2017 was the first year in a long while when I bought singles and not just full albums or EP’s, so I thought I’d keep track of my favorites. Here’s the first half of the list!
#10 – Marlon Williams – “Vampire Again”
Not only does this song have the sexiest groove of the year, it also has a great backstory. Marlon Williams was bored on Halloween night in L.A. and noticed a local theatre was showing Nosferatu with a live orchestra performing music for the silent film. He got high, dressed up as a vampire, and went to the event only to discover he was the only one in costume. This is the story of that night.
#9 – Bebel Gilberto – “Creep” (live)
When my wife and I saw Bebel Gilberto in 2016, she played this song and mentioned that she was “thinking of releasing it.” “Please do!” I yelled from the middle of the amphitheater. She did, along with her wonderful EP Live at the Belly Up. This song makes me cry every time I hear it.
#8 – Honey – “Dream Come Now”
Honey‘s fiery single “Dream Come Now” was one of the most exciting tracks I heard all year. The opening guitar chaos made me immediately want to buy their album, New Moody Judy, which wasn’t available for another few months. It was well worth the wait.
#7 – Ty Segall – “The Main Pretender”
This wild, groovy bit of soul-punk from Ty Segall is jaw-dropping, especially with the wicked saxophone work from Mikal Cronin. This is like a lost Captain Beefheart track and a great example of Segall‘s love of multiple genres.
#6 – The Moonlandingz – “Black Hanz”
Weird, trippy, funky, and catchy, the Moonlandingzreleased “Black Hanz” and I was immediately hooked on them. The chorus roots into your head and the song warps into a crazy dream sequence at one point. It’s my favorite psychedelic track of the year.
Who cracked the top 25 of my live shows I saw this year? Read on!
#25 – Temples – Valley Bar – Phoenix, AZ March 11th.
Temples were the last band to play on the Desert Daze lineup at the VIVA PHX music festival. It was my first time seeing them in a small venue, and they nailed it. They sounded perfect and delivered a solid set that earned them many new fans.
I’d wanted to see punk rock legends the Damned for a long while, and this show was pretty much what I’d hoped it would be. The crowd was a fun mix of punks, goths, and horror film fans, and moshing to “Neat Neat Neat” with the Damned only a few feet away was a delight.
#23 – Thundercat – Mamby on the Beach – Chicago, IL June 25th.
I’d heard a lot of good things about Thundercatprior to seeing him live at this music festival, and he didn’t disappoint. He and his two-man backing band played a great jazz fusion set in the middle of a festival mostly devoted to electronic dance music. He’s an amazing bass player, and seeing him shred live makes you appreciate his skill even more.
Speaking of Mamby on the Beach, Marian Hill were one of the best bands we saw there. They played a great set of sexy dance rock that might be the best new makeout music you need to hear.
This performance from Italian prog / horror rock masters Goblin had a criminally light attendance, but they didn’t care. As usual, being at a Goblin show is like being in a giallo film. The whole atmosphere is creeping and fascinating. They also played a nice tribute to the late George Romero. Shame on you if you missed this one.
Who cracks the top 20? Tune in tomorrow to find out!
Keep your mind open.
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I’ve arrived at the end of my live music year for 2017. I saw over 60 performances this year, and the majority of them were a fun time. There were some that might’ve had lame crowds or that just didn’t thrill me, of course, but 2017 was good for live music. To save time (and my sanity and your patience), I’m counting the top 30 live shows I saw this year. Here are the first five.
I’ll see APTBS at any opportunity, and seeing this set where they opened for the Black Angels was a no-brainer for me. It was also the first time they played Thalia Hall, and they sounded great in there. I was lucky enough to chat with front man Oliver Ackermann before and after (along with the rest of the band – Dion Lunadon and Lia Braswell) the set, so that made the show extra special.
Joe Walsh had a fun time opening for Tom Petty and the Heartbreakers. He joked with the sold-out crowd, played every hit you’d want to hear at one of his gigs, and had a huge, excellent backing band. He also showed that he could still shred on guitar, and his performance of “Take It to the Limit” brought my wife to tears.
The last show I saw this year turned out to be a delightful night with bossa nova legend Bebel Gilberto. It was a lovely set in an intimate venue. Everyone needs to see Ms. Gilberto at least once, and hear her often.
If you’re in a band, I wish you could’ve seen Bleached with me twice within six months because you’d have seen a perfect example of how to step up your game. This show, which had them opening for the Damned, was the second time I’d seen them in that time period. The first was at a gig in Cleveland in October 2016. I thought they were good then, but this performance left me gobsmacked. They’d become tighter and stronger in just half a year. It had been at least a couple years since I saw so much improvement in one band.
This was Partner‘s first gig in Chicago, and one of their first in the United States. Shame on you if you missed it, because they are now indie rock darlings and their debut album, In Search of Lost Time, is one of the best of 2017. This show was an absolute home run and wowed everyone there.
Chicago’s City Wineryis a wonderful intimate venue, and seeing a lively performer like Bebel Gilbertothere is a treat that should never be missed. Thankfully, my wife and I got to attend her second performance there in as many nights, and Ms. Gilberto was in a playful mood.
Ms. Gilberto shimmied and shook all over the stage and worked through some of her bossa nova classics like “Aganju” and “So Nice,” stopping now and then to put on some more lip gloss or sample some of the venue’s white wine.
“Aganju”
She was also a bit feisty, throwing in some political jokes like, “I’m glad this year is almost over, because that means we only have three more left…if you know what I mean.” Other highlights included her covers of Neil Young’s “Harvest Moon” and Radiohead’s “Creep.” Her cover of “Creep” brings my wife and I to tears anytime we hear it, and I felt bad for the couple across from us who went out for a smoke break before she and her two-man band played it.
“Harvest Moon”
She had the crowd singing and even bouncing multiple times throughout the night, calling on us to help her sing rhythms and uplift each other. “Uplifting” is probably the best way I can describe her performance. It was a delightful way to end a year that has been rough for many we know and a shining way to start the winter solstice. More light comes to this half of the world as of yesterday, and I can’t help but think Bebel Gilberto had something to do with it.
“Close Your Eyes”
Keep your mind open.
[Thanks to Vickie Starr for bringing me and my wife some Christmas cheer with press passes to this show.]
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TOM ROGERSON SHARES LIVE PERFORMANCE VIDEO FOR NEW TRACK “MARCH AWAY” https://youtu.be/jGHlez90VZ8ROGERSON’S DEBUT ALBUM, A COLLABORATION WITH BRIAN ENO CALLED FINDING SHORE, IS DUE OUT DECEMBER 8TH ON DEAD OCEANS
[Photo credit: Matthew Parri Thomas]
Tom Rogerson is pleased to share a new track “March Away,” taken from his forthcoming debut album entitled Finding Shore – a collaboration with Brian Eno – out December 8thon Dead Oceans. A perfect example of the studio setting the two artists worked within – Tom improvising at the piano and Brian twisting those signals with the Moog Piano Bar – the track is a prime introduction to this unique release.To accompany the track’s release, a live studio version of the track is also available. Directed by Robert Sieg and shot in Berlin, the performance beautifully illustrates the processes Rogerson and Eno used to create the original work.
Finding Shore is the sound of Rogerson distilling the essence of what he does after a protracted musical journey from childhood until now. As a 17-year-old he had the odd contrast of being taught by the composer Harrison Birtwistle but also working as lounge pianist in a dilapidated hotel in Peterborough. He then spent some time in New York playing jazz, recording with Reid Anderson of The Bad Plus, and had a successful career with post-rock group Three Trapped Tigers, yet however enjoyable that experience was, he admits it was “definitely a diversionary tactic.” Everything seemed to be an escape from the classical world or, as Rogerson himself puts it, “falling out of my ivory tower very slowly.”
After a chance meeting with Brian Eno, the two began to collaborate. Eno’s influence on Finding Shore began by enabling Rogerson to overcome his fear of committing any one piece to its own album. As a way to open Rogerson up, Eno suggested they try experimenting with the Piano Bar, an obscure piece of Moog gear that works by using infrared beams focused on each piano key; these are then broken as the keys are played, transforming the piano’s note into a midi signal that can then be used to trigger or generate new, digital sound. As Rogerson improvised at the piano, Eno improvised with the midi signal to create a unique piece of music.
Steve Davit, saxophonist for Marian Hill, is working on some solo material that combines jazz with electro and hip-hop beats. His first single, “Forward,” is a funky blast of chopped up saxophone riffs and sweet synth beats.
You can listen to it here, before everyone starts proclaiming it’s their favorite new song. Get in on the ground floor now.
Imagine what it takes to be a successful musician. There are many long hours of touring, rehearsing, writing, negotiating, hustling, and branding. This is hard enough for your Average Joe or Jane, but imagine doing this in the 1960’s when you couldn’t release a single on the Internet and have it heard by millions within moments, pay-for-play was still legal and widely practiced, and record labels held your master recordings in a vise-like grip. Now imagine doing all of this before the civil rights movement while you’re black in an industry dominated at the top levels by white people. Now imagine doing this as an openly transgendered woman in the same time period. Jackie Shane did all of that, and she made it look easy.
Jackie Shane’s Any Other Way is a stunning collection of rare singles and live tracks from perhaps the most remarkable performer you haven’t heard and easily one of the best collections and reissues of 2017. Ms. Shane burned up stages in Toronto throughout the 1960’s, releasing a handful of singles and recording some amazing performances, before disappearing for nearly half a century (relocating to Nashville to tend to her ill mother and deciding to stay after her passing).
The double album opens with the sizzling “Sticks and Stones,” a burner in which Shane sings about people trying to shame her and bring her down, but she really doesn’t give a damn. This is a common theme in her catalogue. Shane lived by her own rules and refused to compromise. Her vocals are fierce and almost race ahead of the song, but the horn section of the Frank Motley’s Motley Crew band (for which she sang at the time) keeps up with her well. The title track is a sad song about Shane trying to to convince an ex-lover that she’s happy. The horn section almost has a Latin flavor to it that sets it apart from other similar tracks of the time period.
“In My Tenement” has horns that belong in a Bond film soundtrack. “Comin’ Down” has Shane coming down “with a heartache” as her band’s surf guitar and tight drumming back her assured vocals. Her cover of “Money (That’s What I Want)” is fun as a bit emblematic of Shane’s life, who never gave away her skills for free. “I’ve Really Got the Blues” swings as hard as any Chubby Checker or Fats Domino record ever did. “Send Me Some Lovin'” has Shane pining for even a photo of her distant lover. “Walking the Dog” is full of sass and a groove you’ll have in your head all day. The funky organ on “You Are My Sunshine” brings in a bit of a gospel groove, which is no surprise since Shane has openly spoken on the influence of gospel and spiritual classics on her. “Stand Up Straight and Tall” is pretty much the theme of Shane’s life. She lived how she wanted to live and never gave a damn what people thought. You can’t help but wonder about the possible symbolism of “New Way of Love,” especially since Shane sings it with such fire (and the Motley Crew band slays on it). “Cruel Cruel World” has Shane calling for someone to love and not needing sympathy from anyone. It’s a great example of how her vocals could go from soulful ballad to rock wails all in the same song.
That’s just the first disc of this release, by the way. Disc two is a compilation of rare live cuts (with backing band the Hitchhikers including Frank Motley leading it) that are jaw-dropping at times. It opens with “High Heel Sneakers” and Shane singing / tearing through an ode to stepping out in high fashion and being ready to kick ass and take names. Pharrell Williams wishes he could write a groove half as good as the one on “Barefootin’.”
Shane warns that the live version of “Money” is so dangerous that her doctor warned her that performing it could be bad for her heart. It’s over nine minutes of funk, sass, and defibrillating beats. The breakdown on it is fabulous as Shane talks about not caring about what others think of her as she smiles on her way to the back. “I’m going to live while I’m here,” she says. “I don’t satisfy nobody that’s a square,” she also says at another point.
Other high points among the live tracks are “You’re the One (That I Need),” which features some of Shane’s best torch song vocals, the tight horn section groove and Shane’s heartbroken vocals on “Don’t Play That Song (You Lied),” her fun cover of “Papa’s Got a Brand New Bag” (in which Shane appears to be cheering on an elderly man dancing in the crowd), the version of “Any Other Way” in which she sings, “Tell her that I’m happy. Be sure to tell her this. Tell her that I’m gay.” (which Shane claims wasn’t her openly admitting her sexuality, but the symbolism is hard to ignore), and the squawking, jumping “Shotgun” in which Shane advises, “You got to shoot your man before he runs.”
It’s a shame that Jackie Shane wasn’t bigger across the world and for longer a time than she was at her peak. There are rumors that she might emerge from her self-imposed (and apparently enjoyable) exile in Nashville and return to perform in Toronto, so we can hope to see and hear more of her soon. In the meantime, get this collection and be stunned by it.
Keep your mind open.
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It’s a bit surprising that experimental psych-lounge musician Gary Wilson has taken so long to release an album entitled Let’s Go to Outer Space because I’m fairly certain Mr. Wilson is from Saturn or perhaps somewhere outside this solar system.
The album opens with “Back to Where I Belong” and Wilson boldly proclaiming that he met an alien at a bus stop in Johnson City and they then walked all the way to his hometown of Endicott in the rain. Theremin rolls all around the track as Wilson tells her she’s the prettiest girl from outer space, meaning he’s met others (which shouldn’t surprise anyone). She offers to take him back with her, but he stays.
“Gary Kissed a Mannequin” is self-explanatory as Wilson falls in love with a mannequin who looks like the girl next door and takes her out to talk to the trees and dance all night long. It’s quite possible that his encounter with an alien beauty drove him mad. “Lost in a Mystery” is a song with a familiar theme on Wilson’s records – loneliness. The song’s peppy keyboards and jazz lounge beats (and more Theremin!) can’t conceal Wilson’s confusion about why his alien girl left (“I want to cry. I don’t know just why. You took my heart and ran away. I’m gonna save my heartache for another day.”).
“Gary Feels Cool” has the never-ending optimism you also find on Wilson’s records. He’s never completely out of the dating game, despite his many setbacks. His keyboard solo emphasizes his confident swagger. He’s just as cool when he dreams of a lovely lady in “You’re the Girl from a Magazine.” He can’t name her or the magazine. He just knows she’s pretty and famous for something. It’s not a sleazy song either. Wilson just wants to take this pretty girl for a nice walk.
Wilson admits his story is “insane” in “She’s the Girl from Mars,” but he’s so sincere (and his quirky synths are so fun) that you can’t help but believe him. “Let’s Go on a Walk Tonight” is another plea from Wilson to his Martian girlfriend to stroll with him through Endicott and beyond. It’s a toe-tapper that you can’t get out of your head for a while after hearing it.
The song’s beats and even the “la la la” chorus continues in “I’m Not Ashamed of You,” as Wilson’s keyboards sound more like a harpsichord. Wilson has no fear of walking around with an alien, even as others around him are running away in terror. He’s finally found love, and everyone should be envying him.
The honeymoon ends, however, when we get to “I Want to Cry.” Everything had been going so well that Wilson even took his outer space lover to his high school reunion, but yet he still wants to weep. Is it from joy or misery? It can’t be from his sweet electric piano solo, that’s for sure.
“Let’s Go to Mars” is simple, yet catchy with Wilson singing another song about marrying his Martian girlfriend in front of his hometown pals and then driving her in his new car out of orbit. He can’t find love on Earth, so will he find it on another planet?
Probably not, if “My Beautiful Wife Walked Away” is any indication. Wilson has been dumped yet again. “I don’t know just what do. I just wanna be with you,” he sings. Finding a lasting love is an eternal quest for Wilson, and things beyond his control or understanding always seem to screw it up for him. On “My Pretty Little Space Girl,” Wilson laments the departure of his alien beauty who never plans to return. “All things gotta come to an end,” Wilson tells us. That includes his quest, by the way. It might not have ended with a woman from another planet, but Wilson will find someone someday.
Keep your mind open.
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I don’t remember where I first heard of Thundercat (AKA Stephen Bruner), but I remember being amazed by his bass guitar skills. His fingers seemed to move on his guitar frets as nimbly as a spider racing across a web. I caught him live at Mamby on the Beach earlier this year, keen on hearing him live. He didn’t disappoint. He wowed the crowd with a jazz-fusion set that was unlike anything you heard the whole weekend.
His newest album, Drunk, is also unlike anything you’ve heard in a long while. It blends electronica with jazz, yacht rock, funk, and even a bit of trip hop. “Rabbit Ho” is a quirky intro with Bruner’s falsetto singing about friends coming and going from his life before it slips into “Captain Stupido,” which is a collaboration with one of his best pals – Flying Lotus. “I feel weird,” Bruner sings, perhaps speaking for all of us, as he struggles to get through the odd feelings that surround everyday activities like brushing your teeth. His bass and Lotus’ loops and beats are a killer combo.
“Uh Uh” is an instrumental showcase of Bruner’s stunning bass skills. Seriously, it will leave you dumbfounded. I have no idea how he plays that fast and that well at the same time. “Bus in the Streets” has Bruner watching the world go by and not wanting to get involved in the rat race. “Won’t you leave some things a mystery?” he asks in this age of everyone Tweeting, hash-tagging, and posting everything at every moment.
“A Fan’s Mail (Tron Song Suite II)” is perhaps the greatest love song written to a cat of all time. Bruner sings about his admiration for his cat having nine lives, doing what he wants, and lying in the sun all day. “Everybody wants to be a cat. It’s cool to be a cat.” It has a groove as smooth as a cat’s walk, too.
“Sometimes you have to let it go,” Bruner sings in the opening of “Lava Lamp.” The song moves as languidly as its namesake. “I’m so tired. Where can I lay my head?” Bruner asks. It’s a common theme for a lot of us in these times. We’re so overwhelmed that we’re losing time to decompress. Flying Lotus comes back on “Jethro,” and brings wicked beats with him. “Show You the Way” has powerhouse guests Kenny Loggins and Michael McDonald, and both men show they can still slay a microphone (and a keyboard, too, in McDonald’s case). It’s a glorious return of yacht rock that you won’t realize you missed until you hear this track.
The special guests keep on coming as Kendrick Lamar drops some guest vocals on “Walk on By” – another groovy, smooth track. “Blackkk” is the smoothest song about overcoming fear of death I’ve ever heard. “Tokyo” would be great to have in your ears as you cruise through the city. Bruner sings about eating too much fish, blowing all his money on anime, and wanting to stay another night there.
“Jameel’s Space Ride” has Bruner dreaming about driving into space as he’s pulled over by the cops. “Friend Zone” is a sharp dis on someone keeping him at arm’s length instead of embracing him as a lover. “I’m your biggest fan, but I guess that’s just not good enough,” he sings as his bass and Mono/Poly’s synths deliver dance beats. “Don’t call me, don’t text me after two a.m., unless you plan on giving me some, ‘cause I got enough friends,” Bruner sings. Ouch.
In contrast, “Them Changes” (the first single) has Bruner singing about heartbreak. “Nobody move there’s blood on the floor, and I can’t find my heart. Where did it go? Did I leave it in the cold?” His bass groove on it gets into your circulatory system and won’t leave until you dance. Flying Lotus’ beats sure help, too (as they do on the next track, “Where I’m Going”). “Drink Dat” is a slow jam for people starting to wind down after partying in the late hours. “Can’t open my eyes, girl, ‘cause I’m just too wasted,” Bruner sings between raps by Wiz Khalifa.
“Inferno” is the most psychedelic track on the record with Lotus’ trippy beats. “3AM” has Bruner still awake despite being (according to the theme of the album by now) drunk and tired. His bass groove in it is something Christopher Cross hears in his dreams. “Drunk” gets as wobbly as its namesake thanks to Bruner’s reverbed bass and Flying Lotus’ melted cheese synths.
“The Turn Down” is a witty song about the aftermath of too much partying. Bruner laments the mess in his house, the location of Captain Planet (who might be one of Bruner’s cats), and guests who have lingered too long. Pharrell teams up with him on the track, and Bruner has said multiple times that Pharrell’s contribution to the track blew his mind. He does nail it.
The album ends with the great, keyboard-driven “DUI.” Bruner’s night went from drowning his sorrows, to a fun time, to exhaustion, to annoyance, and then either back home, jail, or the grave. “I’m so tired,” he sings again just before the keyboards turn into the sound of screeching tires and then fade into distortion. Did he crash? Did he make it home? Is he in the hoosegow?
Drunk is masterfully crafted, and the best-engineered and mixed album I’ve heard so far in 2017. It’s a stunning, eclectic piece of work. Only good things are ahead for Thundercat. Get Drunk.
Bass guitar whiz, rapper, singer, and producer Thundercat(Stephen Bruner) is one of the funkiest musicians around right now. His music ranges from funk to soul to psychedelia to prog-rock (and he also plays bass in Suicidal Tendencies). His collaborations with Erykah Badu, Flying Lotus, and Kendrick Lamar have all earned him wide acclaim (and a Grammy). His June 25th set at Mamby on the Beachis sure to be a must-see.
