ROCK REPORT: O’DEATH @ THE ORPHEUM (YBOR CITY)

Apr 212008

Normally, I’ll walk into a show and know one person there if I am lucky. Walking into the Orpheum, I was amazed to see groups of people I knew, he bulk of whom, like myself, had come to finally catch a glimpse of the Appalachian Apocalypse from New York that is O’death.

Over the past year I have read many an O’Death review raving about the ferocity of their live show. As result, I think I had romanticized the possibilities to the point where I was expecting sparks to shoot out of their asses and the devil to be playing fiddle. Neither case played out, instead the band opened up a little on the reserved side after a particularly miserable Miami crowd the night before. However, but by the end of their set shirts were missing and requests were being played. One thing is for sure, after seeing the passion these kids put into their music, any questions I had about the authenticity of a group of 20-something New Yorkers playing Appalachian folk songs were put to rest.

Drummer David Rogers-Berry lived up to his advance billing; screaming, howling, beating trash cans with chains, hyping the crowd, and just generally beating his floor toms so hard you could almost see them wince in agony. Adding to the drum-abusive energy was fiddle player Bob Pycior stomping and dancing about while trying his damndest to saw his instrument in half. Much like Berry, he plays with such an intensity that you get the impression he is punishing his instrument more than playing it. Balancing out these two was Gabe Darling’s banjo and ukulele and Greg Jamie’s guitar and sometimes woeful, always captivating vocals, which help give the band it’s dark sound. By the end of the show the band had loosened up and began interacting with the crowd, and by the end of their 30 minutes the crowd managed to goad them into playing one more song before packing up. I left as O’Death packed up figuring I had seen the best this particular night had to offer, and having finally caught the band live, I’ve come away knowing two things:

1. Believe the hype.
2. Thirty minutes just wasn’t enough time.

Come back to Florida, O’Death. Fuck Miami.

O’Death – Down to Rest
O’Death – Only Daughter
O’Death – Nathaniel

I managed to actually remember my camera and actually managed to get some pretty good pictures. You can see them here if you’re interested.

O’death’s Official Site, O’Death on Myspace, Buy Head Home

PUBLIC ENEMY

Apr 162008

The news that Public Enemy will perform “It takes a Nation of Millions To Hold Us Back” at this year’s Pitchfork Fest didn’t elicit much of a response in me at first, but the more I thought about it the odder it seemed to me…that album? now? At Pitchfork Fest?

In the late 80′s the hip-hop scene was as unified and political as it ever would be, and leading the charge was Public Enemy. Chuck’s signature baritone and raw, in your face delivery joined with militant theatrics made Public Enemy one of the most controversial and important hip-hop acts ever, with “Nation” posing as their crown jewel. It was uncompromising, abrasive, poetic, and desperately urgent all at the same time, and it’s still an Intro to Outro classic, but is a festival full of privileged suburban white kids deserving of such a performance? Call me a hater, but I don’t think so. I just don’t think a crowd full of kids with $5,000 worth of tattoos on each arms, $80 haircuts and $150 dollar shoes and sunglasses to match can really identify with the influences of an album that came out before most of them were wiping their own asses.

All of this is especially crappy when you consider that Public Enemy released one of their best albums in the past decade last year in How You Sell Soul to a Soulless People Who Sold Their Soul???. How You Sell Soul is infinitely more topical to the times, and this very crowd would be a perfect place for this album raging against the corruption of rap into a vehicle for selling lifestyles to be performed from first track right through to the end. I mean, wouldn’t a bunch of hipsters wallowing in a scene where image is everything benefit more from hearing Chuck preach against the glamorization of the gangster life and consumerism in general?

I think so.

But maybe I’m just an old, out of touch asshole…I mean, my bike has gears and brakes and I generally prefer Bass over Pabst.

But props to Pitchfork for putting it together, I guess. Hell, if it goes over well they’ll be golden, and if it doesn’t they can write a 1000 word snarkfest about how outta touch PE is these days when compared to the emo rap stylings of Atmosphere…

Public Enemy – Sex, Drugs & Violence
Public Enemy – Amerikan Gangster
Public Enemy – Can You Hear Me Now

Public Enemy’s Official Site, Public Enemy on myspace, Buy How You Sell Soul to a Soulless People

BLACK KEYS – ATTACK AND RELEASE

Apr 152008


There has been no shortage of press for the new Black Keys album, Attack and Release, but I wanted to bang out a few words on it anyway. I’ve been a fan of The Black Keys since Thickfreakness dropped and, outside of the 2006′s Magic Potion, I’ve never been disappointed in anything the duo has ever done. Over time, I have even found much love for Magic Potion. Basically, everything Dan Auerbach has worked as a producer on has found it’s way into the ninebullets.net essential listening list. All that said, I really wanted to drop some praise on this album.

Attack and Release started out to be a Black Keys, Danger Mouse, and Ike Turner collaboration. However, when Ike took the deep sleep, the Keys found themselves with a wealth of material and no outlet for it. So, they decided to take the ideas they had been playing with into the studio with Danger Mouse and see what they could come out with. Those sessions resulted in the the most sonically mature album the Keys have ever released.

Attack and Release still has the signature big beats, fat riffs and heavily distorted guitars sound Keys fans are used to, and in the rocking songs you’ll know the album wasn’t (like all the others) recorded in Patrick’s basement. Still, it’s in the album’s more gentle moments that Danger Mouse and a recording studio’s presence are truly felt. I was telling my brother the other day that the new album is just a lot sexier than their previous material. That probably has something to do with the material originally being geared towards Turner. I, for one, hope the Black Keys continue to explore this side of themselves, as it’s made for one of the best albums to date this year, not to mention also having made the ninebullets Essential Listening list.

Now comes the real question…where does it rank amongst their other releases? I’m gonna have to listen to the entire catalog straight through one day before I can say for sure, but for now I can say it’s in the top 3 for sure…possibly the top 2.

The Black Keys Official Site, The Black Keys on myspace, Buy Attack and Release

FROM IRISH FOLK TUNE TO ALT.COUNTRY STALWART: A MOONSHINER’S JOURNEY

Apr 082008

After posting my “Black Betty” throwdown a few weeks ago, I got to thinking that a fun reoccurring piece could be posting the history of songs…as best as I can…along with a collection of artists doing their own spin on them. The next obvious song had to be “Moonshiner”.

The first version of the song I’d ever heard was Uncle Tupelo’s, which is a cover of Dylan’s Bootleg Series recording of the track. The exact origin of “Moonshiner” is disputed, but it’s widely believed the song originated as the Irish folk song “The Moonshiner”. In his book American Ballads and Folk Songs, Alan Lomax claims the song is a member of the “Waggoner’s Lad” family and kin to “Old Smokey” and “Rye Whiskey”, among others. Whether it originated in Ireland or not, it is still one of the most popular pub songs there, resulting in grand bar-room chorus sing-a-longs. It has been performed as recorded by many artists and is known under other titles, among them “Moonshiner Blues” and “The Bottle Song”. The Clancy Brother’s version turns it into an upbeat party song, while the Dylan version (the alt.country version) slows it down and turns the song into an unrepentant lament.

Personally, I prefer the slower version of “Moonshiner”. Maybe it’s because that’s how I cam to know the song, I dunno, but, to me the slow version is just beautifully perfect, while the harmonica in American Gun’s version practically pours the drink for you. Below I’ve collected different versions of the song and have tried to group them to show what I feel is the evolution of the song.

Enjoy.

The Clancy Brothers & Tommy Makem – The Moonshiner
Molly Maguire – The Moonshiner
The Clancy Brothers & Dubliners – The Moonshiner

Joe Ely & The Chieftains – The Moonshiner
Daw Henson – The Moonshiner
Roscoe Holcomb – The Moonshiner
Dave Bromberg – The Moonshiner

Bob Dylan – The Moonshiner
Uncle Tupelo – The Moonshiner
American Gun – The Moonshiner
Rumbleseat – The Moonshiner
Brass Uncle Band – The Moonshiner
Oliver Buck – The Moonshiner
Cat Power – The Moonshiner

JUSTIN TOWNES EARLE – THE GOOD LIFE

Apr 072008


I’m not sure what I was expecting from Justin’s Bloodshot debut, The Good Life, but it wasn’t much. I don’t know why, either. I had never heard anything from his debut EP, Yuma, but when it came down to it I was only giving The Good Life a courtesy listen. Regardless of what I was expecting, what I got was one of the best albums so far this year.

Son of Steve Earle…Townes Van Zandt…blah blah…the names and shadows have been well documented on other blogs, so I’m just gonna talk about the music.

From the more Hank at the Opry hobo song and title track “The Good Life” to the standout Civil War story song “Lone Pine Hill”, Earle shows a songwriting command and reverence of the past far beyond his mere 25 years. The album isn’t a mere case of mimicry, though. Justin manages to play off the influences of country greats and still sound fresh.

While this might be the worst case of blasphemy in the history of Americana music bloggery, it’s the truth: In my opinion, The Good Life is better than anything his daddy has ever put together. Allow me to preface that, though. I’ve never really been fanatical about Steve Earle. I like some of his songs well enough, but I’ve never liked enough of them enough to bother very much. On the other hand, another effort like this from Justin and I’ll be nearing the fanatical stage.

The Good Life; it’s essential listening and bound for many a year end top 10 list.

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