Standing in the shadow of the Beast.
I wasn’t sure what to expect when I agreed to cover Friday nights show at the Great American Music Hall. I wasn’t even aware of the set up of the show; co-headliners The Thermals (whom I had never even heard of before) and Thao with The Get Down Stay Down. Because of this, I arrived late thinking TWTGDSD was the opener, the real opener just finishing as I entered the venue. Sorry Grass Widow. I promise to check out one of your various shows in Austin at this years SXSW. [read the whole post]
This photo should help you understand Joel's line about a missing drum
Due to popular demand, this weekly Saturday column has returned! I can’t tell you how many people have clamored for its return because the writers have gone back to betting on the outcome. So which writer is collecting the pot? And which one is drinking from the king’s cup? Read on to see our top five most visited new posts of the last week. [read the whole post]
VV Brown welcomes us with open arms.
I generally avoid Popscene when possible. There are myriad reasons for this, which needn’t be explained to anyone who’s been there. For one, it’s notoriously 18+, which: no thanks! Any club that needs to see my special grown-up wristband before letting me have a beer is a place I’m happy to avoid. Secondly, there’s the inherent wrongness of any establishment that bills itself as “San Francisco’s premier indie nightclub.” So. Much. Wrong. Third, it’s scene-y in a superficially obvious way that still makes me feel I’m Susan Boyle standing around at Danceteria or something (cue the glittery 18-year-olds: “Who at the what?”).
And finally, I resent their unassailable skill at booking the hottest, coolest young acts and forcing the rest of us to go all the way to 330 Ritch in Mission Bay to see them (plus, I’m still mad I couldn’t get tickets when they hosted Amy Winehouse for her only Bay Area show to date). But sometimes these various negatives can come together for a really amazing positive. Last night’s show was one such exception. [read the whole post]
Earl Greyhound’s previous album, Soft Targets, blasted out of the box with “S.O.S.,” a dynamic mission statement that attempted to explain, in five minutes, what Earl Greyhound was all about. While the album didn’t live up to the high standards set by this blistering track, descending into middling bluesy rock numbers by the end, the promise of that one song alone has kept me interested in the band, and earned them all sorts of lauds as the “next big thing.” Now, the band’s new album, Suspicious Package, has arrived, and it also starts with I assumed to be a clear mission statement. What’s the mission this time? [read the whole post]
Oh Mr. Zombie, you’ve done it again. I guess that’s why Rob appropriately named his newest album “Hellbilly Deluxe” part deuce. BUT, for those of you who are expecting this album to be a sequel of the first Hellbilly, you will probably be disappointed. Back in November, I got a sneak peak of Zombie’s delayed production during his Hellbilly tour. Why such a long delay Rob? Although I must say the album was worth the extra three month wait, such a long delay was almost like burying the grave before putting in the coffin.
[read the whole post]
Always cool and in control
The character that is Mos Def never stops to entertain, on stage, in film or in person. His music is layered with decades of influence and years of knowledge wrapped up in a style that undoubtedly his very own. This night is no different than the Mos Def that we’d expect. Arriving ever so fashionable, and fashionably late, with an entourage to boot. He takes the stage with his bright red mic, circa 1960, and a perfectly knotted bow tie. Clean and smooth with a swagger that makes it clear that the show is completely under his control. [read the whole post]
