Concert Reviews Iggy Pop
-- Avalon To start off, I’d just like to reprimand the person responsible for booking these two concerts on the same night, at the same time right next door to each other (Social D’s Mike Ness expressed similar sentiments). Even though some of those who wished to see Social Distortion could catch them again that weekend, I saw numerous people who were upset (including myself), as the two legendary acts draw a similar crowd. After an opening set by longtime Boston punkers The Real Kids, Iggy, complete with blue jeans and newly grown goatee, stormed onstage with his new band, and what the crowd witnessed was just an all out assault on the senses. The majority of songs were from Pop’s latest album Beat ‘Em Up (which completely kicked Avenue B’s jazzy edge into the pavement), starting with the leadoff track "Mask," and including the title track, "Death is Certain," and "Drink New Blood." Of course the godfather of punk couldn’t refrain from playing such amazing classics like "I Wanna Be Your Dog" (during which he dove into the crowd a couple of times), "Home," from Brick By Brick, the Stooges’ "Search and Destroy," and "Real Wild Child." The last couple songs I saw were "The Passenger," where Iggy invited a good deal of audience members on stage to dance with him, and the Raw Power anthem "I Got a Right." Throughout the entire time, Iggy never slowed down or missed a beat, constantly moving and interacting with the sometimes overly enthusiastic crowd, proving that he’s still got it at his ripe age.
I was lucky enough to run next door just in time to catch Social Distortion’s three-song encore before the night was over. The new look band, consisting of original members Mike Ness and John Mauer, new guitarist Johnny Two-Bags, and drummer Charlie Quintana (who played with Ness on his solo ventures) were on their first tour in years, and the first tour since founding guitarist and Ness’ best friend Dennis Danell died last year. It was the first of three Boston dates for the band. Kicking off the encore was "Making Believe," the heart-wrenching song from Somewhere Between Heaven and Hell, followed by White Light, White Heat, White Trash’s "When The Angels Sing," which Ness has always dedicated to Danell, as well as those who lost their lives on September 11. The night concluded with an oddly placed "1945," and a seemingly sudden stage departure from the band. Despite that, and being able to hear the Iggy show next door through the walls, and the fact that I only saw three songs, I felt incredible when I left Landsdowne Street. Having witnessed the legendary Iggy Pop, and one of my personal favorite bands in Social Distortion, it was one of the highlights of the entire year. Return to Top | Photo Album | Home Page Green Day -- June 27, 2001 -- Hammerstein Ballroom June 27th marked Green Day’s first official New York City Concert in support of their newest masterpiece Warning (the band did a surprise show at CBGB following a Bellvue show a little while ago). Melbourne, Australia’s The Living End, who were on tour following the release of the Roll On disc, guitarist and vocalist Chris Cheney, double/standup bassist Scott Owen and skin-pounder Travis Dempsey played a brief 8-song opening set consisting of songs of the aforementioned album, as well as their self-titled major label debut. The rockabilly/popish punk trio started out with "Pictures in the Mirror," played their smash single "Prisoner of Society" in the middle of the set and ended with an almost 10-minute jam of "E-Boogie," and "Second Solution." These guys are one hell of a live act, even though the crowd at Hammerstein seemed like they didn’t quite know what to make of them.
After the set change, the lights dimmed and out marched Billy-Joe, Mike and Tre, starting out the 20+ song set with "Nice Guys Finish Last," from Nimrod, and "Longview" from Dookie. They pounced through "Hitchin’ a Ride," "Basket Case," "She," "Waiting," "Warning," and "Time of Your Life," while playing B-sides like "JAR," and great older songs "2000 Light Years Away," and Operation Ivy’s "Knowledge." During that last song, Billy-Joe invited audience members to play guitar, bass and drums on the song, picking someone who had to crowd-surf from the balcony in the back of the venue all the way up to the stage, then went back after the experience. Tre got a chance to showcase his vocal and guitar skills while Billy-Joe moved behind the kit for "All By Myself," and the classic "Dominated Love Slave," from Kerplunk. No Doubt’s Gabe McNair came on for his part in "King For A Day," my favorite song off the new album ("Minority") was played before the guys ended with "When I Come Around," and "Macy’s Day Parade," following an attack by the band on their instruments that left Tre with a single drum. Green Day has really come a long way as a band since I first started listening to them as far back as I can remember. From the 1,000 Hours EP, to the band’s breakthrough Dookie, to the mellowed, but still punk as fuck (sorry for the horrible cliché again), Warning, the guys continue to play just what they want to, and not sacrifice quality or anything else worrying about what anyone else thinks of what they do. Despite my wish for older material, I can’t say anything bad about Green Day’s show whatsoever. They have an incredible energy and sense of humor that keeps the people coming to see them again and again. They’ve never disappointed me. Return to Top | Photo Album | Home Page Lovage -- Bowery Ballroom -- January 17, 2002 I don’t even know how one can write a decent review for a live experience of such magnitude, but I’ll give it a shot. Lovage consists of producer Dan the Automator, turntablist Kid Koala and vocalists Mike Patton (Mr. Bungle) and Jennifer Charles (Elysian Fields). They just released an album on 75 Ark called Music to Make Love to Your Old Lady By, but the music was only a single aspect of the show. After an opening set by DJs Ming + FS, and a brief coming attraction for a classy X-rated movie, Lovage came onstage (with a guitarist and bassist who also helped the Automator and Koala on the Deltron 3030 tour) and the party began. Automator and Patton were dressed in lush robes and smoking cigars, with Patton adding a huge gold-like chain and a hair net to his ensemble. Kid Koala went with some pajamas and Charles had on a tight dress. The set consisted of a majority of songs from the album, such as "Pit Stop," "To Catch a Thief," "Anger Management," "Strangers on a Train," and Berlin’s "Sex (I’m A)." However, the antics of the band were just as important as the music was. Dan brought at least two bottles of Courvoisier, and kept his and Mike’s glasses constantly filled throughout the show.
Towards the end of the set, Patton told the crowd that Dan was doing a whole lot of nothing, then corrected himself and said he was doing a whole lot of drinking, both to which Automator took a generous swig from the bottle. At one point, Patton brought a "lonely" guy onstage and tried to hook him up with a girl in the crowd. The girl then was asked to deep throat a banana (which Patton decided he would do) and then a cucumber. Charmelle Carmel (aka Maseo from De La Soul) came onstage to observe the proceedings and to donate some liquor to the front row. The girl was dismissed and the guy scored a slow dance with Mr. Patton. Kid Koala did a little solo performance on the turntables, and a tip basket for him was passed around. What follows is just a quick synopsis of some other things that happened during the show: girls eating chocolate from Mike’s mouth, going into the crowd with the Automator and pouring chocolate syrup and whipped cream on them and licking it off, and then doing a mini conga line back to the stage. The highlight of the show came when Patton and Charles did a lovely rendition of Jennifer Lopez’s and Ja Rule’s "I’m Real," with Mike mimicking Lopez and Charles Ja Rule. Altogether, this was one of the best and most entertaining shows I have seen in a long time. The live experience makes the CD so much better. Return to Top | Photo Album | Home Page Black Star -- S.O.B’s -- December 19, 2001 S.O.B’s, the little club on Varick Street was packed to the gills tonight in anticipation of Mos Def and Talib Kweli’s (Black Star) first full show together in quite sometime. Before the duo hit the stage, former Black Moon and current Beatminerz member DJ Evil Dee spun for over an hour, getting the crowd moving and pumped for what was about to come. Finally around 11pm, Mos and Kweli made their way through the crowd and onto the stage. Their set was an awesome mix of Black Star material such as "Astronomy," "Brown Skin Lady," "Respiration," and "Definition," material from Kweli and Hi-Tek’s Train of Thought album ("The Blast," "Move Somethin’," and "Down for the Count,) as well as some from Mos’ Black on Both Sides ("Miss Fatbooty," and "Know That"). Pharoahe Monch made a surprise appearance, with all three blasting into "Simon Says," which was the energetic high point in the show for the crowd. Monch stayed on to trade verses with Mos on "Oh No" (minus Nate Dogg) off the Lyricist Lounge 2 album. Additionally, Mos and Kweli exhibited just how good they both are at freestyling. Mos even launched into a song he called "The Rapeover," that took the beat from Jay-Z’s "The Takeover," in which he voiced his displeasures with how hip-hop was being run in today’s society. Overall, Mos Def and Talib Kweli brought a level of intense energy to New York City for the first of three shows in two days at S.O.B’s. Easily one of the best acts around, whether going at it together or solo, they are a force to be reckoned with on all levels.
Return to Top | Photo Album | Home Page 3-Second Reviews The Coup -- Party Music: 75 Ark Records My bottom line on the latest release from Boots Riley and Pam the Funkstress is that it is one of the top three albums released this year. The controversial Oakland group’s first release on Dan the Automator’s 75 Ark label is laced with enough funk and grooves to keep you dancing for days, while Boots’ politically charged, anti-almost-everything lyrics will keep you thinking about what’s going on in the world today. Some may be turned off to this album to due to September 11 (and the old prophetic artwork), but it remains some of the best music this journalist has heard recently. My favorites include "Wear Clean Draws," "Ride the Fence," and "Nowalaters." DMX -- The Great Depression: Def Jam Maybe it’s just me, but I can’t seem to get enough of this guy. Ever since my high school days when he was a local underground legend to now and his present superstardom, he just keeps on delivering. X has always brought intensity to a new level with his rough and gravely voice, and The Great Depression is no exception. Whereas his last album …And Then There Was X seemed to be more of a party album, TGP takes him back to what he seems to know best- life on the streets. The single "Who We Be" is as raw a song as you can get, an ode to his new Bloodline label (seemingly replacing his Ruff Ryders imprint), a tribute to his grandmother who raised him ("I Miss You") and "When I’m Nothing," featuring Stephanie Mills along with the other tracks make for an explosive listening experience. The (International) Noise Conspiracy -- A New Morning, Changing Weather: Epitaph Records T(I)NC’s newest release is quite a departure from their Burning Heart/Epitaph debut Survival Sickness. A New Morning is much more classic/garage rock oriented then the previous effort, providing a noisier blast of punk straight to your head. There are even hints of old R&B in cuts like the first "A Northwest Passage," and "Dead Language of Love." The single, "Capitalism Stole My Virginity," has had the crowds at their shows going completely insane, with former Refused vocalist Dennis Lyxzen and the rest of the crazy politically active Swedes mirror that intensity. Though I still find Survival to be a more memorable album so far, A New Morning stands in a class by itself, meshing a number of styles to create a piece of artwork. Kittie -- Oracle: Artemis Records Alright. No bullshit here. Pure and simple, this album is perhaps the most brutal, loud and metal album (besides Slayer) that has surfaced. Crunching guitar riffs, pounding bass and drum lines, and the unbelievable variation of singer Morgan Lander’s vocals (ear splitting screams one minute, soothing and melodic singing the next) is simply astounding. Many people seem to overlook or write this band off, but with an album like this, I simply don’t understand that. Includes great cover of Pink Floyd’s "Run Like Hell," and my favorite track "In Winter." Pennywise -- Land of the Free?: Epitaph Records Pennywise’s sixth studio release hit us with a little bit of controversy. The lead single was called "Fuck Authority," and needless to say, that didn’t go over very well with the authorities. The band was scheduled to play a free show outside Tower Records in Los Angeles, but the police shut that down. Radio stations didn’t play the song, and the band caught some more heat after the September 11 tragedy for the message of the song. However, nothing stopped the band from doing the Warped Tour in support of this record. This album is another punk blast from Jim, Fletcher and the boys. Though sounding similar to the bands previous albums, Pennywise comes through with another dose of rebellion. They confront the government on cuts like the title track and "Fuck Authority," and make people think for themselves ("Who’s on Your Side," "It’s Up to You.") Through all these years, Pennywise remains one of the true spirits of punk rock. Suicide Machines -- Steal This Record: Hollywood Records Every time a new Suicide Machines album comes out, it’s an exiting time. They’ve had me hooked since the opening chords of their first real recording Skank for Brains to their high-adrenaline Battle Hymns and through the somewhat commercially successful self-titled album. On Steal This Record, the band gets more of a punk/hardcore edge back that some tracks on the self-titled album lacked. The album includes a great cover of R.E.M’s "It’s the End of the World As We Know It," as well as social commentaries like "The Air That We Breathe." The only real thing that I didn’t like was the five-minute length of the title track. After a while it just seems to drag on a bit. Otherwise, it’s another solid outing for one of the best bands around. Vision Of Disorder -- From Bliss To Devastation: TVT Records One of Long Island’s finest bands’ first album of all new material in about 3 years is filled with anger, depression and pain and suffering, and that’s what makes it a good record. From the opening "Living to Die," the listener is assaulted by singer Tim Williams’ haunting voice, the double guitar threat of Mike Kennedy and Matt Baumbach, and the rhythm section of Mike Fleischman’s bass and Brendan Cohen’s drums. The drum-led track "Itchin’ to Bleed," to the sheer brutality and depression of "Downtime Misery," V.O.D. come back with a vengeance.
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