We recently had the privilege to cater a dinner at Barrington United Methodist Church. It was a post-concert dinner held at the church. The menu included Grilled Chicken Breast with Basil Tomato Cream Sauce, Red Bliss Potatoes with Roasted Garlic, Fresh Cut Green Beans with Grauffrette cut Carrots, Crisp Fresh Mixed Greens of Salad (with choice of dressings) and Mini Cheesecakes and Browniesfor dessert. The event was a success and we were thrilled to be there.
If you notice the middle chaffer is on a riser.
It's just an inverted break rack to create a
little elevation.
We would also like to thank some of the volunteers at the church in clean up.
On Sunday, March 20th, 2011, we had the privilege of catering an event for Patricia Harkin. Patty was sponsoring a fund raiser & coffee meeting for Anna Moeller, who is running for Elgin City Council. If you are an Elgin-ite and reading this before the April 5th election, please consider voting for Anna Moeller. The Harkin's home is a wonderful "Painted Lady" of a home in the Historic District of Elgin's magnificent "north end" near where the old Sherman Hospital was located. Here are a few pictures of the events menu selections.
Brie Cheese Display
Fresh Display of Bruschetta, table centerpiece.
Display of wonderful domestic and imported cheese
Carvery Station, marinated flank steak, wheat and white rolls, horseradish sauce, Boursin Cheese.
Display talbe at a distance. The Harkin's home is a Grand Painted Lady of a House located in the Historic District of the North End of Elgin
Greetings! We will continue to update this blog, maybe not as much as a music blog as it has been in the past, but more of an amalgam of Mandoline Vista Catering Productions, music as always, sports, and periodic news regarding Elgin, Illinois.
This photo is from a recent event we did. It's a fabulous display of fresh seasonal fruit and sliced gourmet cheese. We take great pride in displays and our food production. We try to remember the idea that people eat with their eyes before they eat with their mouth. Eye appealing as well as taste appealing.
While the Mono vs. Stereo may not have the same cache as Godzilla Vs. Rodan (an analogy so nice, I've used it twice) I've listened to both Beatles box sets enough since their release on September 9th, 2009 that I've come to just a few conclusions about listening to them. The Stereo Box, in my humble opinion, or IMHO, (for those of you keeping score at home) is far superior than the Mono Box set. Granted, both have their redeeming qualities and it is fun to compare and contrast. The Stereo box is like looking at the Sistine_Chapel after the restoration they did in the 1990's, nearly 500 years after Michelangelo first laid on a scaffold. The Stereo box is like digging at the "X" on the treasure map you had as a child! While the Beatles catalog hasn't suffered the same fate as 400 plus years of Papal elections, soot, candle wax, and tourist photography as the Sistine Chapel the entire catalog was long overdue for being remastered. What? You say the original CD's and vinyl feel fine? I thought the same thing. I thought it was a revelation the first time I heard "She's A Woman" in 1988 on a radio station in Ft. Lauderdale. Then I heard McCartney's count off of "I Saw Her Standing There" to kick of "Please Please Me" on the stereo remaster and I was sold. Admit it, hearing the Beatles for the first time on CD in the late 1980's with the records sequenced as the Beatles released them was like rediscovering them. I don't care if I ever hear The Beatles songs cataloged on records named "Second Album" "65", "Meet" or "Something New" ever, ever, again. Once I heard the complete UK version of Rubber Soul I felt like I had been duped, hoodwinked and ripped off by the bastardized US versions tossed down on throats all those years. Butcher shot, indeed. And to think The Beach Boys' Brian Wilson was influenced by the US version of Rubber Soul to create Pet Sounds. What kind of masterpiece would he have created had he heard the British Rubber Soul?
The Beatles on the stereo box just jump to life. They attack the you, they attack your senses. Listen to the guitar break on "Bad Boy". Crisp, clean, and a great example of less is more. The horns on "Magical Mystery Tour" almost blow your hair back like those old Maxell cassette print ads. John Lennon's Martin guitar never sounded better. Paul's harmonies on "I Don't Want to Spoil the Party" are beyond reproach. "Two of Us", "Nowhere Man", "Ask Me Why", are just a couple songs that sound great. Interesting to note, as pointed out in the liner notes, listen to Paul's harmony on the stereo "If I Fell" and the second time he sings, "vain" he can't quite get the note. The best thing is to just listen to them for yourself. You don't have to buy the box set, just pick up one of your favorite Beatles records in the remastered form.
The Mono Box is a little more sweetly packaged than it's stereo counterpart. Each record has it's own little inner "record sleeve" as well as protective outer plastic sleeve. Also, the Mono versions of this collection can only be bought as the box set. You cannot buy the CD's ala carte, so to speak. If you want the Mono versions, you have to buy the box set. Beware of bootlegged box sets that look eerily like the real deal. The versions of the mono set just sound a little, canned, if I can say that without getting struck my lightning. There are differences, different jet noises on "Back In the USSR", a shorter version of "Helter Skelter" (sans Ringo's famous "I've blisters on my fingers!") and no hand claps on the intro of "Ob-La-Di, Ob-La-Da". "Help" sounds dramatically different in John's vocal. Paul has a scat style vocal that can be heard at the end of "Sgt Pepper's" reprise. The list goes on, I could cite probably an example or a revelation with each spin of the CD's, but those are just a few.
There are those who will tell you the Mono set is the way The Beatles intended their early music to be heard. It was the way music was released back then. "Stereo" was for a few elite music aficionado's. Kids listened to records and music on tinny one speaker systems. Even Sgt. Pepper's Lonely Hearts Club Band, as pointed out in the liner notes, was first mixed for a mono release. I can't argue with this premise of listening in the mono format. Some fans will tell you the vocals in the stereo mixes are too far in one channel, or speaker. I can see this, turn the balance on your stereo all the way to the right or left (especially on the early recordings) and you can completely lose the lead vocal, save for except maybe some echo. However, for my hard earned Beatle spendin' dollar, I'll take the stereo releases. Now, go home and crank the stereo version of "Hold Me Tight" and listen to the hand claps. It's like they are in the room with you.
Here's the stereo version of "Bad Boy" from YouTube. Now Junior, behave yourself.
Here's a little more hubris regarding record cleaning. It's very important information for us vinyl-o-philes. Also, quite frankly, I just wanted to try out my new "blog this" feature through all things Google.
I'm gonna paraphrase something I read on the Sundazed records site a couple years ago. Show me someone cleaning their records with the D4 record cleaner and I'll show you someone using Windows 3.1.
For those who know this song, has there ever been a song on more mix tapes, or in this day and age, playlists, than The Lemonheads version of "The Outdoor Type"? I say The Lemonheads version because most people do not know that Evan Dando did not write this song. It's a cover but they made it so much their own it's like Hendrix's "All Along the Watchtower" to Bob Dylan's original off of his record "John_Wesley_Harding", not to be confused with the singer of the same name above the title. Another example, how many times do you listen to The Isley Brothers version of "Twist and Shout"? Thank you. The original song was written by a man by the name of Tom Morgan.
I've listened to The Lemonheads long enough that the CD I bought of It's_a_Shame_About_Ray is one of the original releases because it does NOT contain the alterna-hit of the Simon and Garfunkel cover of, "Mrs. Robinson". I was however a little late to "The Outdoor Type". A friend of mine, Chicago musician Jim Green a.k.a "Wandering Endorphin" (check him out live. If you close your eyes it sounds like there several guitarists on stage but it's just Jim) put it on, what else, a mix tape for me circa 2001. I was immediately floored by this song. Let's give a watch and a listen to The Lemonheads.
The narrator is in the relational confessional. I see you nodding your head in identification. His girl suspects something, there's a chip in his armor of amor. It wasn't like he said he climbed The Matterhorn, it wasn't like he said he was a stuntman, or a skydiver. He's not Shackleton. He just stretched the truth a little to his, at the time, crush, about his abilities to go camping, put up a tent, build a fire, maybe even find chewing gum in a stick. He wants to get the girl. He gets the girl. Now,the fire, so to speak, doesn't start, her hands are on her hip, her eyebrow is raised, her foot is tapping . . . well? The jig is up. It's time to come clean. Who hasn't been in a similar situation in some form or another?
Another artist I've been listening to, Frank Turner, covers "The Outdoor Type". As I mentioned it's not even a Lemonheads song. As I read some of the comments on YouTube, some think it's a Frank Turner song. It's just humorous to read their disbelief when they find out Frank didn't write it. Turner, however, is a great songwriter in his own write. I'm always interested in what some of my favorite artists cover. It's like getting a secret peek in their record collection. I've come to believe that the version a person hears first is always the original, at least in their brain. It's been that way in my finite brain anyway. That's another blog entry for another day, I suppose, Cover vs. Original. Maybe not the same cache as Godzilla vs Rodan, but I digress, let's watch Frank Turner's version.
This latest entry is in regards to backlash, namely the music website pitchfork.com. It seems to me that if Pitchfork really plugs a band, gives them a 9.something on their "we're-too-cool-for-you" scale, and launch them as the next big thing, there's the inevitable backlash. I don't dislike Pitchfork, I like Pitchfork, I mean, I
have their site bookmarked,
I go to it when the spirit moves me, someone sends me a link, or I see a reference on Facebook, or something like that. It's nice to have around sometimes. Actually, my favorite pitchforks are the ones used when a posse is organized, like in "Frankenstein" or those brave souls *cough* in the posse organized for "Butch Cassidy and the Sundance Kid" My favorite artwork from that game "Masterpiece is American_Gothic. You know, the oft-spoofed farmer couple holding, what else? A pitchfork.
I'm here to say, hipsters, that sometimes Pitchfork gets it right. The band where I think Pitchfork got it right is with Girls. While that may seem like a search engine nightmare (well, the try searching the band, "The The") the name of their debut record is called "Album". What's next a song named, "Song"? Oddly enough, the two main components of Girls are two guys, Christopher Owens and Chet Jr White. It's chock full of little pop music nuggets. It's full of enough jangly guitar to make those fans of the Island years of R.E.M. smile. Well they'll smile long enough til they think of the wahwah peddle in "Stand" or about Bill Berry leaving the band and get grumpy. The song titles are either swear words ("God Damned", "Hellhole Ratrace" or "Bad Mean Motherfucker") or have a reference to a girl ("Laura", "Lauren Marie" or the ambiguous "Darling") in them. These are well-crafted pop songs with the record checking in at just around 44 minutes. "Laura" has this feel good hit of the summer feel to it, "Ghost mouth" has that 60's girl group wall-o-sound drum to tambourine sound to it. I realize it's rock critic-speak cliche to cite "Pet_Sounds" as a reference but with some of these songs the reference is apt. Pitchfork gave it a 9.1 on their ratings scale. Read more for yourself: Pitchfork Girls "Album" review.
Getting back to Pitchfork backlash. I realize there has been music backlash probably since the first lute but I think some music is shoved aside because of the hype or from Pitchfork. "Oh, that's just one of those 'pitchfork' bands", which translates for some to "they are wimpy indie rock bands with fey lyrics and dudes who look like douche bags". While, that sentiment may hold true for some Pitchfork bands or indie rock bands, not always. What if Pitchfork was around when Neutral Milk Hotel's "In The Aeroplane Over the Sea" was released? The Replacements "Tim"? What if Neutral Milk Hotel was new today and played the Pitchfork festival and not Lounge Ax like they did in the late 90's? Would NMH experienced similar backlash? Would people have tossed them aside as some sort of "pitchfork band"?
Granted, water seeks it's own level and if something is great, it'll be regarded as such despite the hype. But before you dismiss the next big thing from Pitchfork (Okay, you can dismiss F--- Buttons) some of these bands to bear a listen for yourself and are really good despite some sort of 9.something on the pocket protector scale.
Funny, as I was writing this I looked up NMH's "Aeroplane" on Pitchfork and they gave it a 10.0, seven years after it's initial release. Hmmm, Pitchfork gave it a 10.0, I guess if I'm like all the cool kids I'll have to take "Aeroplane" off of Desert Island Disc status. Bon Voyage.
In the meantime, here is Girls with "Lust For Life". Iggy, stop shaking your head!
I was recently reading Jack Kerouac's "On the "On_the_road (again). My intentions were to read the Kerouac-penned book "Big Sur" which I had never read. This was because of the recent Jay Farrar and Ben Gibbard record with songs inspired by "Big Sur". My library didn't have "Big Sur" (criminal, I know) but they had "On the Road" so I decided to read it again. Within the pages of "On the Road" were mentions of hip jazz clubs, blues clubs, artists of that ilk, and of course the travels of Dean Moriarty and Sal Paradise. A couple of artists I took note of on that giant roll of "On the Road" were Lionel_Hampton and Wynonie_Harris. I jotted their names down on a small piece of paper and stuffed it in my wallet (along with receipts and coffee stamp cards, and maybe a buck or two) until I was at a record store (the online variety or the brick and mortar type).
I eventually found a record of both of them about a month ago. While the Hampton record I procured is good, I'm not the biggest jazz fan in the world. I have a few of the classic records just to say I have them. Perhaps in time, my pallet for jazz will be enhanced. What did trip my trigger was the rhythm and blues of Wynonie Harris. This music is alive! The Omaha born singer never did get quite the fame he may have deserved but if you want a good taste of post WWII R&B, look no further than Harris. In an age when people didn't write their own songs, Harris wrote many of his own songs. Just file him under: "If the world of music was truly just, ___________ would be a huge star." One could also say that he didn't quite get the fame because they hadn't found the right handsome white guy to sing his songs. How in the blazes had I never heard of Harris before? Perhaps I had and I just never filed his name away. Then there was this guy named Elvis who covered a song Harris had sung, "Good Rockin' Tonight". You'd think I would have backtracked from there, alas, no. Then the mid-80's rock super group, The Honeydrippers sang a song Harris had also made his own, "I Get Thrill".
Another little musical 6 degrees of separation I found just recently that goes along with my discovery of Harris is that Harris' music was the part of the namesake of Bloodshot Records. Part of the inspiration of the Bloodshot name was the Harris song, Bloodshot Eyes (along with the X song "Nausea"). Here is a recent interview with Rob and Nan from Bloodshot regarding the recent state of Bloodshot and a mention of the namesake: .xpn.org
Wynonie Harris lived the rock n roll life of his day with his elaborate living of big spending, woman, and song. According to the liner notes written by Preston Love of a record I did pick up, "Wynonie Harris: Oh Babe!" on Route 66 records (a 1982 re-issue), Harris died broke in 1969 of Esophagus cancer. By 1963 he was reduced to being a bookie in Brooklyn. I'm just "hear" to just tell a little more of my exuberant music find but if you want more history look to some of the links I highlighted. However, if you want to listen to some R&B that is truly jumpin' and a great precursor to rock n roll, look to Wynonie Harris.
As promised to both of my loyal blog readers (if I have even that many), here is my Top 10 of the "aughties", which to those of you keeping score at home is top records for the last decade. Let's get started by ranking things that I really liked first. My favorites of the last 10 years.
1. The Wrens - The Meadowlands - (2003) I didn't come to this record 'til 2005 and when I did, it really took me by storm. It wasn't like I succumbed to the hype. I bought it by word of mouth, saw 'em live, then read all the praise the record got. Very deservedly so. Buy it on vinyl from the band!
2. Drive by truckers - Southern Rock Opera - (2001) Great concept record about living in the south, Skynard, and going to rock shows, among other things. It's a double CD, an opus. By the end of the decade this bit had kinda worn thin with me with DBT but this record stands out on it's own. If your in the same boat as me, give it a listen . . . again.
3. Son Volt - Okemah and the Melody of Riot - (2005) Are ya looking for a good Americana rock record? This is my suggestion and scathing lyrics against the Bush administration and the 2003 Iraq Invasion. It's a modern day protest record.
Bruce_Springsteen - Magic - (2007) Though "The Rising" is strong, I liked this one better. Great melodies, key changes, sax solos, character angst, wait, am I reviewing "The River"? A compact 12 songs on one vinyl record. Includes two of Springsteen's better songs in recent years, "You'll Be Coming Down" and "Your Own Worst Enemy".
4. Okkervil River - Black-Sheep-Boy (2005) - Like many others, this was my intro to Okkervil River. One of the more powerful songs of the decade is "For Real". Go see 'em live!
5..Gillian Welch - Time (The Revelator)- (2001) Perhaps one of my favorite records of all time. "April the 14th (Part 1)" is a history lesson onto itself.
6. The_Black_Keys - ThickFreakness - (2003) A little late to the party with this band but am I glad I found them. All their records are good so I guess this was a "just pick one".
8. Centro-matic - Love You Just the Same(2003) Will Johnson is probably one of the more underrated songwriters of this decade. Oddly, the other underrated songwriter from this decade is Okkervil River's Will Sheff.
9. The Eels - Soul Jacker (2001) Two words, "You little punks think you own this town!"
10. We'll call it a three way tie for tenth place
Richard Buckner - The Hill (2000)
Fleet Foxes - Fleet Foxes (2008)
Sharon Jones and the Dap Kings - 100 Days, 100 Nights
Others bearing at least some consideration:
Paul Westerberg - Stereo/Mono
Wilco - Yankee Hotel Foxtrot (someday I'll prolly laugh at this omission from my top 10)
The White Stripes - pick any record and put it on
Beck - Sea Change
Ryan Adams and the Cardinals - Cold Roses
The Roots - Phrenology
Okkervil River - The Stage Names
Calexico - Carried to Dust
By my lastfm counts (which is linked in the margins, click 'em) here are the records I listened to most via lastfm. Keep in mind, it may be a little skewed since I didn't start scrobbling til late 2005. Also, one song played on an album counts as an "album play". So if a song is included on a playlist, for example, the "album" the song is on gets a play count. If that makes sense.
Before we get too far into the month, I better do a quickie write-up of my Top Ten records of 2009. My main criteria for making such lists? What did I listen to most. Now, with any list I have creative license to change it, rearrange it, and this time next year, in 5 years, or 10 years, mock it. But as I sit here on a frigid January morning, these are my Top Ten Records for 2009. Hey kids, look for my Top Ten Records for the "aughties" in the near future too!
10. "Hombre Lobo" - The_Eels- There some people I listen to and I think, "Gosh, this guy could just wake up and write great songs." Mark Everett, a.k.a. "E" of The Eels is one of those guys. He writes dark songs about suicide that sound like sunny pop songs. They rock out on this record I prefer their mellower songs like "That Look You Gave That Guy" also, from this record. And, no, the record doesn't come in a humidor!
9. "Vulture Whale" - "Vulture Whale" - Get yer rawk show clothes on for Vulture Whale! Raw live sounding band outta Birmingham Alabama reminds me a little of early Faces. You can download their new EP for free! Check 'em out! www.vulturewhale.com/
8. "Together Through Life" - Bob Dylan - What more can be said regarding The Bard that hasn't already been said? Some may say he looks like an old wrinkled up prune but I think he's aging gracefully and if all geezer rock stars from the 60's continue to release records like this in their 60's we'll live in a good musical universe. Members of Los Lobos contribute.
7. "21st Century Breakdown" - Green Day - The hipster doofus in me tells me I can't put Green Day on my Top Ten. Well, I'm tellin' *that* guy to go to h-e-double guitar neck! Never was much of a fan, sure I'd listen to the hits, and own the best of disc, but with these last two records they've written music for people like me, fwiw. It's maybe one or two power ballads too heavy but hey, they gotta please the kids still. For those who cited references from The Who
with this record download their cover of "A Quick One (While He's Away) from iTunes.
6. "March of the Zapotec/Real Holland People" - Beirut - This is a two record set by band leader Zachary Congdon. The first record was recorded with native Mexican musicians from Oaxoca Mexico. It sounds fantastic but not like a mariachi band but not like Cafe Tacuba either. The second record is more electronic music. It works for me.
5. "Post-Nothing" - Japandroids - Here's a record released by a duo. But don't you go thinkin' they're like; Hall and Oates, Sonny and Cher and Simon and Garfunkle. Wrong 'Em Boyo! Think more along the lines of more recent duos like Local H, The White Stripes, or the Black Keys. Probably the most rockin record on this list.
4. "Veckatmist" - Grizzley Bear - Someone recently asked how you pronounce this record. I have no idea. It's hard enough to spell. Perhaps a critics darling of a record but I found it to my liking as well. Should I use critic-speak here? "Lush harmonies with Pet Sounds like production bring out the pop sensibilities in the thoughtful lyrics".
3. "At the Cut" - Vic Chesnutt - It pains me to say "the late Vic Chesnutt" but this is really a strong record. You can read a little more of what I wrote regarding his passing a couple blog entries below. His estate still has a slew of medical bills, you can donate donate here if you wish. Buy his records too. Well, *buy* all of your music!
2. American Central Dust - Son_Volt - Son Volt may not be a household name but I foresee big things from this band. Chuckle. Really. One of these days a "hat country" artist is gonna cover one of their songs and it's gonna be a big hit. Another scenario I have is that they have great fame after the fact like Skip Spence or Nick Drake. I just hope it's not posthumous for Jay's sake. Great history lesson with "Sultana" and my personal favorite song is, "No Turning Back"
1. "One False Move or I'm Gone" - Jay Farrar and Benjamin Gibbard - Great record by two dudes moonlighting from their day jobs, Farrar from Son Volt and Gibbard from Death Cab For Cutie. Jack Keruac's "Big Sur" is their muse. Outstanding.
There are many great concert experiences one could cull from a live performance. The full on rawk show, with lazer's, explosions, light shows, rawk show sing-a-longs when the singer holds out the mic to indicate, "Okay, everybody else sing now, I'm tired, then I'll compliment you and say the city that I'm in name for gratuitous applause". There's the intimate coffee house setting, solo acoustic(!!) the jaw-dropping moment, the can't-wipe-my-smile-off-my-face moment, face melting (but not in the Raiders of the Lost Ark way), the obscure cover moment where all the hard core fans are beside themselves with giddiness that their hero would play such an obscure gem. Then there's the weird dancing guy, you know, like Beatle_Bob, that may or may not take away from your concert going experience. Who can forget the I-think-I-just-met-my-future-significant other moment when someone near you knows all the same lyrics as you do. How is this possible? And she's a cute girl too! Then there's the bring a bunch of fans up to the stage who kinda look outta place up there, like kids trying to play the "Grand Prize Game" on Bozo but at the same time they think they are so cool cos they are on stage.
However(comma), the one I have in mind a somewhat modest concert moment. It's when you may drive to the show and you are listening to the band you are going to see as a pre-show primer. This does not violate any concert going ettiquette, such as wearing the concert shirt to see the band you are seeing, but I digress and that's for another blog entry, probably someone else's blog. May I resume? You park your car, the song is in mid-song as you turn the ignition off. Then later that night you hear that song and you think to yourself, "Hey, that was the song I was (ahem) jammin' to in my car as I parked it!"
This phenomenon happened to me last night at The_Waco_Brothers show at Schubas Tavern in Chicago. The song, "Nothing At All" from their fine record, "Freedom and Weep".
On Christmas Eve I had just listened to Vic Chesnutt's latest record, "At the Cut". It's been on semi-regular rotation since I saw him for the first time in my life at Lincoln Hall in early November 2009. I came up to check my computer (yeah, I still use one of those antiques that sit on a desk, not a laptop, not a iPhone, droid, Zune, Dune, or similar apparatus) and was saddened to see Vic Chesnutt was in a coma! Of course, in this day and age with interwebs, wits, twits, texts, and twats, news does tend to spread fast, even if it's erroneous news. After some ill-advised news leaks in the next 24 hours, it was confirmed that Vic Chesnutt had died on Christmas Day 2009. It was an apparent suicide attempt that had left him in a coma.
I had heard of Chesnutt's music before, had it on a soundtrack or a compilation CD, but admittedly, I'm late to the party with his oeuvre of music. Then there was the R.E.M connection that had garnered his music some attention. The aforementioned show at Lincoln Hall was basically my introduction to Vic Chesnutt. When I heard him play those songs that night were the first times I had heard those songs in my life. There were probably less than 100 people in the Hall that night. I was about 10 feet from the stage.
"We're here to play some mu-jik tonight." was his intro. It was just an odd pronounciation of the word "music". At first I wasn't sure if that was how he pronounced the word, a speech impediment, or he was just goofin around. Chesnutt has been in a wheel chair since 1983 when he was in a car accident.
So I'm standin there, taking in this show, he has a full band in tow with former members of Fugazi and Thee Silver Mt Zion Memorial Orchestra. I can read "Vic" on the headstock of his guitar. The guitar has that all too cool "played" look. He gets a great sound out of it. He plays surprisingly well despite his physical limitations. But who am I to call them limitations? Fool. The band completely rocks in the context of Chesnutt's songs culled mostly from his last two records. He's a dynamic performer, one of the more passionate performers I've ever seen in my life. It was just the way he would tug on his shirt, adjusted his seat in his chair, paused between songs, told a joke or a story, and just the way he belted out lyrics were nothing short of stunning. The most compelling song of the night was the way he sat in the wheel chair belting out, "Coward" off his last record. In a lifetime of going to see live music, this song, without question, was one of the best live performances of any one song I have ever seen.
More people are writing more fitting tributes than I to Vic Chesnutt's music and legacy. As Chesnutt lived a life with chemical dependancy and previous suicide attempts the lyrics to this song seem only apropo. These are from "Flirted With You All My Life", a song from his last record.
I am a man. I am self-aware. And everywhere I go You're always right there with me. I flirted with you all my life, Even kissed you once or twice And to this day I swear it was nice But clearly I was not ready.
When you touched a friend of mine, I thought I would lose my mind. But I found out with time That really, I was not ready. Oh, death. Oh, oh, death. Oh, death. Really, I'm not ready.
Oh, death, you hector me. Death's unmade those dear to me. You tease me with your sweet relief. You're cruel and you are constant. When my mom was cancer-sick, She fought but then succumbed to it. But you made her beg for it. "Lord Jesus, please I'm ready." Oh, death. Oh, oh, death. Oh, death. Really, I'm not ready. Oh, death. Oh, oh, death. Oh, death. Clearly, I'm not ready, no, no.
As I've noted in these parts, I listen to music in mediums of CD, mp3, and primarily vinyl. Sorry cassette and 8-Track fans. I go to great lengths to enjoy my listening experience. It's not just listening, there are tangible touchy feelie things involved. It's not just background noise though I'd be a liar if sometimes it turns out that way.
These are some of the extraordinary measures I go to when purchasing records, new and used. Going back to first getting records, the first thing I check after cracking open the cellophane is to see if there is a lyric sheet in the record. If so, oh happy day! If not, just a little more work listening.
The next thing I do is clean my records. Presently I use these things products. I use the no-rinse Quick-Wash Record-Cleaner, the Miracle Brush, the Audio Quest Carbon Fiber Brush, and the Disc Doctor's Stylus Cleaner. Though a record cleaner vacuum seems like a coveted item, I made one myself. Though many products of this ilk can be found with a simple internet search, most of the links I've supplied here are from The Needle Doctor. Highly recommended from this music listener. Call 'em with your order, knowledgeable music fans who are eager to help and share their experience, not to mention their favorite record spins, if asked.
Here is a rough sketch on how I made the record vacuum. The first thing I found was a motor from an old vacuum cleaner. I proceeded to build a box around this. I attached some tubing (in layman's terms, it's just black tubing I got from the hardware store) and I then used the curtain or furniture attachment and cut an 1/8 inch slit along the length of this piece. I sealed the end with some caulk and a small piece of plastic. I put some black felt (as seen in photo) on each side of the slit to protect the records. I'll cut new felt and replace it from time to time. I've used an old turntable that was from my teenage years (circa 1982!) as my work station. Do I feel like a bit of a shoemaker by making my own vacuum? Yeah, a little, but this system seems to work well and my records are clean and sound great. Maybe if I have enough nuts stored away someday I'll invest in a professional record vacuum, but in the meantime . . .
I begin by placing the record on the turntable cleaning station which is on my vacuum. I soak the brush with cleaner and work it in for a few revelations and then some back and forth half spins (per the instructions) for about 20-30 seconds. I then vacuum up any excess cleaner and dirt that is still on the record. I then let them air dry with any excess liquid that may remain though the vacuum seems plenty strong enough.
One other thing that I do is make sure all my records are stored in record_sleeves. I've gotten a little lenient on storing all my records in these sleeves because I've found that as long as they are in a sleeve, they seem to have adequete protection despite the claims made on the hi-lighted sleeve link. I'm a little selective in what records get the fancy sleeve and which ones get the factory installed sleeve.
The other sleeve I use is an outer album jacket sleeve to protect the record cover. I store the records so that the record won't slide out of the jacket nor the sleeve.
Another little thing I like to do that is more of a personal preference is that any little sticker or label that was on the original shrink wrap I cut out and retape it to the album sleeve. All these records as shone are in a sleeve with the original sticker attached to the new record sleeve.
The Carbon Fiber brush is used for everyday use before playing a record. This removes any dust that may have accumulated in just general record usage. It's gonna happen. However, if you don't manhandle your records or let Uncle Fester touch the grooves of the records with his grubby mitts, there is no need to vacuum and clean them again. Just use the carbon fiber brush before you spin each side. The stylus brush, well, it's just what it says. Clean periodically with the cleaner but as I said, if your records are kept clean, rarely do I get a fuzzy little dangle on my needle . . . hey, wait a minute. . .
Are these extravagant practices? Umm, probably. Is it a labor of listening love? Most certainly. One thing I found odd was that my latest turntable, a Rega-P3-24, suggests that record cleaning is over-rated despite the record cleaning company claims. This is quoted from the instruction manuel, "Don't worry about visible dust on the record surface, this is brushed aside by the stylus and any that collects on the stylus can be easily blown away. In general, record cleaning is overdone and one should not believe all the claims made by record cleaner manufacturers."
This thinking almost swayed me to thinking that I don't have to go to such measures (or at least moved my "fader knob" more to the middle) to have clean vinyl. Almost. I think it's in my system now. To borrow a current cliche in writing. The series of one word sentences to accentuate the drama! Must. Clean. Records.
This nonsense I like to call a blob of a blog and last.fm's rwagner would like to welcome Fats_Domino to his Top 50 playlist with 542 plays. With the minimum requirement of over 500 plays to crack "rwagner" Top 50 this is quite a coup for Fats (like it really matters much to Fats or his next of kin). Most of these plays have come in recent days as the "house music" for the Chick N Dip Drive In (as seen in the book "Drive- In Deluxe") in Hampshire, Il. Fats' early rock n roll recordings, that were so influential at the dawn of the rock era, sound right at home in the dining room of the Chick N Dip whose birth itself took place in the 1950's. In fact, one recent diner in the diner commented, "This music is perfect for a place like this." Most of these listens came via the Fats Domino box set "Walking to New Orleans". If you don't have it, do yourself a favor and get it.
On October 26, 2009 I was fortunate enough to attend one of just a handful of shows Jay Farrar (of Son Volt) and Ben Gibbard (of Death Cab for Cutie) performed at the new Lincoln Hall in Chicago. The venue is in what was the old Three Penny movie theater on Lincoln Avenue. It's just a few doors down from the late great legendary Lounge Ax Ax as well as across from the Biograph Theater, where John Dillinger saw his last film.
Farrar and Gibbard recently united to record songs inspired from Jack_Kerouac's book, "Big Sur". The record, "One Fast Move or I'm Gone", is one of my favorite new releases of the late 2009 season. While, admittedly, I'm not well versed in the DCFC catalog (that won't be for long), Farrar has long been one of my favorite's since my introduction to Uncle Tupelo in 1992 with "Still Feel Gone".
The pristine new Lincoln Hall with it's friendly staff (I wondered to some friends if they could bring that ol' cranky door man from Lounge Ax) was full capacity and a scarce ticket. Farrar and Gibbard were accompanied by multi-instrumentalist Mark Spencer, Jon Wurster (of Superchunk, who also played on Farrar's 2001 release "Sebastopol") and Nick Harmer on bass. The acoustics in LH are tremendous and the crowd was so attentive that if one spoke between songs it would have been akin to speaking loud in a library. Farrar had commented that this was the "one week anniversary" of the band. This caused Gibbard to quip, "Oh, I forgot to pick you up something." The band, surprisingly tight for only being together for a week, played the entire record. In addition a few choice covers that included, Bob Dylan's "Absolutely Sweet Marie", Farrar's own "Voodoo Candle" done as more of a pop song, and Tom Waits "Old Shoes" (and Picture Postcards). Both singers songs from the new record are very strong and both vocals accompany each other quite well, especially Farrar's backing vocal on "One Fast Move and I'm Gone". Gibbard made it a point to state that these songs were, in fact, written by Kerouac. It was also nice to see Farrar out of his element a bit as opposed to his shows with Son Volt. It's just nice to see him change it up a bit and just be a dude in a band.
It was a great introduction for myself to the new Lincoln Hall. It's only a matter of time before the place gets that lived in rock show feel but by initial appearances this is going to a well-run club, incidentally, owned by the same fine folks who run Schubas. Also, it would be nice to see Farrar and Gibbard collaborate again in the future.
While this review is a few days late, I figured hey what the hey, I wrote a brief review of The Replacements last ever show from 1991 a few blog entries ago, which is according to my math, is almost 20 years ago. First and foremost, if Springsteen is in the Chicago area, I go. Period. Exclamation point! End of conversation. I couldn't imagine not being there if he was just 30 some miles from my house. Well, I take that back, I did skip the show he did a U.S._Cellular_Field back in the olden days when it was called Comiskey Park for The Rising tour. I had already seen 4 or 5 shows on that tour and single gigs in stadiums usually result in a "typical setlist" for Springsteen. Then again, a "typical setlist" for a Springsteen show usually conquers any setlists by most bands.
Finding out when tickets went on sale that Springsteen would be playing "Born to Run" (the album) (Yes, that's a nod to Wilco) not just "Born to Run" (the song) had the Springsteen concert chills going even before the tickets went on sale. As most Springsteen followers know, he regularly changes the setlists from night to night but even then his shows can have a certain predictability, e.g. "'Point Blank' was put in 'The River' slot on night 2 in Boston". So with an entire album performed in it's entirety I thought there'd be an extra aura of excitement.
I brought my lovely wife and one of her favorite songs is "Thunder Road" so as we arrived at the U.C. we weren't late but we were pushing it, we parked, got out, it was raining outside and I said, "What if he starts the show with the album, we'd miss 'Thunder Road'!" So that prompted us into a slight jog . . . "We can make it if we run . . ." Instead, Springsteen played 7 songs before kicking off the record, the first being "Seeds", originally off the "Live 1975-1985" boxset. Next was a rousing, rocking "No Surrender" and then a few songs all the cool Bruce kids are calling "the recession set". Whatever.
What I call it was a no-nonsense, take no prisoners, rock n roll show. There was little Springsteen schitck and little time between songs. It was the song ends, guitar tech throws Springsteen another guitar and then it's "One Two Three Four!" he counts off the next song. Even "Preacher Bruce" was absent save for a little spiel during "Working On A Dream" and Springsteen spent most of that spiel pointing out, "that was the sound of the E Street Band fuckin' up." Then Steve_Van_Zandt pointed out the Bruce that he forgot a verse and Bruce said, "Steve told me that I forgot a verse so that was the sound of the 'Boss Man' fucking up." Sprinsteen was waaaay out in the "pit" a.ka. mainfloor, for "Hungry Heart" which caused Steve Van Zandt to quip on WXRT the next day, "Bruce spends more time in the audience these days than he does on the stage."
Then Springsteen introduced the moment we had been waiting for, "Born to Run". He said words to the effect how his first couple records stiffed and that this record was more or less a make or break record. So with harmonica in hand, house lights up, he let wail those all to familiar sounds of "Thunder Road". It's like it was no secret to the entire audience what song was next but yet to hear it open the record live, the crowd let out a collective "aaaaaaaah". It was incredible. "Tenth Avenue Freeze-out" was quick, to the point, "Here's the important part" when "the Big Man joined the band", and no band intros like in the 1999 tour. There was also an added trumpet player, Curt Ramm, to join Clarence Clemons. "Night" was good, and having backseats behind the stage for "Backstreets", watching Max Weinberg play the intro to "Backstreets" was surreal. It was odd to have "Born to Run" in the middle of the set but the place went nuts and the obligatory house lights were up! Clarence seemed out of the picture when I saw Springsteen in May. He doesn't get around as much, but on this night he was on his game and Springsteen used him as a foil like he used to in "She's the One". Bo Diddley would have been proud.
The highlights of the record as it was performed were "Meeting Across the River" and "Jungleland". Personally, I had heard them in sequence before but this time they had the trumpet player! Sheesh, I'm having a "Magnolia" moment right now as a slew of acorns are falling on my porch roof. On Roy Bittan's piano riser were just Roy, Curt Ramm on trumpet, and Richard Davis on stand-up bass. Davis played stand-up bass on the original record in 1975. And of course, Springsteen on the mic . . . "Hey Eddie, can you loan me a few bucks . . ."
As with the rest of the record, we knew *what* songs were next yet to hear "Jungleland" follow"Meeting Across the River" was a Springsteen concert goers dream. Again, just Suzee Tyrell on violin next to Roy Bittan on piano . . . "The rangers had a homecoming..." Not to cite to many Springsteen concert cliches but Clarence really nailed the sax solo on "Jungleland". Springsteen took a stand on Roy Bittan's piano during the sax solo punching the air for emphasis along with Max's drums. As the song was ending, I was thinking if this band doesn't get a 7 minute standing ovation we all should turn in our Springsteen fan cards.
It appeared anything to follow "Born to Run" would be a letdown but it was not to be. The rest of the show continued with "Waiting On A Sunny Day" (the singing kid section needs to be retired already), "Promised Land", "Radio Nowhere", "Lonesome Day", "The Rising", and (upcoming concert cliche) a blistering version of "Badlands".
This has now become a nice change of pace at Springsteen shows, the request segment. Fans bring signs, hold up signs, for Springsteen to play. Some of them are obscurities and some are cool and no so cool covers. Bruce will scour the "pit" for request signs, get confirmation from the band that they can indeed play it, then rip through it. As Van Zandt pointed out the next day on an interview on Chicago's wxrt, they really are rehearsing those songs right then and there on the spot. These signs aren't "plants". He said words to the effect of, "We just run through it and make sure there is not bridge that won't embarrass us." On this night we were treated to, "Da Do Ron Ron", "Rockin' Robbin", as well as the little played "I'm Goin' Down" from "Born in the USA".
What was odd was that the band never left the stage for encores. They just stayed up there. The show ended with "American Land", "Dancing In the Dark", and what appeared to be a treat (okay, we'll just say it probably wasn't on the original setlist) for all us good fans in Chicago, "Rosalita".
In my 25 plus years of seeing Springsteen, this was probably one of the best shows I had seen him play. The last time I saw him it didn't seem that energetic, a lot of newer material from the new record, and probably, the biggest indictment of the show probably came from me. My daughter had fallen off (umm pushed off) a swing-set at the neighbors, was okay, but banged up purty good, so my mind may have been elsewhere for the May show.
Then when my 5 year old daughter asked about the show on Monday, I told her Springsteen played all of the "Born to Run" record. She exclaimed, "He played all of side one and then side two?"
This Beatles stereo box set is a revalation in sound. While some of it doesn't sound too much different than the recordings I have on vinyl or CD, there are certainly plenty of "wow" factors in listening. More later . . .
I've posted here in these parts various things about Lords Park. Being that we live across from Lords Park, it holds a very special place in my heart. I even have a folder specifically for Lords Park in the photo link in this blog. Word has recently leaked through various voices in the press that they ("They" being the City of Elgin) are going to remove the animals from Lords Park in a cost cutting measure in these troubled economic times. Maybe the times are not as troubled as they once were but I just like writing, "troubled economic times". Here is a recent story from August 16th from the Elgin Courier News. Elgin-Bye-bye-bison
There are bison, elk, and deer in the park, not to mention several, seemingly thousand, Canadian geese and ducks. There had been a farm petting zoo during the summer months but that was removed this past summer in a Elgin cost cutting measure. The bison have been in Lords Park since the early 1900's. Generations of families have come to Lords Park to see these animals. When I tell people I live near Lords Park, ultimately, the first thing they ask me is if the buffalo are still there. I always proudly tell them they are.
Now, they are in serious jeopardy of being moved elsewhere. It's a crime but there is hope. The "Friends of Lords Park Zoo" have a website with info regarding this. Most importantly is a petition to sign. If you are reading this, please take a moment to sign the petition.
New Jersey's own, The Wrens, played Schubas Tavern in Chicago, Illinois in what was the first of two shows. I had been anticipating this show for a couple of years since I had first seen The Wrens a couple years ago at Schubas (it's really bugin me that I can't put an apostrophe in Schubas). I was floored by that show. It was so good that The Wrens made my short list of bands that I must see whenever they are in town. I did see them a second time at some street festival a couple of summers ago but that didn't match the intensity of the show I saw at Schubas.
The "house" music at Schubas when I walked in was Bruce Springsteen's "Nebraska".
The show started with the recently rumored to be dead Thax_Douglas reading some poems. Thax is alive and well. His poems? Well . . . let's just say I'm not a fan but it is pretty cool that he gets to read poems at rock shows. The show had a similar intensity of the show I saw previously in the quaint settings of Schubas. Kevin Whelan is a near madman on stage. It's like just when you're about to think he's going to go completely mad, he reigns it back in with humor and wonderful songs. Greg Whelan is the most "in the pocket" guitarist since Mike_Campbell. I'm not exactly sure what "in the pocket" means but I heard it once to describe Campbell. I know Campbell is as steady as they come. So is Greg Whelan. Charles Bissell, with is somewhat unique guitar playing, is one of my favorite vocalists as well as songwriters. Whew, I avoided using the term "singer/songwriter".
The show itself wasn't too different from the previous show I saw. It had a similar set list but we were treated to 4 or 5 brand-spankin' new songs. It's well-documented of The Wrens glacier-like approach to releasing records so it was refreshing to hear some new material. The newer songs were piano oriented with Kevin Whelan taking the lead vocals. It's hard to make a fair judgement from hearing them just once but my ears didn't hear an "She Sends Kisses" or a "Happy" in the new material. Maybe I'm just a jaded concert goer but they really need to retire the "fans with drumsticks" bit during "Boys, You Won't".
As The Wrens closed out the show the appreciative crowd brought them back for an encore. If you've never been to Schubas, the off stage always humors me because the bands just go outside on the Belmont Avenue sidewalk and just wait to go back in. There is no backstage to speak of. They played the obligatory encore but those nutty kids and fans of The Wrens cheered and cheered for more. The house lights didn't come up, didn't come up, then The Wrens came back to play some more. They made it well-known that they didn't have any more material rehearsed that wouldn't embarrass them. As they joked about it and shrugged their shoulders, the audience laughed and it was comical. Then it became apparent they really didn't have any more songs rehearsed. Really. We got bits and pieces of Led Zeppelin's "Misty Mountain Hop" and "Rock N Roll". We did get what appeared to be an impromptu version of "I've Made Enough Friends" from their record "Secaucus", which was pretty cool.
So not only are they slow pokes at releasing new records, which they make light of themselves and most people find it endearing, including myself. It also became apparent that they don't spend a lot of their free time working on their set lists, song arrangements, or even a few covers. Speaking of covers, we didn't even get The Outfield's "Your Love", which I've heard them cover before. I know most of the band has "day jobs" and families but I did get to thinking, "What the hell? You haven't released a record in 6 years and now you've run out of songs to play? What are you doing in your spare time?" Play freakin' "Ex-Girl Collection" would ya?
Buy hey, it was a good show and they're still on my short list of bands to see, especially if they release that new material . . . someday. While some of the set seemed "paint-by-number" and contrived, The Wrens could have just closed shop and not have come back for an encore they weren't ready for, but they did. So I credit them for that in an age of total lack of spontaneity in rock shows. So while the encore crossed the line from humorous to embarrassing I don't think anyone at Schubas (no apostrophe) left the joint disappointed.
In recent years I've read of other rock musicians gushing over Bruce Springsteen as if they were shameless fanboys and girls. When you think about it, aren't most musicians music fans first and foremost? Sure there's been tribute records including one just of "Nebraska" alone. In 2007 there was a big tribute show to honor Springsteen held in New York City with the likes of Steve Earle, The Hold Steady, and Josh Ritter, to name a few. Then there was Bono's glowing Rock N Roll Hall of Fame speech for Springsteen.
The three that have struck me the best have been other musicians talking or writing about Springsteen. Pictured is something hand written by The Clash's Joe Strummer. It needs no introduction, just read it. Here is a link to the pictured story. Click on the word "link".
Here is another ringing endorsement from John Wesley Harding from his blog, click on this link: http://blogs.myspace.com
Then I think of Serge Bielanko of Marah who reviewed a Springsteen show from the 1999 "Tracks" Reunion Tour. It really captures the essence of being a Springsteen fan. I've read this review countless times and each time I do it really reaffirms life as a Bruce Springsteen fan. Here it is.
Dancing in the Dark
(Like a White Boy)
by Serge Bielanko
I.
The sun took South Philly in one last time and then loosened its grip on the evening sky. Down on South Broad Street, not too far from where they blew up the Chicken Man, dusk came rolling in...slow...like a pimp in a Caddy. Darkness on the edge of town? You're goddamn right. I lit a smoke and sighed as traffic from I-95 growled, roared, and faded away. Somebody's "Badlands" collided with someone else's "Born to Run" and it sounded so sweetly menacing that I made a note to try that shit at home. I knew something wonderful was about to happen inside as Bruce Springsteen and the E Street Band returned to Philly for the first time in ten years. But I had no idea that watching my own friends would turn out to be that thing. Sometimes Springsteen music works real honest-to-god magic. Just ask Ed, or Paul, or me.
II.
My buddy, Ed, was in the fourth row last night and he just called me and said that his life is different now...that things ain't gonna be the same anymore. He said he was driving home after the show and his heart started really skitzin' out. I compared it all to driving home after a spectacular evening of sex with a supermodel. Ed said it was more like three supermodels. You get the idea. Me and my friends were on the side of the stage?real close, great view. But watching Ed down in the fourth row was almost as sweet as watching Bruce himself. From the first notes of "The Ties That Bind," Ed's tree-trunk arms were pumping his fists toward heaven or the moon or something. And his face? God, I wish all of Philly could have seen that boy's face when Bruce kicked into "Badlands." More than joy, more than ecstasy, more than passion was pumping with the blood through the veins of Ed's head. To be honest with you, I'm pretty sure he might've been possessed by the sort of fever that can drive some men to act lewd or crazy or really brave. Bruce's music does that to us. Ed wasn't the only one though. Down three rows from me, my buddy Paul was dancing in the dark, man. Right from the get-go, Paul was doing the white person dance, that concert dance of the non-dancer. Head roll, weave, sway and repeat. It's a beautiful thing to watch your friends do that. They're so free; it's so pure. I stared at him as the songs ended and he clapped and hooted unabashed like some mother at her kid's t-ball game. Through "Backstreets" gusto and "The Promised Land"'s promise Paul kept his body moving, his claps nearly always in time, his grin never missing a beat. He'll never forget it and neither will I.
III.
And then there was me. I've never tried too hard to like people who aren't into Springsteen. Our friendship could go nowhere and our future would be bleaker than "The River." It's fine? like what you like, and have a good life. No, me, I am into Springsteen. I am a fierce believer in the vision he's always trumpeted: that rock 'n' roll music could take us all higher emotionally and spiritually; that it could make the world a better place. And so as I clapped my own rhythms and sipped my beer and shouted "Bruuuuuuuuce" with my friends and 20,000 other people in the city I love, I suddenly realized the monumental gifts that Springsteen has repeatedly brought back to us again and again through the years. There is the music, of course. All of those albums that have soundtracked our lives and guided us through the whimsical gauntlet of time. And all of those shows?all those mesmerizing nights set ablaze by the greatest rock 'n' roll band in the world. But there's also a lot of hard-to-describe gifts; gifts that he's given us that require time and craft to really articulate into words. I'm talking about all of the passion, the glory, and the sense of triumph we've been privy to just by participating in his world and allowing him into ours. It ain't bullshit, people, and it never has been. Bruce Springsteen and the E Street Band are as real as the night is long, and I know there're a lot of people who would agree with that. But I guess in the end, only the Springsteen fan could really fathom the whole thing, the feeling you get watching your friends dance to the music.
Maybe Ed summed it up best when I asked him if he thought Bruce saw him so pumped up with life up there in the front...and maybe even looked him in the eye. "Dude," Ed started, then paused with unconscious conviction. "I know he did." Connection made. Happy 50th Bruce...and thanks for everything.
Serge Bielanko plays guitar, sings, and writes music in the band
Marah?which can pull off the riproaring-est version of "Streets of
Philadelphia" you've ever heard. Marah's next album is forthcoming from the
face melting (but not in the Raiders of the Lost Ark way), the obscure cover moment where all the hard core fans are beside themselves with giddiness that their hero would play such an obscure gem. Then there's the weird dancing guy, you know, like 
