Category Archives: MTH-V

annotated video series

MTH-V: Billy Corgan Solo

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After Zwan and before reconvening Smashing Pumpkins (2.0), there was Billy Corgan‘s solo project. (And yes, one could definitely make the argument that ultimately all BC-related projects are largely solo efforts.) Whereas Zwan was often considered SP-lite or the “happy” SP, there’s no confusing Corgan’s solo project and album with anything in the Smashing Pumpkins canon.

This result of this solo project was 2005’s TheFutureEmbrace. As the title indicates, Billy looking ahead musically and sonically. It’s interesting because it doesn’t simply sound electronic but digital. While I do like the album, I personally think that the concept of what Billy was going for with it was more successful than the actual product. With the rate of technological change we’re living in, it’s easy to date oneself, making music that quickly becomes irrelevant as the sonic landscape changes. This is something Radiohead excels at – I don’t listen to any of their albums and think Oh, that’s so 2003. Whereas now, when listening to TheFutureEmbrace, I feel like it’s a few years (at times decades) ago. That said, I do like the album.

Naturally, I caught a show on 2005’s Future Embrace Tour at Chicago’s Vic Theatre. The below video is from that two-night stand (not sure which night; I attended the first one I believe). Smashing Pumpkins fans will notice that Corgan maintains his “female quota,” this time with Linda Strawberry. (Zwan and all incarnations of Smashing Pumpkins include a female bassist – the latter is currently on its fourth – and that doesn’t change here even though his solo band lacked bass.) I think the music alone is more effective on record than live – partially because of the visual factor – but I had a great time nonetheless. Because of the album’s focus on digital sounds, Billy didn’t want traditional rock instrumentation for the live show. It was all synthesizers and electric guitar. Therefore watching the musicians was (and, in this video, is) at times a little jarring. But the digital backdrop coupled with the otherwise minimalist staging was quite intriguing. If nothing else, I think Ron Johnson would have approved.

It seems like I’m hedging, but I did have a wonderful time at the concert and enjoyed the album. It just wasn’t anything like Zwan (discussed here) or anything SP-related. Also, it was around this time that Corgan started to hint at wanting to resurrect Smashing Pumpkins, and during the final song at this show he played that trademark guitar lick from “Today” as a musical tease. The below video is of “All Things Change,” the album’s opening number.

*Warning: This video may load slowly.*
http://www.youtube.com/watch?v=PTAj1iH-mQw

MTH-V: Clutch

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“Like Marlon Brando, but bigger.” Yes, that’s Clutch. The one and only.

If you’ve not heard Clutch before, then I feel sorry for you. Buckle in and prepare for a treat. This epic rock quartet has been together (almost completely unchanged) since forming in 1990 in Maryland. While they’ve never been a band to quite saturate the major mainstream airwaves, they’ve developed a devoted following through near-constant touring, regular album releases, and occasionally successful radio singles. (They’ve released nine studio albums thus far.)

When I was in middle- and high school in the nineties, Grand Rapids’s once-great 94.5 KLQ was a solid supporter of Clutch. (KLQ really was a treasure, and its gradual death in the early 2000s led to my “quitting” commercial radio in 2002.) Early Clutch trademarks “Spacegrass” and “The Soapmakers” were in heavy rotation along with the occasional deep cut. (As the title indicates, the latter song is about a band of soapmakers.) I’ve seen them three times thus far, and they really do kill it both live and in the studio. Given their eclectic traits, it’s hard to think of another band that occupies the same space. The music is largely in the hard rock & heavy metal vein and features a number of great components: Dan Maines’s infectiously funky bass lines; Tim Sult’s blues-rooted guitar; JP Gaster’s active but groovy drums; Neil Fallon’s lyrics which range from the fantastic to absurd, humorous, historical, surreal, and heartfelt. And the band can JAM. Maines and Gaster are one solid rhythm section. Listening to the band, they’re not typically what one would think of when considering the “jam band” label but Clutch hold their own in any comparison. (To the point, The Bakerton Group – the band’s “side project” featuring the same personnel – is an instrumental jam band with its own persona and discography.)

And perhaps the band’s most infectious quality is that the music (and live show) is fun. You can’t help but get out of your seat and shake a tail feather. Call it metal, rock, blues rock, or whatever you like. Personally, I think Clutch was right on with Pure Rock Fury (2001).

“I Have Discovered the Body of John Wilkes Booth” (from 1995’s Clutch)
• The opening line is one of the greatest of any song I own or have heard. (See above – it opens this blog post.) In this song, a fisherman discovers Booth’s body and cashes in. Lyrics here.

“The Elephant Riders” (from 1998’s The Elephant Riders)
• The Civil War allusions seem straightforward enough, but instead the messengers ride elephants. Lyrics here. Dig the 7/8-4/4…jamming hard in the mixed meter. (Note: the B-movie narration at the beginning of this video is from whomever uploaded this.)
“Elephant riders to the northwest bring news from father…”

[Note: Mick Schauer played keys and organ with Clutch from 2005 to 2008 and is in both of the above videos.]

MTH-V: Rage Against the Machine

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RAGE AGAINST THE MACHINE! Twenty years later, the band is still just as rocking and relevant.

I know I have my Top 5 that I reference quite regularly. But if I were to limit that to rock alone, RATM would definitely make that list. (Note: RATM and TOOL both emerged from the same LA scene and knew each other quite well – in fact, the two bands’ guitarists were high school classmates in Chicago.) RATM’s second album Evil Empire came out in 1996, a year I all but obsess over and praise at length without prompting, and I listened to it non-stop. (Some of my still-favorite albums were released that year, and a number of the releases from late 1995 to early 1997 made a big impact on me.) The band’s inventive and assaulting mix of rap and heavy metal are absolutely infectious, and Tom Morello‘s virtuosity gives the only-guitar-bass-drums-vocals combo near-endless sonic possibilities.

Controversy regularly followed the band – and continues to through today – because of 1) their uncompromising socio-political focus and 2) misunderstanding and overreaction by the mainstream media. For example, their music was banned from the airwaves by Clear Channel during the months following 9/11. Much of their profits have gone to support charitable and political causes over the last two decades, and they are regularly participating in demonstrations and rallies, especially Morello and singer Zack de la Rocha. And when I say socio-political focus, I mean exclusively so. Without getting deep (and lost) in the weeds here, every song – save some of the covers included on 2000’s Renegades – deals with social, political, economic and/or environmental commentary of some kind. Considering the group’s singular purpose, their longstanding commercial success and popularity is quite amazing.

I was fortunate enough to see Rage Against the Machine once in late 1999. (They abruptly disbanded a year later and reformed in 2007, performing sporadically since.) It remains one of the most INTENSE shows I’ve ever attended, and it was by far the most aggressive mosh pit I’ve ever been a part of. (Even though I was only feet from the stage, I had to leave the pit before Rage even took the stage and find an open seat from one of the many people who rushed the floor.) The band didn’t need a light show, lasers, or any other special effects. All they had was a backdrop that read “The Battle of Detroit” and their instruments. And it was one of the best, most energetic performances I’ve witnessed. Hopefully the below videos convey that.

“Know Your Enemy”
One of my favorite RATM tracks. (TOOL’s Maynard James Keenan sings the bridge on their debut album. A clip of both bands together on stage at the 1994 Glastonbury Festival is here.) This 2011 performance at Brazil’s SWU festival is ELECTRIC. It was part of RATM’s first string of South American dates ever, and it’s obvious that much of the audience had waited two decades for this.) Watch Morello work his magic throughout!
http://www.youtube.com/watch?v=fbYVDjDpR8U

“Freedom”
From Germany’s Rock im Park 2000
http://www.youtube.com/watch?v=GSNeonapnT8

*I had tickets to see them again in 2000 as part of the Rhyme & Reason tour featuring Beastie Boys, RATM, Busta Rhymes, and No Doubt, but the tour was cancelled to due an injury sustained by Mike D. That’s one tour I’d love to alter history to have seen…

 

MTH-V: Warren Haynes Band Live

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Summer approaches, meaning:
– I spend much time thinking of great outdoor shows from summers past
– I listen to more DMB than normal (and I already listen to a lot), gearing up for the annual summer tour

Today, this leads me to Warren Haynes Band. Last summer, during my annual DMB pilgrimage to The Gorge on Labor Day weekend, I saw Warren Haynes’s solo band perform a smokin’ set. Haynes & Co. were my favorite (save the headliner) of DMB Caravan 2011 – last year’s full-blown festival. (TR3 and The Roots also get honorable mentions for also tearing the nonexistent roof off the place.)

Warren Haynes, a who’s who rock and blues guitarist, has earned his reputation as a top-notch gunslinger playing for The Allman Brothers Band, The Dead (and various Grateful Dead satellite projects), and Gov’t Mule. 2011 saw the release of Man in Motion, for which he’s been touring in support of with a killer backing band. After seeing this band (the same personnel as the below video) absolutely destroy last September, my first order of business upon returning home was to purchase Man in Motion. Good songs and good jams abound, although I must say I prefer the live band of more obscure side(wo)men – the studio effort understandably features a few more “name” acts. The same live band is also featured on the recently-released Live at the Moody Theater (2012). Besides the band simply being filled with solid musicians, it’s one of my ideal instrumentations: drums, bass, keys, guitar, male & female vocal, horn. Very versatile.

This video is from the band’s performance at last year’s Bonnaroo festival in Manchester, TN. Oddly enough the first time I saw Warren live was at Bonnaroo 2005, both with Gov’t Mule and when he sat in with DMB – talk about coming full circle for this post! The one and only Lewis Black introduces the band and enjoys the show from the wings. (Black himself is a fan of good rock – he often uses “U.S. Blues” as the audience exit music after his shows.)

Warren Haynes Band:
Warren Haynes – Guitar, Vocals
Alecia Chakour – Vocals
Nigel Hall – Keys, Vocals
Terrence Higgins – Drums
Ron Holloway – Saxophone
Ron Johnson – Bass

http://www.youtube.com/watch?v=YgceoxEaxHE

MTH-V: Damien Rice

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From one acoustic aesthetic (last week’s Wynton) to another: Irish singer-songwriter Damien Rice.

With Damien, I can recount the first time I heard his music: it was December 2004 and I went with my best friend to see Closer in the theater. About 1.5 seconds into the opening credits’ song “The Blower’s Daughter,” my friend – he’s always listening to not-quite-breaking indie and acoustic artists, and of course already knew Rice’s debut album forwards and backwards – enthusiastically leaned over and shout-whispered, “This is Damien Rice!” Halfway through the first verse I was also sold, and I had that debut album O within a couple days. I obsessively listened to it for months, and still can’t quite listen to it just once – it always requires repeated listening.

Not only is Rice a first-rate songwriter, but the man has some pipes. He’s also effective in his use of instrumentation. The first thing most people notice about his music is the cello’s prominence (in lieu of a lead guitar), which is very nice, but I also enjoy that he only really includes the bass and drums when necessary (both live and in the studio). And, arguably my favorite part, Lisa Hannigan‘s enchanting voice. (She was the secondary/co-lead singer from 2001 to 2007. She now leads her own band and I can’t praise her latest release, 2011’s Passenger, enough.) Lisa’s voice – equal parts smoky jazz singer and Greek siren – is occasionally, and effectively, simply used as another instrument. This is wonderfully demonstrated in “Delicate” (below) – no words, just sound. His voice and hers, both quite versatile, allow his songs to include some wonderful melodies and counter-melodies.

Dynamic control and contrast is another area in which Rice excels. He and the band are only loud when necessary. And even at his quietest, his intensity can match most other amplified acts. I’ve seen Rice (without Hannigan, unfortunately) twice, and both concerts were wonderful. The first show, at which he opened for Fiona Apple in Chicago in July ’06, included a musical moment that perfectly encapsulated this dynamic juxtaposition. During “Delicate,” it was simply Damien and Vyvienne Long (cello) – accompanied by the very occasional cymbal – for the first two verses and choruses. Then, out of nowhere, the drums and bass kicked in for the third chorus and I thought my chest would explode because of the vibrations. It remains one of my favorite concert-going moments.

As mentioned, I absolutely adore O. I really like 2006’s 9, but it started to creep away from the more skeletal O and towards a more full band sound. (2003’s Live From The Union Chapel is a nice companion to O.) It’s now out of print, but there was a limited edition of O that included a DVD of a few videos from Damien’s AOL Sessions performance. I really enjoyed those selections and have posted a couple below.

“Delicate”

“Volcano”

“Delicate” – Live for BBC Four Sessions
(The drum entrance in this one isn’t nearly as drastic as the one I mentioned above, but this clip gives you an idea of his full-band style.)