TVD Chicago

TVD Live: Riot Fest 2014, Friday, 9/12

PHOTOS: BRIGID GALLAGHER | When I walk up to the gates on the first day of a music festival, I always feel like I’ve got stage fright—my hands get clammy and a knot forms in the pit of my stomach. Maybe I’m nervous security will find my secret flask or that some crazy forces of the universe will prevent me from seeing Patti Smith on Sunday. It is Riot Fest after all, and it is unlike any other festival you’ve been to all summer.

Expect the weather to be cool with a strong chance of rain, everyone will be wearing black, and pretty much all of the acts will have actual instruments to play. The layout was expanded to almost double the size of previous years allowing for much more music to be seen but also a lot of unexpected walking and weaving through the park. Also, this year, ten headliners and rock veterans like Cheap Trick, Naked Raygun, and Descendants, played their “essential” albums in 2014 to celebrate the fest’s 10th anniversary. It is only the third year for Chicago’s Humboldt Park to host, but the festival travels to Denver and Toronto too.

Our attempt at making it to the Stiff Little Fingers’ set was totally botched due to the massive amounts of walking in the mud, so we only caught the last few riffs of the set. NOFX was on afterwards and they came out making jokes about the other bands that were playing the fest and that they were going to play Pinkerton in its entirety, but out of order. (They actually played their essential album, Punk in Drublic.)

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TVD New York City

TVD Live: Life of Agony at Starland Ballroom, 9/13

In 1993, the world of heavy metal was in flux. Grunge had entered the scene and helped give birth to the “alternative metal” genre, one that tended to be an amalgamation of various metal styles. One of the commercially less successful but critically lauded bands, both by press and fans, was Brooklyn, New York’s Life of Agony.

Their debut album, River Runs Red, and its follow-up, 1995’s Ugly, contained some of the most raw, emotional, and harrowing lyrical content, coexisting with thick, heavy riffs that spanned styles from hardcore to slower sludge metal. After calling it quits in 1999, the band has reunited a couple of times and drifted back apart again. The time felt right once once more, and there was no venue more appropriate than the Starland Ballroom in Sayreville, New Jersey for the occasion.

We arrived at the venue, said a few hellos, and after a few conversations, acquired a perfect spot at stage right. The show, which had sold out very quickly, was packed tight with fans eager to witness the reunion. We arrived right after opener Diablo Blvd finished, but the feedback I heard from people during and after the show was very positive.

A Pale Horse Named Death was up next. Led by Sal Abruscato on vocals and guitar, he was pulling double duty for the night, as he’s also the drummer for Life of Agony. One interesting dynamic about APHND is that in the band are two former drummers of gothic metal legends Type O Negative—Sal, and Johnny Kelly who took over on the drums in Type O when Sal left to join Life of Agony in 1993. Looking on in the crowd during the set was Type O guitarist Kenny Hickey—tonight was a night of multiple reunions.

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TVD New Orleans

TVD Recommends: Dr. John & The Nite Trippers at the Joy Theater, 9/20

The Good Doctor will take the stage of the newly renovated Joy Theater this weekend, exactly one month and one day after the release of his well reviewed Louis Armstrong tribute Ske-Dat-De-Dat…The Spirit Of Satch.

The album has not just struck a chord with critics and fans alike, but has been sitting at the top of the jazz charts for the past two weeks. A record full of Satchmo songs is a concept the pianist/ singer has been mulling over for a while. Two years ago he played a teaser track as an encore at Jazz Fest.

While the crowd will be treated to fresh and interesting interpretations of such perennial favorites as “What a Wonderful World,” (which the Nite Trippers promise to funkify), and “Mac the Knife” performed as a hip-hop cut on the recent release, the performance will also span the entire half-century career of the Crescent City legend.

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TVD Asbury Park

TVD Recommends:
Miss Ida Blue at the
Saint, 9/20

Look, I’m not going to pretend I know a lot about jazz or even blues. I like to think I know a little more than the average bloke, but I am certainly not an authority.

But I know what I like, ladies and gentleman. I know what I like and I know that there are times I get sick of seeing rock bands. Why this happens, I can’t say for sure—maybe it just becomes background noise, a muddy blur of distortion, screaming, solos, cymbal crashes etc., but sometimes I just want something different.

Whatever the reason I’ve recently slunk into one of these ruts, so you can imagine my relief when the terms “Brothel Blues/Jazz” popped up on the calendar for the Saint.

Brothel Blues. You don’t even have to describe that. You can hear it. You can hear the smoky club- glasses clanking and the buzz of voices becoming part of the songs. I was in New Orleans in the spring for Mardi Gras and the best night I had was at a local dive, far off Bourbon Street, candle lit, crowded, with a small band tucked into the corner quietly blasting away on their horns. No amplifiers, no one asking the crowd to toast and take care of their bartenders. Just music.

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Shell Zenner Presents

Greater Manchester’s most in the know radio host Shell Zenner broadcasts the best new music every week on the UK’s Amazing Radio and Bolton FM. You can also catch Shell’s broadcast right here at TVD, each and every Thursday.

“On this week’s show my ROTW is Lacuna by CHILDHOOD, a lovely number with some really lovely slow and passionate moments. As usual, I’ll be spinning three tracks!

I’ll also have my #shellshock to share with you! If you haven’t heard from Ballet School it’s called “Cherish,” and is perfect in every way—eighties-ish electronic vibes!” —SZ

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The TVD Storefront

Graded on a Curve: Tinariwen,

Before winning a Grammy for 2011’s Tassili, the enduring Malian outfit Tinariwen had already attained a deservingly high profile. International success wasn’t immediate, however; at the point of first album The Radio Tisdas Sessions in ‘01, they’d been active for over 20 years. This week Modern Classics Recordings reissues onto double-vinyl that impressive debut and ’04’s even better follow-up, Amassakoul.

Whether it’s through their latest record Emmaar, the breakthrough of predecessor Tassili, the group’s entry on the ‘10 compilation The Rough Guide to Desert Blues, or any of their four prior discs, Tinariwen has amassed a considerable following including such celebrity aficionados as Robert Plant, Carlos Santana, Brian Eno, Henry Rollins, and Thom Yorke.

Famous fans aren’t unusual, but the variety of these enthusiasts is worthy of note, surely indicative of the breadth of their listenership overall. Hippies, blues nuts, experimenters, punks, Alt/indie mavens, and of course those stereotypical lefties parking a used Volvo in the garage with the stereo tuned to NPR so not to miss the weekly edition of World Café.

Unlike other examples, Tinariwen has managed to conquer broader recording situations and specifically the introduction of outside contributors (Nels Cline, Kyp Malone, Josh Klinghoffer, The Dirty Dozen Brass Band, Matt Sweeney) without damage to their sound. This ability to bend and adapt is something they share with the great Malian vocalist-guitarist Ali Farka Touré.

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TVD Washington, DC

TVD presents Respect the Architects: An All Vinyl Odyssey Mapping Future Funk ft. Jahsonic & John Murph at Den of Thieves, 9/18

For the our third installment of our monthly all-vinyl residency at Den of Thieves we present Respect the Architects: A Vinyl Odyssey Mapping Future Funk featuring two of DC’s most prolific and ubiquitous selectors: Jahsonic & John Murph. We issued the DJs a challenge to take listeners and dancers on a sonic odyssey mapping the family-tree of “Future Funk” using their extensive vinyl collections to map the course.

Funk is like an apple and there are tens of thousands of varieties of an apple. Enter “Future Funk.” Who is its daddy? How does one define it? Ask any funk expert and you will receive a variety of answers based on subjective tastes. Certainly you could get an academic ethnomusicologist to explain it but how fun would that be? The musical genre called “Future Funk” is so vast and means so many things to different people that it’s hard to pinpoint the mouth of the river from which it springs. So, for our purposes we turn to our topographic DJs—Jahsonic and John Murph—who will map our course at Den of Thieves this Thursday.

There was a plethora of technical innovation for keyboards and guitar effects in the ’60s and lots of musicians jumped right in. I often hear that Sly Stone sits near the source of “Future Funk” with his early ’70s output, specifically on There’s a Riot Going On and later on Fresh. Is it the drum machines? Miles Davis was supposedly inspired by Jimi Hendrix’s wah-wah pedal and put it to use on much of his funk/jazz explorations. Herbie Hancock never shied away from electronic gadgetry and synthesizers but always kept it funky. Noted jazz musician Eddie Harris spawned hits playing his sax with a Varitone effects unit in the late ’60s, but rather than playing bop he was definitely blowing a more groovy funk sound.

If someone were to ask me what an example of “Future Funk” is, I’d probably point to Stevie Wonder’s Clavinet-drenched mega hit, “Superstition” and the futuristic aesthetics of Funkadelic and Sun Ra. Where does “future funk” begin for you?

Murph: I think funk began well before we called it “funk.” You can hear traces of it in black American blues, gospel, and jazz. And certainly in a lot of Afro-Latin and West African music. Just listen to Johnny Lee Hooker’s “Boogie Chillun,” Muddy Waters’ “Mannish Boy,” Bessie Smith’s “Gimme a Pigfoot” to hear clear evidence. Then there’s the inherent funkiness of compositions by Count Basie, Fats Waller, Mario Bauza, Sun Ra, Machito, Charles Mingus, and many others.

Jahsonic: Like most people, I’m going to have to say at the twin poles of Sun Ra and Parliament Funkadelic.

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UK Artist of the Week: Einar Stray Orchestra

Einar Stray Orchestra are Norway’s latest shining stars as they return with their brand new album Politricks, out on October 6th 2014.

Formerly Einar Stray, this new direction for the band sees them explore the theme of “growing up.” Although there’s a distinct maturity to their sound, their youthful foundation is ever present with the band being led by Einar Stray, barely 24-years-old and producing a sound that would put many Mercury Music Prize nominees to shame.

The band have recently announced a string of European dates including one UK show on October 6th at The Islington. Tickets are available now and it’ll be UK fans’ only chance to see the band this side of Christmas.

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The TVD Storefront

Graded on a Curve:
P.J. Proby,
Three Week Hero

When it comes to bizarre, eccentric, and just flat-out inexplicable rock stars, it’s hard to top P.J. Proby (aka Jett Storm, aka Orville Wood, birth name James Marcus Smith), the wild Houston-born master of vocal histrionics who never made much of a dent in the American pop charts, but was (and still is) a legendary figure in English music circles. I’d heard the name, but I never thought to check Proby out until Ian Hunter, in his Diary of a Rock ‘n’ Roll Star, called him, “The ace punk of all time,” adding, “His own worst enemy, so what. P.J. Proby’s the greatest—he’s a fuckin’ pirate in this world of drudge. Wherever you are P.J., the world needs you now.”

Those words were written way back in 1972, but the world still needs P.J. Proby, because if there’s one thing he isn’t, it’s predictable. Over the course his 50-plus-year career Proby has released more outrageous—a word that hardly does his schlock-ridden catalogue justice—songs than perhaps anyone in the history of rock, and he has proven over and over again that there’s nothing he won’t do for a hit, or because he just fucking feels like it.

Proby began his career in the late fifties under the name Jett Storm, but both his acting and singing careers stalled in his own country so he set his sights on England. There he changed his stage name to P.J. Proby, perhaps because England already had a Rory Storm, who in a weird coincidence also briefly adopted the stage name Jett Storm. And before long Proby found himself a bona fide pop star with a series of saccharine, string-laden hits, including overwrought versions of “Somewhere” and “Maria” from West Side Story. He also appeared on the 1964 Beatles TV special and was given a song by Lennon and McCartney that they’d intended to include on “Help!” but could never get quite right.

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TVD Cleveland

The Orwells:
Escalating Quickly

PHOTOS: ORIANA BELAVIC | Mario Cuomo, singer from The Orwells, stands stage left, blankly staring. Is he pissed? Is he thinking? Is he just fucked up? It’s unclear.

He takes a step forward, and the magic happens. The crowd, both men and women, reach forward to touch him. To stroke his chest and long, curly hair; running their fingers over anything they can grab. Cuomo seems detached, in the most engaging way possible. His mental distance from everything casts a cloud. What the fuck is this?

Just then is the breakthrough. He soaks it in for a minute, takes a step backs and slyly smiles. That’s it. Just the softening of his eyes and a shit-eating grin shows that he knows he has everyone eating this up.

The Orwells are the wet dream for people with preconceived notions of how a band from the midwest’s backstory should read. Teenage kids in the suburbs get together and start fucking around with music while in high school. They make some stuff they think is cool, record it, submit it to an indie label with a blog, and get signed. Real storybook stuff.

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