We've Got You Covered On Springsteen's Magic
(As In The Album Cover That Is)


As we first reported last week, Bruce Springsteen's first new album with the E Street Band since 2002's The Rising will be released on October 2.

And now, here is a sneak peak at the artwork for the CD.

Stay tuned here for information on the upcoming tour with the E Street Band said to be getting underway in October.

Is this going to be the last hurrah for one of rock's greatest live bands?

Could be...

So far the only thing we have heard that appears to be definite as far as West Coast is an Oakland date on oct. 28. Can we get a Seattle or Portland?

Stay Tuned...

(Psst...wanna hear the first single,"Radio Nowhere?"

Wilco (And Especially Nels Cline) Light Up The Night At Marymoor

Concert Review: Wilco At Marymoor Park, Seattle, WA 08/21/07

I guess I should confess right upfront to being something of a Johnny-Come-Lately to the Wilco party. My introduction to Jeff Tweedy and company came at the behest of a friend who — knowing that my musical center lies somewhere inbetween the songwriting of people like Springsteen and Neil Young, and the more experimental fare of bands like Radiohead — urged me to check out the band live, and then make up my own mind.

Needless to say, I was pretty much instantly hooked.

What I discovered was that Wilco is one of those bands who are able to veer effortlessly between an alt-country sort of vibe and the more "out-there" sort of sonic explorations of albums like A Ghost Is Born and the epic Yankee Hotel Foxtrot. So given the overall quieter vibe of their recent Sky Blue Sky release, it was probably a fair expectation to think that this show, under the moonlit skies and overall gorgeous surroundings of Seattle's Marymoor Park, would be a nice, mellow affair.

And it started out that way. The magnificent setting, combined with the gorgeous harmonies coming from the stage made for a most tranquil and mellow setting on the grass underneath the moonlight. The fact that the venue allowed you to take your beers to your seat on the grass (a most welcome new development at this venue) didn't hurt the mood either.

But then, somebody decided to turn guitarist Nels Cline loose. And turn him way, way up as well. Beginning with the 4th song in the set, "Handshake Drugs," Cline was literally on fire for this show. Although Jeff Tweedy didn't talk all that much, he too clearly seemed to be enjoying the moments he allowed the new guitarist to shine.

The newer songs played from Sky Blue Sky, like "Walken" and "Side With The Seeds" sounded just fine in a live setting. But it was on the more sonically driven material from A Ghost Is Born and Yankee Hotel Foxtrot — songs where Cline's guitarwork threatened to set these woods on fire at times — that it became apparent that this guitarist may just be the final missing piece that Wilco has needed all along to make this band one hundred percent complete. Cline fits these guys like a glove.

As if Cline didn't provide enough additional guitar power, for the encores Wilco brought out Northwest jazz guitarist Bill Frisell, for surprise versions of "Hesitating Beauty" and "California Stars" from Wilco's collaborative album with Billy Bragg, Mermaid Avenue. A second encore would find the two hour show closing with the sonic masterpiece "Spiders."

All in all, this was a magnificent show — easily the best of the three Wilco concerts that I've seen — in a wonderfully picturesque setting. But on this night, it was definitely all about guitarist Nels Cline.

Setlist:
Sunken Treasure

You Are My Face

I Am Trying To Break Your Heart

Handshake Drugs

Pot Kettle Black

War on War

Side With The Seeds

A Shot in the Arm

Impossible Germany

Sky Blue Sky

Too Far Apart

Via Chicago

Jesus, etc.

Hate It Here

Walken

I'm The Man Who Loves You

1st Encore:

What Light

Airline to Heaven

Hesitating Beauty (with Bill Frisell on electric guitar)

California Stars (with Bill Frisell on electric guitar)

Hummingbird

2nd Encore:

Misunderstood

Spiders (Kidsmoke)

Nasty Nes And The Shockmaster To Reunite...And They Said It Couldn't Be Done

It's true.

Despite all of my best efforts to deconstruct the myth of the mighty Shockmaster Glen Boyd over the past couple of decades, I'm pulling the kangol and the fat gold chains outta the closet to reunite with my former "potna" Nasty Nes next weekend.

The occasion is Seattle's Asian Hip Hop summit on Saturday August 25 at Seattle's Ethnic Cultural Theatre. Nes and I will be co-MCing the event which will feature an unprecedented array of Asian hip hop talent. For eight bucks, you simply can't go wrong here.

You'll find all the details on the spiffy poster I've reposted here.

In addition to being able to check out this fine assortment of some of hip hop's finest, you will also be able to witness Nes and myself recreate some crucial Seattle hip hop history. You see, back in the day we hosted "Seattle's Only All Rap Show In FM Stereo," Rap Attack for the mighty KCMU, and basically made both Hip-hop, and Seattle music history doing so.


KCMU of course has long since gone on to become one of the nation's leading progressive music stations under it's new call letters KEXP.

Speaking of which, Nes and I will also reprise the old Rap Attack radio show the very next night on 90.3 KEXP as we join DJ B Mello on his show in our old time slot.

This should be a lot of fun, and perhaps a somewhat bittersweet trip down memory lane on a strictly personal level.
But am I looking forward to it?

Hell, mutha fukkin yeah I am.

Hope to see a lot of you there.

Peace out.

A Surprising New Find From The Man In Black

Music Review: Johnny Cash - The Great Lost Performance

It's been said that the career of the late, legendary Johnny Cash was bookended by two distinct periods — the beginning and the end.

The beginning, meaning his early recordings first for Sun Records and then for Columbia. This is where Cash first established his legend with such albums at Live At Folsom Prison and the string of great songs like "I Walk The Line," "Hey Porter," "Ring Of Fire," and "A Boy Named Sue."

Then there was the end, and the great series of American Recordings he made with producer Rick Rubin. These were the career closing records made from the mid-'90s right up until his death a few years ago. On these albums, Rubin most often stripped Cash down to the barest essentials of just a guitar and that unmistakable voice of his, for a series of starkly recorded albums that drew more confessional as he approached his final appointment with his God.

On some of these songs, such as his cover version of Nine Inch Nails "Hurt," the way that Cash confronts his mortality is so profound it literally brings tears to your eyes. It is a remarkable series of records.

In between these two very distinct periods however, was what many fans simply refer to as "that other stuff," as Cash seemed to become creatively adrift. During those "other years" in the middle of his career, Cash made everything from gospel records to ill-conceived record label driven efforts to "modernize his sound" (something Rubin did much more effectively by simply stripping it bare). This newly unearthed and mixed concert — where Cash is captured live in 1990 during a concert in Asbury Park, N.J.. — was recorded toward the end of that period, just a few years before his partnership with Rubin would revitalize his career and insure his legacy ended on a high note.

The one-hour concert kicks off with a spirited version of "Ring Of Fire" that finds Cash sounding strong in both voice and spirit. The band clicks along behind him like a well-oiled machine, and the sound mix here is absolutely pristine. On the very next song, Cash is joined by the sweet sounding voices of the Carter family for some downhome gospel on "Life's Railway to Heaven." The gospel continues with the only known recording of "Wonderful Time Up There," which Cash introduces with several of this show's wonderful stories — this one about "chopping wood with his daddy."

By the time Cash introduces "Folsom Prison Blues," — with his signature "Hello, I'm Johnny Cash" — it's clear that everyone onstage is loose and having a great time, and that this indeed is going to be a very special evening with the then living legend. Continuing the upbeat mood and humorous stories, Cash dedicates Kris Kristofferson's "Sunday Morning Coming Down" to the singer, "who just had a birthday — he's 81" (wouldn't that make Kristofferson something like 100 years old today?).

Things turn more serious with "What Is Man," a song that Cash had just written at the time, which reflects on mortality and man's relationship with God (a theme which would repeat itself numerous times in Cash's final recordings with Rubin). Cash trades both verses and harmonies here with Lucy Clark. Not to sound cliched here, but on this gospel tune Ms. Clark sings like an angel herself.

Things get rocking again with "Come Along Ride This Train." Cash then tells the story of when a levee broke, as he segues effortlessly from the chugging of that particular train, to the flood waters of "Five Feet High and Rising." From there, it's pretty much a non-stop ride with the band slowing down only long enough for Cash to relate yet another great story. The band shows the kind of chops here that could only come from years of playing countless one-night stands.

The only thing that seperates one song from another is a drum roll, and another story.

In one of the funniest stories, for "Ragged Old Flag," Cash talks about how he appreciates the freedoms we enjoy, saying, "I appreciate the right you have to burn your flag, as long as you appreciate my right to bear arms, so I can shoot you if you try to burn mine." Although rightwing nuts might today latch onto such a statement as evidence of blind support, the story is told with such humor that you can't help but wonder if Cash himself didn't see the joke there.

As the concert draws to a close, Cash is joined by his singing and life partner June Carter for spirited versions of "Jackson," and "Wreck of Old '97". Hearing June belt out her lines here, it isn't hard to see just what Johnny Cash saw in her. She sounds like she was one tough broad here (forgive me ladies, but I just can't think of a better way to describe it). June also cracks wise here at poor old "John's" expense.

For the homestretch, the hits keep on a comin' like the chugging of a freight train, from "Hey Porter," to "Ghost Riders In The Sky," right on through to the closing "I Walk The Line".

So somewhat surprisingly considering the period during this concert was recorded, The Great Lost Performance proves to be exactly that. Johnny, June, and the rest of the band are captured here on what was clearly a magical night.

I still wouldn't recommend too many of the studio records recorded around this time. For someone seeking the best introduction to Johhny Cash, I'd just start with Sony's The Essential Johnny Cash, and the Unearthed box set of the American series with Rubin.

But The Great Lost Performance makes a great addition to any collection of Cash's live recordings.

Springsteen And The E Street Band To Reignite The "Magic" On Oct. 2

It's official.

After months of rumor and speculation the word came down earlier today in the form of an official press release.





Bruce Springsteen will release his first new album with the E Street Band since 2002's The Rising on October 2. The album is called "Magic."

And with the expected tour with said E Street Band to follow, it is also official that I simply cannot be held responsible for my "obsessive" behaviour, which I expect to extend well into next year.

Details on the tour are still sketchy at present, and manager Jon Landau is staying tight lipped about it.

But the aforementioned rumor and speculation has the tour --widely expected to be Sprinsgteen's final bow with the E Street Band -- begining sometime in October, with buildings already said to be on hold in such cities as New York, Los Angeles, Boston, Detroit, Oakland, and of course East Rutherford, New Jersey.

This "first leg" would last about a month before heading over to Europe. A second leg would commence in America early in 2008 (hopefully including some Northwest shows) if Bruce follows the routing of recent tours. Stadium shows will then most likely keep the show on the road through this summer.

But back to the album.

Magic is said to be both "E Street Band heavy" and very "sonically guitar driven" according to Landau in a Rolling Stone Magazine Article published today.

The song titles also sound intriguing. The presumed first single, "Radio Nowhere," is described by Landau as a song that “has a real anthemic quality to it. If it doesn’t get you out of your seat, I don’t know what will.” Another track, called "Girls In Their Summer Clothes" is said to have a “little bit of a Pet Sounds-type feeling mixed in with the sound of the E Street Band.”

Holy Crap! When can I get my hands on this thing?

Of what is described as the lone political track, called "Devils Arcade" Landau says: “He gets some images across that are very powerful and will certainly give you a feeling of where he’s coming from, but on balance [politics] is not the primary intention of this record.”

Magic was recorded over a two month period in Atlanta, Georgia earlier this year. Brendan O' Brien, who produced both The Rising and Devils & Dust for Springsteen, once again also produced Magic. In addition to the Rolling Stone article above, Lisa McKay has an excellent report on the album's release over at Blogcritcs Magazine.

Here is the track listing for Bruce Springsteen And The E Street Band's "Magic," due out October 2:

Track Listing:

1. “Radio Nowhere”
2. “You’ll Be Comin’ Down”
3. “Livin’ in the Future”
4. “Your Own Worst Enemy”
5. “Gypsy Biker”
6. “Girls in Their Summer Clothes”
7. “I’ll Work for Your Love”
8. “Magic”
9. “Last to Die”
10. “Long Walk Home”
11. “Devil’s Arcade”

Concert Review: Patti Smith At The Showbox, Seattle WA, 8/11/07
The first time I saw Patti Smith in concert was an absolute revelation. Reading from an over-sized bible at a makeshift lectern at that 1979 concert, Patti literally screamed the lyrics about "how I don't fuck with the past, but I fuck plenty with the future," from her song "Rock And Roll Nigger" from her manufactured pulpit on that stage. And I sat there absolutely transfixed by it all.

I've seen Patti Smith live several times since, but nothing has ever matched the power I felt on that particular night. I can't exactly put my finger on it, but there was something absolutely transcendent about her performance on that night. Like I said, I can't exactly figure out what it was about her. But it definitely had something to do with the words. They were quite intellectual to begin with, yet at the same time stripped to their most basic, guttural essentials. They were also quite profane, at least in the traditional Christian sense. Yet, they were also absolutely and undeniably spiritual.

As God is my witness, I could have married Patti Smith that night.

Tonight, hanging out at the bar across the street from the Showbox, where Patti Smith played here in Seattle, I actually had a chance encounter with her walking down the street on 1st Avenue as I stepped outside for a smoke. She was dressed in an oversized black coat, and loosely fitting blue jeans tucked into the brown cowboy boots she also wore. It was the exact same thing she wore onstage at the Showbox later that night. Like I said, it was a chance encounter. And I didn't really know what to say other than a simple "hi Patti." A few minutes later of course, I happened to remember how much I would have loved to hear "Birdland" played live — but the moment was gone. And no, Patti Smith did not play "Birdland" in Seattle on this night.

But, outside of that, tonight's Patti Smith concert in Seattle was another of those transcendent experiences on more notes than I can really count here. For one thing, she did start out early with the great songs from her brilliant Horses album, nailing a great version of the song "Redondo Beach" right out of the gate.

From there, Patti Smith went straight into the cover versions from her current album Twelve. But even here, she mixed things up a bit. Covering Jimi Hendrix's great "Are You Experienced?", Patti Smith introed the song with a surprisingly great solo on soprano saxophone, and eventually worked in elements of great Hendrix sings like "Voodoo Child" and "Third Stone from The Sun." The band's sense of rock history here — especially her longtime guitarist Lenny Kaye — was simply impeccable.


Speaking of Kaye, when Patti left the stage he led the band through a cover of the Seeds' garage rock classic, "Pushin Too Hard," after dedicating the song to Northwest instrumental legends The Ventures. I'm not exactly sure what the connection was there, but there is no question that it worked perfectly.

When Patti retook the stage, she introduced "We Three," from her commercial breakthrough album Easter, as a song she wrote in 1974 about seeing the great guitarist Tom Verlaine and his band Televison at the New York punk rock club CBGBs. From there, it was on to dramatic reworkings of Jefferson Airplane's "White Rabbit" (prefaced by Smith's tale of a visit to Seattle's Union Gospel Mission — a shelter for the homeless), and her brilliant bluegrass tinged version of Kurt Cobain's "Smells Like Teen Spirit."


As the concert drew towards a close, Patti Smith brought out R.E.M. guitarist Peter Buck (who currently resides in Seattle) for several songs. These included everything from the anthemic "People Have The Power" to R.E.M.'s own "Everybody Hurts".

This was a great, great concert.

Setlist:
Kimberly
Redondo Beach
Are You Experienced?
Within You, Without You
Beneath The Southern Cross
We Three
Summer Cannibals
Pushin Too Hard
White Rabbit
Ghost Dance
Because The Night
Peaceable Kingdom
Gloria
Smells Like Teen Spirit

Encore:
People Have The Power
Everybody Hurts
Soul Kitchen
Rock And Roll Nigger

50,000 Hits Baby!

Just thought that we would mention that this site hit that milestone on Friday August 10 at approximately 5:oo PM, Pacific Coast Time