popwreckoning

Wait a second…is that…sun?

Yes, the second day of Monolith saw some sun. Though I must stress “some.” Granted “some” was a significant improvement to the cold, icy rain that drizzled on concertgoers the entire day before.

Feeling encouraged by the slight appearance of sun, Monolith’s second day promised to be good.

We Were Promised Jetpacks // Woxy.com Stage @ 1:40-2:20 p.m.

I started off with Scottish group We Were Promised Jetpacks. I couldn’t decide what I liked more. Their music or their stage banter with the audience.

During a brief break in their set, a girl shouted out, “Say four,”

“Whore?” asked Adam Thompson, causing the audience to erupt with laughter. “I’m not some kind of Scottish circus freak. I can’t roll into town and say whatever you want.”

The group just released their debut this past summer and while they cite their influences as Frightened Rabbit and Twilight Sad, I’d say they have mainly the accent in common and while I like those other two bands, I think We Were Promised Jetpacks had the most enjoyable live show after seeing all three at Monolith.

“I’m going to let you in on a secret,” said Thompson near the end of their set. “This might be our only good song. We peaked.”

I wouldn’t let Thompson’s modesty fool you. All their songs are good.

Rahzel // Esurance Music Stage @ 2:30-3 p.m.

I was a bit disappointed with the arrangement of the next options at the festival. I could either see DJ rapper The Pirate Signal or hip hop artist Rahzel. These genres are not really my thing and I was disappointed that there weren’t any alternative genre options when the rest of the line up was pretty good about having variety at different stages.

I decided to sit at the top of Red Rocks and watch some of Rahzel. Rahzel, is perhaps better known either as the “beat boxing champ” or as a member of The Roots.

The first ten minutes were painful. I find having a DJ yell, “We’ve got the champ; we’ve got the champ” over and over while some other guy simply talks kind of lame. That “warm-up” part was something I could have done without.

But then, Rahzel finally showed off his beatboxing skills. First it was White Stripes‘ “Seven Nation Army” then a little Justin Timberlake and countless other popular tunes. And that was bad ass.

Neon Indian // Woxy.com Stage @ 3-3:40 p.m.

Now Neon Indian was more my speed with its synth heavy lo-fi pop. It is the project of Alan Palomo of VEGA.

Monolith was the first ever live performance of the band, but as Palomo’s bold movements and twists of the microphone cord made it look like they had been performing forever. His female bandmate on keys was a bit more timid though and I’m not sure if that was her personality or nerves.

I expect this group to blow up soon because let’s be honest…who doesn’t love the synth?

Monotonix // Southern Comfort Presents Stage @ 3-3:30 p.m.

So I didn’t intend to see any of Monotonix and then I accidentally ended up seeing too much.

After emerging from the depths of Red Rocks, I was surprised to see a large crowd huddle in front of the Southern Comfort Stage, yet no one was on stage nor did it look as though anybody had been on stage. Crews were already setting up for the next band. Yet there was some weird sort of rap rock…I’m not quite sure how to describe what was going on soundwise…coming form the middle of the croud.

Suddenly, from the depths of the crowd, a skinny, shirtless man with long hair was lifted on to the shoulders of the crowd. This was Monotonix and the people were just eating his performance up. I finally got to see him, but this is also when I saw too much of him.

It wasn’t long before he was mooning the crowd and I decided it was time to take my leave from the spectacle and check out another band.

The Dandy Warhols // Esurance Music Stage @ 3:30-4:15 p.m.

Maybe it was the singer’s stripped shirt, but there was a definite sailor swagger to the Dandy Warhols.

They seemed happy to be playing, but there was also an aloofness that made it a little difficult to connect with their live show.

The group was at their best when songs called for extra percussion effects like on “The Legend of the Last of the Outlaw Truckers.” The band sounded better and seemed happier on songs like that.

Set List:
Burned
Trucker
Junky
Good morning
I Love You
Holden Me Up
The Last High
Bono
Get Off
U2BF
Wasp
P/Boys

The Love Language // Radius Earphones Stage @ 3:40-4:20 p.m.

Looking at the stage set up for The Love Language, my first thought was that two separate bands were going to duel for the ownership of the drummer. Two keyboardists faced each other and two singers stood side by side. It was crowded for such a tiny stage.

But once I heard the band start to play, it was quite clear that something different was happening on stage. Instead of two separate bands battling for control of the drummer, siamese twins would be a better image to conjure up. The band was a single entity, but at the same time, as they switched from song to song, they showed different personalities. The Love Language are Siamese twins, not joined at the hip, but at the drummer.

Aside from walking away from this review with that weird imagery, know that soundwise, they really are the language of love. They are just happy-sounding and sweet and tons of other things that make you want to curl your toes with glee. There was a carefree nature about the music and the performance, so carefree in fact, that the band hardly flinched when all their foot-stomping knocked one of their keyboards off the stand.

Set List:
2 rabbits
providence
nocturne
blood
brittney
blue angel
sparxxx
manteo
lalita
hello mary lou

The Thermals // Southern Comfort Presents Stage @ 4-4:45 p.m.

I’ve had the privilege of seeing The Thermals before.

I just love the nasally stretch of the singers vocals, “Nooooow weee cannnn see,” the bassists growth from nonchalance to lost-in-the-moment jumping, and the unabridged enthusiasm of the constantly smiling drummer.

Yet, since I had seen them before, I regrettably had to pull myself away to catch some acts I had never seen before. Next time, Thermals. Next time.

Set List:
Return
Afraid
Future
Trivia
Let go
How Know
Call Name
Back Gray
Sick
Trip
100 %
Strosa
Pillar
Culture
We See

Bad Veins // Woxy.com Stage @ 4:20-5 p.m.

Two guys, flowery wood boxes, a big film machine and a telephone. Sounds like the beginnings to a weird sitcom, but really this was just the beginnings of Bad Veins, a duo that features a tape machine named “Irene.”

The guys and “Irene” produced a really full sound, but I’m not entirely convinced I understand the purpose of the telephone bit.

While I’m sure many in the audience inadvertently wandered in, they stayed because they group was unique and good.

HEALTH // Radius Earphones Stage @ 5-5:40 p.m.

HEALTH – OMFG.

I can’t decide if I love the festival organizers for booking some amazing bands or hate them for booking some amazing bands in ridiculously small rooms.

If you were one of the lucky few who didn’t get shut out of HEALTH’s set, you know how amazingly fortunate you were to witness them live. Each band member was all over the stage, jumping and thrashing. I’ve never seen so much energy from a electronica rock band.

If you were unfortunate enough to get shut out, get in your car and drive somewhere to see them even if that means driving to an airport.

This is a band everyone must witness once in their life.

The Twilight Sad // Woxy.com Stage @ 5:40-6:20 p.m.

The Twilight Sad rounded out the Scottish trio performing at the fest.

A schedule change moving Savoy earlier and shifting Passion Pit and Phoenix later due to a cancellation from illness in MSTRKRFT‘s camp made it so I wasn’t conflicted with choosing between Twilight Sad and Passion Pit.

The set was hauntingly beautiful, but a bit of a downer. A technical hiccup in the set lightened the mood a bit as the band awkwardly stated, “Wish we knew some jokes.”

They were talented, but awkward and shy, which I suppose is fitting for their music. Plus, they had accents, and who doesn’t love a good accent.

Set List:
Doonstairs
Faster
Hit Single
Eyes Oot
Mooth
Rabbit
Sheepdng

(not typos, just how they wrote it out on the set list)

Tigercity // Radius Earphones Stage @ 6:20-7 p.m.

Tigercity was some smooth, easy-listening and I unfortunately was just too revved up to go see Passion Pit to truly enjoy this group.

It wasn’t that Tigercity was bad and they had the recipe for everything I love–synth! It was just that it was more so something that was more appealing to an older crowd that still wanted to be hip than what I’m into. Sorry Tigercity.

Set List:
Fake Gold Other Girls
Graz 75 B
Ancient Lover
Power Stripe Solitary Man
Red Lips D Water
A Better Place James
My Type
Let Her Go
?
Mallory

Passion Pit // Southern Comfort Presents Stage @ 7-7:45 p.m.

OK, again, I don’t know why the festival organizers didn’t put Passion Pit on the main stage because the entire day this was the band that I heard everybody talking about going to.

They were good the last time I saw them, but I can’t get over how much the stage presence has improved. Every band member was all over the stage, jumping off monitors and the kick drum and falling on the floor.

The crowd makes a Passion Pit set. They know all the right times to respond and sing back the vocals.

High-pitched vocals have the potential to be obnoxious, but in Passion Pit’s case, it is pure fun and add the electronica beats and you have a non-stop dance party.

I could have been content to end the night here, but some of my favorite French rockers were getting ready to take to the main stage.

Set List:
make light
i’ve got your number
let your love grow tall
little secrets
to kingdom come
better things
sleepyhead
smile upon me
…can’t remember what was played here…
the reeling.

Phoenix // Esurance Music Stage @ 7:45-9 p.m.

Phoenix has been in the music game for a long time, but it wasn’t until Wolfgang Amadeus Phoenix that the States finally took notice of these French rockers.

Yes, the lyrics don’t always make sense (remember English is not their first language), but they sure sound good and are tight musicians.

Think Air with a dash of Daft Punk–this comparison shouldn’t be too hard considering all these artists are part of the Versailles scene.

Phoenix started strong with “Listzomania” and even stronger with “1901,” a song that blew audience away when performed on SNL.

My night ended with Phoenix. Sorry Mars Volta, but I had an eight hour drive that had to be completed before my roomies’ class the next day.

But it doesn’t matter. I couldn’t hope for a more perfect end than Passion Pit and Phoenix.

Set List:
Listzomania
Long Distance Call
Consolation Prizes
Lasso
…sorry, blanking on this part of the set…
Girlfriend
Rome
Too Young
1901

Monolith: website | day 1

If you’ve seen Brand New‘s rock show, you know what an amazing live show they have. Now you can see if they can keep that same intensity acoustic.

Brand New’s new album Daisy hits stores soon and the band is hitting up independent record stores to help promote the album with special acoustic performances.

You must have a pass to get into the performances. Passes can be picked up Sept. 22, the day of the album’s release.

Dates and locations:

ST LOUIS, MO
October 6th at 4pm
VINTAGE VINYL
6610 Delmar Blvd
University City, MO 63130
**Pass distribution begins on 9/22!**

SAN FRANCISCO, CA
October 16th at 4pm
RASPUTIN RECORDS
1820 S. Bascom Ave
Campbell, CA 95008
**Pass distribution begins on 9/22!**

LAS VEGAS, NV
October 23rd at 4pm
ZIA
4225 S Eastern Ave
Las Vegas, NV 89119
**Pass distribution begins on 9/22 at both Las Vegas ZIA locations**

DALLAS, TX
October 30th at 4pm
GOOD RECORDS
1808 Lower Greenville Ave
Dallas, TX 75206
**Pass distribution begins on 9/22!**

CHARLOTTE, NC
November 9th at 4pm
MANIFEST DISC
6329 S. Blvd
Charlotte, NC 28217
**Pass distribution begins on 9/22 at both Manifest locations**

Brand New: website | myspace

Though “Snakes on a Plane” is long in the past, The Sounds are still a current sensation.

Photographer Dese’Rae L. Stage caught the Swedish New Wave group at New York’s Roseland Ballroom.

Check out her photo experience below:

The Sounds: website | myspace

Matisyahu has released his newest album Light already this year and it is just as good, if not better than his first album that came out in 2006. It is evident in Matisyahu’s first few tracks on his new album Light, that his craft, and style of music has evolved. All music changes from album to album, and after listening to both of his, there is a profound difference in his sound. However, even though his music has changed (not too dramatically by the way), his message remains constant. I have noticed that Matisyahu is very inspired by overcoming obstacles and self-empowerment. These ideas are very much embedded in his music.

The first track of the album titled “Smash Lies,” is proof of his meaningful messages. The main line in the song that is repeated is “Dream away!” It speaks of dreaming big and not letting the little things (smashing lies) hold you back.

The song “One Day,” Matisyahu’s newest single, is a song about how that one day the world will be without war, starvation, and other viruses such as these, that have infected out world. After listing to this Reggae ballad, I have found that he has added a splash of the essence that you can find in all of Bob Marley‘s music. These must have been a key factor in determining that this song would be the single.

A good part of the album Light is made up of R&B-Reggae as apposed to Matisyahu’s last album that was primarily Rap-Reggae, and I like it. He did still manage to keep his rap in his record, but the fact that he ventured out into R&B for this album is impressive. Especially because he did a hell of a job. My personal favorite song on the album is “On Nature.” It is oh so very good. I will leave it up to you to check the song out!

Tracklisting:
01. Smash Lies
02. We Will Walk
03. One Day (New Album Version)
04. Escape
05. So Hi So Lo
06. I Will Be Light
07. For You
08. On Nature
09. Motivate
10. Struggla
11. Darkness Into Light
12. Thunder
13. Silence

Tour dates:
Oct. 17 – Flames Central / Calgary, CAN
Oct. 18 – Commodore Ballroom / Vancouver, CAN
Oct. 19 – McDonald Theatre / Eugene, OR
Oct. 20 – The Catalyst / Santa Cruz, CA
Oct. 21 – House of Blues / Anaheim, CA
Oct. 22 – The Fillmore / San Francisco, CA
Oct. 24 – Kick Gas Festival / San Diego, CA
Oct. 25 – Marquee Theatre / Tempe, AZ
Oct. 27 – The Fillmore / Denver, CO
Oct. 29 – Peoples / Des Moines, IA
Oct. 31 – Pabst Theater / Milwaukee, WI
Nov. 2 – The Pageant / St. Louis, MO
Nov. 3 – House of Blues / Chicago, IL
Nov. 4 – Foellinger Auditorium (University of Illinois) / Champaign, IL
Nov. 5 – Slowdown / Omaha, NE
Nov. 8 – House of Blues / New Orleans, LA
Nov. 10 – The Lincoln Theatre / Raleigh, NC
Nov. 11 – Fillmore / Charlotte, NC
Nov. 12 – The Handlebar / Greenville, SC
Nov. 14 – Music Farm / Charleston, SC
Nov. 15 – The Orange Peel / Asheville, NC
Nov. 16 – Buster’s / Lexington, KY
Nov. 17 – The Norva / Norfolk, VA
Nov. 18 – The National / Richmond, VA
Nov. 19 – House of Blues / Myrtle Beach, SC
Nov. 21 – Sonar / Baltimore, MD
Nov. 22 – The Palladium / Worcester, MA
Nov. 23 – Higher Ground / Burlington, VT
Nov. 24 – Northern Lights / Albany, NY
Nov. 25 – Sixth & I Historic Synagogue / Washington, DC
Nov. 28 – The Borgata / Atlantic City, NJ
Nov. 29 – Le Medley / Montreal, CAN
Nov. 30 – The Phoenix / Toronto, CAN 
Dec. 1 – Webster Theatre / Hartford, CT
Dec. 2 – House of Blues / Cleveland, OH
Dec. 3 – Bogart’s / Cincinnati, OH
Dec. 7 – St. Andrews / Detroit, MI
Dec. 8 – The Armory / Rochester, NY

Matisyahu: website | myspace | interview | @ crossroads

Beware: Assistants in Power

Assistants may be the definition of show biz losers, but the job does have its perks. Aside from getting first crack at the CD’s and free tickets that get sent to our boss, we are the gatekeepers. We control everything. And I do mean everything.

Everyone is vying for the attention of our boss, and the sole purpose of the assistant is to decide who gets through and who doesn’t. Before you can get anywhere, you have to be able to answer two questions.

“Who may I say is calling?”

“And what is this regarding?”

If you can’t answer them coherently and politely, then you’re going to hit a roadblock. Every assistant will give the message to his or her boss (because we all value our job, demeaning as it sometimes may be), it’s all a matter of timeliness and context. If a message is given at the wrong time in the wrong way, like when Boss Man is distracted by a poor selling show or a car in the shop, the message will be forgotten.

Assistants don’t just have power over the outsides that try to get to our boss; we also have power over our own boss. We book travel, rental cars, and appointments. You can easily be assigned to a middle seat on the last row of the plane and drive a subcompact with no GPS if you don’t keep us happy and relatively well paid.

This is nowhere near my style, but if an assistant were criminally inclined and especially slighted by the man who signs the paycheck, assistants hold all of the vital information not just on the boss, but if it’s anything like my office, also of clients and their families. That includes addresses, phone numbers, credit card numbers and social security numbers. For obvious reasons, the boss must find the delicate balance of barking orders and appreciating the assistant’s work.

Of course, this power trip should never go to the assistant’s head, less they end up like a former coworker. One of my fellow assistants became too comfortable and believed herself to be quite indispensable to our boss after five years of service. She was very mistaken and found herself unceremoniously fired by email.

- The Assistant

If you have any questions about what I do, the workings of the music business, or just the perspective of an insider, then please post them in the comment section. I’ll do my best to answer them. On any given day I work with management, labels, book agents, publicists, venues, marketing people, promoters, radio, web masters, and loads more, so I have plenty of dirt to dish.

This was one of those shows that took me completely my surprise in how amazing The Pretenders were, how hauntingly beautiful Cat Power comes across live and how badly Juliette Lewis wants to look like Karen O and try to wail like Janis Joplin.

Beginning with Juliette Lewis, the intensity was never lacking, but I felt it was mostly an act, it didn’t seem entirely genuine and lyrically, it was rather bland. That and call me crazy, but I found it a little on the showy side for a band to take two curtain calls as an opener after a five song set.

With that aside, let me confess my admiration and appreciation for Cat Power. I’ve been a fan of her covers for awhile now, but getting to hear them live, takes it to another level, especially in such an intimate setting, her voice is allowed to shine. I was particularly impressed by her ability to transform a song into something completely. Most covers are done to replicate the original band, Cat Power makes them her own and for that, I thank her a great deal.

As for The Pretenders, let me say how completely impressed I was by how Chrissie Hydne as the only original member left of the band breathes new life into their catalogue of classics with a new backing band full of amazing showmanship by the drummer and lead guitarist. The soaring riffs and beats complimented Hydne’s vocals as she ripped through the band’s catalogue, barely taking a breath between cuts, trying to cram in as many songs as possible and I for one, was not complaining.

My only gripe with the show was the photo rules for the show, which barricaded photographers stage left and right, and did not allow us directly in front of the stage, making for cramped conditions and poor angles. All in all, I had one hell of a good time and I suggest anyone to see The Pretenders and you will not be disappointed.

Setlist:
01. Break Up the Concrete
02. Message of Love
03. Talk of the Town
04. Love’s a Mystery
05. Kid
06. My City was Gone
07. The Nothing Maker
08. Rosalee
09. Angel of the Morning
10. The Last Ride
11. Back on the Chain Gang
12. Don’t Get Me Wrong
13. Don’t Cut Your Hair
14. Boots of Chinese Plastic
15. Thumbelina
16. Night in My Veins
17. Precious
18. Mystery Achievement
///
19. Watching the Clothes
20. Brass in Pocket
21. Middle of the Road

The Pretenders: website | myspace

I had no idea who Murder By Death was before their show at the Bottleneck on Saturday evening. I now pity myself because I’ve been missing out on years of Death’s musical awesomeness.

After grabbing a cold (as in partially icy) beer, I took a seat towards the back of the venue to listen to Cowboy Indian Bear‘s opening set. I wasn’t planning on reviewing them again because I recently saw them open for Peter Bjorn & John. After seeing their set a second time however, I felt it necessary to add a few comments about their music.

CBI’s sound is diverse. At times, the band layers light bells and tiny chimes over deep, new wave synths. CBI can quickly change gears, though, and produce songs that are influenced by old country or classic 60s spy tracks.

The second opener, Suzannah Johannes, used her water-like guitar strumming and vocals, mixed with a supporting keyboard and male vocals, to put on a quiet, ambient folk performance. Although her blues, speak sing voice flowed over her songs’ beautiful melodies effortlessly, the set didn’t hold the crowds’ attention. Johannes did mention that her drummer was absent that evening, so her performance may have been better received if the other musician was present.

When Murder By Death launched into their first song, “Ball & Chain,” Adam Turla‘s (vocals, guitar) flame shaped black guitar carried the band into a blazing Americana rock out.

When Turla sings, it’s like he’s biting the heck out of something. His words come out heavy, while teeth gnaw and distort the song’s dark, menacing lyrics. Atop his performance, his lean frame and stoic face, dressed with dark hair and thick sideburns make it obvious that Turla is a man who shouldn’t be messed with.

The four-piece’s loud sound was superb. Sarah Balliet‘s cello, mixed with Matt Armstrong‘s bass, Dagan Thogerson’s percussion, and Turla’s vocals created a haunting wall of sound.

The next song, “52′ Ford,” had a massive bass line that rumbled through the venue’s walls and concert goers’ heads (many folks without ear plugs began to cover their ears at this point). Balliet’s cello added a sweet yet gritty overtone to the tune, and her multi-colored dress jerked in each direction the musician moved her body.

Many of the songs Death played had a Gogol Bordello franticness, and the melodies and lyrics were quirky and dark, similar to Scott Weiland’s solo work.

Early in the set, Turla said whenever the band came to Lawrence, Kan., it was impossible for them to stay sober, no matter how hard they tried.

“There’s no escape.”

“It’s like you guys have a booze lazer,” Turla said.

Turla also said the band was supposed to be taking a night off (they’re currently touring with the Gaslight Anthem), but decided to headline in Lawrence per a friend’s demand.

“There’s no sleep for the wicked.”

After concluding “Fuego,” Murder By Death began to play “Steal Away.” The song was cool, and calm. The melody elicited thoughts of a small, smokey jazz hall filled with mirrors, and lit with lamps that gave off green hues.

Towards the middle of MBD’s set, the band began to down more drinks. I’m pretty sure they consumed most of the whisky at the Bottleneck that night.

Something I enjoyed about MBD’s performance was that Turla often gave a background to the songs the band performed. One was described as a “party song” about gypsies, and their “fuck all” attitude. Turla labeled another tune as the band’s “manic song,” which incited the crowd to whoop with joy. He then said he had no idea why such a depressing song could make everyone happy, but accepted the response and went on. Turla simply said another song was just about whisky.

After walking away from the stage, the band quickly returned for an encore. Turla said tonight was a rare occasion because Balliet wanted to tell everyone a story.

Balliet said after the band played a show a few evenings back, a girl approached her to tell her how much she loved it when Balliet played the bass (pronouncing bass like the fish).

“I smiled and said thank you.”

Turla then said the band would play two old songs. The last song of the evening, an instrumental piece, was the perfect way to end the awesome evening.

Set list:
Ball & Chain
52′ Ford
The Black Spot
The Organ Grinder ?
A Masters In Reverse Psychology
Fuego
Steal Away ?
Shiola
Three Men Hanging
I will call this the “Gypsy Song”
One More Notch
Brother
Another song Turla deemed as horridly depressing
That Crown Don’t Make You A Prince
The song Turla said was about whisky
Until Morale Improves The Beatings Will Continue
Knife Goes In, Guts Come Out
///
I’m Afraid Of Who’s Afraid Of Virginia Woolf
Instrumental

Murder By Death: website | myspace

Following an opening slot supporting the Pixies at London’s Brixton Academy on October 8, Eddie Argos and the rest of the Art Brut crew are scheduled to leave England and come over here to embark on a extensive North American tour this October and November. The tour begins at the Middle East in Cambridge, Massachusetts on October 16 and finishes at New York’s Bowery Ballroom on November 15.

Tour Dates:
Oct 16 – Middle East / Cambridge, Ma.
Oct 17 – Maxwell’s / Hoboken
Oct 18 – Black Cat / Washington DC
Oct 19 – Cat’s Cradle / Carrboro, NC
Oct 20 - Earl / Atlanta
Oct 22 – Bottletree / Birmingham
Oct 23 – Spanish Moon / Baton Rouge
Oct 24 – Walter’s on Washington / Houston
Oct 25 – Mohawk / Austin
Oct 27 – Club Congress / Tucson
Oct 28 – Casbah / San Diego
Oct 29 – Glass House / Pomona, Ca.
Oct 30 – Cafe Du Nord (2 shows) / San Francisco
Nov 1 – Holocene / Portland
Nov 2 – Neumo’s / Seattle
Nov 3 – Biltmore / Vancouver
Nov 4 – Neurolux / Boise
Nov 5 – Urban Lounge / Salt Lake City
Nov 6 – Bluebird / Denver
Nov 8 – Slowdown / Omaha
Nov 9 – Triple Rock / Minneapolis
Nov 10 – Lincoln Hall / Chicago
Nov 12 – First Unitarian Church / Philadelphia
Nov 13 – Brooklyn Bowl / New York City
Nov 14 – Ottobar / Baltimore
Nov 15 – Bowery Ballroom / New York City

Art Brut: website | myspace

Welcome back and uber-apologies, readers!  In case you’ve been wondering where my Carmen Sandiego ass has been the last 2 weeks, well, I’ll tell you.  The Californication and the splendor of the Pacific Ocean swallowed me whole and took away my ability to write anything worth reading.  I can’t explain it, really.  I’m not sure if it was all the sun, the Mexican good eats, the clear weather, laid-back vibe, or the fact that I came home in a bigger funk than when I left for The Golden State, but something shifted in the overhead compartment in my head during flight.  But please note– I am back, somewhat.  Whatever the fuck that means.

My last two posts were decidedly Kanye-esque (8/19 | 8/26) and you would think his recent VMAs fuckery would inspire a third installment, right?  Well, I am happy to report that I’m all Kanye-ed out and will not be mentioning his bitchass for a while.  As if his famewhoring ego needs any more attention, as is.  The one good thing is I did listen to lots of music in Cali, particularly copious amounts of Jimmy Eat World, Ted Leo, Arctic Monkeys, and assure you this will jumpstart a slew of new Under Cover posts I am amped to share.  This week will be dedicated to covers by CAKE, the Sacramento-based band that I spent a good chunk of time falling back in love with while driving around the quaint areas of San Diego, plus I even got to catch them live while there (review to follow!).  I’ve been listening to so much CAKE lately that I don’t even have the time to eat cake, let alone bake one.  Who doesn’t love a band who has made a career out of clever usage of trumpet, the occasional Moog, witty wordplay, and half-spoken half-singing vocals?  Seriously.  Here.  Enjoy a nice, big spoonful of e-CAKE.
–

.CAKE – “I Will Survive” (Gloria Gaynor cover)
If you’ve never heard Gloria Gaynor‘s original version then clearly you’ve never turned on a radio, gone to a school dance, or suffered through a painfully fun karaoke night at any bar in anytown, USA.  Perhaps the de facto female empowerment anthem of this century (chill Aretha, I’ve mentioned you before), I love to hate this song, hate that I love it, and apparently CAKE felt the need to put their own jazzy spin on it from the male point of view.  I love lead singer John McCrea‘s deadpan vocals, the general “fuck you, I don’t need you” attitude, the mariachi-style trumpet outro that perfectly complements the swan song feel, and the profanity.  I read this is Gaynor’s least favorite version due to the profanity (they switched her “I should have changed that stupid lock!” to “I should have changed my fucking lock!”), but for me this actually just gives me more reason to love it.  Ha.
–

.CAKE – “Mah nà, Mah nà” (The Muppets cover)
If you grew up on Sesame Street, then you should instantly recognize this song that was popularized by those ever-nutty Muppets.  It’s irritating as hell, it sticks in your head, you’ll find yourself humming it without even realizing why or where it’s from… yeah, it’s just that awesome.  This cover is just so gosh darn cute and a pretty ingenious selection to feature on a B-sides and Rarities album.  I love the syncopated guitar riffs, hand claps, morsels of Moog, the dude who sporadically yells in the background, and the repetitive “mah nà, mah nà” that basically sounds like The Muppets were in the studio with CAKE.  Mah nà, mah nà, do do do do do.
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.CAKE – “War Pigs” (Black Sabbath cover)
Okay, so I don’t really think Ozzy Osbourne when I listen to CAKE, but maybe they’re huge Black Sabbath fans?  I’m going to go ahead and forgive them for this cover because it may only have been done to pay homage to a band they dig, but it’s sort of awful.  When they sing “Now in darkness world stops turning, as you hear the bodies burning” while lacing in a little Moog, it doesn’t send the same chills down my back as when Ozzy sings the same lyrics all ominous and prophetic.  I can’t really take this rendition seriously, it’s a doozy.
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.CAKE – “Perhaps, Perhaps, Perhaps” (Osvaldo Farrés cover)
“You won’t admit you love me, and so… how am I ever to know?  You only tell me ‘Perhaps, perhaps, perhaps.’” Man, that sounds irritating as hell.  Originally known as “Quizás, Quizás, Quizás,” (or “Perhaps, Perhaps, Perhaps” in English) this flirty gem of a little song about confronting a wishy-washy lover was written by Cuban songwriter Osvaldo Farrés, translated into English lyrics by Joe Wilson, used in countless movies, and popularized by the likes of Doris Day (my favorite version), Nat King Cole, and even the Spice Girls.  With CAKE’s slow groove and jazzy latin flair, the muted drum rolls and saucy trumpet, this song comes alive in new ways, especially since I’ve never heard a male version before. The Doris Day version always makes me want to learn the tango and dance a wishy-washy pseudo-boyfriend off a cliff if he keeps perhaps-ing my ass to death.  CAKE’s version just makes me want to blast it while throwing the aforementioned dude’s clothes and assorted unmentionables off my balcony.
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