The Week That Was in Music
TUE 3/6: The Rock and Roll Hall of Fame releases "The Definitive 200," a list of the "200 ranked albums that every music lover should own." While scanning through the list, I find some predictably preposterous rankings (Santana's "Supernatural" at #13, Shania Twain's "Come On Over" at #21, Norah Jones's "Come Away With Me" at #27), but then hit upon the Definitive Stupid Selection of the Definitive 200, Jewel's "Pieces of You" at #64. Now, I happen to own that album (and two--count 'em, two--autographed Jewel books), but, you know, I think that my life would be pretty much OK without it. It's got some fine songs on it, but the title track is, well, pretty terrible. No, make that really terrible. Amazingly, this list puts "Pieces of You" 93 places higher than Bob Dylan's "Blood on the Tracks." I gotta stop reading lists.
But, wait, other albums "more definitive" than "Blood on the Tracks": Kid Rock's "Rebel Without A Cause"; Phil Collins' "No Jacket Required"; Faith Hill's "Breathe"; Linkin Park's "Hybrid Theory"; the "Dirty Dancing" soundtrack; Kenny G's "Breathless"...I'm sorry... I can't do this anymore. Next topic.
WED 3/7: Thanks to a Christmas 2005 gift certificate (thanks Aunt Kathy and Uncle Gary), I was able to attend the Los Lobos/Taj Mahal show at the Count Basie Theatre in Red Bank, NJ, for minus-five dollars (got the unused money back on the gift certificate). I generally like the Count Basie, as I have seen several fine shows there. However, I think all those shows took place during warm-weather months, for as far as I can tell, there is absolutely no heat running through the theatre. At all. And that's not good on a freezing-cold night in March.
But good music always warms me up, so Taj Mahal's opening set, while a tad bit too long for my tastes (mainly because I wanted to catch the 11:45 train home instead of the 12:35), slightly took away the chill. Then there was an unnecessary 30-minute changeover between sets. Didn't care much for that. Is it impossible to start tuning instruments offstage at some time during the opening set, especially when it's a mostly acoustic show with lots of stringed instruments?
Finally, a little after 10, Los Lobos took the stage. And almost immediately after the band takes the stage, some burnout yells out, "Bertha," the Grateful Dead song that Los Lobos frequently covers in their live rock-band set. This show, however, was advertised as an acoustic show, in support of the band's "Acoustic en Vivo" CD. It's a real good CD, consisting mostly of traditional songs and the more traditional-sounding songs from the Los Lobos catalog. I was looking forward to hearing those songs. I was not looking forward to, nor will I ever look forward to, hearing "Bertha."
But several of the brain-addled Deadheads really wanted to hear "Bertha," and they expressed their desire during what seemed like every quiet moment between songs. Now, Deadheads, really, what's the deal? You have nothing better to do on a cold Wednesday night than to go out to Red Bank, buy a ticket (which is something probably rare for you in your world of "miracles"), and yell out for a Grateful Dead song while a band tries to play something different from their normal show and maybe expose you to some songs and rhythms you're not used to? Can't you just stay home and listen to any of the 738 readily available live versions of "Bertha"? Is there not enough live Grateful Dead product to keep you satisfied? Were Ratdog tickets out of your price range?
Please stay away from the bands I like. I don't go to Phil Lesh shows and yell out requests for actual good songs. Show me the same respect.
Anyway, Los Lobos finally acquiesced and did play "Bertha," during which I contemplated going to the bathroom because I wasn't going to have time to pee and catch the 11:45. But I stuck around. And I even had time to catch the two encores, including "Guantanamera," during which Taj Mahal returned to play the maracas and add back-up vocals and David Hidalgo helped women up on stage to dance. And that's how the show ended, with several dozen women (and a few men) dancing on stage while the band played and I inched my way toward the door as the clock hit 11:35.
I made the 11:45 by about a minute. It was a good night.
THU 3/8: The Avett Brothers returned to the big city with a show at Rebel (formerly Downtime, sort of) in midtown Manhattan. It was tough to pass up the Charlie Louvin show at the Gramercy Theatre (though I did have time to score an autograph from Mr. Louvin beforehand, on a vinyl EP I bought in Cleveland), but I think I made the right call. Good to see the boys back in town, and good to see that Scott Avett was able to recover from the complete header he took during the second song ("Talk on Indolence"), during which he took out the high hat, his brother Seth's mic stand, a little bit of his banjo, and probably a chunk of skin off his elbow. Such is the price you sometimes pay for putting on a high-energy show.
Nicole Atkins joined the Brothers for a beuatiful "Swept Away," and the show ended with spirited runs through "I Killed Sally's Lover" and "Wanted Man" before the boys called it a night and Scott gave his elbow a rest. They'll be back on May 12 at Irving Plaza, in advance of the release of their new CD, "Emotionalism." Go.
The Week That Will Be in Music
MON 3/12 and TUE 3/13: Steve Earle and Allison Moorer are playing the jazzy Blue Note in NYC. I'm not sure if I'll go (three pricy shows in the next two weeks are probably gonna prevent me from hitting these shows), but if you've got some disposable income, maybe you should dispose of some of it for one of these shows. Steve Earle's still cool in Tinsel and Rot's eyes. For now. Two shows a night, 8 and 10:30 p.m. Tickets are $25 at the bar, $35 for table seating (which is only available for the 10:30 shows as I write this).
TUE 3/13: The WFMU Marathon continues with Ted Leo's visit to "The Best Show on WFMU." And he says he'll be bringing his guitar and will do requests for pledges. Should be fun. And pledge-worthy. With Tom Scharpling and guest cohost Laura Cantrell. Check it out. 8 p.m. to 11 p.m. 91.1 FM or online.
WED 3/14, THU 3/15, and SAT 3/17: The Pogues come back for three shows at the tail end of a two-week U.S. tour. Even though last year's show was underwhelming, I still couldn't pass up the ($54) chance to see the Pogues again. I'm a sucker. Wouldn't you like to be a sucker, too? Doors at 6:45 p.m. each night. The Holloways open on Wednesday, Langhorne Slim opens on Thursday, and the Tossers open on Saturday. Saturday's sold out, though.
THU 3/15: Hippiefest at NJPAC. Featuring Felix Cavaliere's Rascals, Iron Butterfly, Mountain with Leslie West and Corky Laing, Denny Laine of the Moody Blues, Joey Molland of Badfinger, Mitch Ryder, and Mark Farner of Grand Funk Railroad, most of which have absolutely nothing to do with hippies. I don't know if I'll go, but I thought I'd share that stupefying lineup with you. And, oh yeah, Jackie "The Joke Man" Martling is the MC. 7:30 p.m. Tickets are $27-$77. Seriously.
FRI 3/16: The mighty Hudson Falcons return to Asbury Park, this time at the legendary Stone Pony. You've read the tour recap, you've seen the pictures, now go see the band live and in person. Also playing: American Halo, The Hams, Crasher, and Chef George and the Short Orders. Doors at 7:30. $10.
SAT 3/17: It's Levon Helm's Midnight Ramble at the Beacon Theatre. It's also sold out (thanks for getting the tickets, Jon), but maybe you should make an effort to get a ticket. Levon's singing again, and there are special guests promised. Plus one of the "nonspecial guests" is Ollabelle. I am expecting a damn good time. And if you must bypass the Hudson Falcons (and I will dislike you for it), Levon and friends will also be at the Beacon on 3/16 for another sold-out show. 8 p.m.
Looks like a good week, no?
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