Tampa Calling

Some shots from last night’s Green Day show at the forum. More will be featured in a follow-up review of the show that will be posted sometime tomorrow. Stay tuned.

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Metal Monday came early this week with Sunday evening’s show at Czar’s Imperial Palace featuring Torche, House of Lightning and Averkiou. Death Metal, one of Tampa’s more unqiue claims to fame, has influenced a plethora of subgenres including the hardcore scene I grew up in. It was awesome to see how many old school hardcore kids made it out on a Sunday night along with a whole new group of metal afficiandos.

Torche

Hailing from Miami, Torche has a rabid fan base hooked on their unique sound – part thrash with a twist of melodic hardcore, and dare I say a bit of twang, all against a solid metal foundation. Decibel Magazine called Torche’s music a “whole new beast built from the DNA up.” Ever since Torche’s Meanderthal (Hydrahead Records) took the No. 1 spot on Decibel’s 2008 Top 40 Extreme Albums list, the band’s fan base has rapidly expanded. Thankfully, their intensity remains intact. (MORE PICS AFTER THE JUMP) Read the rest of this entry »

Check out my shots from the Maxwell show at Ruth Eckerd Hall in Clearwater this past Thursday, July 30. Apparently the neo-soul singer is bashful; the handful of photographers were granted access to shoot the first three songs, but only from the very back of the auditorium.

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It was ridiculously hot. It took me 15 minutes to realize that my white wife beater would become my face towel for the day. It was loud. It was colorful. It was my first time at Vinoy Park. And finally, at the age of 24, it was my first time experiencing Warped Tour.

It’s been three years since I attended a music festival and as I walked through the ticket line into a field filled with tents, stages, beer stands and even a slip n’ slide, I instantly recalled why I love outdoor fests; passing through the gates meant entering a world of the unpredictable and the unexpected. I didn’t know what kind of crazies I’d come across (there were bound to be some amidst the 10,000 attendees), what kind of new music I’d hear, or how pleased I’d be with the bands I was there to support. Read the rest of this entry »

“I’m so blessed to / have spent the time / with my family and the friends I love/ with my short life / I have met so many people I deeply care for”

These final chanted lyrics of Yeasayer’s “Red Cave” go a ridiculously long way in summarizing exactly what my recent trip to Chicago for the fifth annual Pitchfork Festival meant to me. While I’d been to the fest several times in the past (the first three, actually), this marked the first time that a huge group of old friends (LBHS stand up!) were able to meet up and enjoy the city and the music and the drunken shenanigans together. (Pictured at right: Wayne Coyne of the Flaming Lips; all photos by R. Kevin Rose.)

What’d I learn? well, for starters… we are all official members of the POSI-ADULT CREW. Not straight edge — not even close — but definitely upbeat and affable. Positive, if you will. A group of kids raised on (amongst many, many other things) Bad Brains’ “P.M.A.”, Seven Seconds, Dag Nasty, Gorilla Biscuits, etc., who grew into a geographically dispersed crew of adults … all of us still kinda “Screaming For Change” in our own unique ways. (LOTS MORE PICS AND SHENANIGANS AFTER THE JUMP) Read the rest of this entry »

Anyone who pays any attention to music in Florida has heard about The Takers at some point in the past year, and since Suburban Home picked them up, the hype machine has been doing nothing but gaining momentum. By the time Virgil reached out to me with a copy of the band’s debut album, Taker Easy, I was already wondering if they’d be able to match the advance billing. Now, after spending some two months with the CD and managing to catch them live at the Citrus Circuit Tour, I can readily proclaim that yes, The Takers are worthy of the hype. Now hopefully with the CD finally coming out the rest of the country will get behind this little Florida band.

The Takers are a ragtag collection of bike mechanics, cooks, restaurant managers, cashiers and recycled ink salesmen out of Tim Tebow-land (Gainesville). They came together almost by accident when Devon Vlasin (singer) found himself in need of a backing band to open for an upcoming Willie Heath Neal show. A few phone calls and free beer bribes netted a temporary ensemble that decided to keep at it beyond the one-night gig. After some member revisions and additions, the band finally settled in with singer Devon Vlasin joined by Chad Smith and Ronnie Holmes on electric guitars, Jerome Goodman on bass, Mike Collins on pedal steel and drummer Jon Reinertsen. Read the rest of this entry »

Looking over my notes from Thursday night’s show, I’m inclined to call Nightmare of You unique. Words like “nuts,” “dub” and “sultry” jump off the page, infiltrating my consciousness and recreating the music of this NYC band.

The four-piece put on an incredible show. After a little bit of gambling with members of other bands (Plushgun, Brian Bonz, and Aushua), these guys jumped on stage and rocked it. There was no need for onstage shenanigans — the music said it all. Read the rest of this entry »

A series of shots from the Wednesday, July 22 show featuring Reel Big Fish, the English Beat and The Supervillains at The Ritz Theater in Ybor City.

Reel Big Fish

(More pics after the jump) Read the rest of this entry »

Pedals on our Pirate Ships finally sailed into Tampa on July 21! Which explains how I found myself out late on a Tuesday work night at Transitions Art Gallery to see Pedals on our Pirate Ships (Richmond), The Wild (Atlanta) and Regular Size People Fight (Tampa).

Pedals on our Pirate Ships

My friend Jeff made me some mix CDs last winter and the song that immediately caught my attention was “Peter Pan Syndrome,” with its chorus “Will you be my Wendy? Will you be my Tinkerbell? / Don’t be silly you can be my Tiger Lily still” and lines like “We don’t have goals but we have lots of fun” and “but secretly we all miss our mothers, we seek security in the arms of lovers.” When I couldn’t get the song out of my head, I looked up the band with a peculiar name, Pedals on our Pirate Ships, listened to the rest of the songs posted on their Myspace page, and was hooked.

Hailing from Richmond, VA, these folk punk rockers play extremely fun and catchy tunes with just a tinge of introspection. In “Reinventing Bryan Adams” Matt belts out “Why do they call it goodbye, doesn’t feel so good to me, why don’t we call a spade a spade, say what we really mean… look me in the eye and say loving you is fucking killing me” At the show, a small but enthusiastic crowd sang along at the top of their lungs to the crowd favorites, including “Peter Pan Syndrome” and “Night of the Living Wage.” Read the rest of this entry »

(All photos by elawgrrl)

This past Saturday night, the Cuban Club Bandshell played host to a long awaited and twice-delayed show by the Avett Brothers. Once for the birth of Scott Avett’s daughter, the other due to a scheduling conflict as the North Carolina foursome opened for the Dave Mathews Band earlier in the summer. Accordingly, fans packed into the charmingly-neglected Cuban Club awaiting a trademark, knock-you-on-your-ass Avett Brothers’ performance — and they delivered.

The Avetts opened with a track from their upcoming release, I and Love and You (September 29, American Recordings) — “Laundry Room,” an entrancing song with a refrain I still can’t get out of my head. Then the band traversed through their entire catalog, with highlights that included “Distraction #74,” “Gimmeakiss,” “I and Love and You” and “Shame.”

As NPR’s Bob Boilen recently pointed out, Scott Avett sings as if he swallowed an amplifier. The long-haired, banjo thrashing hillbilly yells love songs at the top of his lungs. It’s a sweaty mess, but still ends up being captivating, raw and beautiful. The younger (and only other brother), Seth Avett, plays George to Scott’s John, Paul and Ringo, as the older Avett will sometimes take to the drum kit and keyboard. Often when drums are interspersed within a set, the music lacks punch and suffers inconsistencies — but the energy of Avetts made up for it. Not to mention the brothers, along with Bob Crawford on upright and electric bass and Joe Kwon on cello, pound the hell out of the back of their respective instruments. (Setlist and more after the jump…) Read the rest of this entry »

As I said with my last post about Nerdapalooza, I wasn’t really familiar with the whole genre (or its fan base) until mere weeks before attending the festival, but I had a short list of people I wanted to see as Trevor and I shoved off from St. Petersburg last Saturday morning.

Now, I’m typing this a little under 24 hours after getting home from the festival. Showered, rested, and fed, I’m still not sure how I want to cover it. There were plenty of disappointments, such as Kabuto The Python (the #1 thing I wanted to see) not thinking to try the rapping with a mask thing out before stepping out onto a stage, which resulted in Kabuto the Mime. There was The Protomen’s set so mired in feedback that you would have thought they brought it along as a special guest. Then there was the most frustrating part of all, the festival’s complete and utter inability to stay anywhere close to the schedule (more on that later).

But this isn’t meant to be a diatribe from some outsider coming in to point at the nerds and talk about how shitty their convention was. And as I drove home, I reflected on some of the cool shit we saw. The first band we caught, Captain Dan & the Scurvy Crew, were quite entertaining both sonically and visually as they took the stage in complete pirate garb. Kabuto aside, the rest of the Scrub Club showcase was phenomenal. As a “crew” they seem to embrace a “hiphop first, nerd second” approach to their music and stage show that really appealed to me.

Then there was the out of left field “holy shit I am gonna talk about that for months” set by Schaffer The Darklord. I’d listened to his material on Myspace in preparation for the festival and was lukewarm to it at best. However, live … live is where it was at. Those lazy beats and rhyme delivery were pushed aside for an uptempo, high energy tight stage show that captivated the entire room. Watching him on stage I kept thinking, this dude is like nerdcore’s version of Col. J.D. Wilkes (for those who don’t know, read about JD here). I don’t think there is any doubt that Schaffer stole the entire festival with his shortened performance. Read the rest of this entry »

It’s been three years since Soviet-American songstress Regina Spektor first enchanted us with the soul-pop perfection of Begin to Hope and proved herself a storyteller with a keen sense of detail and drama, a confident singer with a broad vocal range — from high and pure to low and sensual — and a poet with a unique use of words and an alluring inflection, not as if English were her second language, but as if she’s established a whole new charming style of speaking.

The follow-up and Spektor’s fifth studio album doesn’t quite attain the catchy ease of its predecessor, but far (Sire Records) carries its own abundance of appeal.

In the bouncy opening track, “The Calculation,” Spektor playfully ponders the mathematical equation of love and the surprising fury of its burn while in “Folding Chair,” she enjoys a casual day at the beach with her sweetheart and daydreams of domestic bliss (“Let’s get a silver bullet trailer, and have a baby boy / I’ll safety pin his clothes all cool and you’ll graffiti up his toys”). “The Wallet” shows her way of making the mundane seem remarkable with a touching ballad about finding someone’s lost wallet, and she combines quiet, abstract contemplation with grandiose stretches of piano and rhythmic flourishes in the melancholy yet somehow uplifting “Eet.” (Video after the jump) Read the rest of this entry »

It was not all that long ago that a self-imposed eight-year hiatus by an R&B singer was tantamount to quitting the game. Labels wouldn’t have it; fans would forget.

Singer Maxwell’s retreat for most of the decade into “pedestrian life” has done nothing to hurt his career. BLACKSummer’snight, his first release since 2001’s Now just entered the Billboard 200 chart at No. 1 with sales of 316,000.

Maxwell’s re-arrival happens at a precipitous time, amid a listless modern soul scene where hardly anyone can resist the Auto-Tune button. We’ll call BLACKSummer’snight a solid return, especially welcome considering contemporary R&B’s current state of affairs.

The 36-year-old Brooklyn-bred artist is a genuine singer in the classic mold of a Marvin Gaye. His stock-in-trade is smoldering restraint, but he can grasp for the rasp and turn up the passion when called for.

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WMNF’s 4th Annual Americana Fest at Skipper’s Smokehouse went off without a hitch this past Saturday, July 11, a hand clappin’, boot stompin’ good time that showcased the vast array of talent in Florida’s Americana scene.

Have Gun, Will Travel

Originally masterminded by Ted Lukas, Americana Fest is all grown up. This year featured ten outstanding Florida Americana bands: Ted Lukas & the Misled, Will Quinlan & the Diviners, Have Gun, Will Travel, Thomas Wynn & the Believers, Nervous Turkey, Black Finger, Roppongi’s Ace, Mike Dunn & the Kings of New England, Matt Butcher and The Nine Volts plus a national headliner: Blue Mountain. Read the rest of this entry »

It’s been many weeks since I’ve made it out to a show in Tampa. I blame travels, nonspecific busyness and a lack of excitable summer concerts in the Tampa Bay area. It took Georgia’s Perpetual Groove (pictured, photo by Phil Bardi) — a band I’ve always somehow managed to miss even though they play the area frequently — to get me out of the house.

By the time the four-piece (drums, bass, guitar, synth/keys) took the stage just after 10 pm on Friday, July 10, a few hundred of Tampa’s finest heady brahs and chicks in sundresses crowded Ybor’s Crowbar Friday night. PGroove’s first set held true to their name — flowing from one disco rock groove to the next. It worked for most of the set, but I grew bored, craving more interplay, energy and stronger melodies. Read the rest of this entry »

It was fated that one day they’d collaborate. Audioslave (and former Rage Against the Machine) guitarist Tom Morello and Boots Riley, rapper for the Coup, are two of the most stridently radical musicians to ever plug in. Get ’em together and you get Street Sweeper Social Club, 11 songs and nearly 40 minutes of unremitting agitprop set to thunder beats and monster guitar riffs.

Every song rails against something: bosses, politicians, capitalism, materialism, the System. Virtually every song advocates the violent overthrow of oppressive forces, the gathering of guns, the whole ain’t-taking-shit-NO-more thing.

Unless you’re planning to cause trouble at the next G8 summit, this kind of rhetorical and musical onslaught can wear your ass out. But give Morello and Riley big ups for commitment — and big up Stanton Moore for providing the crushing funk-rock grooves.

Rap-metal is a worn-out subgenre, and to some extent the Morello/Riley team (along with drummer Stanton Moore) sags under the weight of stylistic orthodoxies. There are only so many new ways to approach a heavy guitar riff, only so many variations on funk-rock beats. Read the rest of this entry »

In three short years, the Reax/ThxMgmt Hot Dog Show has established itself as a must-attend event of the summer, providing a great opportunity to see a diverse group of bands, catch up with old friends, make some new ones, and of course, witness a hot dog-eating contest. This year, the Hot Dog Show took place on Friday, July 3, at Crowbar. I arrived just in time to see the first female victory in the hot dog eating contest (sorry – I didn’t catch her name!), which was followed by an animated performance by Bealsville/Plant City-based Shunda K of Yo Majesty! Bringing the evening to a dance party conclusion was Sunbears! (Jacksonville).

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“There’s so much joy in what we do up here…” Craig Finn of The Hold Steady exclaimed to fans near the end of their set at The Ritz on July 2, 2009, “…we are all the Hold Steady!“

The joy rang loud and proud throughout their set. Fans of The Hold Steady don’t just come and watch the band — they participate and follow along with the band antics.

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A rainy evening in Tampa couldn’t put out the metal fire at the Brass Mug on Wednesday, July 1. I caught the last two bands of the evening, Seventh Rule Records labelmates Light Yourself on Fire (Tampa) and Wetnurse (NYC).

Light Yourself on Fire Read the rest of this entry »

Most pop singers from the ’60s and ’70s who are fortunate enough to still be touring resort to what I call vocal cheats. That’s when they get to a point in an old hit that has a particularly high note they can’t hit — a note that especially resonates with the baby-boomer audience — so they either drop it an octave or turn it over to the background singers.

There’s nothing really shameful about these vocal cheats — it would be worse, for instance, if Daryl Hall tried to hit that big release note in “She’s Gone” and failed miserably. Or if Roger Daltrey attempted to render the big scream in “Won’t Get Fooled Again” and sounded like a frog.

I tell you all this because I saw Boz Scaggs last night at Ruth Eckerd Hall and he didn’t resort to any vocal cheats. He’s 65 years old. Very impressive. When, on “Lido Shuffle,” it came time for the “Lido, whoa, whoa” part, he was right on it — with the backup singers helping, yes, but not drowning him out and thus protecting him. Scaggs came up a little short or a little thin on some of the high notes, but he went for them all.

It wasn’t just the lack of vocal cheats that made Scaggs’ 75-minute set in front of a near-sold-out crowd a success. His voice still has that full, creamy texture of the old days, and his delivery and phrasing brimmed with nuance. (more photos below; all are by Tracy May)

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Jeff Tweedy doesn’t sound any happier. I’ve always found the Wilco leader’s apparent discomfort in his own skin to be one of the reasons the band was capable of compelling music (although by no means always).

On “Solitaire,” one of the many somber, introspective tunes on Wilco’s self-titled seventh studio album, Tweedy sings in his trademark laconic style, “Once I thought without a doubt/ I had it all figured out/ The universe with hands unseen/ I was cold as gasoline/ Took too long, to see, I was wrong, to believe, in me/ Only.”

Does that suggest that Tweedy is now playing well with others? Or has he finally found the others that are willing to follow his vision. I’m guessing it’s the latter.

In any case, Wilco’s approach on the new album hews more closely to standard song structures than some of the avant-garde-leaning work of the past. Only a handful of songs really stick to your ribs, though, and only one will have you singing it in Read the rest of this entry »

Hip-hop seems adrift, with no particular faction dominating the pop psyche (or the charts). Bling-rap isn’t resonating as much lately, these being trying times and all. The current landscape is perfect for a multi-facted, thinking artist such as Mos Def, whose fourth studio album, The Ecstatic, continues his impressive body of musical work.

The 35-year-old Brooklyn native — who has, perhaps more than any other rapper, made a mark in film, TV and theater — has never had much use for rules. And even though Mos Def is a middling music star, he still approaches his recordings with a decided indie hip-hop aesthetic.

That shows in his choice of producers —Madlib, Preservation, Mr. Flash, J Dilla — who collectively let the rhythm tracks breath, allowing room for Mos Def’s relaxed, conversational flow. Complementing the urban scrapyard of sounds, snippets of found dialogue and arcane samples are various jazz elements like vibes and horns and a handful of Middle Eastern-type chants.

Mos Def, a Muslim, avoids clichéd ’hood themes in favor of utopian ideas (“Revelation”) and commentary about everyday life (“Workers Comp”).

The album has moments of clever irony — like, on the intro the “The Embassy,” where a captain addresses his passengers and describes in detail the guns they have in the cabin. Read the rest of this entry »

Uh oh, the 40th anniversary of Woodstock is about a month and a half away. Did you remember? If not, it’s probably due to the distinct lack of buzz, seeing as there is no official concert scheduled, although boosters keep adding “as yet” in hopes that original co-producer Michael Lang will manage to put together a show in New York’s Prospect Park.

A handful of mostly lame events are planned for different parts of the country, and a tour called Heroes of Woodstock — featuring Mountain, Jefferson Starship, Tom Constanten (repping Grateful Dead) and others — has 16 dates on the books (none in the Southeast). In all, though, it would seem as if folks have other things on their mind than memorializing the watershed cultural event.

That doesn’t mean it’s a complete wasteland. Sony Music has released a well-thought-out group of reissues called The Woodstock Experience, five two-CD packages pairing a classic 1969 album and a complete Woodstock performance. Sony catalog artists Santana, Janis Joplin, Johnny Winter, Jefferson Airplane and Sly and the Family Stone got the treatment.

Thirty-three acts performed at the Woodstock Music & Art Fair from Aug. 15-18, 1969, including such long-forgotten names as Quill, Sweetwater, Keef Hartley Band and Bert Sommer. (The Beatles, Led Zeppelin, Bob Dylan, The Byrds and a handful of lesser-knowns declined invitations. Jeff Beck, Iron Butterfly and Joni Mitchell canceled.)

Only a handful of the performances have been immortalized, mostly via the 1970 film Woodstock and its soundtrack. And Sony can legitimately boast three of them in this collection: Sly, Santana and Joplin. Winter did not make it into the movie and while Jefferson Airplane were represented with two songs in celluloid, their set has not earned the same historical cachet as the top three.

Let’s have us a closer look at these twofers. I’ve ranked them on their merit as live performances. Read the rest of this entry »

First Levon Helm survived throat cancer, then, improbably, he started singing again. And then, astonishingly, he returned to form. While his voice is thinner than during his days with The Band — he is 69, after all — Helm still brings the grit, that marvelous blend of Ozark country, blues and gospel.

His first album after recovering, 2007’s Dirt Farmer (Vanguard), was a treasure, an absolutely genuine slice of Americana that won the Grammy for Best Traditional Folk Album.

Its followup, Electric Dirt, is another triumph, extending the reach of Farmer while retaining its rustic character. The new disc, released Tuesday, June 30, is not simply a plugged-in extension of its predecessor. Although electric guitars pop up now and again, it’s still largely an acoustic album. The addition of horns on four tracks — two arranged by Allen Toussaint and two by Stephen Bernstein — gives the new one an added dimension, some extra oomph.

The horns get into the act right way with a springy version of the Grateful Dead’s “Tennessee Jed,” which has a decidedly Band-ish feel and kicks off the disc with a great deal of exuberance. Read the rest of this entry »

A band of Florida traveling bards and minstrels aka the Citrus Circuit Tour made a stop at New World Brewery on Saturday, featuring Lake Worth’s Truckstop Coffee, Daytona’s Lauris Vidal, Gainesville’s The Takers and Bradento-based Have Gun, Will Travel.

Have Gun, Will Travel

With three new songs and a Tom Petty cover, Have Gun, Will Travel (HGWT) continues to innovate at each show. Accordingly, HGWT’s set had New World Brewery dancing up a storm and singing their hearts out to old favorites like “When We Were Kings” and “Blessing and a Curse” (affectionately know by fans as “Bop Ba Da” after the chorus that stays in your head all the way home). Read the rest of this entry »

A delightful and talented band of troubadours, Cory Branan, Jon Snodgrass (of Drag the River/Armchair Martian) and Joey Cape (of Lagwagon), stopped in at New World Brewery on a balmy Thursday evening last June 25. The concept behind this tour was to get these three alt-country musicians together on a stage and see what happens in a casual format, kinda like the Revival Tour.

Jon Snodgrass and Cory Branan (pictured above) kicked off the festivities by alternating songs and occasionally performing duets – check out “Born Apart.” The audience enthusiastically joined in on their performance, singing along to their favorite tunes like Sondgrass’ “Song for Gibson” and Branan’s “Prettiest Waitress In Memphis.” (MORE PICS AFTER THE JUMP.) Read the rest of this entry »

Danger Mouse and Sparklehorse
Dark Night of the Soul

From the first reports of a new project by artist/producer Danger Mouse and singer/multi-instrumentalist Sparklehorse (Mark Linkous), to the freaky 16-second video revealing filmmaker David Lynch’s hand in its artistic direction, to its Internet leak after the dispute with EMI turned into a permanently unresolved issue, Dark Night of the Soul has been generating a shadow-shrouded hype that reflects the album’s own bewitching eeriness.

The 13 songs were written by DM and SH in collaboration with a noteworthy cast of nearly a dozen guests, who not only provided vocals but helped compose and produce their respective tracks. Each one retains its own individual feel, but all remain within Dark Night’s moody boundaries and feature DM’s skilled multi-layering production techniques. Read the rest of this entry »

It’s about time Incubus graced us with their musical presence again. For the past three years we’ve had to make do with listening to their 2006 album Light Grenades. Don’t get me wrong — my ears thoroughly enjoyed it (It was, after all,  No. 1 on the Billboard Top 200), but after a good week of replaying the CD in my car, I carelessly tossed it in the back seat and retrograded back to my faithful Led Zeppelin collection.

I almost forgot all about my long-time love of Incubus. But I have good news friends; They’re back! Monuments and Melodies hit stores June 15th and it has been playing in my car and on my laptop ever since. The two-disc album showcases their greatest hits and new favorites to add to your list. For fans, this disc a must-have.

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After repeatedly hearing this new disc hyped by The Mars Volta leader Omar Rodriguez-Lopez in recent interviews as their “acoustic record,” TMV fans might be a bit surprised when they finally get to hear Octahedron.

Acoustic guitars highlight only a couple of the tracks on the new album, primarily the single “Since We’ve Been Wrong,” the over-7-minute “With Twilight as My Guide,” and “Copernicus.” The rest of the songs feature as much of the bombastic guitar and keyboard-driven rock as their fans are used to.

A special five-on-the-floor shout-out goes to track 2, “Teflon,” where vocalist Cedric Bixler-Zavala wails, “Let the wheels burn/ Let the wheels burn/ Stack the tires to the neck/ With the body inside.”

What strikes me as particularly “acoustic” about Octahedron is the lack of dense, arpeggiated guitar overdubs that typically define the Volta’s sound. In fact, the only guitar “solo” is placed at the end of “Luciforms,” the last song on the record.

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Six months after she triumphantly joined forces with Jon Bon Jovi on Sam Cooke’s “A Change is Gonna Come” at the Obama inaugural, Bettye LaVette drops this 23-minute digital-only EP, which includes a studio version of the Sam Cooke milestone and five other classics that she’s performed over the years.

The 63-year-old vocalist, whose career was rescued from obscurity by 2005’s I’ve Got My Own Hell to Raise (Anti-), breaks songs down to their narrative essence. Her voice is weathered, full of cracks and breaks, kind of like Tina Turner in bad need of a lozenge. It’s a lived-hard voice that, while not adept at soaring melody, is capable of communicating a song’s deeper meaning.

LaVette has the uncanny knack of making you consider anew lyrics that you’ve heard hundreds of times (and perhaps forgotten) . When she sings, on the title track, “I used to go the movies/ And I’d try to go downtown/ Somebody was always there tellin’ me/ ‘Little girl, you cain’t come around,’” stretching the words as a pleading lament, it personalizes the song in a way that I’d not heard before.”

Backed by a piano/bass/drums rhythm section and subtle strings, LaVette rounds out the program with some challenging material, mostly because the songs have been so often rendered and their definitive versions established. She interprets “’Round Midnight,” “God Bless the Child” and “Lush Life” as blues-drenched jazz ballads, her voice pulling ears closer with pregnant pauses and conversational asides.

Bill Withers’ “Ain’t No Sunshine” backed only by percussion, sounds like she’s walking down a city street telling a girlfriend about her romantic woes. The set closes a lighter note, with a strutting version of Jimmy Reed’s “Ain’t That Lovin’ You Baby.” Read the rest of this entry »

The crowd cheers as a tattooed man with shaggy hair and a British accent belts out Ozzy Osbourne and Black Sabbath tunes. An hour later, a blonde singer tears through a set of Motley Crue classics while his bandmates pound their instruments into submission. An hour after that, a grown man in a schoolboy outfit duck-walks across the stage and his cohort growls from under his cap while AC/DC riffs blast through the speakers.

Is this a dream team concert lineup of rock ‘n’ roll legends? Not quite, but the crowd is enthusiastic and it sounds pretty close to the real thing. In fact, the only part that’s completely unrealistic is the price, since admission to see all the bands ($10) cost less than parking at major rock concerts.

On June 30, three tribute acts performed at Jannus Landing at the Monsters of Mock show while fans sang along to the familiar sights and sounds. It’s not the real thing, but according to Martyn Jenkins, frontman for AC/DC tribute act Highway to Hell (and the evening’s headliners), the next best thing is pretty satisfying in its own right.

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This album looks great on paper:

Legendary organist and Stax Records session mainstay Booker T. joins forces with the Drive-By Truckers, whose Patterson Hood is the son of Muscle Shoals bassist David Hood. Add Neil Young’s lead guitar into the mix, and the result? Gritty instrumental R&B gold, right?

Not really. Potato Hole sounds like a set of 10 rhythm tracks in search of songs — melodies, vocals, that sort of stuff. As a result, while some of the music has a certain scrappy energy, the whole affair ends up being tedious.

Versions of “Hey Ya” and Tom Waits’ “Get Behind the Mule” fare best, mostly because the aggregation has a melody to dig into.

Booker T. is not an improviser, a soloist of any particular skill. (Just listen to the Booker T & the MG’s 1962 hit “Green Onions” — it’s a quick, grabby riff with a good groove, and little else.) Read the rest of this entry »

I — probably like most interested parties — didn’t have high expectations for Dinosaur Jr.’s 2007 disc, Beyond, the first since the late ’80s to feature the original Dino trio of vocalist/guitarist J Mascis, bassist/vocalist Lou Barlow and drummer Murph.

Sure, I was excited about the band getting back together, and seeing them at Lollapalooza was fun, but few of these indie- and punk-rock reunions ever produce much in the way of exciting new music. Toss in the legendary bad blood between Mascis and Barlow and you had to figure Beyond was a one-and-done cash-in between the musicians’ other projects.

I’m glad I was wrong. Beyond turned out to be that rarity: a late-career album that fully captures why people loved a band in the first place, but that also displays a natural growth and maturity. The Weirdness it wasn’t.

But finding that spark again doesn’t necessarily guarantee a durable second act.

Mission of Burma’s second post-reunion disc, The Obliterati, despite my early high assessment, didn’t quite end up with the legs of the band’s first get-back-together album, OnOffOn. And I wonder if the same fate might befall Farm, Dinosaur Jr.’s good-not-great Beyond follow-up. Read the rest of this entry »

Frodus Conglomerate International (1993-1999) resurrected on June 18, 2009 at Redlight Redlight, Orlando, FL, continuing what has been an outstanding ’90s hardcore reunion year (most recently the unbroken/split lip reunion at burning fight). Supporting the resurrection was Tampa’s Guiltmaker and Orlando’s Hurrah.

Frodus Read the rest of this entry »

Dad’s dig music. I’m a dad, and if I didn’t work at THEE record store (and already have them), these’d be on my Father’s Day list:

Booker T – Potato Hole
This album has it ALL. The funky soul of classic Booker T, rocking guitar of Neil Young and it grooves to the backing of the Drive-By Truckers, poignantly tying together the fact that Patterson Hood’s father, as a Muscle Shoals studio musician, was an integral part of the southern soul sound, that Booker T. spawned.  See how this Father’s Day gift has several levels to it?!

Ramblin’ Jack Elliott – A Stranger Here
This is an album of blues covers. I thought I never needed to hear some of these songs again (they’d been covered SO much!), but they’ve absolutely been made fresh by Jack’s gut-bucket voice, the
musicianship of Van Dyke Parks and David Hidalgo (Los Lobos) and Joe Henry’s production.

From the liner notes of A Stranger Here, Henry writes: “I pitched the idea that he interpret country blues music from the Depression era of his birth… songs as dark, funny and strange as is he and the times that produced them, and also ones that still resonate in these turbulent days.” It’s amazing how someone nearly 80 years old can interpret these aged classics in such a contemporary manner. I guess that’s why we call them “artists.”

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