the Buddha to overpower the Dead but what can I say? It's my head. The band then switched gears quite effectively into the swinging groove of Rockets, the title track of their most recent release. The space allowed in Rockets gives bass player Christian deFrancqueville a chance to flex the groove and steer the song into a lively bounce for the rest of the musicians. >From there the band went into the milky soul of >Body Up. The vibrant, coordinated horns of Terence Lynch and Brian Kaplan gelled nicely with Mr. deFrancqueville's bass and did a good job of weakening my notion to be the sun and the moon. I'm a beginner, but it seems to me that Conehead Buddha are at their best when they're railroading the funk like a tight machine. The extra percussion work of guitarist and singer Chris Fisher adds a new direction from time to time. The 3 horn players: Mr. Lynch and Mr. Kaplan, as well as Ms. Shannon Lynch, are all proficient enough to be right on their marks during the poppy mix of salsa and ska. When all the musicians are in sync, Conehead Buddha churns out their danceable numbers with kinetic charm. However for author here his mind was beginning to dip back to jams of the week past. Soon I was longing for the floating force of Phish's Simple. While Conehead Buddha were working on Whatchya Doin' I was disconnected from the rapid-fire grooves and giggling about skyballs and saxscrapers. A pity maybe but the Buddha pressed on stageward and sprinkled goodies during their set. Mattress Mambo, also off their latest release, has a relaxed and playful sway guaranteed to get the toe tapping. The breezy and guided tone of Down provides good old Earth-toned pop flavor. The band also flexed their muscles with a vibrant take on teenage angst with Bobby Brooks. Conehead Buddha certainly didn't have a lack of energy. The bright flavor of the brass section is enough to tan your skin live. They just don't have a skyscraper. And skyscrapers are grand. On my way home I scribbled notes on my Lucky Stripe cocktail napkin with the songs still fresh in my mind. Once home I could begin my post-concert ritual of listening to the band I had just seen. It was 2:40 already and with 2 CD's to pour through, it was sure to be a long night. Better get it started with a little Eyes Of The World.
Emancipated
Grooves By Dan Alford Soulive finished their February Shades of Groove run at the Wetlands, but it looks like they just can't get enough of the dirty old city 'cause March had Eric Krasno and Alan Evans playing Sunday nites at the Izzy Bar in the East Village. A teeny shoebox of a place with no ventilation and essentially no dancing-had a real cool vibe going on. Very Bohemian coffee house-intimate and sophisticated but with a warm sense of comfort and friends. The regulars of the Soulive crowd were there but there was also a large (relatively speaking) number of ABB folks there supporting Oteil. Musicians were also everywhere- a couple jazz guys, members of Ulu. Just a great mood overall- fun, interesting, interested and just right for all you hep cats out there. Really, the most enjoyable night I can imagine. Newspapers listed the show as "Eric Krasno and Friends" but the flyer called the ensemble "Emancipated Grooves" and it was actually more like "Oteil and the Peacemakers." Emancipated Groove sounds the best though." Eric, Al and Oteil, plus Kofi Burbridge on keys and flute, Kebby Williams on sax, John Colby (?) on fiddle. Also Dave F. played double guitar for the first set, Anthony played drums for the first two tunes (about 45 min) of the second set, and another guest on keys played the first tune of that set. The groove was fat and funky. Lots of room to stretch and play around and enough time to sit back and listen. It was clearly Oteil's gig, although there were relatively few singing solos- a nice change. He's such a talented bassist and that repetitive showboating can really draw away from his playing. Tonight he was right on. Right On! Highlights included a great version of Ahnk early in the first set with nice interplay between the whole band and great solos from both guitarists. A long, beautiful Church near the end of the set featured some heartfelt preaching from Oteil about the value of clean living. The second set opener was a jazzy tune-funky and felt out. The guest on keys really laid on the Roland adding a great funk sensibility tempered with some solid syncopated playing. Also, while I'm generally loath to call anything "the greatest." the Jesus Children was unreal. Right from the start there was some kind of special energy created- something else all together. Inspired playing was par for the jam and the composed sections were unbelievably hot. It stretched beyond the twenty minute mark and fused my cerebral cortex into a jiggly mass of gray goo, rendering me speechless and drooling- possibly the best five bucks I've ever spent on live music, or anything, for that matter...
John
Scofield's Bump Band w/ Ulu and Soulive By Dan Alford Soulive: Uncle Junior, Steppin', Right On, Turn It Out The
Bump Band: Kelpers, Chichon, Beep Beep, Jeep on 35, Fez, 3 Sisters,
? > We Are Not Alone > Kilgeffen, Blackout Sco is the man! The funky jazz master jives well with the jamband groove world and has been wildly embraced a grand master of the scene even though he really only caught on amongst the younger folks through his collaboration with New York's own MMW. Regardless of how you know him, he is a guitar guru who is absolutely insane in the intensity of his playing. He makes sounds that no one else makes, scratching, screeching, slipping and bopping through the cosmos, or just around the back yard. His new album "Bump" is a follow up to his "A Go-Go" collaboration with MMW, and features Chris wood on a few tunes. It moves along the same vein- slick funk. There are a variety of guests on the album, but on the whole it is really about Sco himself. His reverberating guitar is unquestionably the focus of the entire album. In concert, however, Sco is a consummate professional with the utmost of respect for his fellow musicians. Whether with the old John Scofield quartet, the New John Scofield Band, or the Bump Band, he is a leader who knows how to listen and thrives others fat grooves, making room for lots of solos from the group, as well as inspired interplay. But before that, my boys Soulive took the stage. We missed Ulu but made it just in time to for the power soul trio. They're set was short but rocked straight through. They were clearly psyched to be playing for such a large crowd and fed off the energy in the room. The Uncle Junior opener was absolutely smoking. Kraz tore it up on his solo, going wild. And the crowd responded in kind. Steppin' followed- easing about with those funky, big steps, before Kraz went nuts again. Fast and Furious. Right On had a super slick groove jamlet before the actual intro and Eric once again stepped up and pulled open the song. And Neal, always one to push limits himself, was right there-the pair traded off and wove musical laces around Al's beats. Unreal! Even for Soulive! Turn It Out finished up in classic style, following the same course as the other tunes- pumped up with wild energy. The crowd exploded. I envy all those people who were seeing the boys for the first time, 'cause they were on! Not to be outdone, Sco hit the stage running with a great version of Kelpers- smooth and funky with great work from Avi Bortnick on rhythm guitar. Chichon followed with a huge percussion solo, Sco, Chris and Avi all stepping back to watch the sparks fly. Beep Beep, a kind of goofy song along the lines of Jeep on 35 from "A Go-Go," was still intense, and the Sco surprised me at least, by actually playing Jeep on 35. It was great and wound down with a chaotic grinding duel between Chris and John. Fez is a nice, smooth song, and Mr. Wood lead the way with a sweet little intro on the up right bass. 3 Sisters is a rocker and did not disappoint. In fact from this point on, the show was insane. The following tune raged and Chris stepped up with his first real solo of the night- an earthquake. One of those moments when your body is vibrating so much that you're in danger of losing your footing. The jam slipped into We Are Not Alone and ended up in a beautifully played Kilgeffen. They closed the show with Blackout, an unfettered tribute to Sco's Bridgeport buddies, DBB. It even has the Deep Banana Blackout break down. Everyone took a shot at this one, which ended up creating a very nice ending to the set. Scofield's work is in many ways too intense for me. There is a very superficial level where the music is satisfying. It gives out solid grooves and tight little licks. But as you listen, there are so many layers to the songs, especially in the live setting. Everyone works on a variety of lines that converge and overlap, establishing intricate caverns of sound. Part of his mastery is that he is able to create these incredible line-ups- a skill that puts him on the level of jazz greats like Miles. For the encore Sco brought out Soulive to play The Chicken. This was the moment I was waiting for. Sco plays on two tune on the trio's forthcoming album (you can hear a sample MP3 at www.soulive.com) and sat in for their last set at Berk Fest. As John said, "I love Soulive." The Chicken is a sort of standard sit-in tune- it's hot and has lots of solo room, plus everybody knows it. It's like Sissy Strut or Right On. Anyway everyone played their hearts out, blowing away the audience. Al, in particular, was on fire, pounding away to the excitement of everyone on stage and in attendance. In the end it was another night of smoking grooves in the dirty, but increasingly spring like, city.
Schleigho
By George Schaefer Holy cow, Batman! This is too surreal! Derek Trucks and Oteil Burbridge are wearing tie dyes that I used to own. And it sounds like they're playing "Crazy Love." This is a song you don't often get to hear. It's a great followup to a smoking "Statesboro Blues" opener. Gregg's voice is in peak form and Dickie is really stepping it up tonight. The amazing interplay between Butch and Jaimoe and Marc Quinones was dead on tonight. It's amazing to listen to the interaction between these three drummers. This is music the way it's supposed to be played. It's the last night of another successful Beacon run. It's stifling hot but the music is irresistible. The Brothers played two electrifying sets. "True Gravity" continues to be a mind altering jam to close set one. "Midnight Rider" is one of my favorites. I think it's one of the best written songs in the ABB repertoire. It's always a treat to hear a good Rider. Other highlights were the Sonny Boy Williamson classic "One Way Out," and "In Memory of Elizabeth Reed." "Revival" served as a stunning 2nd set closer. By the time they wrapped up a now rare "Whipping Post" encore, I was sweaty and satisfied. The Allman Brothers Band lived up to their legendary status tonight. The most electrifying band in the business just finished a show. Good lord, now I need a beer. I am too fired up to go home and sleep after the ABB show, but the Derek Trucks show at the Wetlands is sold out. I wandered over to the Knitting Factory to see if anything was going on. I get there and the main space is closed up but I hear some trippy, jammy music coming from downstairs. There's only one logical (too much Star Trek when I was younger) thing to do: Stroll down the steps to learn that Schleigho is performing for free in the Tap Room. This is too good to pass up. It's hot and smoky like a good club should be. Schleigho is rocking the house. I worm my way to bar and get myself a brew. I find a comfortable spot to stand and check out the jams. It is my first time seeing Schleigho so I have no familiarity with the songs but I am quite impressed with the jams. These guys are good musicians. I decided to stick around for their entire set. It was a suitable capper after an ABB show. All in all, it was a rather impressive night of musical madness in New York City.
The Maui Project: Songs About Paradise Review by Erin McKeon Marc
Brownstein: Bass, Vocals I got angry. I felt betrayed. I cried, longing for better days. As I watched the tell-tale bobbing of that head, heard the emotion pounding out of that familiar white bass, I laughed. I danced. I cried some more, and I knew that better days were finally here. The Maui Project grabbed me from the first note and threw me into Marc's world. And no single night of music has ever affected me quite as profoundly. For those of you expecting a blow-by-blow assessment of the songs, I must warn you - that's not what this review is about. Although I will say that the songs are amazingly well written, well composed, and well put together. And they sounded tight as all hell. I was quite literally blown away by the cohesiveness of this group - a group who, until mere weeks before the show, had never played together before. Each member of the Maui Project added his/her own unique flavor to the mix, and the combination was, simply put, magical. In fact, I would go so far as to say the entire night was magical. As a good friend of Marc's, and a long time devout follower of The Disco Biscuits, the recent parting of ways between the two crushed me more than I can say. In many ways, it completely destroyed me, forcing me to reevaluate every aspect of my life. That's how much their music meant to me. I live in San Francisco now, and I didn't fly out for the Biscuits show on March 11th at the Wetlands, because I couldn't. I couldn't bring myself to stand there and watch the band that I loved more than anything in this life play a show without their most charismatic member, Marc Brownstein. As much as I wanted to - as much as I wanted the remaining three members of the band to know how much I still loved them - I knew being at a show without that bobbing head and infectious smile would have reduced me to a pile of tears. But when Marc called to tell me about the Maui Project - I knew I had to be there. It was different. He wasn't playing Biscuit songs, he was writing completely new songs - his way of dealing with the pain we all felt. I could tell just by the excitement in his voice that these songs were helping him heal - and I wanted them to help me too. They did. Marc opened up his heart and soul to everyone in that club Saturday night - we all felt his pain, his anger, and his healing. And we all healed with him. The Maui Project exists in two parts. The first half is dark, tense, angry, hurt. Full of pain and pent-up emotion. But as the songs progress, so does the emotion. From the initial anger and animosity towards final acceptance, love, and an overwhelming feeling that everything is going to be alright. Being in that room, surrounded by the tight-knit "Bisco" family, I felt my heart begin to lift. By the end of the night I was dancing and twirling, singing and laughing - happier than I had been in months. After the show, Marc said to me…. "See Trooper? Bisco's still alive and kicking. You just have to know where to look." And
then he smiled that smile. Bisco is alive and kicking. Nowhere was that made more obvious than in the ear-to-ear grin of every person at the Wetlands. Marc, on behalf of the family, I would like to say thank you. Thank you for having the courage to open up and share such a cathartic moment with us all. It means more to us than you can ever know.
The
Governors De-Flow By Anthony Coloneri It was a gorgeous evening in Manhattan as my friend and I made the short trek from Oceanside, LI to relax and enjoy some music at the Elbow Room. It has been a while since I've been to the Elbow Room, at least 2 years, so I was looking forward to hearing what the venue had to offer. I stuck around the main stage for a bit, grabbed a beer, and checked out the scene. The Governors were playing a CD release party gig and I really enjoyed listening to their set. Displaying short, poppy songs but with an attitude and purpose, the Governors impressed me with how tight they were. The vocals were solid and the songs were well structured and performed. I recommend checking them out. The audience was enjoying themselves, and although this type of music doesn't dominate my collection at home, they were obviously very solid musicians, focused on creating a unique style within this context. As I was leaving the show and thinking about having a beer across the street, I looked to the right and saw these steps leading up to a bar. I've never really noticed this part of the venue so I decided to check it out. I wasn't disappointed. I walked into a groove that carried me the rest of the night. The upstairs "Lounge" (as I like to call it), was captured with candles everywhere and couches for people to sit back and relax. A much more mellow scene than the downstairs section, and for a split second I thought I entered another world. It was less crowded, people were really kicking it, and as I turned my head to the left, I noticed a band laying down the sickest grooves I've heard in a while. The scene was so mellow and surreal that I didn't even realize a band was performing. Sometimes it's nice to be surprised. The band, De-Flow, which performs at the Elbow Room every Saturday night, consists of a guitarist, drummer, bassist, two keyboardist, and percussionist. De-Flow performed groove after groove and always left me hungry for more. Starting with a simple beat off of a sample or basic riff from the bassist or guitarist, the band formed a sound with each musician adding an integral, influential part. I was thoroughly impressed with how well they were listening to each other and feeding off of each other's energy. Another aspect that I enjoyed was their unselfishness toward each other. There were no major solos displayed by any one artist for the majority of time they were performing. Instead, the groove took priority and built a foundation for which the musicians began a conversation that never got boring. The guitarist was constantly evolving his funky riffs to better suit where the groove was going. Change..it was nice to hear, and nice to feel. I was able to catch about 3 or 4 songs from the first set, in which a small break followed. For the second set, guests musicians took the stage and filled in with guitar, keyboard, and drums. It was nice to hear a different flavor of jam, but I was looking forward to the original outfit to take the stage again. It just didn't sound right during the first 2 or 3 songs. Maybe I'm already spoiled from listening to a few songs from the first set! For the remainder of the evening, the original members took the stage, with the guitarist occasionally switching with guests guitarists. An alto saxophonist also joined them for the remainder of the 2nd set but was not over bearing at all. One of my biggest complaints with horn players is that, whether or not it is intentional, there instrument becomes the dominant force in the groove and it becomes stale rather quickly. This was not the case here. The sax player was smooth, and his timing in the groove was perfect; laying low when necessary and filling in the cracks with a sweet sound every time. The keyboardists blended nicely together as the drummer kept the entire band focused and together. I am always impressed with drumming that allows your ears to ignore the technical side of the beat, even though the consistency is there. The down beat was a given to my ears, which allowed everything else to open up. Believe me, the musicians took full advantage of these opportunities. As the time was nearing 3 am, we decided to head home and grab a slice of pizza for the road. The weather was perfect for a walk, and my ears were still in a trance. New York gets me every time. Again, every Sat. night De-Flow will be performing at the Elbow Room. Check them out. You won't be disappointed.
The
Maui Project By Anthony Coloneri Set I: Tension, Grass Is Green, Triumph > Home, No Matter Set II: Freedom, Humuhumunukunukuapu'a, Home Again, Ulua, Kamole Sands Set III: Gratitude* > M.E.M.P.H.I.S.*# > Little Lai#**, The Chicken#**^ Enc: Mmmkay Notes: * With Carol Wade # With Aron Magner. ** With Jon Gutwillig. ^ With horn player from Foxtrot Zulu. "Now
I know that you can't always get what you want, For one reason or another, this phrase has been in my head over and over again since the Maui Project performed at the Wetlands Preserve on Saturday night. Two simple verses blending together to give meaning to music supporting the cause. It spoke wonders to me at the show and the words still do. Living in this small, quiet town we call Manhattan, it's hard to imagine you can't always get what you want, or see. Everything is here, in arms reach, just waiting to be heard, used, spoken to. To hear these words over and over again, for a brief second, I felt as helpless as a child, reaching for objects whose names have not yet been discovered. I made my way to the Wetlands from Hoboken at around 9:30 or 10:00 pm, and there was already a line at the door. Smiles all around, it was an odd surprise to see the NYC heads draped in clothes which would have been more suited for a vacation in Hawaii. As I walked into the show, I have to say I expected the venue to be draped in a club med fantasy land. This was not the case, but I have a habit of stretching my expectations. Instead, the place was very crowded and starting to steam up as soon as I got there. Fortunately, I knew this wouldn't last as the night continued. That's one of the great things about the Wetlands; sure it can get crowded every now and then, but I always find a way to adjust and wait for the storm to clear. I made my way downstairs, had a few beers, and waited for some friends to arrive. As is the case every time I go to see a show, I lost track of the time but made it upstairs just in time for the band to take the stage. The Maui Project, consisting of Marc Brownstein (Bass), Max Delaney (Guitar), David Hoffman (Drums), DJ Stitch (Turntables), a percussionist, and two female vocalists, immediately went into their first song of the evening, "Tension." Brownie looked a little nervous (actually he said he was a bit nervous!), but he took his time and started things up confidently. For the actual segment of the show that was labeled the "Maui Project" (the first two sets), the band was performing some of the most innovative songs I've heard at the Wetlands in a long, long time. Powered by Brownie's bass playing, I could hear something different being projected, something funkier than the norm. "Tension" was a great opener, and gave the audience the idea that this wasn't going to be your average "Gambian" type of show. The music was dark at times, as Brownstein and Delaney were in perfect sync to start the song with flowing melodic lines. Every now and then I gandered at the audience and saw something very refreshing. Some people were completely losing themselves and dancing their heads off, while others were just standing there, thinking about what they were hearing. This evening was filled with everything "new," and I don't think anyone took it for granted. Eventually, as the evening progress, everyone was getting down, but the initial reaction was priceless. You've got to love it. Delaney fit perfectly in the mix and stepped up with melodies that seemed to lift the song even higher. At some points I felt like each beat waited for Delaney's guitar to land on these enormous notes that came crashing down on everyone's head. Each note carried the song to an extreme peak until finally it melted into a group jam. I can tell these guys really put some time into these songs to make them more than just platforms for a jam. Each song was a distinction in itself, and a story was being told. DJ Stitch was a nice addition to the mix and gave each song that extra flavor, complimenting Shield's playing beautifully. Very unselfishness, groove oriented performing by these two musicians that kept everything interesting and fun. It was during the 2nd or 3rd song that I first noticed the giant screen on the left wall of the venue. I have mixed feelings about this. While they were performing, the screen was showing images of under water scenery. It was a very cool effect and fit with the music and lyrics, but I tend to think a screen with images portrayed during a show like this is almost distracting. A light show is one thing (and a good thing!), but a screen displaying images, that isn't in the same direction as the band (to the left instead of directly behind the stage), kind of takes away from the performance. I enjoy all attention towards the stage, but It didn't really bother me too much, as I was concentrating on the music. The third set opened with "Gratitude," and I was completely blown away by how much energy the band was letting out onstage. They really did the Beastie's justice by covering this song. Perfect way to keep the vibe going. It was during the next few songs that we were also treated to a nice surprise. Aron Magner and Jon Gutwillig of the Disco Biscuits joined Brownstein onstage for a few songs as Delaney and Shields stepped down for a bit. Although the original outfit was absent, the vibe was still there. It was nice to see members of the Biscuits take the stage with Brownstein. It was nice to see the three of them playing music together, and it was obvious from the smiles on their faces they were enjoying themselves immensely. Definitely a great addition to the evening. I have a feeling we haven't seen the end of Brownstein on stage. This little segment of writing he accomplished was a tremendous achievement in my eyes; such an original concept thrown into a unique mixture of words and music. A handpicked band to perform a night's worth of incredible music is exactly what I needed. Thank you.
Heroin
in Hell Lou Reed By Rod Asbury Park, New Jersey is not a place you really want to find yourself too very often, unless of course, you're in the mood for a little crack and some gang violence or something of that nature. Well, you could also find Tony Soprano there, but that would mean you were trapped inside the dreams of a fictional character and that would be far more disturbing than the most terrifying scenes even Asbury Park could muster. But I digress. The Paramount Theatre is located right on the boardwalk in lovely Asbury Park, and is easy to spot because it's the only building big enough to hold two thousand people that doesn't have boards over the windows. I'd bought my ticket earlier in the day and arrived at the venue about an hour and a half before show time, so I had time to wander around the boardwalk and stop by Howard Johnson's for some french fries and a cup of coffee before meandering into the theatre for what would be Lou's last of 3 warm-up shows in the USA before embarking on a European tour. (every time I eat at Howard Johnson's, I remember that scene in "Fritz the Cat" where Fritz and his girlfriend stop at a Howard Johnsons for food... but again, I digress). The Paramount is a nice little venue. I had great seats and the sold out venue had the feeling of a Dylan show. There was just this strange mix of folks in the room, and there's no way you would have been able to get all these people into the same room for ANY other reason. I always love/hate those types of crowds. They're a lot of fun to watch, but not a lot of fun to dance with. How can you sit on your hands and stare when great music is blasting? I just don't get it... Lou and his three musical compatriots took the stage shortly after 8 pm and started the show with a song from his new album "Ecstasy." And although I could say something about drugs and Lou Reed song titles, I won't. The first song "Paranoia in the Key of E" is probably my favorite of the new songs. Extremely well written tune, and Lou seemed to like it a lot, enunciating clearly, and though Lou never really "sings" anything, there were times where I thought he was almost going to break away from his trademark rap-slap-slampoetry-vocaljam style and start doing some more conventional singing ... but he didn't. He kept up the pace of new material for the next 4 songs then launched into the first treat of the night. "Small Town," from his "Songs for Drella" collaboration with John Cale was astounding. Reworked to suit this electric, dirty-ass rock 'n roll band, it had the claustrophobic, seedy feel of Asbury Park dripping out of the edges of the room and seeping into the streets below like it was written with that town in mind. Next up, was the absolute highlight of the evening for me... Street Hassle ... the whole damned thing! For those of you who are unfamiliar with Street Hassle, it's kinda like Lou Reed's Terrapin Station, long, multifaceted, and difficult to perform on the best of days. But Lou handled it like a champ, getting every word and nuance of phrasing down in an almost scientific manner while never forgetting he was performing a piece of living art. On the album of the same name, Street Hassle clocks in at about 12 minutes (if memory serves), and live, it went on for almost 20 minutes with an AMAZING jam in the center. Lou's lead guitar player just went bananas and Lou, ever the rhythm guitar maestro, held down the fort during this sonic bombardment of the Jersey Shore. I expected to walk outside and see a warzone after that was over, of course Asbury Park already looks like a warzone, so it sorta fit in a weird kinda way. Lou tore into a couple more new tunes then went back to 1989s New York album for a couple of songs... Romeo and Juliet sounded NOTHING, and I mean NOTHING, like the original version. This one was nastier, dirtier, seedier, harder, faster, and more in your face than even a big fat Heroin could ever be. Words fail me on this one because it is a song I'd really hoped he would do, but I could never have imagined he'd do it like this. A spectacular reworking of a great song. Next came "Dime Store Mystery" from New York. WHOA! Another long, jammy version of a song I can't get enough of. If you're not too familiar with Lou's solo work, check out "New York" sometime. It'll give you a feel for Lou at his best. Lou finished up the main set with a few more selections from his new album, each one done well, but since I've not heard Ecstasy yet, I can't really say a lot about them. Encore set came up, and Lou delivered our first (and only) Velvet Underground song of the night. "Sweet Jane" cranked up, and all those people who'd been sitting on their hands all night, waiting for something familiar jumped out of their seats as if they were in the movie Matinee (the scene where John Goodman has the seats wired and sends an electric shock through them ... kinda like that). Dancing and jumping around and, of course, off-key singalongs were the order of the song, which went on for about 15 minutes with yet another long, inspired centerpiece jam in the dirty-ass style Lou is so famous for. Second encore, Dirty Blvd. (from New York). Wow! Maybe my favorite song from New York, and another perfect song for Lou to do in Asbury Park. Rocking doesn't even begin to describe it. Jammed out to the max again, the song wound down to earth no less than 8 minutes after it started and Lou introduced the band quickly before starting up the final encore of the night... Vicious. And it was just that... Vicious, about 12 minutes long and every second worth hearing. Then the lights came on, and we all had to go home. I could have sat there for another 3-plus hours and seen more more more. I
left, went down on the boardwalk for a smoke and watched the waves
roll in. As I guess it always is at that hour, the Asbury Park boardwalk
found itself holding up the bodies of junkies, crack whores, and
winos, which made it all the more perfect setting for a show like
the one I'd just left. Thankful I didn't fit any of the aforementioned
categories, I gathered myself and went back to Howard Johnson's
for some more french fries and coffee. [editor's note: this review came in too late to use last month so I am offering it now...] I
Came Open-Minded The Disco Biscuits by Bill Faas I must say that the news of marc brownstein leaving THE DISCO BISCUITS totally shocked me. I consider Marc a friend as I did with each member of the band. But knowing that I love the music so much I wanted to have a wait and see attitude, and 3/11/00 at the wetlands was what I saw! Know I had heard that the remaining members of the band had been busy at home practicing and working on new material. What I experienced this night was way beyond any expectations that had previously been built. From the opening notes of SPAGA I could tell that john, aron, and sammy had done some homework but now in the mix was DJ MAURICIO doing a little spinning right next to the keyboard stand. Immediately I could notice that the sounds that were coming out of the new instrument were expanding the sound the BISCUITS had always been trying to explore. During an evening that five new songs were played and three different individuals took turns playing the bass, I started noticing that most of the packed SOLD OUT crowd was sending and showing their approval for this new chapter in BISCO. The 1st surprise of the night was during SPLATTUMS when sammy came out front and strapped on the bass. Now for those of you who dont know sammy used to play in a band before the BISCUITS and he was the bassest. My 1st thoughts were of pure pleasure at seeing this. I had been privately lobbying to have sammy take over these duties. The next surprise came in the form of a violinist named Kim. The band proceeded to perform Mozart's EINE KLEME NACTMUSICK....what a delight this was! The 1st set closed with a JIGSAW EARTH with Barber on the bass! The second set opened with a new song entitled STORY OF THE WORLD , a song which i think has many possibilities. Sammy returns for the next two songs on the bass. A VOICES INSANE>BASIS FOR A DAY! All the while a movie screen on the wall of the wetlands is playing cartoons on the screen ala 12/30/00,12/31/00 in philadelphia. The next surprise for the evening and probably the most pleasant of all was the appearance of Carol Wade on the bass. As most of you must know Carol is a columnist for Jambands.com.It seems that Carol had done her homework because the DRIBBLE that they performed was one of the funkiest i've ever heard!
Carol showed that she had no fear but showed a relaxation on stage that i wish i would see in every musician out there. She more than held her own on a very bass oriented song. Smiling the whole time Carol and the crowd shared a moment in time that makes keep going back time and time again to see these moments. The crowd's approval at the end of the song seemed to me to be an agreement among some of us that The Disco Biscuits may have just found there new bassist. I dont think that anyone can replace Marc but I believe new chapters can be started and meet the goal they have set out to do. I for one will miss Marc very much!!! I LOVE YOU LIKE A BROTHER!!! The second set ends where the show started with an ending to the SPAGA they opened with. As for the surprise that i saw performed early in the day during the soundcheck, that was yet to come. The encore of the evening was an acoustic I-MAN! Now this was performed with Barber on guitar,Aron on keys,and Sammy on a set of conga's sitting between them. A perfect way to end a perfect evening! As far as DJ Mauricio i was completely blown away by the fact the one little box could so enhance the music that i have come to love so much. To say that i am looking forward to the next four Biscuits is an understatement. I myself am seriously considering selling my Phil Lesh ticket for the 15th and go to the Recher theater show. All i know is i walked out of the Wetlands on the 11th at 5:00 a.m. took a deep breath and known i had just witnessed a new chapter and i was already itching for more BISCO!
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