Welcome back, readers! If you caught last week’s preview post, you would know to expect a second helping of the uber-American Bruce Springsteen love. The song du jour would be “I’m On Fire” and it comes with several cover sides to choose from, depending on your taste and mood. We’ve got some Southern seasonal Tori Amos, some imported Bat For Lashes and Electrelane from across the pond, and some fresh local Chromatics all the way from Portland. Order whatever you like… just be sure to share with a friend! –
.Bruce Springsteen - “I’m On Fire” (original:1985) “Only you can cool my desire, oh oh oh I’m on fire.” It seems like every other rock song is about sex, but that doesn’t mean they’re always good songs. “I’m On Fire” is just plain awesome, simple and strong, straightforward and to the point, soothing and powerful. Hands down, this is my favorite song ever written about sexual tension, sexual frustration, and that lustful energy that can sometimes lead to a “bad desire” (see cliché music video, at least for a young Bruce in a jumpsuit). His vocals are so steady and calm, the synthesizer mixed with staccato guitar plucks sound like the ebb and flow of ocean waves, and the wistful lyrics further complement the atmospheric nature of this track. If Springsteen’s guitar-playing-bro-down-session cameo in a lovelorn John Cusack’s bedroom during one of my favorite scenes in High Fidelity weren’t enough, I always wished he was strumming this song while doling outadvice to Cusack’s character about why his relationships failed and what he needs to do to get out of his “What does it all mean?” funk. His cameo was not only classic for American cinema, but it reminded the audience that Springsteen is a music hero in his own right and creates songs for the everyman. But listener beware– do not dismiss his music as simplistic because it is far from it. In the case of “I’m On Fire” alone, Springsteen reminds us of paradoxical brilliance in his ability to craft intense yearning in a completely laid-back, almost removed yet still very much there fashion. Bruce can be my Boss anytime because I love, love, love it. –
.Tori Amos (live cover) Oh Tori Amos, is there ever a classic rock song that you don’t feel the need to cover? With so many live piano renditions of hers on the web I’m a tad shocked she hasn’t put out a zillion covers albums just to organize all the madness. I love the authenticity she delivers in songs because you can hear she means every word and puts every bit of herself in each note. If the aforementioned weren’t impressive enough, she’s still able to maintain the authenticity even when the lyrics aren’t hers. Amos slows down the pace, laces the cover with pretty piano licks, and employs that signature sexy drawl of hers in a way that mirrors Bruce’s preoccupation and incessant desire. Well done Tori, talk about playing secretary to The Boss! I particularly love how she kept the original lyrics “Hey little girl, is your daddy home?” instead of updating it to make it more gender-appropriate. It only makes me dig this version even more. –
Bat For Lashes (live cover)
Someone grab that Mercury Prize and just retroactively give it to Bat For Lashes already. I’ll bat my lashes for singer Natasha Khan any day since I have a little schoolgirl crush on the Brighton-based musician. Upon first listen of her raw vocals it became clear to me that she must read from the same book as personal favorites Fiona Apple and PJ Harvey. As I have a weakness for the dark and the sultry, this stunning cover version did nothing but satisfy my craving. Her moody vocals entrance the listener, the violins are ominous at best, and her keyboard strokes are arousing in an almost quasi-sinister way. She may be on fire, but this rendition makes me hope the fire never burns out.
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.Chromatics (cover) Alright, before you write me off completely for featuring a synthpop version from the Chromatics at least give it a proper listen first. In a sea of acoustic guitar renditions, I was just trying to find an eclectic batch of cover versions for this week’s feature… and this one isn’t bad at all. On the contrary, this simple cover is just as straighforward as the original and is a completely relaxing listen; in fact, those syncopated beats sound like the tick-tock from a clock and could only help a troubled sleeper get to sleep faster than they can reach for the Nyquil. My only criticism is the lack of intensity that makes the original as incendiary as it is. When lead singer Ruth Radelet sings the climactic verse “At night I wake up with the sheets soaking wet, and a freight train running through the middle of my head” I’m quick to say “Oh yeah? That’s cool, but I’m not really buying it.” While Bruce may sound like the one tied to the tracks in his version, the Chromatics are more likely the engineer waving from the train.
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Electrelane (cover)
I love the music in this rendition since it seems British alt-rock outfit Electrelane is the only band with the brainiac idea of speeding up the tempo and plugging their guitars into their amps to make Springsteen’s number a full-on rock song. They keep the synth alive and well yet also manage to infuse an edgier sound that any rock enthusiast can appreciate. But don’t get too excited since this cover doesn’t exactly save the Queen just yet. Perhaps the weakest element in this rendition is the fact that lead singer Verity Susman has got some seriously questionable (and by “questionable” I really mean “annoying as hell”) vocals! While Bruce Springsteen’s soothing voice actually manages to “cool my desire,” Electrelane’s leading lady makes me want to off someone… or at least hit the off button. Whichever happens first.
It has been four long years since Doves released the organically experimental Brit-pop sound of their last album, Some Cities. The question "What exactly have they been up to?" was emphatically answered in front of a sold-out crowd at San Francisco's venerable Fillmore Auditorium on May 18th. Maintaining the confident and consistent hollow-body sound, the new album allows them to stretch out in ways that old fans will still find comfortable. Bringing with them a bigger, more brash sound, Doves Jimi Goodwin, guitarist Jez Williams, drummer Andy Williams and Martin Rebelski on keys, began their live set just as they do on their new album Kingdom of Rust, with "Jetstream". While KOR doesn't seem to have the stand-out "Black and White Town", it still maintains the urban soundscapes that are rarely done this well.
Live performances of old and new included the smooth "Winter Hill", the lighter/cell phone-conjuring "10:03", Blondie vibe "Compulsion" and the "The Greatest Denier" with its darkly grandiose lyrics: "The English skyline falls down to the future. But no one noticed in this empire." The band then tore through the driving piano of "White and Black Town" and the muscular "The Outsiders" before returning for a much-appreciated four-song encore. The show was filled with tight, understated harmonies, shimmering guitar riffs and the occasional fuzzed out bass which would make even fellow Mancunian Peter Hook proud. Only missing from the set list in my mind was "House of Mirrors" which seems ready-made for an energetic live performance.
Comparisons to Radiohead, Coldplay and Elbow are inevitable but still there is something more humble, unpretentious and authentic about Doves and the music they deliver. In some ways, I was reminded more of Bob Mould and the way he can make such refined music seem so very simple and likeable. Even Jimi's snarling, between-song banter is delivered with a charismatic smirk that makes you want to buy him a Boddingtons. In any case, it seems those four years were well spent.
Set List: Jetstream Snowden Winter Hill Rise Pounding Almost Forgot Myself 10:03 Compulsion Words The Greatest Denier Kingdom Of Rust Ambition Black And White Town The Outsiders Caught By The River // Firesuit Here It Comes The Last Broadcast There Goes The Fear
(RED) and Live Nation have recently announced (RED)NIGHTS, a series of 26 live concerts in the U.S. to combat AIDS in Africa. To kick off the series, (RED)NIGHTS artists Santigold, Gomez, O.A.R., Fall Out Boy, Lisa Hannigan, the Veronicas and the All-American Rejects will turn one of their upcoming concerts (RED). A portion of the proceeds of each show goes directly to the Global Fund.
I believe no person deserves to suffer from a preventable, treatable disease simply because they can't afford medicine. If bringing awareness to what (RED) is doing helps one person receive antiretroviral treatment and live a healthy life, we have accomplished our goal." - Marc Roberge of O.A.R
(RED) will present the (RED)NIGHTS concert series at select Live Nation clubs and theaters across the country. (RED) and Live Nation are collaborating to link acclaimed artists with their fans to join the fight against AIDS in Africa. Information about the events already scheduled for the (RED)NIGHTS concert series can be found here.
(RED) was looking to engage more people in its mission…The (RED)NIGHTS series is an innovative concept that combines the power of Live Nation’s live music platform and venues to use people's passion for music to raise awareness and, ultimately, generate more money to help eliminate AIDS in Africa. - Russell Wallach, President of North American Alliances for Live Nation.
Ultimately, it is the goal of (RED)NIGHTS to build a community—of artists, concertgoers and music fans everywhere—that is passionate about helping to save lives in Africa. A portion of the proceeds of each (RED)NIGHTS concert goes directly to the Global Fund.
The first (RED) Night begins on June 12th with a concert by The Veronicas at New Orleans’ House of Blues, followed by shows from Santigold in Dallas and Katy Perry in New York. For a full list of participating artists and venues and to buy tickets, go here.
It’s often said that “The Star Spangled Banner” is one of the hardest songs to sing; don’t tell me you haven’t heard at least a handful of live renditions that made you cringe at one point or another. That didn’t stop 20 year old Southern belle Jessie James from belting out a phenomenal rendition at a NASCAR event over the past weekend.
James is gearing up to release her self-titled debut album on July 14th. Click here to watch a music video of Jessie singing her single “Wanted”, released last week.
The first time I heard Crack the Skye I was skeptical. It is by far Mastodon's most polished and experimental album to date and is a new direction for the Atlanta based prog metal band. My skepticism quickly faded, however, and the album quickly became my favorite of their four studio albums. That said, I was extremely eager to see them play tracks from the new album at the TLA on Philadelphia's South Street.
The band came out on stage and immediately began running through the new record in its entirty, which plays much like a single track broken into chapters. Like an orchestra, barely looking up from their instruments, they repeatedly impressed with technicality and epic melodies. Singer-guitarist Brent Hinds stole the show with his classic rock inspired face-melting solos while drummer Brann Dailor's rhythms were interesting at any speed. Bassist Troy Sanders lent his unique voice and Bill Keliher added strength on guitar. Behind them was a backdrop of eerie overlaid film clips echoing the out of body, astral theme of the album.
There was a short intermission before Mastodon returned to play 9 songs from their earlier albums. This second set was much livelier than the first, most likely due to the faster tempo of the older material. Hearing the old and new played back to back and really showed how far the band has come since the release of the first album in 2002. While the older stuff is still great, I really like the direction this band is going.
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