I'd Love to Turn You On #232 - Willie Nelson - Red Headed Stranger

Like Willie Nelson himself, Red Headed Stranger holds a unique place in the history of country music. Willie is the country artist who most stretches the boundaries of what it means to be a country artist, while Red Headed Stranger completely flips the script on what country music was supposed to sound and feel like. Coming from the traditions of lushly produced and orchestrated hits, Willie strips away the pretense and offers an album equally split between original material and covers, but one that hangs together as a fully realized concept album telling a story of remarkable emotional complexity. Willie was making the first album of a new contract with Columbia Records that gave him complete artistic control and he flummoxed executives when he delivered an album of stripped-down arrangements that focused on his voice and guitar, his sister Bobbie’s piano and embellishment from Mickey Raphael’s harmonica, (which can sound like anything from an accordion to a crying baby). The results are unforgettable.

Initially rejected by the executives, Willie stood his ground and the album came out in 1975, burning up the charts ("Blue Eyes Crying In The Rain" was Willie’s first #1), giving the “Outlaw Country” movement its crossover flashpoint, and cementing Willie’s reputation as an American musical icon, mentioned in the same breath as Sinatra, Dylan or Guthrie. He has since become the most reliable standard bearer for American song, turning every cover he touches to gold, and continuing to write songs that define that cross-section of the American psyche where rural wisdom meets city sophistication. He is the thinking man’s cowboy and proof that there is intellectual life running down every Main Street of this country.

The album itself goes by like a dream, but is structured like a book. The narrative of betrayal, lost love, revenge and redemption is told directly, yet the narrator’s emotional state is illustrated by the use of other people’s songs. The action is broken up like chapters by several evocative instrumental passages. The result is total immersion in the story, giving the listener the illusion of living this cowboy love story with Willie. The dust, the whiskey, lipstick traces, the bitter regret are all as palpable as the mud on Willie’s boots. There are few country albums that tell a story so coherently and offer such musical satisfaction at the same time. The simple arrangements make the true star of the show so apparent. Willie Nelson has THE voice. If any doubt remains in your mind about what an American voice can and should sound like, and that this man is the possessor of that voice, one listen to Red Headed Stranger will remove any lingering confusion. He sings in a way nobody else can, but he gives the illusion that anybody could do this, and his natural magnetism invites all to sing along. What a gift! His guitar playing has a similar quality. His beautifully articulated, single note lines encourage all players with their simplicity yet confound experts with the structure and tone from his battered guitar named Trigger. In a career packed with accomplishment and great albums, this one rises above because of its narrative strength and musical excellence.

There is another aspect of Red Headed Stranger that makes it close to my heart. It has deep connections to our state. Allegedly, Willie wrote the album while driving from a ski trip in Aspen back to Austin to begin recording. It’s hard to describe, but the album has a certain Colorado-ness that really resonates with me.  Side two begins with the song "Denver," which opens “The bright lights of Denver are shining like diamonds, like 10,000 jewels in the sky” Every time I hear this line, I am reminded of standing at Red Rocks on a warm night looking out over the lights and pondering my future and fortunes. Yes, this album goes deep for me, and if you give it a good listen I can’t help but believe you will feel the same way.

-         Paul Epstein

I'd Love to Turn You On #212 - TV on the Radio – Return to Cookie Mountain

           Last Wednesday I witnessed one of those magical moments that can only happen at Red Rocks. TV on the Radio opened for Father John Misty and drew an impressive crowd so early in the night. As light began to fade from the sky about halfway through their set, vocalist Tunde Adebimpe mused in a playful sing-song voice, “I see the moon and the moon sees me.” The band gave the audience a moment to turn around and regard the crescent moon rising between the amphitheater’s rock formations before launching into a blistering rendition of their biggest hit, “Wolf Like Me.” Just as the moon triggers a supernatural transformation within the song, it played a key role in morphing the relatively subdued audience into an ecstatic, howling mass during the song. The enduring appeal of “Wolf Like Me” hints at what makes Return to Cookie Mountain, one of this young century’s greatest albums.

 

TV on the Radio built on the promise of their debut EP, Young Liars, and their dynamic first full-length album, Desperate Youth, Blood Thirsty Babes, and delivered a mind-blowing collection of genre-defying, cathartic songs with Return to Cookie Mountain. Looking back, I remember how much I looked forward to the release of Return to Cookie Mountain in the summer of 2006. Sure, I had enjoyed the band’s first couple of releases, but I had a feeling that this new album would help me get through the very challenging times I was going through personally and professionally. Well, the album certainly didn’t disappoint me and the opening track, “I Was a Lover,” provided a well-tailored soundtrack and a much needed outlet to transcend the miserable situation surrounding me. Through the orchestrated cacophony of an overdriven bass drum, a sorrowful horn sample, layers of glitchy distortion, and countless other sonic elements, Kyp Malone and Adebimpe inject passion and anguish into Malone’s brainy, surreal lyrics that capture the fever-dream paranoia that results from the implosion of a relationship. “Province” treads on similar thematic territory, but ascends with a tentative sense of hope and optimism for what the future holds. David Bowie joins Malone and Adebimpe on vocals for this song and not only helps create one of this band’s finest moments, but also marks a highlight among his late career collaborations. When the band played the Boulder Theater three years ago, Malone introduced “Blues from Down Here” by skewing the now common on-stage banter about legal marijuana in Colorado and asked the audience if they would seek justice for those who have been imprisoned under severe drug laws. This literal application of Malone’s harrowing metaphor within the song surprised me at the time, but has helped me appreciate the layers of meaning contained in this haunting perspective of isolation, oppression, and hopelessness.

As much as I love Return to Cookie Mountain, I have to admit that a lot of what makes it such an amazing work can also weigh it down if you’re not feeling up for taking the album’s emotional journeys. In 2008, when TV on the Radio released their next album, Dear Science, I was delighted that the band offered up a bright, beautiful set of songs as complex, innovative, and satisfying as their earlier work. Two of that album’s high points, “Golden Age” and “Lover’s Day,” feel like intentional counter-balances to the heaviness of Return to Cookie Mountain. In 2011, the band released Nine Types of Light, an album I’ve liked, but never really loved (a point I’ve had to debate repeatedly with a number of TVOTR fans over the years). Three years later, TV on the Radio’s fifth album, Seeds, won me back with a set of concise, polished, and upbeat songs proving that these remarkable musicians still have plenty of room for exploration and expression.

-         John Parsell

Several Species Of Small Furry Thoughts - Whatta Day!

Yesterday was one of those days when so many good things happen that you just wait for a tap on the shoulder. It never came. It started with the reception for CMHOF (The Colorado Music Hall Of Fame) before the John Denver celebration concert at the 1st Bank Center in Broomfield. I went to the upstairs bar area which is one of the places displays of the CMHOF will be gathered. Here, it was all about Red Rocks. The inaugural class of the Hall is made up of John Denver and Red Rocks Amphitheatre. I can think of no two more deserving entities. With every season and every show I attend (and it has been hundreds) I realize what a completely unique and magical place Red Rocks is. Seeing a concert at Red Rocks transcends the normal consumer-oriented rock and roll industry experience. It is a communion with nature, and artists almost always recognize this and play differently there. As I was walking in, and during the reception, I could hear the Boulder Philharmonic and various performers sound checking and running through that evening’s show. I was immediately startled by the full sound and beautiful arrangements culminating with a wonderful “Country Roads.” This was going to be a powerful musical experience. I schmoozed up a bunch of nice and interesting music industry insiders before making my way downstairs to the North lobby of the events center. The crowd for that night’s show was starting to really pour in to the arena. I’m not sure what I expected the crowd to look like. For the most part they were my age and older, but the diversity was surprising. I saw way more bona-fide hippie types than I expected; lots of guys with long graying hair. There were also lots of people who seemed to know John Denver from his television and film roles. Ultimately, that is the thing that makes John Denver such an interesting and singular figure. He was not a rock star, he was not a movie star, he was not a pure folk singer, he was not just an environmentalist, pilot, humanitarian, poet, family man, etc, etc. He was truly an American Renaissance man: a celebrity in the largest sense of the word. Almost a Will Rogers type figure. 

There in the North lobby are two huge display cases containing an amazing variety of John Denver memorabilia: everything from a beautiful guitar to handwritten lyrics, gold records, stage outfits, photos, and records, all put together in a museum quality case curated by Hall director and Colorado music author and historian G. Brown. I stood there for a few minutes with dozens of other people staring up at all this cool stuff. I became aware of a woman standing next to me taking photos of the cases. When she took the camera away from her eye I saw tears running down her face. I moved on and heard more people making emotional exclamations. As I headed for the door a woman grabbed her husband’s arm when she saw the display and said “Oh my God, It’s him, I’m going to cry.” I have been telling my employees for a long time, that they should never underestimate the passion that virtually EVERY artist ignites in their fans. John Denver was not just any artist. He had a profound effect on millions of people. He represents something good and unspoiled from a confusing and misunderstood era. We could all use that clarity once in a while – no? 

So I ran out the door and tore across town back to Twist and Shout for The Denver Post/Reverb Magazine’s “Fermented Barley Cabaret.” This event is an open call to anyone in the city to come hoist a free beer in some interesting or fun location around town every so often. I went to one at the restaurant Interstate a couple of months ago and had such a good time that I suggested we do it at Twist sometime. There was an auspicious start when John Taylor from Duran Duran came in for a shopping spree just before the event started. He loved the store and bought a huge stack of vinyl. As the crowd for “Fermented Barley” started to filter in he took it in stride, shaking hands, posing for photos and signing autographs. One might forget how HUGE Duran Duran were in the 80’s. They define a certain era and have maintained the loyalty of many fans. This crowd could not have been more different than the John Denver event. Over the three hours it lasted a couple of hundred people came and went and the crowd was heavy on bands, people who like bands, and people who like free beer. All fit in really well at Twist and Shout. It was a fantastically animated and chatty crowd - relaxed and having a good time. I love this kind of event. No pressure, just lots of like-minded people enjoying each other’s company. Kamptin from the band Chain Gang of 1974 performed a perfect DJ set for the event - heavy on 80’s-ish Duran Duran-friendly music.

As I was driving home after the event I ran over the events of the evening in my head. Live in the most beautiful place in the world - check; make my vocation my avocation -check; give free beer to the masses – check; do something to help glorify music and Colorado - check. Ahhh whatta day!

Phish - Day II

Different day, different weather, different vibe. Day two found Phish in an even more musically serious mood. With stormclouds threatening, they opened with a nostalgic trifecta of songs “Runaway Jim,” “Chalkdust Torture” and “Bathtub Gin” which put the crowd in the partying mood. The band and the weather then took a big left turn. The title track to Trey’s new solo album, “Time Turns Elastic” is dense, complicated and full of prog-rock twists and turns. Clocking in at almost 17 minutes the song got more and more intense, ending with another heroic guitar workout by Anastasio, while the sky started to spit, then drool, the pour. It rained with increasing strength throughout the remainder of the set, which ended with a spacey, almost scary “Split Open and Melt.”

The rain continued through the set break with increasing severity, finally letting up after about an hour. The crowd was definitely a bit dispirited and in need of some big musical energy. Phish, as usual, did not disappoint. Opening appropriately with a high-energy version of The Who’s “Drowned,” they jammed effortlessly into the Talking Heads’ “Crosseyed and Painless” which drove the crowd into a near frenzy. The energy dipped a little during the two new songs “Joy” and “Backwards Down The Number Line” which has a beautiful, melodic guitar figure at the end, and promises to be a winner in the future. Then, audience and band held their breath for an instant as the band launched into the rare and highly anticipated classic “Fluffhead.” One of their most complex and change-riddled songs, they pulled it off without a flaw. It was truly a reward for the faithful, the loving, the damp. The set ended with a great version of The Beatles’ “A Day In The Life” which they debuted at Red Rocks in 1996 and still has all the power and resonance it originally did. 

Soaked, but not satiated, we went home with nothing but tomorrow on our minds.

--Paul Epstein

Phish-Day I

A lot of emotional baggage got opened and the colorful contents of that baggage flew up into the air in a plume of pungent excitement when Phish walked onto the stage at Red Rocks for the first time in 14 years. The audience was noticeably older than the last time, indiciating that it is still the same folks following the band. They were a bit kinder and gentler too. Less in-your-facedness about the whole scene. Like the later-period Grateful Dead audiences however, the chemical enhancement has reached new and heroic proportions. It was a party, and like I said, when the band hit the stage it was pandemonium. The first set was solid, but didn’t catch fire until midway when a long, hynotic “Moma Dance” got the crowd really going. It was followed in short order by a pretty “Silent In The Morning” and crowd pleasing set enders “Stash” and “Possom.” Second set was another matter. The band came out firing on all cylinders and performed a solid 40 minutes of brilliance before stopping to take a breath. “Mike’s Song,” “I am Hydrogen,” “Weekapug Groove,” “Story Of The Ghost” and “Wolfman’s Brother” all proved to be perfect forums for Trey Anastasio’s tight, ballsy soloing. Clearly sober and totally focused he played as well as I’ve seen him play since their early 90’s heyday. The entire band seemed completely focused and serious about it all, but played with abandon. Frontmen Anastasio and Mike Gordon in particular impressed me. Page looked a little tired and drummer Fish also looked like he didn’t fully have his touring legs yet, but these are quibbles, the entire band performed admirably. Finishing the set with one of their hardest to perform songs “David Bowie” left the crowd screaming and the encore of The Stones’ “Loving Cup” was the cherry on the cake. A great opening night! Nothing wildly unexpected or experimental, just a solid, fully-packed can of Phish.

A few other things worth noting about the experience;
1) Not a drop of rain fell. Amazingly, it was a perfect Red Rocks night.
2) Lighting Designer Chris Kuroda remains, in my opinion, the fifth member of the band, and the most impressive artist in his field. His lights are spectacular, moody, exciting, subtle and over-the top all at the same time.
3) The show was as crowded as I’ve ever seen Red Rocks. Either a lot of people snuck in, or it was over sold. It wasn’t a problem though, because as stated the crowd was incredibly cool.
4) Parking was another issue. As part of the agreement with the town of Morrison, all Phish fans- those with and without tickets were given equal access to the park. I get it actually: to avoid a repeat of the problems of 1996 (which were totally media driven and over-stated) you corral all the Phish in one pond. Fine. BUT-the ticketless were allowed to grab all the real parking spaces and those who actually had paid for tickets found themselves in triple auxiliary secret hidden parking lots almost a half mile from the venue. That was totally insane and absolutely the wrong thing to do.
5) I COULDN’T BE MORE EXCITED ABOUT THE NEXT THREE NIGHTS!

Summer concert season is underway

Summer concert season is upon us and mine’s officially kicked off in great form with two shows this week that simply slew me – The New York Dolls Sunday night at the Bluebird and Leonard Cohen last night at Red Rocks. When I’ve brought either of these up to some of my more uncultured friends the reaction has been along the lines of: “Oh, they’re still around/alive?” But yeah, they’re both riding on solid new records and touring like it mattered.

The New York Dolls were possibly the bigger surprise, seeing as Cohen’s shows have been A) bigger and B) generating significant good press and reviews. So when I say I luved it, you’d best believe I luved it, L-U-V. Not only were original members David Johansen and Sylvain Sylvain totally consummate performers – as were the great younger musicians they’re working with (especially that drummer!) – but they were both charismatic as hell, playing rock and roll like they live it 24-7 – which in fact they just may. They dug into a set that was pretty evenly split between their two 1970’s classics – New York Dolls and In Too Much Too Soon – and their two recent albums, One Day It Will Please Us to Remember Even This and the brand-new ‘Cause I Sez So. Word on the street has it that the two new albums aren’t so hot, but I beg to differ. Not only do they still have significant hook value – catchy riffs didn’t leave the band when Johnny Thunders did – but Johansen’s lyrics are possibly better than ever. I haven’t fully absorbed the new one, which sounds good on one listen, but One Day is pretty damn good to my ears. Regardless, they came on with new songs and old ones interspersed, paying homage even in the new tunes to the 50’s and early 60’s rock and roll classics that were their foodstuff growing up but of course slanting them to a modern sensibility – in fact, my partner who attended with me and didn’t know more than three of their songs couldn’t tell the vintage of songs by listening, only by crowd reaction. I say this to point out that if you don't come in biased toward thinking they're gonna suck, you'll probably be able to really hear the new ones as the fine songs they are. If they make it around again, I strongly suggest catching the show.

Leonard Cohen, on the other hand, will almost certainly not be mounting another tour like the one that wrapped up at Red Rocks Thursday after being rained out on Tuesday. The man is 74 years old, but in energy, in on-stage demeanor, he came on like a man 20 years younger, running on to the stage, dancing/skipping his way off to the encores. His charisma as a serious performer, pulling from his lengthy catalog of classic songs was every bit as strong as Johansen’s trash-rock, glam sensuality. Cohen and his crack band were absolutely stunning, hitting just about every high point of his music spanning back to his 1968 debut and going right up to 2001’s Ten New Songs. Highlights were almost too many to include – but I’ll try. Javier Mas’s intro to “Who By Fire” – itself a terrific performance – made me wonder just how good a full concert of him playing his banduria could be. "Hallelujah" had the entire crowd singing along, and pretty much any time Cohen crouched down by his monitors to deliver a line with more intimacy - as in "Bird on the Wire" or "I'm Your Man" - worked us all over. And no matter how many times he gave the spotlight to others and introduced his terrific band, Cohen was the star. Sounding great, looking fit and energetic, and bringing his autumnal voice that seems to automatically impart wisdom even to his oldest material, he sounded absolutely fantastic throughout the show. Though he’s got a reputation as a gloomy songwriter, he highlighted the humor that makes Cohen much more palatable to me than most songwriters who work in similar areas. For those who were unable to attend – and given that it’s unlikely he’ll tour again – the Live In London CD or DVD packages provide a reasonable facsimile of the experience – very similar song selection and performance quality, but it’s just not the same as being there in the same venue. Live music rules.

Sigur Ros at Red Rocks, Sept. 27th 2008

So, my first Red Rocks experience was impeccable! It started with the scenic drive to the Rocks, then being bused up to the stage. Sigur Ros soon arrived to sound check a song or two, then Jonsi (the singer) met us in front with greetings and handshakes.


He was quite nice and signed my goodies, as did the drummer and bassist. Their English was good and they spent some of their time talking with us and being very nice. We all then got handed signed lithographs and soon after were bused back down. The opening band Parachutes was good – sounding a bit like Sigur Ros – and several members were from Iceland. The Sigur Ros set was great! Several singles were played and the audience loved it all! The visuals were limited due to the lack of giant screen or multiple screens they needed, but there were lighting effects added and the audio was mesmerizing enough! The songs were tight and almost perfect renditions of the studio takes. There was an encore we didn't have to wait long for and several more brilliant songs were released upon us and the cool night air. The venue's sound was great, the band was spot on and the whole experience was unforgettable!

- Joel Boyles

Almost imperceptible, Something inexpressible

Listening to The Police on vinyl could be listed as one of my favorite pastimes. This band influenced a large part of my musical preferences. Growing up in the 80’s I was swayed by their Reggae-infused New Wave style. Synchronicity is one of my all-time favorite albums. I continue to feel elated whenever I hear the title track.

Needless to say I was thrilled to see them live for the first time at my favorite venue! July 21st at Red Rocks, the energetic pop sounds of The Police exploded out on an adoring crowd. Beneath the mammoth Hi-Definition screen versions of themselves the band belted out all the tunes Police fans expect to hear.


From “Roxanne” off Outlandos d'Amour to “King of Pain” off Synchronicity we were led through classic hits of the entire discography. I enjoyed watching the computer font from Ghost in the Machine take over the visual display during “Demolition Man”. I was greatly amused by the way the audience freaked out when they launched into “Don’t Stand So Close To Me” from Zenyatta Mondatta.

The band was technically precise without ever sounding like worker drones running through the motions. They added a spirit and touch to each song. Sting (Lord Sumner) strutted around stage in his black mesh shirt. He would stand in regal pose, thumping his bass with a stage presence you would expect from a man who had just completed five hours of Pilates – he was completely invigorated by the music he was playing. Stewart Copeland kept the polyrhythmic heartbeat with his impressive percussion spread. Beneath the giant gong he was surrounded by a plethora of cymbals, bells and chimes which he breathed life into during “Wrapped Around Your Finger”. Andy Summers shredded his way through his back beat sounds. He seemed rather stoic and distant through most of the show, but his South Park guitar strap added a touch of humor.

The distance between them seemed palpable; I found it amusing during the encore that Sting sang the lyrics to “So Lonely” interjecting:

Now no one's knocked upon my door
For a thousand years or more
All made up and nowhere to go
Welcome to The Andy Summer Show (this one man show)

Elvis Costello opened the show with an impressive amount of energy. He seemed so much more upbeat than the past few times I have seen him in concert. A very playful version of “Watching the Detectives” fit into the theme of the evening of these musicians influenced by the Reggae sounds - after all the Police have an album named Regatta De Blanc, which means "White Reggae." Sting came out and joined Elvis for a rendition of “Alison” which was quite lovely.

Overall I was just struck with how great they sounded and of course how fit Sting looks. A woman to my right kept shouting at me “See how clear his eyes are?!?!?!?!” She was clearly taken by the fact that he may be the yoga poster child of his generation. I guess all that Tantra work pays off.


- Natasha