Joe Henry @ Great American Music Hall, SF, 3.5.10

Posted by Chris Campbell at Saturday, March 06, 2010 0

Last time I saw Joe Henry was June of 1999 at Maxwell's in Hoboken. I remember the night almost perfectly. I drove from my mom's home to the show, stayed for a fantastic set, spoke to Henry briefly, had him sign a napkin and I was off. One of the those very few nights back then when there were no endless pints of beer and booze. Just music.

Henry's music has taken numerous shifts over the years. Originally teaming up with The Jayhawks and other singer-songwriter Americana types, Henry has moved pretty swiftly towards jazz. Where 1992's Short Man's Room is a straightforward songwriter record, 2001's Scar and last year's Blood From Stars sound absolutely nothing like the artist of the early to mid-90s. Literally unrecognizable, except the vocals. In addition to his own records, he's proven to be one of the world's best producers, working with such legends as Solomon Burke, Betty Lavette, John Doe and Allen Toussaint.



Last night was about Blood From Stars,, which meant stand-up bass, sax, drums and keys. His band was absolutely wonderful, especially his drummer who snapped furiously at times, but swept beautifully at others. The Stars songs took on a new life live. After about ten songs, I couldn't contain myself and yelled for "Our Song," one of most touching songs in Henry's deep catalog. He recognized my request with, "I'm not sure I have the posture for that" or something of the sort. But one song later came the words, "I saw Willie Mays...." and that tingle ran down my back. Henry introduced the song by saying that his best songs are written quickly; however, "Our Song" took about six months. Man, was it worth it. Next came a gorgeous take on 1996's "Trampoline" that closed with a full band snap and stop that had the 200 or so in the room roaring. And yes, we got "Civil War."

Joe Henry is one of the major talents of the past 20 years, both on the recording front and the production front. It took me 11 years to land back in a room with him. Hopefully our next visit won't take so long.

Son Volt @ The Fillmore, San Francisco, 12.9.09

Posted by Chris Campbell at Wednesday, December 09, 2009 3

I have been in my apartment all of about three minutes since arriving home from this show. Although The Fillmore's only about ten blocks from where I sit right now, I literally made it home in about 1.4 minutes. I had to write this while it was all still with me.

From 1995-1999, I would guess that I saw Son Volt perform about thirty times. I drove from Boston to New York the day before a final to see them on an absolutely freezing New York night at The Bottom Line. I saw them close Tramps in New York. Man, I saw them all over the East Coast. I made another trip from Boston to South Orange, NJ to visit a buddy at Seton Hall and head out that night to see them at some hilarious club that must've doubled as a strip joint. I never missed a show. They were that good. And Jay Farrar and his band were integral to my exploding obsession with music. Their debut, Trace, was in my CD player for about three years straight. And so were the two follow-ups.

And then Farrar put the band on "hiatus." He released a few solo records, the highlight being 2001's Sebastopol, but his solo work, and shows, just couldn't match the magic that was Farrar with the Brothers Boquist and Mike Heidorn. And then in 2005, he reformed Son Volt, but legal wranglings of some sort left the original members, with the exception of Farrar, out of the band.

Since they've reformed, the lineups have shifted around numerous times. Since Farrar originally put Son Volt on pause back in 1999-2000, I think I've seen Jay solo or Son Volt maybe six times. To my ears, they just weren't the same band. The records were still fairly strong, especially 2005's Okemah and the Melody of Riot, but they just didn't match the three fantastic records of the 90s. And the live shows missed Jim Boquist's harmonies and his brother Dave's beautiful playing on just about every string instrument they could fit onstage.

This all changed tonight. I used to call those Son Volt shows throughout New York, Hoboken, Providence, Boston and all over the coast, some of the best shows I've ever seen. And they were. But tonight may have very well been the best Son Volt show I've ever seen. If you asked me the possibility of writing that sentence three hours ago, I would've guessed that I'd have better odds of being nominated the next Supreme Court Justice.

The Fillmore tonight brought in a decent crowd, larger than I expected for a band whose heyday seemed to have passed. By the second song, "Feel Free," as I stood about ten feet from Farrar, I was starting to get that feeling. All thoughts removed. Pains and scars put on damn hold. By the time they plowed through "Ten Second News," "Dust of Daylight" and "Jukebox of Steel," I had started to escape, but I wasn't totally there yet. And then came "Methamphetamine." You could see an almost reborn Farrar rising to the occasion. As guitarist James Walbourne (Peter Bruntnell, Pernice Brothers, The Pretenders), who put on a performance I won't soon forget, tore through yet another song, witnessing the exchanges between Walbourne and Farrar was priceless. I had a beer with Walbourne about ten years ago in Austin. He was a young kid then (and doesn't look like he's aged an hour since), and he talked about Jay Farrar being his hero. Seeing them in some moments tonight, you couldn't tell who was looking up to who. But there were plenty of smiles and the pure joy of what they were creating onstage did not appear lost on either of them.

"Big Sur" hit home in more ways that I can possibly explain. Not only has the Farrar/Gibbard record nailed me to the core, but the entire story and the words that fall on the pages of the Kerouac novel have had a huge impact on me over the past few months. They closed the set with a charging back-to-back of "Bandages and Scars" and "Afterglow 61" that was entirely reminiscent of the surge and power of Crazy Horse or The Stones. Yes, it was that damn good.

Early Son Volt staple "Windfall" was delivered in the encore. After 15 years, I thought this beautiful song was ready for retirement. But tonight's version was completely new, yet didn't betray the original beauty. It was absolutely perfect. Doug Sahm's "I'm Not That Kat Anymore" had such a Stones feel that if I closed my eyes, I would've heard Keith and the boys feet from me. The room was going nuts. Closing the show with a blazing version of Waylon Jennings' "Are You Sure Hank Done It That Way?" left me gasping for air.

I am absolutely full of life right now. And it was this new version of Son Volt that injected it into me. For the first time in a decade, I no longer miss the original lineup. Tonight's band is Son Volt. This was an amazing rock and roll performance, led by one of the most important songwriters of our time. But tonight was more about the fury and spirit that was pouring out of these five guys. And as they walked offstage, you could see in their eyes that they felt it too.

Son Volt is Jay Farrar, James Walbourne, Andrew Duplantis, Mark Spencer and Dave Bryson

Bob Dylan @ Greek Theatre, Berkeley, Oct 11, 2009

Posted by Chris Campbell at Sunday, October 11, 2009 0

I can't say I went into this show expecting much. Bob Dylan probably stands on rung three of my all-timer list, but at age 68, and following two somewhat lackluster records, I figured there'd be some moments, but after seeing Springsteen exactly a week prior, I would likely leave the venue a bit underwhelmed. I was spot on.

As always, Dylan's band, led by the fantastic Charlie Sexton, was dynamic, loud and impassioned. But Bob's ten-year or so run with a bluesy, rollicking live feel, just doesn't do justice to his work. Granted, I don't expect him to strap on an acoustic, call up Baez, and lead into "Chimes of Freedom," but just a hint of what made Bob Dylan the greatest songwriter ever to live would have been nice. Instead, the band dominated the set and Bob almost looked like a prop.

On the positive side, "The Man In Me" and "Tweedle Dee & Tweedle Dum" were fantastic. These tunes were early on in the set and offered up hope that the show may take a turn. But it never did. Right when you thought he'd hit a bit of a stride, a clearly physically rickety Dylan just couldn't muster up the spirit. "Highway 61 Revisited" was barely recognizable nor was "Ballad of a Thin Man."

"All Along the Watchtower" closed the show, clearly a bone to the Dead/Phish contingent. About a minute through the song, my buddy and I were already stepping towards the exits. When a bunch of us met at a pub after the show, despite what I've written above, I was actually the most positive about the show. One friend actually said it "sucked." I wouldn't go that far, but this was basically Dylan's band, and when a Saturday night show ends before the clock strikes 930pm, well, it's pretty clear that the zeal's just not there.

Bruce Springsteen @ Giants Stadium, Oct 3

Posted by Chris Campbell at Sunday, October 04, 2009 0

It's now automatic to hear one of my Springsteen brethren midway through a set say, "best Springsteen show ever." Of the three friends I went with last night, two said this before the encore, and trust me, these fellas are far less prone to hyperbole than well, me.

Amazingly, I haven't seen Springsteen with the E Street Band since The Rising tour. I caught him on the Seeger Sessions tour, but it's now three E Street records since I've caught the full band. A few YouTube clips and a somewhat comical Super Bowl performance led me to believe that Bruce and the band had finally moved past their prime.

Dead wrong.

Last evening's show, which featured a complete performance of Born in the USA was as good as I've seen the band since they've reunited. Springsteen has barely lost a step and he sang every note with the same passion that he did at the Bottom Line in '75 or MSG in '78. "Out in the Street," normally a bit of a middle-of-the-road tune, had the stadium hopping and from that song on, I was taken. See, this is what a Springsteen show does for the fan. It not only takes you away from everything, but simultaneously brings you in. Every song has meaning, every song is a story and every line allows us to dream and wonder. The encore, highlighted by Tom Waits' "Jersey Girl" (stunning), "Kitty's Back" and "Detroit Medley" was pure euphoria. As they closed the show with "Thunder Road," I looked around and saw hundreds upon hundreds of smiling faces. This is the magic of Bruce Springsteen. And this has always been his magic. It's more than just a performance. It's a world he's created and a world that exists in cars, factories, boardwalks and the roads the lead us somewhere. It's a world that's Bruce Springsteen's as much as it's ours. And for three hours on a Saturday night, we shared in it all.

Wilco & Okkervil River @ Greek Theatre, Berkeley, 6.27.09

Posted by Chris Campbell at Sunday, June 28, 2009 4

Every city has its venues that for better or worse are prompt when it comes to set times. The Greek Theatre in Berkeley is one of those. Show time on my ticket stub read 730pm. Given my interest in the opener, Okkervil River, I arrived at the gates around 720pm. As I made my way to the side stage, Okkervil were a few seconds into their first song. I checked my watch: 727pm. That is not prompt, it's bs. Maybe the venue thinks no one's there to see the opener, but I was.

As I turned the corner into the beautiful Greek Theatre, nearly all seats were already spoken for. I drifted around the lawn and eventually found some friends about midway between the stage and the back of the venue. Perfect. Okkervil's set was quick but solid. The crowd seemed fairly ambivalent, which is somewhat surprising given the similarities between the bands.

And then came Wilco. The arguments from Wilco purists down to the recent converts is often about as tiresome as it gets. Yes, they've changed. Yes, they've had a lot of lineup changes. But there's little sensible argument against their output from 1994 to date. They have released seven records, nine if you count the Mermaid collaborations, and they have yet to release anything even close to a clunker. I can count on but one hand or maybe no hands, acts that can claim that consistency. They are arguably the best band since R.E.M., and have outdone their mentor on the longevity note. R.E.M. were great for ten years. When they turned the corner to crap in 1994, Wilco grabbed the proverbial torch.

I have now seen Wilco about 40 times. Maybe 35. Maybe 50. I have never once been disappointed. I've actually never left without feeling an almost all-encompassing feeling of euphoria. They are the one band that can take all the pains, doubts and nerves of a day and give you two-plus hours of freedom.

Last night was no exception. This lineup, now together for five years or so, is about as tight as Wilco's ever been. "A Shot in the Arm," the third song on the set list, brought on a fairly explosive response from the crowd, and a look around the audience revealed singalongs, bear hugs and a general sense of communal appreciation. Many of Wilco's weaker songs on record, turn into their strongest songs live. "At Least That's What She Said" and "You Never Know" are joyous live, while staples such as "I Am Trying To Break Your Heart" and "Impossible Germany" prove that a band consisting of mostly 40-somethings can deliver rock n' roll with an urgency and potency just as they did back in the mid-90s.

As the moon hovered over the theatre, fans were treated to the back catalog gems "Box Full of Letters" and "Misunderstood," two songs that quickly brought back thoughts of Jay Bennett. As much as I love the latest lineup, and as much as they pulled these songs off, these songs just aren't the same without Bennett's dreads flying on the former and his quirky keyboard fills on the latter.

After the show, I learned that the Greek holds about 8000, which was shocking given how intimate this show felt. Maybe it was the crowd, which over time, has become about as diverse a crowd as you'll see at a live show. There are the lifers (me), the hipsters, the families, damn, even some deadheads. But it's about as respectful and appreciative an audience as you'll see, and much of that has to do with the consistent and moving goods delivered by Tweedy and company.

Damien Jurado @ Bottom of the Hill, SF, 5.5.09 (Photo)

Posted by Chris Campbell at Wednesday, May 06, 2009 0

, originally uploaded by ccsbandwagon.

Justin Townes Earle made it almost until summer as the top show of 09. Well, tonight at Bottom of the Hill, before a near-packed room, Damien Jurado put on a tremendous show. As he closes out a long tour, Jurado looked to the crowd, "Wow, I didn't expect this many people to show up." And for an early week show that got underway around 1030, neither did I.

It was basically a best of Jurado set, highlighted by "Medication" (no pin dropped, but you would've heard it), "Coats of Ice," "Ohio" (again with the pin), "Gillian Was a Horse," "Letters and Drawings" (people were pumped), "I Can't Get Over You," and at least a dozen others. And as I just scoured my iTunes to recall the songs he played, I'm amazed at how many incredible songs he didn't play. In ten years or so, this fella has built a massive collection of great songs.

On a breezy and misty Tuesday night in San Francisco, Damien Jurado gave about 200 people all he had. And he seemed to appreciate us just as much as we appreciated him.

Coachella 2009

Posted by Chris Campbell at Monday, April 20, 2009 0

Overall
The festival is run quite well. Parking is a breeze and it's but a 15 minute walk or so to the gates. There are more than enough bathrooms. The food is surprisingly good for a festival. A bottle of water only runs you $2. Sure, it's scorching hot during the day, but this is known going in. There's a slight overflow of sound between the two main stages, but it's not enough to overpower or ruin a performance.

Brief Reviews of the Bands I Caught

M. Ward Run-of-the-mill set from Ward. If you've never seen him, I'm sure it was enjoyable. I was a bit bored.

Conor Oberst & The Mystic Valley Band I've never been a fan of Bright Eyes, but I did find myself listening to his latest solo record a bit. That said, his set was pretty bad, and he has the charisma of Bobby Jindal. This guy should *not* speak in between songs.

Leonard Cohen I've never understood the whole *legend* status thing about Leonard Cohen. However, it was a good set. I was thrilled to hear "Everybody Knows."

Morrissey A very pleasant surprise. I'm not a Smiths fan. I suppose that could change soon.

Paul McCartney "Blackbird" alone was worth the eight-hour drive. I can't believe I'm confessing this, but we left early. It was a mistake. But I'm old and grumpy.

Henry Rollins Always entertaining.

Calexico Always kinda mediocre. Alright, slightly better than mediocre.

Fleet Foxes Boring. Oh my god, they have great harmonies! So do about 34,000 other bands. The harmonies alone don't carry these mandle-wearing-greasers.

Band of Horses Quite nice.

M.I.A. Ever since she's buddied up to the hip hop folks, her shows have suffered. I saw her at Amoeba around the release of her first record and it was mighty fine. Now it's just a bit too over the top. And the attitude's getting just silly.

Okkervil River These guys just get better and better.

Brian Jonestown Massacre Fantastic. No antics, just full-throttle damn rock n' roll. Perfect set.

Antony & The Johnsons I could only bear three songs. Awful.

Paul Weller Quite nice. He brought Johnny Marr on for a tune which was a nice bonus.

My Bloody Valentine I can't believe I'm going to type this, but I actually liked their set quite a bit. We sat in the back and I kept my eyes on the sky during their entire set. It was pretty powerful.

I shot the following video of Okkervil's "Black" on my awful Sony digital.

Jason Isbell & 400 Unit w Justin Townes Earle @ The Independent, SF, 4.3.09

Posted by Chris Campbell at Saturday, April 04, 2009 2

It's rare to get a double-bill as promising as former-Trucker Jason Isbell and a son of Steve Earle. Connections aside, it was the artist's work that made this bill so appealing.

JT Earle took the stage alongside a mandolin/harmonica/vocalist who matched Earle's Hank Williams/Carter Family singing and playing to perfection. At the outset, Earle's throwback style, complete with back-and-forth banter about "riding trains from Memphis to Nashville," among many other simple and charming bits, seemed slightly contrived, but once you let your guard down, it's clear that it's absolutely not. Earle's a fantastic singer, a solid lyricist and has a stage command that, despite being unique in its own right, was clearly borrowed from his pop. "Mama's Eyes" was the highlight of the night, but every single song was met with exuberance from the nearly-packed room. Whenever Earle would be close to wrapping up a song, you could sense the room ready to explode, and just a few seconds later, that it did. "They Killed John Henry" brought the depression to the present and the communal feel seemed to cross from one side of the room to the other. Justin Townes Earle may still be living during the days of the Carter Family and Hank Sr., but based on last night's performance, he's right where he should be.



Isbell and the 400 Unit seemed a bit taken aback as they hopped onstage following the incredibly well-received opener. The hesitation seemed clear as they moved through the first song, but by the time they settled in on to the beautiful "Chicago Promenade," they were in full stride. As the bottle of whiskey went from one player to another, Isbell's confidence rose in songs ranging from the DBTs' "Danko/Manuel" to his own "Cigarettes and Wine" and the beautiful "Dress Blues." An absolutely rousing version of The Talking Heads' "Psycho Killer" had the room swinging. When the crowd wasn't gripped by the words, they were leaping up and down to a rock band in perfect form.

This is a fantastic double bill. As I headed home on the San Francisco streets, I felt full of country and rock and roll, spanning what seemed to be almost 100 years.

Yo La Tengo @ Southpaw, Brooklyn, Sept 2003 (Pic)

Posted by Chris Campbell at Thursday, January 15, 2009 0

Yo La Tengo @ Southpaw, Brooklyn, originally uploaded by ccsbandwagon.

This is one my favorite personal band photos. This was taken prior to having a digital camera. Similar to how I use my digital SLR, I had no clue how to manipulate the camera to get the right shot. Instead of actually reading manuals and learning about shutter speeds, aperture and lighting, I always just wing it. Once in a while, I get lucky. Whenever I show folks this picture I'm usually met with a very unimpressed, blank gaze. Nevertheless, it's always been a favorite of mine.

This was taken at Southpaw in Brooklyn. Yo La Tengo was on hand for Alejandro Escovedo benefit.

From Dems Good Beeble to the Jesus of Cool

Posted by Campbell at Sunday, October 05, 2008 0

The weekend began with a raucous night of music Friday with The Gourds in North Beach. Before a crowd of Oracle suits (private party), I was treated to one of the best Gourds sets in perhaps a decade. They covered most of their catalog, including obscure favorites such as "Up on High" and "When Wine Was Cheap". A two-hour plus double-set reminded me, once again, that music can send a jolt through us that can quickly abridge the trials of the day.

Saturday was a trip to Golden Gate Park to see Gary Louris & Mark Olson, followed by Nick Lowe. The former were good, but this reunion of sorts, still seems to be lacking the honest bond that existed between these two while co-fronting The Jayhawks. Nick Lowe took the stage alone and had the thousands spread over the grass gripped. The set closer, "(What's So Funny 'Bout) Peace, Love and Understanding", was delivered with such truth and subtle delivery, that I'm certain a few tears were shed. It was the perfect unison of music, poetry and a statement about where we are in this world.

Someday Soon

Posted by Campbell at Monday, September 29, 2008 0

There are certain moments, or maybe days, that seem to put things in perspective. More often than not, we're not exactly looking or reaching for that moment, but somehow it grabs a hold and we gather something. If we're lucky, we can make some sense of these often fleeting pinches of time. But usually an explanation is lost in the same way that one loses that dream within a moment of opening one's eyes.

Yesterday morning I hopped on the highway and traveled south about three hours down Highway 1. I hadn't been to Big Sur since January 1 of 2005, but this visit was more for the music than for the beautiful scenery, though I was certain that both would play a part. When I arrived at the Henry Miller Library grounds, I was struck by the beauty of this tiny corner of Big Sur. Lying deep below a surrounding mountain, the library is tiny, but rests on a small grassy area that provided the setting for the music.


The first few acts were ok, but as the sun slid behind the mountain wall, on walked Will Oldham and Emmett Kelly, better known as Bonnie "Prince" Billy. The lawn was packed, but everyone appeared to be comfortably situated as the fog rolled in and Bonnie "Prince" Billy began. A few songs into their full set, I began to realize that this was far from your standard collection of songs. The view around us all was absolutely breathtaking and Billy's music was a compliment to the land that left my throat tightening up. And then came "Strange Form of Life" from 2006's The Letting Go. As the verse drifted off and Kelly gradually strummed that beautiful guitar-part, I was there. For a few seconds, I looked to the trees, the sky, the mountain wall, and then closed my eyes altogether. I was literally inside the moment. And then it was gone. It had meaning, but I'm not sure exactly what. But the remnants sat with me for the rest of the day, and will likely provide a trail to somewhere.

Bonnie "Prince" Billy @ Henry Miller Library, Big Sur (Photos)

Posted by Campbell at Monday, September 29, 2008 3

Treasure Island - Sunday

Posted by Campbell at Sunday, September 21, 2008 2

I didn't make it out Saturday, but given Sunday's experience, this festival has taken a major dip in its sophomore year. Not only was the lineup quite weak, but the small touches that made last year so wonderful were absent. Last year's VIP purchase brought you to a backstage area that included pool tables, a long and cozy bar, buckets of fruit and various games. In this year's VIP area you had a bar. Last year's concession stands were chock-full-of vegetarian and locally grown foods. This year my only option was a wrap filled with lettuce and tomatoes.

But there was one major highlight and that was Austin's Okkervil River. I've been a fan of Okkervil for some years, but their latest two records, The Stege Names and The Stand Ins (released last week), have placed this band among the most important acts making music today. And today's set in the middle of a Sunday on a small island in San Francisco, was one of the most inspired sets of music I've seen this year. And just when I thought the magic was over, following their set, I found myself standing next to Okkervil's lead singer Will Shelf at the bar. And just like that moment in 1995 when I found myself alongside Wilco's Jeff Tweedy on the outskirts of Boston, I had to seize the moment. Because regardless of age or circumstance, there's something about music that can turn some of us into starry-eyed kids.

Beck Covering Daniel Johnston

Posted by Campbell at Monday, September 01, 2008 0

After witnessing the show of the year last night, Beck at the Independent, I've spent most of this lazy day off listening to Modern Guilt and The Information, the two Beck records that I've never given enough time.

After making it through the two, I searched the iTunes folder for more obscure Beck tracks. The first song I found was Beck's beautiful cover of Daniel Johnston's "True Love Will Find You In the End".

Wilco @ Outside Lands

Posted by Campbell at Sunday, August 24, 2008 0

One thing is certain: my cell phone takes terrible pictures.

I passed on day's one and two of Outside Lands, but a good friend offered up a freebie today, and given that Wilco were on the bill, well, ya know. I arrived in time to grab a $7 beer and head over to see the Drive-By Truckers. The last time I caught the DBT's was in LA about two years ago. The show in LA was fantastic. The show today was not. With the exception of one or two songs, this was just a loud noodlefest.

I then moved across the park to land a good spot for Wilco. We arrived in time to catch the entire Broken Social Scene set. I've never liked this band on record, and live they were just as tedious. When they introduced Spiral Stairs, formerly of Pavement and Preston School of Industry, I think I was one of maybe nine people who recognized the name. My age was showing.

Wilco opened with "Remember the Mountain Bed" which was absolutely stunning. The rest of the set was solid, but they appeared ready to pack up and get offstage as soon as possible. And who could really blame them? For $110/day, this three-day lineup was pretty dreadful. Once again, perhaps my age is showing.

Wilco's set:
Remember the Mountain Bed
Company in My Back
You are My Face
Spiders
Hummingbird
I Am Trying To Break Your Heart
Handshake Drugs
Jesus, etc.
Impossible Germany
Via Chicago
California Stars
Hate it Here
Walken
I'm the Man Who Loves You

Juana Molina @ Yoshi's, SF 8.13.08

Posted by Campbell at Wednesday, August 13, 2008 0

I can't remember the last time that I was glued into an artist's performance for more than twenty straight minutes. Tonight at Yoshi's, I barely recall the last thirty minutes of Juana Molina's performance.

After dealing with some weak table service and adjusting to this new venue, once I settled in and turned to the artist, I experienced complete tunnel vision. Pardon the cliche(s), but all the worries of the day were swept away and I was experiencing something beyond just music. Oh, it may sound odd, but during one stunning song, I kept seeing the ocean. During another, I saw hills and fields. The music coming from this one woman and some looped recordings wrapped around me and I couldn't poke through. And boy was it an amazing feeling.

I usually experience this maybe once a year, if I'm lucky. I've covered the most memorable shows in previous blogs, and tonight's performance doesn't stand with the best of them all, but it certainly was special. I can't recall a better show this year. Juana Molina. Who knew? What a beautiful voice. What elegant delivery and presence. And most importantly, what a nice step away from today's weight.

Slobberbone @ Dan's Silverleaf Last Night

Posted by Campbell at Wednesday, July 16, 2008 0

The best full-on rock band of the past decade gets together for one night, and I'm at home watching the tedious All-Star game.



Slobberbone, Dan's Silverleaf, Denton, TX, 7/15/08
barrel chested
lame
that is all
front porch
stumblin
find the out (scott danbon on piano)
lazy guy
pinball song
billy prichard
engine joe
gimme back my dog
lumberlung (scott danbon on piano)
sober song
placemat blues
i'll be damned
springfield, il
MELDTOWN (scott danbon on fiddle)
can't hardly wait (replacements cover)
get gone again
haze of drink
whiskey glass eye
big time (neil young cover)

Introducing Big Light

Posted by Campbell at Friday, June 27, 2008 0

Last night's show at 12 Galaxies was one of the most inspired sets I've seen in months. When you can upstage a band as dynamic as Apollo Sunshine, then you're clearly heading to good places.

Now go buy the EP and if they stop into your town, head on out. Here's their itinerary:

Jun 26 2008
12 Galaxies - EP Release Party w/ Apollo Sunshine San Francisco, California

Jul 4 2008
High Sierra Music Festival Quincy, California

Jul 6 2008
High Sierra Music Festival Quincy, California

Jul 8 2008
Spaceland - opening for Surprise Me. Mr. Davis Los Angeles, California

Jul 9 2008
SoHo - openeing for Surprise Me Mr. Davis Santa Barbara, California

Jul 11 2008
Moe’s Alley - Opening for Surprise Me Mr. Davis Santa Cruz, California

Jul 12 2008
Cafe Du Nord - opening for Surprise Me Mr. Davis San Francisco, California

Jul 18 2008
Little Fox Theatre - opening for The Mother Hips Redwood City, California

Jul 31 2008
12 Galaxies w/ Charles Gonzalez & The Stereo Glitter San Francisco, California

Aug 28 2008
12 Galaxies San Francisco, California

Sep 25 2008
12 Galaxies San Francisco, California

Oct 30 2008
Las Tortugas Dance of the Dead III Groveland, California

Oct 31 2008
Las Tortugas Dance of the Dead III Groveland, California

Nov 1 2008
Las Tortugas Dance of the Dead III Groveland, California

Nov 2 2008
Las Tortugas Dance of the Dead III Groveland, California

Nov 27 2008
12 Galaxies San Francisco, California

Springsteen & E Street Band Perform Darkness and BTR Front-to-Back

Posted by Campbell at Thursday, May 08, 2008 1 comments

This has to be one of the most historic shows in Springsteen's 35+ years of performing. 1978's Darkness on the Edge of Town still stands as my favorite record of all-time, while 1975's epic Born To Run is the greatest full-on rock n' roll record ever recorded (Sorry Bob, Highway 61 Rev. is a very close second).

As he wrapped up the US leg of the Magic tour, Springsteen and the band headed home to the Count Basie Theatre in Red Bank, NJ and shocked the crowd by performing both records in their entirety. Audibles and surprises are common occurences at Springsteen shows, but this is in an entirely different league. I simply can't imagine the emotion, energy and awe-struck eyes running through that music hall.

I will now listen to Darkness. And then BTR

Jens Lekman @ Bimbo's

Posted by Campbell at Sunday, March 23, 2008 1 comments

Fantastic set last night. Lekman is very similar to Josh Rouse live: great grooves/spirit, captivating stories, songs that just make you happy. His storytelling around the song "A Postcard To Nina" will likely end up being a major highlight of '08.

It took me about a year to finally *get* Jens, but now that I do, I doubt that I'll ever miss another one of his stops through SF. Thanks, AM.