Paul Weller: The Paramount, Huntington, NY (10/1/2017)

Paul Weller had been an early favorite of mine who, over the course of time I simply forgot about. The ex-frontman for The Jam and The Style Council was one of the best songwriters from the class of  '77. Defiantly British, in the same vein as The Kinks before them and Blur after them, The Jam were melodically somewhere between The Buzzcocks and The Clash. There was a classicism to their material in the same vein as XTC or Squeeze. Yet, unlike those bands, they were hugely influenced by classic American R&B. So much so that Weller disbanded The Jam in late 1982 and formed blue-eyed soul-tinged outfit, The Style Council in early 1983. Weller has been exploring blue-eyed soul mixed with influences of folk and psychedelia since the early 1990's when he started his solo career.

That's basically where I stopped following his career. Big mistake. He's apparently released some amazing solo records (1993's Wild Wood, 2008's 22 Dreams, 2015's Saturn's Pattern to name but a few). After hearing these records, I realize how dull other people's solo records invariably always seem to be - something that Weller has seemingly been able to effortlessly avoid. I'm also struck by how different his vocal persona is as opposed to his near-cockney talk-singing in The Jam and Style Council. He's a full-throated singer in the same vein as Steve Winwood in Traffic. In fact, he kind of sounds identical to Winwood in his phrasing and his singing.

I'd never seen Weller before so I was overjoyed to see him on the first night of his American tour. The room was full of older folks (I'm somewhat used to being a young-in at a lot of these shows) who were all drinking on a Sunday night, Monday-morning-be-damned.Weller came armed with a full-sized band (about six or seven musicians backing him) and alternated between guitar and keyboards.
The only person in his band that I knew prior was Steve Cradock of Ocean Colour Scene. Weller has obviously aged a smidge, but he's still in perfect voice and is in great shape. And he's no less vital than he's ever been.

The songs; I have to admit not being familiar with ANY of his solo material before the show. Of the fantastic twenty-nine song set, the band performed two Style Council songs ("My Ever Changing Moods" and "Shout To The Top!" - both of which were perhaps the most well-received of the night) and Jam songs ("Start!" and "Monday") which were nice to hear, the former with a slightly reserved arrangement. Performed from the new album, A Kind Of Revolution, was the newest single, "Woo Sé Mama" and "She Moves With The Fayre". I presumed these songs to be covers of classic R&B songs from long ago, only to discover they're only months old and Weller originals.

The band performed six of the nine songs that comprise the Saturns Pattern album. I've come to conclusion that this may be Weller's greatest solo album. This is only because I've only heard a few so far, and they may be all tied for being as awesome as the one I heard last. He performed two songs ("The Weaver" and the title-track) from his most-acclaimed solo album, Wild Wood. 

So, aside from seeing the legendary Jam-frontman. I got to see a soulful elder-statesman who introduced me to his solo catalog. A solo catalog that not only does not suck, but I can wholeheartedly appreciate and actively enjoy it on its own terms and not make me long for The Jam or The Style Council. Also, his band is very well-rehearsed, and Weller is still a great performer.

A great show.

Special thanks to Doug Mashkow from CD Island and Bob Wilson of WLIR-FM.

X: Stage 48, New York, NY (9/21/2017)

I've always liked X. I was first exposed to them in the late 80's via their appearance in Urgh! A Music War! I wasn't sure what to make of the cross-eyed harmonies of John and Exene. Over time, they made perfect sense. However, I'd missed the opportunity to see them as they broke up shortly after 1993's Hey Zeus. And the following reunions didn't see many, if any, visits to New York.

I have to say, it was completely worth the wait. The band was in completely top form. John Doe had far more energy that I expected him to have. Guitarist (and saxophone player, apparently) Billy Zoom, who is still recovering from a 2015 bladder cancer diagnosis, played guitar in a chair and played sax on a few songs standing up (the sax was bolted to a stand). He seemed virtually unaffected by anything and was giving it 100% all night. Drummer DJ Bonebrake came armed with a marimba which he played for a few songs. Vocalist Exene was in fine form as well. Making herself very available; chatting with the audience when she wasn't singing and signing autographs for whomever wanted one.

The songs. With the glaring omissions of "The New World" and "White Girl" (which were in the set virtually every night leading up to this night's show...sigh) the band played virtually every song I wanted to hear by them. The awesome singe "Blue Spark", the anthemic "Los Angeles", their debut single "Adult Books", the punky rockabilly of  "Beyond & Back" (from both Urgh! and The Decline Of Western Civilization), the brooding "Nausea", their cover of Jerry Lee Lewis' "Breathless" (from the forgotten Richard Gere film Breathless) and the classics "The World's A Mess It's In My Kiss", "Motel Room In My Bed" and "Johny Hit And Run Paulene".

The highlight of the evening was easily "The Hungry Wolf". It featured an extended section with a long drum solo in the center (think the Buzzcocks' "Moving Away from the Pulsebeat"). It seemed to somehow pick up momentum by the time it came back to the vocal part. Amazing. The band performed twenty-three songs in all and had the audience captivated for the entire set. John Doe even muttered something about putting on the disco ball during the retro slow-dance song "Come Back To Me", and withing seconds, his wish was granted. It was a special night and the band was on.

I was lucky to see X in such excellent form. I seriously hope they'll start touring regularly so I won't have to wait so long to see them again.

King Missile: Bowery Electric, New York, NY (9/15/2017)

My first exposure to New York band King Missile was via the Video Jukebox Network. The video for "My Heart Is A Flower" from The Way To Salvation converted me fairly easily. I went out and bought the cassette not too long afterwards. I took my time in investigating their back catalog and the next thing I knew Happy Hour (which is approximately 60 minutes in length) was released. Happy Hour featured the major MTV hit "Detachable Penis" and the minor MTV hit "Martin Scorsese". After 1994's King Missile I kind of checked out and was basically done with King Missile. So was lead singer John S. Hall apparently, as the band broke up not too long after this album. 

Since the breakup of King Missile, Hall went to law school and is now an Intellectual Property Analyst. He also formed King Missile III and King Missile IV and released records under that moniker as well. The current incarnation of KM feature longtime members Dave Rick on guitar and Roger Murdoch on drums (apparently keyboardist Chris Xefos does in fact play with the band when he's on the East Coast as he lives in California now). So, King Missile is basically a hobby for Hall and his bandmates. 

The sound at Bowery Electric is, like any teeny-tiny venue, hit or miss. The band themselves sounded fine. Hall's vocals were kind of drowned-out in the din. From where I was standing - front and center - I had to strain to hear him. That said, he made the best of the situation, freely roaming into the audience and interacting with the patrons, mid-song.  

The band tackled many a classic from the Shimmy Disc years ("Sensitive Artist", "Take Stuff From Work" and "Jesus Was Way Cool") and classics from the Atlantic years ("My Heart Is A Flower", "Detachable Penis", "Socks" and "Martin Scorsese"). They tackled items they've covered on record ("Mr. Johnson" and "Betrayal Takes Two") as well as covers by local legends ("Rockaway Beach"by The Ramones and "Gratitude" by Beastie Boys) . They ended the show with a cover of The Buzzcocks' "What Do I Get". 

Despite the wonky sound and the somewhat halfheartedness of the entire performance, it was a fun show. It was nice to finally see the band as I'd never seen gotten around to seeing any incarnation of King Missile. I got to meet John before the show and buy a copy of the new KMIV disc (This Fuckin' Guy); he's very approachable and makes himself very available to his people. 

An entertaining show.

Adam Ant: The Beacon Theater, New York, NY 9/13/2017 Anthems: The Singles Tour 2017

Since 2013, Adam Ant has made something of a comeback. He released his first album since 1995's Wonderful - the very fine Adam Ant Is the Blueblack Hussar in Marrying the Gunner's Daughter album, toured the UK in celebration of the reissue of Dirk Wears White Sox, embarked on a world tour to celebrate the twenty-fifth anniversary of the Ants' basically perfect Kings Of The Wild Frontier album, and now he's on his Anthems: The Singles Tour.

His Anthems tour is basically the vast majority of his singles and a good portion of his best B-Sides. I'd seen Adam on tour earlier this year, so I knew what to expect in terms of his live band (he's got a cracking band that actually sound like a real band and not just backing musicians - Will Crewdson is an excellent lead guitarist and the two drummers are perfect - especially Jola). Adam himself has a lot more energy than one would expect from someone who's been through the Punk wars of 1977. He didn't disappoint on this night either.

The twenty-five song set was basically an Ant-fans dream set. The band opened with a fiery rendition of "Beat My Guest" and the show never really let up. Early singles "Young Parisians" (and its B-Side "Lady"), "Zerox" and "Car Trouble" all earned enthusiastic responses. Adam ran through plenty of obscure B-Sides such as "Greta X", "Christian D'Or" and "B-Side Baby". It was certainly nice to hear Adam perform hits that he doesn't do very often (excepting this tour) like "Apollo 9", "Can't Set Rules About Love" and "Puss N Boots". The ebbs and flows of the set felt fairly natural/organic with the energy level boosting up several notches on "Friend Or Foe" (which sounded amazing live, and truly benefited from having two drummers) and on "Kings Of The Wild Frontier" - which seemed to get the entire audience up and moving in a speaking in tongues sort of way.

Of course, Adam and his band performed the staples "Stand And Deliver", "Vive Le Rock", "Antmusic" and "Goody Two Shoes" all to the expected fervent response.

The only singles Adam didn't tackle were "Ant Rap" (for obvious reasons...Marco, Merrick, Terry Lee and Gary Tibbs were not on tour with "Yours Truly"), "Deutscher Girls", "Rough Stuff" and the US Top 40 single "Wonderful". None of which were missed too greatly.

I was basically a spoiled Antfan on this night - as I'd had my VIP package (which included a T-Shirt, a bandanna, buttons/badges, a tote bag and a numbered, limited edition autographed poster). Not to mention my eighth-row seat and sterling companionship.

Opening for Adam were the Glam Skanks. They're a quartet from LA who come off like a television producers dream of an a homogenized version of The Runaways. Their material didn't really resonate with me at all (it felt very affected and faux to put it lightly...very LA, very plastic). Their sound in terms of the house engineer and the room itself was fine though. About 3/4 through Adam's set, it was slightly overloaded and louder, which was basically unnecessary. The Beacon is a great sounding theater and really needs no help in terms of artificial loud sounds via the sound engineer. But I digress.

A great night.

Hüsker Dü: Candy Apple Grey (Warner Brothers/1986)

Hüsker Dü's fifth album Candy Apple Grey is their major-label debut for Warner Brothers. The band released three albums and an EP for legendary indie SST signing a lucrative deal with Warners in 1985. There isn't anything on the album that screams sell-out; it was produced by Grant Hart and Bob Mould, recorded in Minneapolis, and contains the same approach as Flip Your Wig does.

The album starts off with the Mould scream-fest of “Crystal” which clearly indicates the band isn't going soft just because their sudden major-label status. The albums two singles are both written by Hart and they are absolute classics; “Don't Want To Know If You Are Lonely” is a perfect kiss-off pop song and even charted at number 96 on the UK singles chart. It was later covered by Green Day and is featured in the series Halt And Catch Fire and the film Adventureland. “Sorry Somehow” features mournful minor-key organ and a mid-tempo arrangement.

“I Don't Know For Sure” sounds like Mould was trying to rewrite “Makes No Sense At All” and Hart's “Dead Set On Destruction” doesn't really go anywhere memorable. “Eiffel Tower High” references getting high and going to the movies and “All This I've Done For You” is a perfect slice of Du PopPunk. The album features three acoustic classics;“Hardly Getting Over It” which deals with death in a mature, thoughtful way, “No Promise Have I Made” a stately piano piece that is a nice lyrical example of what makes Grant Hart such a special songwriter and “Too Far Down” is a Mould song that is almost a blueprint for his solo work. All three work well within the cold, Wintery-feel that pervades the album as a whole.

The album was well-recieved at the time by the mainstream music press but was generally snubbed by the bands hardcore following. It charted at a dismal 140 in the Billboard Top 200. It is generally overlooked after the acknowledged classic trilogy of Zen Arcade, New Day Rising and Flip Your Wig.

It certainly deserves wider-currency.

Here's the video review:

Rancid, Dropkick Murphys, Bouncing Souls & Jake Burns (Stiff Little Fingers) at Coney Island Ford Ampitheater, Brooklyn, NY (9/6/2017)

Rancid are currently on their From Boston To Berkeley tour in support of their Trouble Maker album. Joining them on tour are the Dropkick Murphys, Bouncing Souls and Jake Burns of Stiff Little Fingers. I attended the New York show at Ford Amphitheater on Coney Island.

The venue was literally right alongside the boardwalk, which is a stones-throw from the ocean. It was a very nice location for such a place and the it was a beautiful day. The venue is basically a large, round tent. The acoustics of the show were completely abysmal. It was the wrong venue for a punk show in general; in my opinion punk rock shows need to be in small, acoustic-sympathetic bar/clubs. The show was still loud, it just sounded terrible.

I missed Jake Burns' set entirely, which is a shame seeing that he's something of a legend himself, having fronted the great Stiff Little Fingers. Perhaps Ireland's first proper punk band. We arrived about 30 minutes after showtime (which was 6 PM sharp, apparently) and the Bouncing Souls were halfway through their set. They were probably my favorite band of the evening. Such classics as "Gone", "Kids and Heroes" and "True Believers" were all performed with much youthful enthusiasm. I really wish I'd caught their entire set.

Dropkick Murphys were up next. Despite being a fine live act, their performance felt a bit hollow. I really didn't feel too much of a connection with their music at all. Maybe I've heard "I'm Shipping Up To Boston" in one too many commercials. Also, poor sound marred any potential chance of any true enjoyment.

Headliners Rancid took the stage with definite purpose. Their newest album Troublemaker is basically more of the same old Rancid, for better or worse. The band was tight with Tim Armstrong and Lars Frederiksen in fine form. Their twenty-song set included a whopping eight tracks from their platinum break-through album ...And Out Come The Wolves (including the classic singles  "Ruby Soho", "Time Bomb" and "Roots Radicals"). "Nihilism", "Radio" and "Salvation" from Let's Go also got proper airings. As did a few from their newest album, including the single "Ghost Of A Chance".

The absolute highlight of the evening was Rancid & Dropkick Murphys performing an encore four-song set of "Take 'Em All" by Cock Sparrer, "Cretin Hop" by The Ramones, "Folsom Prison Blues" by Johnny Cash and "If The Kids Are United" by Sham 69.

The Smiths: The Boy With The Thorn In His Side (Warner Brothers/2017)

The Smiths haven’t really issued any really noteworthy product in many, many years. Johnny Marr remastered the four Smiths studio albums (and four compilation/live albums) in 2012. And The Sound Of The Smiths compilation in 2008. This year marks the first real year that The Smiths have a reissue campaign that will entice all Smiths fans alike.

Later this year the band will reissue The Queen Is Dead package that will include three CDs and one DVD. Earlier this Summer the title track was issued as a 12” and 7” single. And for Record Store Day The Boy With The Thorn In It's Side was released in a limited pressing of 12,000 copies. It's a teaser for the forthcoming box set. The A-Side is a “Demo Mix” of the well-known studio version. And isn't too different. The B-Side “Rubber Ring” is an “Early Drone Studios Version”, which was recorded at Drone Studios and very string-heavy.

Overall a very nice release. Cover star Albert Finney makes yet another appearance in the Smiths cannon. The truly noteworthy thing about this record is the political message that reads; “Trump Will Kill America”, which is etched in the runout groove of side A.

All in all, a wonderful release.

Here's the video review:

Special thanks to: Laurel.

Shriekback: Oil And Gold (Island Records/1985)

Shriekback's third album finds ex-XTC keyboardist Barry Andrews, ex-Gang Of Four bassist Dave Allen and ex-Out On Blue Six guitarist Carl Marsh's collectively greatest vinyl moment. Oil And Gold is the perfect transition from quirky outsider minimalist funk band to alternative commercial band. The album is perhaps their most diverse offering. It contains their most well-known hit in “Nemesis”, which is something of a mid 80's classic. “Fish Below The Ice” is also a fairly-successful single.

“Faded Flowers”, “Only Thing That Shines”, The Big Hush” and “Coelcanth” form something of a quiet calm suite. “Malaria” (which came this close to being issued as a single) and “Everything That Rises Must Converge” are both winning songs.

This was the last album to feature Marsh as lead vocalist, before the role was taken by creative leader Andrews. His whispering vocals are effective within the context of the bands inner logic.

This is a very good album and something of a forgotten mini-classic.

Here's the video review:

Corey Feldman & The Angels: The Korova, San Antonio, TX (5/26/2017)

Self-proclaimed legend/child actor Corey Feldman dazzled his fans at the Korova with a set of his original material. The man who starred in The Goonies, Stand By Me and License To Drive has been making music of questionable merit for over thirty-years now. He has released about five albums too.

He was in town to make an appearance at Alamo City Comic Con earlier that day. His twenty-song set lasted about two-hours and felt even longer. Many of those songs were from his newest album, Angelic 2 The Core. His band, The Angels, five females all dressed in angel wings and halos, were a serviceable band. Corey, despite having been up since 6 AM, had a remarkable amount of energy. Corey took a few short breaks every few songs, for a costume change as the Angels played on.

Also making an appearance at Comic Con was fellow Goonie star Jonathan Ke Quan (aka Data!!).
Ke Quan also hopped onstage with Corey and they (with significant support from The Angels) treated us to a rousing rendition of "The Goonies R Good Enough" by Cyndi Lauper. I have to admit, it was pretty special, not to mention surreal, seeing this all happen before my very eyes. This was basically the (mid) show-stopper. Corey also covered The Beatles' "Why Don't We Do It In The Road", with Mr. Feldman himself on drums and vocals. He pulled this off quite well. Who knew he could play the drums?

If this wasn't enough. I got to meet the man himself at a meet and greet in the basement of the venue a good hour after the show ended. Corey was perfectly gracious and nice. He signed a few things and took a photo with me as well.

Come to think of it, the guy really IS a legend.

Redd Kross: Bowery Ballroom, New York, NY 5/4/2017: Beneath The Valley Of The Teen Babes From Monsanto Tour

Hawthorne California's Redd Kross have been on tour this Spring, celebrating the reissue of their classic Teen Babes From Monsanto album. The band is one of the key figures from the late 70's LA punk scene (their first show was opening up for a Keith Morris-fronted Black Flag) who later morphed into a trashy, glammy, power pop, alt-rock outfit. After returning after a nearly ten-year hiatus with their Researching The Blues album in 2012, Kross have been going strong ever since.

The band graced Bowery Ballroom last week and put on an enthusiastic, ninety-minute, twenty-song set. The band had a new drummer (Roy McDonald was unavailable for the tour) in the form of Melvins drummer Dale Crover and touring lead guitarist Jason Shapiro (Robert Hecker, is a teacher and can't just up and tour anymore). The McDonald brothers, Jeff and Steve had a great on-stage rapport, with Steve providing a lot of funny anecdotes. The band were very well-rehearsed (except for one song, "It Won't Be Long", where there was a discrepancy over key and necessitated a few false starts).

The band played plenty of their loved singles; "Switchblade Sister", "Annie's Gone", "Jimmy's Fantasy" and "Lady In The Front Row". Plus a few deeper cuts; "Annette's Got The Hits", "Peach Kelli Pop" and "Neurotica". But the real treat was the band performing the entire Teen Babes all-covers album (ahem, "Rock And Roll Retrospective") in its' seven-song entirety (it's a short album). Hearing them perform "Ann" by The Stooges, "Saviour Machine" by David Bowie and "Citadel" by The Rolling Stones was a very nice treat for hardcore-fans, of which I am one.

They put on a great show with a very-well considered setlist. If you have to opportunity to see the band, by all means do.

The Psychedelic Furs and Robyn Hitchcock at House Of Blues, Houston, TX 4/2/2017

I've been a fan of The Psychedelic Furs and Robyn Hitchcock for a very long time. Both artists share a psychedelic influence and come from the late 70's UK punk movement. Robyn's old band, The Soft Boys, opened for the Furs in 1980 and Robyn has covered "The Ghost In You" since the late 80's. So, despite some obvious stylistic differences, they are most certainly peers.

This is my third time seeing Robyn in the past sixteen months, and he's finally come around to embrace his legacy. He's performed "Balloon Man" and "Madonna Of The Wasps" at all of these shows, songs he'd snubbed in the past in lieu of then-recent compositions. He apologized that night for having a case of the flu, but his performance was seemingly unaffected by any such ailments. His playing was as nimble as ever and his voice was in fine form. Classics like "Heaven", "I'm Only You" and "Queen Of Eyes" all got airings as did newer classics like "I Pray When I'm Drunk",  "Saturday Groovers" and "Mad Shelly's Letterbox".

It was a little strange seeing Robyn open for anyone, but, given his slot and his flu, after twelve songs he departed the stage. He didn't even hang out at the merch table greeting fans, which has become a post-show ritual for Hitchcock as of late. Hell, there wasn't even any merchandise of his at the merch table.

I'd only ever seen the Furs once before, about ten years ago. They were good then. They were even better this time. Singer Richard Butler and bassist/brother Tim Butler are backed by lead guitarist Rich Good (ex-The Pleased), longtime sideman saxman Mars Williams (ex-The Waitresses), keyboardist Amanda Kramer (ex-Informantion Society) and drummer Paul Garisto (ex-Iggy Pop). They were a very capable band who were far more engaging than I'd anticipated.

They opened with the bonafide classic post punk single "Dumb Waiters". Sadly, they didn't perform anything from their classic self-titled debut album, but they did a bunch from it's equally classic follow-up Talk Talk Talk ("So Run Down", "Pretty In Pink", "No Tears" and "Mr. Jones") and few from Forever Now ("Love My Way" and "President Gas") plus later singles ("House", "Heaven", "The Ghost In You" and "Heartbreak Beat").

All in all it was fantastic show at a fantastic venue.

The Beach Boys: Becoming The Beach Boys: The Complete Hite & Dorinda Morgan Sessions (Omnivore Recordings/2016)

Before the Beach Boys signed for Capitol in Spring of 1962, they recorded for the independent label Candix. The band, still in their teens recorded with producer Hite Morgan. These sessions yielded the "Surfin'" single (and it's rare B-Side "Luau"), and early versions of "Surfin' Safari" and "Surfer Girl". Also recorded was the bands "Barbie" single (which they recorded under the name Kenny And The Cadets). The band was still in its' beginning stages and Brian Wilson had only just begun to write songs. The band were also fairly rudimentary on their instruments.

This is definitely something that is nearly exclusively for hardcore Beach Boys fans. This is a nice piece for fans as it collects all their early material in one place. It's a Record Store Day release and comes in yellow, red or blue in a limited number of 3,000 copies.

Here's The Video Review:


Thanks to Dave Rerecich.
                                                                                                                                                                                                              

The Upper Crust: Bowery Electric, New York, NY (3/19/2016) Retroactive Review.

Boston, MA's The Upper Crust put on quite possibly one of the most fun shows you can possibly attend. Allmusic aptly describes The Upper Crust as "AC/DC meets The Buzzcocks at a theater showing of This Is Spinal Tap", so I shan't attempt to better that, since it's so right on the money. They dress in 18th century attire; wigs, pancake make-up, songs about being affluent and the like.

The song titles alone simply don't do justice to material; "Little Lord Fauntleroy", "Tell Mother I'm Home", "Come Hither Fair Youth", "Eureka, I Found Love" and "We're Finished With Finishing School" are just some of the titles from this fantastic live band.

Here's a plethora of photos and videos that I took at the show from stage right. Because they're taking up an obscene amount of space on my phone...so here you are. 'Twas a great show.

Photos by Bill Wikstrom.