Archive for the ‘live shows’ Category

Review: Moogfest 2014 (Part Two)

Tuesday, June 24th, 2014

Continued from Part One

Keith Emerson was mainly in town, though, for a press conference at which the engineers at Moog Music unveiled what Emerson dubbed “the clone,” a from-the-ground-up duplicate of the massive modular unit Emerson carries around with him to gigs. Partly a can-we-even-do-it exercise, the development of the Emerson Modular is a testament to the r&d and technical skills of the folks at Moog.

While Emerson was in Asheville for Moogfest, he also made time to sit down with his friend André Cholmondeley (of Project Object, Delicious, The Wham Bam Bowie Band and onstage tech for Emerson, for Greg Lake, for Yes, for moe., and for many others) and do an interview to be podcasted. I was fortunate to be allowed fly-on-the-wall access during that chat, and afterward – while Cholmondeley spirited Emerson away to his next engagement prior to leaving town – I was able to score a few moments to chat with the keyboard legend as well (look for that conversation in my next feature).

Being a “rock guy” (albeit one who also digs jazz, blues and soul but other genres not-so-much) some of the acts left me either cold or mystified. Pet Shop Boys played a good chunk of their set behind screens, their silhouettes reminded me of some unholy hybrid of David Bowie‘s Scary Monsters persona and, well, Zippy the Pinhead. Had the music been interesting to me, I might have overlooked the somewhat annoying visuals. But for those most part, it could have been anyone phoning in the soulless (albeit ecstatically received) performance.

We in the press received an email alert that synth legend Bernie Worrell would be joining Emerson and his band onstage, but that didn’t happen. Instead, The Bernie Worrell Orchestra took to the stage following the conclusion of Emerson’s set. While it was kinetic and fun, the real highlight of the Worrell set came right near the start, when Nick Montoya (friend of Worrell, Moog employee, and part of The Volt Per Octaves) came onstage to lead the audience in a vocoder-led version of “Happy Birthday” dedicated to Worrell.

Kraftwerk‘s set at the Thomas Wolfe Auditorium was visually stunning (3-D glasses were required to take in the full range of the visuals, but it looked way-cool even without the glasses), and the visuals were keyed to the music. While the foursome themselves aren’t much to look at (dressed in matching outfits, posed carefully behind four podiums), their visual presentation factored that fact in, and made the full-stage visuals the centerpiece. (I had the offhand thought that as much as I like DEVO, those Akron-based spudsters clearly got a lot of ideas from Kraftwerk.)

CHIC featuring Nile Rodgers came off a bit like a tribute band that included the subject of said tribute. The large band ran through a long set of numbers that served to illustrate just how much Rodgers has contributed to the popular music lexicon. Many of the numbers were, by necessity, “covers,” but in all cases the tunes had a close connection to Rodgers (he wrote, produced, and/or arranged the originals).

M.I.A. is one of the hottest stars on the pop music scene today. Her set may have pleased the faithful, but I didn’t understand what the fuss was all about. I am told she often performs with a band of human beings; her set this night featured her and a couple guys working at desks. I found it boring and threatening to give me a headache.

The Volt Per Octaves, on the other hand, gave a rousing performance in the intimate New Earth club. The husband/wife/daughter trio (featuring the aforementioned Nick Montoya) delivered a set that proves that synthesizer-based pop need not be bloodless, Human League-style pap.

Talks by Don Oberheim and Giorgio Moroder were – along with all the Keith Emerson-related goings-on – among my most-treasured memories of Moogfest 2014, and the event that capped the entire five-day festival was Sunday’s panel discussion among writers for The Simpsons and Futurama. Though this final event was lightly attended (a few hundred people in the Thomas Wolfe Auditorium), it was thoroughly entertaining to see and hear these self-proclaimed “math nerds” explain all manner of in-jokes from the two animated series.

At press time there is no word concerning future Moogfests, but all indications are that there will indeed be future festivals. And everything about Moogfest 2014 suggests that the festival is back on track, true to the concerns and values of its namesake.

In tomorrow’s installment, my conversation with Keith Emerson.

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Review: Moogfest 2014 (Part One)

Monday, June 23rd, 2014

Moogfest 2014 was indeed quite a different creature than its immediate predecessors. In both its focus and attitude, the five-day music/arts/technology event in Asheville NC was closer to the spirit of the original Moogfest, a smallish event held in New York City.

Of course the festival’s namesake, pioneering innovator Dr. Robert A. Moog – the man whose oft-mispronounced surname (properly spoken to rhyme with “vogue”) is now all but synonymous with the synthesizer – left this Earth several years ago. But as an attempt to carry on in a manner in which he might approve, Moogfest 2014 was wholly successful.

I read post-event news items stating that the 2014 event lost money. I also read that the organizers expected such an outcome, based on it essentially being their “first” festival. Earlier Moogfests in Asheville were run by AC Entertainment, the outfit that ably brings us Bonnaroo, Big Ears Festival and other mega-events. This Moogfest was more humble in its festival-type organization, but perhaps more ambitious in other ways. The lack of a major underwriter (on the scale of, say, Apple or Coca-Cola) was cited as part of the reason for the shortfall, but word on the street is that Moogfest 2014 was successful enough that some big names are interested in lending their support (read: dollars) to future Moogfests.

The character of Moogfest 2014 was, to a great degree, defined by the wide range of talks and presentations given. A long parade of synthesizer-related pioneers gave up-close-and-personal talks, most of them scheduled in the Masonic Temple on the north side of downtown (and a mere block from Moog Music’s facility) There, festivalgoers could see and hear Roger Linn (creator of the LinnDrum, one of the earliest synthesized percussion devices), Don Buchla (Moog’s “competitor” in synthesizer development back in the 60s), Don Oberheim (an important pioneer in the second wave of synth development, when polyphonic instruments came on the scene) and many, many others. These generally off-the-cuff, informal talks were almost invariably followed by Q&A sessions in which synth anoraks could ask the most niggling of questions of interest only to other synth geeks (present company most definitely included).

Still, there was certainly plenty of music as well at Moogfest 2014. And much of it was very, very good. And so while my own interest was placed most heavily on the daytime talks, I did take in as many music sets as my schedule and endurance would allow.

Keith Emerson‘s set at The Diana Wortham Theatre offered fans a chance to see something quite rare. Of course as part of Emerson, Lake and Palmer (and before that, The Nice), the keyboardist was most often found on the large concert stage, often inside of a sports arena. (Love ‘em or hate ‘em, ELP were big concert draw in their day.) But the nature of the intimate Asheville venue (capacity: 500) means that if you got in, you were treated to what felt like a private recital.

Which isn’t to say that it was low-key; it was nothing of the sort. Emerson, backed by the beastly Moog Modular, played mostly seated, but he was fully animated in his performance. He even whipped out the portable ribbon controller device. That piece of gear, infamous for its dodgy reliability record, failed to perform in the manner Emerson wanted, so – to peals of laughter from the audience – he mimed wiping his ass with the thing.

Emerson is not currently on tour (nor does he have one planned at the moment), so when asked by Moogfest organizers to perform a full set (he had originally thought he’d do one number in a private setting), he rounded up his band, including guitarist Marc Bonilla. The group ran through a varied selection drawing from both Emerson’s solo catalog and his hits with ELP. Many of the songs were re-cast in arrangements far afield from the ELP ones, sometimes employing instruments that were never part of the 70s band’s onstage arsenal (most notably Bonilla’s banjo). The well-received set was highlighted by Emerson’s fiddling with the modular, and while he didn’t bring out the trademark daggers or run around the stage like a wild man, he turned in an exciting one-off concert performance that was a thrill to behold.

To be continued…

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Concert Review: World Party, Asheville NC 3 June 2014

Wednesday, June 4th, 2014

One of the many joys of taking in a live show in Asheville is intimacy: arrive early, and it’s as likely as not that the artist you’ve paid to see will be enjoying his or her dinner (and/or a pint) at the table next to you. So it was last night at The Grey Eagle, an excellent music venue that has only gotten better of late. With a dramatically improved sound system (not to mention addition of HVAC), it’s one of the best places in the region to enjoy live music, up close and personal.

Karl Wallinger is the prime mover of World Party; at various points in the group’s nearly thirty-year history WP has been Wallinger and/or one to several additional players. The one constant throughout (five albums of original material, a couple of compilations, and Arkeology, a five-disc set of previously unreleased odds and sods that plays as well as a new album) has been Wallinger and his highly melodic, hook-laden songs plus the man’s winning, engaging persona.

For World Party’s current US tour – the second or third since Wallinger’s recovery from an aneurysm that left him needing to re-learn how to play guitar – the group is a trio: Wallinger on (amplified) acoustic guitar and piano, plus longtime associates David Duffy (violin) and Tristan Powell John Turnbull (Gibson Les Paul). All three sing beautifully.

Right out of the gate, the trio sought to please the audience (well-attended but not a capacity crowd). Over the course of a couple of hours, they bounced back and forth through World Party’s back catalog, picking and choosing the best from among a vast array of gems. Arguably the group’s finest effort (but sadly the one that fared the poorest in the marketplace, owing to circumstances beyond Wallinger’s control: the label went under), Egyptology provided four tunes for this night’s set.

And though the trio has no rhythm section (bass and drums), surprisingly, that instrumentation wasn’t missed. While Wallinger provided expressive rhythm guitar and lead vocals, Duffy and Powell managed to deliver every signature lick and hook of the original studio arrangements. While Powell recreated his leads (that’s him on a lot of the studio cuts, especially the later material) Duffy in particular did a great job of evoking the feel of the original arrangements with his fiddle, while helping to give the songs an even more warm and intimate vibe.

And those adjectives – warm and intimate – truly were the order of the evening. When Wallinger shifted to the Nord Stage keyboard, he led the group through a suite of piano-based numbers, including the elegiac “She’s the One.” And on that number as with many others, the audience pitched in to help, singing along, seemingly knowing most or all of the lyrics. A delight from start to finish, the show ended with rousing applause, leafing Wallinger to suggest that the band “avoid a whole lot of bother” and get right to the encore, dispensing with the play-acting of leaving the stage, waiting for the applause to swell further, and rushing back out. By the set’s end, Wallinger was visibly exhausted, having given his all. I hope he brings World Party back to Asheville soon for another set of timeless music.

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Moogfest Preview: The Volt Per Octaves

Tuesday, April 22nd, 2014

The original idea for Moogfest came about while Dr. R.A. Moog (“Bob” to everyone who knew him and many who didn’t) was still among the living. Originally a smallish New York City-based event, it was initiated to commemorate the 50th anniversary of the company that bore the man’s name. Moog Music had been at the cutting edge of music since its inception, and though the company effectively went away for a number of years after Bob Moog left it, the company he founded after moving to Asheville (originally called big Briar) reacquired the rights to the Moog brand name in the early part of the 21st century.

The first Moogfest was a single night, and featured many of the biggest names associated with Moog instruments. By the time the second Moogfest rolled around, it had already begin to grow. It was around that time that an unsigned band from the west coast won a competition, the award of which was the opportunity to travel to open at Moogfest. That band – The Volt Per Octaves – was named after an electronic measurement credited to Moog, and initially featured husband and wife duo Nick and Anna Rhoney Montoya. The couple have known each other since they were fourteen, and Nick got into synthesizers when he was in high school. “I got my first Moog when I was about seventeen,” he recalls, “and I fell in love with it.” Nick and Anna became a couple in life, but didn’t collaborate musically until some seven years later. When they did, their goal was, Nick Montoya says, “playing vintage synthesizer music live, without samples or loops and computer. Just playing. With our fingers, and our toes, sometimes.” Their early influences included Air, The Moog Cookbook and other retro-minded projects as well as Aphex Twin and other more modern sounds.

That 2005 performance at BB King’s in NYC led to an endorsement deal with Moog Music. In the intervening years, Nick Montoya became an authorized service rep for Moog out west. In summer 2013 Nick and Anna and their daughter Eva relocated to Asheville, where all three now work in various capacities for Moog Music.

Mere days after Nick landed in Asheville, he posted a Craigslist ad offering his services on electronic pianos, an area of expertise above and beyond his synth-related technical prowess. I had just scored a very good deal on a 1973 Fender Rhodes Mark I piano in fairly rough condition. I made an appointment with Nick, and he came over a day or so later, tools in hand. Together we more or less disassembled and rebuilt the keyboard, though I should point out that my involvement was (wisely) limited to following simple, straightforward and explicit instructions. (I’m not very technical.) Within a couple of hours, we had restored the Rhodes to something not far from factory condition. Several months later Nick performed a similar act of resurrection on another of my thought-lost keyboards.

But though those happy episodes were my introduction to Nick, all of that is secondary to the music.

While there are certainly some big names – some really big ones, like Nile Rodgers and Chic, Keith Emerson, Kraftwerk, M.I.A. and many more – to me, The Volt Per Octaves are the sort of quintessential heart of Moogfest. They actually play Moog equipment, even. Nick and Anna play all manner of synths, while Eva Montoya provides additional synth and percussion and operates something Nick describes as “a robot thing called a Thingamagoop.” She also, chuckles Nick, “jumps around a little bit.”

While some might argue (and I’d guardedly agree) that in recent years Moogfest strayed a bit from its core concept, the 2014 event looks to be much truer to the spirit of Dr. Bob. A veritable teach-in, the five-day event will include talks by synth/electronic music pioneers whose names adorned some of the most forward-looking equipment of the electronic music era: Roger Linn and Tom Oberheim, to name but two. And all manner of talks that explore the nexus between technology and modern life are a big part of the festival. But the band that “traveled 3000 miles to play two songs” at Moogfest 2005 will enjoy a more prominent – and longer – performance at Moogfest 2014 here in Asheville.

Stay tuned for extensive Moogfest coverage on the Musoscribe blog.

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Zombies Among Us: A Conversation with Rod Argent and Colin Blunstone (Part Three)

Tuesday, April 15th, 2014

Continued from Part Two

One thing that has changed – somewhat – is Rod Argent‘s keyboard arsenal. “I would only ever use my real [Hammond] C3, a Leslie [rotating speaker], and a beautiful Steinway concert grand piano in the studio. When we are recording an album, that goes without saying.”

“But,” Argent admits, “on stage, it’s so convenient and so reliable to use the new modules. I think that onstage the Hammond XK3 holds up really well. It’s obviously about a tenth of the weight of a real Hammond organ. I have memories of those days of when I would help huff that ’round myself! I couldn’t play for two hours because my forearms would hurt so much. I mean, it’s a bloody nightmare. And it would go wrong about once every two nights because they are not made to be thrown around the world.” He adds an amusing vignette: “The first time I came to the States with Argent, we brought our English one over, it came up on the [baggage] carousel. The whole thing came up on the carousel, like a huge theater organ!”

When seeing the band live today, a common reaction among audience members is, “Oh, gosh! I forgot they did that one!” Another is the look of sheer joy on many faces in the audience. I ask Colin Blunstone and Argent if they get a sense of that feedback when they’re up on stage.

“I always get a sense of that,” says Argent. “I always ask that instructions be given to the lighting people not to put the audience in total blackness. I don’t want them to be brightly lit, but I like to be able to just catch people’s reactions and movements so there is a real feeling of interaction between us and them. In the middle of this tour I am going to be 69, and I can’t believe it. But when we are on stage, it feels 100% the same as when I was 18 years old. That is such a privilege and it does not happen in many professions. And I love it.”

“You definitely do get a sense of it,” concurs Blunstone. “If you have an enthusiastic and supportive audience, that’s why performers want to perform. That’s what we do it for, really. It really lifts you, and it’s a completely different experience to that of playing somewhere where you’re not very well known, with a very quiet audience. You have to sort of work a lot harder to get a good performance in a situation like that. It’s incredibly important that you have that enthusiastic audience. It’s very easy when you go out onstage to a wonderful audience; they do it for you.”

The group are already at work on a studio followup to 2011′s Breathe Out, Breathe In. “We’ve already started recording. We’re rehearsing three or four songs, and we’ve recorded two tracks; we just did one the other day. And we’ve got one more day of recording next week. But after that, of course, we’ll be away for six weeks. Later in the summer – I think the end of June – we’ll start recording again. And we’ve deliberately kept the second half of the year quite free. So it will be a time of writing and recording.”

Argent elaborates, saying, “the other day, just for fun, we started doing a song called, ‘I Want You Back Again,’ which was a very little known Zombies a-side in France and was a very small hit there in 1965. And we played this original song for a very short period of time. We heard Tom Petty do it, and we thought, “This is a great song! Why aren’t we doing this?” And so we started doing it on stage. And, just for fun, ’cause we love doing it on stage so much, and we think the band sounds so good now, we wanted to capture the 2014 version. And, strange enough, when you just called me, we just had it blasted and I was just playing it through. It sounds great. It sounds so much in common with the original, but I think it sounds better. I think it has all of that fresh feeling, absolutely no overdubs at all. We recorded it live, like we do on stage. The vocal was live, everything was live but in a studio environment.”

Both men still feel they have a lot to offer musically. “We are having a ball doing it,” Argent says. “And we have discovered that we are not trying to be what we were in the ’60s, but there are a lot of parallel elements going on. We are just trying to make things work for us in the same way that we were trying to make things work for us when we first started out.”

Asked if any of the new, as-yet-unreleased material will be previewed on their tour, Blunstone is circumspect. “We haven’t been talking about that, no. But we may well play some at sound check, and if they start to sound polished, maybe we’ll experiment. We’ll be playing lots of hits and lots of newer material; I like to think that there’s something there for everyone.”

The Zombies will perform at Asheville NC’s Orange Peel on Tuesday, April 15.

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Zombies Among Us: A Conversation with Rod Argent and Colin Blunstone (Part Two)

Monday, April 14th, 2014

Continued from Part One

“I can’t tell you why [Odessey and Oracle] wasn’t successful when it first came out,” offers Rod Argent, “unless it was the fact that everything was so much more based in the country where you lived in at that time. And we only ever had one hit in the UK. Fewer hits in the UK than anywhere else in the world! We later found out we almost always had a hit somewhere in the world at any point that we were together, except in the UK. And because our profile had got so low in the UK, Odessey and Oracle came out – and it actually got great critical reviews, let’s be honest – but it didn’t sell. There was no real viability to it.

Argent continues. “There are two reasons why it later became successful. One was that it was picked up by well-known people who became fans. Paul Weller became a huge fan, and then more and more young indie groups of the time. I mean, Paul was a young hotshot when he first came out in the UK and he picked this as his favorite album of all time. And that is something he still says now. And then just succeeding waves of young indie bands and established artists, people like Tom Petty and Dave Grohl have said absolutely lovely things about it all the way along. Now that has obviously helped.”

“The other reason that I think it hasn’t faded away, if you like,” Argent adds, “is that we never tried to just be commercial when we made that record. In the same way that we recorded everything all those years ago – and we still do now, – and we don’t think, ‘How can we make a hit record?’ We never thought that; we just thought, ‘I’ve got this musical idea. How can we make it work?’ And that was always the focus of what we did, and that is the focus of what we do now.”

Colin Blunstone agrees. He says that “radio programmers ask, ‘What is it? Is it rock? Is it jazz?’ People don’t know how to program it. I think that is really a problem that the Zombies suffered from all the way through their brief professional career from ’64 to ’67. We didn’t really fit. We never wrote to have hits. We wrote what we wanted to write.”

“When you are honest like that,” says Argent, “it might not be the most commercial thing in the short term, because what you are not doing is trying to tap in to what used to be in the old days ‘zooming up the charts.’ Instead, you are trying to please yourself. In the long term, I believe that that means things don’t date quite as much as some other things. It is important not to try and make it with that in mind, but just try and do it for the right reasons. When young artists come up to me and ask what advice can I give, I say, ‘Well, there is not much I can give except really to say be true to yourself. Just do what turns you on. Do things for the right reason. Don’t try to do things just to be famous.’ There is nothing wrong with trying to be famous. But first of all, try to be the best at what you can do. If you asked an 18 year old when we started, ‘What do you want to be?’ he would say, ‘I want to be in the best group in the world. I want to be the best guitar player in the world.’ Nowadays you ask and they say, ‘I want to be famous.’ And it is a very different thing.”

“We still cut records now that we like,” says Blunstone, “and just hope that just hope that if we like them, and if the performances mean something to us, it seems logical that there is at least a chance there are other people out there that will derive the same pleasure that we do from these performances.”

I remark that Blunstone’s voice seems largely intact, having changed little since the group’s debut some 45 years ago. “I do work at it. Rod and I both started with a singing coach probably ten or fifteen years ago. Not when we were young; we did it in this incarnation of the Zombies. He taught us some things about technique, and I think it helped us to keep our voices strong and fairly accurate.”

“And it is important that your voice is strong,” Blunstone adds, “because we have to play…we usually keep it to five nights on the trot, five nights and then we try and have a day off. Because a lot of these songs we play are, for our voices, in very high keys. We’re really straining. All the songs we play are in the original keys. We’re singing in the same keys, in our late sixties, that we were singing when we first recorded them. When we were eighteen. It really does pay to have a little bit of singing technique, and to know how to support your voice. And to sing from your diaphragm.”

Blunstone believes something valuable is lost when a song’s key is changed. “The song won’t sound the same. By the by, [laughs] I do feel that I’ve strained my voice this week! And here I am agreeing with you about how strong my voice is. I’ve been singing a lot, and we’ve got a lot of singing next week as well. I’m trying to keep my fingers crossed; I do everything I can to keep my voice sharp, to keep it in shape.”

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Zombies Among Us: A Conversation with Rod Argent and Colin Blunstone (Part One)

Friday, April 11th, 2014

The Zombies are among the fondly-remembered cast of characters from the British Invasion (or, as they somewhat more succinctly call it in the UK, the Beat Era). While they certainly didn’t rock as hard as The Who, Yardbirds, or The Kinks, and enjoyed nowhere near the level of chart success that The Beatles and Rolling Stones achieved, their subtly jazz-inflected pop music has worn quite well. One of the more sophisticated (musically and lyrically) groups of the era, their hits – “Tell Her No,” “Time of the Season,” “She’s Not There” and more – remain staples of oldies radio, and sound much fresher in 2014 than anything by Herman’s Hermits or the Dave Clark 5.

The Zombies famously broke up – thinking they had gone as far as they could – -before their best album, Odessey and Oracle [sic] was released. And while that might have been the end of the story, the former band members remained quite busy. Keyboardist and vocalist Rod Argent started his own eponymous band, scoring the monster hit “Hold Your Head Up” and a smaller hit, “God Gave Rock and Roll to You.” Lead vocalist Colin Blunstone went on to a solo career and did notable work on a number of Alan Parsons Project tracks.

But it wasn’t until the tail-end of the 20th century that Argent and Blunstone reunited, and not for several more years before they reactivated the Zombies. After mounting a UK tour that culminated in a live run-through of Odessey and Oracle (with the four surviving original members), The Zombies (Argent, Blunstone and other slightly younger players including Jim Rodford from 80s era Kinks and Rodford’s son) became a going proposition once again. They now tour regularly, and released an album of original music (2011′s Breathe Out, Breathe In) to positive reviews.

The Zombies bring their show to Asheville NC on April 15 – the band’s first time here – and I spoke to Argent and Blunstone ahead of the tour. In many ways they’re more popular now than they were the first go-round, some 45 years ago. Colin Blunstone offers his take on that conundrum: “I think that if you understood why we are more popular in one era than another – or if you understood why one record sold more than another record – obviously you could put the situation right and everything would be fine. The thing is there are so many unpredictable and unknown quantities in the music business, no one really knows the answers to those questions.

“For me,” he continues, “the most exciting thing that has happened from my career is this renaissance of the Zombies. We have a really, really great live band to go out night after night and play around our country, your country; we play around the world. And we have managed, without a hit record, to recreate some of that interest that was there in the original incarnation of the band in the ’60s. I think that is really exciting, because it is just word of mouth that traveled as a result of the performances.”

“The thing is that we did not plan any of this,” Rod Argent says. “Colin and I just got back together by accident when we did. We didn’t plan it at all. We decided to put a band together and do a half a dozen gigs for fun, not any particular focus on the Zombies. It felt so lovely to be working together again.

“It just sort of spiraled,” he continues. “It took a long time for us to embrace the original feeling of the Zombies. The last thing we wanted to do was just to try and go out there and milk it, do it to make a buck. We really did not want to look back; that wasn’t the reason we were doing it. We were doing it because we suddenly found ourselves having a great time working together again. But, when we started to write a little bit of new material, and to expand our direction in that way, it suddenly felt relevant, and not like a cop out, to go back and rediscover a lot of the old material.

“And then,” he says, “we realized that a lot of that old material that we had never played. Not least, the Odessey and Oracle stuff. Because we had never had performed that live. When we did that in Shepherd’s Bush in 2008, we played from start to finish. That’s the first and only time we reproduced every note from that album. We got other forces in because we had to, because we had overdubbed stuff on the original album. And I said to Chris [White, original Zombies bassist], “If we are going to do this, then we’ve got to reproduce every single note that was on the original album.” We did that. I even went out and bought a 1890s Victorian pump organ so we could get the exact sound on “Butcher’s Tale (Western Front 1914).”

Speaking (again) of Odessey and Oracle, I wonder why the album was such a slow burner, seeing as it now stands as an exemplar of that late-60s baroque rock style. Blunstone offers his perspective: “The obvious thing to say is that the band decided to finish before the album was even released. It was a time when the single was still important and we had released, I think, a couple of singles, maybe even three singles from the album. They hadn’t had any commercial success and I think everyone felt that we had gone as far as we could. And so the band decided to finish so there was no band to promote the album. I think that piece was a huge part of it.”

“I think that everyone in the band felt it was the right time for us to finish,” Blunstone adds. “We felt we had completed a musical circle. We had given all we’d got to give on that particular project, and it was time to move on and get involved in other projects.” He pauses and then goes further. “With a tiny bit of hindsight, I am probably the only one who feels like this: I would have been intrigued to have seen what we might have done if the band had stayed together. In particular, I think, Rod Argent and Chris White’s writing skills were really magnificent at that time. Really fabulous. They still are, but it seemed they just really sort of exploded just at that time in the late ’60s. I would have loved to have seen what we would have gone on and done.”

“But,” he says, “I feel that is one of the main problems, as I was saying, there was no band to promote [Odessey and Oracle]. I think it is a unique album. The sound of that album is not really like anything else from that period.”

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Festival Review: Big Ears 2014, Day 3 (Part Two)

Friday, April 4th, 2014

The final set of performances we took in at Big Ears 2014 were all centered around the work of minimalist composer Steve Reich. It was all deeply thrilling, visceral, emotional stuff, the kind of thing that’s quite difficult to put into words. It might sounds like a cop-out to say so, but this is music that must be experienced live. I had never heard most of it in recorded form, so I claim no point of reference. But it was stunning and beautiful in ways I find myself unable to articulate. So instead I offer some photos. They don’t quite get at it either, but they’re cool nonetheless. If you find my writing about music at all resonating with you, just trust me when I tell you that this music was amazing. Jonny Greenwood of Radiohead solo, then a couple other Reich pieces by Ensemble Signal.




I don’t consider the word “commercial” a pejorative term, but neither do I consider it an essential component of worthwhile music. Big Ears 2014 was for the most part far, far, far from commercial, but I sincerely hope that the organizers made their earnings goals. Because as festivals go, Big Ears 2014 was well-run, incredibly thoughtful in terms of artist selection, and user-friendly in the extreme. An unqualified success. I truly hope they schedule another one soon, and if they do, I’ll make every effort to cover it.

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Festival Review: Big Ears 2014, Day 3 (Part One)

Thursday, April 3rd, 2014

Dean and Britta
I had already seen Dean Wareham and his wife/collaborator Britta Phillips on Day One of Big Ears 2014. But what was advertised for their Sunday performance – this time at the smaller Bijou – was intriguing enough to get my attention. The plan was to project thirteen of Andy Warhol‘s famous “screen test” films while the musicians provided a real-time soundtrack. I figured it would bear a passing similarity to Marc Ribot‘s accompaniment to the Chaplin film from Day Two.

I was wrong. While Ribot was shrouded in total darkness, leaving our auditory senses the only ones to process his real-time work, Dean and Britta (and band) played on a lit stage. They also provided commentary between the films.

The music was good, but there was a definite self-conscious air about it all. As each piece wound its way toward the end, Wareham could be seen intently studying a flat-panel monitor at the foot of the stage. This, I suspect, had the films on it plus a time clock. So while the songs had been rehearsed out to follow the rough run time of each film, Wareham had to signal the band to (in some cases) vamp an ending a bit longer or (other times) end sooner than planned. That’s all well and good, but seeing the wizards’ goings-on behind the curtain did indeed detract from the experience, making it seem a bit stiff.

Britta’s lead vocal turn on Bob Dylan‘s “I’ll Keep it With Mine” (accompanying a Nico screen test) was a highlight. And the sight of Lou Reed onscreen moved some in the audience to give said screen a standing-o.

One other slight off-note: when I saw Wareham on Friday, he made a comment during the second song to the effect of “There are a lot of photographers up here.” It was said with what I took to be equal parts discomfort and distaste. But I decided to forget about it. Until Sunday, when Wareham took the opportunity between songs to approach the front edge of the stage, lean down toward the front row, and scold a photographer (not me) for shining a light in his eyes. (They weren’t using a flash, and were shooting during the proscribed first three-songs period.) Now, Wareham wasn’t pulling a Cat Power, and nobody likes having a light shone in their eyes, but as I say, the episode added an unsettling feel to the show as a whole.

Rachel Grimes
The vibe could not have been more different when Rachel Grimes took the stage for her shortish yet delightful set. Initially it was just her and a grand piano, with highly melodic and expressive instrumental pieces. It was good enough that – had that been all we got – it would have been well worth the time spent.

But then it got better. Grimes, who was clearly thrilled to be onstage at Big Ears, refreshingly seeming as much a fan as a performer, introduced Helen Money (aka Chesley) on cello. We were thrilled, since Money’s earlier solo show was one we hadn’t been able to make. As she sawed expressively on her cello while Grimes played more of her lovely tunes, it was truly a thing of beauty.

And then it got better still. Sax player Jacob Duncan joined the two women onstage. And – shades of Rashaan Roland Kirk – he played two saxes at once. It was amazing from a technical point of view, but none of that would have mattered if the music wasn’t breathtaking. It was. As was the entire set.

Earth
We then headed over to the tiny Scruffy City Hall for what would be our only show at that venue. The standing-room-only crowd there was – at least in terms of my own Big Ears experience – an anomaly, but we didn’t mind, since we were going to see and hear a buzzworthy band.

About all I can say regarding Earth is that they’re the perfect band for anyone who thinks Black Sabbath plays too fast, or doesn’t drop-tune far enough. The low groan of Earth’s songs offered little in the way of melody or variation. And please understand that I say this as rock fan who’s been to hundreds of concerts, but it was fucking LOUD. And, honestly, pretty boring.

Amusingly, a look around the packed room found countless heads nodding slooowly in time to the music, like a flock of stoner dippy birds. They all reminded me of someone struggling to stay awake but nodding off anyway.

After several samey songs, they announced that the next piece would be “a new one.” We decided to stick around and give it a chance. The piece started off every bit as monotonously slow, uneventful and deafeningly loud as the others, but what we heard felt like an extended intro. So we waited, half-expecting at any moment after an endless droning squall of feedback to hear the drummer count off a quicker one-two-three-four and kick up the tempo.

It never happened. We left.

Coming in the next installment: review of a set of Steve Reich compositions that capped the three-day festival, and some closing thoughts on Big Ears 2014 overall.

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Festival Review: Big Ears 2014, Day 2 (Part 2)

Wednesday, April 2nd, 2014

After getting (respectively) a headache and a power nap, my sweetheart and I headed back to the Tennessee Theatre, remarking all the while how well-thought-out Big Ears 2014 is as a whole. The four primary venues all lay in a straight line in downtown, the farthest apart being no more than about six blocks. And while the lack of crowds might not have exactly been part of the game plan for the organizers, it sure made things nice for those of us who were attending. No lines, no jostling…just music and good vibes.

Wordless Music Orchestra
I wasn’t altogether sure what to expect from this outfit. The festival guide described it as performances of film music, mostly by Jonny Greenwood (Radiohead), and mostly from a handful of critically well-received films, There Will Be Blood and Norwegian Wood among them.

Greenwood himself wouldn’t figure into this particular performance (that would come on Sunday), and what concertgoers got instead was a smallish ensemble mostly made up of violinists (with some celli, some basses), seated in rows facing each other. The sight of a projection screen above the musicians led me to anticipate scenes from these films flashing by whilst the players ran through the scores, but that was not to be. Instead, the screen merely indicated the name of each piece, its composer, and the film from which it came (if it was a film piece; some weren’t).

Overall, it was a bit monochromatic. The musicians were all fine; excellent, probably. But the music was less varied than I might have hoped, and a good portion of it was melancholy, sometimes almost dreary. The Greenwood pieces were the best; some of the other pieces bordered on the unpleasant. As a way to spent an hour on a Saturday afternoon, it was worthwhile, but the excitement quotient was largely nonexistent.

Steve Reich’s Drumming
Another case of the putative marquee name not being part of the performance, this one was nonetheless a stunning showcase. Featuring a pair of ensembles called So Percussion and nief-norf Project, this concert was one nonstop piece of percussive music. The work started from nearly nothing – one person hitting some small tuned drums – and built to a climax. Then it ebbed, flowed, swelled and receded. Players were added. Players sat down. The music never stopped, and the audience was held in thrall.

Occasionally vocalists were added to the mix; while the piece was totally scored, it had an organic, seemingly improvised feel to it. The vocalists, for example, seemed to seek out the patterns and melodies as opposed to merely react to them. A recognizable pattern would emerge, and then as soon as a listener such as myself started to groove on it, it would disappear into the percussive maelstrom. I’d never seen nor heard anything like Drumming before (and no, the drum circles here in Asheville don’t compare), and felt honored and awed to be in the presence of such an amazing performance.

Television
It was quite a temporal shift, then, to remain in our seats when the next act came out. New wave / no wave/ punk heroes Television took the stage at the Tennessee Theatre. With three-fourths of the classic lineup – guitarist/vocalist Tom Verlaine, drummer Billy Ficca and bassist Fred Smith – the band was joined by longtime Verlaine associate Jimmy Rip (guitarist Richard Lloyd left the band amicably in 2007).

Television have long held an odd place in rock history; they’re often (rightly or wrongly) lumped in with the late 70s NYC scene that included The Ramones, Blondie, Talking Heads and the like. But with two stellar lead guitarists (there’s rarely any “rhythm guitar” in Television songs) the group came on more like the era’s answer to Thin Lizzy. Or something.

Guitar heroics without all the histrionics and posing: that was a big part of what made Television great then, and it’s what brought the house down this night. Rip is an ace player, and did a great job of both satisfying those who wanted to hear the songs done the way Lloyd woulda done ‘em and making sure that people knew he’s his own man with plenty to say in his own playing.

The songs were long, but never meandering; the guitar dialogue between Verlaine and Rip was electric, and Ficca and Smith provided a thrilling yet rock-solid foundation for the guitarists. The group even pulled out a new song that will hopefully show up on a new Television album…some day.

Stay tuned for more Big Ears 2014 coverage.

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