Monthly Archives: December 2013

TVD Live Shots:
The Black Crowes
at Bill Graham Civic Auditorium, 12/14

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.

The Black Crowes at Bill Graham Civic Auditorium in San Francisco shot by Jason Miller-4

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 Very Best of 2013: Ugly Dwarf, The Story of No Trend

ORIGINALLY PUBLISHED ON APRIL 25, 2013 | Back in 1987 the band No Trend proudly handed over its new album More to its record company, Touch and Go. The execs at Touch and Go gave it one listen, returned it to the band holding it gingerly by the edges with their fingertips as if it were something unspeakable like a radioactive monkey head, and in effect told the band, “Won’t touch. Please go.”

Their reaction was understandable. Given No Trend’s previous record they must have expected strange, but this was madness; with songs including the bizarre funk-schlock pastiche “Last on Right, Second Row,” the inexplicable disco-funk romp “Spank Me (With Your Love Monkey, Baby),” and the utterly indescribable 17:53″ rock opera “No Hopus Opus,” More is the kind of album that causes dogs to howl. And I mean while it’s still in its sleeve.

And so appropriately ended, not with a bang but with one final confused scratch of the head, the career of No Trend, one of the most exasperating, brilliant, and willfully perverse bands ever to come out of the hardcore scene.

Ashton, Md.’s No Trend and its vocalist/resident genius Jeff Mentges (aka Jefferson Scott, aka Cliff “Babe” Ontego) engaged in one of the oddest, most nihilistic quests in the annals of modern music, or so it can be argued: namely, to systematically alienate, disaffect, and piss off its own fan base, one exasperated fan at a time. Plenty of musicians have taken stylistic left turns that left their fans befuddled and even angry, but you’d be hard pressed to find anyone who seemed to do so on purpose.

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(Re)Graded on a Curve:
Jack Kerouac,
Blues and Haikus

The art-soaked, kicks-filled life of Jack Kerouac produced three records, and the second one Blues and Haikus found him in the studio with post-bop saxophone mainstays Al Cohn and Zoot Sims. While the record only sporadically attains the heights of its rather lofty ambitions, it remains a fascinating document, for it illuminates Kerouac as an artist of beautiful if problematic vision, vindicates Cohn and Sims as a pair of true pros, and brings great perspective to the mindset and milieu of the ‘50s American hipster.

These days the term hipster has become the catchall phrase to deride rampant poseurism of all sorts. When used as a descriptor of people, it usually applies to the “please notice me” fashion sensibility and/or the flaky activities or behavior of mostly younger folks that the observer perceives as being calculatedly shallow, obnoxious, or simply fake.

In its current usage, calling somebody a hipster is nearly always an insult. At least I can’t recall any contemporary instances where the word is employed with affection, and I certainly haven’t encountered anyone using it to describe themselves. When applied to art it almost constantly denotes style over substance, a mode of expression that’s reliably geared toward a constantly amorphous cutting edge designed to anoint those attuned to its frequencies in a special kind of dubiously-earned cool.

For this writer, the only real bummer in the whole hipster scenario is that it’s overwhelmed the original inspiration for the term. After World War II and especially during the 1950s, the American landscape came to be populated with individuals who stood noticeably outside the mainstream. Mostly Caucasian, the vast majority of these margin walkers shared an unbridled love for African-American culture, specifically Modern Jazz and the milieu that surrounded its making.

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Take Berlin,
The TVD First Date

“Growing up in the ’80s you almost have to be a vinyl lover—especially when your family consists of active music listeners and record collectors.”

“My parents were big Eurythmics fans and the album Revenge (’86) became the number 1 record of my childhood. “Thorn in My Side“ is the track, but my older brother and I knew the whole record by heart and gave small concerts as the kids’ version of Eurythmics within our family. And the cover—just beautiful. (For some reason record covers always look so much better.)

Finding my real love for vinyl and the decision to choose this media instead of a tape or CD when I was growing up is the result of my brother’s work. I had no choice but to celebrate his love for vinyl. Every weekend after waking up I had to be the first listener of his playlist of new hip hop records that he bought.

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The Best of the
TVD Interview 2013:
Wayne Coyne

ORIGINALLY PUBLISHED ON AUGUST 9, 2013 | “There you go, yeah!” That exclamation, spoken frequently by The Flaming Lips’ leader Wayne Coyne, encapsulates his exuberant approach to life. Since forming the band in Norman, Oklahoma in 1983, Coyne has followed his muse down many, sometimes challenging paths, never taking the one most traveled. Along the way, he has become an accidental pop star, heir to the music of psychedelic forbears like Thirteenth Floor Elevators and Syd Barrett, and one of the most engaging frontmen in rock. That he does it all with a zeal akin to a teenager hearing his first life-changing album is not only exciting, it’s inspiring.

We spoke with Coyne prior to the band’s appearance at Louisville, Kentucky’s Forecastle Festival. In the freewheeling conversation that followed, Coyne spoke about the band’s current album, how images inspire their writing process, and their early days playing in Oklahoma, Dallas, and other regional venues. Oh, and he talked about blood. Yes, there will be blood. Read on.

When I look at the cover of your latest album The Terror, I get a real 1971 vibe.

Well, that’s because you were alive in 1971! (laughs) I liked John Lennon’s first album with the Plastic Ono Band, the one where they’re sitting under the tree. When you listen to it, it’s not a peaceful record; it has considerable inner turmoil. When you know the music and then look at the cover, it’s quite a juxtaposition. If you didn’t know the music, you’d think, “Oh, look at them, they’re getting stoned under a tree.” But it never hit me like that.

That element stuck with me. One day, I was walking through the park and I saw a kid sitting there (as pictured on cover of The Terror), and I thought it was a cool image. The more I looked at it, I realized, “Yeah, there’s something about it…” At the same time, we had already written one of the album’s tracks, “You Are Alone,” which is probably the most devastating track on there. The idea of this kid sitting there, alone, came together with the song for me. Once we decided that would be the album cover, I think we kept creating music that would make that idea happen. Like, if you saw that and heard this, it would take you into another dimension.

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Graded on a Curve:
I Heard the Angels Singing: Electrifying Black Gospel from the Nashboro Label,
1951-1983

Tompkins Square’s I Heard the Angels Singing: Electrifying Black Gospel from the Nashboro Label, 1951-1983 is a 4CD chronicle of an essential Nashville-based gospel imprint, and the level of quality that’s sustained across its 32 years and 80 tracks is a major achievement. While the set sadly lacks a vinyl edition, the music that it contains is such an educational treat for the ears that the circumstances of format are in this case beside the point. This is a finely-detailed look into one segment of last-century’s profuse musical history, and the fact that it’s easily obtainable is an indisputable positive.

The opening cut on the first disc of this simply fantastic collection essentially vindicates the entire endeavor. The song is “Since Jesus Came into My Heart,” recorded in 1951 by the Silvertone Jubilee Singers, just one of many names unearthed herein, and like much gospel it’s built around vocal harmony.

While not a cappella, it might as well be, since the basic strumming of an acoustic guitar is immediately relegated to the background. This is gospel after all, a style that’s foremost concern is voices delivering a message. A minute into the tune comes a rise in intensity executed with such purity of focus that the hairs on my arms instinctively stood on end in response.

By song’s end that guitar has been completely overtaken by the unison singing; while “Since Jesus Came into My Heart” is a vessel of deftness it also has no need for extraneous layering or unnecessary subtleties. Concise at two and a half minutes, it works its magic with directness and assurance of vision and then leaves the listener to ponder what they’ve heard.

It’s a testimonial, and no doubt the performers would be overjoyed that its effectiveness has spanned generations. But the fact remains that the Silvertone Jubilee Singers were concerned with a different kind of immortality than an artistic one. So it is with all of the performers on I Heard the Angels Singing, and while some of the talents included did achieve widespread popularity, most are unknown outside of the genre.

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The Best of the TVD Interview 2013: Wire

ORIGINALLY PUBLISHED ON JULY 12, 2013 | Through all stages of their career, the defining quality of Wire has been that they consistently thwart expectations; forever changing and challenging their approach and always delivering amazing recordings, even if they still manage to sound like total surprises to their fans.

For their most recent effort, Change Becomes Us, the band went back to the clutch of songs readied for their fourth album in 1980, one that was never recorded, as the band ceased operations. By the time they were working together again in 1985, they had moved on to newer explorations. What was left behind of that forgotten period were performance recordings of the songs still being developed, and it seemed that would be all that there would ever be—a minor footnote at best.

But a sequence of events caused the band to take a fresh view on that material, and suddenly here they were tearing at the compositions until they quickly became an entirely new beast. What was, in some ways, simply an experiment in de- and re-construction, has formed one of the strongest albums in a discography packed with brilliance. That they have done it 36 years after their debut is simply staggering, and a testament to the band’s vigorous need to constantly be evolving. The fact that it comes at a time when a rather large tome has been published attempting to encapsulate their entire career further goes to show you that Wire is a band that you simply can’t keep pace with creatively.

I managed to at least catch Colin Newman for a conversation as they were on the way to the opening date of their U.S. tour. We celebrated their stubborn nature, discussed the addition of guitarist Matt Simms, went over their elaborate festival style launch for the record, hinted about exciting events in the very near future, and balanced overlooking the entire city of Rome with having fans hand you their desired set list after shows. 

Let’s get right to it—this is a crazy premise for making an album! Even with the history of recycling content in the band, who in the world would return to the entire batch of songs created just before the premature pause of the first iteration of the band, yet not even re-record them, but rather use them as a launch pad and re-work them entirely to the point that they have new titles as well? It’s maybe the ultimate Wire exercise. How did you guys end up at this point?

Well, it was a project, as you realized, it was a kind of “what would it be like if we were to” and it had kind of a long history to it where we specifically worked up certain songs years ago and looked at those and then delved further. The important part is that the museum of Wire has no artifices in it. There are no exhibits in the museum of Wire. None that were put there by us any way. So we just got interested in, and began engaging in it, almost as if it were new material, using the methodology we have evolved over the years and the whole thing felt kind of crazy and it felt like it could end up being a very expensive mistake.

I think there is always a reward in the process, even if it didn’t turn out as successfully as it did. Luckily, for all of us, it turned out well enough that we all get to hear the results.

In some ways that is kind of sheer pigheadedness—it’s like you are just going to make it work.

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I Am Snow Angel,
The TVD First Date

“When I was seven years old, I discovered my parents’ record player, which they apparently had abandoned in favor of the more “modern” and portable cassette tape player. Their record collection included releases by artists who were popular before I was born: Simon & Garfunkel, Paul McCartney & Wings, Seals & Crofts, John Denver, Anne Murray, and America, to name a few.”

“We lived in an old farmhouse in the middle of an empty field, without cable television or any close-by neighbors. I spent cold winter nights intently listening to these records. I loved the warm, scratchy sound of the needle dropping onto the vinyl, and the process of turning the record over halfway through. For years, I listened to the same songs over and over—“Ventura Highway,” “Homeward Bound,” “Summer Breeze.” I imagined vivid stories to accompany the lyrics. I envisioned men from the 1970s driving blue convertibles, bathed in late afternoon sunlight—probably somewhere in California (a place I had never been.) I sang along: “Summer Breeze, makes me feel fine, blowing through the jasmine in my mind.”

My favorite record was History: America’s Greatest Hits. At one point, I devised a dance routine and recruited my brother Peter to be my partner. For the occasion, I wore pigtails and an old striped dress that had been my mom’s. Peter and I performed dance numbers to “Sister Goldenhair,” “Ventura Highway,” and “A Horse with No Name.” My parents and brother Alex were the audience, cheering us on.

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The Best of the TVD Interview 2013: Jason Newsted

ORIGINALLY PUBLISHED ON AUGUST 6, 2013 | In 1987, following the death of bassist Cliff Burton, metal titans Metallica brought a young fresh face into the band, and Jason Newsted would forever seal his legacy in the metal ranks.

After the well-publicized split from Metallica, Newsted has become the ultimate journeyman of metal, playing with everyone from Ozzy Osbourne to Voivod, with a plethora of projects in between. Now Jason looks to step out of the shadows of his past, break away from short-term projects, and unleash his new band, aptly called Newsted, upon the world.

Personally, getting the chance to talk to Jason was special for me. Metallica was the first concert I ever attended (March 11, 1989, to be exact), and it was a life-changing day that Jason was a part of. With a new album, Heavy Metal Music, released this week, I talked to Jason about life, vinyl, playing bass with a pick, and the past, present, and future of Jason Newsted.

Hi, Jason! How are you feeling after your bout with pneumonia?

I’ve still got it in me some, just kind of fighting through it. I’m better than I was, but there still a chunk of it over here in my lung. That’s what it does, it kind of finds a spot, and sits there for some weeks. I’m just kind of getting through it. I think the worst part is behind me. It took them a while to find the right antibiotics, so there was a little challenge there, but I’m good.

Still hanging in okay while on stage?

Oh yeah, man, no problem. Once I get out there, I mean, you could have both broken legs, man, once it starts, it don’t matter. Feel no pain! (laughs)

So tell us about the Newsted project.

Things are going good! We’ve been together five months now, and this shit is moving very fast. We put the Metal EP out in January, and Mike Mushok [of Staind] joined the band in February, and then we started making a record. Now we’ve played in 17 or 18 countries. We’ve got the EP done, the LP is out next week, and now we’re on Gigantour for another week and a half, and it’s been going very fast and very successful, actually. Very positive reactions from the people around the world so far. It’s been very, very overwhelming for me, so I did something right along the way, I guess.

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The Best of the TVD Interview 2013: Marc Maron

ORIGINALLY PUBLISHED ON MAY 24, 2013 | The former Air America host and journeyman stand-up started podcasting from his garage in 2009 at a time when he felt his career was at a dead-end. That dead-end quickly turned into an expressway for Maron’s multi-tiered intellect with the podcast giving him, for the first time in his career, an unencumbered, uncensored media outlet. His frank, in-depth interviews with his comedic peers quickly gained a loyal following which keeps WTF with Marc Maron in the Top Ten iTunes chart week after week.

WTF’s success led to the current IFC Television series Maron, based on his life and starring Marc in the title role. He also recently published his second book, Attempting Normal, and did an exhaustive media blitz to promote it, including inaugural visits to The Howard Stern Show and Fresh Air with Terry Gross. As second acts go, it’s a doozy.

Okay, that’s cool and all, but why is Marc talking to The Vinyl District? As he has noted many times on WTF, Marc is an enthusiastic vinyl fan which he illustrates with accounts of his listening sessions that brim with an almost evangelical zeal. Growing up in New Mexico, Marc’s first exposure to music came courtesy of his parent’s record and tape collection.

About two years ago, after noticing new record stores opening in and around his Highland Park neighborhood, he dipped his toe back into the vinyl stream and is now thoroughly immersed. Of course, being Marc Maron, his neurotic side frets over becoming an obsessive collector and possible future episode subject of Hoarders. But for now, the joy of listening to music on a quality turntable and music system is keeping those fears at bay.

What was the first album that really grabbed you when you were a kid?

(Without hesitation) The Beatles Second Album. It sounded so great! I remember playing “Roll Over Beethoven” over and over. I was obsessed with that song. I even went out and bought a Mountain album (Twin Peaks) because it had that song on it. It took me a while before I found the Chuck Berry original. My parents had a lot of cassettes: Janis Joplin’s Greatest Hits, Johnny Cash at Folsom Prison and stuff like that. I also had an aunt who gave me some some records. My musical education really started with a store called Budget Records and Tapes in Albuquerque. There was a guy named Jim there who turned me on to so many wild things.

While you were getting this musical education, did you share it with you friends at school?

Not really. At that time, Van Halen, AC/DC and Led Zeppelin were really popular. One of my buddies was a huge Journey fan. A lot of it was influenced by the concerts that came through. I listened to all that. What I was getting from the record store guys was probably far beyond the comprehension of my high school crowd. Later, I got into jazz and new music by artists like Joe Jackson and Elvis Costello.

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The Howlin’ Wolf celebrates 25 years!

It’s hard to believe that it’s been a quarter of a century, but time flies when you’re having fun. The club, which debuted on Dec. 8, 1988 in a small, L-shaped room in Fat City has evolved into one of the city’s premier live music venues, presenting a mix of local and national musical acts as well as comedy shows, charity events, and private functions of all shapes and sizes. 

Sadly, I never made it the original location, but I have spent many a night at its current home in a 1,200-capacity Warehouse District space. Most recently I enjoyed a rare afternoon concert in the spacious club.

Howie Kaplan, the club longtime owner had this to say: “In a city like New Orleans, where the musical traditions are so rich, to be a major part of the scene for the last 25 years is an incredible honor. But without the fans that support these talented musicians, we wouldn’t be able to keep it going.”

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Graded on a Curve:
Black Flag, What the…

In terms of unlikely musical reformations, Black Flag’s What the… is a strange beast, but that doesn’t mean it’s a good one. While a sprinkling of the LP’s tracks raises it from the clutches of outright failure, the whole is as underwhelming as any sensible mind would expect.

To put it succinctly, Black Flag remain an immensely important band. Had their run culminated with 1981’s Damaged, a monumental event in American Hardcore and one of the ‘80s great records, their significance would still be so. But even prior to that cornerstone effort Black Flag was blazing a trail that, as the years have piled up, has become a superhighway of retrospective punk fandom.

The pre-Damaged EPs, 78’s “Nervous Breakdown,” ‘80’s “Jealous Again,” and the following year’s “Six Pack,” reveal a group burdened by near-constant lineup changes and a growing societal distaste for both their art and lifestyle, shaking off those troubles and distilling punk into a severely potent combination of form and content. It was a new wrinkle in the style and in the ensuing decade it would catch fire and briefly run rampant throughout the global rock underground.

As those early Black Flag releases were finding their target audience, the large majority of their peers and predecessors were either abandoning punk or softening the music in hopes of gaining wider acceptance. Indeed, much of the slight press Black Flag initially received was concerned with how these knuckleheaded troublemaking kids were heading in the wrong direction.

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TVD Live Shots: Fates Warning at the DNA Lounge, 12/11

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 Best of the TVD Interview 2013: Julian Lennon

ORIGINALLY PUBLISHED ON MAY 6, 2013 | Forget what you think you know about Julian Lennon right now. He has a name, sure, but he’s followed the muse in and out of his father’s long shadow into photography, philanthropy and, naturally, music. 

His sometimes contentious relationship with John Lennon’s legacy has yielded mixed results over the years—and he would probably be the first to admit that—but Julian is far past worrying about what critics think. He’s been happy to attend to his creativity and his conscience in his own ways. Right now it’s all about his photography (his photos are being met with critical acclaim at prestigious galleries around the world) and his latest album, Everything Changes, which is due out in the US on June 4. 

Everything Changes marks the end of a fifteen years hiatus from music, and the fifty-year-old Lennon is using it as an opportunity reacquaint himself with his songwriting. The single, “Someday,” is a thoughtful, socially-conscious ballad—featuring Aerosmith’s Steven Tyler—that sets the tone for the next chapter in a quietly remarkable life.

A documentary is also forthcoming, giving Julian the chance not so much to “set the record straight,” but to let the world see what it’s really been like to be Julian Lennon. We chatted with him about this as well as the new album, his many artistic passions and, of course, what’s in his record collection. 

It’s been a while between your last album, Photograph Smile, and your upcoming one Everything Changes. What made you decide to come back to music?

Well, to me it never goes away, really. But also I get restless if I just do the same thing all the time; my mind wanders too much. I feel I’ve always been a creative person, and so for a while I was involved, and still am, in restaurants because I love food. I’m a foodie on crack! If I actually hadn’t been a muso or, now, a photographer I’d have been a chef—no question about it. I was doing lots of other projects and, slowly but surely, ideas creep back into my mind. Melodies will come into my head and I’ll go, “Oh, I quite like that! Maybe I should play around with that!”

And slowly but surely, after extensive periods of time away from music, it tends to all flood back. Then it’s a question of working with those ideas. Some I can finish off at the time, some I have partial finished songs… and how it’s worked over the last few years, especially, is many of my friends are great players and great singers and great writers. And so, if they come by for the weekend or whatever, I’ll say “Have a listen to this, see if you can spark any ideas—either from yourself or by giving me other ideas.” And then one thing leads to another and you’ve got a finished song. After having enough for a couple of albums worth, I just decided to chop it all down to what I felt were the fourteen strongest. Voila—there you go! It’s as simple as that in many respects.

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TVD Live: The Hives with Ex Hex at the 9:30 Club, 12/10

PHOTOS: RICHIE DOWNS | Since the mid-’90s, Fagersta, Sweden’s The Hives have been one of the leaders of the neo-garage rock revival, and have shown no signs of stopping anytime soon. Renowned for their frenetic live shows and no-frills rock and roll, The Hives have spent much of 2013 headlining, playing festivals, and supporting P!nk on her arena tour. They have made the 9:30 Club in Washington, D.C. a regular stop in their travels, and the bitter cold December weather did little to deter anyone from this visit to the nation’s capital.

The night started out with DC-based female trio Ex-Hex, the latest undertaking of Mary Timony, formerly of Helium. Mary, along with bassist Betsy Wright and drummer Laura Harris has found a sweet spot of stripped down, real, and raw rock. Harris’ beat was tight, and Wright’s bass sound was huge, almost at the forefront at times, making for a potent rhythm section. Timony’s vocals were smooth and heartfelt, and unfortunately lost a bit in the mix early in their set. After a pleasing cover of Johnny Thunders’ “You Can’t Put Your Arms Around a Memory,” the tempo and power of the songs picked up a bit, and the rapidly filling room returned the surge of energy from the stage.

After a brief respite, the lights went down. The ominous backdrop with its’ marionette strings snaking down to the stage overlooked the audience as a hilariously off-key version of “Also sprach Zarathustra” aka the theme from 2001: A Space Odyssey played. Drummer Chris Dangerous took the stage and started the familiar pounding beat of “Come On!” The other members made their way to the stage one by one, the packed house delighted when singer Howlin’ Pelle Almqvist arrived. They were clad in matching black and gold mariachi outfits, harkening back to rock groups of the ’60s, a la Paul Revere and the Raiders.

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  • SUPPORTING YOUR LOCAL INDIE SHOPS SINCE 2007


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