The Travelin' Trio (me, Iris and Marla) headed up to Los Angeles on Sunday night for a Dead Head concert. Marla is a Grateful Dead fan and her connection to a band newsletter led her to buy some tickets to see Gov't Mule and RatDog (Bob Weir's band) at The Greek.

After some Indian food on Vermont Avenue, we trekked over to the venue at Griffith Park. The crowd was friendly and mellow (of course); the parking was bizarre (on the grass, on a hill: $15). We heard excited whispers as people pointed out Bill Walton in the crowd. He disappeared into a custom coach, but we would see him again soon.

The Pit

When we got to the gate, the ticket-taker ordered us to another entrance. We were "in the pit," she said, and that had a separate gate. Say what? Thinking back a few weeks, nobody really paid attention when Marla excitedly told us that her tickets were "right up front." We were about to find out what that meant.

At the next gate, our tickets were swapped for wristbands and we wandered, clueless, into the venue.

The Pit, of course, is the section slam up against the stage, separted from (the losers in) the front row by a metal fence. There are no seats in The Pit. It's just the people and the band. There might be 24 inches reserved for photographers, but they didn't stick around. We had the whole stage to ourselves, or at least it felt that way. Iris, Marla and I spent six hours bellied up to the metal fence between us and the stage.

Good vibrations

I don't think it would have mattered what bands played last night. I'm not a Dead Head or Grateful Dead fan, but I was so close to the talent I could count their wrinkles and note their wedding bands. They are amazing musicians, no doubt. I was enthralled by the incredible guitar players; there was no keeping up with them. I made eye contact with band members and that was cool. Who gets to do that anymore? This is why I gave up big venues. Why pay close to $100 for an impersonal experience in a stadium full of echoing music? No thanks.

We stood in The Pit all night, dancing our way through Gov't Mule songs I didn't know but enjoyed anyway. RatDog went from cover songs to jam sessions and belted out a few Grateful Dead songs that kept the crowd singing and on their feet. Behind us, Bill Walton towered over us. He was hard to miss in his tie-dye shirt. Even a die-hard Tar Heel fan like me can appreciate the basketball star that he was. I enjoyed hearing him accept thank-you's from passers-by. He was friendly and didn't turn away from his fans.

Dancing Fool

So, a final footnote on the night and why I felt so damn young. The bulk of attendants, it seemed, were middle-aged white guys with tie-dye shirts and baggy cargo shorts. Most shockingly of all, these baby-boomers couldn't dance worth a damn. ;-) Iris and I had a few snickers over that one.

One guy in particular had us in stitches all night. His style, if you will, was herky-jerky and full of elbows flying. He had a move that seemed half prayer, half suggestion: arms reaching forward, palms up while his torso jerked awkwardly from his lower body. It was impressive. I figured he lost a few pounds in all that gesticulation. We all longed for a camera to document the moment.

I danced myself, but hey, I've got the moves!

Die komplette Show vom 21. Februar 1994 gibts hier.

I'm talking about Mountain Jam. For those of you who don't know what Mountain Jam is, it's a three day Folk/Rock music festival put on by WDST Radio Woodstock. This years festival was held last weekend in Hunter, NY and was the fourth annual. I'm not going to write about every single band that played (that would probably take up three blogs due to the fact that there were 27 bands playing over the course of the weekend). Besides, not all of the bands held much interest to me. I'm going to write about what I thought some of the highlights of the festival were.

GRACE POTTER & THE NOCTURNALS

I went up to the festival after work on Friday, so the first band I got to see was Grace Potter & the Nocturnals. One of my favorite songs that Grace Potter sings is "Nothing But the Water" and she sang that song during her set. That girl knows how to rock a crowd, even if it was only the smaller early Friday crowd... She started the song off a capella with only the tambourine for accompaniment before the rest of her band joined her. At one point during the song, they all started attacking the drum set. Grace got down on her knees and was pounding the bass drum, the rest of her band was banging the tambourines, the drums, anything they could... They stopped with a final resounding bang on the bass drum and Grace took it back to the quiet intro, singing with only the tambourine again. Grace Potter & the Nocturnals played mostly rock at Mountain Jam, with some funk thrown in. I wish she had sang more bluesy soulful stuff, the songs she sang didn't particularly show off her vocals which is a shame since she has an amazing voice.

SHARON JONES AND THE DAP KINGS

Aah, Sharon Jones and the Dap Kings... They're a tight band. The Dap Kings came out first and played a few songs before Sharon Jones took the stage with them. The Dap Kings have some killer moves... The brass section continuously stepped left and right to the music, looking sharp in their suits. In addition to the three piece brass section, there are two drummers in the band (one on a regular drum set and one on congas), two guitarists, and a bass played who is the bandleader. As for Sharon Jones, she is absolutely fabulous! (I rarely use that word, but in regards to her it is quite fitting). She's an incredible dancer too, she busted out some African dance and Hip hop moves during her performance. Sharon Jones and the Dap Kings were definitely one of the highest highlights of the weekend for me.

MICHAEL FRANTI AND SPEARHEAD

If Sharon Jones and the Dap Kings were one of the highest highlights of the weekend for me, Michael Franti and Spearhead weren't far behind. Michael Franti really knows how to get the crowd going, and his shows are always high energy. All of his songs are full of politics and have a profound message in them. Spearhead sounded great, they're cool guys... Warren Haynes came out to play a few songs with the band, as did Jackie Green (who had just finished his own set prior to Michael Franti and Spearhead's).  

THE FELICE  BROTHERS

Catskill Mountains' own hometown boys sounded great, which was impressive considering they had just gotten back from a tour of Europe, what, a day before? They played a bunch of crowd favorites for their set at Mountain Jam, including "Hey Hey Revolver," "Rockefeller Druglaw Blues," "Frankie's Gun!," "Where'd You Get The Liquor," "Ruby May," and Blind Willie McTell's "Lord, Send Me An Angel." The Felice Brothers' sound is changing, and it's straying from their roots. They're becoming more Rock by the moment, but they still hold on to a part of their original sound and their uniqueness, which is something that I hope never changes.

THE DRIVE-BY TRUCKERS

The Drive-By Truckers were great. They're a little vain (they deliberately posed at the front of the stage to make sure the photographers could get a good shot), but it was funny. The Drive-By Truckers play "Southern Rock," and although people like to compare them to Lynyrd Skynyrd, as a huge Lynyrd Skynyrd fan I neither like nor agree with that comparison. It's not giving The Drive-By Truckers their due either, because they have their own distinct sound. One can just imagine them playing (or going for drinks) at an old Country bar in some rural town... The Drive-By Truckers are so badass they drink Jack Daniels and smoke onstage. Patterson Hood, the lead singer of the band, paid homage to Levon Helm onstage. He sang "Let There Be Rock" in honor of him, and also told the crowd that if his daughter had been a boy, her name would have been Levon.

LEVON HELM

It was awesome to see Levon Helm perform, the man is a living legend. He seemed a bit frail when he took the stage, but when he took his place at the drum set, there was nothing frail about him. Levon Helm had his "Ramble On The Road" band with him, which included a five-piece horn section. He had a number of guests playing with him. His daughter Amy Helm (who is in a band called Ollabelle) and Teresa Williams on vocals, Larry Campbell on guitar and fiddle, Tony Leone (also of Ollabelle) on drums on a few songs (so Levon could play mandolin), Warren Haynes, and Little Sammy Davis.

Gov't Mule closed the festival on Friday and Saturday nights, while Bob Weir and Ratdog closed on Sunday. They're both real, honest-to-goodness jambands, and the cool thing about "Jam bands" is that you never know what's going to happen, or what direction a song might take. It's totally spontaneous, and there's something beautiful about that.

The one thing I disliked about Mountain  Jam is the kind of people that it drew. After my sister almost got trampled by some drunk guy who was also stoned out of his mind, it made me think; everyone at the festival was using drugs. Everyone. People seemed to think that in order to enjoy the festival and the music they had to drink and use drugs. I don't understand it, because isn't music supposed to take you to the same place? It does for me. (Well, okay, maybe not the same place that guy who almost trampled my sister was)... When I experience music, whether it be through creating it myself or simply listening to it, I'm transported to a state of mind more wonderful than any drug could ever possibly take me. With less consequences and side effects too... None actually. I don't have anything against the majority of people who were at Mountain Jam, it's just that, sometime's it seems like people get so involved in the whole "scene" that they forget about the music and it's left by the wayside. I think that using drugs and getting wasted takes away from experiencing the music to it's fullest potential. And isn't that what it's all about? Experiencing music to it's fullest potential. If not, then that's sad. Because it should be.

* Nos shows, o White Stripes vende edições limitadas e exclusivas dos seus singles e pôsteres específicos de cada apresentação.

* O OK GO licencia o uso de suas músicas em programas de TV, jogos eletrônicos, publicidade etc.

* O Panic At The Disco fechou um contrato em que, em troca de uma percentagem maior, eles permitem que suas gravadoras cuidem de absolutamente tudo que possa ser vendido com sua marca, não apenas os discos, mas também produtos licenciados, shows etc.

* O Gov’t Mule ganha mais dinheiro com vendas digitais do que com vendas físicas. O áudio de qualquer show que eles façam é vendido no site da banda.

Clique aqui para ler a matéria completa.

“Listen to me because I am so good at playing guitar.” That’s one way to think about why anyone should pay attention to your guitar playing and the music you can make with it.

Another one is: “I can help get your mind off your daily stress, make you feel good for a little while and get you to have some fun. I can do these things for you using this gift I have of playing guitar and making music.”

You can be a really good guitar player and have unlimited amounts of gear, but, if your outlook is similar to the first one above, if you’re limiting yourself to just looking inward and “keeping your head down” while you play, chances are you won’t be making music.

Sure, you could make music, but the kind that stays inside your head. Not the kind that brings people together and enchants them with pleasure, joy and magic – the magic of music.

...

Photo by IG

I keep getting chills thinking about how I'm gonna have some of that gorgeous Haynes Les Paul sound going right into my ear. Oh man. It's general admission, so hopefully I'll get close enough to have a peak at the guitar magic and get some good pictures to share.

My only concern is that I'm going with the guys from the band (we're hitting Hooters before the show for some hot wings and beer action), and I hope, I really do, that the guys don't leave the show wanting me to play guitar like Haynes. Cuz, you know, there's noooo way that's gonna happen.

If you are a guitar geek, and haven't gotten hip to Haynes and Gov't Mule, please do so. Ok? I mean it. For reals.

Here is probably the best bio I've been able to find about Haynes on the net.

Rock and roll!

No título, eu me refiro aos olhos de uma lula específica (e não falo do nosso querido presidente-molusco). É o maior olho encontrado até hoje.

Só a lente é do tamanho de uma laranja. O olho em si é maior que um prato, desses de jantar.

Um dia acham as lulas gigantes do livro 20.000 léguas submarinas, com olhos do tamanho de calotas de carros. Só que lá não fala de qual carro. Pode ser um fusquinha ou um Hummer....

PS: No 2º link tem umas fotos bem legais, mas prepare-se: é nojento. Afinal, é uma lula... Você esperava o quê? Algo sexy?

Só que eu achei as lentes meio opacas... Será porque o bicho a bicha (é uma fêmea) tá morta há um bom tempo? Bom, não que haja muita coisa pra se ver a quase 2000 metros de profundidade...

PS2: Eu não li o livro. Li sobre as lulas gigantes em alguma revista. Então se eu falei besteira, perdoem-me...

I made it there in time to catch the last few songs from the Jamie McLean Band. Jamie's other main gig is guitarist for the legendary Dirty Dozen Brass Band, though his band is more straight forward rock. What I heard I enjoyed, but I ended up catching with an old college friend during Jamie's set.

I positioned myself up front for the Mule. Warren came out and played a few slide licks, organ comes in- I knew immediately what song it was - "It takes more, more than a hammer..." Mule launches into "Hammer and Nails" with Hess and Abts locking into an infectious groove with a much appreciative crowd ready to groove along.

Next was "Rockin' Horse" which has become a staple in both Mule and Allman Bros shows - I don't think I can count on 2 hands the number of times I've heard this one live - but it never gets old.

"'My gaurdian angel wears a hard hat,"
Said the boy with the microphone'
"Else, I wouldn't be standing here today."
Ever since I was a young a boy
I couldn't leave well enough alone

Mule covering the Beatles' "She Said, She Said" into "Tomorrow Never Knows" was well worth the price of admission. Warren begins playing the Tomorrow Never Knows melody and then begins singing:

Turn off your mind relax/and float downstream

During the end of Fallen Down, Mule goes into "Gimme Shelter" and then into an out of this world The Other One Jam with Greyboy All Star Karl Denson absolutely killing it on the sax. Karl then came back again during "Blind Man in the Dark" with even a bit of an Afro Blue tease.

Second set featured a Led Zeppelin's version of "When The Levee Breaks".

All and all - the best show I've been to this year for sure. I talked to an older couple that claimed to have seen over 200 Mule shows (I may have seen 15 or so if I had to guess) - the wife said she'd put this show in her top 3 Mule shows.

That night I caught the first bit of the Greyboy All Stars show, the only song I recognized was a cover of the Beatles "Taxman." I've seen Karl Denson's Tiny Universe 6 or 7 times, but this was my first Greyboy show...I enjoyed it, but was a bit tired and grew uninterested (mostly just tired) from hearing I-IV-V structured songs...don't want to knock them too much Karl Denson was great as was Robert Walter and the rest of the band - I'm sure most nights I would've gladly stuck around. Warren did come out and play slide on about 2 or 3 songs - it was quite surreal seeing Warren Haynes in a smaller venue.

04.13.2008 Lincoln Theater Street Stage Raleigh, NC

Set 1
Hammer & Nails Judgement Day Tease
Rocking Horse
A Million Miles From Yesterday
Larger Than Life
She Said, She Said->
Tomorrow Never Knows
Fallen Down->
The Other One Jam with Karl Denson
Brighter Days
That's What Love Will Make You Do with Robert Walter and Jamie McLean
Blind Man In The Dark with Karl Denson

Set 2
I Think You Know What I Mean->
When The Levee Breaks->
I Think You Know What I Mean
Slackjaw Jezebel
Beautifully Broken
Devil Likes It Slow->
Drums
Streamline Woman
Thorazine Shuffle

Encore
Soulshine

All Photos by Chris Rushin
All Monitors mixed by Earl McCoy

http://blogs.wsj.com/health/2008/03/26/rock-and-roll-may-never-die-but-sometimes-it-gets-sick/?mod=WSJBlog

 

The Black Keys play up their barebones folksy blues rock on their fifth full album (interestingly produced by Danger Mouse, of Gnarls Barkley fame). The duo from Ohio sets down 11 raw tracks, dipping into influences of soul, bluegrass, rock, funk, country and blues. The mixture provides a range of sounds never straying too much from the core of the band, working as a collection of musical grit effectively taking some old ideas and making them sound new. Check for yourself.

Quarters for the songs: Strange Times; Psychotic Girl; All You Ever Wanted; I Got Mine; So He Won't Break; Things Ain't Like They Used to Be.

Worth listening, if you like: Junior Kimbrough; Queens of the Stone Age; Cold War Kids; The Brian Jonestown Massacre; The Raconteurs; Led Zeppelin; Kings of Leon; North Mississippi Allstars; Jimi Hendrix; Gov't Mule; The White Stripes; The Roots.

Voting is now open for the 7th Jammy Awards

Live Performance of the Year

1. Gov't Mule with John Paul Jones, Bob Weir, Michael Franti, Jorma Kaukonen, Jack Cassady & Luther Dickinson, Bonnaroo Music Festival, 6/17/07

2. Led Zeppelin, O2 Arena, London, 12/10/07

3. Phil Lesh & Friends with Trey Anastasio, Glens Falls Civic Center, 10/20/07

4. Soul Stew Revival with Luther Dickinson, Fox Theatre, Atlanta, GA, 12/31/07

5. SuperJam (Ben Harper, John Paul Jones and ?uestlove), Bonnaroo Music Festival, 6/16/07

6. USTORM Benefit, The Park West, Chicago, IL 3/31/07

Tour of the Year

1. Allman Brothers Band/RatDog

2. D.U.M.B.: The Disco Biscuits and Umphrey's McGee

3. Gov't Mule with Grace Potter & The Nocturnals: Mighty High Tour

4. Solid Blues Tour: Mavis Staples, Charlie Musselwhite, The North Mississippi All-Stars & Joe Krown

5. The String Cheese Incident: Summer

6. Widespread Panic: Fall Studio

Album of the Year

1. Dream: Keller Williams

2. From The Corner To The Block: Galactic

3. 100 Days, 100 Nights: Sharon Jones & The Dap-Kings

4. Page McConnell: Page McConnell

5. The Conch: moe.

6. The Mix-Up: Beastie Boys

Live Album of the Year

1. Bringing It Home: Bonerama

2. Brothers of a Feather: Live at the Roxy: Chris & Rich Robinson

3. Escaping the Sargasso Sea: Lotus

4. Live at the Murat: Umphrey's McGee

5. Live at Tonic: Marco Benevento

6. Live in the Northeast: Hot Buttered Rum

Song (a composition first appearing on an official release in 2007)

1. "Ah Mary" Grace Potter and The Nocturnals

2. "Cadillac" Keller Williams

3. "Circles" JJ Grey & MOFRO

4. "Heavy Rotation" Page McConnell

5. "Maria" ALO

6. "Telling Sue" Assembly of Dust

DVD of the Year

1. Immagine in Cornice: Picture in a Frame: Pearl Jam

2. JamCam Chronicles: Jam Cruise 5

3. Keep on Marchin': North Mississippi Allstars

4. Progressions: The Disco Biscuits

5. Stranger: Bernie Worrell on Earth

6. Years in Your Ears ...a story of Leftover Salmon

Archival Album of the Year

1. Boston Common, 8-17-71, The Allman Brothers Band

2. Live at Massey Hall 1971, Neil Young

3. Three From The Vault, Grateful Dead

4. Vegas ‘96, Phish

5. Warren Haynes Presents: The Benefit Concert Volume 2

6. Warts & All 5, moe.

eMusic Download of the Year

1. Cold Turkey 150- Benevento Russo Duo, American Babies, Apollo Sunshine, Keller Williams and Michael Franti (relix.com/radio)

2. N'awlins Funkmasters 4/29/07, Howlin' Wolf, New Orleans, 4/29/07 (Digitalsoundboard.net)

3. Music For The Planet: a nugs.net benefit for Rock The Earth (Nugs.net)

4. Phish, "Headphones Jam" (Livephish.com)

5. Tractorbeam, Chameleon Club, Lancaster, PA, 6/26/07 (Livedownloads.com/Bisco)

6. Widespread Panic, Driving Songs, Vol. 1, Summer 2007 (Livewidespreadpanic.com)

New Groove

1. Blue Turtle Seduction

2. BuzzUniverse

3. Cornmeal

4. One Under

5. Scarecrow Collection

6. SeepeopleS

7. The Brew

Look for an initial artist lineup on the site in the coming days. Please visit the official Jammys homepage to vote.

blog The Setlist report earlier today that Chuck Leavell has a solo album coming out May 13, "Live In Germany: The Green Leaves and Blue Notes Tour" on Evergreen Arts. Leavell did the “Green Leaves & Blue Notes Tour” in Europe after the Stones' "A Bigger Bang" tour ended, recruiting some German musicians to accompany him. Performance on the album was recorded on Sept. 14 for the German radio station HR1. Classics on the album include “Jessica,” “Statesboro Blues,” “Honky Tonk Woman,” “Rip this Joint,” Les McCann and Eddie Harris’ “Compared to What,” “Georgia,” “Here Comes the Sun” and “Route 66.”

For the 7 or 8 of you who do not know who Chuck Leavell is, he played the still enthralling piano solo on the Allmans' "Jessica," the keyboards on Eric Clapton's "Unplugged" and, for the last 20 years, with the Rolling Stones.

I had the chance to meet Chuck backstage at the 9:30 Club in Washington DC while he was on the New School of Gov't Mule tour in 2001, very nice man and one of the best keyboard players around.

The Black Crowes offer no disappointment for established fans with this album. Lead singer Chris Robinson sounds great, delivering the band's trusted soulful Southern rock. I particularly enjoy the rollicking "God's Got It," which only proves The Black Crowes still got it too ...

Quarters for the songs: God's Got It; Whoa Mule.

Worth listening, if you like: The Rolling Stones; Pearl Jam; Gov’t Mule; Faces; Lynyrd Skynrd; The Allman Brothers; Tom Petty and The Heartbreakers; Led Zeppelin.

A number of additional musicians will be added to the festival’s growing lineup in the coming weeks. In total, All Good will feature over 40 hours of live music, with no overlapping sets. Early-Bird tickets will be available beginning Tuesday, February 26.

The Coachella forum has been rumoring this mystery festival for a little while now, and it seems like there are plenty of people out there just like me just waiting with baited breath for something better to come our way. I'm glad to see I'm not the only opportunist. And whats that shit they say about how idealists never succeed?! I won't believe it!!

Either way, it doesn't look like this is going to be THE festival I've been hoping for though... but the lineup is pretty decent, just not quite enough for me to take the bait. Seems that the longer I wait the more my hopes on Lollapalooza, Sasquatch and the All Points West Festival seem to grow.

As per the Rothbury Festival: (To be held in Rothbury, Michigan between July 3-6)

Here are some of the highlights:

Dave Matthews Band + Widespread Panic + John Mayer + 311 + Phil Lesh and Friends + Primus + Thievery Corporation + Snoop Dogg + Modest Mouse + Michael Franti and Spearhead + Gov’t Mule + Slightly Stoopid + STS9 + Colbie Caillat + The Black Keys + Yonder Mountain String Band with Jon Fishman + Gogol Bordello + Citizen Cope + Keller Williams and The WMD’S + The Disco Biscuits+ Medeski Martin & Wood + Ray LaMontagne + Derek Trucks & Susan Tedeschi Soul Stew Revival + Drive-By Truckers + Of Montreal + The Dresden Dolls + Gomez + Brett Dennen + Taj Mahal + Mike Gordon + Zappa Plays Zappa

More news to come...

Mountain Jam is a 3-day outdoor music festival that takes place the first weekend after Memorial Day (May 30th to June 1st). It is held at Hunter Mountain in upstate New York.

The initial band line-up looks great! I couldn't make it last year but the quality of the webcast was one of the best I've watched/heard and that was during some awful rains. Hopefully, they use the same tech crew as last year and Warren & friends finally get some nice weather that weekend.

Gov't Mule (2 Nights)
Levon Helm Band
Michael Franti & Spearhead
Medeski Scofield Martin & Wood
Citizen Cope
The Drive By Truckers
Dark Star Orchestra (Late night on the Mountain)
Ivan Neville's Dumpstaphunk
Galactic (Late Night on the Mountain)
Grace Potter & the Nocturnals
Sharon Jones & the Dap Kings
JJ Grey & Mofro
The Greencards
Lotus (Late night in the Lodge)
Jackie Greene
Felice Brothers
JIM WEIDER'S PRoJECT PERCoLAToR w/ special guest Lucy Bo
Pnuma Trio (Late night in the Lodge)
Giant Panda Guerilla Dub Squad
BuzzUniverse
Phonograph

Update 2/14-Radio Woodstock and Warren Haynes confirmed that RatDog, Umphrey’s McGee, Dr. Dog, Pete Francis and Larry McCray have all been added to the lineup.

Mountain Jam passes will be available at www.mountainjam.com and www.mule.net beginning Friday, February 1 at 10 am.

Praliné des Jahres:
M.I.A.: Paper Plains (Kala, XL Rec., 2007)

Die CD "Kala" von M.I.A. erfuhr eine eigentümliche Rezeptionsgeschichte im deutschen Feuilleton. Kaum ein Blatt verzichtete auf mehrspaltige Laudationes, vergaß aber nicht, den Zeigefinger mahnend in Richtung ihres Papas Arul Pragasam zu heben, einem Aktivisten der "Liberation Tigers of Tamil Eelam" in Sri Lanka. Mitglied der "Tigers of Tamil" zu sein, ist von Papa sehr ungehörig! Denn wie jeder Deutsche weiß, besteht der politische Kampf im Zettelfalten aller vier Jahre. Mehr Kampf ist böse, und bewaffneter Kampf ist böse-böse.

Auf der anderen Seite wurde M.I.A. in der hiesigen Presse als multikulturelle Botschafterin geadelt. Geboren in London, aufgewachsen in Sri Lanka und London, ihre Songs als Weltreisende in diversen Ländern eingespielt, bot sie sich als Ethno-Queen geradezu an. Außerdem gibt das 10 Gemütspunkte für die immer noch alternativ angehauchte Seele des Feuilleton-Redakteurs.

"Kala" ist jeden Cent wert. Nicht die ganz große Erregung, aber auch kein Reinfall. Man muß die CD selbstverständlich laut hören (wie jede gute Musik) und kann sich bei grimmigem Hip-Hop, hartem Electro, kernigem Agit-Prop und zuckersüßen Bollywood-Samples wunderbar amüsieren.

Ganz besonders laut sollte man den Song "Paper Planes" hören. Darin sampelt M.I.A. u.a. MG-Geräusche: Laden, Feuern, Laden, Feuern ... Eine simple Idee, die ihre grandiose Wirkung um so besser entfaltet, je weiter der Lautstärkeregler aufgedreht wird. Die Militanz der Musik von M.I.A. wird hier effektiv auf den Punkt gebracht. Da bleiben keine Fragen offen.

Gov't Mule pflügen seit Jahren ihre eigene Spur. Angeführt von Warren Haynes, stampfen die Erben der Allman Brothers seit 1995 durch die Welt, unbeirrt von Moden und Trends. Gov't Mule = Blues + Cream + ausufernde Improvisationen, dokumentiert auf Doppel- und Dreifach-CDs voller Live-Musik.

Einen Bestandteil ihres Sounds bildete schon immer der Reggae. Nicht der wichtigste, aber in einigen Titeln unüberhörbar. Einem gemütlichen jamming und dubbing war Warren Haynes nie abgeneigt. Jetzt füllte er damit eine komplette CD -- als Dub-Reprise der Gov't Mule-Produktion "High & Mighty", 2006 erschienen.

Ihr "High & Mighty"-Song "Unring the Bell" erscheint auf "Mighty High" gleich in vier Versionen. Auch "Like Flies" und "So Weak, So Strong" tauchen als Dub-Cover auf; ebenso die Klassiker "I'm a Ram" von Al Green, "The Shape I'm In" von The Band und "Play With Fire" von den Stones.

Kein Mensch braucht diese CD. Und genau deshalb sollte man sie kaufen. Einfach so, aus Spaß.

Eine Schreibmaschine, ein Topfdeckel, eine leere Flasche -- mehr braucht Hanne Hukkelberg nicht. Wo ein Geräusch ist, hält sie ihr Mikro hin. Die Tiere des Waldes und der Wohnung, der Lärm der Straße, eine schnurrende Katze, eine quietschende Schublade oder eine klappende Tür sind die Kulissen, in denen sie ihre ganz private musikalische Welt ausbreitet.

Dabei entsteht kein L’art pour l’art, sondern ein kleines Wunder zwischen Folklore, Barjazz und Kinderliedern, mal minimalistisch verknappt, mal avantgardistisch angehaucht oder ganz einfach spinnert. Sobald der Player läuft, entfaltet das kleine Wunder seine zarten Schmetterlingsflügel, grient dich an und flattert leise summend durch die Wohnung.

Die Norwegerin Hukkelberg, die einige Monate in Berlin lebte und ihre Berliner Adresse im Namen der CD verewigte, berührt den Hörer sanft mit ihrer jazzig verträumten Stimme. Man lächelt, singt "Break my body, hold my bones, hold my bones", füllt das Whiskyglas, tritt ans Fenster, schaut in den Himmel zwischen Nachtradio und Morgendämmerung und denkt: "Alles wird gut."

Ein Sonntag im August. 17.000 tobende, tanzende Menschen. Letztes Konzert von Seeed vor einer 18monatigen Pause. Die Freilichtbühne in der Wuhlheide ist an diesem wie an den beiden vorherigen Tagen ausverkauft. Bombenstimmung und Party ohne Ende; das Berliner Publikum amüsiert sich wie Bolle. Das ist Seeed, und das ist ihr Gebiet.

Die Band funktioniert perfekt. Sie spült Hit auf Hit von der Bühne. Im Publikum bleibt niemand kalt. Standing Ovations von der ersten Minute an. Hüpfen auf den Bänken, in den Gängen und über die Treppen. Hüpfen zum Bierstand und wieder zurück. Die Mädchen hinter dem Tresen wippen lachend im Takt. Selbst die Ordner lächeln und schwingen verstohlen ihre Arme.

Alle sind glücklich. Man tänzelt nach dem Konzert zur S-Bahn und träumt während der Heimfahrt im schaukelnden Takt der Waggons von Dance Hall und Reggae.

Aber: Es war das letzte Mal.

Seeed können nicht weitermachen wie bisher. Trittbrettfahrer haben sich längst am Dance-Hall-Zug festgekrallt und kassieren den Lohn für Seeeds Kärrnerarbeit. Und der Lebenszyklus von Seeeds Riddims ist begrenzt. Nichts währt ewig, erst recht nicht intelligente Gute-Laune-Musik in Deutschland.

Während des Konzerts konnte man kurze Momente der Irritationen erleben. Ein leicht erschrockenes Aufflackern im Publikum, wenn Seeed keinen hitparadenerprobten Dance-Hall-Brecher, sondern unbekannteres Material spielten. Sicher, mit ihrer überragenden Professionalität packte die Band das Publikum blitzschnell am Schlaffitchen und ließ keine Atempause zu.

Aber die Vorboten dessen, was passieren könnte, wenn Seeed ihren Sound weiterentwickeln, waren unübersehbar. Ebenso die Erschöpfung und der Stillstand nach der gigantischen Woge des Erfolgs. 2009 mit "Dickes B (Part 2)" anzutreten ist kaum denkbar.

Wie auch immer die Entscheidung ausfallen mag: Die Nacht des 26. August 2007 war der Abschied von Seeed, wie wir sie kennen und lieben. Eine große Band, deren Mitglieder als Straßenmusiker begannen, feierte große Triumphe -- nicht des Marketings, sondern der Musik wegen. Thank you, Seeed.

Man könnte zur Band mit dem Bandwurmnamen sagen: Ha! Ihr klingt wie! Nämlich wie Arcade Fire, Godspeed You! Black Emperor und A Silver Mt. Zion! Allein, es fehlt das epigonenhafte Bemühen, einem Vorbild nachzueifern. Eher hat man den Eindruck, eine Rasselbande pubertärer Lausejungen stürmt ins Studio, stöpselt irgendwelche Instrumente ein und schmettert drauflos. Das sie dabei klingen wie ..., das ist wohl Schicksal.

Der mit hoher Stimme vorgetragene, dramatisch klagende Gesang und die epischen Mini-Dramen sind keine neue Erfindung (das waren sie auch bei Arcade Fire, GYBE und ASMZ nicht), aber sei's drum. Hier macht Musik einfach Spaß. Und wenn dieses verdammt kurze Werk ihre erste und letzte CD sollte, dann haben sie immerhin ihren Fußabdruck in der Popgeschichte hinterlassen. Zwar ein kleiner Abdruck, aber ein lustiger.

Konzerte sind nicht immer befriedigend. Der Beginn richtet sich eher nach der Konstellation des Mondes zur Sonne als nach der angekündigten Uhrzeit; Sound und Licht scheinen immer öfter in der Hand frohgemuter Praktikanten zu liegen, und vor dem erhofften Ereignis muß sich der Besucher durch albtraumhafte Vorbands quälen, deren Anwesenheit auf dem Ticket listig verschwiegen wurde.

Wie groß ist aber die Freude, wenn die Erwartungen nicht nur erfüllt, sondern radikal übertroffen wurden!

ISIS live: Das konnte eigentlich nur in die Hose gehen. Wie soll das Soundgewitter, bei dem die heimischen Boxen beglückt um Fassung ringen, in einer gruftähnlichen Location wie dem Berliner Postbahnhof funktionieren (der ja tatsächlich nie etwas anderes war als ein Postbahnhof, ergo eine Betonhalle für Briefsäcke, Pakete und die Abobündel der "Messitsch" -- mit entsprechend optimierter Null-Akustik)?

Doch es funktionierte. UND WIE! Gitarrenflächen schichteten sich auf Gitarrenflächen, dick und fett und mächtig wie auf CD. Ach was, besser als auf CD!

So selten man das sagen kann, hier ist es keine Übertreibung: ISIS live stellten ISIS im Studio in den Schatten. Der Druck, den die Band auf der Bühne entfesselte, packte noch den letzten Magen in der letzten Reihe. Die Ohren wußten nicht, wohin sie sich zuerst orientieren sollten, um kein Fitzelchen zu verpassen. Vor allem die Stücke der beseelten CD "Oceanic" baute ISIS zu wahren Soundmonstern auf.

Als stünde eine Armada beherzter Gitarristen auf der Bühne, deren Instrumente traumwandlerisch das Wasser schwingen lassen: Zuerst als nettes Ambient-Geplätscher, dann höhere Wellen schlagend, schließlich Woge um Woge zu Brechern auftürmend und am Ende einen alles verschlingenden Tsunami über das Publikum jagend. Bei alle dem versanken die Musiker wie in Trance. Es schien, als wüßten sie nicht, wo sie sind und wer sie sind. Nur der Moment zählte noch, der ihre unerhörte Musik schuf.

Wie, um Himmels Willen, klingt diese Band in einer richtigen Konzerthalle, mit eingemessener Akustik und ausgefeiltem Soundsystem? Würde man es überleben?

Side Project des Jahres:
Tomahawk: Anonymous (IPECAC Rec., 2007)

Mike Patton kann im Grunde genommen machen, was er will. Dieser mit einer der unglaublichsten Stimmen der Rockgeschichte gesegnete Mann singt, spielt, tourt und produziert in einer Quantität, Qualität und Perfektion, die ihresgleichen sucht. Und er ist immer, wirklich immer, für eine Überraschung gut.

Mit Tomahawk, einem seiner Side Projects, griff Patton für deren dritte CD (nach "Tomahawk", 2001, und "Mit Gas", 2003) tief in den amerikanischen Kulturbeutel. Nicht Blues oder Country, sondern viel tiefer: Indianische Volksmusik. Über 100 Jahre alt und bisher noch nie aufgenommen. Die Vorlagen stammten aus Büchern, in denen die indianischen Traditionals unbekannter Urheberschaft (daher "Anonymous") von Volkskundlern transkribiert wurden -- vor sehr langer Zeit, um dann vergessen zu werden.

Mike Patton (voc, keyb), Duane Denison (g, b) und John Stainer (dr, perc) gruben die Transkriptionen aus, arrangierten sie und spielten sie ein. Natürlich nach Art des Hauses "Tomahawk". 13 kurze Stücke; wuchtige Tribals und narkotische Tänze; eigenwillig gesungen und exzellent produziert, wie von Mike Patton gewohnt. Für Patton-Puristen vermutlich zu viel folkloristischer Pop; für Freunde der guten Musik jedoch ein Ohrenschmaus.

Und wer Mike Patton seit Faith No More nie wieder gehört hat, kann sich hier an den Mann mit den unkaputtbaren Stimmbändern herantasten, ohne rückwärts vom Stuhl zu fallen. Muß ja nicht gleich "Pranzo Oltranzista" sein.

Selbstmord-Soundtrack des Jahres:
Soulsavers: It's not how far you fall, it's the way you land (V2 Rec., 2007)

Mark Lanegan singt. Der perfekte Sound zum Selbstmord. Wer romantisch sterben möchte, programmiere seinen Player zur mentalen Einstimmung auf "Kingdoms of Rain". Beim Neil-Young-Cover "Trough my Sails" gleitet das Messer wie von selbst durch die Pulsadern. Zum Ausbluten bietet sich "Spiritual" an; auf der Reise durch den Tunnel zum Licht "Revival", nach der Wiederbelebung im Hospital "No Expectations".

Eine CD mit größerer emotionaler Wirkung ist schwer vorstellbar. Mark Lanegan und Soulsavers (u.a. mit Will Oldham) ziehen den Hörer in einen tiefschwarzen, bleiernen Strudel. Man fällt und fällt und fällt ... sacht taumelnd, die süße Schwere des letzten Weges genießend. Ein süchtigmachender Rausch. Wäre es möglich, täglich zu sterben, dann bitte zu dieser außerirdisch anmutenden, unwirklich schönen Musik.

Dampframme des Jahres:
High On Fire: Death is this Communion (Relapse Rec., 2007)

High On Fire sind das dicke Ende der fabelhaften, viel zu früh im Drogendunst verrauchten Sleep (das dünne Ende teilen sich The Sabians und OM). Nach dem Sleep-Kollaps gründete Gitarrist Matt Pike 1999 das Trio High On Fire, übernahm noch den Gesangspart und beglückte fortan die Welt mit CDs, deren Qualität sich in immer schwindelndere Höhen schraubte.

Der Gott des Kehlkopfes glaubte, es wäre eine gute Idee, Matt Pikes Stimme wie die von Lemmy Kilmister klingen zu lassen. Danke, Gott. Es war eine gute Idee. Viel höher ist aber das Glück zu preisen, daß sich mit Matt Pike, Des Kensel (dr) und Jeff Matz (b, als Ersatz für Joe "Melvins" Preston) drei Typen gefunden haben, die Songs allererster Güte zu schreiben in der Lage sind.

Das Feuerwerk auf ihrer vorherigen CD "Blessed Black Wings" war atemberaubend -- aber "Death is this Communion" knüppelt, hämmert und walzt unter den goldenen Hand des Produzenten Jack Endino alles nieder, was in der Nähe der Lautsprecher hockt. Play loud! Play louder!

Des Kensel sollte jeden Monat einen Orden überreicht bekommen: "Für die Wiederentdeckung der Trommelstöcke". Wie ein Berserker rollt und donnert er über sein Schlagwerk. Weiter, immer weiter. Ohne Pause, dafür mit kleinen und größeren Soli. Richtig gelesen: Schlagzeugsolo im Jahr 2007, und es wird nicht langweilig. Man glaubt es kaum.

Matt Pike spielt seine Gitarre scharf, hart, akzentuiert. Ob er als guter oder weniger guter Gitarrist betrachtet werden soll, ist eine akademische Debatte. Pike spielt, wie eine Metal-Gitarre gespielt werden muß: Direkt und schnörkellos, auf das die Herzen aufgehen und die Trommelfelle vibrieren. Er röhrt sich mit jedem Song ein Stück näher an Lemmys Thron.

An dem Tag, an dem Motörhead die Instrumente abgeben, stehen High On Fire bereit. Einen würdigeren neuen König gibt es nicht.

Apokalypse des Jahres:

Neurosis: Given to the Rising (Neurot Rec., 2007)

Oft kopiert, nie erreicht: Wenn Neurosis aus ihren göttlichen Quellen schöpfen, lechzen tausend andere Bands nach den wenigen Tropfen, die über den Rand Walhalls auf die Erde plingen. Doch können sie lechzen und dürsten, bis ihnen die Zungen zerbröseln: Neurosis sind eine Klasse für sich. Die Feinde der Sonne kreisen in ihrem eigenen, düsteren Zeitalter. Hoch über Nebeln und Wolken thronen sie, auf einem granitenen Plateau, über sich nur den fahlen Mond, und schlagen mit glühenden Hämmern Song für Song aus dem schwarzen Fels.

Und sie werden immer besser. Was anderswo als Platitüde für schwachbrüstige Vorgänger-CDs herhalten muß, ist hier die Beschreibung eines unglaublichen Vorgangs. Mehr noch: Mit jeder CD entschwinden Neurosis ein Stück weiter aus dem Blickfeld der Normalsterblichen. Sie beherrschen daß Spiel der Gegensätze wie keine zweite Band. Sie lullen den Hörer mit süßesten Klängen ein -- um ihm dann erbarmungslos den Schädel zu spalten.

Die Wucht, mit der Neurosis den Hörer auf den Boden drücken, ihm Zentner für Zentner auf die Schultern stapeln, bis er in die Knie sinkt, langsam auf den Rücken rollt, sich schließlich ergibt und glückstrunken abklopft, ist atemberaubend. Nahtlos kombinieren sie die elektronischen Collagen ihres Side Projects Tribes Of Neurot mit dem grollenden Donner von Neurosis. Die schleppend geschlagene Trommel dröhnt und hallt. Die Gitarren marschieren und marschieren, unaufhaltsam angetrieben vom tiefen, heißeren Gesang -- vorwärts! vorwärts! In "Nine" und "Water is not enough" bohren sich Sirenen mit geschliffenen, gläsernen Stimmen in das Hirn. Vermutlich ersetzen Neurosis jedes SM-Studio. Man muß sie nur laut genug hören. Laut!

In "Origin" treiben sie den Exzess auf die Spitze. Satte neun Minuten fließen federleichte Keyboardflächen, zuckersüße Gitarren und eine leise gesungene Stimme durch den Raum, dezent von einer monoton geschlagenen Trommel begleitet. Doch kurz vorm Dahindämmern, unerwartet und urplötzlich, bricht es aus Neurosis heraus: Eine Hymne der Gewalt. Ein Angriff auf alle Sinne. Wie ein Defilibrator, der einen heißen Impuls durch das Herz jagt.

Wer gern im Mittelpunkt steht, sollte sich das erbarmungslos verröchelnd gebrüllte "To the Wind" im gleichnamigen Song als Klingelton auf sein Handy laden. Einen markerschütternderen Schrei findet man kaum. Vorher aber bitte auf zufällig anwesende Omas achten. Oder ihnen wenigstens einen Platz anbieten, damit sie nicht umfallen.

Monument des Jahres:

Neil Young: Chrome Dreams II (Reprise Rec., 2007)

Der mittlerweile 67jährige Neil Young ist ein Denkmal seiner selbst. Die Fans würden ihn auch dann noch feiern, wenn er nur Gedichte rezitierte oder mit den Fingern auf dem Tisch trommelte. Macht er aber nicht.

Statt dessen geht er mit Ralph Molina, Rick Rosas und Ben Keith sowie den Background-Damen Nancy Hall, Annie Stocking und seiner Frau Pegi Young ins Studio, um zehn famose Songs aufzunehmen. Ein Club gestandener Damen und Herren. Man kennt sich, man mag sich, man versteht sich. So entstehen altersweise Werke.

"Chrome Dreams II" ist mitnichten eine Sensation, aber vom 43. Album (vielleicht auch 45. oder 50., je nach Zählweise) ein Wunder zu erwarten, wäre mehr als vermessen. Neil Young singt mit seiner hellen, knabenhaften Stimme immer noch wie ein junger Spund, und er erzählt seine Storys immer noch mit Verve und Esprit. Er spielt sich locker durch 18 Minuten und 13 Sekunden "Ordinary People" und läßt sich dabei so paßgenau von Bläsern begleiten, als hätte er sein ganzes Leben lang nur mit Bläsern gearbeitet. Er schenkt uns luftige Mini-Songs mit dem gleichem Knistern und Funkeln, mit dem er das 14minütige "No Hidden Path" zelebriert. Neil Young liebt seine Gitarren, und seine Gitarren lieben ihn. Was will man mehr?

Großer, guter alter Mann. Mach einfach weiter. Immer weiter.

Gov't Mule - Soulshine

 

Warren Haynes' 19th Annual Christmas Jam will take place on December 15th at the Civic Center in Asheville, NC.  This year's extravaganza features Jackson Browne, Peter Frampton, Bruce Hornsby, Gov't Mule, G. Love, Stockholm Syndrome, and Grace Potter & The Nocturnals - with additional artists TBA. 

The entire week before, fans can pickup a hammer and serve as part of the Christmas Jam-sponsored Volunteer Week with Asheville Area Habitat for Humanity. 

Also please remember that before the Jam, you can Lend a Hand with Asheville Area Habitat. Connect with the cause that the Christmas Jam supports by volunteering on the Habitat construction site in West Asheville the week of Monday, December 10 - Friday, December 14. Required hours are 8:30am-3:30pm. No experience necessary. First come, first serve. To reserve your spot, send the following information to Ariane Kjellquist at akjellquist@ashevillehabitat.org: name, address, email address, telephone number and 1st and 2nd choice of dates. If you are flexible and can be available on any of the five dates, please mention that. Enjoy the camaraderie of fellow fans, delicious lunch, daily raffles and more; and feel good about helping a family in need of safe and decent housing.

Founded in 1983 as an independent affiliate of Habitat for Humanity International, Asheville Area Habitat builds houses within Buncombe County.  Their goal for July 2006 through June 2009 is to build an average of 16 houses per year, which means starting a new Habitat house every 23 days.

 

Warren Haynes' 19th Annual Christmas Jam will take place on December 15th at the Civic Center in Asheville, NC.  This year's extravaganza features Jackson Browne, Peter Frampton, Bruce Hornsby, Gov't Mule, G. Love, Stockholm Syndrome, and Grace Potter & The Nocturnals - with additional artists TBA. 

The entire week before, fans can pickup a hammer and serve as part of the Christmas Jam-sponsored Volunteer Week with Asheville Area Habitat for Humanity. 

Also please remember that before the Jam, you can Lend a Hand with Asheville Area Habitat. Connect with the cause that the Christmas Jam supports by volunteering on the Habitat construction site in West Asheville the week of Monday, December 10 - Friday, December 14. Required hours are 8:30am-3:30pm. No experience necessary. First come, first serve. To reserve your spot, send the following information to Ariane Kjellquist at akjellquist@ashevillehabitat.org: name, address, email address, telephone number and 1st and 2nd choice of dates. If you are flexible and can be available on any of the five dates, please mention that. Enjoy the camaraderie of fellow fans, delicious lunch, daily raffles and more; and feel good about helping a family in need of safe and decent housing.

Founded in 1983 as an independent affiliate of Habitat for Humanity International, Asheville Area Habitat builds houses within Buncombe County.  Their goal for July 2006 through June 2009 is to build an average of 16 houses per year, which means starting a new Habitat house every 23 days.

Anyway, last night we went to the Gov't Mule concert at Central Park's Summer Stage.  It was a perfect night for it -- low humidity, an early sunset, a light breeze, and the air was perfect temperature.  You know what I'm talking about, where the air settles upon your skin and you sense neither hot nor cold, but just feel proper?  That temperature.  The crowd was my favorite kind -- the "my age" kind.  OK I admit it - I have something against partying whippersnappers. And the set, dear God the set.  Warren & his men struck the perfect tone, pulling out song after song that just put a smile on my face and a tap in my feet.  The lowlight was when freakin' Jimmy Vivino guested during the encore.  He bugs me. 

But for me, the best part was listening to the opening act -- Grace Potter and the Nocturnals.  If I was a guy, I'd want to do her.  Yeah yeah she's sexy but actually it's that voice, that husky soulful voice that I freaking love.  She sounds like a sly, profound woman when she sings -- she knows -- and I for one think all women should aspire to be sly and profound.  Plus, she tours with a band full of guys.  How awesome is that??  She gets to be one of the guys all the time, but I have no doubt that she also gets to be a girl.  My "back up band" (translation: officemates) are four women and a gayboy.  All perfectly lovely, intelligent & talented people, but it's just not as cool to hang with all that estrogen all the time.

Well, gotta go pick up my slingbacks from the cobbler and walk the dog before I can head off to work.  Tomorrow's Kick Off for TNT's Winter 2008 season and I am pumped!!