Author Archives: Roger Catlin

TVD Live: Pere Ubu
and Johnny Dowd at
Hill Country Live, 11/9

PHOTOS: RICHIE DOWNS | Pere Ubu as a band predated the American punk explosion, which nonetheless gave context to its fierce, bare-boned recordings. And though it remained associated with the explosion of bands at that time, Pere Ubu the band always seemed more an extension of the kind of outsider, rough-edged cadre of blues shouters, poets, and hipsters that grew from jazz and blues to the Beat poets, with its only remaining figure David Thomas continuing in the tradition of  Lord Buckley, Captain Beefheart, or Tom Waits, shouting out observation and complaints amid keening choruses done in his unique style.

That Pere Ubu is still around at all by now, nearly 40 years after groundbreaking early albums like The Modern Dance and Dub Housing, is kind of a gift; that it continues to record such consistently strong material, on 2014’s Carnival of Souls and the new 20 Years in a Montana Missile Silo, is almost a miracle.

It comes on the weary shoulders of frontman David Thomas, who in his black hat and cane, presents himself as a somewhat menacing figure. At the Hill Country BBQ in Washington Thursday, he could be seen standing outside the restaurant in the rain before the show, scowling like a gargoyle.

Five musicians were already at work when he found his way to the stage slowly, plopping down on a chair and leaning into a well-lit music stand holding his lyrics. He’d put on his reading glasses and began, with a voice unlike most in music—the kind of squeal of a wounded animal who’d been prodded too much.

The approach worked because he had a really solid band behind him. It began with the stinging guitar of Gary Siperko, able to carve out surf to funky chords. Longtime bassist Michele Temple worked well with hard-hitting drummer Steven A. Mehlman. The whole sound was sweetened by the experimental flourishes of Kristoph Hahn of The Swans on pedal steel guitar, and especially Robert Wheeler, working both an old ElectroComp 101 synthesizer, looking like an old telephone switchboard, as well as a theremin. Not only did it add interesting electronic texture to the sounds, it also provided the unusual sight of Wheeler playing an instrument as if he were doing tai-chi.

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TVD Live: Dhani Harrison and Summer Moon at U Street Music Hall, 11/7

PHOTOS: RICHIE DOWNS | There were more grey-haired types than usual at the Dhani Harrison show Tuesday at the U Street Music Hall. Were they suddenly interested in dense, synth-heavy 21st Century anthems from a guy becoming known for his sprawling soundtrack work? Excited about his solo album In///Parallel? More likely they were taking a night off the Fab Faux circuit to check out one of the more authentic chips off the old Beatles block.

Harrison, at 39, looks a lot like his dad and he sounds even more like him, especially in those keening high ranges than anybody else around. Those who have seen him on any of the various George Harrison tributes know he can hold his own on guitar against some of the all time greats as well.

All of that, plus the chance to see him in a club likely no bigger than the Cavern (and also downstairs!) brought the oldsters out midweek along with the younger fans who more likely know of Harrison’s work with his previous bands, thenewno2, Fistful of Mercy with Ben Harper and Joseph Arthur, or amid the Los Angeles collective that included the two acts that have joined him on tour, Summer Moon and Mareki.

It was solely Summer Moon that opened the night (though Mareki popped out to help sing one tune with the headliner). Summer Moon is fronted by Strokes bassist Nikolai Fraiture, who came out as if a week late to Halloween in a golden cape and headband. It was quite a lineup for a middling opening band, with Noah Harmon of Airborne Toxic Event on guitar and Camilia Grey of Uh Huh Her on keyboards. She was actually a better vocalist than Fraiture, but he led on everything even when he couldn’t quite remember the lyrics. “The great thing about you not knowing the songs, is that you don’t know when we fuck up,” he said at one point.

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TVD Live: Lucinda Williams at the Lincoln Theatre, 10/30

PHOTOS: RICHIE DOWNS | The increasingly popular ploy of celebrating a classic album on its anniversary came a little differently to Lucinda Williams. Instead of performing the original work top to bottom in front of a backdrop of the cover, her show at the Lincoln Theatre in Washington Monday was preceded by a completely re-recorded version of the sublime, 25-year-old Sweet Old World.

On it, she changed the pace of a couple of songs, occasionally added new lyrics, switched the order of the tracks, changed the title of one song and even, finally, the title of the album to This Sweet Old World. As she played it—in yet another order—with her tasty three-piece touring band known as Buick Six, its essence was still there: the sharply detailed, clear lyrics; the overarching sense of loss; the lovely melodies. If anything the years added a depth to her mournful tunes, so many of which dealt with untimely death that she introduced one as “another song, another boy, another suicide.”

As she explained in often lengthy introductions for each selection, not all of the death occurred at one time. The original Sweet Old World was a struggle done over a period of time; its songs referring to real people who had died over the course of her life then. They included her troubled “Little Angel, Little Brother,” an admired poet in “Pineola,” and the memory of a young poet she knew in the ’70s said to be “too sensitive for this world” that became the album’s title song, reminding him of all the earthly things he’d miss when he took his life: “The sound of a midnight train, wearing someone’s ring, someone calling your name…”

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TVD Live: Yep Roc’s 20th anniversary celebration, 10/19–10/21

PHOTOS: ALEX KROHN | Sometimes a record label anniversary concert can be a pretty disparate affair, if only because of the breadth of the rosters. Motown 25 was probably a pinnacle of its type in 1983, even though it also included Adam Ant and DeBarge as well as Michael Jackson. Atlantic Records’ 40th anniversary fete in 1988 featured both Ruth Brown and Debbie Gibson (famously culminating with a Led Zeppelin reunion).

Yep Roc is a smart indie roots label that has always had a pretty simpatico roster, top to bottom. So its big 20th anniversary celebration over the weekend in small town North Carolina built on its complementary approaches. And while it touched on bluegrass, R&B, and country, it basically rocked pretty hard.

Because Nick Lowe was an early signee—and a lure to other bands—he headlined two of the three nights at Cat’s Cradle in Carbarro. The first was a hushed backroom acoustic VIP appearance for label “completists”— fans who paid a couple hundred dollars to get every release all year. The second appearance was a big stage sampling of Lowe’s current tour with Los Straightjackets, the hugely fun Mexican-masked instrumental surf band that backs him up and gets to play a bit of their own twangy instrumentals as well.

Other than Lowe there were few repeats at an event that also had stellar sets from The Fleshtones, Chuck Prophet and the Mission Express, Alejandro Escovedo, Phil and Dave Alvin, Tony Joe White, Dressy Bessy, Eli “Paperboy” Reed and Tift Merritt. Also on the bill were Jim Lauderdale, Grant-Lee Phillips, Josh Rouse, Kim Richey, Mandolin Orange, the Stray Birds, and Jeremy & the Harlequins. And there were surprise one-song appearances throughout the weekend from Gary Louris of the Jayhawks and Jimmie Dale Gilmore.

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Dhani Harrison,
The TVD Interview

From seeing it happen way too often, the publicist for Dhani Harrison asked not to start right out with questions about his Beatle dad (and that we might shy away from the overused headline “Here Comes the Son”).

Harrison the Younger may be able to hold his own on guitar—most vividly amid Tom Petty and Prince on an oft-seen Rock and Roll Hall of Fame video of “While My Guitar Gently Weeps.” And he might be a spitting image of his dad, who died almost 16 years ago at 58.

But the only son of Harrison, now 39, has also made his name in soundtrack composition for films like Beautiful Creatures and Learning to Drive and for TV series that include Good Girls Revolt, The Divide, Outsiders and the new White Famous. An honorary member of the Traveling Wilburys (where his pseudonym was Ayrton), he’s released three albums as part of thenewno2 and joined Ben Harper and Joseph Arthur in the supergroup Fistful of Mercy.

But only this month comes his first solo album, In///Parallel, on BMG. With rock, electronica, Middle Eastern, and symphonic Western orchestral influences, and a smokily familiar voice, it has lyrics that seem especially prescient to these dark political times.

Our interview with Harrison was delayed a week in part by further sadness: the death of Tom Petty October 2, of which he has said, “I definitely haven’t felt any loss like this since my dad.” But connected on the beach in California, he spoke about the right time for a solo release, how people might have been waiting for him to fail at 20, the secret to happiness, and Petty.

Where do you make your home now?

Los Angeles, on the West Side. I have my studio there. My mother is from LA, so I still have my grandma here; most of my living family is here. So I get back to England as much as I can. It’s beautiful out there. I really want to move back there. But, for now, working in the film industry in Hollywood and everything, you’ve got to be on call.

What made you decide to put out your first solo album now after doing work with your bands and doing soundtrack work?

I kind of feel like no one was expecting it. It was a good, confusing tactic. I think people had given up on me making a solo record, and I wanted to make something that was really true to who I was. And it took a long time to develop that. Obviously, with a composing career, it gave me so much more —I don’t know whether to say it’s confidence or skill, but I wasn’t able to make the record I wanted to make before.

And after years of doing different, more classically-trained stuff, just being more in the sphere of soundtracks all of the wonderful instruments that are used on them, I felt like now I’ve developed myself as an artist; I’ve got everything I needed to do under my belt, so there’s no question.

I think, a lot of people, if I had done this when I was 20 in England, they would have been really dying to see me fail. That’s all gone now. I’ve had my musical career and now I’m doing a solo record, because I really did just engineer and record and mix this whole thing myself, so by the end of it, my friends were like, there’s no point of this being a newno2 record, you should just go to the next level—do it as a Dhani Harrison record.

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Yep Roc Records’ 20th anniversary celebration: A wacky family reunion

Hillsborough, NC, population 6,000, might not be the place you’d expect to see one of the fall’s hippest music festival lineups featuring Nick Lowe, Dave and Phil Alvin, Tony Jo White, Tift Merritt, Los Straightjackets, Chuck Prophet, and the Fleshtones, among others. But it happens October 19–21 as the independent label for all those acts, the venerable Yep Roc, throws its 20th anniversary celebration in the small town where it’s been based for five years.

Many of those acts will be performing at the co-sponsoring Cat’s Cradle music club in nearby Carrboro. But for the first time there will also be a free outdoor concert Saturday at Hillsborough’s River park with Mandolin Orange, Jim Lauderdale, the Stray Birds, Kim Richey, and Tony Joe White. It’s hosted by Wesley Stace, who formerly recorded under the name John Wesley Harding.

“We had done something pretty big for our 15th anniversary, which was pretty great. And we had such an amazing result from that effort that it really made us want to do something again,” says label co-founder Glenn Dicker over the phone. “But we really wanted to do something different this time around.” So instead of sticking to the clubs 20 minutes away in Chapel Hill where the label originated, he says, “we decided to try to do something in our hometown.”

Hillsborough has been a good place for the label, which has navigated its way through one of the oddest two decades of the music industry. And Yep Roc has been good to the town, creating about 40 jobs at the label and its distribution company Redeye. Yep Roc has brought in artists to play live sessions at local businesses from the coffee shop and liquor store to book store, brewery, and boot outfitter. The label also helped set up a series of shows to the North Carolina Museum of Art in Raleigh.

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TVD Live: The Secret Sisters with Mary Bragg at the Hamilton, 10/4

PHOTO: ABRAHAM ROWE | The Secret Sisters come off like a classic duo from the golden age of country music, or maybe before that—the string band era of the Depression days. Existing in the 21st century is a whole lot harder, they have found. But survival seems certain based on their reliance on the kind of sibling harmonies that bring to mind the Everly Brothers—and a wicked sense of humor promulgated by the elder sister, Laura Rogers.

At their headlining show at The Hamilton in DC Wednesday, she was the one that talked almost as much as they sang, with funny observations and off-the-top of her head dream interpretations that were meant to be the comic relief to a set that by their own admission relies mostly on balladry and sad songs.

They began with “Tennessee River Runs Low” almost as a warm up as how their lovely harmonies work. Laura often sets the tone for the melody and guitar-playing Lydia sings high or low as the song requires, sometimes within the same song. The two voices and guitar, as happens in some rare duos, create something bigger than the two, and it’s a lovely thing to behold.

Lydia’s guitar work—simple and strong—shouldn’t be dismissed, nor her crucial addition to the comedy, by playing the eye-rolling straight man to her sister, or adding sarcastic commentary like “Oh, that was a good idea.”

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TVD Live: Daniel Johnston at the Lincoln Theatre, 10/3

PHOTOS: ERICA BRUCE | To the devoted fans of Daniel Johnston, the troubled outsider songwriter behind “Speeding Motorcycle” and other indie favorites, an introduction would certainly not be necessary. But what’s being billed at Johnston’s final tour begins with a lengthy intro: The whole of Jeff Feuerzeig’s remarkable 2005 documentary The Devil and Daniel Johnston, which chronicles the fascinating and heartbreaking story of the creative young man from West Virginia who is hit hard by unrequited love and even harder by bipolar disease and over-reliance on LSD.

Despite his extreme and sometimes scary personality quirks, Johnston is something of a pop music savant, able to turn out endless rough but tuneful songs based on his own devotion to the Beatles and other rock touchstones. (And when he wasn’t recording songs, he was tossing off thousands of charming cartoony drawings).

Abandoned in Austin by a traveling carnival where he worked, he grew to have a following there, and was able to shoulder his way into a Texas-based 1985 episode of MTV’s The Cutting Edge to gain his first national attention. People really looked him up, though, after some other MTV exposure—when Kurt Cobain wore his “Hi, How Are You?” t-shirt at the 1992 VMAs. By this time, Johnston was deep into his mental ailments. Nevertheless, record companies had a bidding war at a mental hospital where he had been committed. That Johnston is able to appear now—12 years after that movie wrapped—is a testament to the refining of psychotropic drugs.

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TVD Live: Take Me to the River Memphis Revue at the National Museum of American History, 9/19

Since Martin Shore released his 2014 documentary Take Me to the River, telling the story of Memphis soul while trying to introduce the genre to a hip hop generation, a number of its featured artists have died, including Bobby “Blue” Bland, Hubert Sumlin, and Teenie Hodges. But three other of its featured participants went on to win their first Grammys this year — singer and songwriter William Bell, bluesman Bobby Rush, and producer Boo Mitchell. The latter three are now part of a touring version called “Take Me to the River: Memphis Soul and Rhythm & Blues Revue National Concert Tour” that gave a taste of what they can do before a receptive but reserved audience at the Smithsonian’s Museum of American History.

The event, which included snippets from the film that can now be found on Netflix, also offered BBQ, drinks, and a formal presentation to the Smithsonian of the spangly green suit Rush wore about the time of Porcupine Meat, what he calls his 374th album, which got him his first Grammy in February. But once the Hi Rhythm Section got on stage with the Stax Academy Alumni, the main event began, largely with familiar tunes made hits by Al Green and Otis Redding. (The director Shore was also on stage, adding negligible additions on conga).

Usually when this many members of the Hi Rhythm Section are in DC and start kicking into “Let’s Stay Together,” you always hope in your heart of hearts that city resident Barack Obama will step up to the mic and unleash his falsetto, as he famously did at a 2012 fundraiser at the Apollo Theatre. Instead, the lead vocals tended to be by workmanlike vocalists who were of the type you’d see on The Voice than in a juke joint. Things livened up, though, when Frayser Boy, formerly of Three 6 Mafia, strolled on stage to add a rap to “Sitting on the Dock of the Bay.”

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TVD Live: Randy Newman at the Birchmere, 9/18

PHOTOS: RICHIE DOWNS | At 73, Randy Newman is still writing sharp and funny political songs, elaborate and cynical set pieces about the state of the world and, in between them, the kind of stark songs that unexpectedly rip your heart out. At a wide-ranging, 2-set, 33 song panorama of his work of the past half century, fans responded to his oldest, most enduring numbers but were just as knocked out by the newest things, as collected on his new Nonesuch collection Dark Matter.

The new collection kicks off with a kind of mini-opera about science vs. religion, but he skipped it altogether on the first of a two night stint at The Birchmere in Alexandria, in place of several songs of particular interest to the politically-minded crowd.

Not only was there “Putin,” his opus to the preening Soviet leader, there was a new one imagining John and Bobby Kennedy in the White House talking about the Cuban Missile Crisis, Celia Cruz, and the head of the Washington NFL team, “Mr. George Preston Marshall” who “runs them like a plantation,” “for never has a black man worn the burgundy and gold.”

He almost forlornly sang “Political Science,” his famously sardonic call to “drop the big one now” because “no one likes us.” “It’s harder to sing this now,” he said, the day before the U.S. president would call for “the total destruction” of North Korea.

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TVD Live: Concert for Yoko Ono, Washington, DC and the World at the Hirshhorn, 9/17

PHOTOS: RICHIE DOWNS | Aside from her considerable career as a conceptual artist, Yoko Ono may also be the most polarizing figure in rock. She still carries a lot of unfair blame for being a convenient target as The Beatles were breaking up, and may have showed up on too many Lennon solo albums for purists. At the same time, she inspired a generation of edgy rockers who picked up on her extreme modes of expressions—the shrieks, the trills, and moans—that accompanied some pretty far out records. Artists from the B-52s to Mariam Makeba took up the inspiration and noise bands made her a totem.

Sonic Youth was so enamored with the sound, their Kim Gordon and Thurston Moore cut an album with her called Kimyokothurston. So it seemed right that Gordon headline “A Concert for Yoko Ono, Washington and the World” to wrap up the so-called Summer of Yoko at the Hirshhorn Museum and Sculpture Garden. The event, created around the 10-year anniversary of her Wish Tree for Washington, DC in the sculpture garden, included a couple of other conceptual works, new and old at the museum, and was concluding with a big concert outdoors in the museum’s plaza.

And while there may have been a number of more conventional approaches the invited acts could have taken—covering more straight ahead songs like “Walking on Thin Ice,” “Kiss, Kiss, Kiss” or any number of her dance remix hits of the past couple of decades, they all mostly decided to take passages from her 1964 volume of poetry and performance suggestions, Grapefruit, and run with it.

Ono herself, now 84, was not there, but her voice echoed in the plaza chanting “Imagine Peace” to begin the event Sunday. Then followed a film Arising from 2013 depicting some sort of mannequin dump while we heard a nice combination of droning guitar and her guttural wails.

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TVD Live: Arcade Fire and Preservation Hall Jazz Band at Capital One Arena, 9/16

PHOTOS: RICHIE DOWNSPlaying in the round isn’t always the best way to take in an arena concert. By definition, a band’s presentation is fractured in different directions, lacking a central, unified focus. Every time a band member is facing you means that another is facing the other way. If it’s a spinning stage, it can all be a little dizzying.

Arcade Fire seemed to solve all of that with the arena tour that stopped at the Capitol One Center in Washington Saturday (a place that was so recently the Verizon Center, it still said so on the central ice scoreboard). For its purposes, being in the round means closer to its audience and being in the center of its party, something the Canadian band has always tried to do. To start, it played up the boxing rink aspects of the stage set up with sports-like introductions and warm up suits as well as actual ropes that were shed after a few songs.

Wireless microphones allowed singer Win Butler and Régine Chassagne to wander the stage at will. Different platforms on the stage, from monitors to piano tops allowed them to stand out further on different levels. And yes, a central platform did spin around at times, moving mostly the drum set of Jeremy Gara as well as the standup piano. Everybody was visible, in other words, at least from some vantage points, if not in person at least in the cleverly programmed rectangular video screens above them.

Arcade Fire is in the midst of a tour to promote their fifth album Everything Now, one that makes fun of rampant consumerism while clearly being a part of it. This was heralded by infomercial like video ads before their set for oddball items and lots of symbols for international currency marching around the arena’s own video screens.

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TVD Live: Ted Leo & The Pharmacists and TK Echo at the Black Cat, 9/15

PHOTOS: RICHIE DOWNS | Eighteen years after he started Ted Leo & The Pharmacists here, the band returned to DC for a spirited pair of shows this weekend at the Black Cat after a long absence, gladdening fans with his driving older material even as he attempted to show a new direction with his latest.

It’s not a completely inverted approach, as the tarot-card like cover of his new Kickstarted album The Hanged Man may indicate. Indeed, may of the new songs purposely match the legendary velocity of yore. But other times accompanied by an acoustic guitar, the use of which he felt he had to apologize for each time, or even more surprising, beginning a song solo at the piano in the shadows (the venue light system, for one, not being able to adapt to such a shift), he made clear he wanted to try things out in a singer/songwriter mode.

Already he’s dropped the name of his band from the self-released album, though it appears on the marquee of the tour he was kicking off—replete with familiar players as guitarist James Canty, bassist Marty “Violence” Key, and the much-in-demand drummer Chris Wilson (who is also now part of Titus Andronicus). They were augmented by saxophone player Adrienne Berry and guitarist Ralph Darden, a pair who also contribute backup vocals and have a tendency toward skronky experimentalism with their respective instruments.

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TVD Live: Shelby Lynne & Allison Moorer at the Birchmere, 8/27

PHOTO: JACOB BLICKENSTAFF | It’s a bit of a head scratcher why it hasn’t been until now that Shelby Lynne and Allison Moorer have collaborated together. The sisters have each carved out distinctive careers with varying degrees of commercial success over the last 30 years, released 24 albums between them, and share in an Alabama upbringing and tragic family history.

The only excuse they could give in a lovely duo concert Sunday at The Birchmere, celebrating their first album collaboration, is that they were living on opposite coasts. They finally found time last year to record 10 tracks with Teddy Thompson for a new album this summer called Not Dark Yet.

They performed the work of almost all cover songs with a backing trio—in order, start to finish—their clear, evocative voices blending in a way siblings often can. Their cover choices were meant to surprise, songs they said were country mainstays around the house. So in addition to Jessi Colter’s “I’m Looking for Blue Eyes” and Merle Haggard’s “Silver Wings,” which they said they were singing as long as they can remember, there were more unusual choices from the rock arena, from the Killers’ “My List” that began the show, to Nick Cave’s “Into My Arms” deep into the set.

They all fit the tone of engulfing warmth, but none so well as their Townes Van Zandt selection, “Lungs” or that of Jason Isbell and Amanda Shires’ “The Color of a Cloudy Day.” The only sibling song they took up was the Louvin Brothers’ “Every Time You Leave,” but they did it in the yearning style Emmylou Harris used when she recorded it. The title track brought back one of Bob Dylan’s languid, mid-period high points, beautifully done with Moorer taking her place behind the grand piano as her sister played guitar.

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TVD Live: Greta Van Fleet at DC9, 8/26

PHOTO: MICHAEL LAVINE | Like Lynyrd Skynyrd, Greta Van Fleet was named after a random person in their community with a quirky moniker. The teen band from Frankenmuth, Mich., might have risked getting mixed up with Greta Van Susteren at some point or at least the singer Grace VanderWaal.

But they might be a much bigger thing. To hear the people at their sold out debut at DC9 in Washington Saturday, it might be the second coming. “It might be like seeing Hendrix in a club before he got big,” one guy in the crowd way oversold it. And actually, the band brings enormous good cheer to its very familiar sound. It’s a kick to hear a sound so accomplished—and so tied to classic rock of a half century ago—coming from a fresh-faced band of brothers.

Curly-haired Josh Kiszka, who for some reason wore Adam Ant war paint on his face as if mixing up rock periods, is lead singer. Brother Jake Kiszka is guitarist, the youngest of them Sam Kiszka switches from bass to keyboards. And like every rock band that ever existed, they’ve replaced their drummer. The current incarnation is Danny Wagner, who looks like a young Joe Perry banging away.

But the main thing about Greta Van Fleet, from their first note to their last, is their slavish reconstruction of Led Zeppelin, from the supercharged version of blues and rock, every guitar intro, and to the bashing of the non-brother drummer. And especially the wail of young Josh on vocals, who boasts every vocal trick from the Robert Plant tool box: “Yeah-ee-yeah-ee-yeah-ee-yeah” is there; “woo-yeah” as well, as is the sonic wail that begins low and goes all the way to the destroyed penthouse. He even addresses the women in the very simple songs as “Lady.”

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