PICK OF THE WEEK: Robert Randolph & The Family Band and Gomez - Tuesday, October 31st - Fillmore Auditorium, Denver, CO

Why You Should Go: This is an ecclectic line up for Halloween night in Denver. Gomez brings their unique brand of Brit-Pop back to the Fillmore for the first time since 2004 and this time heavyweight jamband outfit Robert Randolph and the Family Band will be on the bill as well. It is a unique combination of bands but should make for a fun evening. Gomez leans towards towards darker chugging rock-n-roll while Robert Randolph will bring the congregation to their feet with Gospel inspired Funk and Soul that was born in the tradition of Sacred Steel. Randolph is widely known as one of the best Pedal Steel Guitar players on the touring circuit today and his passion and energy come through loud and clear in his music.

I am sure there will be a large contingent of costumed concert goers so don't hesitate to come dressed to the nines in your Halloween best, you won't be alone!

Venue: The Fillmore Auditorium, 1510 Clarkson, Denver, CO, 80218, (303)837-1482

Doors:
6:30 PM

*Approximate Set Times:
Rodrigo y Gabriela: 7:30 PM
Gomez: 8:30 PM
Robert Randolph & The Family Band: 10:15 PM

*Price:
$25.25
PURCHASE

*All times and prices are gathered from other sources and I am not responsible for mistakes or inconsistencies. They are intended only as guidelines. Please, always call the venue if you desire the most accurate information possible.

REVIEW: The Silversun Pickups - Tuesday October 24th 2006 - Hi-Dive, Denver, CO

The Scene: While not quite sold out, the Hi-Dive was as crowded as I have seen it. Punk and preppy, it was a crowd that evidenced that a band that was about to break through into the mainstream was going to take the stage. By that I mean a crowd of people who aren't regulars at the Hi-Dive and are in touch with what is going on musically in Denver. Maybe it was a magazine article or a friend from out of town that turned them on to The Silversun Pickups but it doesn't matter. What matters is that they came out and braved the somewhat dingy confines of the Hi-Dive to hear a band they probably didn't know that well.

With the improvements going on at the Larimer Lounge it looks like the Hi-Dive may well be on the road to becoming the city's best "dirty little rock club." The grafitti and stickers in the bathrooms and the pieces of the ceiling hanging down took me back to the old Larimer. Don't get me wrong, this isn't a bad thing. There is a certain element that thrives in this environment and it is important for a city's music to have it. Everyone may not love it but it makes for good stories and more imporantly, it often gives birth to great music. CBGB's is the prime example. The birthplace of punk had it's issues but none of them rocked the crowd or poured from the speakers.

Opener: The Kingdom! Their relatively short set of sometimes VERY short songs didn't really do it for me. They seemed a little loose and as the lack of enthusiasm from the crowd evidenced, they seem to have some work to do before they start drawing big crowds on their own.

The Silversun Pickups: These guys seemed young, hard to believe they have been a band for 7 years or so. While they only have one album out, their dedication to their music shows clearly in their playing. They are tight as hell for any band . . . let alone a band that only has one album and is just starting their ride up. Their stops and starts were as a unit, not as indivuals trying to keep up with each other and the resulting shifts from loud to quiet were almost unnerving.

The Pickups raged through most of Carnavas during their 50 minute set and Brian Aubert handled his frontman duties very well. He worked the crowd with suggestive banter and humble thank you's and Nikki Monninger dropped bass bombs loaded with attack and angst. I've got to say she looked far to innocent with her long curly brown hair to be playing bass and singing on songs like "Lazy Eye," and "Future Foe Scenarios." Her bass work often pushed it's way to the front of the mix as her fingers danced dangerously on the fret board.

The bands classic metal influences reared their heads a couple of time throughout the night. For the second song of the set Aubert energized the crowd with his Hendrixian guitar riffs that make up the core of "Well Thought Out Twinkles." As the set progressed the maturity of this band was apparent. From the structure of the setlist to the sound mix coming from the stage everything seemed right on the money.

Speaking of right on the money, drummer Christopher Guanlao sets and agressive and throbbing tempo behind his strange kit. I honestly have never seen a drummer play with his crash symbol set so high. While it was at least 2 feet above his head it became clear early in the night that his animated drumming style regularly brought the crash to within easy reach.

The Pickups have been packing clubs around the country and while this was their first stop in Denver our city didn't let them down. I am sure there are most than a few new fans that would head out the next time they are in town.

Let's hope it's soon.

Energy: B+
Sound: B
Muscianship: B+
Stage Presence: A-
Set/Light Show: C+

Overall: B

REVIEW: Trey Anastasio - October 23rd 2006 - Fox Theatre, Boulder, CO

The Scene: The crowd outside the Fox was a bit different than the crowd at Twist and Shout the previous night. The dirty hippie element was in effect but didn't overtake the vibe which was nice. We pulled up at about 8:20 and went straight into the main room that was already about two-thirds full. We found a good spot right in the middle about 15 feet in front of the sound board where the sound is pretty much perfect (not there it sounds bad anywhere in the venue).

Average age of the crowd was around 30 and the underage side of the room was full of over 21's who choose not to drink in favor of getting a better spot to stand and maybe even a seat. There were a few older folks who were grooving to the music all night and that was great to see. The crowd was well behaved and it wasn't even too bad getting back to your spot after a trip to the bathroom.

Trey Anastasio: This show was a rager! Three songs into the first set I glanced at my watch and he had been playing for 50 minutes. Three songs into the second set it had been over an hour. Anastasio was on fire and he and his band looked like they had finally gelled a bit. Over the last few years it has been disappointing to see Trey Band play because they never seemed in step with each other and Trey was calling all the shots. It was different at the Fox. The band seemed to be playing as a band. The rhythm section of Tony Hall and Jeff Sipe layed down a complex lower end. Hall was all over his five string and Sipe kept good time from behind a kit that was largely in the dark for much of the show. Don't get me wrong Trey was running this show but he seemed to be enjoying it and all the musians were feeding off each other in a way I have seen out of an incarnation of Trey Band.

The packed house erupted when Trey and company walked at 10 minutes after 9. After a moment or two of tuning/noodling they launched into a fairly lackluster "Spin" but from there things took off. They blew the dust off with a short jam at the tail end of "Spin" but "Push on til the Day" was were we started to see what this band is capable of as the 20 plus minute jam featured vintage Trey. Next we were treated to more vintage Trey in the form of "Gotta Jibboo." The crowd was comprised of a lot of old Phish fans and this song took them back to their days on tour. Again topping out at more than 20 minutes the jams peaked at frenzied heights and sank to dank and dirty lows. Trey leaned in toward Tony Hall and got into some fierce battles as they locked eyes and made crazy faces.

The set slowed down a bit as the band bounced through "Drifting" before whipping things up again for "Mr. Completely." Trey was positively belowing into the mic as Jennifer Hartswick and Christina Durfee bolstered the song with their backup singing. After an average "Goodbye Head," "Come As Melody" brought the house down as the first set closer.

All night long the lights were top notch. I think they were just using the house rig at The Fox but that rig is better than many bands touring rigs. The lights were timed very well with the music and definately helped the crowd get into the music. Props to whoever was working the lights.

As the lights came up long time phans were looking at each other in near disbelief. Yes there have been rumors going that this band was different but we had just experienced a great first set and there was still 90 minutes to come!

I spent the set break talking with Paul Murin (who "plays Trey" in the tribute band Phix) and he said more than once that he hadn't seen Trey play like this in years. As he said "I wonder what craziness he will bring in the second set."

After a relatively brief setbreak of 30 minutes the band took the stage for an over the top 80 minute second set comprised of 4 songs. The old Trey Band song "Money Love and Change" led the way and set the stage for some outstanding jams. There was distorted trumpet, 'round the horn jams that included Trey calling for audience participation, a completely sick piano solo by the incomprable Ray Paczkowski where he seemed to seize control of a jam when Trey and Tony were about to steer it in a different direction. Trey looked at him as it to "ok, if you want it that bad you can have it." It was the one moment in the show when Trey seemed to have lost control of the band, in a very, very, good way!

He did regain control to guide the band through the structured beginings of The Way I feel, Night Speaks to a Woman and What's Done but the vocals seemed an aside as the songs were basically vehicles for the incindiary jams that continued to rage right up until the band left the stage.

They could have been done right then and there an no one who have complained one bit but after about 5 minutes the band emerged and busted into a rocking version of "Mud City." The blistering guitar work fanned the flames that were dying down after the second set and when they finally left the stage at 12:20 the capacity crowd was looking pretty happy.

Setlist:
Set One: Spin, Push on til the Day, Gotta Jibboo, Drifting, Mr. Completely, Goodbye Head, Come As Melody

Set Two: Money Love and Change, The Way I Feel, Night Speaks to a Woman, What's Done

Encore: Mud City

Energy: A+
Sound: A
Muscianship: A
Stage Presence: A
Set/Light Show: A

Overall: A

REVIEW: Trey Anastasio - October 22nd 2006 - Twist & Shout Records, Denver, CO

The Scene: This was an acoustic in-store performance at Twist and Shout's brand new location on Colfax Ave (a mere block from my house!!!). The line to get in started about 5pm sharp and there were already about 15 people lined up at 5:05 and it grew steadily from there. I didn't get in line until about 6:20 and was probably about 200 people from the door. There were a few people looking for the wristbands that it took to get into the show and I heard one person offering "50 and a Green for your Red." Meaning he would pay $50 for a wristband that not only guaranteed a spot in the store for the show (as the green ones did) but also an opportunity to meet Trey (only the red bands afforded this option).

The crowd was Denver white and was primarily in their late 20's to mid 30's though there were a few kids running around closely monitored by their music freak parents. All in all a well behaved crowd that lacked the "dirty hippie" influence.

The high ceilings and open layout of the new store offer a great room for in-store performances back in the Vinyl section. No longer are the fans wedged between racks of CDs as they watch the performance. The store is able to create more of a venue like feel and that makes for a much more enjoyable in-store experience.

Trey Anastasio: Anastasio came out to a thunderous applause and honestly looked thrilled to be there in this brand new store playing the first notes of live music for about 350 cheering fans. After a quick introduction from a Twist & Shout employee (Patrick) Anastasio picked up his acoustic guitar and almost sat down in front of a mic stand that was all set up for him. As he sat he asked if we could all see him if he sat. A rousing chorus of "NO" rang out from the crowd and he grinned and stood up and adjusted the mic stand to the delight of the crowd.

I was expecting his set to be comprised largely of tunes off of his album Bar 17, but apparently he wanted to vary things up a bit. He opened with the Phish crowd pleaser "Sample In A Jar" and though the song didn't have the same punch as it does with the full Phish line-up behind him he did get heads bobbing and phans singing along.

The "Inlaw Josie Wales" came next and showcased Anastasio's less appreciated acoustic guitar prowess. He did catch a couple of wrong notes in the songs more intricate sections but he just grinned and brushed it off adding to the intimate living room feeling of the show. He further added to that intimate feeling by talking with the crowd and even at one point hoisting a little girl up onto his shoulders to show off her brand new red cowboy boots to the entire crowd. He then rewarded her (and her parents) by saying "I love those red boots. Now I gotta play a cowboy song for you," and launching into "Back On The Train." He isn't known for his acoustic guitar work and while it obviously isn't his strong suit he did impress me with his ability to translate some of the Phish songs into the solo acoustic realm.

Later in the show, after a great version of "Waste," Anastasio took a request from the crowd to sing "Page's New Shirt," a song he made up on the spot backstage at a Phish show and is captured in the documentary, Bittersweet Motel. After singing a couple of lines from the impromptu tune he took another request from the audience and played "Camel Walk," after making the requester promise not to "hit him in the head with a beer bottle" if he forgot a verse as he claimed not to have played the song in more than 2 years. The audience got into "Camel Walk" and sang along before Anastasio segued into another Phish classic "Chalkdust Torture," to finish the 45 minute set.

Though it only took me about an hour to get through the line to get my poster signed, I heard that some folks waited nearly 3 hours for the opportunity to meet Anastasio. He was a great sport to hang out and meet more than 200 of his fans and I think people left with the feeling that he actually cares about the people that have stuck with him for all these years and have given him the opportunity to make music for a living.

Setlist:
Sample In A Jar
The Inlaw Josie Wales
Sleep Again
A Case Of Ice And Snow
Back On The Train
Dragonfly
Waste
Camel Walk >
Chalk Dust Torture

Energy: B+
Sound: B
Muscianship: B+
Stage Presence: A
Set/Light Show: N/A (It's a record store afterall)

Overall: B+

PICK OF THE WEEK: The Rhythm Devils - Friday, October 27th - Fat City, Littleton

Why You Should Go: This is a jamband line-up that is rarely equaled outside of late night jam sessions at festivals like The New Orleans Jazz and Hertigae Festival. With Grateful Dead drummers Mickey Hart and Bill Kruetzman pounding the skins, Mike Gordon of Phish supplying the bass duties, Steve Kimock of Zero and Phil and Friends fame on the guitar and a rotating cast of vocalists including Jen Durkin of The Bomb Squad and Deep Bananna Blackout the evening promises jams galore.

So far on the tour the band has played several classic Dead tunes including The Other One and Sugaree and has also worked a number of new Robert Hunter penned tunes into the setlists. They have been on the road off and on since mid-August and this point I am sure they are hitting their stride as a band.

Don't expect a full set of Dead tunes as you will be dissapointed but if you go looking for a good time and some outstanding musicianship I don't think you will be let down.

The venue is a indoor amusement park of sorts with Bumper Cars, Mini Golf, Bowling, an arcade and of course a full bar. If you get bored with the tunes or just need a break, there will be lots of other things to do.

The show is billed as "Quixote's Fieldtrip @ Fat City Feat The Rhythm Devils." I believe that the Cervantes / Quixote's crew is running a shuttle to the venue from their Welton Street location. Call the venue to check on availability: 303.297.1772

Venue: Fat City - 9670 W Coal Mine Ave, Littleton, CO, 303-972-4344

Doors: 6:00 PM

*Approximate Set Times:
The Rhythm Devils: 7:00 PM
(Cervantes Web Site says music will start at 7PM SHARP)

*Price:
$40.00
PURCHASE

*All times and prices are gathered from other sources and I am not responsible for mistakes or inconsistencies. They are intended only as guidelines. Please, always call the venue if you desire the most accurate information possible.

FEATURE: Silversun Pickups Shine Bright After Full Length Gets Major College Radio Play

“We’ve got an in-store at Amoeba Records here in L.A. tonight,” said Brian Aubert, guitarist and front man for Silversun Pickups, in a recent interview with me. “The gig was planned a couple of months back but we just found out about it. Our label knew, our manager knew and people thought we knew, but we actually found out about it while reading the paper just like you would. We called our manager and said, ‘Hey is this happening?’ Sure enough, it’s happening. We were all just glad we were going to be in town and could make our own gig. It’s really funny how it works sometimes.”

While in-store performances are often known for their stripped-down sound, Aubert said his band had no intention of toning things down or going acoustic for the Amoeba event. “We know a guy at the store and asked him if we should play acoustic or mellow things out for the in-store and he said ‘No, just be yourselves and play loud.’ I’m not sure they know what they’re in for, but we are going to hammer through seven songs back-to-back for the full 30 minutes so no one can tell us we are being too loud. By the time they can tell us we’re too loud we’ll be done and packing things up,” Aubert chuckled.

Over the course of the six years Silversun Pickups have existed, this kind of attitude has solidified their live show into a deafening amalgam of rock, psychedelia and shoe-gaze pop that leaves audiences gasping for breath and screaming for more. The tight, polished sound the band has achieved is a far cry from their humble beginnings in a practice space in the Silver Lake neighborhood of Los Angeles.

“I had just quit a friend’s band and was just kind of hanging around a practice space in Silver Lake when my friend Nikki decided she wanted to learn how to play bass,” Aubert remembers. “I said come on down. At the same time, my ex-girlfriend Elvira said, ‘I wanna learn how to play drums.’ She came down and learned about three or four beats. A week or so into that, Nikki and Elvira decided to make a tape to send into the CMJ Music Festival in New York. I thought it was ridiculous because we had no idea what we were doing and weren’t actually a band, but I went along with it. We needed a name to put on the tape so we looked out the window at Silver Sun Liquors across the street and said ‘Silversun Pickups? Okay.’ We actually got into CMJ and really couldn’t believe it. We decided to go. Not because we wanted to be a band but because we wanted to go to New York and hang out and see great bands. On that trip we ran into the guy that owns Spaceland here in L.A. and he asked us to play a gig the day we flew home. We took the gig and things just started to happen from there.”

It has been six years since that nameless trio made a tape on a boom box and accidentally started a band. In those six years Aubert (guitar and vocals), Nikki Monninger (bass) and the name (Silversun Pickups) are the only things that have remained constant. For years, The Pickups played with countless line-ups in clubs all over Southern California and slowly but steadily built a loyal local following. Recently, things changed.

In July of this year the first full-length album from Silversun Pickups, Carnavas, was released by Dangerbird Records. College radio around the country picked up the album and put it into regular rotation and it wasn’t long before major stations in Seattle and Los Angeles followed suit. Even MTV got in on the action, featuring the Pickups on the “You Hear It First” segment of MTV News.

“It’s been amazing on tour this summer and really, really bizarre at the same time. There were cities on the tour we had never been to and it was pandemonium in the venue. We’d get up there and people were smashed up against the stage and jumping up and yelling song titles, especially in Minneapolis, Chicago and Indianapolis, of all places,” Aubert said. “People were going insane and we’re just up there like, ‘What’s happening?’ After every show on the tour we’d go backstage and look at each other and just say, ‘I don’t know what’s happening, this is crazy.’ It has really felt good for me, personally, because it took so long for us to put this record out that when people were yelling song titles and singing along I knew it was real and people were buying it, people were listening to it and best of all people were liking it.”

Aubert confesses that with all the recent hype that has surrounded his band he has been getting recognized around L.A. a lot more. “It is a touch surreal when I get recognized in Silver Sun Liquors picking up a six pack. I hear things like, ‘Holy crap I’m watching a Silversun Pickup doing a Silver Sun pick-up,’ and I just have to laugh. I guess it’s good that after all this time people finally know who we are. It looks like we’re doing something right.”

Check Out The Silversun Picups If You Like:

• The Breeders
• The Comas
• Smashing Pumpkins

REVIEW: The Saw Doctors - October 17th 2006 - Bluebird Theater, Denver, CO

The Scene: A snowy Tuesday in Denver. The theater was decently full but far from sold-out and it felt like it. There just wasn't the energy there would have been if it were a weekend or a certain day in the middle of March. Though there were a few 20 something scattered about, the crowd was generally in their 30's, 40's and 50's. They just weren't hoisting the pints like they used to and many were contented to sit and enjoy the show without particpating too much. Don't get me wrong, I understand it's tough to go hard on a weeknight, but this is a band that thrives on audience participation and I think the fact that it was lacking a bit tonight had it's effect on the show.

Kudos to whoever organized the bus to come to the show. When we walked up there was huge Miller Lite bus pulling up in front of the theater. While there weren't hundreds of people pilling off, there were a fair number. It was also there at the end of the show as well to pick up the tired revelers.

Opener: This is an interesting story. When I got to the window to pick up my tickets I saw an opener listed flyer so I asked what time The Saw Doctors would come on. The woman working the box office glanced at what I assume was a schedule on the wall, and told me "right around 9." My buddy and I went across the street to catch some of the NLCS game between the Mets and Cardinals and headed back over to the show at about 8:45 thinking we would be walking in right between sets. I was confused when the doors opened and I heard the unmistakable sound of The Saw Doctors coming from the stage. Apparently they went on about 8:30 and I have no idea if there was an opener or not. Note to The Bluebird, make sure your box office has the right information about the show. You could lose some patrons if you give out the wrong information.

The Saw Doctors: This is a band that released the best selling single of all time in Ireland back in 1991. "I Useta Love Her" spent nine weeks atop the charts and has led many to dub the band "The Best Irish Rock Act Since U2." Their sound is distinctly more Irish than that of countrymen U2 but they certainly have a knack for writing good songs that have pushed many a party into the wee hours of the morning.

Their line-up has changed a bit over the years but core of the band remains unchanged with Leo Moran and Davey Carton remaining at the helm. Moran and Carton have aged a bit in recent years but were in fine form at The Bluebird. They worked crowd very well all night interspersing new songs into a set peppered with hits such as "Wake Up Sleeping," "The Green and Red of Mayo," and "Clare Island." Between the energy on stage and the specials on Guinness the audience did their best to keep up on a snowy Tuesday night only falling short when Carton called on us to sing his parts. Maybe people didn't know the words or were just shy but I have to question the smarts of trying several times to get an audience to sing when they clearly aren't that into it. My suggestion is to recognize it is A) Tuesday, B) you are in Denver, and C) it's snowing and move on with the set pouring all the passion you can into the next song.

While the main set was good, the band seemed to really step things up when they came back for a four song encore. "Bless Me Father" from their 1996 World of Good single kicked things off by parodying a Catholic confession with lyrics like "Bless me father for oI have sinned. She had big brown eyes and silky skin. Bless me father I couldn’t resist. Father you just have no idea what you’ve missed." During this song a guy in the front row hoisted his girl up onto the stage and convinced her to dance. The security guard at the side of the stage didn't take to kindly to this and escorted her off by the forearm as she stared helplessly down into the crowd. She was taken side stage and I didn't see her come back. The band then launched into a surprising cover of the T. Rex hit "Bang the Gong" with Carton playing a jet black Gibson X-plorer. This kept the crowd revved up and they finished with a powerful combination of two of their best loved songs "What a Day," and "Hay Wrap."

Overall a good show. It lacked some of the punch and raw energy that I have seen at Saw Doctors shows in the past but for now I am chalking that up to a snowy Tuesday in Denver.

Energy: B-
Sound: B
Muscianship: B-
Stage Presence: B
Set/Light Show: B-

Overall: B-

PICK OF THE WEEK: The Saw Doctors - Tuesday, October 17th - The Bluebird Theater, Denver

Why You Should Go: The Saw Doctors are one of the finest Traditional Irish-Rock bands to play in the U.S. in many years. Celebrating 20 years as a band they have wowed audiences around the world with their distinctly Irish sound. They sent two #1 singles up the Irish charts and recently released their most wistful and introspective album to date, The Cure.

Their live show is always a thrill. Audience participation, sing alongs and plenty of dancing are commonplace at a Saw Doctors show. If you like a good pub on St. Patricks Day, a few too many pints of Guinness, or if you just have a soft spot for the ol' Irish Shamrock I suggest you head out to The Bluebird and show just how much Irish you've got in your soul.

Venue: The Bluebird Theater - 3317 E. Colfax Ave, Denver, CO, 80206

Doors: 7:00 PM

*Approximate Set Times:
The Saw Doctors: 8:15 PM

*Price:
$15.00
PURCHASE

*All times and prices are gathered from other sources and I am not responsible for mistakes or inconsistencies. They are intended only as guidelines. Please, always call the venue if you desire the most accurate information possible.

REVIEW: Secret Machines - October 14th 2006 - Fox Theater, Boulder, CO

The Scene: The scene at the Fox Saturday was fairly typical. While it was a bit younger than I expected with an average age in the mid twenties, the crowd was a good mix of dready hippies, the tatooed punk element and preppy college kids with the occasional graying music fan thrown in. I was suprised that the show wasn't sold out when we walked in a little after 10. Maybe the dark psuedo-psychedelic rock of the Secret Machines just doesn't fit into the mainstream enough to pull the kids away from the weekend parties.

Secret Machines: With no opening band, Secret Machines took the stage at about 10:30, and what a stage it was. The band has been travelling with their own stage, lighting rig and sound system for this tour and they set it up smack in the middle of the Fox. In a room that usually holds about 800 people a full stage set up takes up some serious space. No one in the room was more than 20 feet from the stage and it really made for an intimate environment to see a band with this much energy.

From the first note of the first song they pulled out all the stops. The sound was up to usual Fox standards (even though it was their own rig) and the lighting rig was enough to blind just about anyone. The three band members faced the center of the stage and you could watch them as they played off each other all night. The lights in the center of the stage acted as footlights and lit each member from below giving a earie effect when it was desired and then as the music built the stobes and banks of LEDs would come into play in seizure enducing bursts. It was a spectacle to say the least.

The jams were tight, the drums loud, and the guitars screaming; just as you would expect from a band that has earned comparisons to Pink Floyd, Led Zeppelin, and Rush. I am not extremely familiar with their music and honestly I went primarily to see how they were going to pull of an "in the round" performance in such a small venue. They did of course play crowd favorite "Alone, Jealous and Stoned" from the new album but the highlight of the evening came during the powerful "The Road Leads Where It’s Lead" as the crowd sang along in unison to the chorus of "blowing all the other kids away!"

They may not have wowed me with their music but as far as production values go, these guys are "blowing all the other kids away." The have set a new bar in terms of small venue shows. I will never look at the Fox in the same way after Secret Machines took control of the venue and made a great room even better.

Energy: B+
Sound: A-
Muscianship: A-
Stage Presence: B+
Set/Light Show: A+

Overall: A-

REVIEW: Paul Simon - Tuesday October 10th 2006 - Magness Arena, Denver, CO

The Scene: Magness is a small hockey arena where the DU Pioneers play. It holds about 8,000 people and it was full for this show. The crowd consisted of everyone from college kids to their grandparents. With Simon just 3 days shy of his 65th birthday it wasn't a surprise that the average age was probably in the mid 40's. The crowd was up and down for the most of the night. Standing for the well known rockers and sitting for the quiter numbers. Overall a very good crowd and the venue staff was very friendly as well.

Lines at the cocktail concessions were a little long and slow moving but the hidden gem of the venue is the fact that they sell 24 oz Molson Canadian's for $7 at the beer stands around the arena. It was a hell of a deal especially considering there was no line at the beer stands. Aside from the usual problems with concert sound in an arena, Magness isn't a bad place to see a concert.

Opener: Jerry Douglas. Due to extremely poor planning on the part of the Pearl Street Grill we didn't make it in time to catch Douglas. Come on, you are a restaurant and bar mere blocks from what is becoming a more and more popular concert venue and you can't be bothered to check the schedule and call in more staff. The excuse of "we didn't know about the concert and only have 2 servers and 2 cooks on tonight," didn't fly well with our group as we waited for 45 minutes for our food. To their credit they did throw in a pitcher of Stella on the house.

Fortunately we did get to see a bit of Douglas and his Dobro mastery when he emerged for the final encore of Simon's set The Boxer. Douglas played along with Simon and his band and finally got the opportunity to solo right before the final verse. Matching the melody line note for note Douglas and his dobro added a haunting element to the classic.

Paul Simon: Paul Simon wrote the words "Everybody loves the sound of a train in the distance," almost 25 years ago and last night at Magness Arena I felt for a time that he had foreshadowed his own career. When the band dusted off this old favorite for one of it's only recent performances about a third of the way through the evening, I have to admit that I was a bit unhappy with the show. I was second guessing my great memories of the 3 other times I had seen Simon, and feeling like I'd "been had" by my own memory. Like loving the sound of a a train in the distance but being horrified by it's thunderous roar as it rushes by you, had I romanticized my other Paul Simon experiences? At that point in the show I had to say "yes."

Let me recap what led me to that conclusion. The show opened with what should have been a powerful one-two punch of "Gumboots" and "The Boy in Bubble" off of Simon's 1988 masterpiece Graceland. However, the band seemed flat, no one in the audience had any energy at all, and quite frankly I blame all this on the fact that the sound couldn't have been worse. Simon's voice was hidden under layers of reverb and echos and you couldn't tell the keyboards from the guitars. This is what a sound check is for gentelmen! Fix the problems before the band takes the stage and if you do have to do a little tweaking (as is expected) do it right away during the first verse of the first song. It shouldn't take 3 or 4 songs to get sound issues ironed out. I assume Simon is travelling with a profession sound crew and not hiring kids from local garage bands to do his sound. Bad sound may be a pet peeve of mine, but if I am paying $80 to see a concert I fully expect the sound to be, at worst, tolerable.

It wasn't until about 4 songs into the set, as the instantly recognizable drums of "50 Ways To Leave Your Lover" broke through the wall of the mud that was the soundstage at this point, that the audience showed any signs of life. This was the beginning of a long road up for Simon and his band as they tried to climb out of the deep hole the sound crew tossed them into.

A veteran performer it was clear that Simon was up to the challenge and he was going to do his best to win over even the harshest critics in the crowd. They really seemed to feed off of the energy that the crowd was starting to show and really got things going when they took us back to the 50's for a old time rock-n-roll version of the classic "Me & Julio Down By the Schoolyard."

With the sound problems finally fixed (for the most part) and the crowd's energy level rejuvenated I began to remember why I shelled out my $80 to see him again. The first highlight of the night came a little before the halfway mark when the first few notes of "Duncan" rang out. Always one of my very favorite Paul Simon songs, it was a thrill to see him perform it live. Lyrics like "Holes in my confidence, holes in the knees of my jeans," and "well I told her I was lost and she told me all about the Pentecost," have been burned into my memory since I was in middle school. "Duncan" is, in my opinion, one of Simon's most well written songs. The genius of making up words like "destituted" to suit his purpose and rhyming "hock it" with "pocket," are marks of a truly creative soul.

"Outrageous," "How Can You Live In The Northeast" and the solo encore of "Wartime Prayers." were the three songs that Simon chose to weave into the set from his most recent effort Surprise. There were a few cheers for the new numbers but sadly they largely served as opportunities to run to the bathroom for most people. Simon has an established and well loved catalogue of music and unfortunately most of his fans just aren't at a point in their lives where they are broadening their horizons anymore. Surprise is an album that shows the youth of Simon's mind and his love for music. He has been reinventing his sound for decades and his reliance on the ambient soundscapes created by Brian Eno on the new album yeild truly rewarding results that proves he is still the musician he was all those years ago.

Simon reinvented a couple of his old favorites throughout the night both intentionally and unintentionally. He dumbfounded most of the capacity crowd when his band turned up their amps and rocked through the coda to "Bridge Over Troubled Water" and a fantastic new arrangement of "Diamonds on the Soles of her Shoes" brought the crowd to their feet to close set that steadily gotten better for me. On the unintentional side, both Lindsay and I noted that he often seemed to come in early or late causing him to alter the phrasing on many of his songs. New arrangements of older tracks I understand and respect, but outstanding phrasing is one of the many things that have made Simon one of the best songwriters of the last 100 years. Maybe 30 years of singing the same songs is taking it's toll.

In perhaps his most moving and spot on performance of the night Simon wowed the crowd with a stellar rendition of "The Only Living Boy In New York." I recently read that Simon introduced the song this summer in Connecticut by saying that he had forgotten about it until he recently saw Garden State. He didn't introduce it to us that way, and in fact he spoke very little from the stage the entire evening, but maybe the freshness of the song in his mind brought him back to a time when it was new to him. Back to a time when he sang it with the passion that one has when they are knee deep in the creative process.

Though he wasn't very personable from his perch up there on the stage, and he may not have nailed every song, it was a hell of an evening. Simon is a legend for so many reasons and there is something about being in the presence of greatness, even if it isn't as great as it once was. To use his words "oh, what a night, oh what a garden of delight, even now that sweet memory lingers," and it will linger for years to come and next time Simon comes to town I'll be in line early to get my tickets. Maybe he'll become the train in the distance that he wrote about 25 years ago but along the way he's helped to make some wonderful memories.

Energy: B-
Sound: B-
Muscianship: A-
Stage Presence: B+
Set/Light Show: A-

Overall: B

REVIEW: Kasabian - Saturday October 7th 2006 - Gothic Theatre, Denver, CO

The Scene: To be honest the turn out was weak. No wonder more bands of this nature don't come through Denver on the weekends. Kasabian, already huge in the UK and hot on the heals of the release of their second album Empire, should be selling out venues like The Gothic, however they aren't in Denver. There were a few soccer jerseys in the crowd as one would expect at a Kasabian show and those who showed up were largely familiar with the music. By midway through the set the crowd's energy was building and by the time they left the stage Kasabian had the crowd whipped up into a small frenzy.

Opener: onethousand pictures. To be honest we walked in with only 2 songs left in their set so I wasn't really able to form an opinion of these guys. From what I saw they had tons of energy and were playing their hearts out for the fairly empty room.

Mew. Again I wasn't paying a heck of a lot of attention to these guys but the screen that they had behind them played some interesting animations throughout their set. Kasabian could learn a little bit about production values from them. They had the benefit of playing later in the evening so the crowd had a chance to fill in a bit throughout their set and they surely won over some of the crowd.

Kasabian: After stripping all of the backdrop away and leaving only a bare black wall half covered with a black curtain Kasabian took the stage at 10:45. They opened with the second track off of their recent release Empire launched into an extremely energetic set that really took off with Reason Is Treason from their debut album.

Frontman Tom Meighan danced and gyrated his way around the stage as he belted out lyrics that are, in all honesty, a bit contrary to his slightly flamboyant stage presence. Without letting that get in the way the band pumped the gothic full of their bottom heavy sound and riled up the crowd with hits such as LSF and Processed Beats from Kasabian and newer tracks "By My Side," "Sun Rise" and "Stuntman" from the Empire release.

Guitarist Sergio Pizzorno shared center stage with Meighan and added harmony vocals, and some wicked guitar licks throughout the evening. By the end of the 90 minute set the crowd was in great form, letting the band know what they thought of the digitally enhanced 21st century rock-n-roll that Kasabian has pioneered so effectively.

I look forward to Kasabian's next tour through the US and hope that they ratchet their stage show up a bit and add some more visual elements. The first time they came through the US their light show was overpowering and while that was a little intense, it complemented the agressive tone of the music very well. They are a young band and if they continue to push forward and stay under the wing of Brit Pop superstars Oasis their star will continue to rise.

Energy: A
Sound: B+
Muscianship: B
Stage Presence: A
Set/Light Show: B-

Overall: B+

PICK OF THE WEEK: Paul Simon w/ Jerry Douglas - Tuesday, October 10th - Magness Arena, Denver

Why You Should Go: Simply put Paul Simon is a legend. In 2006, Time Magazine called him one of the "100 people who shape our world." With a career that has spanned the nearly half a century and some of the most well known songs in the American popular Folk cannon, Simon has cemented his place in history. From his early days with Art Garfunkel through his most recent release Surprise Simon has often risen well above expectations.

Surprise was indeed a surprise to many longtime fans. A musical partnership with visionary musician and producer Brian Eno helped Simon to reinvent his sound yet again. This time with a much more ambient electronic feel. On songs such as "How Can You Live In The Northeast," "Outrageous" and "Wartime Prayers" Simon take advantage of Eno's musical soundscapes to beautifully frame some of the most well written lyrics since 1988's Graceland.

Having been on the road since late June, Simon and his band have settled into fine form and have had plenty of time to refine a setlist that has included such gems as "Duncan," "Gumboots," "The Boxer," and of course "You Can Call Me Al." It is a concert that promises not to dissapoint.

On hand to warm up the crowd will be Dobro master Jerry Douglas. Douglas is widely regarded as the world's best dobro player and is a staple of the Telluride Bluegrass Festival, both with his own band and with Allison Krauss and Union Station. Over the years he has collaborated with such artists as Eric Clapton, Bela Fleck, Ray Charles, James Taylor, and Emmylou Harris to name a few. Do yourself a favor and head in a bit early to catch his set.

Venue: Magness Arena (On the DU Campus) - 2240 East Buchtell Blvd, Denver, CO 80210

Doors: 6:30 PM

*Approximate Set Times:
Jerry Douglas: 7:30
Paul Simon: 8:45

*Price:
$49.50 or $69.50
PURCHASE (As of 10AM 10/9/06 only single tickets were available)

*All times and prices are gathered from other sources and I am not responsible for mistakes or inconsistencies. They are intended only as guidelines. Please, always call the venue if you desire the most accurate information possible.

ALBUM REVIEW: The Decemberists: The Crane Wife

On October 3rd The Decemberists unveiled a masterpiece called The Crane Wife. The album once again features Colin Meloy's elegant wordsmithing as it musically drives home the concept that this band is here for real. The experience begins with a sound Decemberists fans will recognize and slowly builds to a raging 3 song creshendo that is one part Disco/Funk, one part Prog-Rock and one part the gorgeous orchestral Indie Rock that The Decemberists have become known for.

The powerful, nearly epic, songs highlight the fact that Meloy's writing is clearly at the top of it's game. His pen has truly become a brush as he seems to have painted the word pictures that bring this album alive. Images such as "I tasted summer on your peppery skin," and "A gray sky, a bitter sting, a rain cloud, a crane on a wing," are not uncommon in these dark tales that are shrouded in Victorian lace.

Technically speaking the production value on the record is excellent and the songlist was put together flawlessly. The album lifts you up in strong arms and lets you down gently right where it wants you. From the bright and tinny opening notes of "The Crane Wife 3" through the final chorus of "Sons and Daughters" that features the full company singing "Hear all the bombs, they fade away," The Decemberists take you for an emotionally wrenching ride through an imaginary world inhabited by soldiers and sailors, bank robbers and fairy tale butchers. It is not a place for the faint of heart.

I have already read some reviews of this album where die hard fans have expressed their displeasure and their anger that the band has "sold-out." I don't think this could be further from the truth. The majesty and passion that are conveyed in the presentation of this collection of songs simply could not be made by a band attemping to placate a record executive. This is a record that refects the maturity of the band both lyrically and musically. In every generation a few bands get popular simply because they are extremely talented and hitting their creative stride as a unit, and not as individuals. The nature of creativity almost dictates that this can't last and that it must be cherished when it happens. I think The Decemberists are at that pinnacle right now. We would be fools not to stand up and take notice while they are in our midst. This is music that will endure and who knows how long they can keep it up.

GRADE: A

PICK OF THE WEEK: Kasabian w/ Mew & onethousand pictures - Saturday, Oct 7th - Gothic Theatre, Denver

Why You Should Go: Four words: Face Melting Psychedelic Rock. That's all there is too it. This Leicester UK quartet exploded onto the British Music Scene 2 years ago with their self-titled debut and with the recent release of their second album Empire, Kasabian has proved they haven't slowed down. Their Stone Roses-esque blend of powerful vocals, driving guitar and huge beats command attention and won't take "no" for an answer. They rocked Red Rocks a year ago opening for Oasis and take my word for it, they'll bring their UK arena show to The Gothic on Saturday. Don't forget your earplugs.

Venue: Gothic Theatre - 3263 South Broadway, Englewood, CO, 80110

Doors: 8:00 PM

*Approximate Set Times:
onethousand pictures: 9:00
Mew: 10:00
Kasabian: 11:00

*Price:
Adv - $13.00
DOS - $15.00
PURCHASE TICKETS

*All times and prices are gathered from other sources and I am not responsible for mistakes or inconsistencies. They are intended only as guidelines. Please, always call the venue if you desire the most accurate information possible.

REVIEW: Eric Bachmann & Richard Buckner - September 29th, 2006 - The Walnut Room, Denver, CO

The Scene: We showed up at The Walnut shortly after Jonathan Byerly left the stage and I was suprised at how full the room was already. It's limited capacity (250) was part of the reason but a significant crowd of hipsters and preppy 30 somethings had turned out in force.

Between Urata and Buckner's sets Lindsay and I grabbed a couple of sandwhiches and I've got to say they hit the spot. I don't reccommend the pizza, but if you are hungry I'll put in a good word for the Italian or Turkey, Bacon, Guac subs.

When Buckner left the stage it was a bit disappointing that a third of the crowd headed off to bed. I understand that an 11:30 start time for a headlining set is late, but those who left missed out on a fantastic set from new Colorado resident Eric Bachmann.

Opener: Nick Urata. As frontman for Denver based band Devotchka, Urata has perfected his crooning style and gathered his share of cooing female fans. Without the band behind him, we were treated to a sensitive performance that showcased Urata's vocal prowess as he accompanied himself ably on guitar. An indie rock Sinatra of sorts, his set would have been well suited to have an old Bogie and Bacall movie as a backdrop.

Richard Buckner: Buckner was clearly the draw tonight and while I think his recent album Meadow is a decent folk-rock record, I wasn't thrilled with his performance. Though Meadow features a full band, Buckner chose to tour with only ex Guided By Voices guitarist Doug Gillard. As a result the songs featured from the new album were signifcantly rearranged to suit the two guitar line-up.

The room was packed for the duration of his 60 minute set and he treated fans to selections that spanned his 8 albums. His edgy folk sound lies somewhere between David Wilcox and Pearl Jam without the intrigue of either. The songs just never reached the peaks that they seemed destined for and left me a little unsatisfied. As my friend Dan put it "his songs were really like the first minute to a Pearl Jam song...interesting and good, but then there were no guitars, catharsis, crescendos and drums to take it up a notch."

Eric Bachmann: Bachmann came on at about 11:45 and while this may have been late for some, I will never know how you can walk out on this guy. He has such command over his material and in a very calm yet intense way, he demands your attention. Early in his set Bachmann showcased the two gems of his recent release To The Races, Carborro Woman and Man O' War before settling down into a set that included fan favorites New Drink For An Old Drunk, Broken Man and You Must Build a Fire.

He shared the stage for the duration of his set with two women; Kate O'Brien and Miranda Brown who sang background and played Violin and Keys/Drums respectively. The haunting harmonies the three wove were beautiful, however their contribution with regard to instrumentation was negligable. Bachmann has been touring solo recently and I would have been just as happy had he continued that trend.

The one sad thing that came out of this evening was the realization that though he has recently relocated to Colorado, Bachmann wouldn't be playing here any time soon. He is headed off across the Pacific to Asia to feed the travel bug that haunts his soul. All we can hope for is more music of the caliber of To The Races and some homecoming shows in March or April of next year.

Energy: A-
Sound: B+
Muscianship: B
Stage Presence: A-
Set/Light Show: B-

Overall: B+