The backstory of London, England’s the Big Pink is, shall we say, quite interesting. Robbie Furze (vocals/guitar) and Milo Cordell (programming/keyboards/synthesizer/vocals) first joined up to run a record label called Hatechannel. At the end of 2007, they got to the point where they wanted to make some noise of their own and see where it would lead. They’ve admitted that they originally wanted to be “the digital Velvet Underground” and “more Phil Spector than My Bloody Valentine“; these descriptions may give you some indication of what they sound like if you’ve never heard a tune of theirs. But their foundations in loving the Band (whose first album provided the band’s name – Furze’s parents were huge fans of Robbie Robertson‘s group) and soul legends like Sam Cooke and Otis Redding should not be dismissed. In fact, the duo now say they are more of a “soul band” than anything else; they are quick to dismiss the lazy “shoegaze” label that was applied to them almost immediately when they first appeared on the British music scene. They appeared at the Black Cat Saturday night with Long Beach indie rock band Crystal Antlers.
Because of the freak D.C. area snowstorm earlier and the deathly cold temperatures, I wasn’t sure how many people would actually be in attendance. Before the Friendly Fires / the xx show at the Paradise in Boston the night before, I chatted with some fellow English music fans who said the crowd for the Big Pink at that venue earlier in the week was small (around 100 people). So I wasn’t sure if Washington would make a good showing. When my friend and I arrived in our winter coats and stepped on the main stage floor at 10, my worries disappeared as I saw the crowd that had assembled and ready to receive the opening band (which, in my experience, isn’t always the case at a local show). Phew.
Crystal Antlers launched into a set of psychedelic but raucous numbers. The first question that came to mind when they started playing: do you like Procol Harum? (Their classic “A Whiter Shade of Pale” should jog your memory, if you ever listen to compilations with names like Songs of the Sixties.) If yes, you will like what organ player Cora Foxx brings to the table. Jonny Bell, the band’s singer/bassist, has a shouty style of vocal delivery that didn’t impress me much, but the audience was receptive and overall approved of the band’s sound, especially when they went for it, guitars flying and percussion crashing (drums by Kevin Stuart and all manners of other percussion by a very lively Damian Edwards). A good example of their style was “Tentacles,” the title track off their 2009 debut album.
When the crew began setting up the stage for the Big Pink, I spied strobe lights, big and small, being hauled out and carefully arranged. The last time I’d seen anything like it at the Cat was for White Lies last winter. In a ridiculous way, the Big Pink’s lights and fog far surpassed that of White Lies’s set-up in March. I think both the lights and fog detracted from the fantastic, but brief performance they put on for us. Furze stood center stage in a black muscle tank – note emphasis on the muscle. The boy is ripped. He was also sporting a Metallica tattoo on his right arm and multiple gold necklaces (with key pendants) around his neck that looked like they were stolen from the stylist’s trunk of the xx. Cordell stood behind his synthesizer, wearing a hoodie and looking completely content to let Furze take the limelight.
Live, Cordell and Furze are augmented by Leopold Ross (bass) and Akiko Matsuura (drums/vocals). One of the best moments of the night was when Furze and Ross went balls to the wall with their guitars, like in “At War with the Sun,” balanced oh so well with the wistful refrain of “Young hearts know nothing but say it all / celebrate no control / but it is enough to realize / and miss us when we’re gone / live for the words that we sung / and don’t let go.” Breathtaking. Furze slowed things down a bit with a cover of Otis Redding‘s “These Arms of Mine,” which showcased his amazing voice. The Big Pink’s far too brief set was punctuated by their latest single, the almost celebratory “Dominos,” fists a-flying in the crowd to the band’s rhythms. Bloody fantastic. Following the 2010 Shockwaves NME Awards Tour in the UK in February, the band will return to North America next year for a March-April tour – I highly recommend seeing them before they start filling bigger venues.
The Big Pink Set List:
Too Young to Love
Frisk
At War with the Sun
Velvet
Crystal Visions
Count Backwards to Ten
Tonight
These Arms of Mine (Otis Redding cover)
Dominos
Tour Dates:
Mar 10 – Great American Music Hall / San Francisco*
Mar 12 – Neumo’s / Seattle*
Mar 13 – Venue / Vancouver*
Mar 14 – Doug Fir / Portland*
Mar 18 – First Ave / Minneapolis*
Mar 19 – Turner Hall / Madison, WI*
Mar 20 – Metro / Chicago*
Mar 22 – Southgate House / Newport, KY*
Mar 23 – Grog Shop / Cleveland*
Mar 24 – Mod Club / Toronto*
Mar 26 – Cabaret / Montreal*
Mar 27 – Paradise / Boston*
Mar 28 – Maxwell’s / Hoboken*
Mar 30 – Webster Hall / New York City*
Mar 31 – Theatre of Living Arts / Philadelphia*
Apr 01 – Rams Head Live / Baltimore*
Apr 02 – Cat’s Cradle / Chapel Hill, NC*
Apr 03 – Masquerade / Atlanta*
Apr 05 – Club Downunder / Tallahassee*
Apr 07 – Warehouse Live Studio / Houston*
Apr 08 – Parish / Austin*
Apr 09 – Granada / Dallas*
Apr 10 – Bottleneck / Lawrence, KS*
Apr 11 – Bluebird / Denver*
Apr 12 – Urban Lounge / Salt Lake City*
Apr 14 – Rhythm Room / Phoenix*
Apr 15 – Casbah / San Diego*
* with A Place to Bury Strangers
I had no idea Otis Redding wrote the original! Am I the only one?! I thank resident soul expert and fellow PopWrecker Jesse, for sharing this live version because it rocks. Serving as a musical plea for respect, honor, and recognition from a woman, Redding’s version climbed Billboard‘s Black Singles Charts but also became a crossover hit for white pop audiences, as well. This is quite an accomplishment for the 1960s, but I’m sure the musical genius of “Respect”, with its upbeat bluesiness and danceability, had a little something to do with it. Even when the track heats up and he really begins to shout and holler, Redding’s voice still maintains a smooth huskiness that’s easy on the ears. With jangly guitar splices, the jazzy sax appeal, and an infectious drum beat, it all complements Redding to create a rock n’ roll song with a helluva lot of soul. Too bad they don’t write songs like this anymore!
Okay, they don’t call her the Queen Of Soul for nothing. Aretha Franklin totally revamped “Respect” and created a feminist statement all at once in what is easily one of the best cover songs ever created. Redding himself joked about his friend creating a musical and cultural phenomenon when he said, “that little girl done stole my song!”  Winning Grammy awards and coming in at #5 on Rolling Stone‘s list of “The 500 Greatest Songs Of All Time”, Franklin’s version soared to new realms of success. She reversed the roles to make “Respect” an anthem for under-appreciated women who refuse to let their men walk all over them. Perhaps my favorite additions to the song that aren’t present in Redding’s version are the lyrics: “R-E-S-P-E-C-T / Find out what it means to me / R-E-S-P-E-C-T / Take care … TCB.” And TCB (taking care of business) is just what Franklin did, with the unforgettable “just a little bit” background snippets, bluesy sax, and her incredible vocal range. This song just makes me want to shake my neck, wag my finger at a trifling man, and throw his clothes off the fire escape and onto the street. Respect.
I’ve never been the hugest fan of Leonard Cohen‘s folk rock sensability, but then again that stems from the fact that I never quite understood his musical vision. Before I could write him off entirely, I heard “Hallelujah” and wasn’t ready to throw in the proverbial towel. This song, powerfully cryptic in its lyrics, is either an ode to a religious experience, sexual pleasure, or maybe even both.  Who knows, really. But it’s no secret that it’s purifying, uplifting, and definitely cathartic either way. Unsatisfied with the song, it’s even been said it took a frustrated Cohen upwards of 80 verses to decide on the ones he felt worked best. With a bass line that rocks you back and forth like a lullaby, the music never overpowers Cohen’s chilling, spoken-word delivery. This is just one of those songs you need not understand. It may give you chills, but it’s okay if you’re not quite sure how or why.
If Aretha Franklin’s cover of “Respect” is hailed by some as the best cover song of all time, then Jeff Buckley‘s rendition of “Hallelujah” takes the spot as my favorite cover version ever. Released on his album Grace and clocking in at just under 7 minutes, this is simply one of the most beautiful songs I have ever heard, cover or no cover.  Stylistically, Buckley’s rendition differs mostly by virtue of it being predominantly a simple, electric guitar version laced in with pure and innocent vocal delivery. It plays like a lullaby as well, however Buckley’s voice is far more relaxing and prettier than Cohen’s. It seems he succeeds here by hitting the high notes Cohen is incapable of, almost as if he took Cohen’s vision and completed it for him, producing even more stunning results.  Buckley himself called his rendition an homage to the “hallelujah of the orgasm.” And if it weren’t for his tragic death, I definitely would have asked him to keep songs like these coming.
You know a song is a classic when Oldies radio stations still play it like it’s brand new. “Everlasting Love” is a feel-good, timeless love song with optimistic lyrics about eternal love and happy times for everyone.  Robert Knight, along with some in-your-face background vocalists, insist this love will last forever and vocally refuses to take no for an answer. With gentle drum taps, a soulful voice, gentle “ooh’s” and “aah’s,” this song starts out softly… until the chorus drops. Blaring horns, a landslide of female background singers, and one of the most infectious choruses, this song begins to pick up with no sign of slowing down. And slow down it won’t! A favorite for movie soundtracks still and a popular cover choice among dozens of famous musicians, maybe this “Everlasting Love” really will last forever.
Commercially, 
