Wednesday, November 9, 2011

Bridge School Concerts: 25th Anniversary Edition DVD

This DVD set chalked full of mostly breathtaking performances has left me wanting more. Twenty-five years worth of rock & roll acoustic bliss at the Bridge School Benefit concerts, and this compilation is barely scratching the surface. But lots of the stuff present here over two discs will go down in live music history as some of the most special performances ever. We may never see R.E.M. play together live again, let alone with Neil Young, so I'm glad that Country Feedback was included. A punk-looking David Bowie sits down for a chilling, stripped-down Heroes. Dylan takes a more aggressive stab at Girl From The North Country. Pearl Jam surprises with a very different form of Better Man. Tom Waits works up some real sweat growling his classic 16 Shells. And Uncle Neil on Crime In The City, which is FUCKING STELLAR. And sometimes the simplest songs are those that stick the most; James Taylor on Fire And Rain, Simon & Garfunkel on America, and Gillian Welch & Dave Rawlings on The Way It Will Be, my personal favorite. I felt so liberated and inspired after spending over two hours watching.

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Tuesday, November 8, 2011

Pearl Jam Twenty - The Book

I finally got around to finish reading. All the essential knowledge one needs to know about Pearl Jam is in this PJ20 book. The format is similar to U2 By U2, the official U2 'autobiography'. It's supposed to be a companion piece to the film, so a number of quotes from the movie are more or less the same as in the book, except that the book has much much more stuff. Think of it as a novel and the film as a heavily condensed adaption of the novel. And like in the film, there are more pages about the band's first ten years, which are also the most interesting to read. Countless anecdotes scattered throughout, interviews with close friends, peers, influences and idols. And lotta awesome photographs. I like that the writers put the recording process of each album into a long essay form at the end of the chapter of whichever year it was released. However, the most notable thing missing is drummer Dave Abbruzzese's input -- he wasn't interviewed at all. I'm not surprised if there's still some bad blood between him and Eddie. For any PJ fan, it's a must to read this and watch the film, doesn't really matter which first. For me, I got more satisfaction from the book. It's further validation of why we've come to love this band so much.

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Sunday, November 6, 2011

Mr. November

The National took the stage to the most unlikeliest song ever, Bob Dylan's The Man In Me. And they decided to go slow and mellow by opening with Runaway. The band's first-ever concert in Asia had a setlist heavy of Boxer and High Violet songs, in which most of the audience were familiar with, and I think those live versions were much better than the album versions, more guitar-driven and more rock & roll. The trumpet and trombone were put to good use, and they stood out more during tunes like Fake Empire, Conversation 16 and England.

Frontman Matt Berninger was weirdly mesmerizing to watch. You would think by the way he sings he would not really be that engaging. But there was quite a lot of onstage banter in between songs, with the audience and his bandmates. When he sang he gripped on to his mic stand as if he were hanging on for dear life. And when he didn't, he watched his drummer, with his back to the audience. He moved graciously and randomly across the stage, like a drunk. And then once in a while, he'd explode, screaming the lyrics, most notably in Squalor Victoria.

My personal favorite was Mr. November, the second song in the encore. And then Matt made a comment about American politics. The new rendition of Terrible Love was stirringly loud and the singer decided to work his way to the middle of the floor, walking over the seats among the audience. The closing song was an unplugged (literally), singalong version of Vanderlyle Crybaby Geeks. Thanks to the excellent venue acoustics, I could actually hear the guitar strumming from where I was on the second floor.

The National is my fourth and last gig of 2011. Yup, it has been kind of a terrible concert-going year. But my god, what an unforgettable show; it really took me by surprise how great it was. My ears are still ringing as I'm typing this. Next up, Roger Waters performs The Wall in January.

P.S. This was one of the rare occasions where I didn't take a single photo.

1. Runaway
2. Anyone's Ghost
3. Mistaken For Strangers
4. Bloodbuzz Ohio
5. Slow Show
6. Squalor Victoria
7. Afraid Of Everyone
8. Conversation 16
9. Available / Cardinal Song
10. Sorrow
11. Apartment Story
12. Abel
13. Daughters Of The Soho Riots
14. England
15. Fake Empire

16. Lucky You
17. Mr. November
18. Terrible Love
19. Vanderlyle Crybaby Geeks

Bruce in Pittsburgh

There's this really glowing review of Springsteen's recent (second) show with Joe Grushecky & The Houserockers on Rolling Stone (click here). Reading it and seeing those live videos is getting me all hyped up for his next tour and album, which may or may not be with the E Street Band. I do hope it's the latter, cause those guys got too great a thing going to be stopping right now. Last night I re-read a bit of Bruce's eulogy to Clarence Clemons, and in the final paragraph he described what the Big Man said to his comrades after the last E Street show in Buffalo in '09:

This could be the start of something big.

Wednesday, November 2, 2011

Pete Townshend



Some interesting advice the man has for Apple and the record labels.

Tuesday, November 1, 2011

Lulu

After watching Lou Reed and Metallica perform Sweet Jane and White Light/White Heat at the 25th Anniversary Rock & Roll Hall Of Fame concert back in '09, it didn't seem outright surprising when it was announced that both legendary artists would be collaborating in the studio.

What's surprising though is the subject matter they chose to tackle in their first album (and a concept one) together. Get this: the songs of Lulu are based on two early 20th century plays (Earth Spirit and Pandora's Box) by German expressionist, Frank Wedekind, and they tell the story of Lulu, a doomed prostitute. From the start I had a feeling this whole thing could be the most brilliant idea or it could be the worst idea ever. After hearing Lulu the first time through, I have to say it's not exactly brilliant, it's just plain alright.

The music is relentless most of the time; the sheer force of Metallica's signature sounds grabs you by the collar and forces you in. While I don't have issues with James Hetfield's singing, I can't help but feel irritated whenever his voice comes up. But Lou Reed is the 'star' here, and Lou is being his usual self. His awkward phrasing and talk-singing didn't put me off at all; and I think that's what I like about the album.

The lyrics are dark and violent and sadistic; all the hateful emotions you can imagine all present in these songs. And the songs are long, spread over two discs. Some of the songwriting was pretty laughable at first listen, but after a second and third time through, I found myself more creeped out than amused.

I think there are only two or three songs (Iced Honey, Cheat On Me) here where most of us will find 'normal'. The closing Junior Dad, is weird, kinda like a thorn among the roses. It's almost twenty minutes long -- the first part is classic Lou, then Metallica stops playing halfway through, and then it's just a sea of strings all the way till fade out. I can't fathom that.

Reviews have been very mixed on this one -- dreadful, horrific, utter crap are what many have described it. People don't know what to make of it, and that's totally understandable. Because it's not so much of a collaboration as it is two artists doing their own thing, not really moving out of their comfort zone, so to speak. But put them together and the end results are unique, avant garde heavy metal, and I dig it for the most part.

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