Whoa.
Pyrotechnics?
A bonfire in the back from a tin can?
Bikers?
Drunk men and women of various ages, styles, and degree of attractiveness?
Full on marching band complete with cheerleader strippers?
A 24 pack of Sierra and assorted Bass and Stella's at hand?
And a boxing ring in the middle where there are two girls wrestling each other with their bare hands?
All this for $5? Either I was in a real-life Fight Club or the bible got hell all wrong.
Welcome to the spectacle that is the East Bay Rats Fight Party & Carnival. This thing was probably the weirdest and most obscure thing I have ever seen. Yet, it was probably the most surreal and one of the most memorable nights I've had in a while.
As my friends and I were walking towards the warehouse, we can hear the loud sounds of engines, explosions, and the roar of the crowd from the inside. When we reached the entrance, a whole line of motorcycles were outside and was accompanied by a Volkswagen van that was so altered that the guys from Pimp My Ride would have been proud of it. I didn't know what to expect, especially since this isn't a scene that I'm really familiar with. I honestly thought, at that point, that I made a big mistake dragging my friends to this event.
However, all those preconceived notions were immediately thrown out the window when my eyes were greeted to the sight of a boxing ring where two guys were slugging the living crap out of each other. I was intrigued, so I moved closer. After I reached for a beer in my friend's bag, I suddenly became more into the event, becoming more thrilled as each punch landed. After this bout, I looked around and was amazed by the environment. Plenty of people all around of different backgrounds and ethnicities, a huge pyrotechnic set up in the far corner, a huge stage on the left for the band, and a blazing bonfire in the back. This was awesome!
My attention immediately focused on the ring yet again when a semi-attractive woman and her alleged sister or friend engaged in a wrestling match. At first, the match was boring because they would pull their hair and immediately both would end up on the mat. But then, the fight got better. At the start, these two girls were playful with one another, but now they are turning into bitter enemies. The hair tugging was more intense, there was real anger in each of their faces, more pushing and shoving, and then...the kicking started. Oh, yes! This was such a beautiful sight.
More of these types of matches went on and time definitely flew by. Most of the matches involving the men were entertaining, but some of them were just way too drunk to fight. For example, Fu Man Chu vs. Smitty was a great match to watch, but Smitty was way too drunk and everytime he would throw a punch, he would be falling soon thereafter. Fu Man Chu did get some good hits in there since Smitty was bleeding for most of the time. Another was the battle of the Big Black Guys, where the guy that belonged to the East Bay Rats was clearly drunk out of his mind to fight. They did give it a good go, but both of them were too tired and drunk to continue.
The girl fights were definitely the highlight of the evening because, let's face it, they're more entertaining to watch! DKNY vs. Whitie was a good one, with DKNY (a rather large African-American woman) got some good hooks and jabs against Whitie. However, despite the mismatch, Whitie stood her ground and fought DKNY hard. Another match was the Asian Girl with the Pink Streaks vs. Girl with Red Shirt. Asian Girl landed some great punches on Red's head and torsoe, and vice versa. Definitely the highlight match of the night, with Asian girl winning the bout.
While all these matches were unfolding, bands would play on the sidestage. Two punk bands played but were largely ignored by the crowd because they sucked. However, the Extra Action Marching Band stole the entire event. This group consisted of a full on marching band and they sounded fabulous, especially since their tunes were accompanied by people beating the crap out of one another. Then, the cheerleader strippers, which consisted of two flat chested women and one man with a thong performed cheers for the crowd while Extra Action were playing. It was fantastic! However, the dude with the thong was just way too disgusting to look at. Grotesque!
Overall, a memorable night. One of the most entertaining and awesome spectacles to date!
Beer Rating: 1 Beer
26 January 2005
The French Kicks (Bottom of the Hill, 22 January 2005)
It was a chilly Saturday evening in San Francisco as I arrived at the Bottom of the Hill. Surprisingly, there was a line outside the door full of kids waiting in the hope that the venue wouldn't fill to capacity. The place was packed and I was just checking to see whether I was at Arcade Fire again or something. Because, I would have never thought that the French Kicks would attract this many people.
So, yes, the place was packed. It was as if I was a lost cow in Coalinga - just going through herds upon herds of bodies. As I was trying to find my way through the place, Dios (or Dios Malos) were playing. I only have their EP, the really good Los Arboles EP. They played many songs that were, obviously, not on the EP and I found them rather enjoyable, although a bit repetitive. Repetitive in a sense that Kevin Morales' voice doesn't vary much and their songs blend some classy pop elements without any sort of "adventure" in any of their instrumentation. Probably the most enjoyable part of their set was when some woman decided to take Kevin's beer and splashed its contents on him, partially getting his equipment wet. I stiill don't know what was behind that fiasco, but apparently the band knew who this woman was.
On came the French Kicks a short time later. I couldn't believe how tall Nick was. I mean, I saw therm perform on Later with Carson Daly and knew he was tall, but he seemed taller than life on stage. I was excited to see this band, since their new album, The Trial of the Century, was a dramatic improvement over their debut release, One Time Bells. The band started off with their "hit" off One Time Bells "Wrong Side." This immediately ignited the crowd, and caught my attention. I was surprised that they played this song first, since it is a type of song that a band would save for their encore. The band were into it, with Nick playfully eyeing the crowd.
However, that was probably the best moment of the Kicks' entire set. The songs from that point just all blended together, and the band themselves weren't exactly the most exciting to watch on stage. "Don't Thank Me" was played well, but it failed to really catch my attention. "Oh Fine" did catch my attention, with Nick clapping his hands, but I was so inattentive after the opening drums that I almost fell asleep.
I think this review is really unfair on The Kicks because I really do think that they are an excellent band, with strong tunes. However, I may have to categorize them as one of those bands that you can just listen over and over again on your iPod but yet feel empty when you see them live. Although Nick makes a great effort in trying to entertain (the man looks like Topher Grace to me, but that's my opinion), the band just lacks the "ooomph" that I thought would be forthcoming.
Then again, I love Oasis and they don't do jack shit on stage. Eh, go figure.
Beer Rating: 3.5 Beers
So, yes, the place was packed. It was as if I was a lost cow in Coalinga - just going through herds upon herds of bodies. As I was trying to find my way through the place, Dios (or Dios Malos) were playing. I only have their EP, the really good Los Arboles EP. They played many songs that were, obviously, not on the EP and I found them rather enjoyable, although a bit repetitive. Repetitive in a sense that Kevin Morales' voice doesn't vary much and their songs blend some classy pop elements without any sort of "adventure" in any of their instrumentation. Probably the most enjoyable part of their set was when some woman decided to take Kevin's beer and splashed its contents on him, partially getting his equipment wet. I stiill don't know what was behind that fiasco, but apparently the band knew who this woman was.
On came the French Kicks a short time later. I couldn't believe how tall Nick was. I mean, I saw therm perform on Later with Carson Daly and knew he was tall, but he seemed taller than life on stage. I was excited to see this band, since their new album, The Trial of the Century, was a dramatic improvement over their debut release, One Time Bells. The band started off with their "hit" off One Time Bells "Wrong Side." This immediately ignited the crowd, and caught my attention. I was surprised that they played this song first, since it is a type of song that a band would save for their encore. The band were into it, with Nick playfully eyeing the crowd.
However, that was probably the best moment of the Kicks' entire set. The songs from that point just all blended together, and the band themselves weren't exactly the most exciting to watch on stage. "Don't Thank Me" was played well, but it failed to really catch my attention. "Oh Fine" did catch my attention, with Nick clapping his hands, but I was so inattentive after the opening drums that I almost fell asleep.
I think this review is really unfair on The Kicks because I really do think that they are an excellent band, with strong tunes. However, I may have to categorize them as one of those bands that you can just listen over and over again on your iPod but yet feel empty when you see them live. Although Nick makes a great effort in trying to entertain (the man looks like Topher Grace to me, but that's my opinion), the band just lacks the "ooomph" that I thought would be forthcoming.
Then again, I love Oasis and they don't do jack shit on stage. Eh, go figure.
Beer Rating: 3.5 Beers
22 January 2005
The Bravery (Cafe Du Nord, 21 January 2005)
Let's see:
1. Scenester Hair? Check.
2. Scenester Outfits? Check.
3. Booming guitars ? Check.
4. Accompanied by synths? Check.
5. Stage presence? Check.
6. Good music? Umm...good music? Anywhere?
The checklist above represents how the Bravery were like. All looks, no music. This is the new buzz band of the moment and NME is already heralding this band as the next Franz Ferdinand or the next Killers. Are they kidding me? You know, NME has mislead me many times throughout the years. When they said that Gay Dad back in 1997 was the next Blur, I bit on the bait and was sorely disappointed. Oasis' Be Here Now as the greatest Oasis release? Yeah right! I should have learned my fucking lesson when the NME said the same about the Bravery.
Don't get me wrong. On MP3, the Bravery can churn out the tunes. The incredibly catchy "Honest Mistake," "Unconditional," and "Fearless" are outrageously dancy that I find myself strutting down Market St. on my iPod sometimes. But such songs, for some reason didn't translate well live.
First, the Bravery were hindered by a non-working mic on the first 3 songs of their set. This immediately made me disinterested in their proceeding songs. Although the instrumentation was very strong, not being able to hear the lead singer's voice made the first 3 songs unbearable. In fact, I was yawning uncontrollably during these songs, despite "Unconditional" and "No Brakes" being a part of those songs.
Second, the crowd in the back sucked. There was no energy back there and it showed. Maybe because they were as turned off as I was with the mic being off, but others just didn't give a shit. It seemed like we were suckered by all the hype behind this band and we didn't get anything.
Third, even when the Bravery were audible, the lead singer's voice was just not strong enough for the mediocre PAs of Cafe Du Nord. His voice did not carry and it didn't enable me to be even remotely interested. Even "Honest Mistake," which is my favourite song by the Bravery, was just plain flat. Even their covers were flat. It just never flowed.
Finally, there were many personal circumstances which prevented me from enjoying this show. After seeing The Arcade Fire three times before this show, the Bravery had a lot to live up to. I wanted theatrics, like how Will and Richard would bash each other. I wanted a strong voices like Win. I wanted eye candy with the band like Regine. See what I mean? It was just not fair for the Bravery under the circumstances.
Without the music, your band of pretty boys is just that . . . a bunch of pretty boys. Haven't these guys learned from The Faint? They needed more synths! Hell, more cowbell would be great too!
This was how bad the Bravery were: their openers were better than they were. The first band sounded like how the Bravery would have sounded like if their mic worked. Honestly, I thought it was the Bravery playing when in fact it was only the opener. Even the Peels, which is a female fronted band which is not new wave band unlike the two others, energized the crowd with their strong guitarwork and the lead singer's Karen O. like presence.
Beer Rating: 4.5 Beers
1. Scenester Hair? Check.
2. Scenester Outfits? Check.
3. Booming guitars ? Check.
4. Accompanied by synths? Check.
5. Stage presence? Check.
6. Good music? Umm...good music? Anywhere?
The checklist above represents how the Bravery were like. All looks, no music. This is the new buzz band of the moment and NME is already heralding this band as the next Franz Ferdinand or the next Killers. Are they kidding me? You know, NME has mislead me many times throughout the years. When they said that Gay Dad back in 1997 was the next Blur, I bit on the bait and was sorely disappointed. Oasis' Be Here Now as the greatest Oasis release? Yeah right! I should have learned my fucking lesson when the NME said the same about the Bravery.
Don't get me wrong. On MP3, the Bravery can churn out the tunes. The incredibly catchy "Honest Mistake," "Unconditional," and "Fearless" are outrageously dancy that I find myself strutting down Market St. on my iPod sometimes. But such songs, for some reason didn't translate well live.
First, the Bravery were hindered by a non-working mic on the first 3 songs of their set. This immediately made me disinterested in their proceeding songs. Although the instrumentation was very strong, not being able to hear the lead singer's voice made the first 3 songs unbearable. In fact, I was yawning uncontrollably during these songs, despite "Unconditional" and "No Brakes" being a part of those songs.
Second, the crowd in the back sucked. There was no energy back there and it showed. Maybe because they were as turned off as I was with the mic being off, but others just didn't give a shit. It seemed like we were suckered by all the hype behind this band and we didn't get anything.
Third, even when the Bravery were audible, the lead singer's voice was just not strong enough for the mediocre PAs of Cafe Du Nord. His voice did not carry and it didn't enable me to be even remotely interested. Even "Honest Mistake," which is my favourite song by the Bravery, was just plain flat. Even their covers were flat. It just never flowed.
Finally, there were many personal circumstances which prevented me from enjoying this show. After seeing The Arcade Fire three times before this show, the Bravery had a lot to live up to. I wanted theatrics, like how Will and Richard would bash each other. I wanted a strong voices like Win. I wanted eye candy with the band like Regine. See what I mean? It was just not fair for the Bravery under the circumstances.
Without the music, your band of pretty boys is just that . . . a bunch of pretty boys. Haven't these guys learned from The Faint? They needed more synths! Hell, more cowbell would be great too!
This was how bad the Bravery were: their openers were better than they were. The first band sounded like how the Bravery would have sounded like if their mic worked. Honestly, I thought it was the Bravery playing when in fact it was only the opener. Even the Peels, which is a female fronted band which is not new wave band unlike the two others, energized the crowd with their strong guitarwork and the lead singer's Karen O. like presence.
Beer Rating: 4.5 Beers
18 January 2005
The Arcade Fire (The Troubadour, Los Angeles, 16 January 2005 [1st Show])
What a crazed, maniacal fan am I. After seeing Arcade Fire for two straight nights at the GAMH, and missing their third night there due to a trip to L.A. that weekend, I decided to shell out the bucks and see them (again) in L.A. This time, the venue was the Troubadour and I went to see the Arcade Fire play their early show on Sunday night. As you may already know, Arcade Fire had a two day, three show residency at the famed Troubadour, with them playing two shows on Sunday: a 6:30pm matinee and a 9:30pm prime time show.
Opening bands Tyco B and Final Fantasy once again joined the Arcade Fire on this part of the tour. The schedule was tight, so each opener was relegated to a set amount of time (30 minutes max). At around 7pm, members of the Arcade Fire started to enter the venue. At one point, during a brief pause in the Final Fantasy set, I yelled out, "Hey Win!" and Win looked around to see who it was. I raised my beer to assert my presence, he looked at me weird, but nonetheless waved hello. Yeah, I'm a freak. My girlfriend thought so at least.
At 7:45pm, Arcade Fire came on. Unlike their San Francisco shows, where they opened with "Wake Up" and "Laika," they instead opened up with "Tunnels" and, I believe, "Crown of Love." The set was shorter because of the time constraints, with standard setlist songs like "In the Backseat" and the Talking Heads cover of "This is the Place" missing from the setlist. Regardless, core favourites of mine like, "Power Out" and "No Cars Go" were present. Win called the early crowd the "polite crowd," since the night before, the L.A. crowd was really loud and active.
In the middle of the set, Win invited the singer of Tyco B on stage for them to perform "Cars and Phones," which is a demo performed by the Arcade Fire when the Tyco B singer was part of the band. Win said, "the San Francisco crowd asked for this song, so after a couple of days of rehearsing it, here it is." Apparently, this song is available on some P2P sites, but I have yet to hear the demo version. However, this live version is absolutely amazing and is very worthy of being an A-side in any upcoming Arcade Fire release. It's one of the softer songs, with heavy strings and acoustic guitar accompanying it.
The stage antics were again present here, with Richard and Will knocking the crap out of anything solid during "Laika," which was the last song of the main set. The band came on to perform one encore, "Wake Up," which was, yet again spine chilling from beginning to end.
After the short set, the crowd obviously wanted more! Talk was abundant amongst the audience on how they could sneak into the sold out second show. Others were saying that this was the "best show ever!" Nonetheless, the crowd was not disappointed and I'm absolutely certain that when Arcade Fire come around L.A. again, these same people will be there and they will take a few friends along to witness the glory. I brought my girlfriend along and thought that Arcade Fire put on an amazing show, so much so that she is probably listening to their album right now as I type.
Beer Rating: 0.5 Beers (just because it's shorter and it's in L.A.)
Opening bands Tyco B and Final Fantasy once again joined the Arcade Fire on this part of the tour. The schedule was tight, so each opener was relegated to a set amount of time (30 minutes max). At around 7pm, members of the Arcade Fire started to enter the venue. At one point, during a brief pause in the Final Fantasy set, I yelled out, "Hey Win!" and Win looked around to see who it was. I raised my beer to assert my presence, he looked at me weird, but nonetheless waved hello. Yeah, I'm a freak. My girlfriend thought so at least.
At 7:45pm, Arcade Fire came on. Unlike their San Francisco shows, where they opened with "Wake Up" and "Laika," they instead opened up with "Tunnels" and, I believe, "Crown of Love." The set was shorter because of the time constraints, with standard setlist songs like "In the Backseat" and the Talking Heads cover of "This is the Place" missing from the setlist. Regardless, core favourites of mine like, "Power Out" and "No Cars Go" were present. Win called the early crowd the "polite crowd," since the night before, the L.A. crowd was really loud and active.
In the middle of the set, Win invited the singer of Tyco B on stage for them to perform "Cars and Phones," which is a demo performed by the Arcade Fire when the Tyco B singer was part of the band. Win said, "the San Francisco crowd asked for this song, so after a couple of days of rehearsing it, here it is." Apparently, this song is available on some P2P sites, but I have yet to hear the demo version. However, this live version is absolutely amazing and is very worthy of being an A-side in any upcoming Arcade Fire release. It's one of the softer songs, with heavy strings and acoustic guitar accompanying it.
The stage antics were again present here, with Richard and Will knocking the crap out of anything solid during "Laika," which was the last song of the main set. The band came on to perform one encore, "Wake Up," which was, yet again spine chilling from beginning to end.
After the short set, the crowd obviously wanted more! Talk was abundant amongst the audience on how they could sneak into the sold out second show. Others were saying that this was the "best show ever!" Nonetheless, the crowd was not disappointed and I'm absolutely certain that when Arcade Fire come around L.A. again, these same people will be there and they will take a few friends along to witness the glory. I brought my girlfriend along and thought that Arcade Fire put on an amazing show, so much so that she is probably listening to their album right now as I type.
Beer Rating: 0.5 Beers (just because it's shorter and it's in L.A.)
14 January 2005
The Arcade Fire (GAMH, 13 January 2005)
Remeber how things that comes in two's are good? Wouldn't it be better if things came in three's? Such as three strikes against the opposing team? Three day weekends? Three wishes from a genie in a bottle (preferably not Christina Aguilera . . . well, maybe)? How does seeing three Arcade Fire shows in a month sound? Too good to be true? Well, add seeing them three times to the list.
Like my previous post, I thought that seeing them for the third time, the recent two in consecutive nights, will erode my interest and "awe" in them. And at the very beginning of their set during their second night at GAMH, I thought that albeit for only a brief moment. My friends and I secured a really good spot this time, front and center, to see the band in all their glory. Unfortunately, that spot had its consequences: we had to stand there and perish as opening bands Tyco B and Final Fantasy did their bit. Granted, I came in late (as usual) and saw Final Fantasy, but his schtick immediately wore off. This is especially the case when he did his avante garde bit with the yelling into the violin and even more random fits of shouting. Although Owen is very talented, I think his role is better suited as Arcade Fire's second violinist.
Arcade Fire came on much quicker this time, since their set-up is practically rooted at the GAMH stage for the next three nights. There really is no incentive to disassemble and re-arrange from the previous night. Like last night's show, the band came on with the same stage outfits and opened with the same two songs, "Wake Up" and "Neighborhood #2 (Laika)."
Although the same two songs came on, they were noticeably different from the night before. First, "Wake Up" didn't seem so great the third time around. Although it is still my favourite song from the album Funeral, the in unison shout of the band didn't seem to be that strong tonight. Maybe it was where I was standing, where the speakers were weirdly aligned, or maybe it's because of my "been there, done that" attitude at that point, or, and this is the most logical reason, it may be because of Win's initial guitar problems, but it just wasn't the same. However, that feeling quickly disappeared towards the last and final group shout. The shivers came back and it was more intense than ever. The below 5'7" crowd I was around was jumping and dancing at the last minutes of the song. The crowd was into it, and then I became into it.
"Neighborhood #2 (Laika)" [pictured above] was also different because, apparently, someone stole Will's blue helmet. Win then threatened the crowd, albeit jokingly, that if he sees the helmet on eBay, he will kill the person! The absence of the helmet really changed the dynamics of the song because, usually, Will goes ape shit with that helmet on and does really bad things. Like smash walls! I was looking forward to him smashing more walls, but this time no such smashing was to be found. However, Richard did climb up the speaker and ignited the crowd with his helmet bashing. Will proceeded to do other things that are even more electrifying compared to last nights. At this point, I was thinking, "Damn it! I LOVE THIS BAND!!"
"No Cars Go" was the next song. At this point, Win was urging the crowd to stop acting as if the GAMH was a museum. Although the GAMH did look like a museum, I really didn't understand this remark because it seemed like the crowd was even more into it tonight compared to the night before. Another fantastic rendition of this Arcade Fire staple. Will was his usual crazy self, playing the guitar wildly and marching back and forth throughout the stage. At one point, Win had enough of his shenanigans and Win took the mic cord and wrapped it around the neck of his brother and proceeded to strangle him. We were in shock! But it made for great entertainment. Also, Win was slightly injured in this set because he hit his head on the mic. This produced some bloodshed and that's probably why he choked his brother. It was pure foreshadowing because more antics involving bodily harm were to come up.
Regine was as dazzling as ever when she was playing the steel drums during Arcade Fire's rendition of the Talking Head's "This is the Place" [see above]. She was playing with the crowd the entire time, raising her arms and playing "peek-a-boo." She's so cute! Why must she be all chummy with Win. Yeah, the guy's her husband. And they are madly in love as evidenced by her signing a friend's EP (my friend's name is Edwin, and she wrote edWIN and placed smiley faces and hears around WIN - argh!!!). I'm happy for them . . . I guess. But I digress.
Not sure what was next, but maybe it was "Haiti."
As the band powered through the rest of the album, including my new favourite renditions of "Rebellion (Lies)" and "Crown of Love," the band came back for their first encore. Like last night, the flash lights were back as, "Neighborhood #3 (Power Out)" came on. At this point, Win said, to some extent, that this song will end the museum-ness of the venue. Surely, it did. Everyone was having an epileptic seizure it seems like, with their bodies shaking, knees buckling, and facial expressions that are just plain weird. Yeah, I was one of them. Win was really into it that he stood in front of the drums and climbed on it. The man almost fell over, nearly injured the drummer, and severely injured Bessy the Cow.
The last song played was "Backseat." As the song was ending, the group began their moaning all at once bit, then in funeral procession like fashion, marched off stage carrying a tambourine. A fitting ending to a fantastic show.
A fucking amazing show! So much show that I bought tickets for their L.A. gig on Sunday.
By the way, the awesome pictures above were taken by Sara. Thanks Sara!
Beer Rating: 0.0000000000000001 Beers
Like my previous post, I thought that seeing them for the third time, the recent two in consecutive nights, will erode my interest and "awe" in them. And at the very beginning of their set during their second night at GAMH, I thought that albeit for only a brief moment. My friends and I secured a really good spot this time, front and center, to see the band in all their glory. Unfortunately, that spot had its consequences: we had to stand there and perish as opening bands Tyco B and Final Fantasy did their bit. Granted, I came in late (as usual) and saw Final Fantasy, but his schtick immediately wore off. This is especially the case when he did his avante garde bit with the yelling into the violin and even more random fits of shouting. Although Owen is very talented, I think his role is better suited as Arcade Fire's second violinist.
Arcade Fire came on much quicker this time, since their set-up is practically rooted at the GAMH stage for the next three nights. There really is no incentive to disassemble and re-arrange from the previous night. Like last night's show, the band came on with the same stage outfits and opened with the same two songs, "Wake Up" and "Neighborhood #2 (Laika)."
Although the same two songs came on, they were noticeably different from the night before. First, "Wake Up" didn't seem so great the third time around. Although it is still my favourite song from the album Funeral, the in unison shout of the band didn't seem to be that strong tonight. Maybe it was where I was standing, where the speakers were weirdly aligned, or maybe it's because of my "been there, done that" attitude at that point, or, and this is the most logical reason, it may be because of Win's initial guitar problems, but it just wasn't the same. However, that feeling quickly disappeared towards the last and final group shout. The shivers came back and it was more intense than ever. The below 5'7" crowd I was around was jumping and dancing at the last minutes of the song. The crowd was into it, and then I became into it.
"Neighborhood #2 (Laika)" [pictured above] was also different because, apparently, someone stole Will's blue helmet. Win then threatened the crowd, albeit jokingly, that if he sees the helmet on eBay, he will kill the person! The absence of the helmet really changed the dynamics of the song because, usually, Will goes ape shit with that helmet on and does really bad things. Like smash walls! I was looking forward to him smashing more walls, but this time no such smashing was to be found. However, Richard did climb up the speaker and ignited the crowd with his helmet bashing. Will proceeded to do other things that are even more electrifying compared to last nights. At this point, I was thinking, "Damn it! I LOVE THIS BAND!!"
"No Cars Go" was the next song. At this point, Win was urging the crowd to stop acting as if the GAMH was a museum. Although the GAMH did look like a museum, I really didn't understand this remark because it seemed like the crowd was even more into it tonight compared to the night before. Another fantastic rendition of this Arcade Fire staple. Will was his usual crazy self, playing the guitar wildly and marching back and forth throughout the stage. At one point, Win had enough of his shenanigans and Win took the mic cord and wrapped it around the neck of his brother and proceeded to strangle him. We were in shock! But it made for great entertainment. Also, Win was slightly injured in this set because he hit his head on the mic. This produced some bloodshed and that's probably why he choked his brother. It was pure foreshadowing because more antics involving bodily harm were to come up.
Regine was as dazzling as ever when she was playing the steel drums during Arcade Fire's rendition of the Talking Head's "This is the Place" [see above]. She was playing with the crowd the entire time, raising her arms and playing "peek-a-boo." She's so cute! Why must she be all chummy with Win. Yeah, the guy's her husband. And they are madly in love as evidenced by her signing a friend's EP (my friend's name is Edwin, and she wrote edWIN and placed smiley faces and hears around WIN - argh!!!). I'm happy for them . . . I guess. But I digress.
Not sure what was next, but maybe it was "Haiti."
As the band powered through the rest of the album, including my new favourite renditions of "Rebellion (Lies)" and "Crown of Love," the band came back for their first encore. Like last night, the flash lights were back as, "Neighborhood #3 (Power Out)" came on. At this point, Win said, to some extent, that this song will end the museum-ness of the venue. Surely, it did. Everyone was having an epileptic seizure it seems like, with their bodies shaking, knees buckling, and facial expressions that are just plain weird. Yeah, I was one of them. Win was really into it that he stood in front of the drums and climbed on it. The man almost fell over, nearly injured the drummer, and severely injured Bessy the Cow.
The last song played was "Backseat." As the song was ending, the group began their moaning all at once bit, then in funeral procession like fashion, marched off stage carrying a tambourine. A fitting ending to a fantastic show.
A fucking amazing show! So much show that I bought tickets for their L.A. gig on Sunday.
By the way, the awesome pictures above were taken by Sara. Thanks Sara!
Beer Rating: 0.0000000000000001 Beers
13 January 2005
The Arcade Fire (GAMH, 12 January 2005)
Few things in life are good the second time around. A second helping of your favourite dish, a second paycheck, and a second chance. Well, add a second time seeing The Arcade Fire to that favourite lists of seconds. After raving about them in their first San Francisco show at the Bottom of the Hill back in December, well, be prepared for another rave review of their first of three shows at the Great American. In fact, I'm so excited to write about what transpired in their first show at GAMH, that I'm literally going to pee in my pants in 5 minutes. Yeah kids, drinking and then having a spot that is impossible to leave is not good for the bladder.
There were several similiarities from their December show with this one. First, everyone's outfit was the same. Regine wore her trademark black dress with white strap and accompanying red stockings and gloves (more like an arm warmer), the female violinist (forgot ther name) wore the same dress, and Win wore the same outfit (suit jacket and dress shirt). The props were the same, with the cow near the drums (I like to call her Bessy) and the reindeer (which Winn said they got from Wal-Mart who is their secret corporate sponsor). And they played the same songs.
Also, the first two songs they started with were the same, with "Wake Up" and "Neighborhood #2 (Laika)." Like the December shows, these were just outstanding and they were excellent starting songs because it really pumped up the crowd. I literally got shivers when they shouted in unison during "Wake Up." It's just sheer bliss. During "Laika," Richard (aka Napoleon Dynamite) and Will put the motorcycle helmets again and were banging the living shit out of anything solid. Will even got up on the speaker and made several visible dents on the wall on the upper right side of the stage. An act so brilliant and moving that I wanted to go up there and smash things up myself.
Let me digress here about Will: he has to be my favorite Arcade Fire member next to Richard. He is just an absolute crazy fool! You don't know what he'll be up to. And he bangs the drums like a mad man. At one point, he had this look on his face while he was banging the drum on "Laika" like this crazed murderer constantly stabbing his helpless victim. Yeah, it was that intense.
While some things were the same, others were noticeably different: (1) There was one reindeer missing. in their props; (2) They had the album cover hands taped on the pillars; (3) they have an additional violin player, Owen from Final Fantasy; (4) the songs were played in a different order; and (5) the length and sound of their songs were more epic. I think the reason for (5) is that the GAMH's sound system is vastly superior to Bottom of the HIll's.
I am just amazed at the Arcade Fire's intensity throughout their show. I don't know how they do it. They seemed a lot fresher for this show than their December one, probably because of their much needed break (even though Win was sidelined for a couple of weeks with illness). Of course, their intensity is . . . um . . . intensified by the much bigger stage of the GAMH. Every song, from the start to the finish, was just downright amazing. From all 10 tracks of the album, to "No Cars Go," to their newish song called "Burning Bridges, Breaking Hearts," and to their outstanding cover of Talking Head's "This Must Be the Place," every bit was played with so much intensity and brilliance that one has to wonder if these guys are like manna from heaven. Just the abundance of layers in their music - the percussion, guitars, strings, and the occasional accordion and xylophone - made each song stand out on their own. All they needed was a cowbell damn it!
OK, my bladder is about to burst, so I have to stop here. Just to let you know, I'm going tomorrow night and I can't fuckin' wait! Also, I brought some friends with me who saw them for the first time and I'm glad to hear from all of them that they enjoyed the show very much. So much so that they were asking me for tickets!
Once again, Arcade Fire, "this Bud's for you!"
Beer Rating: 0 Beers
There were several similiarities from their December show with this one. First, everyone's outfit was the same. Regine wore her trademark black dress with white strap and accompanying red stockings and gloves (more like an arm warmer), the female violinist (forgot ther name) wore the same dress, and Win wore the same outfit (suit jacket and dress shirt). The props were the same, with the cow near the drums (I like to call her Bessy) and the reindeer (which Winn said they got from Wal-Mart who is their secret corporate sponsor). And they played the same songs.
Also, the first two songs they started with were the same, with "Wake Up" and "Neighborhood #2 (Laika)." Like the December shows, these were just outstanding and they were excellent starting songs because it really pumped up the crowd. I literally got shivers when they shouted in unison during "Wake Up." It's just sheer bliss. During "Laika," Richard (aka Napoleon Dynamite) and Will put the motorcycle helmets again and were banging the living shit out of anything solid. Will even got up on the speaker and made several visible dents on the wall on the upper right side of the stage. An act so brilliant and moving that I wanted to go up there and smash things up myself.
Let me digress here about Will: he has to be my favorite Arcade Fire member next to Richard. He is just an absolute crazy fool! You don't know what he'll be up to. And he bangs the drums like a mad man. At one point, he had this look on his face while he was banging the drum on "Laika" like this crazed murderer constantly stabbing his helpless victim. Yeah, it was that intense.
While some things were the same, others were noticeably different: (1) There was one reindeer missing. in their props; (2) They had the album cover hands taped on the pillars; (3) they have an additional violin player, Owen from Final Fantasy; (4) the songs were played in a different order; and (5) the length and sound of their songs were more epic. I think the reason for (5) is that the GAMH's sound system is vastly superior to Bottom of the HIll's.
I am just amazed at the Arcade Fire's intensity throughout their show. I don't know how they do it. They seemed a lot fresher for this show than their December one, probably because of their much needed break (even though Win was sidelined for a couple of weeks with illness). Of course, their intensity is . . . um . . . intensified by the much bigger stage of the GAMH. Every song, from the start to the finish, was just downright amazing. From all 10 tracks of the album, to "No Cars Go," to their newish song called "Burning Bridges, Breaking Hearts," and to their outstanding cover of Talking Head's "This Must Be the Place," every bit was played with so much intensity and brilliance that one has to wonder if these guys are like manna from heaven. Just the abundance of layers in their music - the percussion, guitars, strings, and the occasional accordion and xylophone - made each song stand out on their own. All they needed was a cowbell damn it!
OK, my bladder is about to burst, so I have to stop here. Just to let you know, I'm going tomorrow night and I can't fuckin' wait! Also, I brought some friends with me who saw them for the first time and I'm glad to hear from all of them that they enjoyed the show very much. So much so that they were asking me for tickets!
Once again, Arcade Fire, "this Bud's for you!"
Beer Rating: 0 Beers
10 January 2005
Communiqué (Bottom of the Hill, 9 January 2005)
Minus a handful of exceptions, local bands seem to disappoint me. I guess it all started in high school in San Diego when this band called FITH (i.e. Fucked In The Head - dumb ass name!)played at the high school talent show. Consisting of high schoolers and some recent graduates, the band was a direct knock off of Nirvana and Pearl Jam. Unfortunately, they weren't as good as those bands, and they were just downright dreadful. I gave local bands another try throughout the years, all with utter disappointment and disgust.
So, when Jason told me to check out Communiqué, a local band, my skepticism immediately started. I was hesitant to see this band because: (1) they were local and (2) they opened up for a handful of major acts that came to San Francisco and I missed all their appearances on purpose because of (1). Since I had nothing better to do that night other than watch Desparate Housewives and Jason guaranteed to me that they were going to be good, I bought my ticket and checked them out.
Before going to the show, I bought the band's EP, A Crescent Moon, and gave it a listen. I was impressed by their sound, since it was very melodic indie rock. Some of the tracks reminded me of The Killers, solely because of the accompanying keyboards in some of the tracks.
Jason's excitement for this show was very amusing, insisting that we go to the front. I acquiesced and was not disappointed. I don't know the titles to most of the songs they did, but the ones I did know, such as "Evaporate," were surprisingly good. The band weren't "spring chickens" by any means. They were tight in their song playing, provided a really hyper stage presence, and the lead singer would sometimes place his left arm on his back - sort of like how Brett Anderson of Suede would do. The chords were really catchy, although the lyrics were a bit simplistic. Lyrics really never bothered me, since I'm more of a catchy tunes person myself. They were rockin' on all their songs, including their encore. The crowd were hopping and some were dancing maniacally. They definitely wanted more after their encore (although a majority of those were their friends). Needless to say, I wanted to see more of what these guys can do.
Sure they can play a crowd, but can they headline? With one album and one EP under their belts, they definitely need some more material to provide a more meaningful headlining act (their set lasted 45 minutes). Based on what I saw, they could be a fantastic opening band for any indie show. This headliner show they had proved that they can headline and have the music to prove it.
A great show. One of the surprising ones of the year thus far.
Beer Rating: 2.5 Beers
So, when Jason told me to check out Communiqué, a local band, my skepticism immediately started. I was hesitant to see this band because: (1) they were local and (2) they opened up for a handful of major acts that came to San Francisco and I missed all their appearances on purpose because of (1). Since I had nothing better to do that night other than watch Desparate Housewives and Jason guaranteed to me that they were going to be good, I bought my ticket and checked them out.
Before going to the show, I bought the band's EP, A Crescent Moon, and gave it a listen. I was impressed by their sound, since it was very melodic indie rock. Some of the tracks reminded me of The Killers, solely because of the accompanying keyboards in some of the tracks.
Jason's excitement for this show was very amusing, insisting that we go to the front. I acquiesced and was not disappointed. I don't know the titles to most of the songs they did, but the ones I did know, such as "Evaporate," were surprisingly good. The band weren't "spring chickens" by any means. They were tight in their song playing, provided a really hyper stage presence, and the lead singer would sometimes place his left arm on his back - sort of like how Brett Anderson of Suede would do. The chords were really catchy, although the lyrics were a bit simplistic. Lyrics really never bothered me, since I'm more of a catchy tunes person myself. They were rockin' on all their songs, including their encore. The crowd were hopping and some were dancing maniacally. They definitely wanted more after their encore (although a majority of those were their friends). Needless to say, I wanted to see more of what these guys can do.
Sure they can play a crowd, but can they headline? With one album and one EP under their belts, they definitely need some more material to provide a more meaningful headlining act (their set lasted 45 minutes). Based on what I saw, they could be a fantastic opening band for any indie show. This headliner show they had proved that they can headline and have the music to prove it.
A great show. One of the surprising ones of the year thus far.
Beer Rating: 2.5 Beers
07 January 2005
Earlimart (Popscene, 6 January 2005)
You know that Napoleon Dynamite movie? Well, it was on last night on the telly at 330 Ritch and I couldn't take my eyes off of it. Granted, the audio is on mute but the sheer sight of Mr. Dynamite himself is so hilarious! I can't get over how much he looks like Richard Parry of the Arcade Fire. I just had to laugh as I was watching the movie.
Then there's this stupid bimbo and her boyfriend dancing as if this was some sort of freak show. Me and my friend Minh-Lan were speaking in Spanish (really badly by the way) making fun of them. "Le estupide en su izquierda bailar como una slut!" Yeah.
Popscene crowd was kinda old. The young kids must be out and about in thier suburban homes in L.A.
Oh, yeah. Earlimart. Almost forgot about them. Just goes to show how much I wasn't into them during this show, which is a shame since their latest release is pretty good. You know how there are those certain bands that are just really good on CD but not so good live? Well, that's Earlimart. They were fun to watch at the Fillmore, but 33o Ritch doesn't give bands that much justice. I haven't seen one show at 330 Ritch that's even worth a 3 beer rating. Even Ash, a band that I absolutely love to watch, was not worth a 3 beer rating at 330 Ritch.
With that in mind, my apologies Earlimart. It didn't seem like you guys were having that much fun on stage anyways.
Beer Rating: 4 Beers
Then there's this stupid bimbo and her boyfriend dancing as if this was some sort of freak show. Me and my friend Minh-Lan were speaking in Spanish (really badly by the way) making fun of them. "Le estupide en su izquierda bailar como una slut!" Yeah.
Popscene crowd was kinda old. The young kids must be out and about in thier suburban homes in L.A.
Oh, yeah. Earlimart. Almost forgot about them. Just goes to show how much I wasn't into them during this show, which is a shame since their latest release is pretty good. You know how there are those certain bands that are just really good on CD but not so good live? Well, that's Earlimart. They were fun to watch at the Fillmore, but 33o Ritch doesn't give bands that much justice. I haven't seen one show at 330 Ritch that's even worth a 3 beer rating. Even Ash, a band that I absolutely love to watch, was not worth a 3 beer rating at 330 Ritch.
With that in mind, my apologies Earlimart. It didn't seem like you guys were having that much fun on stage anyways.
Beer Rating: 4 Beers
06 January 2005
New Music Calendar
Yeah, as you can see, there's this monstrosity of a music calendar above the posts. I like the format better than the old list view.
Now, you can click on an event and a new pop-up window will appear providing more details of the show (time, location, address, ticket prices) and provides you links to where you need them (band's official website, venue's official website, ticketing website).
Scroll and click people.
Hope you like the improvement. If you don't, then suck it!
Now, you can click on an event and a new pop-up window will appear providing more details of the show (time, location, address, ticket prices) and provides you links to where you need them (band's official website, venue's official website, ticketing website).
Scroll and click people.
Hope you like the improvement. If you don't, then suck it!
22 December 2004
Top Twelve Best Albums of 2004
If 2004 was an eventful year in shows, it is only fitting that 2004 was also an eventful year in album releases. Below, you will find my top twelve favorite albums of 2004. I narrowed it down to 12 from 50, so there are some really noteworthy albums missing from this lot.
12. Ratatat - Ratatat
I was never a big fan of the whole "instrumental only" type music until just a couple of years ago with some Mogwai I heard. Add Ratatat to the pack. These two New Yorkers, and it's just two of them, make excellent sounds that you can dance to or just sit back and relax. Live, these guys are great and it's amazing how much noise they can emit out of just two guitars and some synths. They also make a great Mix CD.
11. Kings of Convenience - Riot On An Empty Street
These guys are the biggest pussies you will ever meet. Their songs are soft as hell, their video for "I'd Rather Dance With You" features little girls in tutus, and they don't look that intimidating either. However, they do make some of the best mood music around. Erlend Øye's soft voice accompanied by the simple guitars make this a KOC classic.
10. The Go! Team - Thunder, Lightning, Strike
I only recently came upon this album and I have to admit, I love this excellent album. Music is really dancey, and pretty hard to describe (also, it's 12:22am right now). Bust this album out on your next scenester party and even the scenester will wonder who the hell these guys are. You are more scenester than the scenesters! Is that possible?
9. Keane - Hopes and Fears
If The Go! Team album above makes you a scenester among scenesters, this album will relegate you with the lesser, more laid back Coldplay crowd. Don't tell Keane fans though that Keane sounds like Coldplay and vice versa. Because they will kill you! It's amazing what a band can do without a guitar. The piano arrangements are great and it's just good music to listen to. Yeah, they sound like Coldplay. And I'm not ashamed to admit that I like this CD!
8. Annie - Anniemal
Thank you Pitchforkmedia for recommending me this album! At first, I thought she was all electroclash but when I listened to this album, it resembled pop at it's finest! Has that Kylie Minogue vibe without the sluttiness included. "Heartbeat" is one of the greatest songs of 2004 and it brings me back to my junior high days. Annie should do a mall tour ala Tiffany. That would rock!
7. Le Tigre - This Island
"I'm So Excited!" That's the best way to describe this album. I'm just excited everytime I hear this song. That's why I love this album.
6. Interpol - Antics
It was hard to imagine how Interpol could improve on their debut album. Well, this album is not quite as good as their first, but is still a great one. This album went far above my expectations, with Interpol doing what they do best - sounding like Joy Division with a little more edge. "Slow Hands" definitely has that nice sound that makes me want to kick that damn hippy standing in front of me at this show. Damn that bitch! I'm going to run her over with my Hummer when I see her.
5. The Faint - Wet From Birth
Although not as good as their previous releases, Wet From Birth continues the Faint tradition of relying heavily on synths and using obscure phallic references in their songs. Definitely dancey, definitely good.
4. Rilo Kiley - More Adventurous
Can there be anything sweeter than Jenny's voice in this album? Although Execution of All Things is a tad bit better, More Adventurous continues where Execution of All Things left off.
3. Ambulance Ltd. - Ambulance Ltd.
There's something inherently simple about this band. That's why they are #3. No hoopla. Just straight up rock that is heavily Britpop influenced. The guitar work is simple, yet astounding. There is not one bad song in this album, and I've listened to it ad nauseum the entire year.
2. Franz Ferdinand - Franz Ferdinand
These guys are just amazing. Although the band is now played out, this album truly stands out from the crowd. In a world where the 80s are trying to make a revival, Franz Ferdinand definitely resurrected it with this new wave style album. "Take Me Out" is the anthem of 2004 in my book. So much so that it is my ringtone. I'm getting sick of the sound, but it's definitely a song I still go crazy for on the dance floor.
1. The Arcade Fire - Funeral
God, is there anything these guys can't do wrong? First, I crowned them as being the best live band this year. Now, I crown them as having the best damn album on the planet. I was listening to this album just a few minutes ago and I still get shivers everytime I hear "Wake Up." Just listening to that song reminds me of their show at the BoH where they opened up with that song and how all the band members were yelling from the top of their lungs the opening line to the song. Damn! I bow down to you Arcade Fire! We are not worthy!
Mirah (924 Gilman, 19 December 2004)
This was a night where we were slated to attend two shows -- Mirah was playing a matinee show in the East Bay and Citizens Here and Abroad were playing later that night in the West Bay. Both shows were at atypical venues; no one in our group had been to Berkeley's 924 Gilman nor SF's 12 Galaxies. After seeing Mirah, however, it seemed proper to end the weekend in Berkeley.
We arrived at Gilman after a much needed detoxification session at the world's best vegan restaurant, Cha Ya. Gilman is an all-ages, non-alcoholic venue that doesn't support racism, homophobia, or music from major labels. Upon entry, we immediately felt the history behind the place that spawned Green Day and Rancid. The other thing we noticed was that we were old, older than everyone else by an average of ten years. It felt like we were at a junior high dance with no booze in the punch. On a side note, Randy fell in love.
The building felt like a converted warehouse. Large electrical contraptions cradled the arched joists on the ceiling, graffiti and stickers lined every vertical surface, and the stage occupied a small corner of the estate. Mirah and her band were selling merch to the side, including old Kool Moe Dee casettes and a kinky sex toy made of bicycle tires.
About fifteen minues upon our arrival, Dear Nora took the stage. She did her entire set in D. No, not in the key of D, but singing the D note throughout, including between-song-banter. We saw her play at Bottom of the Hill a few weeks earlier, and she seemed like she'd be an interesting person to discourse with, but the novelty of the D note wore off after a while. This, along with the lack of alcohol, led us across the street where we happily consumed a couple pitchers in record time.
We returned just as Mirah began her set. She played most of her songs from C'mon Miracle, her latest release, along with a few selections from You Think It's Lke This But It's Really Like This and Advisory Committee. Unfortunately, her set was extremely short. She was limited to playing no more than eight songs due to a sore throat. This illness, however, did not affect her amazing voice -- if anything, it made her sound even sexier, a la Chan Marshall from Cat Power. She ended the set with The Dogs of B.A. without an encore. The young crowd was not dissatisfied, as they were able to make it home by their curfew.
Ian once thought that Mirah was Mariah, and it has become an inside joke amongst us. She is, in fact, the anti-Mariah. She has the sweetest, most unassuming personality and always seems to wear a warm smile. Her soft voice is heard by a select few, but she's just as talented as any proclaimed diva. She'll never do a movie named Glitter, date Eminem (she likes ladies), or appear on MTV. And she's not a skanky ho.
Beer Rating: 3 beers
We arrived at Gilman after a much needed detoxification session at the world's best vegan restaurant, Cha Ya. Gilman is an all-ages, non-alcoholic venue that doesn't support racism, homophobia, or music from major labels. Upon entry, we immediately felt the history behind the place that spawned Green Day and Rancid. The other thing we noticed was that we were old, older than everyone else by an average of ten years. It felt like we were at a junior high dance with no booze in the punch. On a side note, Randy fell in love.
The building felt like a converted warehouse. Large electrical contraptions cradled the arched joists on the ceiling, graffiti and stickers lined every vertical surface, and the stage occupied a small corner of the estate. Mirah and her band were selling merch to the side, including old Kool Moe Dee casettes and a kinky sex toy made of bicycle tires.
About fifteen minues upon our arrival, Dear Nora took the stage. She did her entire set in D. No, not in the key of D, but singing the D note throughout, including between-song-banter. We saw her play at Bottom of the Hill a few weeks earlier, and she seemed like she'd be an interesting person to discourse with, but the novelty of the D note wore off after a while. This, along with the lack of alcohol, led us across the street where we happily consumed a couple pitchers in record time.
We returned just as Mirah began her set. She played most of her songs from C'mon Miracle, her latest release, along with a few selections from You Think It's Lke This But It's Really Like This and Advisory Committee. Unfortunately, her set was extremely short. She was limited to playing no more than eight songs due to a sore throat. This illness, however, did not affect her amazing voice -- if anything, it made her sound even sexier, a la Chan Marshall from Cat Power. She ended the set with The Dogs of B.A. without an encore. The young crowd was not dissatisfied, as they were able to make it home by their curfew.
Ian once thought that Mirah was Mariah, and it has become an inside joke amongst us. She is, in fact, the anti-Mariah. She has the sweetest, most unassuming personality and always seems to wear a warm smile. Her soft voice is heard by a select few, but she's just as talented as any proclaimed diva. She'll never do a movie named Glitter, date Eminem (she likes ladies), or appear on MTV. And she's not a skanky ho.
Beer Rating: 3 beers
20 December 2004
The Best Shows of 2004
2004 has been one of the most memorable years in music going. From tiny venues to large scale festivals, me and my friends have experienced what seemed like a lifetime of great music. Other members of this blog will hopefully post their top "whatever" of 2004, but here's mine.
Show of the Year: The Arcade Fire (Bottom of the Hill, 8 December 2004)
You read about the show in my recent post. To this day, I get excited just thinking about seeing Arcade Fire again in January. My friends are so excited as well that they bought a ton of tickets just so everyone we know can experience the greatness that is The Arcade Fire. These guys are playing three shows here, and three shows in L.A.., and had to move to larger venues in several cities. Do you think Merge Records is not loving this exposure?
Honorable Mention: Le Tigre (Fillmore), The Stills (Independent), Interpol (Warfield), Rilo Kiley (Bimbo's)
Danciest Show: Le Tigre (The Fillmore, 19 November 2004)
Again, you read about how great Le Tigre were in a recent post. I haven't danced so much for a show in a while, and these riot grrrrls did it. They were so dancy that Randy tapped the bottom of his beer in rhythm. If you know Randy, that is a sign of a great show. Their version of "I'm So Excited" is fantastic! So fantastic that after I vomited from my party last Saturday, I immediately got my head out of the trash can and danced to it like crazy. Yeah, that good.
Honorable Mention: Metric (GAMH, 10/18), The Faint (Bimbo's), Franz Ferdinand (Slim's)
Show with the Best Visuals: The Faint (Bimbo's, 10 November 2004)
Two screens full of stunning images, scenester boys from Nebraska, and enough energy to go around the room makes this show one of the best from a visual perspective. Even though many say that that was the only highlight of the show, I thought the music was great as well.
Honorable Mention: Le Tigre (Fillmore), Radiohead (Coachella), Kraftwerk (Coachella)
Surprisingly Good Show: The Cure (SBC Park, 29 August 2004)
Yeah, I know that the Cure are one of those bands that will forever be part of the fabric of music. But I never would have thought that Robert Smith would be that good. I saw them at Coachella and I got bored. Here at SBC Park, they were just downright amazing. Of course, it was the classics that kept me up and eager to listen, but even the new stuff were surprisingly well played. Robert Smith's voice was superb, as if the man never aged.
Honorable Mention: Franz Ferdinand (Slim's), The Stills (Independent), Keane (Bimbo's), Muse (Warfield), Interpol (Warfield), The Libertines (Fillmore), Ted Leo/Fiery Furnaces (BoH), Elefant/Ambulance Ltd. (GAMH), Stellastarr*/The Killers (GAMH)
Worst Show of the Year: Trachtenburg Family Slideshow Players (Slim's, 26 February 2004)
I have to admit, I've always wanted to kick a kid in the head but I've always framed it in a joking way (albeit demented). But this was the first time that I truly wanted to kick a kid in the head. That little girl in the TFSP is just so downright annoying, with her constant yapping to her dad and her lackluster drumming. Yeah, I don't care if she's below 10. I'll still kick her in the head. The songs were amusing to start, but they got downright annoying at the end.
Dishonoarable Mention: Supergrass (Fillmore), Blonde Redhead (Bimbo's), Pinback (Bimbo's), Flaming Lips (Coachella), Death Cab for Cutie (Coachella)
Best Show Because of Something Other than the Band: The Rapture (Fillmore, 15 March 2004) & Franz Ferdinand (Slim's, 20 March 2004)
This was the infamous Rave Magazine party where, with an invite, you were allowed in the venue with an open bar and a free show by the Rapture. Also, I forwarded my invite to a bunch of friends who were able to make it. Free Drinks + Free Show + Free Show Poster + Friends = GREAT TIME! Yeah, we even went to a party where Nick of the YYYs and the Rapture showed up! And I got to know more new people and eventually became good friends with all of them. Man what a great night that was!
Then the week continued on with my birthday being celebrated at the Franz Ferdinand show. This was their first show in San Francisco and the hype machine was in full blast. All of my good friends were there to witness this great band play their fun and dancy songs. After still being in a high from the Rapture, this show just put me over the top. Then after the gig, I got drunk at Arrow Bar and double fisted two beers. Good times!
Weirdest Show of the Year: The Unicorns (GAMH, 25 February 2004)
I didn't know what to make of this show. These guys were just plain crazy and too artsy fartsy, but yet I was mildly intrigued by what they were doing. Thank goodness that it was $3 beer night, because I don't know if I can stand these guys. With their pink outfits and annoying banter, I was amused but yet I wanted to kick the living crap out of these guys. I guess that's why it's weird.
Honorable Mention: Emily Haines (Cafe Du Nord), Blonde Redhead (Bimbo's), Fiery Furnaces (BoH), Flaming Lips (Coachella)
Sleepiest Show of the Year: Nada Surf (GAMH, 7 Feburary 2004)
I like Nada Surf. Their new album is a great one, with fantastic songs and catchy chords. However, that same great album did not necessarily translated to a good show. It seemed like the band's songs were just slower than usual, lulling the crowd to a deep sleep. Well, except for the group of boys in front of me. My knees literally buckled during this show, and I thought I was going to fall over.
Honorable Mention: Blonde Redhead (Bimbo's), Pinback (Bimbo's), Trachtenburg Family Slideshow Players (Slim's), The Concretes (GAMH), Mirah (BoH)
Quick Hits:
Show of the Year: The Arcade Fire (Bottom of the Hill, 8 December 2004)
You read about the show in my recent post. To this day, I get excited just thinking about seeing Arcade Fire again in January. My friends are so excited as well that they bought a ton of tickets just so everyone we know can experience the greatness that is The Arcade Fire. These guys are playing three shows here, and three shows in L.A.., and had to move to larger venues in several cities. Do you think Merge Records is not loving this exposure?
Honorable Mention: Le Tigre (Fillmore), The Stills (Independent), Interpol (Warfield), Rilo Kiley (Bimbo's)
Danciest Show: Le Tigre (The Fillmore, 19 November 2004)
Again, you read about how great Le Tigre were in a recent post. I haven't danced so much for a show in a while, and these riot grrrrls did it. They were so dancy that Randy tapped the bottom of his beer in rhythm. If you know Randy, that is a sign of a great show. Their version of "I'm So Excited" is fantastic! So fantastic that after I vomited from my party last Saturday, I immediately got my head out of the trash can and danced to it like crazy. Yeah, that good.
Honorable Mention: Metric (GAMH, 10/18), The Faint (Bimbo's), Franz Ferdinand (Slim's)
Show with the Best Visuals: The Faint (Bimbo's, 10 November 2004)
Two screens full of stunning images, scenester boys from Nebraska, and enough energy to go around the room makes this show one of the best from a visual perspective. Even though many say that that was the only highlight of the show, I thought the music was great as well.
Honorable Mention: Le Tigre (Fillmore), Radiohead (Coachella), Kraftwerk (Coachella)
Surprisingly Good Show: The Cure (SBC Park, 29 August 2004)
Yeah, I know that the Cure are one of those bands that will forever be part of the fabric of music. But I never would have thought that Robert Smith would be that good. I saw them at Coachella and I got bored. Here at SBC Park, they were just downright amazing. Of course, it was the classics that kept me up and eager to listen, but even the new stuff were surprisingly well played. Robert Smith's voice was superb, as if the man never aged.
Honorable Mention: Franz Ferdinand (Slim's), The Stills (Independent), Keane (Bimbo's), Muse (Warfield), Interpol (Warfield), The Libertines (Fillmore), Ted Leo/Fiery Furnaces (BoH), Elefant/Ambulance Ltd. (GAMH), Stellastarr*/The Killers (GAMH)
Worst Show of the Year: Trachtenburg Family Slideshow Players (Slim's, 26 February 2004)
I have to admit, I've always wanted to kick a kid in the head but I've always framed it in a joking way (albeit demented). But this was the first time that I truly wanted to kick a kid in the head. That little girl in the TFSP is just so downright annoying, with her constant yapping to her dad and her lackluster drumming. Yeah, I don't care if she's below 10. I'll still kick her in the head. The songs were amusing to start, but they got downright annoying at the end.
Dishonoarable Mention: Supergrass (Fillmore), Blonde Redhead (Bimbo's), Pinback (Bimbo's), Flaming Lips (Coachella), Death Cab for Cutie (Coachella)
Best Show Because of Something Other than the Band: The Rapture (Fillmore, 15 March 2004) & Franz Ferdinand (Slim's, 20 March 2004)
This was the infamous Rave Magazine party where, with an invite, you were allowed in the venue with an open bar and a free show by the Rapture. Also, I forwarded my invite to a bunch of friends who were able to make it. Free Drinks + Free Show + Free Show Poster + Friends = GREAT TIME! Yeah, we even went to a party where Nick of the YYYs and the Rapture showed up! And I got to know more new people and eventually became good friends with all of them. Man what a great night that was!
Then the week continued on with my birthday being celebrated at the Franz Ferdinand show. This was their first show in San Francisco and the hype machine was in full blast. All of my good friends were there to witness this great band play their fun and dancy songs. After still being in a high from the Rapture, this show just put me over the top. Then after the gig, I got drunk at Arrow Bar and double fisted two beers. Good times!
Weirdest Show of the Year: The Unicorns (GAMH, 25 February 2004)
I didn't know what to make of this show. These guys were just plain crazy and too artsy fartsy, but yet I was mildly intrigued by what they were doing. Thank goodness that it was $3 beer night, because I don't know if I can stand these guys. With their pink outfits and annoying banter, I was amused but yet I wanted to kick the living crap out of these guys. I guess that's why it's weird.
Honorable Mention: Emily Haines (Cafe Du Nord), Blonde Redhead (Bimbo's), Fiery Furnaces (BoH), Flaming Lips (Coachella)
Sleepiest Show of the Year: Nada Surf (GAMH, 7 Feburary 2004)
I like Nada Surf. Their new album is a great one, with fantastic songs and catchy chords. However, that same great album did not necessarily translated to a good show. It seemed like the band's songs were just slower than usual, lulling the crowd to a deep sleep. Well, except for the group of boys in front of me. My knees literally buckled during this show, and I thought I was going to fall over.
Honorable Mention: Blonde Redhead (Bimbo's), Pinback (Bimbo's), Trachtenburg Family Slideshow Players (Slim's), The Concretes (GAMH), Mirah (BoH)
Quick Hits:
- Cheapest Big Show of the Year: Air/Stereolab/Sondre Lerche (Hollywood Bowl)
- Show with the Most Cover Songs: The Divine Comedy (Cafe Du Nord)
- Show with the Weirdest Instrument: Laughing Stock supporting American Music Club (BoH)
- Show with the Most Scenesters: The Faint (Bimbo's) or Yeah Yeah Yeahs (Fillmore)
- Show with the Least Scenesters: Keane (Bimbo's)
- Show with the Most Not Straight People: Le Tigre (Fillmore)
- Show with the Most Annoying Crowd: Interpol (Warfield) & Muse (Warfield)
09 December 2004
The Arcade Fire (Bottom of the Hill, 8 December 2004)
Believe the hype!
The Arcade Fire came roaring into the Bottom of the Hill last night and played one of the most, if not the most memorable, show in San Francisco this year. There has been much hype around The Arcade Fire, with Pitchforkmedia giving them an unprecedented 9.7/10 rating for their debut album Funeral, CMJ booking three shows for them in consecutive nights, to the New York Times doing a glowing review of their CMJ appearances. Thus this sold out crowd had high expectations. I, among some of them, had high hopes for this band last night, and was somewhat skeptical of how good they can really be. By the end of the night, the show was only a smidgeon short of a religious experience. If anything, I am a new convert to the religion that is The Arcade Fire.
This is how good The Arcade Fire were: they were entertaining during soundcheck. Yeah, that's right, soundcheck. Who gives a fuck about bands soundchecking with their tuning of guitars and their "Check, check, 1, 2, 3" ramblings on the mic? However, soundcheck was entertaining because it gave the audience member a sneak peak of what was to come. This small Bottom of the Hill stage comprised of a plethora of musical instruments from something as your common guitar (5 of them) and drums to something semi-odd like a bass violin to something totally uncommon in a rock band such as an accordion and a steel pan drum. You can tell that these guys are totally talented and that their music will be comprised of several layers of sound. Another cute soundcheck bit is when Régine, the dynamic and super cute percussionist/backing vocal/lead vocalist of the band would do the little "check, check" ramblings with the mic. I don't know why, but she looked so cute doing it. Finally, to add some character to the crowded stage of instruments and 7 band members, are the mechanical reindeer positioned in the rear left and right of the stage. Add to that a plastic calf taped onto the drums, and voila! You have the perfect stage for the perfect band.
When the band finally set up, they all left and then made their entrance at a little after 11:30. They started their set with an amazing rendition of "Wake Up." With each instrument played, the song had so many layers in it that you are virtually surrounded by constant sound. All the band members all yelled out the words to the song and their stage presence was felt from the get go, with each member giving it their all.
I thought there was no way they can keep up such energy, but The Arcade Fire proved me wrong. Every song they played, from the main set to the encore, was played with so much intensity and vigor that each band member was drenched in sweat (and that's not only because it was hot in the venue) and the violinists bow was so worn out that a new one was definitely needed mid-set.The Arcade Fire played all of their debut album. The band were at their absolute craziest during "Neighborhood #3 (Power Out)" where Richard and Tim put on motorcycle helmets and started pounding the crap out of anything solid with their drum sticks. I forgot whether it was this song or another, but even Win was playing with the front row by making a stabbing motion with the loose part of the mic stand towards two of the front row audience members.
Definite favourite tracks include: "Haiti," "Crown of Love," "No Cars Go," . . . fuck it, I like them all! Every single track on Funeral they played and I loved all of them!!! And some off their debut self-titled EP.
There are so many more details I want to describe, but do not remember which song it happened. For example, I believe it was Tim was lying on the ground with a tambourine and then he proceeded to try to smach Richard's toes with said tambourine. I found that hilarious! Or when the same two guys had a flag wrapped around Richard and then used that flag to cover their faces. Or when the hecklers would constantly say "We Love Canada!" or make Canadian references such as Degrassi Junior High. Or when Regine was looking rather coy and evil, like one of those little girls in the neighborhood scheming of something, as she was playing the keyboards. There was not a dull moment during the entire show.
The last song played was "In the Back Seat," which was beautifully sang by Régine, to an almost Bjork-like precision. Its lyrics really struck me. "I like the peace/in the back seat/I don't have to drive/I don't have to speak." That basically sums up my disdain for driving and how I love being in the back seat where I'm not obligated to say or do anything. Brilliant!
Easily the best show of 2004. This beats Le Tigre because Arcade Fire provided the entire package: great musicians, brilliant lyrics, awesome sound, and just an amazing stage presence.
Yeah, believe the hype. This show made history! This band is going to be huge in 2005 and I am one of the few that can say, "Yeah, I saw them in their first gig here in San Francisco." After the show, I had to approach Régine to get my picture taken with her. Luckily, Randy and Jason accompanied me. After that, I talked absolute nonsense with Régine. I was so embarassed!
BEST SHOW OF 2004! If you haven't seen these guys, do yourself a favor and do it. Then you can die.
Beer Rating: 0 Beers
The Arcade Fire came roaring into the Bottom of the Hill last night and played one of the most, if not the most memorable, show in San Francisco this year. There has been much hype around The Arcade Fire, with Pitchforkmedia giving them an unprecedented 9.7/10 rating for their debut album Funeral, CMJ booking three shows for them in consecutive nights, to the New York Times doing a glowing review of their CMJ appearances. Thus this sold out crowd had high expectations. I, among some of them, had high hopes for this band last night, and was somewhat skeptical of how good they can really be. By the end of the night, the show was only a smidgeon short of a religious experience. If anything, I am a new convert to the religion that is The Arcade Fire.
This is how good The Arcade Fire were: they were entertaining during soundcheck. Yeah, that's right, soundcheck. Who gives a fuck about bands soundchecking with their tuning of guitars and their "Check, check, 1, 2, 3" ramblings on the mic? However, soundcheck was entertaining because it gave the audience member a sneak peak of what was to come. This small Bottom of the Hill stage comprised of a plethora of musical instruments from something as your common guitar (5 of them) and drums to something semi-odd like a bass violin to something totally uncommon in a rock band such as an accordion and a steel pan drum. You can tell that these guys are totally talented and that their music will be comprised of several layers of sound. Another cute soundcheck bit is when Régine, the dynamic and super cute percussionist/backing vocal/lead vocalist of the band would do the little "check, check" ramblings with the mic. I don't know why, but she looked so cute doing it. Finally, to add some character to the crowded stage of instruments and 7 band members, are the mechanical reindeer positioned in the rear left and right of the stage. Add to that a plastic calf taped onto the drums, and voila! You have the perfect stage for the perfect band.
When the band finally set up, they all left and then made their entrance at a little after 11:30. They started their set with an amazing rendition of "Wake Up." With each instrument played, the song had so many layers in it that you are virtually surrounded by constant sound. All the band members all yelled out the words to the song and their stage presence was felt from the get go, with each member giving it their all.
I thought there was no way they can keep up such energy, but The Arcade Fire proved me wrong. Every song they played, from the main set to the encore, was played with so much intensity and vigor that each band member was drenched in sweat (and that's not only because it was hot in the venue) and the violinists bow was so worn out that a new one was definitely needed mid-set.The Arcade Fire played all of their debut album. The band were at their absolute craziest during "Neighborhood #3 (Power Out)" where Richard and Tim put on motorcycle helmets and started pounding the crap out of anything solid with their drum sticks. I forgot whether it was this song or another, but even Win was playing with the front row by making a stabbing motion with the loose part of the mic stand towards two of the front row audience members.
Definite favourite tracks include: "Haiti," "Crown of Love," "No Cars Go," . . . fuck it, I like them all! Every single track on Funeral they played and I loved all of them!!! And some off their debut self-titled EP.
There are so many more details I want to describe, but do not remember which song it happened. For example, I believe it was Tim was lying on the ground with a tambourine and then he proceeded to try to smach Richard's toes with said tambourine. I found that hilarious! Or when the same two guys had a flag wrapped around Richard and then used that flag to cover their faces. Or when the hecklers would constantly say "We Love Canada!" or make Canadian references such as Degrassi Junior High. Or when Regine was looking rather coy and evil, like one of those little girls in the neighborhood scheming of something, as she was playing the keyboards. There was not a dull moment during the entire show.
The last song played was "In the Back Seat," which was beautifully sang by Régine, to an almost Bjork-like precision. Its lyrics really struck me. "I like the peace/in the back seat/I don't have to drive/I don't have to speak." That basically sums up my disdain for driving and how I love being in the back seat where I'm not obligated to say or do anything. Brilliant!
Easily the best show of 2004. This beats Le Tigre because Arcade Fire provided the entire package: great musicians, brilliant lyrics, awesome sound, and just an amazing stage presence.
Yeah, believe the hype. This show made history! This band is going to be huge in 2005 and I am one of the few that can say, "Yeah, I saw them in their first gig here in San Francisco." After the show, I had to approach Régine to get my picture taken with her. Luckily, Randy and Jason accompanied me. After that, I talked absolute nonsense with Régine. I was so embarassed!
BEST SHOW OF 2004! If you haven't seen these guys, do yourself a favor and do it. Then you can die.
Beer Rating: 0 Beers
08 December 2004
The Dears (Cafe Du Nord, 7 December 2004)
O Canada! What brings your bands to these shores, far from government-subsidized healthcare and unlocked doors (oh c’mon, you all watched Bowling for Columbine right?), to fill our ears with a wash of gorgeous sound? So I proclaim after a night spent at Café du Nord with The Dears.
On tour supporting their second release, No Cities Left, The Dears have been a staple in the Montreal indie music scene for ten years. Refugees from the rain huddled in the Café and nursed their beers as the band set up behind the closed velvet curtains. This was new. I’m used to seeing bands move about onstage, unabashedly changing equipment and soundchecking in plain view of the audience. The mystery of it all piqued my interest, and made me hope that the growing anticipation wasn’t in vain.
The crowd assembled tonight was sizable; apparently, the rain didn’t deter them. In obvious attendance were worshippers of the Temple of Morrissey: middle-aged men with greased hair and blue jeans. The Dears draw numerous comparisons to The Smiths and as the night progressed, it’s easy to hear why. When the curtains were finally drawn, it revealed six people who proceeded to open with a punch - the forceful “Postcard from Purgatory,” whose bass-heavy thrum reverberated for the next eight minutes. This song was a slow burner, drifting between guitars, keyboards and drums, and the deep voice of frontman Murray A. Lightburn intoning “Empty heads/empty mouths/empty hearts/empty souls.”
In print, Lightburn channels the Moz with such lyrics, but he goes one step further by delivering the songs with his maudlin affectations. The next song is no exception, the excellent single “Lost in the Plot,” which begins with the lines “Take me for a ride to the coastline/Pull me to the depths of the sea.” Can you blame me if “Every Day Is Like Sunday” springs to mind?
Albeit briefly. While bleak lyrics such as “I can’t love you/you can’t love me” and “You never said I’d see you again” are reminiscent of The Smiths, The Dears evoke a feeling all their own. The arrangements are lush and the musicianship adept, proving that while they’re relatively unknown here, they’ve been busy in the Great White North. Vocal duties were occasionally shared with keyboardist Natalia Yanchak and her voice added poignancy to such songs as “We Can Have It,” where she and Lightburn both sing the dismal refrain “It won’t ever be what we want.”
Somewhere in the middle of their set, Lightburn announced that they were going to perform a new song, or somewhat new, as he slyly added that they’ve been playing it at shows for the past two months. Blame my fuzzed ears, but I think it was called “Hate/Hate It Up.” I could do no such thing since it was another lovely piece that alternated between morose and hopeful.
Judging from the response of the crowd after their eight-song set, The Dears are likely to return soon. Fellow Montrealites The Arcade Fire (comprised largely of expats!) are slated to play Bottom of the Hill tonight and I couldn’t be happier. While disgruntled Americans migrate north to wait out the next four years, I’m willing to wait and have their musical offerings come to me.
Beer Rating: 2 Beers
On tour supporting their second release, No Cities Left, The Dears have been a staple in the Montreal indie music scene for ten years. Refugees from the rain huddled in the Café and nursed their beers as the band set up behind the closed velvet curtains. This was new. I’m used to seeing bands move about onstage, unabashedly changing equipment and soundchecking in plain view of the audience. The mystery of it all piqued my interest, and made me hope that the growing anticipation wasn’t in vain.
The crowd assembled tonight was sizable; apparently, the rain didn’t deter them. In obvious attendance were worshippers of the Temple of Morrissey: middle-aged men with greased hair and blue jeans. The Dears draw numerous comparisons to The Smiths and as the night progressed, it’s easy to hear why. When the curtains were finally drawn, it revealed six people who proceeded to open with a punch - the forceful “Postcard from Purgatory,” whose bass-heavy thrum reverberated for the next eight minutes. This song was a slow burner, drifting between guitars, keyboards and drums, and the deep voice of frontman Murray A. Lightburn intoning “Empty heads/empty mouths/empty hearts/empty souls.”
In print, Lightburn channels the Moz with such lyrics, but he goes one step further by delivering the songs with his maudlin affectations. The next song is no exception, the excellent single “Lost in the Plot,” which begins with the lines “Take me for a ride to the coastline/Pull me to the depths of the sea.” Can you blame me if “Every Day Is Like Sunday” springs to mind?
Albeit briefly. While bleak lyrics such as “I can’t love you/you can’t love me” and “You never said I’d see you again” are reminiscent of The Smiths, The Dears evoke a feeling all their own. The arrangements are lush and the musicianship adept, proving that while they’re relatively unknown here, they’ve been busy in the Great White North. Vocal duties were occasionally shared with keyboardist Natalia Yanchak and her voice added poignancy to such songs as “We Can Have It,” where she and Lightburn both sing the dismal refrain “It won’t ever be what we want.”
Somewhere in the middle of their set, Lightburn announced that they were going to perform a new song, or somewhat new, as he slyly added that they’ve been playing it at shows for the past two months. Blame my fuzzed ears, but I think it was called “Hate/Hate It Up.” I could do no such thing since it was another lovely piece that alternated between morose and hopeful.
Judging from the response of the crowd after their eight-song set, The Dears are likely to return soon. Fellow Montrealites The Arcade Fire (comprised largely of expats!) are slated to play Bottom of the Hill tonight and I couldn’t be happier. While disgruntled Americans migrate north to wait out the next four years, I’m willing to wait and have their musical offerings come to me.
Beer Rating: 2 Beers
07 December 2004
Mirah (Bottom of the Hill, 6 December 2004)
Who would have thought that this show would sell out? As I was driving to the show, I stupidly thought that there will only be a handful of people coming to see Mirah (or as my friends and I call her, Mariah) and her small backing band play beautiful music. However, I was dead wrong when I was greeted at the door with a big SOLD OUT sign. I was so perplexed that it sold out. In fact, several others outside the venue thought the same thing.
After watching The Terminal just before I went to the show - a movie which gave hope to many that there is kindness in all people - and after getting my late charge waived at the local movie rental store, I knew that some kind hearted soul will let me in the venue. I never thought much of Mirah, but having a sold out show made me more determined to get in there. After a few minutes, a woman approached me and sold me her ticket for a miniscule $2 premium. After getting in, I knew that this was going to be a good show.
The entire venue was packed. I haven't seen Bottom of the Hill this full since Ted Leo and the Fiery Furnaces played together earlier this year. Mirah, the proclaimed sexiest voice in all of Olympia, Washington, and her small backing band came on stage shortly after 11pm. Their set list was a good mix of songs from her latest release, C'mon Miracle, as well as some rarities that were begged for by her fans. Although I'm sure that she played at least one of the songs requested, I wasn't so sure about the others.
I was dumbfounded at the cult following of Mirah, and I noticed that all the audience members in the front row sang with her word-for-word throughout her short 65 minute set. I am only familiar with one album, C'mon Miracle, but the songs she did play from that album such as "Dogs of B.A.," "Exactly Where We're From," "You've Gone Away Enough," and "The Light" were done so melodically and simply that you can't help get captured by her beautiful voice. The one song that was requested by her fans, one where she didn't know the chords or the words and took her a good five minutes to reach back in her memory to remember, was also done well. For the life of me, I can't remember the words, but I know it was done really well.
Like with most shows at Bottom of the Hill, Mirah could have been better if it wasn't for the reverb that was going on with the sound system in some of the songs. Also, as soft as the instruments were, at times the instruments would drown her voice. Even though her voice is naturally soft, the mic could have helped amplify her voice more, especially for the audience members (like me) that was standing in the periphery.
Overall, a good show despite my lack of knowledge of her. I'll definitely see her again in two weeks time when she returns.
Beer Rating: 3 Beers
After watching The Terminal just before I went to the show - a movie which gave hope to many that there is kindness in all people - and after getting my late charge waived at the local movie rental store, I knew that some kind hearted soul will let me in the venue. I never thought much of Mirah, but having a sold out show made me more determined to get in there. After a few minutes, a woman approached me and sold me her ticket for a miniscule $2 premium. After getting in, I knew that this was going to be a good show.
The entire venue was packed. I haven't seen Bottom of the Hill this full since Ted Leo and the Fiery Furnaces played together earlier this year. Mirah, the proclaimed sexiest voice in all of Olympia, Washington, and her small backing band came on stage shortly after 11pm. Their set list was a good mix of songs from her latest release, C'mon Miracle, as well as some rarities that were begged for by her fans. Although I'm sure that she played at least one of the songs requested, I wasn't so sure about the others.
I was dumbfounded at the cult following of Mirah, and I noticed that all the audience members in the front row sang with her word-for-word throughout her short 65 minute set. I am only familiar with one album, C'mon Miracle, but the songs she did play from that album such as "Dogs of B.A.," "Exactly Where We're From," "You've Gone Away Enough," and "The Light" were done so melodically and simply that you can't help get captured by her beautiful voice. The one song that was requested by her fans, one where she didn't know the chords or the words and took her a good five minutes to reach back in her memory to remember, was also done well. For the life of me, I can't remember the words, but I know it was done really well.
Like with most shows at Bottom of the Hill, Mirah could have been better if it wasn't for the reverb that was going on with the sound system in some of the songs. Also, as soft as the instruments were, at times the instruments would drown her voice. Even though her voice is naturally soft, the mic could have helped amplify her voice more, especially for the audience members (like me) that was standing in the periphery.
Overall, a good show despite my lack of knowledge of her. I'll definitely see her again in two weeks time when she returns.
Beer Rating: 3 Beers
04 December 2004
Sondre Lerche (Slim's, 29 May 2004 & 30 November 2004)
May 29, 2004 – Slim’s
SHOW OF THE YEAR
SHOW OF THE YEAR
This was the Cinderella story of the 2004 season. Going up against powerhouses like Cher, the reunited Van Halen, and Jay-Z/R Kelly, Sondre Lerche, Norwegian folk prodigy, came from virtually out of nowhere to snag the coveted Show of the Year prize. With his vocal crooning and deft fingerpicking, his songs resonated with a purity never heard within the asbestos-lined walls of Slim’s. The band looked like they were on drugs; they were smiling the entire time, like that Enzyte guy. Except they were genuine smiles, not the least bit creepy. The smiles were certainly contagious; there was not one person in the crowd who was unhappy. Along with his tight, melodic songs, Sondre spoke to the crowd with a witty-awkward-broken-English humor that generated smiles with every syllable uttered. Several times he paused questioning why people were laughing, for he was trying to be serious, dammit. Example:
“This next song is a song that you’ve never heard before. (Gets ready to play) Or maybe you have… You never know these days, with that thing called the Internet... You know, this world is becoming a scary place, what with the ipods and internets taking over the world. There’s nothing left for the humans anymore. Well I have a message for them! We humans are here to stay! Do you hear me San Francisco? I said we humans are here to stay!”
Rating: 1 Beer
November 30, 2004 – Slim’s
SONDRE II
The light’s dim. The crowd erupts, lighters ablaze, anticipating another epic performance from the Nordic male diva. But something is missing. Have we not consumed enough alcohol? Has the sound system at Slim’s gotten even shittier than before? Has Sondre’s comedic wit gone astray? No, he’s still as hilarious as ever, the sound system is just as bad as before, and we’ve all been drinking enough to make a Russian proud. But as Sondre plays the first few songs, the audience becomes restless. They realize that there is no band.
Now, Conor Oberst did this to me about a month ago. Despite the fact that the ticket said “Bright Eyes”, Conor took to the stage with an acoustic guitar and played the entire set without his regular band (with a little help from M. Ward and Jim James). Conor is one of those unique souls who could actually pull this off quite well. However, I still feel that this gimmick is like paying full price for a rocking chair, only to discover that it doesn’t rock.
“San Francisco is my favorite place in America. With that fabulous Golden Gate... Bridge. And Rice-a-Roni. And with that fabulous Oakland.” - Sondre Lerche
After six to seven unplugged songs, the smiling faces of the band were surely missed. Sondre did, however, do a good job of undressing some of his upbeat tracks, such as Dead Passengers and Two Way Monologue. On Modern Nature, a duet that was recorded with Lillian Samdal, Sondre pleaded with the audience to sing the female part, because “being alone on stage singing such a romantic duet is quite pathetic.” A deep, masculine voice from the audience proclaimed, “I’ll sing with ya, big boy!” Sondre replied, “I don’t know how to respond to that one. It says here just to giggle.” He giggled.
About halfway in to his set, he introduced the opening band, Golden Republic, “The best band from Kansas since Kansas.” The rhythm section added a refreshing new element as they played Virtue and Wine. The crowd bobbed their head accordingly. During one of the songs, Sondre’s high E string broke, leading to the most dramatic, awkward moment of the night. As Sondre was re-tuning his guitar, the lead singer for Golden Republic commented on the tuning, “This is our favorite song.” Sondre Lerche apparently has a low tolerance for poor American humor, because he completely ripped the guy a new one by dissing his unfunny joke. The poor guy was totally shocked and didn’t know how to respond. When the drummer interjected to defend his bandmate, Sondre retorted, “Who let the drummer speak?” After a short pause, “Actually, the drummer’s a really great guy... When he’s drumming.” The audience gasped a collective oh-no-he-di-int, and you could tell that the entire band was PISSED. The tension escalated when the drummer claimed that Sondre didn’t even know his name. After a long, tense pause, Sondre said, “Little drummer boy?” Sondre compared this moment to Jerry Springer, and I thought the band was going to walk out on him. Someone from the floor even yelled out, “Go back to Norwegia!” Luckily, the band kept their composure and played the next song, Sleep on Needles. It’s amazing how a happy song and a driving kick drum can make one forget their drama. This was the case, as smiles slowly returned to everyone’s faces by the end of the song. Sondre and the little drummer boy even shared the same sweat towel.
The remainder of his set was fraught with anticlimactic relief. The focus turned to the music, wryly dubbed by Sondre as “adult contemporary pop”. And the music was good. The band continued to back up Sondre on tracks from his two full-length releases, such as On the Tower and Suffused With Love, as well as a couple B-Sides. The penultimate song was a quaint a cappella cover, which showcased his multi-octave vocal range. He ended the set as he started, with just his voice and a newly-restringed guitar. It was a halcyon end to an anxious night, and overall, it made for a good show.
Rating: 2 Beers
- Jason (filling in for the flu-ridden Ian)
03 December 2004
Coachella 2005 Line Up?
As read on XFM.com:
A new document leaked to Undercover music news has a full rundown for the 2005 event, essentially an American interpretation of Glastonbury and the biggest music festival and largest open air live event in the US music calendar.
Although unofficially confirmed (or indeed denied) by organisers the reported line-up will feature headline performances from David Bowie and R.E.M. while elsewhere the bill will also be Nine Inch Nails, Wilco, The Streets, PJ Harvey, The Polyphonic Spree and Franz Ferdinand.
Surprise additions to the list include newly reformed ’80 pop legends Tears for Fears (who’s career has no doubt been bolstered by Gary Jules' huge successful cover of their track ‘Mad World’) and, if the list is to be believed, Coldplay will also be playing on the eve of the release of their new album.
Coachella will be taking place at the Empire Polo Field in Indio California on April 30 and May 1.
In 2004, the headline acts were Radiohead and The Cure, with Pixies, The Flaming Lips, Air, Kraftwerk, The Thrills, Ash and The Rapture all included on the bill.
The full unconfirmed line up is:
April 30, 2005
- David Bowie
- Nine Inch Nails
- Coldplay
- PJ Harvey
- Interpol
- The Faint
- Franz Ferdinand
- The Polyphonic Spree
- Boards of Canada
- TV On the Radio
- Yeah Yeah Yeahs
- Squarepusher
- Clinic
- French Kicks
- Secret Machines
- Phoenix
- Beep Beep
- Dogs Die In Hot Cars
- Death From Above 1979
- The Helio Sequence
May 1, 2005
- R.E.M.
- Tears For Fears
- Wilco
- Bright Eyes
- Jimmy Eat World
- Mos Def
- Badly Drawn Boy
- The Streets
- Spoon
- Cake
- The Postal Service
- The Shins
- Sleater-Kinney
- Rilo Kiley
- Radio 4
- Doves
- Iron and Wine
- The Arcade Fire
- Moving Units
28 November 2004
Pinback, The Album Leaf, and The Advantage (Bimbo's, 27 November 2004)
It could be the tryptophan, the result of a Thanksgiving weekend that exposed us to more of this amino acid than usual but tonight's shows were relatively sedate, some would say boring. However, you'd be hard-pressed to find someone to share this sentiment among the Bimbo's crowd: all tables were taken well before the opening band The Advantage came onstage, and the floor was already packed when The Album Leaf made their appearance. From where I sat, the small stage appeared to be cluttered with various instruments and equipment to be used/shared by the three bands on the bill. I had never seen any of them live before and my anticipation was based on my appreciation of their recent albums and friends' recommendations. The glut of instruments hinted at musical impressiveness. Erm, read on.
The Advantage strolled onstage sometime after nine and my immediate reaction was their resemblance to CCR. They were not what I expected from a cover band that hails itself as an "8bit Nintendo band--serious dudes that rock with good nintentions." Pullover sweaters and thick-rimmed glasses, yes; long hair and beards, no. Hirsuteness aside, The Advantage launched into a series of songs that I did not recognize. At all. Well, the only one that I remembered was Castlevania and only because one of the band members announced it beforehand. The re-interpretation of songs originally dominated by synthesizers by a live band that featured none was novel at first. But I'm thinking that the novelty only works if you have a frame of reference. I obviously suffered from a Nintendo-deficient childhood, and I could feel the tryptophan kicking in.
My friends and I decided to leave the comfort of our table to check out The Album Leaf from the crowded floor. Primarily a one-man outfit consisting of Jimmy Lavalle, tonight featured additional musicians on drums, bass, guitar, and even xylophone. The set opened with "Window," the first track from the album "In a Safe Place." It was a lovely bit of lap-pop that set the mood for the rest of the set, one of serene beauty. To supplement the calming effect of the music, images such as autumnal scenes and birds' silhouettes were projected on the screen behind them. Jimmy never strayed from behind the keyboards and he offered only one song with vocals, "TwentyTwoFourteen" which features the line "You whisper to make a sound." After witnessing the delicacy in their set, it seems appropriate to say that any sound above a whisper would be jarring.
The night would have ended nicely if we closed with The Album Leaf, but I insisted on staying for Pinback, a band fronted by fellow San Diegans Rob Crow and Armistead Burwell Smith IV. I like their recent release "Summer in Abaddon" and figured it would translate well live. Well, whatever calmness that The Album Leaf lulled into me became indifference as their set wore on. I can't recall what the first couple of songs were, quite possibly drawn from their earlier material that I'm not too familiar with, and it could also be that I was ready for something rousing after the first two bands, but Pinback's brand of sometimes moody guitar-pop wasn't delivering tonight. A monotony set in early on and they just started to sound the same after a while. Eventually we reached a consensus and left not long after the fifth (?) song, the title track of the new album.
So while the night at Bimbo's wasn't a complete bust, with moments of nostalgic amusement for some and calming loveliness for most, there was no arguing the lack of interest by the time Pinback rolled around. Maybe I'll take the easy way out and claim the turkey defense to justify our early exit. Or maybe not.
BEER RATING: 4 Beers
The Advantage strolled onstage sometime after nine and my immediate reaction was their resemblance to CCR. They were not what I expected from a cover band that hails itself as an "8bit Nintendo band--serious dudes that rock with good nintentions." Pullover sweaters and thick-rimmed glasses, yes; long hair and beards, no. Hirsuteness aside, The Advantage launched into a series of songs that I did not recognize. At all. Well, the only one that I remembered was Castlevania and only because one of the band members announced it beforehand. The re-interpretation of songs originally dominated by synthesizers by a live band that featured none was novel at first. But I'm thinking that the novelty only works if you have a frame of reference. I obviously suffered from a Nintendo-deficient childhood, and I could feel the tryptophan kicking in.
My friends and I decided to leave the comfort of our table to check out The Album Leaf from the crowded floor. Primarily a one-man outfit consisting of Jimmy Lavalle, tonight featured additional musicians on drums, bass, guitar, and even xylophone. The set opened with "Window," the first track from the album "In a Safe Place." It was a lovely bit of lap-pop that set the mood for the rest of the set, one of serene beauty. To supplement the calming effect of the music, images such as autumnal scenes and birds' silhouettes were projected on the screen behind them. Jimmy never strayed from behind the keyboards and he offered only one song with vocals, "TwentyTwoFourteen" which features the line "You whisper to make a sound." After witnessing the delicacy in their set, it seems appropriate to say that any sound above a whisper would be jarring.
The night would have ended nicely if we closed with The Album Leaf, but I insisted on staying for Pinback, a band fronted by fellow San Diegans Rob Crow and Armistead Burwell Smith IV. I like their recent release "Summer in Abaddon" and figured it would translate well live. Well, whatever calmness that The Album Leaf lulled into me became indifference as their set wore on. I can't recall what the first couple of songs were, quite possibly drawn from their earlier material that I'm not too familiar with, and it could also be that I was ready for something rousing after the first two bands, but Pinback's brand of sometimes moody guitar-pop wasn't delivering tonight. A monotony set in early on and they just started to sound the same after a while. Eventually we reached a consensus and left not long after the fifth (?) song, the title track of the new album.
So while the night at Bimbo's wasn't a complete bust, with moments of nostalgic amusement for some and calming loveliness for most, there was no arguing the lack of interest by the time Pinback rolled around. Maybe I'll take the easy way out and claim the turkey defense to justify our early exit. Or maybe not.
BEER RATING: 4 Beers
25 November 2004
Tribute to our Corporate Sponsors
I'm reviewing these two shows as a tribute to our generous and lovely 'corporate' sponsors. God bless them. This sponsorship lets us go to shows by bands we have not heard about and big name shows we wouldn't pay a republican cent to see. So a big shoutout to Thomas Lee LLC fine purveyor of disillusionment and doom and She Who's Name Shall Not Be Spoken.
Dresden Dolls (Great American Music Hall, 17 November 2004)
The Dresden Dolls falls under the category of never heard before the ticket was in my hand. Walking up to GAMH the crowd was a mixture of goths, metal heads, and theatre kids so my low expectations dived and I prepared to do some serious hating. Two songs later I knew a gem had been discovered and my withered heart heated a little. The duo of Amanda Palmer on piano and vocals and Brian Viglione as mime and drummer creates a lushness that's suprising coming from only two. They are self described as 'Brechtian Punk Cabaret' and with full makeup are visually a cross between dolls and 1920's German cinema actors. Brian put on a n energetic and theatrical performance with timely comic effects perfectly supplementing Amanda without ever upstaging her. Mrs. Palmer vocals were nothing short of mesmerizing during her high points; with a vocal range and discipline not often seen at concerts. I have a feeling she has a formal theatre background as the show often times seemed more like a musical.
The base of musicianship combined excellently with intelligent lyrics and dramatic stage presence. For a second I was reminded of Tori Amos but the surreal topics and sexually playful lyrics made clear this band did not take itself too seriously took them in a completely different direction.
Coin Operated Boy
Sitting on the shelf he is just a toy
But I turn him on and he comes to life
Automatic joy
Coin Operated Boy is one of their most beloved songs and you can check it out for free on the MySpace site. The low points came more frequently later in the show as they slipped into a heavier sound and Amanda's vocal's seemed a little tired. They pulled it off in the end with a rousing rendition of Jacques Brel's Port of Amsterdam a song that seems to be gaining in popularity. Overall this show was the best and freshest surprise I've had in a long time.
Beer Rating: 4 Beers
Green Day (Bill Graham, 24 November 2004)
Green Day oh Green Day. I must say that I carry mixed emotions to this "influential" band. Their music is mostly lacking but they do have a number of good songs and quite a few pieces that have been drilled into our heads so unmercifully that they are sure to provide a certain kind of nostalgia. I again went in prepared to hate but this time the band fully obliged my inclinations.
The music was crisp clear and the effects were grand and expertly applied, the budget for this show did not skimp on the details. The high point was toward the middle as twenty foot towers of flame erupted out of the stage. I've seen this on footage from the glory days of heavy metal and it was just as great as I imagined it would be. Inherent in a tower of flame is a promise and a duty to fucking rock and Green Day was seriously derelict in delivering.
First off, Billie Joe would not shut up he found it appropriate to speak to the audience more than sing he felt he needed to perform Green Day's songs. Second, crowd involvement is good but we came to see you perform. At one point they picked three members of the audience to perform one of their songs and they performed really well, maybe too well cause it made one wonder. This debacle took a lengthy amount of time. Usually, Green Day is described as Pop Punk to my understanding a punk song is usually under three minutes and a pop song is under five. For attention span reasons this is a formula that seems to work and they should have stuck with it. Thirdly, a cover of We Are the Champions combined with Billy Joe's constant crowd exhortations made me seriously question if I was at a rock concert or a Special Camp.
It was not pretty until a strong showing on Minority towards the end made me question if I was hating irrationally. This question was left open until I had my Itunes on shuffle later in the evening(there is a weird sort of super-natural intelligence built into this software). Anyway, it played Anarchy in the U.K. Here is a lyrics comparison.
I want to be the minority
I don't need your authority
Down with the moral majority
Cause I want to be the minority
I am an antichrist
I am an anarchist
Don't know what I want
But I know how to get it
There was a little outrage but no fire, no braggadocio, none of the swagger that would have made an entertaining show.
Beer Rating: 10 Beers.
So once again let us thank our sponsors. And we'd like to remind any readers that you too can be a 'corporate' sponsor. All you have to do is get us into shows. In return we'll give you a shoutout and depending on your generosity maybe some 'extras'.
Dresden Dolls (Great American Music Hall, 17 November 2004)
The Dresden Dolls falls under the category of never heard before the ticket was in my hand. Walking up to GAMH the crowd was a mixture of goths, metal heads, and theatre kids so my low expectations dived and I prepared to do some serious hating. Two songs later I knew a gem had been discovered and my withered heart heated a little. The duo of Amanda Palmer on piano and vocals and Brian Viglione as mime and drummer creates a lushness that's suprising coming from only two. They are self described as 'Brechtian Punk Cabaret' and with full makeup are visually a cross between dolls and 1920's German cinema actors. Brian put on a n energetic and theatrical performance with timely comic effects perfectly supplementing Amanda without ever upstaging her. Mrs. Palmer vocals were nothing short of mesmerizing during her high points; with a vocal range and discipline not often seen at concerts. I have a feeling she has a formal theatre background as the show often times seemed more like a musical.
The base of musicianship combined excellently with intelligent lyrics and dramatic stage presence. For a second I was reminded of Tori Amos but the surreal topics and sexually playful lyrics made clear this band did not take itself too seriously took them in a completely different direction.
Coin Operated Boy
Sitting on the shelf he is just a toy
But I turn him on and he comes to life
Automatic joy
Coin Operated Boy is one of their most beloved songs and you can check it out for free on the MySpace site. The low points came more frequently later in the show as they slipped into a heavier sound and Amanda's vocal's seemed a little tired. They pulled it off in the end with a rousing rendition of Jacques Brel's Port of Amsterdam a song that seems to be gaining in popularity. Overall this show was the best and freshest surprise I've had in a long time.
Beer Rating: 4 Beers
Green Day (Bill Graham, 24 November 2004)
Green Day oh Green Day. I must say that I carry mixed emotions to this "influential" band. Their music is mostly lacking but they do have a number of good songs and quite a few pieces that have been drilled into our heads so unmercifully that they are sure to provide a certain kind of nostalgia. I again went in prepared to hate but this time the band fully obliged my inclinations.
The music was crisp clear and the effects were grand and expertly applied, the budget for this show did not skimp on the details. The high point was toward the middle as twenty foot towers of flame erupted out of the stage. I've seen this on footage from the glory days of heavy metal and it was just as great as I imagined it would be. Inherent in a tower of flame is a promise and a duty to fucking rock and Green Day was seriously derelict in delivering.
First off, Billie Joe would not shut up he found it appropriate to speak to the audience more than sing he felt he needed to perform Green Day's songs. Second, crowd involvement is good but we came to see you perform. At one point they picked three members of the audience to perform one of their songs and they performed really well, maybe too well cause it made one wonder. This debacle took a lengthy amount of time. Usually, Green Day is described as Pop Punk to my understanding a punk song is usually under three minutes and a pop song is under five. For attention span reasons this is a formula that seems to work and they should have stuck with it. Thirdly, a cover of We Are the Champions combined with Billy Joe's constant crowd exhortations made me seriously question if I was at a rock concert or a Special Camp.
It was not pretty until a strong showing on Minority towards the end made me question if I was hating irrationally. This question was left open until I had my Itunes on shuffle later in the evening(there is a weird sort of super-natural intelligence built into this software). Anyway, it played Anarchy in the U.K. Here is a lyrics comparison.
I want to be the minority
I don't need your authority
Down with the moral majority
Cause I want to be the minority
I am an antichrist
I am an anarchist
Don't know what I want
But I know how to get it
There was a little outrage but no fire, no braggadocio, none of the swagger that would have made an entertaining show.
Beer Rating: 10 Beers.
So once again let us thank our sponsors. And we'd like to remind any readers that you too can be a 'corporate' sponsor. All you have to do is get us into shows. In return we'll give you a shoutout and depending on your generosity maybe some 'extras'.
21 November 2004
Gravy Train!!! (Mile High Club, Oakland, 20 November 2004)
Beer Rating: 3 Beers
This was definitely a feminist punk-rock electronic music weekend.
After seeing a fantastic show with Le Tigre in a venue of over 1,000 people, another band that is hailed by the Beastie Boys was playing for over 100 over at the Oakland Mile High Club. Gravy Train!!! (yes, those exclamation points are part of their name with each exclamation point for each member of the band) is a local Oakland group who, according to All Music Guide, plays a "distinctive fusion of old school rap, queercore, and theatrical new wave." The member names are pretty cheezy, with singer/songwriter Chunx, keyboardist/dancer Funx, and dancers/singers Hunx and Drunx.
Sometimes, a good show need not be about the music. Certainly, I didn't understand one damn word these guys said, especially since the sound system wasn't all that great. This show was good because of the band's theatrics.
The black member of the group (I don't know who's who) was going crazy. This guy was enticing all the gay boys in the audience by stripping down to his not-so tidy whities. Now, it wasn't a pretty sight. However, him stripping down to the bare minimums is actually a blessing in disguise because it was able to deflect the long standing belief that all African-American men are fully endowed. Clearly, this guy was not fully endowed. I would raise my pinky to describe this. Needless to say, it gave men of other ethnicities hope. So, thank you Mr. Gravy Train!!!! dancer!
These guys were fun, with the entire crowd hopping to their songs. I was motivated to join them, but their set ended rather quickly despite being the headliner. Afterwards, I bought a t-shirt that says "Mile High Club." Yeah, a cheezy way to end a cheezy night.
This was definitely a feminist punk-rock electronic music weekend.
After seeing a fantastic show with Le Tigre in a venue of over 1,000 people, another band that is hailed by the Beastie Boys was playing for over 100 over at the Oakland Mile High Club. Gravy Train!!! (yes, those exclamation points are part of their name with each exclamation point for each member of the band) is a local Oakland group who, according to All Music Guide, plays a "distinctive fusion of old school rap, queercore, and theatrical new wave." The member names are pretty cheezy, with singer/songwriter Chunx, keyboardist/dancer Funx, and dancers/singers Hunx and Drunx.
Sometimes, a good show need not be about the music. Certainly, I didn't understand one damn word these guys said, especially since the sound system wasn't all that great. This show was good because of the band's theatrics.
The black member of the group (I don't know who's who) was going crazy. This guy was enticing all the gay boys in the audience by stripping down to his not-so tidy whities. Now, it wasn't a pretty sight. However, him stripping down to the bare minimums is actually a blessing in disguise because it was able to deflect the long standing belief that all African-American men are fully endowed. Clearly, this guy was not fully endowed. I would raise my pinky to describe this. Needless to say, it gave men of other ethnicities hope. So, thank you Mr. Gravy Train!!!! dancer!
These guys were fun, with the entire crowd hopping to their songs. I was motivated to join them, but their set ended rather quickly despite being the headliner. Afterwards, I bought a t-shirt that says "Mile High Club." Yeah, a cheezy way to end a cheezy night.
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