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Posts posted by dmait
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Lucinda Williams reads lyrics from a notebook and flips pages between songs. I never understood how Garcia could remember 14 verses of Visions of Johanna while Springsteen needs a teleprompter for lyrics he's sung for 30 years or in some cases just recently wrote. It does seem to detract from the feeling a bit, but I couldn't blame you for using one if you don't sing much.
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Gov't Mule's tenth show ever, 9/16/94 at the Paradise in Boston. No more than 75 people there. The band stood outside the tour bus after the show talking to fans. Not exactly unknowns but ...
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He took the stage at 9pm. Not sure about the opener.
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Isbell at the Beacon tonight, too.
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Have the tacos at Sycamore. Absolutely worth the walk. That Kamera was Velvet Underground-ish. Love it. Powerful. Star Wars influencing the older songs.
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In Section 1 Friday night.
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I can't get enough of the Help>Slip from this past Saturday's show at MSG. Not necessarily Franklins, just the H>S. It gets out there. Sounds great in headphones. Oteil adds a great jazzy dimension to it.
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Copps Coliseum 3-22-90 is a highlight of the Spring '90 tour. The Scarlet>Fire is an all-timer with a seamless segue. The ultra-rare Believe It Or Not is also well played.
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Still pulling good pairs of floor seats for Friday Brooklyn
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https://open.spotify.com/user/dmait/playlist/20biwNRQ3pWDcftplbbzlo
This is my Summer 2015 playlist. Not comprehensive, just new songs that struck me and that I added to this list as I heard them. I'd planned on doing this for each season, but it may be easier as an annual list going forward. (Ignore the B52s, which I included before abandoning the idea of including "I forgot about that song" songs.)
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Can't get enough of this version of Spiders from 10/28: http://youtu.be/KL8toPR6GfU
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We walked in at 8pm with no line and were within 10 feet of the stage on the left side by 8:05. There were about 10 people trying to unload extra GAs at the front door at 8pm. You could have bought one for $10. Definitely eat at Bartaco before the show.
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Keep trying. They're still available, even after several times getting nothing.
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>Hearing a World Party/Waterboys influence, too.
Definitely hear World Party. I went in cold to the show this Spring in DC at the 9:30 Club and thought WP the whole time.
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Shrimp po'boys for breakfast.
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I've been listening to these two songs from the new album repeatedly for about three weeks now:
Ramada Inn:
Born in Ontario
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>So, all those people that were hating on Wilco bought tickets and went to the show? I really don't understand. Were they being sarcastic? I'm serious -- why were they there? Why go to a show if you are too cool for the band?
That is the essence of the absurdity of Brooklyn Vegan.
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Great acoustic Spiders tonight. Someone here requested it last night.
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Great call, Grrrr.
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"Nighthawks at the Diner" is the one that turned me on. Him with a jazz rhythm section recorded live.
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Clarence Gatemouth Brown opened for Dr. John at Tramps in NYC in about 1999. To think I didn't know the Gate before that show. He was a national treasure.
>Opener I Was Glad To Have Seen Before They Got All Douchey: Kings Of Leon for U2 Boston Garden May 2005 (3 nights)
That tour must have killed KOL. Everything became arena anthems after that.
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Fritz - That's an incredible Big Star video. It's great on so many levels - harmonies, lead, funky rhythms, and the drummer is all over the place.
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Plenty available on craigslist already:
>up to 10 hard GA tickets for Wilco- $85 each- prefer paypal (http://newyork.craigslist.org/mnh/tix/2495641780.html)
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http://www.latimes.com/entertainment/news/music/la-et-dawes-20110708,0,6200685.story
Dawes plays it old school
The group's music evokes the best of the classic canyon rock era of the 1960s and '70s. The band members even have a place in Laurel Canyon.
By Scott Timberg, Special to the Los Angeles Times
July 8, 2011
It's a hot, bone-dry, blue-skied day in the hills above Los Angeles — the kind of crystalline morning one might expect to see Neil Young, Joni Mitchell and the Byrds' Gene Clark relaxing on a redwood deck strumming acoustic guitars.
But the guys from canyon-rock band Dawes — acolytes of this very era — sitting on a tree-shaded porch beside the house they share, are not wearing western shirts. The air is scented with eucalyptus, but they are not smoking weed. Inside their home, the bookshelves hold stacks of the Believer, not yellowed copies of Mojo.
"Laurel Canyon has the mystique," says Taylor Goldsmith, 25, the group's singer and guitarist. "But it's just not the same place. Now it's traffic and … rich people. There's no real possibility for any artistic community there."
Goldsmith's attitude is startling, because his band's two albums — "Nothing Is Wrong" came out in June — are as open-hearted and earthy as the classic canyon rock of the '60s and '70s. The new album's opening number, "Time Spent in Los Angeles," has the yearning — as well as the three-part harmonies — that evoke the period directly.
But Dawes sort of wandered into their sound when they recorded their first LP.
"People say, 'Oh, you have this real California thing,'" Goldsmith says as his little brother Griffin, 20, the band's drummer, stares mutely through large sunglasses. "But I wasn't even aware of it. I wasn't hip to Jackson Browne; I wasn't hip to Warren Zevon. It wasn't, 'OK, guys, let's show them we're from California.'"
The spirit of those old records may just work through osmosis, he says. "It's nice to believe there's a quality of the place that permeates the music." This summer the band is touring the East Coast and jumping across the sea for a few London gigs before heading to the Santa Monica Pier for a free homecoming show on Sept. 1.
Dawes grew out of unlikely soil: The Goldsmith boys are the sons of musician Lenny Goldsmith, who served in the '70s as singer for Bay Area funksters Tower of Power. Dad told them to stay away from Dylan, the Grateful Dead and other music he saw as lazy and not virtuosic enough, and pushed the lads toward Otis Redding. (Goldsmith senior is now a Malibu-area Realtor.)
But Taylor and Griff eventually drifted to the mellow tradition of their native land — after several detours. When Beachwood Sparks released the singles that helped sparked the canyon revival around 1998, Goldsmith was 12 and too interested in Green Day and Weezer to notice.
"I feel a little late to the party," he says, "with a lot of the artists who mean the most to me."
After high school Taylor formed the power-pop band Simon Dawes, that put out a hook-rich album, "Carnivore," in 2006. Griff remembers his older brother being away on tour most of the time. "There wasn't much for me to do," he recalls, "but sit in the garage and play along with [John] Bonham and Levon [Helm]."
Around this time, producer Jonathan Wilson was holding mostly acoustic jams at his Laurel Canyon home, drawing musicians including Conor Oberst, Elvis Costello and members of Wilco. Dawes showed up one night, playing a Blind Faith tune; Wilson was impressed by their chemistry and what he calls their groove.
"But when they came back with songs, and we talked about making a record, that's when I was the most excited by it," Wilson says. "Everyone can be a fan of the right stuff, but if you don't have the perspective or the tunes, you might as well be a covers band."
Dawes' debut, "North Hills," named for the San Fernando Valley town where the Goldsmith boys grew up, came out in 2009 and introduced the band's rustic sound. At first, the group distributed the record on tour while opening for bands like Langhorne Slim, Delta Spirit and Deer Tick. (Taylor has since recorded with "folk rock supergroup" Middle Brother, which includes members of the latter two bands.)
Lending the band's complex relationship to Laurel Canyon a literal analogue, Wilson's home studio — in which they made "North Hills" — was dismantled and rebuilt in Echo Park, where the group recorded "Nothing Is Wrong." (Dawes also includes Wylie Gelber on bass and Tay Strathairn on keyboards.)
The instrumentation on "Nothing Is Wrong" remains old-school: Sampling and electronics don't much interest them. (Taylor plays a modified Telecaster — the first mass-production solid-body guitar — as well as a battered but beautiful 1964 Gibson J-45 acoustic.)
"We were always raised to play our instruments well," says Taylor, "and to play them for their natural sounds." The album was recorded on analog equipment — including Jackson Browne's old Studer tape machine — and largely without editing or overdubs. Dawes, in fact, performed as Browne's backing band Wednesday night at the Satellite in Silver Lake as a warm up to a string of dates they'll perform together in Spain.
Taylor compares the process to writing on a typewriter rather than a word processor, where your mistakes become more or less permanent. "It forces you to be on your game," he says. "The way records used to be made."
Their heroes remain older artists. The group, which has played at the "Big Pink" house in Woodstock where the Band recorded its first album, recently appeared on U.S. and British television appearances with Robbie Robertson. It shows the group coming full circle, since Robertson's ragged and glorious old group was one of Dawes' original inspirations.
"They're the most romantic band ever," Taylor says of Dylan's old backup group. "It's like an egoless experience — the songwriter doesn't sing, the singers don't sing behind the instruments you normally sing behind. You feel like you know all five guys. There's no solo, or the whole band solos. That's what being in a band is all about."
The Phish Thread
in Someone Else's Song
Posted
I caught the show on 12/30. Absolutely loved the first set. Fun show and fun crowd all around.