Tag Archives: mth-v

MTH-V: DMB 1992

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I wanted to post this video last week for timing, but decided to wait and see the whole thing first (it’s LONG). Last Monday (02.13.12), Antsmarching.org tweeted this gem to commemorate its twentieth anniversary. It is the earliest circulating (mostly) full-length video of Dave Matthews Band in concert. Watching it over the last week has been a real treat. If you don’t know by now (or if you recently started following this blog), I’m a DMB fanatic. Between owning their entire output and more, seeing them 54 times and counting in concert throughout the country, and being able to fill a small closet with all of the apparel and merchandise I’ve purchased and collected throughout the years, I really should own stock in the band. 🙂

This week’s video is perhaps the most niche of the MTH-V series – serious DMB fans will get the biggest kick out of this. I try to take a generalist approach to most of these, but this is too good to pass by. Although some previous posts – e.g., ICTUS and Trio Mediæval – featured more specialized styles, they were at least clean and relatively produced recordings. This may be DMB, but it’s a 102-minute scratchy VHS transfer of a then-local band. This show took place at Virginia’s Bridgewater College. There’s a neat story about the video and performance, as well as a scan of the show’s poster, by a member of the other band that performed that night here.

As I mentioned, this was brought to my attention by Antsmarching.org, the biggest fan-site for DMB. While I have many strong philosophical disagreements with the various orthodoxies espoused by the site’s moderators, the site itself is an undeniably wonderful source of information. Want to know how many times “Best of What’s Around” has been performed, in what cities, at which point in each concert, and how rare a live performance is in comparison with others in the catalogue? Just look it up. (I love all of the hard data; I just wish they’d give the op-eds a rest. But that’s another post for another day. I’m still happy to have been a member for well over a decade now.)

Some notes on this video since it’s such a lengthy one – I’ll point out some highlights for those without the time/interest to watch the whole thing or freely browse. While some of these might be old hat to other die-hard Ants, it’s still worth mentioning here, as 1) it’s nice to have video evidence of the things heard on many tapes, and 2) this is likely new for many regular readers:
• Love this.
• It is GREAT to have such a nice video documentation of a lot of early LeRoi Moore. While the more hardline jazz influence is evident in a couple places, you already start to hear the direction he eventually went (that of a rock/pop musician as opposed to a “jazz saxophonist”). His solos on “Best of What’s Around,” “Recently,” and “Jimi Thing” are especially choice.
• Speaking of which, that “Jimi” outro is hip…maybe they should bring it back… 🙂
• The video lasts for almost 80 minutes, with the final 22 being audio-only.
• The band at this time included original keyboardist Peter Greisar. The duo performance of “So Much to Say” by Dave and Peter is a nice early glimpse into the song.
•  For those who enjoyed the mid-2000s “Louie Louie” interpolations at the end of “Warehouse,” here’s an early incarnation.
•  Hearing the juxtaposition of a much-slower “Best of What’s Around” and brisk “Satellite” is an odd switch. Although I think the latter is more due to nerves. (If only they would have played “After Her” instead…)
• Even though the band is still quite young (not two years old), it’s evident they’re already a unit. Keep in mind that their first performance was in March or April of 1991, less than one year prior. Armed with a catalogue of mostly original material (with a few tasteful covers thrown in for good measure), they musically give each other space and keep the audience on energized and engaged throughout. No wonder they’ve been the highest-grossing live act in recent pop history. Even though the tempo gets weird in a number of songs, Carter does his best to keep the band’s nerves in check back there.
• Again, great video evidence to illustrate the anecdotes of fans occasionally thinking Boyd Tinsley was Dave Matthews, as Boyd was initially more comfortable with between-song banter and crowd work than Dave.
• Speaking of which, Boyd gets two vocal numbers: “Angel From Montgomery” and “True Reflections.” They’re both quite rare in live performance nowadays, but luckily I’ve seen them both. “Angel From Montgomery” is especially elusive.
• Interesting introductory banter about the band and their material by Dave, then one of my favorites: “The Song That Jane Likes.” Enough said. 🙂

NOTE: Embedding functionality for this particular video has understandably been disabled, but you may view the whole thing here.

MTH-V: Alanis Unplugged

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Gotta love the nineties. I know I do…

This last weekend I listened to quite a bit of Alanis Morissette‘s MTV Unplugged. I bought the album in I think 2004 and listened to it repeatedly, quickly making it a perennial favorite, especially while driving to and from gigs. MTV Unplugged didn’t always work out so spectacularly for the featured artists, but this is one of the show’s true gems. (Alice in Chains‘s appearance was rather amazing – another great road album. And while I’ve never been a huge Nirvana fan, their episode was historic. And of course there’s Eric Clapton.)

Alanis and her band are really in top form here. This concert features a number of, at the time, novel reworkings of her standard catalogue. (This particular song hadn’t yet been officially released in any form.) It was definitely a sign of stylistic things to come, and a live precursor to 2005’s Jagged Little Pill Acoustic – a solid album and an interesting project – the acoustic re-orchestration recorded to celebrate Jagged Little Pill‘s tenth anniversary. (I wanted to attend the 2005 support tour, but Bonnaroo 2005 took precedence that same weekend. 🙂 )

“No Pressure Over Cappuccino” is perhaps my favorite song from the album. (If you’re curious, it’s supposedly about her twin brother.) It’s a pretty good representation of the album as a whole, even the more aggressive songs. I’m a sucker for nineties rock and proud of it. For any of you who may also be, you should also get a kick out of this. Even if you’re not, this tune’s worth a try…

http://www.youtube.com/watch?v=_YfSSq0srfo

 

 

MTH-V: Stan & ‘Stella’

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It’s about time I feature a rendition of perhaps my favorite jazz standard: “Stella By Starlight.”

This particular version is by the one and only Stan Getz, featuring his collaborator pianist Kenny Barron, as well as Alex Blake and the untouchable Terri Lyne Carrington. Filmed at the 1990 Umbria Jazz Festival, this performance is similar in style to that found on one of my absolute favorite jazz albums, 1989’s Anniversary (w. Kenny Barron, Rufus Reid, and Victor Lewis). On that album, “Stella” is perhaps the crown jewel. (I wrote a “New Listen” post on its sister album Serenity here.)

This performance follows Anniversary by a few years – it was recorded in ’87 – and Stan looks (and, to some extent, sounds) a bit more frail. (He died in ’91.) But he and the band are still swinging, and Getz’s fourth chorus is definitely worth the price of admission. Barron is also featured, but we only hear a couple of Blake’s choruses before the clip cuts out. (It’s a shame, because I’m sure Terri Lyne did some damage at the end. After all, of the three times I’ve seen Herbie, she’s stolen the show each time to some extent.) Despite the compromised video/audio quality – it looks to be a VHS transfer – you should still get a kick out of this. I know I do.

MTH-V: ICTUS & Partch

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This week’s video serves as a prelude to a longer post I’ll publish later this week about new music in general, specifically that of Harry Partch (1901-1974).

Last summer I had the immense pleasure of attending the Austrian premiere of Partch’s landmark cycle The Wayward by Belgian contemporary music ensemble ICTUS in Bregenz, Austria. Partch is a perfect example of Twentieth Century musical tendencies: experimental, nationalistic, controversial. I’ll discuss more in a later post, but for context on the below video, know that one of Partch’s trademarks is his inventing of his own microtonal system (i.e., there is a lot of dissonance). Beyond that, he also constructed his own instruments to properly articulate this new language. Lacking Partch’s invented instruments (they are closely guarded by Partch’s disciples in the US), ICTUS instead opts for prepared – or otherwise manipulated – Western instruments. (Here, various string and keyboard instruments are featured along with voice.)

Two portions of The Wayward are featured here: “The Letter” and “Barstow,” respectively. Although this definitely falls under “contemporary music,” it has as much to do with Americana as it does the new music canon. (Think equal parts Tom Waits and Pierre Boulez.) As I’ll reiterate later, keep in mind that this music is seventy years old – it was written before most of you were born. As with most things, keep an open mind…

Harry Partch’s The Wayward: “The Letter” (1943) & “Barstow” (1941/54/67)

MTH-V: TOOL’s “Third Eye” Live

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Although I’d like for my Einstein reflection to remain from and center on the main site (as it is in my mind), Tuesday is here and therefore another video post is due. The timing definitely works out, however, as it’s quite complementary to the concert-going about face I’m engaging in. Although I have yet to successfully pick my jaw up from the floor after Sunday’s EOTB experience, tonight I’ll be seeing TOOL in Toledo, OH. (Yes, I’ll be wearing my earplugs…)

Ah, TOOL. (While it’s not completely necessary that I capitalize all letters, I’ve done so for 15 years and see no reason to quit now.) 1/5 of my mythic Top 5. Tonight’s show will be #14, my first having been almost 15 years ago (07.26.97). It’s been five years since I last saw them, and my overall attendance numbers would be far greater for them if they actually toured regularly. However, that’s part of their charm. They tour when they want and can, and do things on their terms, and release new studio albums at a snail’s pace. But considering each album somehow evolves past the last, it’s always worth the wait.

In case this is news to you, a quick rundown: Since its inception, the band has been categorized as progressive rock/metal, and has only amped up those characteristics – lengthy tunes, compound meters, unconventional form, strong technical facility – over time. Although many progressive rock bands fall prey to the math more than the music, TOOL can organically rock in 11/8 without giving the impression that they perform solely to showcase their rhythmic acuity. Furthermore, they exhibit restraint and taste, employing such devices only when the music (or Maynard’s idiosyncratic vocal melodies) demands it. As far as subject matter, the lyrics are overall intentionally vague while also referencing, aside from the usual “life and death,”  individual expression, philosophy, social commentary, humor (often sarcastic or ironic), and the occult. (The band members and their associates have a deep knowledge of the latter, as opposed to superficial references.)

For this week’s video, I’ve selected a recent and decent (despite the final few seconds being clipped) HQ audience recording of one of their best songs, “Third Eye.” Without giving too much away in the title, it’s about opening one’s fabled third eye. 🙂 The spoken dialogue played at the beginning is a recording of Dr. Timothy Leary they use during live (rare) performances of this particular song. (The studio album features complementary bits by Bill Hicks.) I’ve only seen this song live a few times – it’s rarely performed. If you have the time to get through all 15 minutes you’ll see that it’s not just “jamming,” but rather a well-structured composition. Also note the great use of tension and release via volume, texture, meter, and tone. It’s something they do better than most. The other thing TOOL does better than most is perform. They are SOLID live – crisp, well-rehearsed, and intense. TOOL is:
Danny Carey – Drums/Percussion
Justin Chancellor – Bass (1995-present)
Adam Jones – Guitar
Maynard James Keenan – Vocals
(Paul D’Amour – Bass, 1990-95)

“Third Eye” (from 1996’s Ænima)

Lyrics:
Dreaming of that face again.
It’s bright and blue and shimmering.
Grinning wide
And comforting me with it’s three warm and wild eyes.

On my back and tumbling
Down that hole and back again
Rising up
And wiping the webs and the dew from my withered eye.

In… Out… In… Out… In… Out…

A child’s rhyme stuck in my head.
It said that life is but a dream.
I’ve spent so many years in question
to find I’ve known this all along.

“So good to see you.
I’ve missed you so much.
So glad it’s over.
I’ve missed you so much
Came out to watch you play.
Why are you running?”

Shrouding all the ground around me
Is this holy crow above me.
Black as holes within a memory
And blue as our new second sun.
I stick my hand into his shadow
To pull the pieces from the sand.
Which I attempt to reassemble
To see just who I might have been.
I do not recognize the vessel,
But the eyes seem so familiar.
Like phosphorescent desert buttons
Singing one familiar song…

“So good to see you.
I’ve missed you so much.
So glad it’s over.
I’ve missed you so much.
Came out to watch you play.
Why are you running away?”

Prying open my third eye.
So good to see you once again.
I thought that you were hiding.
And you thought that I had run away.
Chasing the tail of dogma.
I opened my eye and there we were.

So good to see you once again
I thought that you were hiding from me.
And you thought that I had run away.
Chasing a trail of smoke and reason.

Prying open my third eye