REVIEW: Billy Joel - February 28th - The Pepsi Center, Denver, CO

The Scene: As you might expect the scene at Billy Joel's concert at the Pepsi Center was relatively mellow. The crowd was a healthy mix of those who grew up with Joel and his music and those of us who discovered him when he was touring the world and selling millions of records. To be honest the crowd was younger than I thought it would be and though there was very little standing or dancing, there was a good energy in the venue as the show moved on.

Just a note on the Pepsi Center, I had long ago written off concerts in hockey arenas due to the poor sound but sometimes you just gotta go cause you aren't going to get a chance to see an artist anywhere else. (Roger Waters comes to mind as another example.) If you do find yourself getting tickets to a show at the Pepsi Center be sure that you are opposite the stage if at all possible. Quite simply the sound is MUCH better than anywhere else in the arena. It doesn't bounce around and get lost in a sea of reverb as it is focused on the soundboard. At Billy Joel we were above and behind the soundboard and the sound was much better than I expected. I was plesantly surprised. It almost makes a concert in an arena an option again . . . almost.

Billy Joel: The arena went dark and a cheer rose up as silhouetted figures moved about the stage, all of a sudden an array of brilliant lights focused on a piano at the center of the stage and the man who was pounding out the intro to "Angry Young Man." Though Joel's curly locks are long gone and the creases on his face show his years, his fingers still move just as fast and throughout the show I was consistently amazed at the talent that he exhibited on the keyboard. The irony of a 58 year old man singing a song about teen angst was not lost on me as Joel sang "there's always a place for the angry young man, with his fist in the air and his head in the sand," and "he's fair and he's true and he's boring as hell, and he'll go to the grave as an angry old man," with all the passion of the album version all those years ago.

Just before he played "The Entertainer" Joel turned to the crowd an welcomed us in to his world. His relaxed, casual demenor and the way in which he interacted with the audience managed to make the cavernous room feel just a little bit intimate. His attempts at humor were well received especially when he said "I'm Billy's Dad. Billy couldn't make it tonight, he's at home doing his hair. Billy's not this old. Hell, even Elton John's got hair. It's someone else's but he got it," as he rubbed his head.

Joel then opened his back catalogue and offered up three choices of songs that "weren't hits when they were released," for the audience to pick from by applause. To my dismay the audience chose "Ballad of Billy The Kid" over "Summer Highland Falls," and "Vienna." Though a great piece of work, "Summer Highland Falls," is one of my personal favorites.

Keeping up his good natured banter with crowd every couple of songs Joel moved through hits like "Allentown" and the powerful and jazzy "New York State of Mind," before warning the audience that he might not make it through the next piece. To his credit, not only did he make through the intricate, and obviously difficult instrumental "Root Beer Rag," he nailed it and it was clear that he was enjoying performing in the thin mountain air that the band would musically allude to later on in the set.

His much loved "Movin' Out," "Don't Ask Me Why," "Captain Jack," and "She's Always A Woman," followed the instrumental and throughout each song it was clear that nearly everyone in the arena knew all the words to each one of these classics. Joel then brought things more current (relatively speaking) with "River of Dreams" and "We Didn't Start The Fire," released in 1989 and 1993 respectively. However, it was a song sandwhiched between these two that was the surprise of the evening. Joel brought out Chainsaw, a burly, tatooed a member of his crew, who "wanted to try out for American Idol, but just didn't have the right look," for an explosive take on AC/DC's "Highway To Hell."

The set ended with upbeat rockers "It's Still Rock & Roll To Me," and "You May Be Right," and with a wave and a smile the band was gone . . . but only for a moment. After all, The Piano Man can't get us all in the mood for a melody and then call it a night. The full band returned to the stage for "Scenes From An Italian Restaurant," and "Only The Good Die Young," which got some people up out of their chairs and dancing even in the upper deck.

As the band left the stage for the last time, Joel teased the crowd by walking away from the piano and feigning heading off stage. He'd then take a step toward the piano - HUGE CHEERS - and then a step away - BOOS - toward - CHEERS - away - BOOS and so on till he finally took a seat and began to play one of the most beloved songs in the american songbook, "Piano Man." People stood and swayed and filled the arena with their voices.

All in all it was a pretty good crowd for a Thursday (and $100 tickets on the lower level) and we forgot about life for a while. After all these years of ups and downs, semi retirements and classical music albums, it is good to see that Billy Joel hasn't lost it. He still captivates audiences and he has found a way to adapt his music to his slightly tired voice so it doesn't sound so tired. He is a master showman, songwriter and musician and it was great to see him back on the stage singing the timeless songs that remind us all of younger days.

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

Overall: A-

ALBUM REVIEW: Cas Haley - Cas Haley

The name may ring a bell as Cas Haley was featured on the 2007 installment of the hit NBC series “America’s Got Talent,” but don’t hold that against him. He wound up taking home runner-up honors and if his debut album is any indication, America did a pretty good job of gauging his talent. With a sound that is one part Brett Dennen and two parts Bob Marley, Haley is quickly rising from the ranks of America’s talented to shine as an up and coming reggae star on the U.S. scene.

The album kicks off with a “bonus” acoustic cover of The Police’s “Walking On the Moon” before diving into the more characteristic sound of the album with the Haley original, “Survive.” The track is bouncy and horn driven while lyrically reminding the listener that we haven’t really come that far from our primate roots. It is a strong message that shows that Haley, at 26, is capable of writing about mature concepts and doesn’t rely solely on the old stand-by of passion and lost love for lyrical inspiration.

Though the full band version of “Walking On The Moon,” is the albums first single, radio fans can expect to hear the strains of Haley’s “I Wish That I” saturating the airwaves before the summer is over. With a mellow pace, soothing background vocals and upbeat feel, the song is the perfect compliment to a lazy afternoon in the sun. Throughout the album Haley and his band Woodbelly seem to channel the Reggae masters of the Caribbean as they use well placed horn lines and fine guitar work to accentuate the island beats that these Texas natives have mastered.

While this remarkably consistent album is ripe with other standout tracks such as “Dread Head Dream” and the album closer “All My Life,” Haley’s arrangement of The Commodores “Easy” sounds as fresh as anything that UB40 covered in their heyday. He makes the song his own and it takes on new life in his hands. Be on the lookout for much more from this talented American as he matures as a musician and as an individual.

Grade: B

PICK OF THE WEEK: Kyle Hollingsworth Band - Thurs, Fri & Sat, Feb 28, 29 & March 1st - Various Front Range Venues, CO

Why Should You Go: Kyle Hollingsworth can always be counted to bring out the funk and throw a jazzy little dance party. Whether it was in his days with The String Cheese Incident or part of one his own side projects, Hollingsworth funky tendencies shine through the music. This time around he has put together a group of Colorado’s favorite musicians for a run of shows on the Front Range to celebrate the Leap Year 2008. Joining Hollingsworth for these three shows will be Ross Martin, Matt Spencer and Dave Watts of The Motet, who appeared on Hollingsworth’s acclaimed solo release, Never Odd Or Even. The Band will also include Boulder favorite Liza Oxnard and vocalist Jans Ingber as well as DJ Check One. The shows are a reunion of some of Boulder’s best musicians, this will be their first performance together since the last leap year.

Expect the funky sounds that Hollingsworth is known for, as well as world beat influences and DJ turntables to mix it up. Hollingsworth will debut some new material and bring out some old favorites from his years with The String Cheese Incident. It’s a new year with exciting possibilities - don’t miss what the Kyle Hollingsworth Band has in store!

(Thanks to Madison House for their Press Release which is incorporated into this write-up)

Kyle Hollingsworth (on Keys with String Cheese Incident)

Venue:
Thursday: Hodi's Half Note - 167 North College Avenue, Fort Collins - 970.472.2034

Friday: Cervantes Masterpiece Ballroom - 2637 Welton Street Denver, CO 80205 - 303.297.1772

Saturday: The Fox Theatre - 1135 13th Street, Boulder, CO - 303.443.3399

Doors:
Thursday: 8:00 PM
Friday: 8:30 PM
Saturday: 8:30 PM

*Approximate Set Times:
Thursday
The Liza Band - 9:00 PM
Kyle Hollingsworth Band - 10:00 PM

Friday
The Liza Band - 9:30 PM
Kyle Hollingsworth Band - 10:30 PM

Saturday
The Liza Band - 9:30 PM
Kyle Hollingsworth Band - 10:30 PM

*Price:
Thursday
$12 (ADV)
$15 (DOS Over 21)
$18 (DOS Under 21)
PURCHASE THURSDAY

Friday
$15 (ADV)
$17 (DOS)
PURCHASE FRIDAY

Saturday
$13 (ADV)
$15 (DOS)
PURCHASE SATURDAY

*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.

PICK OF THE WEEK: Fort Knox Five vs Thunderball - Friday, February 22nd - The Shelter, Denver, CO

Why You Should Go: Fort Knox Five is laying down some of the funkiest beats on the scene right now. Their updated 70's electro funk sound is straight out of our nation's capital and they are is sure to get you moving. They have been featured on all sorts of lounge and dance compilations and recently remixed the Bob Marley tunes "Duppy Conqueror" and "Soul Shakedown Party" for the first authorized Bob Marley remix album, Roots, Rock, Remixed.

In contrast, Fort Knox Five's Electro Lounge alter ego, Thunderball, have been expertly crafting cinematic, dub-laden compositions full of intrigue, effortlessly changing tempos between D&B, breakbeat and downtempo for the last 12 years. Thunderball draw from their love of ‘60s cinema, Brazilian beats and Afro funk rhythms, to create explosive soundscapes designed for modern spy chases and late night encounters.

This performance will feature Steve "Raskal" Raskin from Thunderball & Fort Knox Five and Jon "JonH" Horvath from Fort Knox Five DJing together on 4 turntables and 2 mixers doing their brand of live remixes. With the intimate confines of The Shelter as the venue, and the beats of these two Funk and Electro Lounge wizards keeping the dancefloor packed, Friday night has the night has the makings for one sultry and sweaty dance party. It is their first time performing in Denver and we've got to show them the love if we want them to return!

Check Out Fort Knox Five
Check Out Thunderball

Venue: The Shelter, 1037 Broadway, Denver, CO 80203 - (303) 534-0222

Doors:
9:00 PM

*Approximate Set Times:
Fort Knox Five vs Thunderball - 10:30 PM

*Price:
$10.00 (ADV)
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.

PICK OF THE WEEK: The North Mississippi Allstars - Thurs, Fri & Saturday, Feb 14th, 15th & 16th - Denver and Boulder, CO

Why You Should Go: The North Mississippi Allstars are the premier contemporary blues bands touring today. Brothers Luther and Cody Dickinson founded the band in 1996 after years of soaking up the music of their father, Jim Dickinson. In their youth they had absorbed the North Mississippi Blues legacy while playing and shaking it down at the juke joints with their blues ancestors. Luther (guitar and vocals) and Cody (drums and vocals) joined up with bassist Chris Chew to form the core of their own band, The North Mississippi Allstars. Through the filter of generations of Mississippi Blues men, the Allstars pioneered their own blues-infused rock and roll and continue to do so.

Twelve years into a very promising career, The Allstars have garned attention from the fans around the world and the likes of the Academy of Recording Arts and Sciences who have nominated them for several Grammy Awards.

The Allstars guitarist Luther Dickinson has recently joined The Black Crowes as a full time member but has pledged to keep The Allstar train moving. They are touring in support of their most recent release Keep The Devil Down.

The North Mississippi Allstars


Venue:
Thursday
The Bluebird Theater, 3317 E. Colfax Ave, Denver, CO 80206 (303)377-1666

Friday & Saturday
The Fox Theatre 1135 13th Street, Boulder, CO - 303.443.3399

Doors:
Thursday - 8:00 PM
Friday & Saturday - 8:30 PM

*Approximate Set Times:
Thursday
Alvin Youngblood Heart - 9:00
North Mississippi Allstars - 10:00

Friday
Alvin Youngblood Heart - 9:15
North Mississippi Allstars - 10:30

*Price:
Thursday
$25
PURCHASE THURSDAY

Friday & Saturday
$22.50 (ADV)
$25.00 (DOS)
PURCHASE FRIDAY
PURCHASE SATURDAY

*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: Yeasayer & MGMT - February 4th - The Hi-Dive, Denver, CO

The Scene: Despite the snow that was steadily falling all afternoon Yeasayer and MGMT sold-out the Hi-Dive on Monday night. It was a diverse crowd that ranged from hardcore facepainted fans to preppy 30 somethings in-the-know with a few industry types scattered about. It was a cleary a show fueled by "buzz," and while I am not sure it lived up the all the hype, I was plesantly surprised by the show that Yeasayer put on.

One thing I need to comment on is the several folks who were right up front taking hundreds of flash pictures throughout the Yeasayer set. Most venues have a no-flash policy for photography and if the Hi-Dive does, it is clear that it was not enforced on Monday. If it was bothering me, I can only imagine how much it was irritating the band. On another note, The Hi-Dive really has to continue to work on it's sound. The shows that they are booking are steadily improving but the sound quality in the room simply isn't up to par. The sound guys were working hard and doing everything they could but it's just a tough set up.

NOTE: I have decided to split this review up as if it was two different headliners as Yeasayer stole the show in my opinion. As a result there are two different set of grades for this review, the first applies to the Yeasayer portion of the evening and the second to the MGMT portion.

Yeasayer: I went in to the Hi-Dive knowing very little about Yeasayer and as soon as they broke into their first song I knew that I was going to dig what they were doing. It is relatively rare to find a young indie band these days that has four members who can sing well, and more importantly sing well together. Though the vocals were drenched in reverb for much of the set this added to the already psychedelic feel of their music. Heavily influenced by world music from Africa, The Middle East and even at times the Celtic tradition, the band pushes the traditional limits of pop music while still lacing their music with hooks. They aren't afraid to experiment with new sounds and ideas and many of these experiements are working very well. Simply put there are some great ideas coming out of these four men and the potential for what they could create is very exciting.

Each member of the band seems to contribute equally to the bands unique sound. Aaron Wilder's relatively simple guitar riffs formed the melodic core to most of the songs while Ira Wolf Tuton's fretless bass work was prominent in the mix. Both sidemen sang ably alongside lead vocalist and snyth knob twiddler Chris Keating to create densely layered, and at times almost chanted, vocals. On background vocals and a kit equipped with a programmed drum pad, drummer Luke Fasano laid down a beat that drove the music and kept the crowd moving throughout the set.

Though their studio album clearly relied on overdubs and other studio magic, they have managed to stage a live show that brings energy to the music that isn't found on the record. I overheard lots of positive chatter about the music as they quickly won over the capacity crowd. After churning through about a dozen songs they triumphantly wrapped up their 50 minute set to a room full of pumping fists and the biggest cheer of the evening. Though the crowd seemed to be begging for more, the band packed up and yeilded the stage to the headliner, MGMT for the more anticipated (and less entertaining) set of the evening.

Energy: B+
Sound: B-
Musicianship: B
Stage Presence: A-
Set/Light Show: N/A
Overall: B+

MGMT: Though their set was plagued by sound problems that weren't their fault for the first 20 or so minutes MGMT never seemed to really get off the ground. They seemed tired and, frankly, a bit bored as they ran through a bulk of their debut full legth Oracular Spectacular. Though the album cleary has a couple of tracks that could be destined for dramatic overplay on mainstream radio and college campuses across the country, it lacked a bit of the originality that I was hoping for after the Yeasayer set.

With 5 members up on stage, several of whom did not seem to be completely comfortable on their instruments, it was the drummer who stole the show. He ferociously and tirelessly pounded the drums throughout the set and provided something interesting to watch as his bandmates plodded through their parts.

Overall the music had a good beat and the vocals weren't bad but the stoic presence of the band on stage contrasted so greatly with the sound that was coming out of PA that it was almost confusing. Maybe it was an off night for them as they had struggled through a snow storm to drive in from Salt Lake City, or maybe it was the altitude toward the end of a long tour. Whatever it was, it didn't sit too well with me on this snowy night.

Energy: B
Sound: C+
Musicianship: B-
Stage Presence: C
Set/Light Show: N/A
Overall: C+

PICK OF THE WEEK: Jonathan Keller & Friends - Friday, February 8th - Folsom Street Coffee House, Boulder, CO

Why You Should Go: Supporting local music is a key part to the success of the music industry. Jon Keller has lived in Boulder for years and is proud to it home. Keller is a free spirit who's songs stand on their own as artistic products that he should be proud of. His music follows in the tradition of folk artists like David Wilcox and John Gorka and while the songs are primarily based in the singer-songwriter tradition, he is putting together a band for this gig (and the one at the same venue on the 23rd) that includes Ian Hendrick on guitar, Dave Pucul on bass and Todd Lilienthal on banjo. Together they are sure to shape the rough mixes and sketches that are currently posted to Keller's Myspace page into fully fleshed out songs.

Venue: Folsom St Coffee Co., 1795 Folsom St., Boulder,CO 80302 - (303)440-8808

Doors:
6:00 AM

*Approximate Set Times:
Jonathan Keller & Friends - 8:00 PM

*Price:
FREE!

*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: Keller Williams Forms A Feel-Good Band With an Ominous Name

For more than 15 years the “One-Man Jamband” known as Keller Williams has been touring the country amazing fans with his own brand of improvisational rock music. Though a one man band, Williams stage frequently contains everything from a bass guitar on a stand to a bongo drum or two, several guitars and a piano. Proficient on all these instruments and more, Williams has developed a unique style of performing where he layers and loops these instruments live on stage using a pedal that can record any sound that is played and play it back in a loop allowing him to add other sounds and riffs to it creating the illusion of a full band. At any given time during a performance there could be as many as 10 or 12 different sounds emanating from the PA all perfectly synched and creating a richly textured soundscape for Williams to sing over.

While these solo performances are what have made Williams something of a legend in the Jamband scene, he has branched out recently and is now touring with a full rock band made up of some of the best players in the scene. “I’ve always wanted to put together a band like this but in the beginning I just couldn’t afford to bring the people out that I wanted. I wasn’t making enough money to do that,” Williams said in a recent interview with Listen Up Denver! from his home in Virginia. “Once I was making enough money things were working as a solo act and I didn’t really need it. The reason that this band actually happened was because of timing. Keith Moseley was available and Jeff Sipe was playing with Trey Anastasio and it was looking like he was going to be available and I was able to get Gibb Droll way in advance to where he could actually be available also. This is very much a dream type of ensemble for me. I’ve had an immense amount of respect for each player over the years.”

The group, known as the WMD’S, has only been active for about 8 months and yet Williams is thrilled with the way the band has gelled. “The evolution is happening. It’s amazing, you can listen to the tapes and you can hear each individual listening to the other players and you can hear the songs go in so many different directions that I never imagined. These songs are being played the way I originally intended.”

Though he used to heavily favor the Acoustic Guitar, in this project Williams has been picking up the electric much more often and filling the traditional role of a rhythm guitarist with his non traditional style. While he still utilizes his trademark looping techniques they are not the focal point of the show as they used to be due to the presence of the three other musicians on stage.

Also on the electric guitar is the New York based, but Virginia bred, Gibb Droll. He has been amazing music fans since his first performances back in the early 90’s with his incendiary guitar technique and showmanship. Though he is clearly influenced by legends such as Hendrix and Stevie Ray Vaughn, Droll has developed his own style and his blues based riffs are a compliment to William’s rhythmic style of playing.

Backing up these two guitar heroes as the rhythm section are Jeff Sipe on Drums and local favorite Keith Moseley on bass. Sipe cut his teeth playing with Col. Bruce Hampton as a founding member of Aquarium Rescue Unit and has continued his career playing with the likes of Trey Anastasio and Phil Lesh. Williams describes Sipe as a rock behind the kit who is able to provide whatever beat the songs call for. Coupled with the bouncy bass lines that Mosely brings to the mix this rhythm section is exactly what Williams needs to bring his songs to life.

Keith Moseley was, for nearly fourteen years, the bass player for local jam favorites The String Cheese Incident. When the band went their separate ways this past summer Moseley found himself looking for another project to focus on and fortunately Williams was quick to offer him a gig. “I was looking to focus on the two guitar bass and drums dynamic. Kind of the rock-n-roll approach,” said Williams. “Keith was one of the first guys in String Cheese that I met and we’ve been close for years and even taken our families on vacation together and things like that so it made sense for him to come on board.”

In a way Williams owes a significant debt to Moseley and his former band as for years in the mid 90’s Williams was the de facto opener for The String Cheese Incident and often shared the stage with band. Moseley and the rest of SCI were instrumental in exposing Williams to a broad audience across the country and while today he stands on his own legs he is quick to recognize the help that he got from String Cheese. “I was a total fan first and saw them all over Colorado before getting the opportunity to meet them and then to have them turn me on to their audience all over the country. Who’s to say what I would be doing right now without them.”

It was clear over the years that the admiration was mutual as SCI served as Williams’s studio band on his 4th album Breathe and invited him to festival after festival throughout their tenure on the scene. The final time that these two musical powers shared the stage was a very special show that served as the culmination of 14 years of performing for The String Cheese Incident. In August of last year, as they prepared to go their separate ways, the band played a four night run at Red Rocks and, in the spirit of keeping it a “family affair,” invited a lone guest to the stage during the entire run. Emerging midway through the final show, Williams was given center stage and took the reigns for two of his own songs, “Best Feeling” and “Fuel for the Road.” He was welcomed by the fans with open arms and it seemed to be a passing of the torch to many in attendance. “I try not to look too much into it philosophically,” Williams said. “If I was to go to the philosophical side it was a pretty monumental event for me. To be at the most amazing venue in the world and to be thinking it might be the last time we would play together was a pretty intense moment.”

The sit-in only added fodder to rumors that Williams would replace Bill Nershi in the band. Though the official stance of the band was, and still is, that “there are currently no future plans for The String Cheese Incident,” people could not let it go and Williams name was inextricably tied to the band as the “replacement” for Nershi. Fans were hoping that the Keller Williams Incident project that surfaced occasionally over the years would make a go of it as a full time touring band.

As it turns out, this speculation was unfounded, and in fact Williams said that “the conversation never took place. String Cheese was a very democratic kind of ensemble where everyone was a leader and everyone kind of either agreed or compromised,” Williams said. “Obviously people were aware of the Keller Williams Incident shows and just assumed that it would turn around and continue on with me in Billy’s place which was so far from the truth. Billy was a huge part of that and I don’t think the rest of the and ever thought about continuing on with me in Billy’s place.”

Some of magic that Keller created with SCI may be rekindled when Williams brings his WMD’S project to Denver this month as Billy Nershi will be handling the opening duties as part of one of his current projects, The Emmitt Nershi Band. While the project leans heavily in a bluegrass direction, Williams anticipates that the old friends will have plenty of time to get reacquainted musically on the stage. “I am hoping that there will be lots of collaboration that night, in both sets. How couldn’t we, we’ll have Drew Emmitt and Bill Nershi there and everyone’s open minded in my group so I’m thinking there will be some serious sit-ins.”

Check Out Keller Williams and the WMD'S if You Like:

• String Cheese Incident
• moe.
• Jack Johnson

PICK OF THE WEEK: Keller Williams and the WMD'S - Saturday, February 2nd - The Fillmore Auditorium, Denver, CO

Why You Should Go: For more than 15 years the “One-Man Jamband” known as Keller Williams has been touring the country amazing fans with his own brand of improvisational rock music. Williams has branched out recently and is now touring with a full rock band made up of some of the best players in the jam scene.

Though he used to heavily favor the Acoustic Guitar, in this project Williams has been picking up the electric much more often and filling the traditional role of a rhythm guitarist with his non traditional style. While he still utilizes his trademark looping techniques they are not the focal point of the show as they used to be due to the presence of the three other musicians on stage. Also on the electric guitar is the New York based, but Virginia bred, Gibb Droll. Backing up these two guitar heroes as the rhythm section are Jeff Sipe on Drums and local favorite Keith Moseley on bass.

While the setlist is sure to draw heavily on Williams own catalogue he has been known to surprise audiences with an outrageous cover or three. It should also be mentioned that the potential for suprises increased dramatically when it was announced that Billy Nershi would be handling the opening duties as part of one of his current projects, The Emmitt Nershi Band. Some of magic that Keller created with Mosely & Nershi's previous band, the Boulder based String Cheese Incident, may be rekindled as the WMD'S sets have been stretching up to 3 or more hours. With their well-known penchant for sit-ins there is sure to be plenty of time for the old friends to delight fans and get reacquainted musically Saturday night.

The WMD'S


Venue: The Fillmore Auditorium, 1510 Clarkson Street, Denver, CO 80218 - (303)837-0360

Doors:
6:30 PM

*Approximate Set Times:
The Emmitt Nershi Band - 7:30 PM
The WMD'S - 8:45

*Price:
$27.50 (ADV)
$30.00 (DOS)
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.

APOLOGY: No Updates :(

Apologies from Listen Up Denver! for the lack of updates for the past 2 weeks. Our service provider was having issues with our server and while the Blog was active we weren't able to post any updates to it.

We are back live and will try to catch up over the next week or so.

Thanks for reading!

The Mars Volta Encounter Demons and Spirits During Recording of Bedlam in Goliath

As with so many records, there is a story behind The Mars Volta’s new album The Bedlam in Goliath, which will hit shelves at the end of the month. However, this one is not one of rock and roll excess, a broken heart, or a journey of self discovery. It is a story that some may disregard completely, while to others it is the foundation of deep seated beliefs centuries in the making. Either way, it is the stuff legends are made of and it is unraveling right before our eyes.

Omar Rodríguez-López, the musical mastermind and producer behind The Mars Volta, and vocalist/lyricist Cedric Bixler-Zavala spent many evenings on the band’s tour bus while on the road with the Red Hot Chili Peppers in the fall of 2006 deeply engrossed in their new favorite pastime. “After a show, most of the college crowds that are at a Chili Peppers show want to know, ‘Where’s Flea? Can I meet Flea? Can you give me a pass so I can hang out with Flea?’” said Bixler-Zavala in a recent interview with Listen Up Denver! as he recovered from foot surgery and rehearsed for the band’s New Year’s costume ball. “We didn’t really want to deal with those kinds of people and we just kind of retreated to the bus where the new drug of choice was playing this antique game that Omar had bought for me.” The Soothsayer, as the game was known, was a talking board in the style of a modern Ouija board, sold by Parker Brothers.

“We would never dim the lights, it wasn’t some corny Disney version like people might picture. The lights were on, the messages started coming through and I kept looking at Omar like, ‘Are you pushing this thing, or am I pushing this thing?’ I just kept writing down everything that it said because it was 10 times more creative than anything I think I could have come up with,” admitted Bixler-Zavala. “The fact that I was writing everything down is what challenged the spirits that we contacted and alerted them that we had the power of unmasking their anonymity.”

“When we first played the board, we found poetry attached to it. We hired two people to translate it because it was in Hebrew and in Latin and sometimes it was in what I think was Aramaic,” Bixler-Zavala said. “One of those translators gave us back our money and didn’t want to talk to us or have anything to do with us again. The other, who was a little more brave, translated the verses for us and it turned out they translated like traditional sing-song nursery rhymes and the more I read stuff and the further I am away from the project now the more I realize that it is a story steeped in the modern day phenomena of honor killings.”

“The spirit, known as Goliath, is a schizophrenic version of three people who were trying to contact us; a male spirit, a female spirit and her mother. The story is of lust, seduction and infidelity, pain and murder. It is a classic scenario of a male character speaking over a female and the female looking for a champion who is brave enough to tell the story,” revealed Bixler-Zavala.

The more that Bixler-Zavala and Rodríguez-López interacted with The Soothsayer and Goliath, the more they became convinced that the male spirit was casting a curse on them as they began to understand the true nature of the story the trio was unveiling. A series of events unfolded as they developed the concepts for the album and began to record. Severe equipment issues hounded them, their drummer quit, Bixler-Zavala was hobbled by a seemingly random foot injury that later required major surgery, a flood wiped out much of Rodríguez-López’s personal studio, and audio tracks were literally disappearing from the computer monitor in front of their eyes. All together, it seemed too much to be a coincidence. Goliath was angry and bent on destroying this record.

Despite the anger, The Mars Volta drove on and fought the uphill battle against the chilling other worldly force with which they were wrestling. Midway through the recording session, Rodríguez-López commandeered The Soothsayer and, in a move that probably saved the recording project, buried it in a location that only he knows. “He buried it because he knows that I am obsessive compulsive and despite everything that was happening, I would probably want to play the game again,” admitted Bixler-Zavala.

As they became more convinced about the true power of the curse they were dealing with, Bixler-Zavala began to try to work some positive forces into the fabric of the record. “We have taken extreme measures to have the project blessed by more positive forces,” he said. “That’s why there is a track titled ‘Metatron,’ who is said to have believed in some of the myths behind curing some of the ailments associated with Ouija boards. Metatron, Ariel and St. Gabriel are some of the saints that you are supposed to call on when you have problems of this nature. I’ve named a song “Ilyena” after the real name of the actress Helen Miren because she is my favorite actress and the song is a little lighthearted and different from the subject matter. There are a lot of different things that I did to fight fire with fire without being touched by the male spirit.”

Due to precautions such as these, general perseverance and a desire to tell the story that they had unearthed, The Mars Volta have created a furious monster of a progressive rock record that seems to walk the knife’s edge between control and chaos. According to Bixler-Zavala, he and Rodríguez-López work hard to achieve that balance. “None of the band members have material to rehearse. When you hear the album and you hear how aggressive it is, in my opinion, it’s the sound of the tension and the anger of the musicians having to learn everything five minutes before they are going to record. The fact that we have musicians that can do that but go into it kicking and screaming, keeps everyone on their toes and really makes it sound like everyone is recording in the same room together.”

The aggression and tension that Bixler-Zavala describes is further enhanced by a brand new member of The Mars Volta. Appearing with the band for the first time on this record is drummer Thomas Pridgen and he seems to be breathing new life into the collective. “He fits in really well and brings in this new energy,” said Bixler-Zavala. “Because he is just 24 years old and comes from gospel, R&B and jazz, he doesn’t know who The Dead Kennedy’s are and has never heard of The Bad Brains. I feel like he is this invisible secret member of The Bad Brains who decided to jump ship and join The Mars Volta.”

Pridgen’s raw youthful energy is evident on the new record and is sure to electrify crowds when the band takes their live show to small clubs across the country this month. “Thomas kind of reminded me of how to treat the moments on stage as if they are the last time I am going to play, so it is a very active show and nowadays you see the band laughing and smiling a lot more ’cause Thomas is just challenging the fuck out of us. We are exorcising a lot of dark humor and light humor on stage, and it is a show that is very self indulgent and it is a lot of information overload and it is designed for people who want to follow us based on blind faith,” said Bixler-Zavala. “We plan on the same kind of stage setup that we are known for so long, as the venues will allow us to have certain sized backdrops. If not, we’ll have our Dream Machine with us, as usual, and it will just be more intimate.”

Check Out The Mars Volta if You Like:

• Rush
• Wolfmother
• Mastodon