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Sunday, December 31, 2023

Concert Review: Something Corporate Reunion in Anaheim, Calif. – Night #1

Whenever bands return to their old stomping grounds, the shows often have an extra special atmosphere.

That was definitely the case on Saturday as Something Corporate performed one of two sold-out concerts at the City National Grove of Anaheim.

“It’s good to be home, said frontman Andrew McMahon. “We never could have imagined this much excitement for us getting back together.”

Before showtime, several fans near me compared notes on how far they’d travelled to catch the Dana Point-bred band’s first Orange County headlining gig in 20 years with the original lineup.

It was the fourth time the quintet - singer/songwriter/pianist Andrew McMahon, rhythm guitarist/backing vocalist William Tell, lead guitarist Josh Partington, bassist Kevin “Clutch” Page and drummer Brian Ireland, plus auxiliary keyboardist/backing vocalist Zac Clark (from Andrew McMahon in the Wilderness) – played together, following well-received Las Vegas appearances at House of Blues (livestreamed via Veeps) and the When We Were Young festival last October.

In O.C., a brief introductory career montage was shown on the large stage backdrop. Then the musicians kicked off the excellent 21-song, 100-minute Anaheim set with an energetic “I Want to Save You,” off 2002 debut album Leaving Through the Window.

Between the tunes, early career interview clips from each member were shown. Other times, abstract images on the screens were mirrored by McMahon’s reflective piano, making for an awesome effect – especially later in the show, when a picture on his instrument precisely replicated all the music stickers the frontman used to have plastered all over it.

The dreamy, syncopated “She Paints Me Blue,” capped by McMahon’s ending vocal wail, and a rocking “Fall,” where he stepped out to work the stage, were early highlights. All the guys were obviously having a good time onstage, particularly Tell – the one member who wasn’t present during the 2010 reunion tour. At various times, he’d shoot a knowing glance at Partington and other bandmates.

Tell and Clark’s backing vocal harmonies helped elevate “21 & Invincible” and “The Astronaut” live. McMahon’s frantic piano playing and jumping off it amid the disdainful lyrics of “If You C Jordan” were reminiscent of Elton John. “This one hasn’t aged well, but we’re going to do it anyway,” quipped McMahon before starting “Drunk Girl.”

Longtime enthusiasts sang along loudly throughout the evening, and they were treated to a couple rarities. First was the band’s bleak, yet realistic holiday song “Forget December,” initially appearing on a KROQ Kevin & Bean Christmas compilation album. The singer said he thought they’d played it twice onstage (and reportedly not since 2010). He took the furthest sojourn into the audience during an intense “Hurricane.”

After doing When We Were Young, McMahon said he’d talked to some fans that had followed the band since the start who wondered why nothing from the self-released 1999 album Ready…Break was on the Vegas setlists. So, a few days ago, he went back and listened - and cringed at their inexperience. Still, the band decided to do “Babies of the ‘80s” from it in Anaheim (last played in 2002). Buoyant and fun, the pop culture references were matched on the backdrop.

“Cavanaugh Park,” a lovely, sweeping orchestrated ballad where having Clark came in handy, included a funny local aside from McMahon about the actual O.C. location where they used to smoke weed as teens before remembering several of the musicians’ kids were present.

The venue itself, which was a frequent Something Corporate tour stop during the alt-pop group’s early-to-mid 2000s heyday, also held other distinct memories for McMahon. “I had my senior prom here when it was known as Tinseltown,” he recalled at one point.

“I Woke Up in a Car,” about an unforgettable road trip closed the main set. Come encore time, the band played dramatic epic “Konstantine” and capped everything off with a spirited take on “Punk Rock Princess.”

Something Corporate performs again tonight at The Grove for a New Year’s Eve show with band-themed cocktails, food, an after-show DJ and more. The band also will appear on McMahon’s Holiday from Real cruise to the Bahamas in November 2024.

Photos by Connor Lenihan (@connorlenny), from a previous concert, courtesy of Nederlander and Press Here Publicity.

Tuesday, December 19, 2023

2023: The Year in Review - Best Albums and Live Performances

Best Albums of 2023:













1. Peter Gabriel, i/o
2. The Alarm, Forwards
3. Noel Gallagher's High-Flying Birds, Council Skies
4. Blur, The Ballad of Darren
5. Kip Moore, Damn Love













6. The New Division, Modern Life
7. Boygenius, The Record
8. The National, Laugh Track
9. Old Dominion, Memory Lane
10. Local Natives, Time Will Wait for No One

Honorable Mention:













11. Trevor Rabin, Rio
12. The Murder Capital, Gigi's Recovery
13. Crocodiles, Upside Down in Heaven
14. Niall Horan, The Show
15. Semisonic, Little Bit of Sun

Best Performances of 2023:




















1. U2 - Sphere, Las Vegas, NV
2. Boygenius - Coachella Festival 2, Empire Polo, Indio, CA
3. Blossoms - Darker Waves Festival, Huntington Beach, CA
4. Gang of 4 - Cruel World Festival, Brookside at the Rose Bowl, Pasadena, CA
5. Tears for Fears - Darker Waves Festival, Huntington Beach, CA
6. Mike Peters of The Alarm (acoustic) - Wiens Family Cellars, Temecula, CA
7. OMD - Darker Waves Festival, Huntington Beach, CA













8. Beck - Pacific Amphitheatre, OC Fair, Costa Mesa, CA
9. Muna - Coachella Festival 2, Empire Polo, Indio, CA
10. The Hooters - YouTube Theater, Los Angeles

U2: UV Achtung Baby Live at Sphere Night 2 photo by Rich Fury, courtesy Full Coverage Communications

Beck photo by Miguel Vasconcellos, courtesy OC Fair

An interview with Trevor Rabin: The new album 'Rio,' working with Yes and more

photo: Hristo Shindov
Trevor Rabin was a creative force behind the ‘80s career resurgence of Yes. After he joined the band, they made 90125, a more modern-sounding album based on Rabin’s demos that were originally earmarked for a solo project.

Released 40 years ago this month, 90125 reached the Top 5, went triple platinum and spawned the Billboard pop and rock radio chart topper “Owner of a Lonely Heart” (that is Rabin’s iconic guitar intro), plus the hits “It Can Happen” and “Leave It.” The South African singer/guitarist also enjoyed major success with Yes on 1987’s Big Generator (featuring AOR mainstays “Rhythm of Love,” “Love Will Find a Way”).

Following two more solid studio efforts with the group, Rabin sought a new path. He left to work as a film soundtrack composer, notably on a succession of high-profile titles produced by Jerry Bruckheimer (“Armageddon,” “Con Air,” “Gone in 60 Seconds,” “Enemy of the State,” “Remember the Titans,” “National Treasure”), as well as other movies and television shows.

Rabin’s studio session guitar, bass playing or backing vocals have been heard on albums by Tina Turner, Michael Jackson, Paul Rodgers, Seal, Frankie Goes to Hollywood, Roger Hodgson, and Carly Rae Jepsen (Rabin’s son Ryan, formerly of Grouplove, co-wrote and produced a track on 2022’s The Loneliest Time).

Now the Rock and Roll Hall of Famer has unveiled his adventurous studio album Rio, which encompasses hard rock, pop, bluegrass, world music and more. Rock Cellar recently caught up with the musician at home in Los Angeles. The engaging conversation has been lightly edited for clarity.

Q: The last time you put out a proper rock album was 1989’s Can’t Look Away. How do you think longtime fans will react to the new one, Rio?

A: I’m very curious, because [Rio] goes through a lot of different styles. It was almost like being on vacation and visiting different places. I hadn’t done a rock and roll vocal album for decades, so it was really enjoyable for me. The good news was it felt very fresh - almost like doing your first album after having tons more experience than you had before you did your first album.  

Q: Your followers have raved online about the singles released so for, especially on the effusive standout “Big Mistakes.”  

A: My wife tells me that there’s 99 percent good vibes. I said, ‘I really need to hear the bad vibes, so I can correct or learn from them.

Q: What prompted you to finally make another rock album with vocals and handle most of the instruments? Did you have a lot of downtime during the pandemic which kicked everything into gear?

A: That was a small part of it. Vinnie Colaiuta - one of the most ridiculously [talented] drummers on Earth - played on “Push.” We couldn’t get together, so we did it virtually.

Back when I first got into film [music], I thought I’d do four or five of them and then get back to doing an album. Just having some variation. Now here we are, 30-odd years later and 50 films later and I'm doing an album. I really got to the point, where I thought, ‘If I don't do it now, I'll be dead. I better move!’  

Q: Your granddaughter was the inspiration for the Rio album title. Can you elaborate?

A: Yeah. It's funny. I played in Rio in 1985 with Yes. It was the biggest audience Yes ever had - 500,000 people there. I’d never seen anything like it. To play there was just surreal. The next night was Queen on this Rock in Rio festival. All the bands were staying at the same hotel, and I remember saying to Freddie [Mercury] and Brian [May], ‘I’m going to watch you tomorrow, but I’m not coming to the show’ because we were playing again three nights later. I said, ‘I’m definitely going to be watching on TV. Good luck and everything.’ We watched them and that night my son Ryan was conceived. When his child was born, he called her Rio…when I tell people the story, if my son’s in the room, he’ll say, ‘Don’t say that, it's disgusting!’

Q: You designed the album cover art on computer. What is the background behind it?

A: It’s sort of a collage. I've been painting for years. I usually do it with oil, and add acrylic to oil, which I find really cool. Then, I realized when new programs came out that I don't have to wash my hands every 10 minutes. I don't have to clean the carpet. I started getting into that. When I was talking about the cover with the head of the record company [Inside Out Music], I sent him four or five of my pieces. He said, ‘How do you feel about doing the album cover like this?’ I said, ‘It’s fine, as long as if in a week’s time you don’t like it, I'm happy to fire the artist. It’s got to be right.’ I don't have an ego toward it.

Q: Among the various Rio formats is a Blu-ray edition with a 5.1 mix. Knowing you’re a sonic architect in the studio, I’ll bet you really enjoyed working on that.

A: It's one of the benefits of having done film for so long. When a rock band does a 5.1, most of the time I would think they’re not familiar with stereo. But I’ve been mixing film in 5.1 for years, so it comes as naturally to me as stereo. Once we did that, I would listen and say, ‘Maybe we should look at that song again. I want the reverb to come from the back or from above’ or wherever. I’m loving that.

Q: On Rio, you played instruments like guitar, bass, drums, keyboards and percussion. You also had a few people such as Colaiuta - known for his work with Sting, Joni Mitchell, and Frank Zappa - help out. Do you find that basically doing everything yourself makes it easier because you don't have to explain your vision to other musicians?

A: That's exactly right. I was with the [1970s South African pop/rock] band Rabbit in my earlier years and we had a great relationship. It was easy working with a band. But in the absence of a band, it’s very efficient and my focus is 1000 percent, so it really works for me.

Q: Your frequent collaborator Lou Molino III, who contributed to Can’t Look Away and 2012’s instrumental Jacaranda, plays drums on four tracks. Was getting him in your studio a no-brainer?

A: Absolutely. There's a shorthand with Lou. He's such an incredible drummer and instinctively knows if it's not what I want. He knows what the track needs…One of the benefits with Vinnie and with Lou is if you ever want to write it out, you can because they read [music]. So that’s really useful. In the chorus of ‘Push,’ I wrote the part out for Vinnie and it’s in a very weird time signature. I think it goes from 11/8 to 12/8 to 10/8 and then three bars that circle back. Usually, it would be a four bar or two bar. But he just did it and it was like he was eating breakfast. It was just so normal to him.

Q: Did any of the Rio songs take longer to complete than others due to their complexity?

A: I'm a stickler for this digital world we live in. It’s so easy to go in and tune things and fix things. I absolutely hate that and refuse to do that. I know how to do that with films when there are time constraints and issues. I do it like a racehorse. I'm very familiar with how to do it. But I absolutely refused to do it, even on my previous instrumental album. If something wasn't right, I’d just replay it. ‘Don’t be lazy,’ I will say. With that in mind, there’s a song on the album called ‘Tumbleweed,’ with an a cappella vocal in the beginning.

It's a very large cluster and has very jazzy extended chords. It’s jazz chords that the vocal sings. There’s a lot of them on there and it’s just me. That definitely took a while. There’s many vocals. I would do each note multiple times, stand in one spot for the first take of that note and then I did the same note standing eight feet back. If you look at the room, there's a circular choir singing it. I would do that and put sticks on the floor to know where to sing it. When I doubled one note, it’s kind of phasing and a little out of tune. I would just have to redo it. The whole process took a while.

Q: When I first heard the song, it reminded me of your past songs with layered vocals like “Leave It’ or something by Manhattan Transfer.

A: That’s great to hear. I love Manhattan Transfer!

Q: “Thandi” has a tribal animal sound.

A: Yeah. The noise that you hear on there is actually a rhinoceros. The lyrics are a protest against poaching. [Hunters] are getting rid of rhinos at such a fast rate. It’s really depressing to me.

Q: Among the album standouts is the upbeat “Egoli,” which would fit perfectly on a Disney children’s movie soundtrack. Were the chants inspired by South African music?

A: Absolutely. In fact, I wanted it to be a joyous sounding song, but with pretty depressing lyrics. It’s talking about how [Nelson] Mandela came in [to power in 1994] and [the future looked] so hopeful. I met him and he’s like a guru to me. The politics of South Africa are like a kleptocracy. It’s a really problematic place right now. Politics are so corrupt. ‘Egoli’ basically means ‘city of gold,’ which is Johannesburg. It’s essentially about Johannesburg.

Q: Another highlight on the album is the lush sounding ballad “These Tears.” Were 10cc or ABBA touchstones for you on the song?

A: I loved ABBA.

Q: Their 2021 comeback album Voyage had its moments.

A: Oh, my goodness, yeah. I remember [in the past when the UK’s now defunct] Sounds Magazine had written an article [about my 1977 debut album Beginnings] saying ‘The Healthy Face of Heavy Metal.’ I thought, ‘Heavy metal? Well, OK. I don't mind being on the front page.’ I accepted it. Soon after that, I was on Chrysalis Records and asking them, ‘Could you get hold of Bjorn from ABBA? I'd love him to produce me.’ We never went that far, but they made some unbelievable records.

Q: After each listen to Rio, I seem to hear little nuances that I hadn't heard before. Were you conscious of that while mixing and engineering it - making sure different sounds pop out here and there?

A: Absolutely. If people say to me, ‘I'd love to hear your album,’ I will always say, ‘Give it a couple of listens because you’ll hear something different each time.’ Not because I've pounded stuff on it, and it's overly produced – everything’s specifically set in a certain place to do a certain thing. I try and approach it like an orchestrator would with an orchestra. There are parts where it becomes hugely dense and there’s a reason for it. It’s not to chug away until your solo comes.

Q: Your guitar solos are impressive on the album. Did you use any first takes?

A: I try and improvise the solos as much as possible. Obviously, if an idea hits me and I want to pursue it, I’ll do it three or four times and then choose the best takes. Once in a while, I’ll cut between takes so that I come to one solo that's very satisfying. But for the most part, I just try and play them and hope for the best. I think solos are supposed to be spontaneous, so I try and keep that live as much as possible.

Q: Changing gears, what was the experience like getting back together with Jon Anderson and Rick Wakeman for the Yes featuring ARW tours in the 2010s?

A: One of the sad things was people saying, ‘Why did they break up?’ It wasn’t really a breakup. Yes got into the Rock and Roll Hall of Fame in 2017. Then Jon and I and Rick said, ‘Let’s do some shows.’ It just happens that five or six shows turned into a 200-date tour.

And we loved it. We had such an amazing time and frankly, after doing the [early ‘90s] ‘Union’ tour with Rick, we became very close. I played on one of his albums. I’d done a guitar solo and sang on a song. We had both said one of our bucket list [items] was, ‘we've got to do this again.’

But this time not with the eight-piece [Yes lineup], just an ensemble of us playing together. Playing with Rick was - besides being great and fun musically – he’s absolutely funny as can be.

Q: Did you find the touring with Yes feat. ARW helped keep your vocals chops strong so when you made this album you were raring to go?

A: That’s exactly what happened. In fact, I don't know if I could have done this album without those years with ARW because it was quite taxing on my voice.

Working on those songs, there’s some very high vocals and it became very natural. I think the muscle or whatever it is in your voice box actually got stronger than it’s ever been. When I listened back to my vocals on this album compared to stuff in the past, I thought, ‘Wow, I prefer it now more than I did then.’ I'm pretty satisfied with that.

Q: Since it has been 40 years since 90125 came out, I wondered, when that success happened, did it feel like the recognition was overdue because you’d already been releasing albums since 1975 by that point?

A: All the stuff that happens to me, I just see as a bridge to another place. It’s never too contrived, because if I plan it all, it’s never going to land up where you think it is. I just let it flow.

When Rabbit happened, we were such a great unit, especially the three of us on bass, drums, and guitar. We had so much enjoyment from it. And then the band blew up and became the biggest band in South Africa. All of us just thought, ‘This is cool.’ Then it ended and was like, ‘What are we going to do next?’

I’ve always lived like that and never been too disappointed when things end. I haven’t been too euphoric when things work [either], but I was very surprised when ‘90125’ did so well. I wasn't expecting that.

When I first heard it on the radio, I was lying outside. I was staying in Canoga Park in LA in a small house with a little pool and the doors were open. I had this huge hi-fi system with massive speakers. It was absolute rubbish – a ‘buy it off the back of a truck’-type thing. The speakers seem like they’re made out of balsa wood. They don't weigh anything. They look fantastic, but they sound horrible.

So, I'm listening to it outside and ‘Owner of a Lonely Heart’ came on. I thought, ‘Oh boy, this doesn’t sound too good.’ I heard it in the car a couple of days later and thought it didn’t sound too bad. Then I couldn't turn on the radio without it being on.

Q: Right around the time Cinema morphed into Yes, you said something about how you were wary of working with producer Trevor Horn. Was that because the Buggles were considered a pop novelty and the previous Yes lineup with Horn wasn't very successful?

A: Very much so. I didn’t know Trevor, but he’d produced a very successful duo called Dollar in England. It was real bubblegum music. I thought that had nothing to do with me. Not to say it was bad. Producers do different things, but the bottom line is once we finished working together on ‘90125,’ Trevor would always call me and book me for albums he was [producing] - Tina Turner, Seal. Everything turned out OK.

There were moments of frustration in making ‘90125.’ I certainly didn’t want to call the band Yes. I thought that was a bad idea, but ultimately Jon joined us and redid, probably 80 percent of the vocals. Chris [Squire] said to me, ‘Do you mind being fired as 80 percent of the singer?’ I said, ‘the way Jon sounds, I’m only too happy’ to.

Q: Can’t Look Away was your most successful solo effort, with “Something to Hold On To” reaching the Top 5 at AOR radio. How would you rate it among your other solo albums?

A: Up until this one, it was a good progression. [1981’s] ‘Wolf’ was decent, and I had some great musicians on that like Jack Bruce...it was such a great learning experience working with Simon Phillips and Jack and Manfred Mann, who I’d produced [before]. Ray Davies co-produced it. I thought that went pretty well. Then when ‘Can’t Look Away’ happened, working with Bob Ezrin was really enjoyable. Once I got into this album, I was very clear about what I wanted to do. 

Q: What’s next for you? Any tour plans?

A: Actually, I was talking to Lou about it. There’s so many offers and the producer of the ARW tour has been talking to me about doing shows and integrating some film scores with it. Doing some orchestra, I conduct a bit and then do the album and some Yes stuff.

Q: Danny Elfman did a similar format at the Coachella Festival, and it gelled nicely.

A: That’s definitely in the works, or it’s certainly something we’re talking about.

Photo courtesy of Chipster PR.

This interview originally appeared at rockcellarmagazine.com.

Last Minute Holiday Gift Guide for Music Lovers

We know if can be difficult to find just the right music-related gift for that special someone on your holiday shopping list. Here are some of the more noteworthy 2023 box sets, reissues, live sets, and books to make the process a bit easier. Go ahead and put one for yourself in the cart at your favorite store while you’re at it.

BOX SETS

Green Day - Dookie: 30th Anniversary (Reprise)

Backstory: When the Northern California pop-punk trio released its major label debut album Dookie in 1994, it was fortuitous timing. 

As producer Rob Cavallo recalls, in the entertaining liner notes to this box set: “MTV was getting tired of the grunge doom and gloom that had come to dominate the programming. 

They wanted something perkier and more colorful, something with a sense of humor but still with [an] edge…I thought, ‘step right up and get your Green Day.’”

It wasn’t long before the band was a mainstay on the still-influential music video channel and modern rock radio with “Longview,” “Basket Case,” “When I Come Around” (all three singles went to No. 1 at the format) and “Welcome to Paradise.” Then they floored many people at Lollapalooza ’94 (this writer included).

Dookie went onto be certified for 10 million sales in America and won a Grammy.

What’s inside: Marking an early 30th Anniversary, the limited edition 6LP and 4CD Deluxe Editions are both housed in a silver reflective lift-off box. They are a real treasure trove for fans. Tapping into the musicians’ offbeat humor, the vinyl box has a roll of Dookie dog poop bags, five-button set, air freshener, postcard, bumper sticker, kiss-cut large magnet sheet, paper airplane, a black-and-white “Coloring Page” cover lithograph insert, and a poster of the alternate cover art.

Grammy-winning author Bob Mehr penned a fascinating “Making of Dookie” piece in the 34-page booklet, which has numerous photos. After the blitzkrieg of the main album, the 4-track and cassette demos present embryonic takes of “Basket Case” and “Longview.” The outtakes record is highlighted by “Christie Road,” “J.A.R.” and a great cover of The Kinks’ “Tired of Waiting for You.” The short Woodstock ’94 set included here is incendiary; the tension is palpable at the end as unruly concertgoers throw mud, debris and storm the stage barricades. Even more supercharged is the full-length Live in Barcelona (originally an incomplete 1995 radio broadcast). They play several songs from indie releases and a cover of Operation Ivy’s “Knowledge,” frontman Billie Joe Armstrong constantly eggs the crowd on and tells security to let fans onstage at the end. Highly recommended.

Also available: 1LP in baby blue vinyl amazon.com

Elvis Presley - Elvis: Aloha from Hawaii via Satellite (RCA/Legacy)

Backstory: This new Elvis: Aloha from Hawaii via Satellite edition, marking the original double live LP’s 50th anniversary, is an essential addition to major Presley fans’ collections. The King of Rock ‘n’ Roll’s last great concert event was recorded at the Honolulu International Center Arena in January 1973 and beamed to multiple countries around the world (America received it three months later as a prime-time TV special). Nearly two dozen songs were packed into the 65-minute set. Elvis’ large band included legendary guitarist James Burton, bassist Jerry Scheff, drummer Ronnie Tutt, two sets of backing vocalists, an orchestra, and others.

What’s inside: Remixed from the original 16-track recordings, the sound is fuller than on previous reissues. Notable examples are Elvis’ powerful vocal delivery on the dramatic “I Can’t Stop Loving You,” “It’s Over” and “You Gave Me a Mountain” and tunes utilizing horns and/or orchestration like “American Trilogy” and “What Now My Love.” Highlights include “Suspicious Minds,” Burton’s psychedelic touches on a lightning quick “Hound Dog” and bluesy licks amid James Taylor’s “Steamroller Blues.”

The deluxe 3CD + Blu-ray (the visual format debut) package is housed in a nifty 8x8 box as on previous Elvis reissues. A four-panel slipcase jacket pulls out to reveal photos of The King, the concert stage and studio tape reel boxes. More rare images comprise the 28-page booklet with insightful liner notes by former L.A. Times music critic Randy Lewis and recollections from participants. The concert film boasts a noticeably sharper picture; both the Blu-ray and CDs have the previous night’s dress rehearsal show, plus bonus performance inserts done (via multiple takes) especially for the U.S.

Also available: 1LP, digital

Billy Joel - The Vinyl Collection, Vol.2 (Columbia/Sony Legacy)

Backstory: After many years of moderate-to-good-selling albums in the 1970s, Billy Joel finally found legitimate success with The Stranger and 52nd Street releases. But the Long Island singer/songwriter/pianist’s popularity skyrocketed in the decade to come.

What’s inside: The 11LP deluxe box set is primarily geared around Billy Joel’s 1980-1993 pop music catalog. A large scale, 62-page booklet sports a glossy cover and matte finish pages, with an informative essay by Rob Tannenbaum, Joel’s impressions on each album (Glass Houses was “probably the most fun”), lyrics, and photos.

Beyond the memorable big hits (“It’s Still Rock ‘n’ Roll to Me,” “You May Be Right,” “Allentown,” “Pressure,” “Tell Her About It,” “Uptown Girl,” “A Matter of Trust,” “Modern Woman,” “We Didn’t Start the Fire,” “I Go to Extremes,” “River of Dreams”), the box set provides a good opportunity to revisit equally worthy deep cuts. Here are some examples: “Sleeping with the Television On” (1980’s rock/new wave-leaning Glass Houses); the quiet harmonica-laced, Burt Bacharach/Hal David-styled ballad “Leave a Tender Moment Alone” (1983’s excellent tribute to early-to-mid ‘60s pop music An Innocent Man); jazzy rave up “Big Man on Mulberry Street” and the quirky Cyndi Lauper duet “Code of Silence” (1986’s The Bridge); “When in Rome” and the romantic, future Garth Brook chart-topper “Shameless” (1989’s Storm Front); the charming “Lullabye” (1993’s River of Dreams).

Another main attraction is the debut appearance of Live from Long Island, an exciting 21-song, December ’82 concert that originally aired on HBO and is among only a handful of Joel shows to ever be professionally filmed and recorded. The 3LP set is highlighted by an intense “Stiletto,” the intimate “Always a Woman,” and a totally rocking five-song final segment. 2001’s Fantasies & Delusions, an interesting double album of Joel classical compositions performed by pianist Hyung-ki Joo, also makes its vinyl debut here.

The Who - Who’s Next/Lifehouse (Universal Music Recordings)

Backstory: Frequently ranked toward the top tier of music magazines’ “all-time best albums” lists, The Who’s fifth studio release from 1971 was its most successful in America. The songs “Baba O’Riley,” “Behind Blue Eyes,” “Bargain,” “Going Mobile,” and “Won’t Get Fooled Again” all became staples on progressive rock radio (and later, the AOR format), with the latter making the top 20 on the pop charts.

What’s inside: The super deluxe 10CD/Blu-ray audio edition of the Who’s Next/Lifehouse box set is for true Who aficionados. There are 155 tracks (89 previously unreleased) and 57 new remixes. Regular Who engineer Jon Astley remastered the songs from the original tapes, while Steven Wilson oversaw Dolby Atmos and 5.1 surround mixes of the original album and 14 additional tracks on the Blu-ray. Everything packs a mighty punch.

Other items include a 100-page hardback book, 172-page Life House graphic novel, two gig posters, two concert programs, four buttons and a band photo with printed autographs. Over the course of the box set, singer/songwriter/guitarist/Pete Townshend’s prescient futuristic vision from the scuttled Life House project that initially began in 1969 as the follow-up to Tommy and morphed into Who’s Next is put into clearer focus.

For the uninitiated, hearing Townshend sing the demos that Roger Daltrey would eventually take over vocal verses on is a real treat – especially “Bargain,” “Behind Blue Eyes,” “Pure and Easy” (with extra verses and music), a leisurely “Won’t Get Fooled Again” aided by handclaps. Surprisingly, the 13-minute instrumental “Baba O’Riley” doesn’t get tiresome. A pair of 1971 concert recordings from London’s Young Vic and the San Francisco Civic Auditorium find The Who is fine, explosive form.

Also available in 2CD, 1LP configurations.

Devo – 50 Years of De-Evolution (Rhino)

Backstory: Influential, innovative, and unique, Devo was alternative music long before the term became commonplace. Early support from David Bowie, Iggy Pop, and Neil Young, helped the Akron, Ohio quintet secure a major label deal and debut album Q: Are We Not Men? A: We Are Devo! arrived in 1978. “Whip It” (and its popular video that pre-dated MTV) went to the top 20 on the pop chart and saw the band transition from early art-punk to new wave and electronic music with ease.

What’s inside: 50 Years of De-Evolution comes in a cool 4LP (clear) deluxe limited-edition slipcase set (exclusively through rhino.com), with 50 remastered hits and rarities, an album artwork lithograph, air freshener, paper energy dome, and a 28-page book. The song selections span Devo’s entire career, including such college/modern rock radio and dance club hits as “Freedom of Choice, “Girl U Want,” “Beautiful World,” “Peek-A-Boo,” “That’s Good,” “Through Being Cool,” “Working in the Coal Mine” and “Post Post-Modern Man.”

Also available in black 2LP, 2CD and digital configurations.

RETROSPECTIVES

The Beatles - 1962-1966 “The Red Album”; 1967-1970 “The Blue Album” (Apple Corps Ltd./Capitol/Universal Music Enterprises)

Backstory: The big news about 1962-1966 (The Red Album) and 1967-1970 (The Blue Album) is the inclusion of “Now and Then,” the final Beatles song, on the latter retrospective. Originally an unfinished John Lennon solo home demo from 1977, the song was briefly worked on by the surviving three Beatles in ’95 for the Anthology series but set aside due to poor sound quality and other issues. Director Peter Jackson’s sound isolating technology developed for his 2021 The Beatles: Get Back documentary was used to astonishing effect on “Now and Then.” Paul McCartney and Ringo Starr added vocals and instrumentation to what Lennon and Harrison had previously done.

What’s inside: Both collections are now expanded, with 12 more songs on The Red Album and 9 more on The Blue Album. Several tracks have new true stereo or Dolby Atmos mixes by Giles Martin and Sam Okell, with assistance from the Jackson/WingNut Films audio de-mixing technology.

The songs sound fresher than ever, with more depth. For example, Lennon’s exhale while singing “Girl” makes it seem like he’s in the room with you. All the instruments on “Strawberry Fields Forever” sound sharper in the new mix. “I Am the Walrus” – prompting much chatter online from hardcore Beatles fans lately – has a slightly different midsection and outro. Various sonic elements pop out amid “Magical Mystery Tour.” Even if you have other Beatles compilations, the Red and Blue are worth the money. Each edition also has new essays by journalist and author John Harris.

Available in various CD, LP, and digital configurations.

The Kinks – The Journey, Part 2 (BMG)

What’s inside: Cleverly divided into thematic sections, this anthology covers Kinks songs from 1965-75 with a sampling of concept albums The Kinks are the Village Green Preservation Society, Preservation Act 1, Preservation Act 2, Soap Opera, and other releases. The 2CD, 34-track and 2LP, 27-track editions include U.S./U.K. hits, album tracks, single B-sides, five new Ray Davies mixes (three previously unreleased live New Victoria Theatre versions), and liner notes with photos, and track-by-track recollections by members Ray Davies, Dave Davies, and Mick Avory. The gatefold 2LP sports a color archival photo. Highlights include “’Til the End of the Day,” “David Watts,” “A Well-Respected Man,” “Sunny Afternoon,” “Dedicated Follower of Fashion” and “20th Century Man.” Now guys: how about a reunion?

Also available digitally.

CONCERTS

David Bowie – Ziggy Stardust and The Spiders from Mars: The Motion Picture Soundtrack – 50th Anniversary Edition (Rhino/Parlophone)

Backstory: The final Ziggy Stardust and The Spiders from Mars performance was filmed at London’s Hammersmith Odeon by renowned filmmaker D.A. Pennebaker (Monterey Pop, Bob Dylan - Don't Look Back, Depeche Mode - 101) in July 1973.

A year later, ABC-TV broadcast a shortened cut, but it wasn’t until 1983 that the full 90-minute, 35mm film premiered theatrically worldwide alongside the soundtrack. Although the 2003 DVD reissue was an audio/visual improvement, there was still an overall dusky sheen and slightly better than average sound mix.

What’s inside: Pennebaker’s son Frazer and his team oversaw the new 50th Anniversary Edition - available in gold 2LP, gold 2CD, gold 2CD+Blu-ray - and it is a definite leap in quality. Frequent Bowie producer Tony Visconti did new stereo and 5.1 surround sound mixes. Frazer Pennebaker says in the accompanying booklet that scratches, dust specks and “occasional hairs in the gate of my father’s hand built 16mm camera” were removed and “the new 4K scan’s vibrant colors within the sharpness of the deep blacks has made it a brand-new film.” Indeed. The booklet also contains concert photos and a ’02 recollection from the original director.

An exciting 2023 edition selling point is the reinstated footage of Jeff Beck’s encore appearances on the thunderous “Jean Genie” (plus a Beatles’ “Love Me Do” snippet) and Chuck Berry’s “Round & Round.” The late veteran guitarist previously refused to authorize its inclusion. His talk box action and interplay with guitarist Mick Ronson are wonders to see and hear.

Other highlights: Ronno’s scintillating playing amid “Moonage Daydream,” “Suffragette City” and “Hang onto Yourself” as well as Bowie’s riveting vocals on ‘Space Oddity,” “Changes” and the closing “Rock ‘n’ Roll Suicide.” He does multiple costume changes and Ringo Starr even makes a brief backstage footage cameo!

Fleetwood Mac - Rumours Live (Rhino/Warner Bros.)

Backstory: Released in early 1977, Rumours continued to prove that the Fleetwood Mac lineup with Stevie Nicks and Lindsey Buckingham was a force to be reckoned with.

What’s inside: The exceptional, previously unreleased Rumours Live, available on CD, LP and digital, was recorded at the Los Angeles Forum in August ’77. It features all but two tracks off the rock band’s 11th studio album (among the top 10 best-selling titles of all time with more than 30 million copies sold).

For fans, there are several goosebump-inducing moments in the nearly 90-minute set, such as Buckingham’s sizzling guitar solo at the end of “Go Your Own Way,” the jubilant shuffle “Second Hand News,” keyboardist/singer Christine McVie’s tender “Songbird,” Nicks’ gritty tour-de-force vocal delivery on a frantic “Rhiannon” with alternate lyrics, and the subtle “Landslide,” which she introduces by saying, “City of Angels – with love, this is for you.”

Jimi Hendrix Experience - Live at the Hollywood Bowl: Aug. 18, 1967 (Legacy)

Backstory: Los Angeles concertgoers expecting a pleasant summer night of folk/pop at the Hollywood Bowl got a surprising jolt of abrasive, psychedelic-tinged rock music beforehand when Jimi Hendrix Experience served as the opening act for The Mamas & The Papas. That fiery nine-song set was performed in front of a sold-out audience less than a week before JHE’s debut album Are You Experienced arrived. Surprisingly, the show never turned up on a bootleg or had an official release – until now.

What’s inside: Eddie Kramer, Hendrix’s longtime recording engineer, restored the two-track audio. Live at the Hollywood Bowl: Aug. 18, 1967, is available on CD, 150-gram audiophile grade, individually numbered vinyl (U.S. pressings), and digitally. The liner notes feature several previously unseen concert and backstage photos by Henry Diltz and others. The band opens with a cover of The Beatles’ “Sgt. Pepper’s Lonely Hearts Club Band” and Hendrix does a wicked guitar solo. Everything gets more intense with tunes by bluesmen Howlin’ Wolf and Muddy Waters (an 8-minute-long “Catfish Blues”) and their own “Foxey Lady,” “Purple Haze” and “Fire.” At one point, Hendrix calls their slow-burn closing take on The Troggs’ “Wild Thing” an anthem and implores people to put their hands over their hearts in reverence to rock ‘n’ roll.

BOOKS

“Pink Floyd and The Dark Side of The Moon: 50 Years” by Martin Popoff (Motorbooks/Quarto Group)

What’s inside: Earlier this year, the landmark rock album received a splashy anniversary reissue. This slipcased coffee table book makes for a worthy companion. Popoff expertly delves into the songs’ lyrics and instruments, with chapters revolving around founder Syd Barrett, the Abbey Road recording sessions (techniques used, the role of engineer Alan Parsons), the artwork and packaging designed by Hipgnosis with Storm Thorgerson (and a side trip into the company’s other clients such as AC/DC, Led Zeppelin, Genesis, etc.), the Dark Side of the Moon tours, and Pink Floyd’s subsequent albums before and after Roger Waters’ departure.

The author also writes about the various band members, session players, prog rock, the “Live at Pompeii” concert and film, Waters’ writing style, collectibles, and awards. A short discography, tour dates, photos of gig posters, advertisements and rare memorabilia round out the contents. A handy index is located at the end.

“Talking To My Angels” by Melissa Etheridge (Harper Wave)

What’s inside: The award-winning singer/songwriter/activist follows up her 2001 New York Times bestselling memoir “The Truth Is…,” with a revealing look at her life after a cancer battle, divorces, a spiritual awakening, the tragic death of her son to opioid addiction and more. Talking To My Angels” is a brisk read, where Etheridge quotes several of her song lyrics and tells how they related to her personally, opens up about childhood abuse, dealing with a distant mother, navigating the spotlight as a high-profile LGBTQ music performer and dealing with the COVID-19 lockdown with grace and candor.

This article originally appeared at rockcellarmagazine.com.

Monday, November 20, 2023

An interview with Paul Rodgers

photo: Mahkaila Lusch
Paul Rodgers has sung several enduring classic rock tunes, most notably during his time fronting Free (“All Right Now,” “Wishing Well”) and Bad Company (“Can’t Get Enough,” “Feel Like Makin’ Love,” “Rock ‘n’ Roll Fantasy”).

Then there were memorable stints in The Firm with Jimmy Page (“Radioactive,” “Satisfaction Guaranteed”), The Law alongside Kenney Jones (“Laying Down the Law”), Queen, and solo endeavors like the acclaimed Muddy Water Blues project (“The Hunter” featuring Slash).

But that distinctive voice was nearly silenced due to some serious health problems over the past decade. No wonder the legendary British singer/songwriter exudes such positivity about creating Midnight Rose, his first solo album of all-new material in nearly a quarter century on Sun Records.

During the initial COVID-19 lockdowns, Rodgers went through material he had amassed and eventually booked a home studio that guitarist friend Ray Roper operates near the rock veteran’s Canadian residence. Together some musicians from the Rogers solo band, they whipped the songs into shape. 

Recording was an important step in Rogers’ recovery process from two major strokes, 11 minor ones and heart surgery. Nine months elapsed before the vocalist could resume guitar playing and much longer for the voice to completely return. 

“I thought, ‘Let's go in the studio and see if I can still sing,’” admitted Rodgers, during an interview from the home he shares with wife Cynthia in British Columbia.

The players at Roper’s studio attempted what became the bluesy album opener “Coming Home” first. 

“It was great to be back on the mic, have the guys in my headphones blasting away, eye contact and everything. It felt so good and was like, 'Wow, I'm back!’ Really amazing.” 

Primary Wave discovered that Rodgers was working on an album and stated that Sun Records, which the music publishing/management company runs, would be interested in releasing the finished result. 

Rodgers is thrilled to be associated with the modern incarnation of a legendary label associated with launching the careers of Elvis Presley, Jerry Lee Lewis, Johnny Cash, and others back in the Fifties. 

“When I was a kid, my best friend Peter Smith and I sneaked his big brother’s Elvis record out,” recalled Rodgers. “We put it on, put the needle down and it went [mimics Elvis singing “Heartbreak Hotel”], 'Well, since my baby left me.' I was like, ‘Whoa, listen to that sound!' For a kid from Middlesbrough [England] to be on Sun Records and keeping company with those guys is just incredible.”

Midnight Rose, co-produced by Bob Rock (Metallica, The Cult, Bon Jovi) and Cynthia Rodgers, is among Rodgers’ strongest studio efforts to date.

“We did the bed tracks with four of us in Ray’s studio. Then we took the whole shebang to Bryan Adams’ [The Warehouse] studio in Vancouver and brought in Bob. 

“I knew he was a famous producer, and I was very flattered he wanted to produce this,” continued Rodgers. “He had such a positive influence on the whole thing.”

Keyboardist Chuck Leavell of The Rolling Stones/Allman Brothers Band and Adams’ longtime lead guitarist Keith Scott make guest appearances throughout the album. Scott’s fretwork enlivens most of the Midnight Rose tunes. Rodgers previously jammed with Scott at an Adams gig. “I understand why Bryan snapped him up all those years ago. He really got into the groove on ‘Melting’ - the first couple licks in there. Amazing.”

The bluesy album closer is also notable for Rodgers’ brief wail. Considering he couldn’t even speak at one point several years ago, just hearing him make that note is a surprise. 

“I don't know how I did that in one take,” said Rodgers. “Sometimes being in the studio is like that. You get it in the first go.” He commended Bob Rock for adding “a brilliant sound effect” that got very large and became “a really beautiful thing.”

Rodgers said he is “most proud” of “Melting” because “I got that riff and it felt really like a John Lee Hooker or Robert Johnson kind of feel.”

Getting Leavell to play piano on the upbeat, soulful “Take Love” and the Celtic-tinged title track “was wondrous and a revelation,” said Rodgers. The former originated during Rodgers’ stint with Queen.

“They very kindly let me play it [live] and did a great job on it. But I didn't put it on the album that we released, ‘The Cosmos Rocks.’ I thought I’d keep that one for myself. We had so much Queen material…the version we do on ‘Midnight Rose’ is really nice because there's a strong acoustic aspect to it, which I always liked – that light and shade.”

Rodgers pays tribute to such 1960s influences such as Otis Redding, Aretha Franklin, and Ray Charles during the smoking rocker “Living it Up,” a musical love letter to America.

“It's a long story told in three minutes, basically, about my history, my whole life, following music,” explained Rodgers. “I wanted to say thank you to America because it has given me the world. So much amazing music - blues, soul, rock and roll, country, and jazz - that’s come out of America, has been very positive and done great things in the world.” 

The smoldering Midnight Rose song “Highway Robber” finds Rodgers on harmonica revisiting the Old West-styled lyrical imagery of “Bad Company,” by his former band.

“I think I've watched too many Clint Eastwood movies, to be honest,” Rodgers said with a laugh. “I was very influenced by the Hollywood version of the cowboy. You know, it's all about the good and the baddies and the heroes basically.” 

Another standout on the new studio release is the fun and festive “Dance in the Sun,” where Rodgers’ grandchildren are heard laughing, Leslie Page’s supple backing vocals are prominent and Rob Dewar (who lives on a neighboring farm from The Rodgers) adds “incredible” flamenco-style guitar.

“I’ve been promising the fans a new album for 20 years. Finally, I’ve delivered,” stated Rodgers.

November marks 50 years since the eponymous debut by Bad Company was recorded at Headley Grange in England using Ronnie Lane’s mobile studio. The multi-platinum, chart-topping album spawned the top 20 pop hits “Can’t Get Enough” and “Movin’ On”). Meanwhile, album rock radio latched onto “Bad Company,” Mott the Hoople’s “Ready for Love” and “Rock Steady” in a big way. It was the first release on Led Zeppelin’s Swan Song Records and Bad Company shared manager Peter Grant. 

“We were in the right place at the right time,” recalled Rodgers. “Having the backing of Led Zeppelin, who were rock gods at that moment in time was enormously good for us.”

Comprising former members of Mott, Free and King Crimson, Bad Company was one of the original supergroups. The musicians were “bursting to do all this music…We steamed in because we were so ready to rock, and we put the whole album down in 10 days.” 

Looking back, Rodgers thinks the album holds up today.

“I still love that attitude and approach. I don’t like using too many toys, too many buttons. Most of the guitarists I’ve worked with all had a Les Paul and a Marshall stack. Boom! That’s it. And they got the sound out of that.” The same holds true for Bad Company and Rodgers now.

“I always come back to the basic format of bass, drums, guitar and vocals straight up.”

Paul Rodgers photo courtesy of The Press House.
My interview originally appeared in Rock Cellar Magazine.

Christmas album roundup: Jon Pardi, Cher, Matt Rogers

Three new Christmas albums spanning Broadway, country, pop, and dance music are in the spotlight.

Jon Pardi
Merry Christmas from Jon Pardi
(Capitol Nashville)
California native and past Stagecoach performer Jon Pardi provides an excellent country soundtrack for the holidays. On the fun, honky-tonkin’ “Beer for Santa,” Pardi sings about ditching cookies and leaving St. Nick “a koozie full of cheers” instead. The twangy, horn-laden “400 Horsepower Sleigh” features a gang chorus. An upbeat and jaunty “All I Want for Christmas is You” features fine fiddle and pedal steel work. Then there’s the laid-back, reggae-fied “Merry Christmas from the Keys,” where Pardi describes “all the hippies in their tie-dyed tops.” It’s quite a hoot. Other highlights include a blazing take on Buck Owens’ “Santa Looked a Lot Like Daddy,” with an ad-lib ending; the Sixties country vibe of “I’ve Been Bad, Santa,” where Ashley McBryde collaborator Pillbox Patti provides come hither vocals; the fine forlorn ballad “Reindeer”; old timey piano-led “Swing on Down to Texas” and Counting Crows’ earnest “A Long December.” 

Information: jonpardi.com

Cher
Christmas 
(Warner)
Before recording her first holiday album, Cher bolstered her vocals with a coach. Wise move: her singing is robust as ever. Back in 1963, Cher sang backup on the Darlene Love/Phil Spector classic “Christmas (Baby, Please Come Home.” The pair reunite here on a terrific remake. Michael Bublé and Cher’s vocals soar during his elegant ballad “Home.” Cyndi Lauper adds welcome vocals to the Erasure-styled dance tune “Angels in the Snow” and the joyous, soulful “Put a Little Holiday in Your Heart.” Cher and Stevie Wonder exude happiness as he sings and plays harmonica on “What Christmas Means to Me.” Elsewhere, there are forays into hip-hop, EDM (an infectious “DJ, Play a Christmas Song”; the inviting “Christmas Ain’t Christmas Without You”); “Run Rudolph Run” just plain rocks and a surprising cover of The Zombies’ “This Will Be Our Year” fits well. 

Information: cher.com

Matt Rogers
Have You Heard of Christmas?
(Capitol)
Irreverant, sometimes profane and frequently laugh-out-loud hilarious, Have You Heard of Christmas? contains several songs featured on Rogers’ acclaimed 2022 Showtime holiday special and added originals. The actor/comedian (“Fire Island”) delves into EDM (“Also, It’s Christmas”), hip-hop (“Hottest Female Up in Whoville”), R&B (“Imma Have
Your Back”) and pop (“Rockafella Centa,” which namechecks NBC personalities with a rap from podcast partner Bowen Yang). Standouts include a sleek, serious-minded “Every Christmas Eve”; the alt-pop of “Everything You Want” featuring Muna; dramatic Broadway-styled “Rain on Christmas” and classic-sounding “I Don’t Need it to Be Christmas at All.” 

Information: amazon.com

Concert review: OMD, Tears for Fears, New Order, Human League, Devo, others at Darker Waves Festival, Huntington Beach, Calif.

photo by George A. Paul
The Darker Waves Festival made its debut on Saturday in Huntington Beach with an amazing lineup that most fans of late ‘70s and ‘80s alternative music would consider ideal. Tears for Fears and New Order top-lined the bill, along with the B-52’s, Devo, Echo and the Bunnymen, Soft Cell, Psychedelic Furs, OMD, Human League, Violent Femmes, X, English Beat, the Chameleons, Clan of Xymox, and others.

All told, 33 acts – ranging from new wave, alt-rock and darkwave to punk, goth and beyond - performed across three stages during the 12-hour, sold out event. The two main stages were spread far apart on sand at each end of the festival. A smaller center stage was located on the parking lot.  

Early arrivals could play retro upright video games such as Donkey Kong and Ms. Pac Man in the mini arcade tent. Judging by the number of t-shirts and red energy dome hats spotted, a majority of people were there to see New Order and Devo.

Tears for Fears, still touring for 2022’s stellar album The Tipping Point, was definitely among the stronger performances. Roland Orzabal and Curt Smith opened with acoustic guitar-based ballad “No Small Thing” – the first of six newer songs. “The Tipping Point” was compelling, with dramatic dual vocals; the Smith-led earworm “Break the Man,” totally sublime. Longtime enthusiasts were rewarded early with the 1-2 punch of big hits “Everybody Wants to Rule the World” and “Sowing the Seeds of Love,” which prompted loud singalongs. Orzabal admitted to the crowd that there were bands on the lineup they admired and were jealous of, singling out Echo & the Bunnymen (whose own set sported a guest appearance by The Doors guitarist Robby Krieger). He obviously had fun doing the nonsensical bits at the end of “Seeds” too. Later, “Mad World” proved riveting.

“It’s nice to be playing by the seaside,” said New Order singer/guitarist Bernard Sumner. The influential electronic rock band often opens its regular concerts with the wistful 1993 single “Regret.” But seeing it performed here was perfect for those who recalled a music video the Mancunians shot that same year in conjunction with the TV series “Baywatch” on the sand at Venice Beach. New Order’s solid set was highlighted by Sumner’s riveting guitar solo during “Love Vigilantes,” the musicians’ intense interplay amid “Ceremony,” Gillian Gilbert’s stately keyboard washes on “Your Silent Face,” as well as Sumner’s melodica interludes and the updated intros to “Subculture” and “Bizarre Love Triangle.”   

photo by Justin James/Darker Waves
Because festival audiences are not always regular fans, and the stage times are shorter, astute bands will sometimes make the most of it by doing their greatest hits. OMD were a perfect example. From the get-go, singer/bassist Andy McCluskey said, “We’re gonna be totally relentless…and do 10 singles.” The wonderful set was elevated by his boundless energy and jubilant delivery on songs such as “Tesla Girls,” “Locomotion,” “Enola Gay” and “If You Leave” (from the Pretty in Pink soundtrack). His frequent between-song banter was both humorous (“now the s*** bass-playing stops and you gotta dance like me”) and acerbic (“there’s nothing more heartening than hearing 25,000 people singing about the end of the world”). A definite festival standout.

Although a “farewell” label was added to current Devo tour ads, both keyboardist/singer Gerald Casale and lead singer/keyboardist Mark Mothersbaugh insisted that’s not necessarily the case in recent interviews. Good news there. The core original members (along with guitarist/singer Bob Mothersbaugh), still manage to rock like nobody’s business, even into their 70s. The shrewd use of video and theatrics adds to Devo’s unique visual presentation. Starting with the frenetic “Don’t Shoot (I’m a Man)” off 2010’s underrated Something for Everybody, Devo delivered taut new wave renditions of the manic “Peek-A-Boo,” major hit “Whip It,” and a crazed “Uncontrollable Urge,” where Mark Mothersbaugh tears away at his and the guys’ yellow disposable outfits while singing. Somehow the routine never gets old no matter how many times you’ve seen it.

photo by MC Dub/Darker Waves
Last time The Human League performed in Southern California, at the similar music-themed Cruel World Festival in Pasadena last May, its set was cut short when the venue had to be evacuated due to potential thunder. This time around, the Sheffield synth-pop trio got to do a regular festival set chock full of ‘80s US/UK hits.

Phil Oakey, Susan Sulley and Joanne Catherall’s vocal harmonies were pristine as ever during the Motown-influenced “Mirror Man,” the idyllic synth strains of “Open Your Heart” (among five tracks played from major 1981 album Dare; a Pac-Man game was shown on a backdrop), luxurious ballad “Human,” a fun “(Keep Feeling) Fascination,” and the soulful “Tell Me When.” Oakey frequently mixed it up with the ladies onstage. An extended take on signature hit “Don’t You Want Me” prompted a loud singalong as more people than could fit in the Tiki Stage area tried to get a glimpse.

Before Blossoms appeared at Darker Waves, people on Facebook engaged in wishful thinking that the band would reprise its Smiths karaoke set with Rick Astley from Glastonbury over the summer. That didn’t pan out, but the Brits’ own tunes were quite memorable in their own right. One of a handful of younger artists on the bill, they came across like a breath of fresh air. 

Lanky long-haired singer Tom Ogden constantly roamed the stage. He and the other six musicians’ full-bodied, effervescent pop/rock sound fared best during “There’s a Reason Why (I Never Returned Your Calls),” the chiming guitar-led “Honey Sweet” off the 2016 eponymous debut album, an infectious “Oh No (I Think I’m in Love)” – where they stopped on a dime at one point - and the funky “Girlfriend,” complete with pedal steel and cowbell. Thoroughly enjoyable.

photo by George A. Paul
Violent Femmes is celebrating the 40th anniversary of the classic eponymous debut album – Craft Recordings just released a highly-recommended expanded reissue with demos, 45 single B-sides, and live cuts – on tour by performing it from start to finish. In Orange County, they replicated the same order. The platinum-certified release conveniently contains Eighties college/modern rock radio staples “Blister in the Sun,” “Add it Up,” “Kiss Off,” and “Gone Daddy Gone.” The alt-folk band initially battled sound problems with the acoustic-leaning setup (including barbeque grill used as percussion), but it didn’t detract much from a highly entertaining set. Leader Gordon Gano even broke out the violin for “Good Feeling.”

Soft Cell, just Marc Almond for touring purposes while musical partner as Dave Ball recovers from an injury sustained last year, did three tunes from successful 1981 debut album Non-Stop Erotic Cabaret (now available in a deluxe expanded edition). He also touched upon other Soft Cell releases including last year’s long-awaited reunion album Happiness Not Included. Aided by two male backing singers, he gamely tried to drum up audience excitement, but people were really chatty, seemingly unfamiliar with the non-hits or more likely, waiting for the Psychedelic Furs to follow on that stage. Once Almond and company finally got around to Soft Cell’s big hit cover medley “Tainted Love/Where Did Our Love Go,” the energy level increased and continued for the naughty “Sex Dwarf” at the end.

Texas goth rock duo Twin Tribes impressed with a transfixing early afternoon set, particularly during The Cure-like allure of “Shadows” and “Fantasmas,” a sinister-sounding “Heart & Feather” and crystalline “Still in Still.” 

Special thanks to C3 Presents for their help.