An interesting political moment.

I realize that the coverage of the DNC has been omnipresent to the point of being REALLY annoying, but I experienced a moment on Tuesday that I thought was pretty interesting. On Monday, I watched Caroline Kennedy introduce her Uncle Ted Kennedy on TV. It was a moving occasion to be sure, but I noticed that during her introduction Caroline, repeatedly cut off the audience’s applause and attempted to go into her next line, thus stalling any momentum the crowd was building and losing the impact of her own words through the din of the crowd. It didn’t ruin it for me, I thought her uncle gave a fitting swan song of a speech, but I did notice it.

The next day, a Women’s economic group held a forum at the beautiful Colfax Events Center across the street from Twist and Shout. We were told Michelle Obama would be speaking there and maybe other guests, so we went. It was a media and security frenzy. There were T.V. and print journalists galore and lots of dudes in blue suits and sunglasses. We took our seats and listened as Michelle Obama was introduced. The place went nuts. She was articulate and sweet and incredibly skinny. As she spoke, it became clear she was leading up to an introduction to someone else. She then introduced Joe Biden (the crowd had no idea he was going to speak) and they really went nuts. When Biden walked in it was a total rock star moment; the air goes out of the room and all eyes go to this person. He had the glow of someone who had been in the public eye for a very long time.

Here’s where the interesting thing happened. The crowd was literally going ape-shit-standing ovation and all that, when Mrs. Obama realized she had not introduced Jill Biden, the Senator’s wife. Since this was a Women’s economic forum it was quite relevant for her to do so. She began to speak over the crowd just as Caroline Kennedy had the night before. She looked to Biden for a moment, and without losing one second of his cool, he held up his hand to her and mouthed “wait a minute.” He was cuing her on how to work a crowd. When you give as many speeches as this guy has, you don’t waste good applause. She waited a few seconds and continued her introduction, which was largely drowned out by the crowd. Biden immediately took the room by the throat and delivered a fantastic 10 minute speech, where he introduced the crowd to not only his wife, but his sister and daughter as well. He said nice things about Mrs. Obama and made everyone near him look and feel good.

The thing I found so interesting was the process of these total pros from one generation (Biden and Ted Kennedy) handing the torch to a new generation at the same time they are schooling them on how exactly it is done. It is an interesting reflection of our times, the acceleration of culture and the replacing of one generation by another, maybe before the replacing generation has learned all the necessary lessons. My little convention moment.

-Paul Epstein

Salò, or the 120 Days of Sodom

So here’s how one of the older reviews of this film that I found on IMDB is titled: “A sick disgusting piece of garbage.” Needless to say, this viewer gave it the minimum one star out of ten to register his disapproval. I gave it nine out of ten for being one of the most brutal, shocking and purely unpleasant films I’ve ever seen – but one with a point mind you – and even so I agree with the other reviewer, with one minor caveat, the film’s got an ideology and that makes it so much more effective and powerful than the exploitative trash that people take it to be.
There are two basic opinions about this film and very few that diverge from them. One calls it, as above, worthless trash, the other finds it a bracing and very difficult to watch piece of art about the limits of human cruelty and a denouncement of fascism.
How do you talk about violence in a film without depicting it? How do you convey the dehumanizing power of fascism without making it seem at any single moment glamorous, enviable, or attractive to some? Every anti-war film – except this one, if you choose to view it as such – makes war at some point seem dramatic or exciting. Not so here, and the resulting despair is what makes it more powerful. The people on-screen are debased, made to feel inhuman, and treated brutally – the bulk of the film is a shocking succession of images of mental, sexual and physical torture of a group of young people by a group of fascists supported by a small armed guard and secluded in a remote villa. I don’t view it as exploitation because it’s not simply there to shock or titillate you, to play a game of one-upsmanship wherein the filmmakers try to see what the viewer can take. The increasingly violent and graphic torments do push buttons but not so Pasolini can have a chuckle that you couldn’t handle what he’s dishing out. He’s doing his best to tear through any distancing the viewer may try to put between him/herself and the ideas of the worst of man’s inhumanity toward man – it’s no accident that the film is set in the Fascist period of Italy in the mid-40’s, when the Nazi-occupied Republic of Salò was the capital of Mussolini’s Italian Socialst Republic.
Hearing about brutality in war and witnessing the extremes that it actually entails are two very different things and rather than coating that brutality in some moralistic gauze, like most films about extremes of violence, Pasolini chooses to present the rawest, most hideous examples he can find – often taken from the novel that lends the film the rest of its title, the Marquis de Sade’s 120 Days of Sodom.
Suffice to say that this film is not for everyone. It’s a cathartic experience to watch the relentless parade of cruelty on-screen and if you’re not interested, I understand. If you see it and rate it one star out of ten only because a zero-star option was not available, I understand. If something in you wants to know about these things, wants to see the naked face of horror, here it is, ready to leave an indelible mark on you.

Thalia Zedek Band - Liars and Prayers

I've long loved this chick. From the band Come (and Uzi, Live Skulls and Dangerous Bird before that), Thalia Zedek is what Courtney Love always wished she was. Raw, emotive, and kickass in the way of never needing to act the part. Obviously influenced by Patti Smith, this ex-junkie and continued smokeaholic delivers her vocals in a way that's quite rough around the edges, yet soaked in meloncholy and emotional hardship. Pair that with such tender instruments as the viola, piano and trumpet and you've got yourself a sound that can bring a tear to your eye from either sheer beauty of the music or the sheer ugliness of the message.

RIYL: Wovenhand, Patti Smith, Nick Cave, Kim Gordon

Check out Zedek performing "1926" at the ABC Radio studios for the Deep End show. July 2005 Melbourne, Australia.

Struck by the Sounds - August 15th, 2008

Lucinda Williams-Little Honey (release in 4th qtr.)

Based on the overwhelming reputation of her Car Wheels On A Gravel Road album, Lucinda Williams reached a level of respect and reverence reserved for the few. That album felt like the artistic culmination of a lifetime. Thus, it shouldn’t have been surprising when the following four albums felt like a series of near-misses. Essence and World Without Tears were both moving, emotionally raw albums, but neither of them hit with the emotional satisfaction of Car Wheels. Her Live At The Fillmore was pretty good, but the band wasn’t her best, and it felt perfunctory-especially after the release of a couple of live Car Wheels era concerts that just blew it away (Live At Austin City Limits and Car Wheels-Deluxe Edition). Her most recent album, West really felt like a misstep, with her normally refined sense of self-pity overflowing into a sad puddle on the floor. It felt like she might have peaked and be heading toward the sunset. 

Little Honey arrived on my desk in a plain brown wrapper with no song list or liner notes. I thought-“man she is just pumping them out now.” So, now it is my pleasure to tell you what an absolute miracle this album is. It is not a return to form, it is a new level of brilliance for one of the best America has. On this album, Ms. Williams seems to have gotten back in touch with her rock and roll heart. The upbeat numbers are filled with joy, the sad ones are real pathos, not just cry-in-your-beer mumblings. The album kicks off with a rocking tribute to new love. That subject never gets old does it? No matter how many times we (the audience) hear about it, and then see it fall apart, there is still that optimistic place in each of us that roots for someone else’s chance of finding lasting happiness. Each song opens a new chapter to the book of Lucinda’s heart-bluesy, lusty, regretful, loving and most importantly happy. There is a joyful spark in each performance that has simply been missing from her more recent work. Track seven is a duet with Elvis Costello that will please fans of either artist. Much of the album is about the vagaries of fame-something both of these artists have seen from both sides. Ms. Williams seems to have come out the other side with her glow intact.

The real issue is the songwriting. Lucinda has gotten back in touch with the muse that was avoiding her, and she is writing the kind of material that illustrates with every touching couplet that she is a thoughtful writer in full command of the language and her ability to turn an artistic phrase like no other. Like Car Wheels it feels like this album will be a constant source of revelation and sustenance for the lucky listener. 

Wovenhand-Ten Stones (in stores 9-9-08)

At the end of the first song on Wovenhand’s brilliant new album Ten Stones leader David Eugene Edwards sings “Beautiful the axe that flies at me.” This line sums up the mindset of his writing style. In a word he sings about dread. The dread of living a life of sin, the dread of impending judgment, the dread of existing on this world of danger and evil, the dread of the unknown heading at your head with the splitting finality of heaven or hell. Throughout this album, and his entire career for that matter, Edwards has depicted the fundamental schism of human existence with unnerving precision. The difficulty of living a life of beauty while swimming in shit has rarely been so accurately described. Like Nick Cave, Edwards has become extremely adroit at explicating the confusion about humans being either risen apes or fallen angels. Like all philosophers, he never comes up with a completely convincing conclusion. His yearning for salvation is matched by his awareness of his (and mankind’s) flaws and the inevitability of our fall. 

Musically this is Edwards’ most muscular album to date. Gone are the fragile, spacey arrangements, replaced by booming bass, strong drum tracks and a more confident guitar and vocal style. The idea of an Antonio Carlos Jobim cover would have seemed unlikely with the old Edwards, but he tackles “Quiet Nights of Quiet Stars” with swagger and aplomb, and it is one of the real highlights of an album of many highlights. The main attraction here though is, as ever, Edwards ability to explain the confusion and dread in his heart in a melodic and exciting way.  So many albums produced today are simply lighthearted attempts to grab the brass ring of fame. Wovenhand are attempting something with far greater aspirations. To quote one of his songs it requires a “White Knuckle Grip.”

How F’d up is the music business?

A good question, that many people who have absolutely no clue are trying to answer. If I have to read one more idiotic analysis by some snotty journalist who doesn’t know his ass from a hole in the ground I’m going to puke.The music industry is a mess, there is no doubt about that, but this is about way more than the apparent brilliance of one Mr. Jobs. It seems as though the only handle anybody can put on what is happening is “technology is changing.” This is most certainly true, technology is indeed changing, and it is turning away from the physical in all forms. However, nobody seems to get that with the change in technology there is also a change in culture. It is not as simple as the delivery system, for there are numerous societal implications as well. The biggest being the complete and total loss of a collective attention span. It seems as though our minds can no longer stay focused on a WHOLE book, an ENTIRE movie or a sixty minute set of songs any longer. The fact that there are fewer and fewer books, movies or albums worth a damn obviously plays into it, but there are still plenty of worthy artistic and intellectual opportunities for the inquisitive mind. 

What interests me here is specifically the music business and how it has taken it’s collective eye off the ball. Ponder for a minute the abundance of natural resources  this industry has been blessed with; a youth-oriented form of entertainment that is, by it’s very nature, equal parts art and marketing, a built in market demand and schedule of release, a product that every other product on earth is desperate to ally itself with and built in fun and sexiness. How could they possibly take such a winner and turn it to a complete loser? Sales of physical product continue to tank, and overall, interest in music has diminished on our cultural horizon. 40 years ago, 30 years ago, even 5 years ago the love and collecting of music was one of the most important things in people’s lives. Now, it is an afterthought. It is an accessory to a commercial, or a TV show, or a product. It isn’t the window into the artist’s soul (and thus the soul of a generation) instead it is merely the window dressing.  So, how could this happen? How could an industry with the Goose that laid the platinum egg let it go? I wish it wasn’t so simple, but it is two things-stupidity and greed, or more precisely the greed that only stupidity could breed. In one of the historically great ideological blunders, the captains of this industry stripped the inherent value of an art form away in a crass attempt to turn it strictly into a money making machine. Profitability has always been the obvious endgame of any business, but in the past, there has also been an unspoken understanding that in addition to the profit motive there was an implied stewardship as well. Perhaps I am being the ultimate Pollyanna by even suggesting this, but isn’t there any of that obligation left? I have come to believe that the music industry is actually out to hasten its own obsolescence. Unable to see further than this quarter’s profit and loss statement the industry rushes toward more and more aesthetically unpleasing methods of delivery and a less and less profitable business model. In the past, certain industries have been plowed under by the wheels of progress, but rarely has an industry so willingly, no-gleefully- participated in its own destruction. Every week, some piece of info comes down the pike about what the music industry is now doing to shoot itself in the foot. It has been breathtaking to watch. Similar to watching a once controlled person slip away to alcoholism and ruin, one can only shake his head in wonder.  

I still believe that music is one of the few great things mankind has created (Pizza and cashmere being two others). The intrinsic value of the arts must transcend cultural whim or the prognosis for our species is grim indeed. Every day I see people in the store who are still yearning for the comfort that only the arts can provide. I know there is still a desire to share a meaningful moment with others through the portal of creativity. As always, it remains interesting to watch.

DVD Under the Radar 15/08/08

One Take Volume 1 -
Alma Records' "One Take" series takes a group of jazz masters and throws them in the studio for a spontaneous session with no pre-planning to see what emerges. This was the first CD in the series - featuring Joey DeFrancesco, Guido Basso, Lorne Lofsky and Vito Rezza - and it's now appearing on DVD. The group runs through six jazz standards plus a tribute to Enrico Caruso. The interplay is great to watch as they discover each others' strengths and work through the tunes sans rehearsal, in only one take.

Sainkho Namtchylak – Freedom Now (featuring William Parker and Hamid Drake)
A seven octave range, a shaved head, and a musical palette that includes avant-garde jazz and vocal performance, the Tuvan throat signing of her home country, and drum & bass makes Sainkho Namtchylak a unique and individual performer. This is her first DVD and in it she's ably supported by bassist William Parker and drummer/percussionist Hamid Drake. Beautiful stuff for the adventurous.

CJ7 (starring Stephen Chow) –
Stephen Chow draws so much on cartoons and silly comedy that him directing a children's film seemed inevitable. In the film, Chow definitely plays second fiddle to Jiao Xu, the young woman who plays his son in the film. The character follows a typical Chow arc, starting fairly self-centered and becoming a better person by the end of the film. It's a little of a letdown not to have Chow front and center, but with a performance as good as Jiao Xu's, I'm willing to go for the ride.






Films of Lech Majewski - Glass Lips; Garden of Earthly Delights; The Gospel According to Harry; The Roe's Room -

Four reissues this week from Kino Video of Polish filmmaker Lech Majewski's experimental vision of the world. I haven't seen any of them - and if the number of ratings on IMDB are any indication, hardly anyone has - but their descriptions sound fascinating. Majewski seems to work in the areas of the surreal and the absurd with a gift for startling imagery. If I were you - and of course I'm not, but if I were - I'd start with the English-language The Gospel According to Harry, which stars Viggo Mortenson, and work forward from there. But I'm big on chronology and I like Mortenson. Going strictly on their descriptions, his latest film, Glass Lips, which consists of 33 short films strung together into a single film, sounds pretty fascinating as well: "Banished to an asylum, a traumatized young poet relives his tormented childhood in a cascade of wordless images and tableaux." Explore.

Irina Palm - Marianne Faithfull stars as a woman who takes on work in a sex shop to pay for an operation to save the life of her grandson. A story like this can be done with intelligence and class or it can be a sordid mess, and this definitely qualifies as the former. Faithfull brings a gravity to the performance that's riveting and totally believable. Probably has something to do not just with her own troubles in her life, but also with the theatrical nature of some of the performances of her musical career - Kurt Weill is as good a primer for this type of role as anything I can think of in musical theater.

Porlolo - Meadows

Few albums have been able to contend with the CD I have been playing on a loop over the past six months. It was one of those CDs I took everywhere...finally something has come out that knocked me into a changeover. Porlolo’s second release Meadows is what I listen to day and night. It goes with me to work every morning, on my long bike rides and walks in the park. Meadows is the perfect summertime album. I feel transported through the music to a time when gas prices were low and Americans went on long road trips. Driving West to the sea with fields of golden grass blurring by. My heart softens a little when I hear these beautiful songs about relationships and the love of nature and animals.

To see Porlolo live is always a treat. Singer-songwriter Roberts has the face of a cherub with a seraphim-like presence. Her sweet yet strong voice always gives me the sense I am hearing something true and magnanimous.

She has teamed up with some of Denver’s finest musicians to put together this thoughtful arrangement of tunes. With Julie Davis and Carrie Beeder from Bela Karoli adding the string instrumentation to balance Roberts' glorious trumpet work, we get the feeling that this is not just Indie rock - this is something much more. The lilting electric guitar adds a dark Americana tinge. Notably Fine Audio’s Colin Bricker has added yet another gem to the Denver musical community, adding his influence in the electronic soft touches he is known for.

For days on end the refrain "Animals Should Live Forever” has haunted me with its sadness for the loss of the innocent lives of animals. I find myself lost in reverie… daydreaming in the sunlight.

To learn more about one of my favorite Denver bands please check them
out on myspace: www.myspace.com/porlolo

--Natasha

The Lucky Few - Calexico at Twist & Shout

A highly select crowd of smart musicos were lucky enough to be present at a rare Saturday in-store at Twist & Shout. We usually shy away from Saturday events but when a band as good as Calexico comes knocking, well you just have to say yes. We limited entrance so we could also continue doing business on such a busy day, so about 100 ecstatic fans got to see a wonderful, intimate 50-minute set of songs from their upcoming album Carried To Dust (9/9), some older songs and a few covers (Love’s “Alone Again Or” was a real standout). The sound was impeccable, Joey was playful, the crowd was greatly entertained and the entire band (including mariachi horn players) could not have been nicer to the fans and staff.

Thanks, of course, to the band for being so enthusiastic about the the event and so complimentary of the store. Thanks also to Leslie from Touch & Go, our employees for letting us borrow their amps, and to Shawn from Devotchka for lending his drumming paraphenlia. Oh, and to whomever gave the band a keyboard to use!

Check out them signing our big red guitar.....um, Joey signing his name backwards? Who does that??

Check out their "electro version" of Gnero Canelo

Spork some Indie onto your plate

Lord Dog Bird - Lord Dog Bird (jagjaguar)

Colin McCann is the guitarist from the band Wilderness. During their extended hiatus he recorded his own stuff on a four-track, creating a sound that is sharp, raw and well-reverbed as the songs take their sweet time to unravel. McCann's voice is seemly uncertain, sad and reflective yet quite direct. The album starts off with a repetitive guitar riff, sounding as though it were on the opposite side of a tiny church. When his vocals come in, the repetitive riff continues for the rest of the nearly-5-minute tune, until it all just stops. Be patient, the sound finally stretches out well into the third song. A truly fantastic side project we can appreciate even without any knowledge of McCann's full-time band. And if NPR is hip to it, well then........

RIYL: Black Heart Procession, Band of Horses, Neutral Milk Hotel

mp3: The Gift of Song in the Lion's Den

Struck By the Sounds

I watched three profoundly moving documentaries this week on three highly disparate individuals, but all three knocked me out and left me with lasting impressions.


Pete Seeger - The Power of Song
An intimate and eye-opening portrayal of a true American hero. Not only was Seeger an integral part of the “folk scare” of the 50’s and 60’s, but he was an extremely important figure in the political and social upheavals of the 40’s 50’s 60’s and beyond. A true lifestyle pioneer, Seeger lived back to nature, and near communally long before it was fashionable to do so, and his lifestyle choices were intertwined with his musicality in such a beautiful way. Unlike many cultural icons - he lived what he sang - it wasn’t and isn’t a pose. The film moves quickly and purposefully, encompassing an awful lot of cultural history and musical highlights. At the end, one has a gigantic lump in the throat over this man of tremendous principle and gigantic talent. A true American hero.


Joe Strummer - The Future is Unwritten
I watched this movie shortly after watching Pete Seeger-The Power Of Song and although Strummer and Seeger had very little in common musically (although Strummer went by “Woody” as a young man) their stories have a very similar effect on the viewer. They both were part of cultural and musical movements that helped define the personalities of an entire generation of listeners. Strummer seemed to have less predetermination about his activities - he just fell in love with rock music and went for it. His group, The Clash, were the seminal politico/punk group with great songs and the power of their convictions pushing them toward the vanguard of an important social movement. While not as articulate as Seeger in his ideology, there is clearly a desire burning in his soul and belly, and it comes out in a series of rock anthems that just bowl you over with their sincerity and sonic power. Strummer’s early work was informed by his refusal to “sell-out” above all else. Once The Clash became the biggest band in the world, his discomfort with that schism is one of the central themes of the film. He struggled with his message being diluted by the music industry as they marched the Clash to the top of the charts, and his relationships with the other band members suffered as a result of his confusion.
Ultimately, one is left with the portrait of a hard-working, sincere man who, by sticking to his ideological guns, was able to create some of the most vital rock music ever. His unexpected death is terribly sad, but one is left with the clear impression that at the end of his life he was at peace with his accomplishments and the fact that he never did sell out - not at all.

Love - Love Story
The story of the ill-fated Arthur Lee and his group Love is a classic of also-ran, almost-made-it, there-but-for-the-grace-of-God tales. One of the most naturally gifted and mysterious of the 60’s legends, Lee created some of the most sublime and ironically least-known masterpieces of the era. The fabulous Forever Changes is now widely recognized as one of the great albums of 60’s avant-rock, and Love’s first three albums in total represent a lost treasure of stylistically unique music. A low-budget affair, the movie relies too much on rambling, drunken discourses by Lee himself, but when it goes to archival footage and interviews with heavyweights like Elektra records founder Jac Holzman or Doors drummer John Densmore it is as compelling a history as I’ve seen. Sadly, Love managed to just miss each opportunity to become the next big thing, either by Lee’s eccentricities or the industry’s inability to market this multi-racial, willfully arty ensemble. Either way, one is left with a depressing view of a brilliant Black man who was ultimately just too weird and ahead of his time for straight White society. The last part of the movie focuses on Lee’s later life where he tried to resurrect Love, was unfairly thrown in jail for 5 years and then seemed like he might finally get his due, but was sadly taken by illness before that could come to fruition. Throughout, guitarist Johnny Echols comes off as insightful, generous and a true gentleman, co-writer Bryan Maclean comes off as criminally under-appreciated and the extra feature of original drummer Snoopy being weird in his treehouse in Washington state is almost hallucinogenic. This is a sad and compelling chapter in rock history, and one you will not soon forget.

DVD Under the Radar 08/08/08

Camp Out -

Fascinating documentary about a camp for gay, Christian teens is maybe a little more about resolving your faith and your sexuality than it is about simple acceptance (which I'd prefer to see), but I guess for a lot of people that's the first hurdle toward really being happy and accepting yourself as who you are. If you don't have a real concept of some of the hurdles that gay teens face, this is a great primer in understanding.

Tokyo Decadence -

Noted Japanese author Ryû Murakami takes the director's chair for this dark exploration of a young Japanese woman searching for some sort of meaning in the seedy underworld of the Tokyo sex trade. It's graphic without the "porno-" prefix, exploring a grim world where characters try to connect, try anything to stimulate themselves, from sexual fantasties to hard drugs. Through it all the lead character, Ai, retains an impassive air about the potentially degrading scenarios she puts herself in. Obviously this isn't for everyone, but for those whose interest lie in explorations of cultural extremes, in gender politics in cinema, and of contemporary Asian cinema (of the over-the-top variety especially), this will be a fascinating one.

Experience Hendrix -

Two live concerts honoring the late, great guitarist are pieced together here to create a lasting tribute. Performers include Hendrix Experience alumni Mitch Mitchell and Billy Cox, Buddy Guy, Mick Taylor, Living Colour, Robert Randolph, Kenny Wayne Shepherd and many others running through many of the finest moments in Hendrix's catalog. While there have been dozens of Hendrix tributes of varying quality out there since his death, the level of performance here and the guitar heroics on display make this one something special.

Struck By the Sounds - August 4th, 2008

Phish

I watched two new videos on my day off yesterday. The first was the new Phish concert DVD Walnut Creek which came out Tuesday. In a word - awesome! Sympathetic camera work and a sparkling 5.1 soundtrack make the watching experience great and the concert itself is representative of one of the great Phish periods. By 1997 Jerry Garcia had been dead for two years and Phish’s ascendance to the top of the heap was cemented. Many Deadheads looking for a continuation of the trip were jumping on board and Phish responded with an ambitious touring schedule, a treasure trove of new material, a consistently high level of musicianship and tight, focused performances. This would change in the next couple of years as aimlessness and rampant drug problems started to rule the roost. But for the time being things seemed great. The first set is highlighted by the new(ish) material like a beautiful “Water In The Sky,” a pounding “Vultures” and closing with a stadium worthy “Taste.” The real meat of the show is the sublime second set that kicks off with a nice “Down With Disease” which effortlessly melts into a hypnotic jam. It becomes clear that the band is making a great effort to actually listen to each other - the essence of successful jamming. When they tumble into “Mike’s Song” it is clearly as much a revelation to them as us. They follow with an equally revelatory “Simple,” “I Am Hydrogen” and finally “Weekapaug Groove.” Throughout the jam the viewer is struck by the little things; Mike’s rolled up pantlegs, Page jumping from piano to clavinet back to piano in the space of a bar or two, Fish’s masterful and subtle drumming and Trey’s ability to lead the band, provide the visual focus and rip off killer lead after lead with astonishing ease. He has to be recognized as one of the greats. The fleeting shots of the audience don’t bring the expected revulsion but actually seem quaint and nostalgic. It was always the audience that I found most objectionable at latter-day Phish and Dead shows - the obnoxious and egotistical idea that the show was somehow about them. Here it is easy to take and made me yearn for a summer tour. The show ends with another big bang. First they play what I consider one of their best cover songs, Los Lobos’ poignant “When The Circus Comes To Town,” and then a wonderfully delivered “Harry Hood” which stands as one of their most exciting concert staples. As the band winds into the snaking, ecstatic conclusion of the song, the power of the music is almost overwhelming. It made me want to be there again.

Interesting Customers

One of the parts of the job of running a record store that never gets old is the exposure to interesting, nice, upsetting and just plain weird people. I love talking to people who don’t fit the mold. Or more to the point, I hate talking to people who do fit the mold - you never learn anything of value. Anyway, I recently had a good one I’ll share with you. I have a customer who is a former cop, current covert government operative and full time eccentric. This guy has unsettling stories about doing the government’s bidding throughout the world since the 60’s. I have consistently thought he was either full of it or really dangerous. You know that movie about Chuck Barris that George Clooney made called Confessions Of A Dangerous Mind? That’s what this guy is like.
Anyway, a couple of days ago he came into the store and handed me two Xeroxed articles about himself. Well, they were fascinating, and they added a huge dimension of interest to this individual. One of them was about this guy buying the only known model of a Mandolin/Lyre that Orville Gibson (of Gibson Guitars) personally built. It is a one-of-a-kind item that nobody else in the world has, and here was this article with a picture of Fred holding it. He had told me this story before, and I had kind of been like “yeah yeah whatever you say dude.” But here it was - proof. He told me he sold it to Bill Gates for a quarter of a million dollars - hmmmm… The second article was about Fred tracking down some infamous test driver who was believed dead and had all kinds of subterfuge surrounding his death/disappearance. So Fred tracks this guy down using police investigation techniques and finds him living in poverty with an amazing story about industrial cover-ups and hush money that was stolen and on and on, and I’m sitting there thinking “who the fuck is this guy?” As far as I know, he is a customer who is obsessed with Janis Joplin and has bought a bunch of posters and records from my store. But under the surface there is clearly more going on. And that is the entirety of my point. The Janis Joplin Guy or the White Stripes gal, or the Beatles nut are much more than the limited caricature of a customer that I see on a daily basis. Many of them hold some deep, interesting personal cards that the rest of us probably will never see. Like I said, it’s one of the best parts of the job.

Struck By the Sounds

Rolling Stones - Shine A Light
I’m not sure why, but I was not over-enthusiastic to see this movie. I love some of Scorsese’s work (although I find some of it unbearable - what is it with gangsters hurting each other that is so compelling?), and I continue to love the Stones in concert even when they put out decades of crappy albums (to be fair I did like A Bigger Bang), but for some reason I just didn’t care about seeing the Stones run through their paces again. Now that it is out on DVD I somewhat reluctantly sat down to watch. The first sequence is somewhat irrelevant with manufactured angst between Jagger and Scorsese about the finer points of staging and filming the shows (at New York’s intimate and classy Beacon Theatre) and a ridiculous scene where Bill Clinton and his entourage make the four English lads stand up straight and act like proper gentlemen. Thankfully, this brief scene gives way to an explosive and visually stunning performance by band and director. For the most part, Scorsese stays out of the way and stays focused on the main course; Jagger and Richard. Each time I see the Stones I enter thinking about Jagger “What can the old goat possibly do to keep this interesting?” and I leave thinking “how does the old goat keep it so interesting?” The answer is; he is indefatigable in his desire to put on a good show. His physicality, for a man of his, or any age is breathtaking. There are a couple of points where he goes into a kind of frenzied primer of modern dance steps that are absolutely unbelievable. Not that he is Baryshnikov, but his energy, his perseverance, his singular melding of a visual component to his already impressive abilities as a songwriter and singer is truly a one-of-a-kind experience. In Rock and Roll Mick is THE frontmnan. There is just no other singer who can generate the excitement and illustrate his songs with his body the way Jagger can. Keith on the other hand, shows no sign of rehearsal or practice. Instead he shows signs of a Robert Johnson-esque pact with the Devil. He simply is the embodiment of a rock star. Someone who has given over mind and body to the riff. His every move and gesture demonstrates some kind of divine (or savant) connection to the music he plays. He misses plenty of notes and stops playing at times to just revel in the groove, but none of this has the effect of hurting the performance. Keith is all about the show and exhaling music as freely as he inhales nicotine.
The set list is just different enough to keep even tour hounds happy, with an extra dose of Some Girls era material and such rarities as “Just My Imagination,” “Lovin’ Cup,” “You Got The Silver” and “Connection” (the latter two delivered by Keith in some of the best footage of the movie). There are three guest spots with Jack White about to burst out of his skin with excitement, Christine Aguilera about to burst out of her clothes with sexuality, and Buddy Guy proving he is one of the few performers with the over-the-top energy of Jagger and the rock grok of Richard. It is an electrifying performance of Muddy Waters’ “Champagne and Reefer” and it is worth the price of admission alone. Throughout, the film is peppered with enticing bits of footage from throughout the Stones’ long and public history of misbehavior that add a touch of whimsy to the affair. As it ended with (what else?) “Satisfaction” it was hard to not wipe away a tear of recognition at this mightiest of all Rock bands. What an accomplishment - to play for 50 years and still be compelling to your audience. How many performers can make that claim?

Classical buyers -
With the death of Tower Records almost two years ago, we at Twist and Shout made a conscious effort to fill the gap that would be left when the only serious player in Classical music bowed out. I figured that the buyers would need a place to go, and that this was a very important gap in the world of music which needed to be taken seriously by someone. With that, we embarked on filling the holes (many) and trying to build a section that while not completely comprehensive (didn’t have a couple of million lying around) was interesting and representative of most of the important sub-genres. It was quite slow at first - trying to build awareness and customer support, but I was somewhat amazed when I recently looked at the figures and realized that Classical was now our 6th largest category on CD. As we have steadily built this clientele, I have made a somewhat unscientific study of the clientele that frequents the Classical section. The results have been surprising.

I fully expected the Classical section to be frequented by patrons over the age of 50 who were going to be hard to satisfy. This has turned out to not be the case at all. In fact, what I have discovered is that at our store, the typical Classical buyer is simply not typical at all. They are marked by their taste more than their age or appearance. It seems to me that most of the folks frequenting that section are SERIOUS about music. I have seen a number of Heavy Metal customers, Deadheads and Punks perusing the stacks of Krzysztof Penderecki, Henryk Gorecki and J.S. Bach. In addition there is a large contingent of professional musicians (Classically trained and otherwise) who look for inspiration in this section. Of course, there are plenty of the expected traditional Classical customers who generally don’t have much use for other types of music and want things to reflect that particular view (no loud music playing etc.). I actually have a great deal of respect for this type of no-bullshit attitude. When I go shopping, I often know what I am looking for, and wish that the retail world understood this and just got out of my way. The process of grocery shopping is so often fraught with misdirection and compromise that I sometimes wonder why I even bother. Possibly the most interesting facet of these customers is the sense of relief apparent when they do get what they want. To the Classical buyer, getting a particular piece of music is not a whim, it is a Grail quest that must be fulfilled in order for the world to be in harmony. I love this. Music is important. I often think it is THE most important thing in the world. It is the universal language that transcends the confines of words and in the language of emotions. UH did I get off track here? It doesn’t matter - it’s the blogosphere!

The Last Shadow Puppets - The Age Of Understatement

Looking for a substantive, fun album that reminds you of the kind of music made in the 60’s without being a slave to it? English band The Last Shadow Puppets have delivered a deliriously fulfilling album of pop, art rock and hook filled hits that is sure to fit the bill. Apparently they are all the rage in the U.K. but remain somewhat unknown here. A shame, because their album is so full of clever song craft and unexpected audio treats that it should be big everywhere. The songs rarely stray from standard structure but are consistently dropping brilliant flourishes of strings here, washes of psych guitars there, and (fab)ulous vocal flourishes throughout. I was immediately enthralled with the album and listened to it two or three times in a row and like it more with each turn. This has been a good year for old sounding new music. If you were excited by The Black Keys or Vampire Weekend this will also float your boat.

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

DVD Under the Radar 08/01/08

Classic British Thrillers (The Phantom Light / Red Ensign / The Upturned Glass) – One DVD containing three mystery films, notable primarily as two examples (The Phantom Light and Red Ensign) of the early, contract work of one of Britain’s greatest directors, Michael Powell. His ideas are only in nascent form here, but if you’re like me in following the careers of directors, this provides two more minor parts of the total picture.

Frank Lloyd Wright’s Fallingwater – Probably the most famous architectural accomplishment in the United States, Frank Lloyd Wright’s Fallingwater is explored in this hour-long documentary and second disc of interactive material.

The Good Fight: the Abraham Lincoln Brigade in the Spanish Civil War – The title pretty much sums it up, but this well-made documentary illuminates a fascinating chapter of American History, in which 2800 volunteers join Spain in an international fight against Franco’s forces, ultimately losing to the superior strength of the fascist regime and then returning home to suspicion and mistrust. Interviews with surviving participants archival footage and a powerful narration combine to provide a great portrait.

Victor Sjöström – I’m eager to check out two DVDs of silent works by Victor Sjöström, the man widely credited with giving Ingmar Bergman his start in film (and also the man who starred in Bergman’s great Wild Strawberries many years later). One features two films: A Man There Was (1917) and Ingeborg Holm (1913) while the other has The Outlaw and His Wife (1918) and a documentary made about Sjöström. I’ve only seen Sjöström’s classic The Wind (1927), but that was enough of a masterpiece that I’ve got to check out more.






Tai Chi Master – This is the DVD I’ve waited all week for. Suffice to say that if you don’t have an affinity for some of the great kung-fu films of the 1990’s, this is a great place to start. Jet Li is at his peak, Michelle Yeoh is terrific, and the humor and action intertwine beautifully. Along with the two Legend of Fong Sai Yuk films (also Li/Yoeh partnerships), this is one of my very favorite kung-fu films of the period.

Is Eddie Izzard a GBP billionaire yet?

There's this bit on Joni Mitchell's live LP Miles of Aisles when she comments to her (adoring) fans that no one ever asked Van Gogh to paint Starry, Starry Night again. Is wanting to hear a singer sing a song they've heard a hundred times already like wanting to hear a comic tell a joke you've heard before? Maybe. And (sic) maybe we want to hear Eddie Izzard tell oldies but goodies even though we know the punchline. A part of me wanted to hear one of Eddie's many famous quotables and chestnuts ("cake or death...?", " le singe est //sur la branche", the Englebert Humperdinck bit), but I knew it wasn't to be and in the end, am thankful for that. After all, I am an appreciator of art and Eddie is an artist.


The shark continues to swim.

The crowd (of which my wife and I am a part) is in love with Eddie. He is a total star with the radiation of a ten thousand other lesser comics. He talks of things that matter- life, the universe & everything. Although his hip Euro aesthetic might appear controversial stateside, Eddie won't censor his opinions. Eddie is always charming, lovable, achieving all this with a soft, sweet bite. He is the transvestite atheist who you could take home to meet your (non-cross dressing, theist) family. He mocks absurdity, takes shots at apathy and makes us all question our preposterous beliefs. He makes his points with undeniable brilliance, and perhaps he can change the world a little. For the better.


He's also a billionaire, apparently. I mean, what are his overheads?

- Ben Sumner

Kenny Garrett 7/26/08 At Dazzle

First of all let me say I'm a long time Kenny Garrett fan so I was excited for this show. I tend to prefer his more acoustic groups but any time you have the chance to see someone of his talent in a club the size of Dazzle the energy is bound to be exciting. The group consisted of Corey Henry on the organ, Lenny Stallworth on the electric bass, and Justin Brown on the drums. Kenny Garrett also doubled on the Fender Rhodes and keyboard at times, along with effects on the sax.

I went to the first set on Saturday hoping any sound issues from Friday would be resolved. The sound was clear and everything was distinct which is not always the case with a sax using effects. The house was packed, and the energy was good. The group started out with a vamping number that let Mr. Garrett stretch out and really run his bag of tricks, starting with long processed tones and moving to faster flurries. The bass and drums worked a two note motive/backbeat into the ground until given a signal by Garrett they ran a ending cycle to escalate tension and give more variety to Garrett's harmonic movement.

This band was more of a pocket band than a "jazz" band. Even though they reworked several of Garrett's older tunes Henry had limited solo space, Stallworth had one bass solo, and Brown also soloed in a limited capacity. The emphasis was on groove, audience participation, and Garrett's chops. Some other highlights were "Charlie Brown Goes To South Africa," and "Wayne's Thang." Even though these tunes spring from a different group concept, they transfered great to this group. If your favorite records by Garrett are Triology or Pursuance then this might not have been the concert for you, but it's hard not to respect Garrett's musicianship and also his desire to have a good time with the crowd. Garrett seems unafraid to follow his muse, he has made a great variety of records and always seems eager to tread new ground. Even though he plays amazing straight ahead, and great inside funk, his next record is supposed to with Pharoah Sanders. Anybody up for a Denver Kenny Garrett/Pharoah Sanders show?

Here is where you must give it up to Dazzle for bringing out Kenny Garrett, for a reasonable price, providing good sound, and a good three night stretch. Hopefully this leads to other artists of Garrett's caliber coming out and providing more good music.

-Doug Anderson

DVD Under the Radar 25/07/08

With this regular feature, I’m trying to bring attention to smaller stuff just coming out on DVD that is flying under the radar but is definitely worth a look for the discerning DVD viewer. Is that you? Then read on!

21 Up South Africa: Mandela’s Children –
Following the premise of Michael Apted’s famous documentary series, this film explores the lives of a group of South African children, first filmed at age 7 in 1992 and revisited at age 14 and again now at age 21 to talk about track, and analyze the changes in their lives, their communities and country, and themselves. It’s a sociologist’s dream project – right up my alley, one could say – and a fascinating look at both the culture of South Africa and the individual within it.




Kill the Artist –
This documentary explores the works of several artists – among them Richard Kern, Nick Zedd, The Baroness, and Mike Diana – who have gotten into legal trouble because of their art works. It’s an interesting look into where the lines are drawn between sexuality and pornography, between religious questioning and blasphemy, and between art and provocation.



Dirty Money (Un Flic) –
Jean-Pierre Melville’s final film finds him working familiar territory, with a criminal underworld of thieves and drug-dealers and unclean cops working their jobs routinely without any of the excitement and levity of most American crime films. It’s shot in that low-energy, grimy way he has that seems to drain every scene of its color until the blues and grays match the mood of the characters. If you like your crime films fast-paced and dazzlingly exciting, Melville won’t be for you, but if you’re a fan of his earlier works like Bob Le Flambeur, Le Samourai and Le Cercle Rouge, this one’s sure to speak to you.

Also recently released were box set collection by directors Derek Jarman and Russ Meyer. Jarman’s Glitterbox set includes the films: The Angelic Conversation (1985), Caravaggio (1986), Wittgenstein (1993), and Blue (1993). Russ Meyer’s Cleavage Collection contains Common-Law Cabin (1967), Good Morning and Goodbye! (1967), and Finders Keepers, Lovers Weepers (1968).

He's jus a Rascal

So, some friends and I set out early at 9:00 to go see Dizzee Rascal at Cervantes last Tuesday - we didn't wanna miss anything since there was no opener listed. Figured with me off on Wednesday this was an ideal situation to let loose a little and enjoy a great show. Inside it was kinda sad with maybe about 30 people in the venue. But it was early. And even so, there were probably four times as many people there at 9:00 when he played here in 2005. A sad state, yes, but maybe it was gonna pick up with a lot of late walkup biz.

We had drinks as it crept past 10:00, and then 11:00 rolls around and it's starting to look bad - only 50 or 60 folks total and still nobody on stage. Some DJ comes on starts playing reggae, segues into hip-hop and then starts playing dance stuff that's pretty far from what anybody is there for - but it got our attention, got people on the floor and listening. Around 11:45, an announcer abruptly comes on the PA system and announces that the show's cancelled and the crowd can get refunds at the door. Weird. What happened?

Bartenders and staff are pissed, claiming Dizzee refused to take payment from them in check form while crowd largely seems to assume that Dizzee doesn't want to play to an empty house. So what gives? To me it seems that the responsible thing to do is to go out and play, not to let the business side of things interfere with and punish your audience who did come out to support and who did pay to see you. If Diz didn't want to play to an empty house, he needs to just grow the fuck up - his songs are often about maturing past what his friends from his 'hood are doing. Well, if you really want to be taken seriously as an adult, behave like one. I don't have a lot of respect for the artist who allows that stuff to show through in their gig - yelling at soundmen, stopping songs because the crowd's too loud during the ballad, complaining to the audience about your monitors - that sort of thing is unprofessional and selfish. But to never take the stage when you're actually at the venue already? Really bad behavior. Worse than a no-show even.

Dizzee, if you didn't want to play to a small crowd, if you weren't willing to just come out and do your best even under mediocre circumstances, that's sad. If you used an excuse that you wouldn't take a check, it's also sad. If the contract specified cash or whatever, there shouldn't have been a check waiting for the artist - a contract's a conract - and if so, shame on Cervantes for it. If no such specification was made, it's again on Dizzee and again just sounds lame as can be.

I'm glad that I had good company to hang out with. I'm glad that a DJ at least came on to entertain folks while these sorry negotiations took place backstage. Wish he'd have been more in touch with what the crowd was there for, but it was a shitty gig to be thrown into so I feel for him. But next time Dizzee comes to town - and now it's dawning on me that the last time he came here (and played for the same club owner!) was only after at least two other gigs had been announced and cancelled (though both with some advance notice) - I'm gonna have to think twice about planning a night around it.

Dizzee Steps Up

Dizzee Rascal will be appearing at Cervantes Masterpiece Ballroom this Tuesday the 22nd, a step up from his appearance a couple years ago at the smaller sister venue Quixote’s. Last time he performed here was on the eve of the April 2005 blizzard that buried the city, but it didn’t start until after his show was over – a good thing, ‘cuz the show rocked (there’s a 14-second Youtube clip from the show, but the sound is so bad it’s not even worth posting). Weather did keep some people away, which was too bad because they missed out on some classic hip-hop. Two MCs and a DJ to keep things moving – it was total old school, post-Run-DMC style, though filtered through Dizzee’s modern sound, taking in drum & bass, UK Garage, Tricky and whatever else he likes to name as precedents to the “grime” he pushes.
Last time here he was riding his sophomore effort Showtime and still laid heavily on his debut Boy in Da Corner. This time he’s touring on the most consistent and mature record of his career (Maths & English - more on that in a moment) and I hope that maturity comes through in the show. He’s always avoided the gangster trap that snares too many young MCs – he wants to write about his hard times but doesn’t want to glorify them. But he goes further than that and enters those same tales within a framework set by songs like “Sittin Here” (from Boy in Da Corner) and the lead track on the new album (“World Outside”); songs that posit an image of him as a thoughtful, reflective, wondering what happens when he ain’t a kid no more and it’s not all fun and games. He knows, too - knows that it’s gonna be serious, knows you can’t go through life messing around like too many of his mates still do. That’s what makes songs like “Suk My Dick” and “Where Da G’s” palatable for me – it’s his way of talking live and direct to part of his audience (and also a way for him to indulge some petulant delights) and make them listen up when he chooses to get all serious. With luck they’ll learn from his wisdom.
And for me I’ll listen across the board because he knows how to make the music work - dense and aggressive on the first album, lighter, catchier tone on the second, and this time around he’s neither hard nor pop exclusively, yet retains qualities of both and blends them in a very engaging way. If his stage presence has matured the way his record making skills have, this ought to be in the running for one of my favorite shows of the year.

DVD Under the Radar 18/07/08

With this regular feature, I’m trying to bring attention to smaller stuff just coming out on DVD that is flying under the radar but is definitely worth a look for the discerning DVD viewer. Is that you? Then read on!

First thing that grabbed my attention this week is the release of Iggy & the Stooges Escaped Maniacs. A new DVD of Stooges live? How could it possibly be good, right? Well, when almost the entire repertoire comes from the first two records, as it does, you’ve got a much better chance of that happening than if they’re trying to pimp the new material. Even good stuff from Raw Power is left off as too late for this show and it’s better for it. If only a meltdown version of “L.A. Blues” had made the cut, it’d be the perfect throwback.

As for movies just out, the big little film this week that’s got my eye is the kung-fu comedy Eagle Shooting Heroes. Rather than some lame Jerry Zucker-styled lowest-common-denominator parody, this takes a genre already prone to self-mockery (90’s Hong Kong kung-fu epics) takes several of its biggest stars (Leslie Cheung, Maggie Chueng, Brigitte Lin, Tony Leung and others) and goes for a comic take on the genre. Apparently it flopped upon release, but it’s taken on a life of its own now as a cult hit and you can see why – like Shaun of the Dead it makes sure it succeeds as the genre it’s making fun of before worrying about mockery.

Also of major interest this week is Chop Shop, from director Ramin Bahrani, who made the highly regarded Man Push Cart (which I haven’t yet seen). It’s a film about two young orphans living in the slums of Queens, NY and trying to make their way in the world by helping out in an auto shop and a food van and hoping to gain enough to make a better life. It’s a gritty, almost documentary feel not unlike the strong, street-level stories of The Bicycle Thief or Los Olvidados. Suffice to say that Man Push Cart will be moving up my Netflix queue in the wake of seeing this terrific film.

And one last one just out that I haven’t seen but have heard raves about is Stop-Loss, directed by Kimberly Peirce (who made the very good and very weighty Boys Don’t Cry). In it, Ryan Phillippe plays a soldier just home from a tour of duty in Iraq who is ordered to return just when he’d thought his life would return to normal. Sounds like not-too-light fare yet again, but the way it’ll play out in terms of loyalty and honor – both to his country and to his family – sounds like drama right up my alley. And according to most things I’ve read it steers clear of partisan issues, so it ought to speak to most anybody.

Stevie Wonder's Miracle

As we sat there at the mainly wretched Fiddler’s Green in Englewood, Co. the thing that struck me was the wide-ranging nature of the crowd. Every age group was represented, every race, every level of rock-starry self-importance or Joe six-pack ordinariness. It was really different than most concert experiences. The last time I remember a crowd like this was The Jackson’s Victory Tour. When the somewhat portly, but beautifully beaming Mr. Wonder took the stage with his 13 piece band the mood of the crowd solidified, and the aforementioned differences present melted into one gigantic love-fest. There are few concerts I see these days that I would term magical-but, as always, Stevie Wonder has a way of lifting the mundane reality of our everyday existence to a rare, life-affirming place.

This was the fourth time I had seen Stevie Wonder, and my wife’s first and we both went in with expectations pretty low. After all, Stevie’s output in the last two decades has been sparse and unsatisfying to my ears. He has consistently produced charting hits, and kept his icon status untarnished through the loving and intelligent charity work he has always done. But, let’s face it, after Hotter than July none of his albums have had the broad appeal of his classic work. His early Motown hits stand with the greats of the era (Marvin, Smokey, James Brown etc.) as some of the best. This show was a bit short on these (most notably present were “My Cherie Amour” and “Signed, Sealed , Delivered” with a little Obama love thrown in), focusing on his early and mid-seventies masterworks instead. That period (1972-76) ,however, stands as one of the richest periods in pop music history. Like the Beatles or the Stones’ great periods, that five album run ( Music Of My Mind, Fullfillingness’ First Finale, Talking Book, Innervisions, Songs In The Key Of Life) stand singularly in pop music as an impressive achievement-by anyone’s standards. So, when he started digging in to the deep cuts like “Knocks Me Off My Feet,” “Don’t You Worry ‘Bout A Thing,” an incredibly emotional version of “Isn’t She Lovely”( with daughter Aisha whom the song is written about –now a beautiful adult singer clinging to her father. Mid-song they both broke down in tears and, it is safe to say, there was literally not a dry eye in the house), the real value of Mr. Wonder became clear. He didn’t write a few songs that made the charts; he CHANGED the direction of popular music. Musically, he brought and unstoppable beat back to pop, making even the sappiest singles danceable and at least a little funky, but lyrically he opened up the floodgates. Songs like “You Are The Sunshine Of My Life” take mere sentimentality and raise it to a level of heightened spiritual awareness. No small accomplishment.
And so it went for over two hours; hit after hit after anthem, after beloved staple. And what I said earlier about his later work being of less consequence; well there were people around me who shrugged when he played a medely of “Sir Duke” and “I Wish” but melted down during “Ribbon In The Sky” or “I Just Called To Say I Love You.” One of the most important lessons I’ve learned as a record store guy over the last 25 years is; music is great because YOU think it is great. Of course there has to be some aesthetic agreement about what is great and what isn’t; but transcending that has to be the real ability that a song can have to lift the spirit of man. I can name a hundred songs that are stupid, formulaic, trite and so on yet are rightfully beloved by millions. Stevie Wonder succeeds on both levels. He is a musician’s musician and simultaneously the people’s poet.

This last fact, that Stevie Wonder cuts across so many lines of culture and delivers emotional and musical sustinence to such a broad spectrum of listeners puts him in a very rarified group of artists indeed. One thinks of Louis Armstrong, Ray Charles, Lennon/MCcartney maybe Sinatra at some level, but the list is short. And of them, only Stevie Wonder is still out there touring, and making people happy through his performances. There are so few artists that can veer smoothly from genius to schmaltz and back again and keep the entirety of their audience happy.

Post show, the album that has drawn me in almost non-stop is Songs In The Key Of Life. What an amazing achievement that album is. It is one of only a handful of albums that I listen to all the through-never skipping any song. The fact that it was a sprawling 21 song double album makes the accomplishment even more impressive. It is such a wonderful amalgam of Soul, Funk, Rock, Jazz and Stevie (his own category) that it becomes more and more endearing as the years pass. If I ever did have to grab just one album before a fire engulfed my house, I’d probably roast with indecision as I stared at Songs In The Key Of Life and Dylan’s Blonde On Blonde. I really believe Stevie Wonder will be one of the few artists that history takes with it as proof that the era meant something.