Category Archives: TVD San Francisco

How great are the Pixies in 2014? They didn’t miss a f**cking beat while treating the capacity crowd at the glorious Fox Theater to a set list of more than 30 songs. For the record—let’s get this out of the way—the Pixies are touring without bassist Kim Deal, who left the band last year. Paz Lenchantin of A Perfect Circle/Zwan fame is filling in and let me say she’s a very capable addition.

Black Francis might not be the most personable frontman, but the sheer magnitude of blistering dynamics kept the crowd from ever blinking. One song into the next, the Pixies proved that their “legendary” status is rightfully upheld and their mark on the past and present is well-preserved.

The true highlight for me was the new music and how amazingly well it came across live. I personally prefer “EP 2″ and currently have it on a playlist called “Brilliant New Music for 2014,” and it’s on repeat. The setlist included three songs from “EP 2,” “Magdalena 318,” “Greens and Blues,” and “Snakes.” Surprisingly enough, “Blue Eyed Hexe ”was missing. That would be the only song of the evening that I did not hear that I really wanted to.

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The Pixies are one of the most influential bands in recent history and they are currently celebrating one of the longest and most successful comebacks of all time.

The band continues to dazzle fans both old and new and after two decades finally delivered amazing new music in the form of “EP1″ and “EP2.” In anticipation of the upcoming show at the Fox Theater in Oakland on February 21, I called up Joey and spoke to him about the new music, Jimmy Fallon, and his vinyl record collection.

Congrats on the release of two new EPs. I know you decided to do this on your own, but were the labels banging on your door to release this music?

Yeah, that’s what our manager said then I forgot who they were. I’m really not into the business side.

What could a major label do for you that you guys couldn’t do for yourself at this stage in your career? Was it even an option or were you going to self-release the new stuff all along?

I don’t understand what the role of the record label is right now; I think they are mostly for distribution and publicity. We have that, we already have a publicist and distribution and that’s all we really need—that’s it. The role of the record label is almost kaput, that’s what I’m thinking.

I don’t know if I’m right, but I certainly don’t like the way they do the business with young bands. They give them three months and if it doesn’t stick on the wall then they forget about it and the poor band then has to recuperate the album. I mean that’s just a shitty way of doing business.

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The first show of the year for me here in San Francisco was a great one. Birmingham Alabama singer/songwriter and Saddle Creek Records staple Maria Taylor brought her four-piece band to the Rickshaw Stop last week. Taylor, who is best known for her work with the bands Bright Eyes, Azure Ray, and Orenda Fink, is touring in support of her new record Something About Knowing.

There is of course no shortage of female singer/ songwriters in the world today, but Taylor brings something very unique to the table. For one, she plays several instruments, including the piano, guitar, and drums. She would open up her set this evening on the drums before switching to guitar and taking center stage. And two, she perfectly meshes together pop sensibility with a warm folk-rock sound that is produced magnificently through vintage gear minus one high E-string.

Taylor reminds me of my two favorite female vocalists rolled into one: she has the luminance of Kristen Hersh mixed with the pop sensibility and musicianship of Sam Phillips. Highlights from the set that evening included “Cartoons and Forever Plans,” a remarkable song that features Michael Stipe harmonizing beautifully with Taylor on the record, and “Up All Night,” which is about motherhood as a new life experience.

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2013 has been a fabulous year for music, but much like every year before, chances are that you probably missed out on some of the best artists. The sheer volume of new music and all the internet noise that surrounds the flavor of the month tends to drown out many of the diamonds in the rough.

I have photographed more than 100 artists this year and have seen some truly mind-blowing shows, from the big ones such as Van Halen and Alice in Chains at major venues to the smaller ones that some pretty cool publicists turned me onto at tiny clubs.

Instead of pulling together a list of my top albums of 2013, I thought I would take it a step further. I have been lucky enough to see every artist on my top albums list live, so I pulled together some exclusive photos I have taken this year and paired them up with why I think they are the best of 2013 and what they sound like. These are the best of the best for me, and I think many of them will be having a breakout year in 2014.

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One of the premier guitar aces of our lifetime, Richie Kotzen, has joined forces with drummer extraordinaire Mike Portnoy (Dream Theater) and bass guitar god Billy Sheehan to form The Winery Dogs. You would think that this would be an all-guns blazing musicians geek fest, but it’s quite the opposite. Some of the best songwriting I have heard all year is backed by overly able musicians playing for the songs themselves instead of face-melting solos.

It’s got a bluesy base that falls somewhere between Hendrix and SRV while showcasing an incredibly underrated voice that is all Richie Kotzen. This guy can pretty much do it all, and I am thrilled that The Winery Dogs record is getting so much recognition, and I am sure that it’s going to be on many top year-end lists. I had one of the most interesting conversations with Richie last month about growing up in Pennsylvania, a near-disaster on That Metal Show, and what it was like when he heard that The Winery Dogs debuted Top 30 on the Billboard 200.

Being that you are originally from Pennsylvania, what were you listening to when you were growing up—were you into Cinderella?

(Laughing) Yes, only Cinderella specifically over and over—no, wait—and Britny Fox. Actually I love Tom Keifer; I think he’s awesome. But when I was living back there, way before Cinderella, I was really just a fan of the records I heard in my house. My mom was into all the classic rock stuff like, you know, Stones, Beatles, The Who, Janis Joplin….She saw all those acts when they came out to play. My dad was kind of an R&B guy; he listened to Percy Sledge and Stevie Wonder records.

So, I was kind of getting hit from both sides, and then once I started writing songs and playing out, I was a rock guy with a love for Soul and R&B. I left there pretty quick, though. I played around in my cover band from the time I was 15 to 17 and then I got signed to a label that was based in San Francisco called Shrapnel Records. I went to San Francisco and made my first record with them, and that was pretty much the beginning of my career.

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The Black Crowes returned to San Francisco, delivering the goods on their Lay Down With Number 13 world tour. What can I say about these guys that hasn’t been said before? They are the Led Zeppelin of my generation. They are one of the few real rock ‘n’ roll bands who have stayed true to their roots, and genuinely look to be enjoying themselves on stage, performing because they want to, not because they have to.

There’s no album to support and there’s not one needed. The Black Crowes have sold more than 35 million copies of their 11 studio albums and have been named one of the greatest hard-rock bands by VH1. Ok, you got me on the second part; not sure how much cred VH1 still has in this field. Regardless, watching these guys play live will remind you of the pure genius that is the Robinson brothers. The setlist at Bill Graham Civic Auditorium last week played out like a greatest hits collection, and I don’t think it was meant to be. These guys simply have that many great songs to choose from, and judging by their previous setlists, they mix it up every night. How many bands are doing that anymore? Exactly.

I would be fooling myself if I didn’t mention how different Chris Robinson looks these days. His beard could start a hipster revolution, and maybe it did. It was certainly well in place before the Duck Dynasty boom or the short-lived Kings of Leon revolution. Regardless of looks, though, Chris’s voice sounds better than I remember it back in ’96. This guy has a set of pipes on him that are indestructible and undeniable. He was hitting every single note perfectly while making it look effortless.

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The original masters of progressive metal, Fates Warning returned to San Francisco last week touring in support of their first studio record in over nine years. I remember seeing these guys on Headbanger’s Ball back in the day and never quite understood why they didn’t become a much bigger band.

Maybe it’s because they didn’t write a Pink Floyd-esque ballad like Queensryche, or maybe it’s because they didn’t take their brand of thinking man’s metal to the extremes that propelled Dream Theater to new heights. Whatever it may be, these guys still have their place in the history of metal and continue to with their new album, Darkness in a Different Light.

I love it when a band such as Fates Warning returns after taking close to a decade off. It’s as if they have something to prove and they want to punch all the non-believers in the face or just show these young metal posers how it’s really done. I think they do both. The new album is brutal, thought provoking, emotional, and yet very forward thinking. It’s quite refreshing, as a metal fan, to hear this type of record, and even better to see a very capable group of musicians flawlessly pull it off live.

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The first time I saw Black Joe Lewis was at a Christmas party at the Granada Theater in Dallas about six or seven years ago. He wasn’t signed to a label, and I remember my friend Mike Schoder, who owns the venue, was raving about this new guy from Austin who sounds like James Brown crossed with the White Stripes. I was completely blown away. With his band The Honeybears, these guys combined blues, soul, and garage rock into one hell of a powerful live show.

Fast forward several years and three albums later they continue to do just that. Touring in support of their latest release Electric Slave, Black Joe Lewis has dropped the Honeybears and taken the guitar up a notch. “Electric Slave is what people are today, with their faces buried in their iPhones and the only way to hold a conversation is through text,” Lewis explains in the album’s press release. It’s bound to be on many end-of-year top album lists and rightfully so. It’s a bit less heavy on the funk but still a formula for sounds that only Lewis is capable of.

This night at the Fillmore, though, would be a different type of show as Lewis had broken his foot and was kicking out the jams from a chair. Nonetheless, it didn’t seem to faze the audience or the energy in the legendary ballroom. Highlights from the show included the new single “Come to My Party” as well as classic material “Sugarfoot” and the crowd pleaser, “Bitch, I Love You.” Another highlight was the surprise guest on tenor sax, Steve Mackay (Stooges, Violent Femmes), who stepped in for a few.

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