A Good Feeling at The Met

Glenn Mercer led The Feelies through an exuberant set at The Met.

The Feelies made what has become their annual visit to New England this past weekend – I've caught the band’s springtime visits for the past four years. This time around was supposed to be a two-night stay, starting with a gig in Cambridge on Friday. Of course, that was canceled due to the Greater Boston area being in lockdown as the manhunt for the Boston Marathon bombers played out only a few miles away.

Fortunately, for those of us who had planned to see the Cambridge show, we had another chance the next night when the band made its first Rhode Island appearance in more than two decades. They quintet graced the stage at The Met in Pawtucket, R.I., a great venue that has recently upped its game booking wise. It really has all that The Paradise in Boston has to offer (except the legendary history) but with easier parking, better sightlines, cleaner restrooms and friendlier staff.

Though the Jerseyites made no direct reference to the traumatic and surreal events the area had endured over the past week – they’re not really much for stage banter — they were spurred on by the enthusiasm of the crowd and delivered a much needed celebration and return to normalcy.

Context aside, it was a typically wonderful Feelies show, featuring two sets and a lengthy series of encores. They played most of the old favorites (“Slipping Into Something,” “Higher Ground,” “Away” “Deep Fascination,” “Crazy Rhythms” et al) and more recent standouts (“On and On,” “Nobody Knows” and “Time Is Right”).  A special surprise was the rarely played “Decide” from 1991’s Time for a Witness album.



As usual, The Feelies offered up their own unique take on more than a half-dozen covers by the likes of The Velvet Underground, Bob Dylan, The Beatles, The Stones, The Stooges, The Doors, Television and R.E.M.  They slipped The Velvets (“There She Goes”) and Dylan (“Seven Days”) into their main sets – ending the first set with a particularly vicious rendition of the Dylan tune – then packed the four or five encores with the rest. 

Most notable of these were two covers that I had never heard the band do before. The first was The Stones’ “Get Off of My Cloud,“ seemingly a bit out of character for them, but so was “Seven Days” only a few years ago and now it‘s nestled comfortably in their repertoire. The other was R.E.M.’s “Shaking Through.” The Feelies’ R.E.M. connection goes way back – Peter Buck production and opening shows for the Athens quartet back in the mid ’80s. I’d heard them cover “Carnival of Sorts (Box Cars)” several times, but never this Murmur track.  

Despite the interesting covers, though, it’s The Feelies’ sometimes manic, sometimes melancholy, but always melodic pop that keeps me coming back each time. I hope they reschedule the Cambridge show before another year passes.


SET LIST
The Feelies at The Met, Pawtucket, R.I.  4/20/13
First Set:
•  It’s Only Life
•  Who Loves the Sun
•  For Now
•  instrumental
•  Change Your Mind
•  There She GOes
•  Invitation
•  Nobody Knows
•  Should Be Gone
•  Let’s Go
•  Again Today
•  The High Road
•  On the Roof
•  Seven Days

Second Set:
•  Deep Fascination
•  On and On 
•  Decide
•  Higher Ground
•  For Awhile
•  The Final Word
•  Way Down
•  Away
•  Slipping Into Something
•  Doin’ It Again
•  Time Is Right
•  Too Far Gone
•  Raised Eyebrows
•  Crazy Rhythms

Encores:
•  Get Off of My Cloud
•  Waiting
•  Shaking Through
•  See No Evil
•  Sooner or Later
•  I Wanna Be Your Dog
•  Everybody’s Got Something to Hide (Except Me and My Monkey)
•  Paint It Black
•  Take It As It Comes
•  Fa Cé-La

G.P. and The Rumour Rock Rhody

I saw Graham Parker play live last night for the third time in the last 7 months. My wife and I caught him for a solo set on our wedding anniversary back in September. Then a friend and I saw his much-anticpated reunion with his original backing band The Rumour in December. Last night, it was another gig with The Rumour, this time at The Met in Pawtucket, R.I., with a few friends and my teen-age daughter. 

With a rare all-ages show, I didn’t want to miss the opportunity to introduce her to G.P.’s impassioned live performance, song-writing acumen and witty banter. Of course, judging by the crowd, the “all ages” on the ticket meant you were welcome no matter how ancient you are! At nearly 18, my daughter was the youngest one there – by a lot. Regardless, she dug it, too.

In the December gig, it was obvious that the reunification with The Rumour inspired Graham not only to rock out, but to emote in ways that I’ve seldom seen him do in the dozen or so concerts I’ve seen over the last 25 years. (And as great a backing band as The Figgs have been for him on occasion over the years, it seems there’s just no substitute for his original compadres.) That was even more obvious last night at The Met. Graham was dancing and gesticulating like I’ve never seen him. And though there was plenty of gray hair on stage, the singer’s energy did justice to the “angry young man” legacy. He did, however, smile a lot more than back in the day.


This video hardly does justice (sound or vibe wise) to the superb, energetic show Graham Parker and The Rumour delivered last night at The Met.


As in December, guitarists Brinsley Schwarz and Martin Belmont were both in fine form, trading the many memorable vintage-toned melodies that are hallmarks of some of Parker’s best songs. While the six-stringers tend to get the most attention, the rhythm section of Andrew Bodnar and Steve Goulding played with deft touch and keyboardist Bob Andrews rocked the Hammond B-2 and impressed with essential – and very under-appreciated, I think – harmony vocals.  

The set list followed a similar tack as the late fall tour, with a few variations and perhaps a little less emphasis on the new album (the impressive Three Chords Good) and a little more on G.P.’s ample catalog of hits.

Things kicked into gear just a few songs in with the “controversial” (G.P.’s description) “Coat Hangers,” leaving little doubt about singer’s politics. Many highlights followed, including a particularly soulful “Black Honey,” a vibrant, edgy and elongated “Protection” and “Don’t Ask Me Questions,” which G.P. aptly introduced by saying, “Nobody plays this shit like The Rumour!” He’s right.

One of the most telling memorable moments came during the last song of the main set, “Local Girls.” I looked over the crowd to my left and saw Mike Gent – who opened the show and has backed G.P. in various guises for the last decade or so – dancing and singing along with abandon. Just another punter in the crowd inspired by G.P.’s brand of smart pub rock pop. Of course, a few minutes later Graham pulled him up on stage to join in on vocals for the rousing finale of “Soul Shoes,” which was propelled to the finish by Bob Andrews’ pounding Hammond.


Mike Gent of The Figgs joins G.P. for some impassioned vocals. 

On this second tour since reuniting and recording the critically acclaimed Three Chords Good last year, G.P. and the boys seem to be riding high on the exposure of the band’s appearance in Judd Apatow’s 2012 film This Is 40 (with G.P. even plugging the freshly released blu-ray edition of the movie, which features a documentary on the band). The fact that they all seem to be genuinely enjoying this second run 30 years on begs the question as to whether they might be game to do another album together – sooner rather than later.

My brief chat with Brinsley after the show as he cleared his gear off the stage and the crowd thinned out gave reason for hope. To my encouraging “you guys should do another album!” comment, he replied, “Yeah, we were just talking about that.”

Get to it boys!


SET LIST
G.P. & The Rumour
The Met, Pawtucket, R.I.  4/12/13
•  White Honey
•  Fool’s Gold
•  Howlin’ Wind
•  Coat Hangers
•  Three Chords Good
•  Long Emotional Ride
•  Lady Doctor
•  Get Started, Start a Fire
•  Black Honey
•  Snake Oil Capital of the World
•  Soul on Ice
•  A Lie Gets Halfway Around the World
•  Watch the Moon Come Down•  Discovering Japan
•  Don’t Get Excited
•  Protection
•  Stupefaction
•  Local Girls
Encores:
•  Passion Is No Ordinary Word
•  Don’t Ask Me Questions
•  Soul Shoes

The Truth (About The Rumour) Is Evident

Graham Parker and The Rumour at the Wilbur Theatre in Boston, Mass.  12/6/12

Saw a terrific Graham Parker and The Rumor gig at the Wilbur Theatre last night. I've seen G.P. a dozen or so times since the mid ’80s, but I don’t recall ever seeing him so positively agitated. Playing all his early hits, not to mention his latest stellar release (Three Chords Good), with the original musicians who helped him mint them seems to have lit a fire under the old sardonic Brit.

An added bonus was a great opening set by G.P. sometime accompaniests and wonderful band in their own right, The Figgs. Our front row seats didn’t hurt either.

Being that close, made for an interesting sonic perspective. We caught more of the sound out of the band members’ individual amplifiers (hearing Martin Belmont’s delightfully clean and crisp vintage Strat tone the loudest since his amp was 10 feet directly in front of us). We caught a bit of bleed of the mixed sound out of the back of the stage monitors, as well as from the house PA sound that filled the space behind us in the small theater. Fortunately, Graham’s voice cut through loud and clear, but it did make for a bit of a different effect than one is accustomed to hearing. 

The new and old tunes fit seamlessly, with standout new tracks being the new “Coathangers” (which Graham noted had “stirred up a bit of controversy ... never a bad thing”) and “A Lie Gets Halfway ’Round the World” nearly matching the most inspired classics: “Protection,” “Get Started (Don’t Start a Fire),” “Stupefaction,” “Passion Is No Ordinary Word” and “Don’t Ask Me Questions.” 

I won’t be surprised to see an official live recording of this 2012 reunion tour before too long. I know I’d buy it. Despite their encroaching geezer-dom, G.P. and the guys proved without a doubt that, indeed, “Passion Is No Ordinary Word” when it comes to their music. 

Here’s looking at you, Graham!

SET LIST:
The Wilbur Theatre, Boston, Mass.
Thursday, Dec. 6, 2012
    •  Fool’s Gold
    •  Never Gonna Pull It Apart
    •  Hotel Chambermaid
    •  Coathangers
    •  Get Started (Start a Fire)
    •  Old Soul
    •  Stop Cryin’About the Rain
    •  Long Emotional Ride
    •  Live in Shadows
    •  A Lie Gets Halfway ’Round the World
    •  Watch the Moon Come Down
    •  Discovering Japan
    •  Nobody Hurts You
    •  Protection
    •  Stupefaction
    •  Local Girls
Encores:
    •  That Moon Was Low
    •  Passion Is No Ordinary Word
    •  Don’t Ask Me Questions
    •  Soul Shoes  (with The Figgs joining in)

Mali Men’s Uplifting Blues

My favorite rockin’ nomads from North Africa made their second visit in two years to The Paradise in Boston last month and, once again, they presented an exotic blend of riff heavy, blues-based, trance rock with an undercurrent of tribal rhythms.

Despite the rampant riffology, overall the music is an upbeat, joyous, trance-like tapestry of melody, rhythm, singing and chanting. 

While many of the songs are indistinguishable to all but the most knowing of the group’s fans (I own six of their CDs yet have a hard time differentiating specific tunes on the fly), there is a definite sense of individual songs. It’s far from some endlessly meandering ebb and flow a la some Grateful Dead shows. The band certainly does jam, but most-often in distinct 2- to 6-minute arrangements that, for the most part, adhere to our Western sense of song structures (verse, chorus, bridge, etc.). 

There was no Ibrahim Ag Alhabib, the group’s most recognized public face and legendary founder, this time around. He may be phasing out of his role after 30-plus years leading the band. In last year’s Paradise show, he took the star turn and made little more than cameo appearances during the group’s lengthy set. The blue-robed Alhassane Ag Touhami (I think) took the lead role for most of that show and now he appears to have assumed the role of senior band leader, perhaps now, in turn, to yield the stage in increments to the next generation of newcomers. 

One new face – proverbially speaking, given what little you can see of them – this time was a tall dude, dressed in white with black head garb. He sang and clapped in the background for most of the nearly two-hour set, but on a handful of tunes he took the center mic to sing and play more ferocious, and more Western-sounding, electric guitar. He was spurred on by his seasoned bandmates, particularly the funky bassist who wouldn’t have been out of place grooving along to some Motown hits. The tall dude was also the only band member to sport a shiny new Gibson Les Paul on one tune – otherwise there’s a lot of sharing of guitars among the three six-string slingers.

The band’s authentic desert nomad apparel adds to the exotic flavor of things, but it also makes for an interesting juxtaposition considering the desert-meets-the-delta vibe of the music. I couldn’t help being struck by a thought spawned by the growing appeal of this North African music among American audiences and the anonymity of with its main proponents. If the tribe has as deep a well of talented musicians as it seems, they could outfit several touring groups to be traveling different parts of the North America and Europe through out the year (or at least in the desert off season). Kind of a musical Blue Man group from the Dark Continent. (I suggest that only partially in jest, and certainly with all due respect.) I hope Tinariwen come back for another annual visit next fall.

In the meantime, I’ll be on the lookout for other purveyors of these engagingly semi-exotic sounds from Timbuktu and beyond.

A Broad View of GP’s Repertoire at the Narrows

Graham Parker does an acoustic take on "Heat Treatment," the title track from his debut album with The Rumour in 1976, during his 9/29/12 performance at the Narrows Center in Fall River, Mass.

Last month, my wife and I made seeing Graham Parker at the Narrows Center in Fall River part of our 22nd anniversary celebration. It seemed fitting since we’ve enjoyed many GP shows – solo and with various bands – together over our years.

This Saturday in late September was no exception. Despite claims of being under the weather and not exactly road ready – it was one of only two shows he was doing on this stint, having added the Narrows to his trip to Cambridge for a commemorative event at the famed folk club Passim – Parker sang as soulfully as usual and regaled the audience with characteristic humor and sarcasm. 

The Narrows is a great venue for fans and perfect for the likes of GP’s solo shows, which he’s made an annual habit of bringing to the old warehouse-cum-artists’-studios in recent years. When out on his own like this, Parker adeptly accompanies himself on acoustic and electric guitar, harmonica and even kazoo – the latter more than once! But mostly it’s about the songs; and, yes, to a lesser degree, the banter.

This show was particularly notable in that besides a handful of the requisite – and welcomed! – favorites, Parker dug deep into his back catalog, pulling out several songs I’d never heard him perform in any of the previous dozen or so times I’ve seen him live. 

Another highlight was the debut of a catchy riff-based tune from the yet-to-be released GP and The Rumour album. Throughout the evening, the noted singer/songwriter and former angry young man spoke with a mix of disbelief and enthusiasm about his former band’s upcoming reunion tour. I know I’m excited; I already have my tix – front row! 

Wanting to end his performance on an upbeat note, Graham Parker performed “Life Gets Better” from his 1983 The Real McCaw album. Of course, as you’ll see in the video above, GP being GP, he couldn’t resist injecting a bit of cynicism into one of his most optimistic songs. Despite that, it holds a nice sentiment for an anniversary celebration. Happy anniversary, baby!

Live and Local!

Like Neil Young said, “Live music is better, bumper stickers should be issued.”

Church Symphony’s Sonic Explosion

Who says old guys can’t rock? This recently surfaced video clip offers compelling evidence to the contrary, even if said geezers have a 70-piece orchestra in tow.

The Church’s sheer hyperblastic force on this version of their adrenaline-propelled classic track, “Tantalized,” from 1986’s Heyday, overwhelms the George Ellis Orchestra. The classical musicians accompanied the Aussie rock band during a special one-off “Psychedelic Symphony” performance at the Sydney Opera House in April 2011.

In fact, the orchestra seems unnecessary for much of the song, though it does add some nice embellishments around the band’s satiated sound. (It should be noted, too, that the original LP track did have prominent horn parts, too, so it wasn’t all just guitar slinging then either.)

Absolutely brilliant rock excess, even with the orchestral flourishes.

Music as a Well of Understanding

... or At Least an Emotional Rescue

A hole in the heart of the city, a scar on the psyche of the nation ...

In the flurry of 10th anniversary of 9/11 tributes, observations, reflections and analysis, NPR Music did an interesting, though limited, article on how in the immediate aftermath of 9/11 many of us looked to music and our favorite musical artists to help us make sense of what had transpired – the unthinkable, the unimaginable. Check out the NPR piece here.

For my part, I caught concerts by three artists in the month following the attacks.

First was up was David Byrne at Avalon in Boston, 10 days or so after that infamous day. It was the first time I had seen Byrne and, to be honest, I don’t remember a whole lot about the show. Perhaps I too was still a bit numb. I do remember not being sure quite what to expect of the concert – and not just because I hadn’t seen Byrne before. There was such a different and somber mood in the air. The vibe was utterly changed, at least for a while.

Prior to the show, I wondered: How will it be? How will the audience behave? Will the performers address the situation? Will it be a concert experience like we’re accustomed to, or will it be something else? Such was the pervasiveness of the feeling that our world had been twisted in some unknown and irreversible way.

I do remember Byrne saying something along the lines of what was mentioned in the NPR piece when introducing of the old Talking Heads classic, “Life During War Time,” but that’s about it.

A couple of weeks later, on Oct. 2, I was back at Avalon to see Wilco. It was the first of many times that I’ve seen the Chicago-based folk/alt-country/art rockers play live. At this time, guitarist Jay Bennett had just been booted from the band and Yankee Hotel Foxtrot was yet to be released, after much inner-band turmoil and record-company discombobulation over the release of the album (all well-documented in the film I Am Trying to Break Your Heart), but it was the record the band was debuting during that fall tour and it was a convincing show.

In hindsight, this was clearly a transitional period for the band, both in terms of musical focus and member wise. Having shed their alt-country roots, they were just beginning their lengthy foray into more adventurous pop art-rock explorations, which would later result in some incredibly inspired cacophony that conjured comparisons to Pink Floyd and Radiohead at times. But in early October 2001, those days were yet to arrive and guitarist extraordinaire Nels Cline and multi-instrumentalist Pat Sansone were not yet part of the band. Yhis was a rare period in which Wilco performed as a four piece.

But back to the Avalon concert: band leader Jeff Tweedy made no mention of recent events. In fact, there was almost no direct talking to the audience at all – in itself unusual given his typical loquaciousness. But the new song “War on War” from Yankee Hotel Foxtrot and Mermaid Avenue’s “One By One” both seemed to be imbued with extra resonance as the crowd and the band tuned in to the poignancy of the moment in a noticeable way, even if it wasn’t overtly acknowledged.

Just four days later, I caught back-to-back performances by The Waterboys in New York and Boston. By now, almost a month after the attacks, the magnitude and lasting effect – in essence the realization that our world was truly and fundamentally changed – seemingly forever – had really sunk in.

Mike Scott and Co., touring in support of their new release A Rock in the Weary Land, played concerts that perfectly captured the spirit of resilience in the face of malevolent times. At once uplifting and defiant (in thoughtful way), it was as if many of the songs on A Rock in a Weary Land had been written specifically for the occasion. Even old favorites like “We Will Not Be Lovers,” “The Pan Within” and “Savage Earth Heart” took on a passionate intensity that seemed driven by the times.

The Scotsman also made the most direct statements of any of the concerts regarding the current state of affairs:

In New York: “We’re so glad to see you all. We love this city. And after what happened on September 11th, we really are proud to play for New Yorkers. And we stand shoulder to shoulder with America, too.”

And, in Boston: “Tonight there’s war in the world, but the show goes on.” ... And, “You know, after what happened September 11th, it’s our honor to play for Americans. We’re really glad to be here with you. I noticed that everything is different, and even in a little matter like rock songs, things are different. Stuff that seemed important before, now seems really trivial. We’re going to do a song that I used to dedicate to Jerry Springer, it doesn’t seem so important now, but it’s still fun to poke one at Jerry. The song is called ‘Dumbing Down the World.’”

Which raises an interesting question for today: Ten years on, are we any smarter?

Last Gasp

Thanks to my handy “This Day in Led Zeppelin” iPhone app, I’m reminded that today is the 31st anniversary of the last concert the band ever performed – just under 3 months before Bonzo died. Oh, what might’ve been, then again ... as far as the legacy and legend goes, maybe it was for the best. God knows, The Who would’ve been better off had they called it a day.

The mighty Zep finished their final performance at Eissporthalle in West Berlin with a 17-minute version of “Whole Lotta Love.”

Melody and Manic Pop with The Feelies

The Feelies put on another energetic and entertaining show last night at Middle East in Cambridge, Mass. Their two sets, plus the usual multiple encores, featured many old favorites from their back catalog, as well as several songs from their new release, Here Before, their first CD in 19 years. The band has been playing a few of the new songs from Here Before on their brief tours in recent years, but last night’s gig featured more of them, including the impressive slower-tempoed title track.

Here’s the band’s spirited rendition of one of my favorite tracks, “Higher Ground,” from last night’s show.

The song originally appeared on 1988’s Only Life CD, the band’s best in my book.

The Feelies have always been known for their creative choice of covers in live performance, often drawing upon choice cuts by The Beatles, The Velvet Underground, The Rolling Stones, Neil Young, Wire, R.E.M. and others. Last night, was the first time I’d ever heard them do this classic, opening track from Exile on Main Street.

Not your typical Feelies type tune, but they pulled it off pretty well, I think.

Check out my full review of last year’s Feelies’ show at the Middle East here. I don’t think last night’s show quite matched the spark of last year’s (or the six encores!), but it was still a strong performance and a good time. I hope to be able to continue seeing them every year or so. The time is right!

They Stole the Show ...

In the wake of the recent HBO broadcast of the Rock and Roll Hall of Fame 25th Anniversary Concert that took place at Madison Square Garden this past October, I’ve been thinking about the many high-profile, multi-act concerts of all sorts that have occurred over the years. With healthy competition among the performers, a colorful amalgamation of disparate acts and, in some cases, finales featuring “all-star jams,” many of these concerts have earned a place in the annals of rock history.

I suppose the precursors to these assemblies of leading rock artists of the day were the infamous Murray the K and Dick Clark package tours of the early and mid ’60s, which put the likes of the Everly Brothers, Ike and Tina Turner, The Rolling Stones, The Yardbirds, The Who, The Animals, Herman’s Hermits and others together, albeit for 30-minute sets in grueling whirlwind theater tours across North America. These were anything but conducive to spontaneity or inter-band jamming, but that didn’t matter since little music could be heard over the screaming teeny boppers.

It wasn’t until the advent of the first big rock festivals in the late ’60s – most notably, the Monterey Pop Festival during the Summer of Love (1967) and 1969’s many festivals (Isle of Wight, Bath, Woodstock, Altamont et al) – that the modern rock fest as we know it came into existence. These quickly spawned a succession of others – both one-offs and annual affairs – from the ’70s through to today. While these secondary events may not be held in the lofty historical esteem of those iconic original gatherings, many boasted impressive lineups of performers.

Then and now, these multi-act extravaganzas have the potential to be the setting for a singular, career-defining performance – one that, regardless of the high standards set by peers, asserts itself as paramount to the rest. In other words, one artist steals the show. Over the years, there have been a half dozen or so such instances, when one band literally ripped the rest to shreds. What follows is a brief look at a few of those occasions.

Hail to the Thief!

Now, since I haven’t personally attended any of these momentous concerts, the existence of audio and video recordings (either official or bootleg) not only have to suffice, but, in fact, dictate which events are considered here. So, qualifiers stated, let’s get to the concerts.

• Monterey Pop, California (6/67) – The Jimi Hendrix Experience. The obvious starting point, this concert marked the true arrival of Jimi Hendrix. Already a sensation in the U.K., Hendrix returned to stake his claim to rock stardom on home turf with an incendiary performance – in the process essentially beating The Who at their own game. Although some might argue that the highlight of Monterey was Otis Redding’s transcendent delivery of Southern soul to the flower children or The Who’s first major American performance, which featured the mini-opera “A Quick One While He’s Away,” foreshadowing more noteworthy things to come from Townshend’s pen a few years later. But this is where Hendrix first took guitar histrionics to another galaxy, iconically torching his guitar in an eros-tinged sacrifice while grinding his way through The Zombies’ “Wild Thing.” Yes, it was as much spectacle as musicianship, but it was out of this world and rock was utterly changed from that day onward. [Available on DVD and CD.]

• Woodstock, Bethel, New York (8/69) – Santana. Many would argue that Hendrix, The Who or even Ten Years After or Joe Cocker commanded the field at that famous “Aquarian Exposition” in the Catskills. But Hendrix was tired, as was the audience by the time he performed. And, despite the power and timeliness of his interpretation of “The Star Spangled Banner,” Hendrix’s band was a transitional patchwork, soon to be replaced by the Band of Gypsys. Yes, The Who were astounding, especially as depicted in the famous film of the event, but the split screen imagery did much to magnify their impression, as did the film editors’ consolidation of their full set to just two songs in that familiar depiction of the event. The emergent Santana, on the other hand, performing during peak hours of the festival (not to mention the brown acid), knocked peoples’ socks off with the power of their Latin-tinged blues rock. Carlos and Co.’s scorching rendition of “Soul Sacrifice” was the launching pad to a long and accomplished career. Michael Shrieve’s emphatic drumming was as passionate and impressive as the staccato bursts from Santana’s six string. [Available on DVD and CD]

• Amnesty International Tour Finale, Giants Stadium, New Jersey (6/86) – U2. This is where U2 unquestionably assumed the rock crown from the soon-to-be-departing biggest band in the world at the time, The Police. The young Irishmen kicked off their set with a hymn-like rendition of “M.L.K.” before launching into emotive and transcendent versions of “Pride (In the Name of Love)” and “Bad.” They preceded through a reinterpretation of “Sunday Bloody Sunday” before peaking with a stunning mash-up of Dylan’s “Maggie’s Farm” and Lennon’s “Cold Turkey.” They followed with a poignant performance of The Beatles’ “Help” and concluded with a mini-all-star jam on Little Steven’s topical tune of the time: “Sun City.” (Bono later joined The Police for a haunting duet with Sting on the blonde brigade’s eerie “Invisible Sun.”) [Officially, only brief excerpts are available on the Unforgettable Fire Reissue Box Set]

Admittedly, the preceding three selections (as well as much of this entire post) are highly subjective and ripe for vociferous debate (i.e., good “bargument” fodder), but the next two selections are, in my view, beyond debate. The cited performances are so superior to the others at those particular affairs that recognition of that fact is virtually universal.

• Bob Dylan’s 30^th Anniversary Concert (a.k.a., BobFest), Madison Square Garden (10/92) – Neil Young. The great and varied line-up honoring Zimmy for his (then) three-decade-long career with Columbia Records was downright owned by the flailing, flannelled Godfather of Grunge. Even the likes of Eric Clapton, George Harrison and Tom Petty were dwarfed by Neil’s enthusiastic and heartfelt take on Dylan’s classic “Just Like Tom Thumb’s Blues” and his blistering rendition of “All Along the Watchtower” (done Hendrix style). He benignly capped his utter dominance of the crowded stage during the “Knockin’ On Heaven’s Door” finale, out-dueling Clapton with searing, feedback-tinged guitar lines. [Available on CD and partially available on poor-quality DVD]

• The Concert for New York City: The 9/11 Concert, Madison Square Garden (10/01) – The Who. They were old and on reunion [number incalculable], but in their emotion-fueled four-song set, the ornery Englishmen absolutely kicked ass. Their between song banter made clear that they were humbled, honored and respectful of the occasion and the raw emotion on display in the arena. Then they transmuted all of the pent-up anger and hurt of the circumstances into an absolutely brutal assault on several of the most revered songs in the rock genre: from the defiance of their opener (“Who Are You”) to the trio of Who’s Next classics (“Baba O’Riley,” “Behind Blue Eyes” and “Won’t Get Fooled Again” – the latter the most vicious it had been rendered since Keith Moon last beat the kit … maybe ever). Fellow performers – Bowie, Mick and Keith, Sir Paul and Elton among them – couldn’t come close to competing with The Who in full throttle on this night. [Available on DVD and CD]

Technical Knockouts

The following festivals also featured breakaway performances by certain artists, though perhaps not of the magnitude of the five previously mentioned examples.

• Newport Folk Festival, Newport Casino, Rhode Island (7/65) – Bob Dylan. Zimmerman goes electric, delivers rock unto the folkies, shakes the universe … what more needs to be said? [Portions included in various Dylan documentary DVDs]

• The Texas International Pop Festival, Dallas International Speedway (8/69) – Led Zeppelin. Lesser-known than most of the other festivals featured here, the Texas Pop Fest yielded no film or big budget record release. There was, however, an impressive lineup (Joplin, B.B. King, Freddie King, Grand Funk Railroad, Chicago, Johnny Winter, Santana, Sly Stone, Ten Years After et al) and ample bootleg evidence of the anointment of the new heavyweight champs of rock: Led Zeppelin. The one-year-old band dominated the field with the power of their blues jams and tunes from their eponymous debut album. [Bootleg sound sources only]

• Live Aid, Wembley Stadium and J.F.K. Stadium, 7/85 – U2. This was a career-defining moment for the up-and-coming Irish band. Their epic version of “Bad”– including Bono’s lengthy foray into the crowd while the band chimed on behind him – was the high point of a day full of highlights from virtually all of the top performers from two generations of rock music. [Available on DVD]

• Live 8, five locations around the world (7/05) – Pink Floyd. OK, bonus points for sentiment (the hatchet burying among the estranged Waters and his ex bandmates – at least temporarily), but the group really did bring it to the masses, despite not having played as an intact unit for 25 years. [Partially available on DVD]

If you haven’t seen or heard these concerts on DVD or CD, check ’em out. If you have, check ’em out again and see if you agree. Have other examples not mentioned here? State your case!

I Was There, Too … Really!

The only big multi-act concert of this sort that I’ve personally attended was a largely forgotten gathering of the principal Southern Rock bands of the day known as “The Roundup” at Philly’s J.F.K. Stadium in the summer of 1981. Despite its unmemorable status (I do remember the torrential rain dampening the prior night’s tailgate party as much as the day-long concert itself), it does fit the topic at hand. The featured acts were 38 Special, Molly Hatchet, The Marshall Tucker Band, The Outlaws and The Allman Brothers Band. Despite my not being at all interested in the first two bands, and only mildly interested in Marshall Tucker and The Outlaws, I bought my tickets in order to see the Allmans. Much to my surprise, Marshall Tucker stole the show with their country, folk-tinged rock. The Outlaws were OK, and the Allmans were mostly disappointing. So, I guess, surprise is often one of the characteristics of these kinds of concerts, too.

Flattening Those Vowels

Heard a blast from the past last night … went to see everybody’s favorite Scottish nationalists, The Proclaimers – they of the late 1980’s “I’m Gonna Be (500 Miles)” fame/albatross. The twins and band played a good mix of old and new material (including the aforementioned, of course). Their vocal harmonies still surpass just about everybody except maybe Crosby, Stills & Nash in their heyday.

They didnae play this one, though.

A Sonic Swing Through West Africa

Saturday night the wife and I took a trip to West Africa via the Paradise Rock Club in Boston. OK, so it was only a metaphorical journey, but it was ably led by tour guides Amadou & Mariam. For those not familiar with these Malian music phenoms, the middle-aged, blind, husband-and-wife duo have, after a decades-long distinguished career, finally broken through big time in America this past year.

I’m no expert on West African or Malian music, but I have listened to a smattering of the genre over the years, and even beyond the obvious evolutionary connections to America’s southern blues roots, I have liked quite a bit of it: Ali Farka Touré, Tartit and Touareg musicians Tinariwen, as well as King Sunny Adé and others.

I’ve also read In Griot Time, former Boston writer Banning Eyre’s fascinating memoir of his six months studying guitar in Mali and getting to know most of the country’s leading musicians. Though Amadou & Mariam are only cited in the book’s appendix, In Griot Time is an enlightening and recommended read. It certainly gave me a better understanding of the context of Amadou & Mariam’s music. Nonetheless, you needn’t have read the book to enjoy this music.

Though I know there are significant differences between the music of Mali and other African music, such as the juju music of Nigeria popularized in the West by King Sunny Adé and the African Beats 20+ years ago (I was fortunate to have seen King Sunny play live back in the late 1980s), it does provide a foundational reference point to my ears. The rapid-fire, highly rhythmic guitar lines that Amadou Bagayoko lays down are occasionally reminiscent of King Sunny Adé. And, like Sunny, Amadou plays a Telecaster-style guitar, though his is seriously tricked out – at least cosmetically.

As with many African bands, there are quite a few people on stage with Amadou & Mariam: eight in this case. I was a little surprised by the racial mix of the backing musicians: a white drummer, bass player and keyboardist, with an African percussionist and background singers. The band was top notch – with everyone contributing notably to the overall sound and also being part of the constant motion machine (especially the two background singers who, if I heard – or rather interpreted – correctly, were sisters). They stick to the familiar instruments of rock fare – with the addition only of a funky cong-like drum or two – there’s no esoteric African stringed instruments like a kora or a ngoni.

The songs are sung primarily in Malian and French (still a principal language there, harkening back to the Colonial days), with just occasional snippets of English. Mariam Doumbia handles much of the singing, though Amadou also contributes a fair amount of vocals in addition to his distinctive guitar that works with the keyboards, drums and bass guitar to propel the music forward.

At the sold out Paradise show on Saturday. the music was energetic, joyously upbeat and fairly varied. It’s often referred to as Afro-blues, and while there were trace elements of blues and even rock, it drew from a broader palette than that term might suggest. The Parisian/Continental house flavorings lurked just beneath the surface and combined with the African rhythms to ensure the audience kept moving throughout.

At times, various tunes suggested shades of both trance and jam-band vibes and improvisation. I could also readily hear some passages suggestive of the Page/Plant projects of the mid 1990’s (probably more because those two have a long-held appreciation for the music of Morocco and Sub-Saharan West Africa than for their former band’s influence on the musicians of Mali, as had been recently suggested in some circles regarding Amadou & Mariam’s sound).

Perhaps more surprising, though, were the few points when I heard what struck me (again, in my frame of reference ) as mid-’80s-ish Simple Minds-like rhythms. This was probably due to the keyboard effects and standout drumming – both of which were notable characteristics of the Minds’ very European sound at their most original and inspired (i.e., not “Don’t You Forget About Me”).

Most of Saturday’s set list concentrated on the songs from Amadou & Mariam’s recent breakthrough CD Welcome to Mali. And, despite the language barrier (for some of us), the show featured several instances in which the lyrical content was clearly reflective of the love shared between the two leaders (most notably on “I Follow You,” one of the few English language tunes from the recent CD in which Amadou professes his unending love for Mariam). In a touching (literally) show of affection, Mariam gently caressed Amadou’s head while he was playing several times during the course of the evening. It was an endearing and genuine gesture.

If you like West African pop and you’re not familiar with these artists, check them out, I’m confident you’ll like them. Better yet, try to catch one of their performances, which take the sound from their well-produced and highly listenable CDs and cranks it up a few notches. If you’re not familiar with this genre of music, do yourself a favor, track some down. There’s something in it for everyone; whether you enjoy danceable popping rhythms, trance grooves, buoyant guitar playing or contemporary Afro-pop group singing with just enough Western connection to not sound off-puttingly foreign.

A Final Thought: It seems that over the last 20 years or so, every Caribbean island, cruise ship or summer-themed bar or restaurant in the Western hemisphere is compelled to play Bob Marley and other reggae (if they’ve even moved beyond Jimmy Buffet) to create a certain irie, island vibe. But DJ’s and entertainment programmers in these establishments could effectively spice up the sonic ambiance by incorporating the likes of Amadou & Mariam (as well as other Afro-pop standouts). It would fit the easy-going mood, while adding a little new energy and variety – and, in the process, perhaps even enlightening the curious few among the Spring Breakers and vacation set.

FURTHER:

• One indication of their notable rising in popularity stateside in the past year was the duo’s being featured in Time magazine this past March.

• Welcome to Mali, Amadou & Mariam, Nonesuch Records, 2009.

• In Griot Time, by Banning Eyre, Temple University Press, 2000.