It's Sunday, This Must Be The Church

Well, after catching my breath from Friday night's show, we turned back up at the State Theater Sunday evening for a raging display of guitar from criminally under-appreciated Australian progressive rock vets, The Church. I had eagerly anticipated this show since the last time I saw them at the Birchmere, and they filled the State Theater to near capacity, an odd mix of youngsters and oldsters, each very intent on hearing their latest work as well as a few old gems. We would not be disappointed, for the modest price of admission, we were ushered into sonic heaven.

At least, I hope that heaven sounds this good! Celebrating their thirtieth anniversary, and the recent release of another typically elegant new collection, lead singer/bassist Steve Kilbey, guitarists Marty Willson- Piper and Peter Koppes, and drummer Tim Powles (still the new kid on the block with fifteen years as half of the band's solid bottom end), they served up haunting melodies with amazing fluidity for a two hour set that spanned their remarkable songbook.

From "A Month of Sundays," off of their 1984 Release, Remote Luxury, to several brand new compositions from their latest recording, the music was pure, vintage Church. "After Everything," the title cut from the 2002 album, was a highlight, as was "You Took," off The Blurred Crusade. The band wove one trippy, hypnotic groove into the next, featuring early compositions beside fresh tunes from the new record. Untitled # 23 was well represented with lavish readings of "Operetta," "Pangaea," "Space Saviour," "Happenstance," and "Dead Man's Hand," all precisely orchestrated, powerful, and full of emotion. The band closed its regular set on a climactic high note, with "Under The Milky Way" followed by "Reptile" from their 1986 masterpiece, Starfish. And they pulled out another old chestnut with "Hotel Womb," serving as the final song of their encore. Sheer sonic bliss!

Don't even ask, just go get a copy. NOW!

These four guys kick out an amazing amount of sound: in one minute, subtle and delicate, the next a well-orchestrated cacophony, drenched in feedback but not a discordant note or a stray sound. One of my favorite moments had to be when Marty broke a string, and while he was replacing it, the rest of the guys broke into an impromptu rendition of "Girl From Ipanema," complete with Steve doing an appropriately- breathy vocal. To quote Getz and Gilberto, we all said "aaaahhhhhhhh."

Say "Ahhhh."

A typically excellent performance, once again underscoring their staying power: fans of the band will tell you that they only get better as time passes. Like few of their predecessors or contemporaries, this band had commercial success early in the 80's ("Under The Milky Way" and "Metropolis" were ubiquitous hits in heavy rotation) and then went on to perform critically acclaimed material. Kilbey, Koppes and Willson-Piper each pursued solo careers and side projects, still continuing to perform together, and demonstrating the mature musicianship and songwriting that has earned them an intensely devoted following.


But the really good news is, the band was recording that night, so those who missed it may even wind up hearing this someday! They have never put out an official live release (apart from the Jammed CDs, culled from some of the band's improvisations and practices), and it's LONG overdue. This is another prolific band that has remained under the radar too long; maybe thirty years into their career, they'll finally achieve the breakout success they deserve. The latest record (I can call it a record because actually picked up a vinyl version of the release) is only another compelling argument from a prolific and distinguished band for more people to rediscover their music and get back to the Church.

Gone PHISHIN'!

There are few more delightful phrases in the English language than: "ROAD TRIP!" It immediately summons to mind madcap adventure, drinking to excess, coming of age, loud music, and a wild ride from the frat house to a roadhouse where much mischief ensues...and perhaps driven by such nostalgia, your stalwart 1600 team converged upon Pittsburgh, PA for the latest leg of the Phish reunion world tour!

Jerry voluntarily took the wheel, probably because he had the most comfortable car (or was it so he could control the stereo? hmmmmmmm) The weather was mostly on our side except for a couple of mercifully short-term rain squalls that were over almost as soon as the wipers were turned on. Still, he made good time and didn't get lost, and we arrived well before the appointed hour to check in at our initial destination, the only smoking room at a nearby hotel (Day's Inn? Comfort Inn? I wasn't paying attention). Of course, as the third wheel, I was stuck with the cot, but by the time I needed it, I probably could have slept on a bed of nails! And we were just a stone's throw from the venue, where we absorbed a couple of drinks and headed back down the highway to the Post- Gazette Pavilion in nearby Burgettstown, PA.


It's a nice park, with a good-sized lawn and good acoustics, probably about the size of Merriweather Post with easier parking. And the parking lot nearest to the gate had various attractions, from t shirts and hats to toasted cheese sandwiches, toys, jewelry, facepainting, and of course, gourmet gooballs, just like Steve described on the show! It was deja vu all over again! There were also bountiful food and beverage options once inside the park, and lots of picnic tables to accommodate visitors in comfort. The weather was perfect: mid-70's and a nice breeze, low humidity, and no bugs. The only impediment I could foresee was seating: while Steve and Jerry's tickets put them stage left-center about 6 rows back, I was about 20 rows back and not looking forward to the prospects of hanging out solo. If I was going to get sweated and barfed on, I preferred to know the source!

Fortunately, I managed to "float" down to their seats with Jerry's stub after he was in. Security was already preoccupied with stopping people from lighting up- mostly people smoking cigarettes! (ultimately giving up once the lights went down, from the sheer volume of the task of enforcing any rules with 30,000 people steadfastly ignoring them!)-even though the sun hadn't yet set. When it did, all hell really broke loose. And the security folk stayed behind their fences and we left them alone.



And the show? Excellent! Having seen these guys only once, back during their 90's heyday, I wasn't entirely sure of what to expect. Surprisingly, I was actually familiar enough with much of their set to know the words to a few songs, and soon joined in the revelry. The band opened with "Golgi Apparatus," from Junta. "Chalkdust Torture" followed, and then two favorites I'd seen at my only prior Phish show- "Bouncing Around the Room," and "Wolfman's Brother." The crowd went wild, and we all bounced and howled along with them. Of the rest of the first set, "The Divided Sky" was solid, Steve went on a beer run during "Heavy Things"(from Farmhouse), an excellent cover of the James Gang's classic "Walk Away," followed in short order by "Wilson," "Tube," "Alaska" (hysterical tune, the first time I'd ever heard it!), and finally ended the first set on another high note with "David Bowie."

Somewhere through the first set, a family (the parents perhaps a couple of years younger than ourselves) made it to their seats in the row just in front of us. Between Mom and Dad were 4 girls, I'd guess from about 6 to 12 or 13, watching closely and sometimes singing along, the smaller ones waving glow in the dark toys being sold at the park. I think a lot of people kind of reined it in out of respect for the kids, and many of us directed the beach balls and balloons that were getting passed around the audience toward the kids so they could bat them into the air. They left predictably early, but looking very happy to have been there, a good time had by all.

The second set kicked off with "Down With Disease", another good tune tune off Hoist, followed by an hour- plus long, practically non-stop medley that included "Free," "Guyute" (from The Story of the Ghost), "Piper," "When The Circus Comes To Town," and Harry Hood," finishing up with "The Squirming Coil" from Lawn Boy, and "You Enjoy Myself."

After a short break for the boys to catch their breath, they delivered a mostly a capella encore: "Grind," then into "Hello My Baby," the theme song for Michigan J. Frog, the hero of Looney Tunes' hilarious "One Froggy Evening." Next came "Hold Your Head Up," Pink Floyd's "Bike" (Jon Fishman singing it after apparently losing a bet), and finally "Loving Cup," with everybody back on their instruments, at which point the lights inevitably began to come back up....

Trey, Mike, Page and Jon appeared to be in good humor, signaling each other for chord and direction changes during songs, laughing audibly, and just generally looking like they were happy to be back out together and in front of an appreciative crowd. Taking bows at the end, Jon asked "how do you like my band?" earning another roar of approval from the many thousands who stayed 'til the very end. Sure, I would have liked to have heard "Sample In A Jar," or "Poor Heart," or maybe even a Talking Heads cover (they have been doing a few off the Remain In Light album on this tour), but I think everyone there was more than satisfied. In any case, this was one of the biggest tours of the summer, and they're sure to get out on the road again.

But after that three hours and change marathon, we were nearly as exhausted as the band, and yearned for the peace of the hotel. Somehow, we summoned our remaining energy and bolted for the car, getting out before the crush of fans all trying to leave the parking lot at once, and were back at the hotel and drinking again in under half an hour.


Big thanks to Steve Z for access to the great pics, and our recommendation to check out his site, http://welcometonow.wordpress.com, for more pictures, vids, and info on many of your favorite artists!

Cabaret of Souls

Not the State Theater in Falls Church, but a clever forgery!

Imagine, if you will: "American Idol," set in Hell. (Wait, am I being redundant?) And the Keeper of the Underworld, and his two Assistants, were there to judge and then mock each unwilling "contestant" after hearing their tales of woe. Like a dour, snarky Greek chorus, teasing them with their own pitiful words. You'd almost feel sorry for them, if it wasn't so funny!

Sound familiar?

No, there's no "yo, dawg" here awaiting successful performers, no slurred words from prescription medications, and that harsh review you hear wasn't from Simon, but his Master. And these performers were not prone to bad haircuts and off key notes, so I guess that's where the similarity ends.

This was the the basic premise- a talent show among the many lost souls consigned to eternal torture, that made for a darkly humorous and entertaining midsummer's evening. Leave it to Richard Thompson, and his hyper-creative mind to write a piece to honor the mastery of his old friend and colleague Danny Thompson on the occasion of his 70th birthday. The event was held at the State Theater in scenic State College, PA, for the International Society of Bassists 2009 convention.


The ISB's Madeleine Crouch, with guest of honor Danny Thompson, and conductor Peter Askim

The rest of the stellar cast included veteran RT collaborators Judith Owen, who, along with Richard, sang the songs of the damned, reluctantly trying to appease or amuse their captors, but to no avail. Percussionist extraordinaire Debra Dobkin, and multi-instrumentalist Pete Zorn capably assisted the Keeper, Harry Shearer, in further abasing and toying with the forlorn souls. Big Danny, of course, gently massaged and stroked his sturdy acoustic bass, while conductor Peter Askim led an 11 piece string orchestra, creating an eerily palpable musical tapestry on which each scenario unfolded: tales of heartbroken lovers, cosmetic surgery addicts, murderers, religious hypocrites, war profiteers, and other denizens of the dark realm, each protesting their fate and hoping in vain for redemption that never comes...

This much-anticipated event went off virtually without a hitch, in spite of a truncated rehearsal schedule (Pete Zorn hadn't even seen the score until three days before the show!) and a last minute change of venue. As per usual, Simon (Tassano, not the permanently perturbed Cowell!) provided outstanding sound quality so that every word, aside, and note carried to every seat in the auditorium. And as the show progressed, we laughed harder and harder as each tale was told.

I never knew that Richard Thompson's fan base overlapped with Slayer! Can a folk/metal tour be far behind?

It was a very unique and intimate performance, and the performers were kind enough to oblige us some friendly words and greetings after the show. At about this point, Lisa wryly observed "there's a thin line between fan and stalker," easily ranking among the best lines of the evening! But everyone seemed to be pleased with the show, and welcomed the fans after. Harry Shearer, in particular, appeared as much the awestruck fan as the rest of us; when I asked him whether he'd picked up any bass techniques from Danny, he grinned, replying "DUH! Why else do you think I'd be doing this?"

As the audience congratulated and chatted up the talented cast, another member of the Virginia contingent presented Richard, Danny and Judith with some beautiful pictures, signed by many of the fans who gathered outside the theater before the doors opened.
All seemed genuinely relieved that it was over, the strain of putting on such an ambitious project mixing theatrics, song, spoken word, and no less than 16 musicians clearly having taken their most heroic efforts.

And having very successfully performed this most unusual show, my thoughts immediately went to staging and recording the Cabaret of Souls with full dress, props, and backgrounds, a sentiment echoed by Richard's longtime friend and manager, Tim Bernett. He stated that it was certainly worth pursuing, if they can get sufficient backing. For my money, if record companies can pay millions to lobby over recording rights, or hyping hack "flavor of the day" cookie cutter pop stars, the least they can do is to support some worthy artists at the top of their game performing a clever, funny and engaging piece that will endure and entertain for years to come.

My thanks to Madeleine Crouch for her kind assistance in securing tickets, t shirts, and programs. And as always a tip of the hat and my compliments to master shutterbug Gus for providing these shots from the show, as our unofficial roving photographer!

Just say...CHEESE!

L to R: Bobby Ricotta (keyboards), Richard Cheese (vocals and vodka), Frank Feta (drums), Charlie Limburger (bass)

BETTER LATE THAN NEVER DEP'T.

Apologies to all interested parties regarding the untimely delay for this entry, too...

June was a busy month for shows. And where better to close it out than among a crowd of friends for a night on the town at the illustrious 9:30 Club? That's where the relentless 2/3 of the 1600 team (yep, Steve's still under the weather, but getting better) waited expectantly for an unusual seated show and for an act that defies categorization, part stand-up, part jazz virtuosity, and all 100% cheese. That's Richard Cheese, and Lounge Against the Machine, a primarily west coast act that has been on a favorite with talk shows like Jimmy Kimmel and Adam Carolla, to sold out performances in Vegas, New York and across the country. And naturally we were there, ready to dig the cheesy goodness and sing along.

In their first Washington appearance, the band (musical director Bobby Ricotta on keyboards, Frank Feta on the drums, and latest member Charlie Limberger on bass) played nearly all their hits with great gusto and the skillful proficiency you'd expect from these lounge lizards par excellence, backing crooner Richard Cheese's melodic murmurs to the max, and making fun of all your favorite alternative rock, hip hop, metal and pop tunes with great glee. No target was spared the patented Cheese treatment, "swankifying" beloved songs from Radiohead (both Airbag and Creep were recast as Vegas lounge numbers), Snoop Dog's classic Gin and Juice (a hilarious video of this can be found at the band's My Space page, http://www.myspace.com/richardcheese), the Beastie Boys' Brass Monkey, Nena's 99 Luftballoons, and Nirvana's Smells Like Teen Spirit, and dozens of other "lounge standards of the future."

In addition to the favorites that Richard Cheese and LATM have become famous for, there were also some new tunes in the repertoire that night. Buckcherry's Crazy Bitch was perfect fodder for the band's lounge treatment as well as AC/DC's You Shook Me. He also introduced a L'il Wayne song "the band just learned," holding up a supposed sheet of lyrics and incoherently mumbling his way through them, except for the occasionally-audible F-bomb or other slang. No doubt L'il Wayne would have been proud! But the song that brought down the house for our entire mad crew was Nine Inch Nails' Closer, Mr. Cheese's romantic delivery only accentuating the risque lyrics even more.

The rowdy, raucous show was a real crowd pleaser, whether for the newcomers in the audience, or the hardcore fans (like myself) that rushed to get tickets the moment they went on sale. And even though this was an all-ages show, they didn't spare us a single filthy word, nor a salacious aside. At one point, after gathering up a group of women to sit in the front row to provide him "inspiration," Cheese made smalltalk with a younger-than-average lady in the audience, who eventually said she was there with her Dad. "Nice parenting," he observed. Clad in a series of quality tuxedo jackets, including his signature tiger striped coat, RC came through loud and clear, his dulcet tones punctuated by many four letter words and other scandalous phrases that kept the audience on its toes. Whether high-kicking with a group of spirited attendees in the back of the house, or making overtures to any (and all) women who crossed his path as he worked the room, RC was a true lounge lizard unleashed, unashamed, and unrepentant.

The many quick retorts and ready repartee contrasted with the serious bona fides of Lounge Against The Machine as impressively-skilled jazz musicians. The intro to Chop Suey was one of many spots where the band, and pianist Bobby Ricotta in particular, showed that they could keep up with pretty much any "serious" jazz combo touring today. The band had no trouble keeping everyone's attention even as RC wandered through the crowd, causing no delays in the bouncing, fast-paced set.

1600's enthusiastic entourage included the triple Italian onslaught of muscle for hire Luca Brazzi, Consigliare Galluch, and our illustrious benefactor Pimp Daddy G, he who first told us of RC & LATM, and many of our other twisted friends who were on hand for an evening of familiar melodies and R rated punchlines. Seeing several of these characters as he proceeded through their row, RC remarked "All dudes. I'm outta here," as he spun on his heel and reversed his course. It was a truly ribald and randy event, and the gang all seemed to enjoy the hijinx, including new converts to the Cheese legacy like Pinky and Ellen, Sheryl, and co-host Jerry, who guffawed with great vigor as the show wore on...We were also gratified to have the high turnout from the legal profession by music mavens Dynamo Dave and the elusive Texas Stu (making his first 9:30 Club show and first live music event in many moons!), which assured merrymakers that at least someone would be able to come up with a bail bondsman if things got really out of hand. And just in case, Mike had Jen on speed-dial to bail us out in case the barristers were all dragged in, too...

But fortunately, the call never came. And we retain our perfect record....no convictions.

NEW CHEESE UPDATE:
An email from the fan club revealed yesterday that RC will have 3 new CDs out next year, "Lavapalooza," "Viva La Vodka," and "OK, Bartender." Check in with the Man Himself at www.richardcheese.com to find out how you can pick them up before they are released to stores!

He said they'd be back here again. And with the reception they received, I have no doubts they'll return. Maybe next time, we can get them in for that interview!

Peter Hammill Rocks the House

And in the midst of the busy summer concert season, yet another venue hosted a great show by an amazing performer and longtime singer/songwriter, Peter Hammill. At the last minute, about 2 1/2 weeks before the show, I finally noticed that he was coming, and emailed him on the slim chance he might have time to talk with us. I could hardly contain my glee, when Mr. Hammill emailed back to me, and agreed to an interview with the 1600 team in the familiar red room at Jammin' Java last Sunday!

And you can see that interview in 2 installments over 2 ALL NEW weeks of 1600 in July! It will also be available right here after it airs on Channel 10, so keep your eyes peeled for a very intimate and thoughtful conversation with one of the most prolific musicians of the progressive rock scene for the last 40 years!

Peter Hammill is a rarity in the world of music: an auteur, who has experimented with opera (The Fall of the House of Usher) and prose; a writer, illustrator, and musical visionary, to whom bands as diverse as the Sex Pistols to Nine Inch Nails acknowledge their debt. An incomparable singer-songwriter and storyteller whose style is distinctive, unique, thoughtful, inspired, uninhibited, and imaginative. His band Van der Graaf Generator, critical favorites at the dawn of progressive rock era in 1968, have reunited in recent years for several successful and highly- acclaimed recordings (the most recent of which, the outstanding "Trisector," features three of the four founding members- Hammill, drummer Guy Evans, bassist and keyboardist Hugh Banton, but without saxophone and flautist David Jackson). He has been a frequent contributor on projects with other noteworthy artists including Peter Gabriel, Robert Fripp, David Thomas, and Stuart Gordon, among others. A multifaceted musician that plays guitar and piano with equal skill, on "Singularity," his most recent (2006) solo album, Hammill plays all of the instruments, in addition to writing, producing, and providing the vocals on each of its tracks.

But its the lyrics, and the voice that brings them to life, which are the key elements that set him apart from his contemporaries. With unrestrained, electrifying emotion, and an unflinching glimpse into his bared soul, Hammill's work is often challenging stuff, not for casual listening over dinner, but demanding the listener's active attention. The audience that evening came from far and wide- Seattle, Vancouver, Montreal, Toronto, Philadelphia, New York- eager to attend Hammill's first American date in nine years, in the cozy, intimate atmosphere offered by Jammin' Java. And all of us sat riveted, as this modest, genial artist graced us his insights, and spun some true to life stories in the classic Hammill manner.



An offhand comment I made during the interview about "not doing a lot of (mundane) songs about cars and girls" earned an animated gleam from Peter's eye, and his response that "I've actually done quite a few songs about cars and girls." Not knowing what would follow, I was mildly embarrassed and then heartily amused when he announced to the audience that he reorganized his set to devote at least half of it to songs about cars, girls, and songs about cars and girls. But his warm smile throughout the show assured me that his good-natured nudges and winks were all well-intended.

So, I'll take credit for "helping" Pete select a great set! He led off the festivities with The Siren Song, reaching waaaay back, from Van der Graaf Generator's 1977 release "The Quiet Zone, the Pleasure Dome." Too Many of My Yesterdays, from "As Close As This," and Time Heals followed, the latter an solo early track of melancholy and regret about love never quite realized. But the anguish never gives way to self pity, only self realization, and allowed us all to share the sentiment of the moment. (I find many of his most introspective and personal songs, like this one, certainly apply to my own experiences. In that way, Hammill's work is refreshingly cathartic as he succinctly captures sometimes vague and unresolved feelings with a few well-chosen words.)

Hammill also offered Friday Afternoon, a song about tragically losing a friend to a drunk driver; His Best Girl, from 1991's "Fireships," a song about the uncertainty of love; Comfortable, examining faith and hypocrisy; and Shingle Song from 1975's "Nadir's Big Chance" (the Ricky Nadir persona Hammill put on a la his contemporaries David Bowie's "Ziggy Stardust" or Peter Gabriel's Rael in "The Lamb Lies Down On Broadway").

As the evening went on, we were treated to many more great, raw, emotional performances of songs from throughout his career. Driven, from his all acoustic 2002 release "Clutch" (yet another car reference) was next. It was followed in short order by Sitting Targets, from the album of the same name, another all-time favorite. And it still sounded as good as it did when I first heard it, nearly thirty years ago. (Note: since Caroline Records wasn't one of the distributors I could get when I was working at Kemp Mill Records, I special ordered it from Tower....before I even owned a CD player!) Happy Hour was also outstanding, an ironic story about acting out under the excuse of intoxication, not a mindless drinking song. But what else would you expect from him? And Meanwhile My Mother, from his latest solo release "Singularity," evinced the introspective nature of an artist who has the rare honesty and confidence to look at himself and the world around him without ever sugar-coating what's there.

Chatting and playing to the crowd, who had responded they preferred him to finish the show on guitar, he gave us Faculty X, from another of his earlier solo releases, 1979's "pH7." He also played A Way Out, and doubled up on two more great selections from "Sitting Targets," closing with Stranger Still, and an encore of one of his finest ballads, Ophelia. (For those seeking to replace their well-worn vinyl copies, most of these albums are newly remastered and available directly from the artist at www.sofasound.com.)

Finally, some regrets: I wish we'd been able to stick around and thank Peter again for delivering such an inspired performance after the show. No doubt, those who stayed were treated to a rare opportunity to speak to an intense, personable, and thoughtful gentleman who has been at the center of some of the finest progressive rock music being made over the last 40 years. And I am equally sorry that it took so long to get this review to the blog. I plead overcommitment and exhaustion! And my sincere apologies for the delay!!

However, some good news- 9 more North American dates have been announced on this tour! So, beginning on September 30th in San Francisco, with other dates in several US cities and Canada already booked and more to come, you still have a second chance to catch Pete's one man show as he comes back for a second round! I'll see ya at the Club Cafe in Pittsburgh on October 11th (for more dates and cities, go to www.sofasound.com and click the "touring" tab). And the interview will be on the air soon!

So ciao for now, see ya in the funny papers, or on the road, again.........

Suddenly....the Smithereens!

Summer is festival season in Washington. People come for miles around to eat, drink, and celebrate the season at the Smithsonian mall, Wolf Trap, all the sheds, and of course, in scenic Old Town Alexandria. That's where the Red Cross recently celebrated the 25th Waterfront Festival, an annual gala which featured rides, food, and live music. Saturday, June 14th featured local faves Virginia Coalition, The Smithereens, and Toad the Wet Sprocket.

And like last year's Memorial Day visit, the 'Reens seem to have developed a nearly Radiohead-like capacity for bringing the rain along with them when playing at outdoor venues (I understand that the same thing also occurred at a show this spring in Virginia Beach, as well). But the crowd was well- prepared this time, sporting slickers and umbrellas, and the band played a solid 90+ minute set before several hundred soggy fans who braved the weather to hear them perform the many hits featured on their recently released CD, "The Smithereens Live in Concert- Greatest Hits and More!" And even under less than ideal conditions, I think everyone was satisfied with the end result.

Pat, Jim, Thrilla, and Dennis took the stage pretty much as scheduled, but blowing wind and rain delayed their start for a few minutes while they worked out sound with the folks manning the board. The band immediately launched into one of their signature tunes, Behind the Wall of Sleep, from their 1986 debut "Especially For You." Largely following the track list from the new album, the band delivered solid performances of Drown In My Own Tears, Miles From Nowhere, Room Without A View, Only a Memory, and House We Used to Live In, getting the crowd into it and inviting them to sing along with the band. Spellbound, from the second album "Green Thoughts," was featured next, a long overlooked but great song that has recently crept back into the band's live sets. Another new addition and personal favorite that has been revived in recent live dates is She's got A Way, a gorgeous ballad Pat wrote for his daughter, from their 1999 set, "God Save the Smithereens."

The band also mixed in a couple of tracks from Pat's recent solo release (which featured both Jim Babjak and Thrilla), and his resonant tenor voice crooned with characteristic aplomb on Since You Went Away, and Any Other Way. Throughout the show, Pat and Thrilla joked with the audience, remarking about the unforgiving weather, reminding the audience to give generously to the Red Cross, and talking up their new label "Koch Records. Doesn't have the same kind of panache as Capitol or RCA Victor, does it?"

Still, the weather and occasional technical difficulties notwithstanding, the boys played another typically inspired show. After Pat broke a string about halfway through the set, the band relied on Jim Babjak's guitar to carry them the rest of the night, and as always, his Strat rang true and delivered with flying colors. In fact, he laid down some of the best leads I've ever heard him play live, prompting me to think that he should be turned up a little more in the mix generally. Thrilla and drummer Dennis Diken were solid as always, and though Pat seemed a little disappointed at not being able to jam along, he channeled his focus into vocals and sounded none the worse for the experience.

By the time the band finished Blood and Roses, the rain finally relented, and the crowd was then entertained by Toad the Wet Sprocket. They performed some of their better known tunes, including All I Want, Come Back Down, and Walk on the Ocean, which is largely what the area in front of the stage resembled by then. Good but languid, while I've always enjoyed the band, it was definitely sleepy and low key after the Smithereens' buoyant performance. However, by that time, I had more than enough, and I was drier than most! Once the Smithereens finished signing autographs and renewing acquaintances with some diehard fans, I tagged along to Bilbo Baggins' Pub in Old Town with Thrilla for a few cold microbeers (I strongly recommend their fine pale ale) and some good conversation with some of his friends.

The good news is that the band will be BACK in VA on August 22nd, playing a FREE, ALL AGES SHOW at the 46th Annual Surfing Championship in Virginia Beach! Be there or be square...and just in case, bring an umbrella!

The Smithereens: Dennis, Jim, Pat and Thrilla- Please consult with the local meteorologist before the next show!

Adrian Belew Power Trio- Got Live If You Want It!

A ride to beautiful Annapolis during rush hour from the 'burbs of Northern Virginia can make for a daunting (and protracted) trip- but not without its rewards. As good as the entertainment in metro DC always is, sometimes ya just have to think outside the box.

So, off we went to the Ram's Head On Stage, a cozy little club with good chow, some fresh micro brews, and comfortable seating, for another opportunity to hear some cutting edge improvisational rock n' roll music by one of the world's finest touring bands, the Adrian Belew Power Trio. As usual, Adrian, Julie and Eric made it a special evening, performing a smoking set, and premiering two new songs (E and Planet E) before an enthusiastic audience.

After two years of seemingly non-stop touring, writing, and recording together, the Power Trio is in fine form. Tighter than ever but equally capable of sudden changes in directions, spontaneous solos, and jamming out a song in a unique and fluid style every night, Eric, Julie, and Adrian never lose track of each other. Constantly looking, anticipating, and subtly alternating leads, the band is amazing to watch in its non-stop action, as they share the stage without any pretension or self consciousness: it's all about the music.

And what music they play (or perhaps, plays them?)! Opening up with an inspired reading of Writing on the Wall, the trio played with a vengeance, romping through a set which included Ampersand, Young Lions, Beatbox Guitar, Matchless Man, A Little Madness, Big Electric Cat, Dinosaur, and a host of other songs from the band's outstanding live release, "Side Four."

As always, Adrian's solo medley was characteristically excellent. Flavored with an Eastern sound, and filled with nuance, sometimes gentle at others more abrasive, Mr. B's guitar took the audience on a dizzying ride across time and space, the club silent as the awestruck audience watched in admiration. Eric and Julie soon rejoined them after their brief break, turning up the amps and building momentum to a fever pitch for an encore of familiar tunes, including Crimson era compositions, Three of a Perfect Pair, Neurotica and Thela Hun Ginjeet. And after the last echoes of feedback died out, and the three had sufficiently recovered from an exhaustive set, the band stuck around to greet old and new friends and sign autographs.

Adrian mentioned that the trio had already recorded a number of tunes for a new record, and would be returning to the studio (probably the one at his home in Tennessee) to work on more arrangements and produce the rest of the disc ("Side 5?"). He said that when you listen to "Side Four," the band has already matured beyond that material, in less than a year. And it's true- the Adrian Belew Power Trio is constantly stretching its wings to discover emerging creative challenges and to develop the budding compositions that have grown out of their intense, dynamic pursuit of new musical frontiers.

If anyone can take musical possibilities to the next level, and explore what's over a distant sonic horizon with the ardor of astronomers finding new stars in faraway constellations, it's these guys. And we'll be watching when they bring life to new songs, still undreamt but continually taking shape in their wild, inventive, and prolific imaginations!

The Wild 'n Wooly WACO BROTHERS!

It was a fine Thursday evening that found 2/3 of the intrepid 1600 team (Steve was temporarily missing in action- but that's a story for another day!) back at the Rock 'n Roll Hotel in downtown DC for an evening with the fabulous Waco Brothers! We soon found ourselves in the midst of a deep and enjoyable conversation with several of the Brothers- Jon Langford, Deano Schlabawske, Tracey Dear, and Joe Camarillo, who spoke with great candor about the band's roots, history, influences, politics, and opinions about the country music establishment and the state of the recording industry in general.

The Brothers, and the kind folks at their label, Bloodshot Records, were also so generous with us to allow us to record their show that evening IN IT'S ENTIRETY! So look for yet another EXCLUSIVE 1600 CONCERT SPECIAL to be broadcast soon on channel 10 in scenic Fairfax, and surrounding areas, with airtimes to be announced as soon as we have the schedule nailed down...

Of course, the show itself was also a gas. While we unfortunately missed local country band the Starlingtons while we gulped down some of the Rock N' Roll Hotel's tasty bar cuisine, we were downstairs in time to catch Chris Mills, who performed solo (he mentioned he usually has a band) but his singing and guitar playing did not seem to lose anything in the translation. Chris looked every bit a seasoned entertainer, and was joined onstage by Wacos Langford and Camarillo, as well as Waco bassist Alan Doughty for a grand finale. Keep an ear out for his next visit to the DC area, it will be time well spent!

The Wacos give you raw, high energy, no-hold-barred rock n' roll with a twang, and get the audience singing and bouncing along in unison. From the opening chords of Waco Express, from their excellent, newly released live document "Live and Kickin' At Schuba's Tavern," to revved up yet faithful renditions of seminal country selections including George Jones' Girl at the End of the Bar, and White Lightning, and the immortal Johnny Cash's classic Big River, the Waco Bros. exuded their earnest respect and dedication to what country music was before becoming co-opted by corporate radio and the ham-fisted, profit-obsessed recording industry.

For Jon Langford's art and commentary on the Death of Country Music, see his labor of love, "Nashville Radio" available from better bookstores now!

The Wacos fired several pointed volleys at those culprits, as well as at the current administration, with songs like Cowboy in Flames, Do What I Say (Not What I Do), and Blink of an Eye, featuring the line "The President's just half a man/Riding in some giant's hand/He's gone in the blink of an eye." That couldn't happen soon enough for me! Other standouts that night included Too Sweet to Die, Hell's Roof, Fox River, and Revolution Blues, performed in a balls-out, freewheeling and high octane style that erupts in equal parts perceptiveness, amusement, and rebellion.

The Waco Bros. lyrics are a throwback to a day of outspoken, raucous gusto, deftly skewering modern complacency with the Langford's old outfit, the Mekons, and the blue collar populism of a Steve Earle, Billy Bragg, or perhaps a 21st century Woody Guthrie. Brother Mark Durante added yet more inspired mayhem to the mix with his familiar pedal steel sound, as did guest fiddler and sometime-Waco sister Jean Cook, further augmenting the old school country meets folk/punk sound.
Also highly recommended: Live and Kickin' at Schuba's- captures the band in all their loud and lively glory!

All in all, it made for one hell of a show, filled with onstage hijinx (at different moments, the Wacos appeared to have been in a temporary time warp, moving in faux slow motion a la Keanu Reaves as Neo in the Matrix, or high-kicking in joyous precision like the Radio City Rockettes fuelled by Guinness and Jamesons at the OK Corral. Our gratitude once again to the Brothers and Bloodshot for their cooperation and courtesy, and our hosts Fritz Wood and the staff at the Rock N' Roll Hotel for a most enjoyable evening. We'll be looking you up again, and soon!

HELPFUL TIPS, A ROCK N' ROLL SURVIVOR'S GUIDE, ETC....

HELPFUL TIPS, A ROCK N' ROLL SURVIVORS GUIDE, AND SOME FOR REAL CONCERT REVIEWS OF SHOWS YOU WOULD HAVE SEEN IN PERSON IF YOU'D BEEN PAYING ATTENTION

Originally Posted by 1600 at 6/25/2007 8:38 PM

So, everything always happens at once, right?

Yeah, don't I know it. In spades!

Take concerts. Even in the entertainment mecca that is Washington, DC (and its surrounding metropolitan area) weeks and months may go by during which time maybe no show, or at most, only an act or two will catch my eye and motivate me to stop channel surfing, and get off my big behind to go to the box office at some venue (since I still will drive many miles and spend hours in traffic to avoid paying Ticketbastard so much as a plugged nickel for their monopoly fee- oh, excuse me, convenience charge). Convenient for them, maybe. (But to save yourself anywhere from $4-$8 off a ticket for any given show, get them at box office.) Save up all that dough you would have shelled out to the Evil Empire, and instead, buy yourselves dinner when you get there- or maybe even end up with an extra ticket or two over the course of a year- it really adds up. Or, you can use it to buy drinks for your pals from 1600 next time you see us out- we'll appreciate it!

But, as usual, I digress.

When concert season hits in DC, usually toward the end of spring when school is getting out, gas prices are going up, lawns need to be mowed, people flock to the beaches, the touristas come flocking in to see the monuments, the museums, the cherry blossoms- and all hell breaks loose simultaneously, demanding your attention in eighty seven different ways at once.

But I tell you, good people, don't neglect your live music appreciation. You've gotta make the time to be good to yourselves, at least once or twice a month, to see some of the great acts that perennially appear at Wolf Trap, the 9:30 Club, the Birchmere, The Warner Theater, Black Cat, the State Theater, The Iota, Jammin' Java, RFK and the Phone Booth- and for you really brave musicphiles, Merriweather Post and Nissan Pavilion. It takes wild horses to get us to drive that far, but for some bands, I'll even suffer that, if not without regrets: the crappy sound, obscured viewing, uncomfortable SRO, (and the $6 beers) 'cause I might not EVER get a chance to see some of these bands again. And it's especially important to jump on those show held in the intimate setting that some of the smaller venues provide- they do sell out. (And make sure you bring ID- even if your as old as the 1600 gang, you still have to show a valid picture ID in many places to be served. Don't say I didn't warn ya!)

Note: Wolf Trap actually lets you bring in your own food and beverages, including alcohol, for a picnic on their lawn. Just clean up after yourselves, and you'll be welcomed back again and again- a far cheaper way to enjoy dinner and a show! And charges zero fees at their box office!!!

So, after catching up on a rather soggy and cool Memorial Day weekend with our old pals, the Smithereens when they rolled into town for a free show at Herndon, we only saw a few of you out there dancing in the rain, hearing their classics and rallying around the band getting autographs and congratulating them on their latest release and loving homage to the Fab Four, "Meet the Smithereens."

Summer hadn't quite broken, but fortunately for you, your friends at 1600 were there to get the latest dirt straight from Pat, Thrilla, Jim and Dennis about their upcoming Christmas album, and the next new project already in the works. Since they played in San Francisco the night before and caught a red-eye into Dulles about 3 am, these poor guys must have been exhausted!

Nonetheless, fueled by beer, tobacco, fresh fruit, and your requests, they played an outstanding, energetic show jamming through the rain on their repertoire from Behind the Wall of Sleep to Yesterday Girl, Blood and Roses, and A Girl Like You, as well a few amped up Beatles' covers! (We had to wake poor Pat out of a dead sleep to do the interview, but he recovered pretty quickly!) Watch for that (to be aired soon!) and hear more about what the Boys from Jersey have up their sleeves next...and also check out www.PatdiNizio.com for more Smithereens news- there's a link to his site and the band right on the 1600.tv links page!

(Right: The Smithereens: Jim, Pat, Thrilla & Dennis will be back in DC soon! Look for an announcement here!)

By the time June came around, we were all itching for the shows to start, and they did with a vengeance! Steve saw remnants of Black Sabbath touring under the name Heaven and Hell, with Megadeth. I'll let him tell you more about that one. We all saw- well, uh- heard Live from the Fairfax Public Access booth when they appeared at the Fairfax County Fair. We wondered out loud how they managed to get the incredible heat lightning to start forming when they did "Lightning Crashes." It must have taken a pretty big special effects budget- I wonder if Lucas and Spielberg were involved?

But as the dog days of June wore on, an opportunity of a lifetime surfaced as three solid days of can't miss music loomed closer. To start things off on the right foot, the one and only Twang Bar King, Adrian Belew and his Power Trio treated us to an earful of sonic fury, on Thursday June 21 at the cozy Vienna club, Jammin' Java. Wild noise was coupled with beautiful, delicate sounds that spanned his entire career, and the band previewed their upcoming release, "Side Four, " co-produced by Saul Zonana, who opened for the Power Trio with an impressive display of original songs that showcased a unique voice and some skillful guitar work in his own right. We were lucky enough to catch up to all of the touring musicians in Mr. Belew's company that night, and after a great interview (see it soon on Fairfax County Public Access Channel 10 and right here on www.1600.tv) supplemented by more stories and the general good spirits that followed, the Power Trio turned up the juice and performed a blazing show. It was a special night, indeed.

photo courtesy of http://adrianbelewpowertrio.blogspot.com/Eric Slick

From Beat Box Guitar to Matchless Man and Drive, from early solo favorites like Big Electric Cat to new arrangements of signature King Crimson tunes like Thela Hun Ginjeet, Elephant Talk, Neurotica, Dinosaur, and Three of a Perfect Pair, this well-rehearsed band had the chops to faithfully interpret the songs, while reinventing them with their own style and savvy. School of Rock alumnae Julie Slick on bass, and her brother Eric Slick on drums filled out the sound with poise and muscle. Eric never missed a beat, grinning and laughing as he traded licks with Adrian, while Julie stood serenely, calmly thumping her bass with a confidence, authority and ease that Tony Levin would have admired. All of this sheer enthusiasm created an unusual atmosphere of playfulness, not often seen among musicians of this calibre. The buoyant mood clearly made it an enjoyable night for players and audience alike, allowing Adrian the freedom to take off in different directions not always pursued in other bands, and he made the most of it- jamming, improvising, and putting on a virtuoso show. As always, he coaxed a jungleful of animal sounds out of his Parker guitar- seagulls, elephants, cats, rhinos, and yes, even a dinosaur.

One of many highlights of the show was a solo Lone Rhinoceros, the words lending empathy for a proud, endangered relic of a simpler time. This was followed (or was it preceded?) by a seemingly- spontaneous instrumental rendition of Within You Without You from Sgt. Pepper, imbued with his own touch and still unmistakable from the first note.

But it wasn't just the effects, the solos, the volume, or the complexity of what they were playing- the Adrian Belew Power Trio are a force to be reckoned with because they actually listened to each other, played off each other and they had a steady groove going all night long! The space they generously gave to create, to urge each other on, to jam, take risks, and explore the songs and make them their own- that was truly unique, and powerful. It's something I'll never forget because it is both rare and genuine. We really saw a spectacular, yet very intimate show. Thanks again, guys- you SHRED! The Adrian Belew Power Trio are in New York and next week, on their way to Japan as the tour continues, but stay tuned to this space for when they return to the area. You'll hear it here FIRST! In the meantime, check out the pics, news and a great bio video called "Life in a Nutshell" at adrianbelew.net (also on the infamous 1600 links page, with other planned domestic dates coming up and Side Four release info SOON!)

Well, after that earful, I had to rally to get psyched for Friday night: An Evening with the Richard Thompson Band at the 9:30 Club. As usual, the ubiquitous Simon Tassano, Thompson's co-producer on Sweet Warrior, his latest release, was on hand to masterfully handle the sound chores for the band. Whatever the problems their monitors might have had, it was unnoticed by the thousand or so fans who packed in on that steamy evening, and heard a band playing in good form, despite losing bassist Danny Thompson for an unexpected hiatus.

And let me just say a couple of words about Chris Richards' indelicate review of the show for the Washington Post: Apparently, you were at a different concert than the one I saw. Your tasteless, humorless, tone-deaf insults show a lack of appreciation and obnoxious disrespect for players that have spent their lives mastering their instruments. So stick to typing up reviews for the Journey/Styx/Foreigner arena shows or maybe the next Madonna tour, asshole. The subtlety of this show was clearly wasted on an ignorant neanderthal like you. Next time, stay home.

Thompson was accompanied by multi-instrumentalist Pete Zorn, Michael Jerome on drums, and Taras Prodaniuk filling in capably on bass. The band played a solid two hours + change set, featuring much of the new record. Singer- guitarist Thompson, ever the storyteller and glib stand-up comic worked the crowd with jokes and asides between songs. Zorn, always a crowd pleaser, did yeoman's duty on guitar, saxes, flute and vocals (and maybe even some mandolin?) and is as good an accompanist as Thompson has ever had in his band, which is saying quite a lot. Michael Jerome is a solid addition, playing atmospherically and then hard, fast and solid as the particular piece demanded. On this particular night, Thompson's anti-war paeans stood out, including an old favorite, Al Bowlly's in Heaven (And I'm In Limbo Now) about a WW II vet that was crippled in the war and reduced to being homeless for his loyal service, and the brand new Dad's Gonna Kill Me, a rocking lament by a soldier on the mission in Baghdad that doesn't expect to ever see home again. Unfortunately, these songs seem to become more and more timely with every new headline.

And classics such as Wall of Death, Gypsy Love Songs, 1952 Vincent Black Lightning, Read About Love and I Want To See The Bright Lights Tonight sounded fresher than they have in years, perhaps because Thompson played with unusual aggressiveness and fire for much of the show, occasionally breaking up the frenetic pace with a slower tune like I Still Dream, as he almost crooned with his eyes closed, swaying behind the mike. But those moments were more the exception than the rule, as the quartet blazed with a gritty resolve and pulled out a few old chestnuts that hadn't been heard in years, prompting him to remark as he introduced one song "I don't even remember which album this was on." Yeah, there were a lot of solos-good ones, too- which is what you'd expect from a band playing with a last minute substitute on bass. Because maybe he wasn't quite as familiar with the material as the guy Thompson's been playing with for about the last 15 years. If you'd been paying attention, Chris, you'd have noticed that the only wanker there was you.

Note: If you visit www.richardthompson-music.com, you can hear the show in it's entirety as it was streamed on National Public Radio. So judge for yourself. He's just played Bonnaroo and the band is touring the country now (tour dates are also posted there), so once again, try to catch this talented band next time through town- Richard Thompson is typically in the area a couple of times a year, and whether with his band or solo, outdoors or in, he doesn't disappoint.

Finally, on a bittersweet note, Saturday night local music fans were treated to a triple threat show at Chief Ike's as Colonel Klink, Los Hermanos Rodriguez, and The Originators took the stage for a music- packed free show. First, the trio Col. Klink provided some tasty surf guitar in their farewell performance, dishing out some deadpan humor and hot licks that made me wish they could have stuck together a little longer. Hoss, whether an original or a cover (smacking of classic surf rock hooks) was particularly good. The Hermanos, also bidding farewell to the DC area as their drummer leaves for Albania, would follow them almost immediately, playing a punkier, rowdy set that was uptempo and fun. The crowd got behind them, and danced and sang along with Odd Boy and other LHR favorites. They too, shall be missed.



Finally, the Originators launched into their high-octane original set. Boasting two bassists, dueling drummers, a keytarist and new guitarist (belated happy birthday, Robert!), Jessica was unfortunately drowned out in many instances by the limited sound quality that the venue provided. Still, their energy is infectious, and the group is beginning to develop a tighter sound that will be interesting to see as they evolve and progress. Stick around and see what happens, we'll be there to let you know when they get back on the road for a few more shows. And look for them next at Nanny O'Brien's, 3319 Connecticut Ave., NW, on June 30- get out and show your support! And if you miss that, there's the benefit for Miriam's Kitchen, Fri. July 13th at Club Asylum, 2471 18th Street, NW, in the heart of Adams Morgan, @ 9:00 pm! For a mere $7, your ears will be treated to the sounds of the Originators, the Omega Band and Chief Joseph- all for a worthy cause.

So be there- aloha.

Well, that was my "Lost Weekend."


I better rest up some before the next one. Sunday we were back at the studio working on some new 1600 shows for you. More surprises are on the way, so keep tuned in- and if we catch you watching American Idol in the meantime there will be hell to pay!

Love Ya,
Bob