Green Day: 21st Century American Clash

Green Day

Fox Theater

Oakland, California

April 14, 2009

Green Day: 21^st Century American Clash

It is rather generous to refer to Green Day as an American version of the Clash, but they should at least be paying royalties to the surviving members of that seminal punk band. Certainly, they are the closest sounding band in America to the Clash -short of a tribute band. For the casual listener, punk music often begins and ends with the Clash. But with the tragic demise of Clash frontman Joe Strummer in 2002, Green Day have creditably taken over the mantle of punk proselytizer to the world and are currently by far the most popular punk band in the world. They’ve sold over 65 million albums, frequently headline large arenas and amphitheaters, leading some fans to accuse them of the Big Sell Out. I am not so sure. Popularity does not necessarily equate with selling-out. Can a punk band be popular?

Green Day’s new album 21^st Century Breakdown is going to be released next month and they have recently been chasing around the San Francisco Bay Area performing guerrilla concerts at tiny venues with little or no advance warning to test out the new songs before live audiences. They performed last week at the Independent and the DNA Lounge in San Francisco and on Tuesday night at the newly refurbished Fox Theater in Oakland.

The band began the night at the Fox by playing the entire new album- none of which has been released or is available on the internet. 21^st Century Breakdown is structured as a three act play and a playbill was distributed last night containing all the lyrics. A concept album, nonetheless one from a punk band, normally foreshadows disaster, as Green Day should have learned with previous efforts, but this time I think they pull it off. There were a number of genuinely brilliant songs and the themes of the modern breakdown along with accompanying anxiety, anger, and despair, instead of being dreary and depressive, were cathartic and rebellious in the hands of Green Day.

Of course, since these songs were not familiar, the concert really didn’t take off until the second set when they played many of their older hits, including American Idiot, Jesus of Suburbia, and a phenomenal, soaring Long View. Then, the band showed their chops and rocked the sold-out crowd of 2800 diehard fans who got more than what they came for.

Additional talking points from last night:

1. The show sold-out in seconds and I had to scam a pair of tickets by joining the fan-club at the last minute.

2. The show was videotaped with a large boom camera swooping over the audience and cameramen dodging in and out of the fans. This concert will surely show up in an official Green Day release in the future or in music videos for the new album.

3. Great light show- arena quality in a small theater.

4. Also, it was incredibly loud. The loudest concert I’ve been to in many years. Even though I am an old fart, I can objectively state that it was louder than it had to be. I like a loud band (adds to the excitement), but I don’t think it is necessary to leave a venue in pain, fearing for your hearing.

The Dickies: Not Just for Your Middle Aged Uncle

The Dickies
The Uptown
Oakland, CA
April 11, 2009

Senior 1970s LA New Wave Correspondent Brian Griset

The Dickies: Not Just for Your Middle Aged Uncle

When I was a youngin’, an explosion of underground, counter-culture youth bands erupted in Los Angeles, circa 1976 - 1979. Seemingly from out of nowhere, L.A. became the national epicenter for arrogant, anti-industry, full of attitude punk rock bands like X, the Germs, the Dickies, the Weirdos, the Plugs and the Flesh Eaters. It was the birth of a scene that captured the attention of both the international media and young aspiring rockers worldwide. It was totally rad: L.A. New Wave!

The Dickies were among the first punk bands to emerge from Los Angeles. However, instead of the angst and anger of some of UK or New York punk rock, the Dickies were goofy and outlandish. They were the first California punk band to appear on network television, and the first California punk band to be signed to a major record label. A Dickies show was sure to include chaos, pandemonium, bad taste, and slam dancing and then there’s the music…

The Dickies' punk rock is campy and humorous. They even had a top ten hit in the UK called “the Banana Splits (Tra La La Song)" in 1979. Much of their lyrics concern Southern California culture, rife with references and in-jokes; songs like "Waterslide," "I'm A Cholo," "Manny, Moe, and Jack," and "(I'm Stuck in a Pagoda with) Tricia Toyota." They are also known for recording several fast-paced punk covers of classic rock songs, including the Moody Blues' "Nights in White Satin," Black Sabbath's "Paranoid," and Barry McGuire's "Eve of Destruction."

Over thirty years later, what had started out as a joke cover band, the Dickies, are still together touring. Last night, I was at a packed house amongst fifty and sixty year-old punks and other youngins, probably not even alive in the 70’s, to experience the band 2009 style.

Drug problems slowed the Dickies down considerably in the 1980s. One of the original members committed suicide after becoming despondent following a romantic break-up in 1981. Left behind and still going strong are Stan Lee on guitar and the zany Leonard Graves Phillips singing. Phillips is a true entertainer. He wears masks for the big crowd pleasing “Gigantor” and ”You Drive Me Ape, You Big Gorilla”, wears a massive penis muppets, a blowup doll and snorkel gear for the song "Waterslide." Amongst the wackiness and the slam dancing, it’s just plain fun. It was definitely rad!

See, The Dickies 1979

Rasputina: Cello-riffic

Rasputina

The Independent

San Francisco, CA

March 26, 2009

Rasputina: Cello-riffic

There is a certain perversity in introducing grunge-rock arrangements of popular songs in iambic pentameter, played on the cello, while wearing a striped Victorian dress and lace with long red dreadlocks and a Hiawatha-Indian feather in your hair. I should have had no doubt that I would be the only person in the audience not adorned with Gothic, faerie-world tattoos and multiple piercings looking like refugees from a turn-of-the-century S&M festival or extras from the Rocky Horror Picture Show last night at the Independent in San Francisco. Yes, I had stumbled into a Rasputina concert, an outpost of Burning Man surrealism- or perhaps an interlude before the next annual Black Rock art festival.

Rasputina currently consists of two cellists, Melora Creager, the aforementioned Hiawatha singer and cellist, and Daniel DeJesus, a kind of punk-rock pirate cellist. The two are accompanied by Catie D’Amica on percussion, also garbed in a kind of twisted 1980’s Madonna outfit of Gothic lace, top hat and black fingernails.

Notwithstanding all the distractions of the costumes, both on and off stage, Rasputina can really play. In their hands, the cellos sounded more like rock guitars than the soulful and mournful classical playing of Yo-Yo Ma. Melora Creager certainly has talent; she has previously performed with Marilyn Manson and Nirvana, most famously on their hit “All Apologies” and she is a great singer. Of course, she sings about dead cows, Transylvania concubines and 1816 weather patterns, not your usual rock fare. Fortunately, they puncture what would otherwise be overbearing artistic pretension with their healthy and active sense of humor- including Melora’s feral, rapid fire introduction of songs.

The band frequently plays wonderfully inventive covers of rock classics including, last night's highlights, American Girl by Tom Petty and Bad Moon Rising by Credence Clearwater Revival. The unexpected and, at times, arresting arrangements on cello revealed a completely new perspective and depth to these songs. Still, despite the clear talent of the band and the devotion of the small but vocal crowd, listening to cello chamber rock for an hour and a half was a bit much. I loved the uniqueness of the experience but I doubt I’ll be a regular listener.

Other fun covers: Barracuda by Heart, Fire and Ice by Pat Benatar, Wish You Were Here by Pink Floyd.

The Pretenders: No Bullshit

The Pretenders
The Fillmore
San Francisco, CA
March 15, 2009


The Pretenders: No Bullshit




pre•tend•er n.

1. One who simulates, pretends, or alleges falsely; a hypocrite or dissembler.
2. One who sets forth a claim, especially a claimant to a throne.

It is easy to take the Pretenders for granted. They have been around for a pretty long time creating consistently punchy songs full of catchy hooks. This made them a favorite of MTV during that network’s early glory days, before they became a reality show channel- and made the Pretenders popular on AOR radio, before Clear Channel and the internet killed FM radio. Few people would fail to recognize some of their biggest hits: Brass in Pocket, Back on the Chain Gang or even Middle of the Road. Yet, for me, the Pretenders have always been there sort of in the background while other bands have grabbed my immediate attention. But, the older I get, the more I can appreciate the accomplishment of longevity. Lead singer Chrissie Hynde is certainly a pioneer female rockstar. So, rather than blaze briefly through the rock and roll stratosphere, the Pretenders have become journeymen, part of the history of rock music. How could I pass up a chance to see them at the legendary Fillmore Auditorium in San Francisco?

The Pretenders probably have the greatest band name in rock history. Full of irony, humor, savoir faire, it is everything that rock and roll is about: rebellion and fun. The Pretender’s name also nicely contrasts with Chrissie Hynde’s no-bullshit, biker chick persona. The Pretender’s music oozes earnestness and honesty even if occasionally dark- it is punk rock after all. Their name was also well contrasted by the horribly-named opening act on Sunday at the Fillmore: American Bang. American Bang was a tight, but otherwise forgettable Kings of Leon clone. Of course, their name might have been an homage to Chrissie’s eternal hair-style which, like the Pretenders, seems to be immune from the aging process. Chrissie Hynde is probably the sexiest 57 year old on tour.

With Chrissie Hynde being the face of the band, it is easy to mistake them as American, but Chrissie is an ex-pat living in London and the Pretenders are definitely in the British mold of 1970s garage punk rock bands including the Clash and the Sex Pistols. This might make you think that their concert at the Fillmore would have been more raucous than it was. Don’t get me wrong, it was definitely a great show, but perhaps the years have mellowed Chrissie or perhaps it is just the familiarity of the songs that took away some of the edge. It could also be that this was the last night of a long tour, but it would have been nice if they had varied the script a bit - maybe thrown in an Iggy Pop cover. Then the night would have been complete. Still, the band members did toast the crowd and danced a little jig at the end of the night to celebrate the end of the tour. It was an accomplished set from a great group of professional musicians in front of a loud and appreciative crowd. But, I would have liked a little bit more.

Big songs from the show: Message of Love, Tattooed Love Boys, Boots of Chinese Plastic. Sadly, no Mystery Achievement.

Sharon Jones: Queen of Funk

Sharon Jones and the Dap Kings

The Warfield

San Francisco, CA

January 28, 2009

Guest contributor:

Brian Griset, Senior Funk Correspondent

Sharon Jones: Queen of Funk

Anyone who has experienced Sharon Jones live will understand why she has been dubbed the Queen of Funk. Sharon and her band, the Dap-Kings, are steeped in the high-energy, air-tight, horn-heavy Motown sound that previously propelled James Brown into his global role as the godfather of soul. In fact, Sharon was born in Brown's hometown of Augusta, GA, and as a child, she and her brothers would often imitate the singing and dancing of James Brown. She and the Dap Kings also seem to have adopted his tireless approach to endless touring. On January 28, I had the opportunity to experience Sharon and the Dap Kings at the Warfield in San Francisco – together they R-O-C-K-E-D!

After a rousing and unlikely opening set of festive Balkan music by Ivan Milev, a Bulgarian accordion master, Sharon Jones took the stage. Sharon is a force of nature: she stirred my soul, dazzled my ears and fed the beat to my feet. I danced nonstop - once I slipped a sawbuck to a Warfield hall-monitor in order to get on the floor. Once Sharon started, I could not be stuck in the balcony where my need to groove could not find the required space.

Of course, living in the digital age, some cuts from this show are already on The YouTube including some of the highlights like Sharon’s version of “A Change Is Gonna Come.” Sharon shared some new music that I really like. "Let Them Knock" was amazing in concert and another favorite song of mine to check out is "Just Dropped In (My Condition)." One highlight of the Warfield show was when Sharon brought on-stage a 12 year-old kid who almost stole the show with his few minutes of fame.

While it is easy to hear the influences of James Brown, Otis Redding and Ike & Tina Turner, Sharon delivers her own blend of funk and soul. She pours her energy into the audience in an incredible mix of throw your hands in the air, shake that tail-feather and let the worries of the world melt away.

Sharon moved to NYC when still young and frequently entered talent shows backed by local funk bands while working as a corrections officer at Rikers Island and as an armored car guard for Wells Fargo. In 1996, she got her big break after she appeared in a session backing soul and funk legend Lee Fields. Her first three CDs, Dap Dippin' With Sharon Jones And The Dap-Kings, Naturally and 100 Days, 100 Nights all received great critical acclaim. Now, Sharon and the Dap Kings have a busy international touring schedule. During a recent break from Sharon, the Dap Kings backed Amy Winehouse for a brief tour, but job security is probably better with Sharon Jones.

No matter if you are a jazz purist or a classic rock and roller, I guarantee that the next time Sharon Jones comes around, you will be entertained. Go out and get some of her music so you can enjoy the force of nature in your own living room and when she lands in your city- Go see her!

The Wailers: Rastafari, Ever Living, Ever Powerful

The Wailers
The Independent
San Francisco, CA
January 3, 2009

The Wailers: Rastafari, Ever Living, Ever Powerful

First, let me say that Nopa’s braised lamb shank is awesome, particularly when paired with the 2006 Ridge Zinfandel - Pagani Ranch and finished with the Dark chocolate pot de crème. Oh, and the mussels were quite good. Yes, the evening began at one of San Francisco’s hip eateries, Nopa- which is a particular favorite amongst transplanted New Yorkers and other night owls because of their late hours- not a common thing in San Francisco which rolls up the sidewalks pretty early for such a cosmopolitan city. Eating early was probably a good idea since our server told us the previous late night crowd consisted of many glassy-eyed Wailers fans from the Independent, just a block away, who couldn't seem to focus on the menu. It was a bit of a challenge to picture the tie-dyed, dread-locked crowd descending on Nopa after skanking the reggae shuffle all night in celebration of the late-great Bob Marley.

For many reggae listeners, reggae music begins and ends with Bob Marley. His tragic death in 1981 cut short a brilliant career and elevated Marley to iconic status. His death was later followed by the deaths of Peter Tosh, Junior Braithwaite, and Carlton Barrett, leaving Bunny Wailer and bassist Aston “Family Man” Barrett as the last survivors. With Bunny Wailer living a quiet life in Kingston, only Family Man is still in the current Wailers line-up – which raises an open question as to whether a single band member can claim the band’s name. One member is only a "Wailer" (singular). And with only one member of the Wailers actually in the band, the night’s performance seemed more akin to a Bob Marley tribute than an actual Wailers concert.

Fortunately, all the replacement musicians were fantastic, the horn section was great, the back-up singers were hot, even white-bread, LA native, singer Elan Atias did creditable service to Bob Marley’s easily identifiable voice and singing style. The band sounded very much like they did on the classic live album, Babylon by Bus, which captured Bob Marley and the Wailers at the height of their performance prowess.

Both nights of the Wailers’ performances in San Francisco were sold-out. And the crowd on Saturday was well ready for a punky reggae party, almost too much so with clouds of smoke hanging in the lights and balloons being batted about. The band promised to perform the legendary Exodus album, once named the most important album of the 20th century by Time magazine. They began with “Natural Mystic,” and played some of Marley's greatest hits including “Exodus,” “Jamming,” “Three Little Birds,” “Punky Reggae Party,” “Waiting in Vain,” “Turn Your Lights Down Low,” and of course, “One Love.”

Listening to such uplifting, hopeful songs of love and peace in our war-torn world reminded me of how the peacemakers are the true revolutionaries. While Israel storms through Gaza, bombs explode in Baghdad marketplaces and Afghanistan continues its downward trajectory, these songs have more resonance than ever. The world could still benefit from the vision of Bob Marley. Ever living. Ever powerful.

The Minks: Ray Davies Never Looked Better

The Minks

Great American Music Hall

San Francisco, CA

December 3, 2008

The Minks: Ray Davies Never Looked Better

The Minks blew the doors off the Great American Music Hall last night. OK, maybe not the doors, they’re pretty good doors. Strong doors, with bouncers. But the windows were definitely rattling. The Minks are rock stars, that’s for sure. At a benefit for music in schools, called Silicon Valley Rocks, the Minks thrilled the geeky Wednesday night crowd. Since all the bands had some connection to Silicon Valley, the audience hipster-geek factor was streaming broadband. I’ve never seen so many iPhones or so many Google employees in one place. The only complaint I have is that with multiple geek bands playing, the cool Minks were limited to about 30 minutes.

While the Minks call themselves an all-girls Kinks cover band, they are more in the category of a tribute band. “Cover" bands play songs by more than one artist, with no original material; while "tribute" acts play only one artist. Many tribute bands foolishly try to emulate the look as well as the sound of their rock heroes, wearing wigs and glasses to look like the Beatles or the Rolling Stones; or in the extreme impersonation world, plastic surgery, to look like Cher or Michael Jackson. Thankfully, the Minks only make a nod to the original look of the Kinks by wearing 1960s mod outfits- which renders them much more pleasing on the eye than the Kinks ever were. The Minks look like they stepped right off the set of the latest Austin Powers flick. I was left wondering why all bands can’t be hot chicks in short skirts and go-go boots.

However, playing only Kinks songs is a somewhat limiting factor for the world-domination aspirations of the Minks or if they really want that cruise ship gig. While Ray Davies was undoubtedly one of rock's great song-writers, the Kinks’ hits were largely minor affairs on Billboard. After "Girl You Really Got Me" (which achieved most of its fame through other artists) and the anthemic "Lola," the Kink's most well known hit is the sing-songy "Come Dancing" which is largely mired in rock history as a nostalgic early video hit for MTV (which demonstrates how far videos have come and how low MTV has sunk). The Minks do perform a stellar version of "She's Got Everything" which I feel is ripe for an update. I see it as a possible hit for Letters to Cleo for a teen romance movie soundtrack like 10 Things I Hate About You or Pretty in Pink.

Being an all-girls Kinks cover (tribute) band is a difficult balance. If you practice too much and sound too professional, you lose the raw do-it-yourself excitement of the original Kinks sound and if you don't practice enough, you risk sounding amateurish. Fortunately, the Minks have struck just the right balance maintaining the raw energy of the Kinks without sounding like professional musicians slumming it. A good bar band should drop a note or two, especially one playing the Kinks. The Minks have it just about right.

Special credit: First two photos by award-winning photographer Joe Santel.

Last photo by Dave Le.

The Black Keys: Kings of the Underground

The Black Keys
October 30, 2008
The Fillmore
San Francisco, CA

Black Keys: Kings of the Underground

First, major props to The Black Keys for charging only $10 a ticket. That’s practically free in today’s rock and roll marketplace. Few bands have the balls, the audacity, the ultra-hipness to do that. In fact, I’ve paid more in service charges and fees to the universally despised Ticket-Bastard, I mean, Ticket-Master (who will be sharing the seventh circle of hell with insurance companies and oil corporations). No, Greed is not Good.

But before I digress too much...back to the band. The Black Keys are the Kings of Underground rock. Unlike the Kings of Leon, they have never compromised the integrity of their sound for popularity and remain dedicated to loud, raunchy, fuzzy blues that would make Jimi Hendrix proud. (Check out my review of the Black Keys Warfield show in April 2008 for an exegesis on their authenticity.) Unfortunately, I do get the very real sense that they are so uncompromising in their vision that this could result in their undoing as the songs tend to blend together. It is difficult to avoid the nagging sense that the band may have reached their zenith with the 2004 album Rubber Factory, which is destined to be a rock classic, and are now starting to retread their hard bluesy grunge into a worn formula.

But a great formula it is. Sometimes it sounds like guitarist Pat Auerbach is channeling Hendrix sans tie-dye mysticism. The amount of sound produced by Auerbach on his guitar is unparalleled. And the manic drum playing of Patrick Carney is reminiscent of pioneer drummers Mitch Mitchell (of the Jimi Hendrix Experience) or Ginger Baker (of Cream). It’s no wonder that they claim so many fans amongst rock luminaries, including Robert Plant as well as members of ZZ Top, Metallica, Radiohead and Arctic Monkeys.

At the Fillmore, the band stuck largely to their biggest hits, like 10 am Automatic, Stack Shot Billy and Girl is on my Mind. It seemed the band, like the audience, took some time to get into gear on a dreary, rainy Thursday night. But by the time they reached their encore, no one had left, and the crowd was louder than ever. Still, for hard rock enthusiasts, the Black Keys can’t be beat.

Kings of Leon: Identity Crisis

Kings of Leon

The Warfield

San Francisco, CA

October 17, 2008

Kings of Leon: Identity Crisis

During their five year history, the Kings of Leon have evolved away from their original rootsy, old-school, garage rock to a highly polished sonic arena rock. There is very little difference now between their sound and many more mainstream popular acts, see e.g. Arcade Fire, My Morning Jacket, Arctic Monkeys, Bloc Party etc., etc. You need only compare the Kings' early songs Red Morning Light or Molly’s Chamber to a new song like Closer from their new album and the difference is easy to hear. While this has disappointed many of their early fans, it has led to much greater popularity. So, what do I know?

This is the second time I have seen Kings of Leon. The first time was January 28, 2005 at Slim’s in San Francisco. Yes, I am one of the early disappointed fans. The Kings played before a couple hundred people at Slim’s who had all heard the early buzz about a rocking outfit from Tennessee. The band was the retro image of the 1970s: long Leif Garret hair, mustaches. They were a throw-back and they rocked. Hard. The sound was Lynyrd Skynyrd meets The Clash. In those days, they were frequently described as a southern-fried Strokes. The band was very popular in Europe and looked destined for big things.

Three years and three CDs later, virtually a different band by the same name is now making it big in the UK and America. Now, clean shaven, with hyper-trendy haircuts; they would otherwise represent my worst nightmare of a ballsy band co-opted by some craven Simon Cowell publicist. They indeed look like the final contestants of an American Idol for rock bands. And their last two albums have certainly sounded that way. The songs are filled with non-sequitur crescendos, divorced from the emotional content of the music or lyrics, like some southern-flavored testosterone version of Celine Dion. They have been meticulously groomed for rock stardom. Of course, I did say that this would otherwise represent my worst nightmare of a band gone wrong if they didn’t look so uncomfortable in this new persona and if the music were worse. Although the new sound is neither what first attracted me to the band nor what I prefer personally, I can’t say that it is necessarily bad- though the new hit single Sex on Fire is admittedly pretty lame. But the band is more popular than ever. They sold out two nights at the Warfield and Sex on Fire is #1 in England. And despite aping U2, like every other band, the songs are not that bad, even if free of any memorable hooks, they are not offensive. And the kids love it.

So, I had my worries going to see the band last night at the Warfield since there was every indication that the band had indeed sold-out. Nevertheless, the Kings played a genuinely great show. The crowd was hugely enthusiastic, the band confident and more professional than ever. Even the new sonic rock sound was much better live than on their new album. In fact, they almost rocked the new songs to the point of being fun, though not as fun as when they played older hits Taper Jean Girl and Molly’s Chamber. Still, it does seem that the band is having an identity crisis, unsure whether they want to be the next Rolling Stones or the next U2. The only remaining question is: will the real Kings of Leon please stand up?

Cake: Proposition H (not Preparation H)

Cake
The Independent
San Francisco, CA
October 10, 2008

Cake: Proposition H (not Preparation H)

The evening began at Jimmy’s Victorian mansion across from Alamo Square in Hayes Valley. Unwittingly, I had purchased VIP tickets to the concert which included a catered preshow meet and greet with the band, public officials, and grass roots activists campaigning for Proposition H, a ballot measure that would make San Francisco the first major city in the country to be solely powered by clean, renewable sources of energy. The Victorian gathering was a colorful mix of rock and rollers, groupies, roadies, granola environmental activists, community organizers and for some inexplicable reason, a couple of rowdy Scots, who were visiting the US via New Zealand. This was not Sarah Palin’s America. There were no well-scrubbed college republicans chanting drill baby drill. But in every way that matters, it was a much more honest meeting of free spirits who only want a better country.

Cake may be the biggest little band in the world. They have headlined music festivals and played in large amphitheaters but still have never really entered popular consciousness, at least not in the way that fellow California bands the Red Hot Chili Peppers or Green Day have. This may be in part due to their anti-rock star front-man John McCrea who can be perceived as an arrogant hipster doofus. He talks to the audience almost as if he were a fan of himself while at the same time singing songs that excoriate the shallowness of popular culture. He is at once immersed in the banality of rock stardom while resisting it. Depending upon your perspective, he can appear to be hypocritical or a man of integrity - aware of his own circumstance - and simply condemned to the irony of his own love/hate relationship with all the attention. In his defense, he and the band at least seem determined to walk the walk.

Cake’s next album is going to be recorded in a studio that is powered by 100% solar energy. The band has also taken to giving away a free tree at many of its concerts. Last night, a lemon tree was given to fan who correctly identified it as an Improved Meyer Lemon tree. And the band supports many other environmental causes. However, regardless of your political leanings and opinion of McCrae, Cake puts on a great show.

Cake’s music was once classified as alternative. I believe this was largely due to their rejection of the otherwise ubiquitous guitar solo of mainstream pop music along with McCrae’s laconic rhythmic spoken-singing style, which will not make him a contender on American Idol, but fits well with the droll, observational lyrics. However, as rock music has broadened, Cake is no longer an outlier. It’s not particularly radical any longer to rely on well crafted, funky hooks, mixing elements of country, jazz, funk, and rock. Vince DiFiore’s brilliantly subtle touches of trumpet, more than anything else, set Cake apart from the rest of the crowd. I do loves me a good brass section in my rock. All in all, a great show, from a great set of musicians in an intimate environment. What more could you ask for?

Songs to check out for the Cake neophyte: Love You Madly, Short Skirt Long Jacket, Sheep Go to Heaven

Calexico and The Cave Singers: Samurais and Poetry

Calexico and The Cave Singers

The Fillmore

San Francisco, CA

September 29, 2008

Calexico: Southwestern Samurai Songs for Tarantino

If you close your eyes at a Calexico concert, it’s hard not to feel like you’ve wandered into a dilapidated Southwestern saloon in a Quentin Tarantino film featuring Samurai warriors. I am not the first person to notice the connection between the Mariachi-flavored atmospherics of Calexico’s anthemic sound and the heavily stylized Tarantino film noir aesthetics. I think this is more a compliment to Calexico than Tarantino since Tarantino relies so heavily on music to create mood in his films, think of Reservoir Dogs. It also recognizes how visual Calexico’s music is. However, whether you agree with this, one thing is certain; Calexico is far better live than their often tepid recordings.

Calexico is a perfectly named band. Their name tells you exactly what their music sounds like. Though they have frequently been classified as an indie band, their music is a balance of Mexican norteño music and mainstream American popular music and may be closer to the alt-country sounds of Wilco with a Mexican flavor rather than Flogging Molly or Belle and Sebastian or any other band that falls into the catch-all indie category. Calexico is a bit like Chris Isaak combined with the Gypsy Kings, with Mariachi trumpets thrown in and peppered by occasional whooping en español. It is the music you would expect to hear on the US-Mexico border- although curiously without the element of chaos or edginess that you often sense or hear at most international borders and the music that often flows from border towns. Perhaps this lack of an edge is due to the sleepiness of the Mexican siesta culture and the placidity of suburban American life- as well as the hyper-militarized US-Mexico border. Though the music is not edgy, it is big- frequently building to large crescendos of trumpets, accordions, xylophones, drums and guitars. It is exciting and a little dull at the same time. It is safely exciting.

Music like this has a large cross-generational appeal and large cross-cultural appeal. The audience at the Fillmore was populated by Berkeley college students and aged Marin hippies as well as Si Se Puede immigrants in flannel shirts and high-tech Silicon Valley geeks drinking Margaritas and Dos Equis. This is a nice way to end a great California weekend, a show at the legendary Fillmore club by a band of consummate professional musicians, surrounded by a balanced cross-section of San Francisco’s diversity.

Opening for Calexico was The Cave Singers whose songs are on a whole different level.

The Cave Singers: Poetry

This was a relatively quick return to San Francisco for The Cave Singers, see my previous blog about their performance at the Independent in May. Everything I said then was reconfirmed last night. The Cave Singers are poetry.

While their sound is much quieter, with only three band members playing largely acoustic-based instruments, the songs are several steps beyond what passes for popular music.

Near the beginning of their set, singer Pete Quirk, said that they were happy to be in San Francisco, that the band was “feeling good and looking good,” then he clarified he meant “looking good inside which is the most important.” Then the band had the subtle audacity to play “New Monuments,” a song about self-acceptance and trust in difficult times, without introduction:

See the waves have been to the countryside
And to your graves your will is due
And in your mind, sip with turpentine
And in your heart, oh it's like a grave.

You always go, where the weather is
And in the slow, stretch of the sea
And in your mind, you sip with turpentine
And in your brain, I think you're fine.

The Cave Singers are all class and are quietly setting a new standard for other bands to aspire to.

Breakestra: The Most Fun You Can Have

Breakestra

Great American Music Hall

San Francisco, CA

July 26, 2008

Breakestra: The Most Fun You Can Have With Your Clothes On

It doesn’t get any funkier than the funkiest funked-up band coming to the funkiest club in San Francisco on a funky Saturday night. There is no one currently funkier than Breakestra- not since the late-great Godfather of Soul (that’s James Brown) and his legendary ensemble, the JBs, kicked up the funk. Breakestra is Old School. Mashed potatoes. Reel to Reel. Laying it down and dancing all over it with platform lesbian-crocs. Afros, gold chains, bellbottoms. This was a super-funktacular show! Breakestra rocks!

The Down Beat

From the drop of the first down-beat, Breakestra never stopped. The band took the stage and boogied continuously for close to an hour before the first break, more of a pause really. Barely enough time to catch your breath. It’s hard not to start bobbing your head, snapping your fingers, shuffling your feet when Breakestra hits the down beat, the winding thumping base line, a splash of Hammond organ and the syncopated guitar riffs.

Breakestra doesn't combine funk to metal, a la Red Hot Chili Peppers, Living Colour or Fishbone; they aren’t funk-inspired, like The Black Eyed Peas or Outkast; they don’t do jazz-funk a la today’s acid-jazz pretenders; nor do they sample funk to spice up some bland, uninspired hip-hop. This is hard-core, underground, down and dirty funk like the glorious days of funk’s climax when a down beat meant something, man. When it was real. When the funk was The Funk and the dream was still alive. It's all about the beat. The music might be old school but this is not your Granddad’s funk. It’s living, breathing, roaring, reckless abandon.

Funk may be a distinctly American musical invention but Breakesta is out to proselytize the good word. They are the musical legatees of James Brown, Sly and the Family Stone, The Meters, the Mohawks. Weird thing is they’re all white (but one). No matter, they can still get down. The band has had many players come and go but hopefully they have settled on the current line-up which are all stellar at what they do.

GAMH

And there is no funkier venue than the former bordello that is the Great American Music Hall in San Francisco- next door to the famous Mitchell Brothers Adult Theater. The GAMH is known for its decorative balconies, columns, and frescoes and red walls. All of which added to the celebration of the gritty urban sound that is Breakestra. The perfect meld of venue and artist.

Breakesta is from Los Angeles but haven’t been to the Bay Area for two years and this was their first shot at rocking the GAMH. Hopefully, they’ll be back again real soon for more merciless, floor-stomping, take-no-prisoners good times.

Tunes to Check Out: Take My Time, Family Rap - which can be previewed on the band’s MySpace page at Breakestra's My Space Page.

Or check out Getcho Soul Together on YouTube here.