}
Showing posts with label NYC. Show all posts
Showing posts with label NYC. Show all posts

Friday, January 27, 2012

Legendary NYC Record Store Bleecker Bob's to Close in April



When I was in undergrad, I was finally free as a bird to explore NYC on my own without supervision, so you can be sure that I took full advantage. One place I would always hit was Porto Rico Importing for some coffee and then Bleecker Bobs just down the street. Being a poor student, I tended to browse more than anything (the shirt above is one of the few things I could afford when I did buy). But I can't tell you the things I learned in that store about music; I felt like I'd found my mothership you might say.

Sadly, the NY Times reported today that Bleecker Bob's is closing now in April. And while I get the whole economy reality/record stores are having trouble like everyone else, it's becoming a Starbucks. Cause that's just what the NYC needs, another fucking Starbucks (shakes head).

RIP BB, your three minute records really did teach me more than I ever learned in school.

It’s all over but the reverb.

Two New York City musical mainstays — Bleecker Bob’s Golden Oldies, a record store in Greenwich Village and Southpaw, a performance space in Park Slope — are calling it quits. And what will replace them may provide fresh evidence that the city has traded its longtime rock ’n’ roll edge for something mellower, and a bit corporate.

Southpaw, which will close its location at 125 Fifth Avenue in Brooklyn in February, will become a New York Kids Club, an activity center for children.

And Bleecker Bob’s, which will close its store at 118 West Third Street at the end of April, will become a Starbucks, according to a manager, Chris Wiedener.

“It’s kind of disappointing,” said Giancarlo Caccamo, 19, a customer at Bleecker Bob’s on Thursday evening, upon learning the news. The vinyl records that pack the wooden bins and milk crates in the cluttered, narrow space are an increasingly endangered species, said Mr. Caccamo, who was in search of a record by Mott the Hoople.

The store’s closing seemed to sound a death knell for vinyl itself. “I just love the warm fuzz that you get,” he said. “There’s nothing like that sound.”

Javier Medina, 43, who began shopping at Bleecker Bob’s in the 1970s and has worked there as a salesman for the last decade, was more concerned about the loss of a piece of history. “This place should be a landmark,” he said while chatting with Gary Rookard, 53, who sells glass pipes on a table outside. “Everybody in the world knows it.”

Mr. Rookard, a 35-year Village resident, agreed but said the change fit the area’s continuing pattern of gentrification. “All that will be left down here are A.T.M.’s and bars, if anything,” he said.

Bleecker Bob’s, which began as Village Oldies Records in 1968, on Bleecker Street, and moved to two other locations before ending up at No. 118, had many rock ’n’ roll moments. Jimmy Page, Led Zeppelin’s guitarist, tended the register there occasionally, as did Frank Zappa, according to employees, who said both musicians were friends with Bob Plotnick, the store’s owner.

In the late 1970s, the store sold punk rock records when few other shops did, customers and employees remembered. Even the building itself, near Macdougal Street, brushed up against fame: in the 1960s, it was also home to the Night Owl Cafe, where the Lovin’ Spoonful often played, Mr. Wiedener said.

What kept Bleecker Bob’s going for years was the back of the store, which was leased to a tattoo parlor, among other businesses, which helped pay the rent. But the last subtenant was a comic book store, which closed in 2008, Mr. Wiedener said, making it difficult to continue.

“I’m sorry I personally couldn’t have done more,” Mr. Wiedener said as he priced a new batch of records, including Led Zeppelin’s “Houses of the Holy” ($20).

The landlord, Greenwich Realty Associates of Long Island, did not return a call for comment. Neither did Starbucks.

Southpaw, meanwhile, will close on Feb. 20, after a four-day series called Americana Pie, which will feature bluegrass and alternative country music.

Its neighborhood, which was fairly dangerous a few decades ago, has rapidly added upscale shops and restaurants and become a magnet for families.

Despite the area’s changing face, Matthew Roff, one of Southpaw’s owners, says he was not having a hard time filling the club during shows, which took place most nights.

“There’s a lot of work that goes into keeping a business like this going,” he said. “I don’t think any place in New York for live music is really bringing in enough revenue these days.”

Like Bleecker Bob’s, Southpaw can also lay claim to memorable moments, including the time Bob Dylan dropped by — as a patron, not a performer — and the night the comedian Dave Chappelle jumped onstage to perform an impromptu two-hour riff on a newspaper someone had handed him, Mr. Roff said. The 7,500-square-foot space also staged Latin music and a popular Saturday night dance party.

Mr. Roff will now focus on Public Assembly, a Williamsburg club he owns, but he will not leave Southpaw entirely: he will sublet the space, which opened in 2002, to New York Kids Club.

He signaled that Park Slope’s changed vibe meant that concert places were no longer viable there. “You don’t want the venue you created, your baby,” he said, “to be mishandled.”

Friday, October 1, 2010

A Rainy Night in Central Park with Pavement

(Pavement @ Virgin FreeFest 2010, additional set photos here)


We reported about seeing Pavement in New York's Central Park during a thunder/lightning storm last week (read it here). My phone was all wonky for a few hour after as I tried to tweet the setlist during the downpour, so I'm shocked someone was able to get any video, but somehow, someone did. Sadly, there is only a minute's worth of "Stereo," a song which, for me, was the highlight (and the last one before they stopped the show due to the lightning). Of it, we said:
The song that had the entire audience pogoing in unison during the chorus and generally losing its collective mind? "Stereo" from Brighten the Corners. It was a white hot version too. Lead singer Stephen Malkmus literally ripped into it; I saw him look up, see the lightning streak across the sky and literally, with his entire body, rip that opening piece with a definite ferocity which kept up the whole song. Almost as if to say, "If this is the last song, it's gonna be badass."
A snippet of "Stereo." (You also get a feeling for how hard it was raining. They stopped the show right after this.)


The first song of the night, before the rain started, "In the Mouth A Desert":


"Trigger Cut/Unfair":


"Starlings on the Slipstream"/"Our Singer":


"Zurich is Strained" (includes one of their usual blown starts):


"Father to a Sister of a Thought":

Monday, September 27, 2010

"Joey Ramone Place" Street Sign Most Loved by NYC Thieves



Fun dinner party fact from today's NY Post: "Joey Ramone Place" street sign in NYC is the street sign most often stolen.


Nine years after his death, punk legend Joey Ramone has gone to an even higher place.

The ceremonial street sign placed in his honor at the corner of Bowery and East Second Street had to be raised a full eight feet because thieving fans kept snatching it, city officials told The Post.

"Joey Ramone Place" is perhaps the most stolen of the 250,900 street signs in New York, according to the Department of Transportation, which recently asked contractors to install the sign for the fourth time since 2003.

He would have appreciated the distinction, said the group's longtime drummer, Marky Ramone, sole survivor of the Ramones' longest-running lineup.

But maybe they should find a better way to attach it," he said. "Now you have to be an NBA player to see it."

Although most street signs are about 12 to 14 feet off the ground, Joey Ramone Place was raised to 20 feet, an oddity first noted on the blog EV Grieve.

Though he wasn't aware so many thieves had given the sign the "Hey Ho," Marky said he can't think of a better tribute. "Every time I turn down Second Street, I look up and say, 'Hey Joey, you belong up there,' " he said.

The Bowery has become much more sedate since the death of the original three Ramones. And with CBGB -- the Bowery venue where the Ramones, and punk, started -- closed for good, the sign has become a crucial reminder of the corner's role in music history, Marky said. "It's a really nice tribute to a frontman who started the genre we call punk rock," he added.

The other highly sought after street sign souvenirs are a little less edgy: Broadway, Wall Street, and Love Lane, DOT spokesman Seth Solomonow said. (Source)

Friday, September 24, 2010

Lights That Flash in the Evening: Pavement @ Central Park Summerstage (9-22-2010)



Yes, I was one of those damn fools who bought tickets for the Pavement shows at the Central Park Summerstage a year ago. Thought about selling them over the course of the year because it was a Wednesday and required a Bolt Bus ride mid-work week, but in the end, after seeing a few setlists, my friend and I decided there was no way we could miss this.

I tried hard to tweet the setlist but it proved difficult for two reasons: one, I have a hard time remembering Pavement's song titles, primarily because they're usually so far removed from the song's words, and two, it started to sprinkle early on, then pour rain about seven songs in. Pour hard. Like pour a bucket of water/soak through to your bones pouring rain. Shortly thereafter the thunder and streak-lighting started. Nothing like being outside in the middle of a huge open park like Central Park in the middle of a thunder and lightning storm. But it just didn't matter to anyone; we'd waited a year for this and no one was going anywhere.

The show was typically live Pavement: flubbed intros, starting songs over and such. But they sounded strong and solid, and appeared to be having as much fun onstage as we were having in the audience. Bassist Mark Ibold watched the crowd get pelted by rain and not even caring almost in awe, and the band repeatedly said how grateful they were to everyone for sticking it out. The show was stopped about half way through for a good 20 minutes because of the lightning, but upon the return, they ran through the rest pretty rapidly. It really didn't seem that way, but they must have because based on the setlist above, we only missed a couple songs.

The song that had the entire audience pogoing in unison during the chorus and generally losing its collective mind? "Stereo" from Brighten the Corners. It was a white hot version too. Lead singer Stephen Malkmus literally ripped into it; I saw him look up, see the lightning streak across the sky and literally, with his entire body, rip that opening piece with a definite ferocity which kept up the whole song. Almost as if to say, "If this is the last song, it's gonna be badass." And though it took a good 24 hours for my clothing to dry, Wednesday's Pavement show in Central Park most definitely was.

Friday, September 3, 2010

Arcade Fire Movie Shot at MSG by Terry Gilliam Being Rebroadcast in Full Until Noon Tomorrow


Like Arcade Fire? How about live? For the next 19.5 hours now, you can knock yourself out with some live Arcade Fire and not even leave your couch. The live show movie the Fire shot at Madison Square Garden in NYC on 8/5 this year, will be streaming below for the next 19.5 hours (basically until noon tomorrow). Directed by Terry Gilliam-yes that Terry Gilliam-it's steaming in HD and is pretty spectacular to look at. Set list is below.



Now Gilliam and Arcade Fire, how on earth did that love connection happen? Well, it seems the first Win Butler and Régine Chassagne to-the-movies date was to see Gilliam's 1985 movie Brazil. Gilliam comments on his getting involved with the project and offers Brazil is a way to test date match compatibility...

“I’m trying to find out what this f—ing thing is,” admits the director and Monty Python comedy team member. “I keep reading that I’m directing this thing, but I’m not sure that’s what I’m doing. Their manager called my agent less than two weeks ago and said, ‘We’re doing this webcast and the band would love it if you got involved.’ [The MSG show] will be the fourth that I’ve been with them. I’m a groupie, basically! If I see somebody doing something stupid I’ll probably mention that to them. But their show’s really good, and they’ve got really good video stuff already. So we’ll stick with what they’re doing and I can sit back and take credit for everything.”

One thing Gilliam con confirm is that he is a big fan of the Canadian outfit: “I do think they’re very special. I’ve felt that since Funeral.” That admiration is apparently reciprocated by band members, and married couple, Win Butler and Régine Chassagne. “Win said something to the effect that the first movie they ever saw together was Brazil,” reveals the director. “It’s a good way of finding out if your date is going to be part of your future! When Brazil came out I remember some married couples practically splitting over it. One would like it and the other would just despise the film.” Gilliam says he is regarding the webcast gig as an extended “date” during which he and the band can get to know each other, with an eye on collaborating properly at a later point. “It’s really about seeing if there’s a future between them and me,” muses the director. (Source)
Show runs about 1:30 and set list is below:
Ready to Start
Neighborhood #2 (Laika)
No Cars Go
Haiti
Empty Room
The Suburbs
Crown of Love
Rococo
Intervention
We Used to Wait
Neighborhood #3 (Power Out)
Rebellion (Lies)
Month of May
Keep the Car Running

Neighborhood #1 (Tunnels)
Sprawl II (Mountains Beyond Mountains)
Wake Up

Tuesday, May 4, 2010

Feeling Lucky? Donate to KCRW, Possibly Go See The National in NYC



If you have tuned into the local DC NPR station, WAMU, the last couple of days, you know the recent member drive has begun. Sure they're annoying to listen to, but pledge and member drives are what keep stations like WAMU in business. However, I often wonder who thinks up the giveaways with each pledge; I know they want folks to feel like they're getting something materially tangible perhaps for their $50 pledge, but really, a coffee mug? Me, I'd rather donate and get a thank you note than a mug that cost me $50.

I think perhaps NPR's flagship station for Southern California, KCRW 89.9 FM, which hosts one of the greatest and influential music shows around, Morning Becomes Eclectic, may have just hit on one of better pledge gifts I've seen, at least if you're a music nerd-a chance to win tickets!

The National Live in NYC Flyaway Sweepstakes" was annnounced today, which is a special sweepstakes for a trip for two to NYC to see The National perform a special benefit concert for the Red Hot AIDS charity on Saturday, 5/15 at the Brooklyn Academy of Music in NYC. The winner will fly to NYC on Friday, 5/14 and have two nights at the ACE Hotel in Manhattan. Transportation to the hotel and concert are also included.

Rules and whatnot for the contest can be found here, but the gist of it is this: Anyone who joins, renews or makes an additional donation to KCRW between Tuesday, 5/4 (that's today!) and Friday, 5/7 at noon, will be automatically entered to win. KCRW Star Members, who contribute on a monthly basis, are automatically entered as well. Donations can be done online even (here).

What's also cool? The concert will be webcast live on You Tube and filmed by DA Pennebaker, the man who's directed such legendary movies like Bob Dylan's "Don't Look Back," David Bowie's "Ziggy Stardust and the Spiders from Mars," and "The War Room," a documentary from the end of Bill Clinton's '92 Presidential Campaign.

To top it all off, KCRW is currently streaming all of High Violet, The National's forthcoming record that's out next Tuesday.

Great stuff all 'round and for a great cause...

Tickets do go sale for the show via the BAM Box Office on Thursday, 5/6.

Give a Listen: Runaway-The National/Buy High Violet

Thursday, March 25, 2010

All Tomorrow's Parties 2010 Lineup Released




All Tomorrow's Parties Festival-NY announced the start of their 2010 lineups today. Festival will be held 9/3-9/5 at Kutshers' Country Club in Monticello, NY.
All Tomorrow's Parties will return to Kutsher's Country Club, Monticello for the third ATP New York festival over Labor Day weekend, running from Friday 3rd September – Sunday 5th September. We recently announced that legendary film-maker Jim Jarmusch, well known for his fantastic collaborations and documentaries with musicians will be the guest curator on Sunday 5th.

Today we are happy to announce a new batch of artists, see below for full info...

As previously announced, Friday 3rd September features these performances as part of our Don't Look Back day:

IGGY & THE STOOGES performing Raw Power
SLEEP performing Holy Mountain
MUDHONEY performing Superfuzz Bigmuff + Early Singles
THE SCIENTISTS performing Blood Red River (first ever U.S. Show)
+ more to be confirmed!

Friday will also feature a Comedy Stage, details of which are to be announced soon.

ATP celebrate 10 years with a birthday party on Sat 4th September hosting a day of past ATP curators, ATP Recordings artists and friends. Our new additions are one of the first ATP curators TORTOISE, psych rock luminaries BARDO POND, BEAK> featuring Geoff Barrow of Portishead, one of ATP Recordings' latest signings in the form of SLEEPY SUN, and newcomers AVI BUFFALO. Here's that day's line-up so far...

SONIC YOUTH
EXPLOSIONS IN THE SKY
THE BREEDERS
TORTOISE
F**K BUTTONS
BARDO POND
BEAK> (featuring Geoff Barrow of Portishead)
THE BOOKS
PAPA M
SLEEPY SUN
APSE
AVI BUFFALO
+ more to be confirmed!

Jim Jarmusch will curate Sunday 5th September and new additions to his previously announced choices are headed by SUNN O))) and BORIS performing material from their mindblowing collaborative album ALTAR, HOPE SANDOVAL of Mazzy Star performing from her stunning new LP, cult Swedish psychedelic rockers DUNGEN and New York space-rock from WHITE HILLS. Here's how the day is looking so far...

SUNN O))) and BORIS present ALTAR
THE BRIAN JONESTOWN MASSACRE
HOPE SANDOVAL AND THE WARM INVENTIONS
RAEKWON
GIRLS
DUNGEN
F*CKED UP
WOODEN SHJIPS
THE BLACK ANGELS
VIVIAN GIRLS
WHITE HILLS
+ more to be confirmed!

Festival Tickets are priced at $250 + booking fee for the weekend. Friday day tickets are priced at $110 + booking fee. Saturday day tickets are priced at $120 + booking fee. Sunday day tickets will be available soon. Weekend Bus travel is available between Brooklyn or Manhattan and the festival. Day Bus travel is available between Manhattan and the festival. Accommodation at Kutshers is now sold out. Rooms for groups of 3 or 4 are available at the nearby Raleigh hotel (we operate a free shuttle bus between the hotel and festival site all weekend). Rooms are priced at $150 + room tax per person, full information available at atpfestival.com.

Weekend and Day Tickets, Accommodation and Bus Travel from Manhattan and Brooklyn are available now here.

Tickets are also available now in person from Other Music in New York City and Aquarius Records in San Francisco.

Sunday, January 17, 2010

NYC's Bell House Hosting Strength Through Unity Benefit for Haiti on Jan. 27

Wow, what a tremendous lineup! The Bell House in NYC just announced the "Strength Through Unity: A Benefit for the Victims of the Earthquake in Haiti." The benefit is set for Wednesday, 1/27 and 100% of the proceeds will be split between the Save the Children and Partners in Health charities.

Lineup is to include...
Jimmy Fallon, Cold War Kids, Ted Leo, Eugene Mirman, The Wrens, Sondre Lerche, Todd Barry, and Here We Go Magic. AC Newman (New Pornographers), Rhett Miller (Old 97s), and Nicole Atkins will perform as The Seekers.

Tickets are $50 and go on sale Monday, 1/18 @ noon here.

Thursday, October 8, 2009

Free Admission to John Lennon Exhibit at RnR Hall of Fame Annex NYC Offered This Weekend



"Free entry" is always swell when in an expensive town like NYC and it's even better when the "free entry" is for something that is pretty cool. The Rock & Roll Hall of Fame Annex NYC is offering free admission to the John Lennon: The New York City Years exhibit tomorrow and Saturday to commemorate what would have been Lennon's 69th birthday.

Lennon's widow, Yoko Ono, donated a variety of items for the exhibit, including private letters and photos, instruments and iconic clothing, as well as the glasses Lennon was shot in and the brown paper bag that the coroner's office gave her with John Lennon's effects after he was murdered. When asked why, Ono said, "This was a guy who like king of the world, you know...just turned into a brown paper bag."

Wow.

Friday, September 11, 2009

Riding the Elevator Into the Sky

Riding the Elevator Into the Sky
By Anne Sexton (1975)

As the fireman said:
Don't book a room over the fifth floor
in any hotel in New York.
They have ladders that will reach further
but no one will climb them.
As the New York Times said:
The elevator always seeks out
the floor of the fire
and automatically opens
and won't shut.
These are the warnings
that you must forget
if you're climbing out of yourself.
If you're going to smash into the sky.


Many times I've gone past
the fifth floor,
cranking upward,
but only once
have I gone all the way up.
Sixtieth floor:
small plants and swans bending
into their grave.
Floor two hundred:
mountains with the patience of a cat,
silence wearing its sneakers.
Floor five hundred:
messages and letters centuries old,
birds to drink,
a kitchen of clouds.
Floor six thousand:
the stars,
skeletons on fire,
their arms singing.
And a key,
a very large key,
that opens something —
some useful door —
somewhere —
up there.

Wednesday, July 22, 2009

Paul McCartney's Recent Ed Sullivan Theater Rooftop Performance

We posted a few days back about Paul McCartney's soundcheck/performance from the marquee of the Ed Sullivan Theater when our friend in NYC caught word of it happening early in the afternoon and headed over for the 22 minute soundcheck. The Letterman people very kindly posted video of it; tracks include "Coming Up," "Band on the Run," a great ripping "Let Me Roll It," "Helter Skelter," and "Back in the USSR." McCartney's backing band and his voice are in top-shape, but it sort of bums me out that his incredible rock-n-roll yell (check out the Beatles version of "Kansas City" or "Helter Skelter") has dissipated over time....

Friday, December 5, 2008



The Rock and Roll Hall of Fame Annex opened Tuesday in NYC's SoHo District. Much of the famous remnants of CBGBs, like the club’s tattered awning, cash register, and flier-covered phone booth, wound up here too (instead of Las Vegas someplace as was the rumor awhile back before CBGB owner Hilly Kristal died of cancer awhile back). If you're heading to NYC for the holidays, consider checking it out...even with a $22 entry fee, I've heard it's quite choice.

The Clash looked down from a wall-size 1978 photograph at a roomful of workmen sawing, measuring, painting and lugging. Vintage amplifiers were wheeled in from the chill outside, passing by plexiglass exhibition cases, Bruce Springsteen’s tarp-covered 1957 Chevrolet and a 26-foot scale model of Manhattan. Then came the heads-up.

“Here comes the phone booth,” somebody said, and in rolled the wooden phone box from CBGB, plastered with decades-old stickers like a punk sarcophagus. Workers stood it up beside graffitied wall sections from that landmark club, along with two of its loudspeakers and a metal frame for the “CBGB & OMFUG” awning that hung over 315 Bowery until the place closed two years ago.

These were among the hundreds of artifacts being prepared for the opening of the Rock and Roll Hall of Fame Annex NYC, a $9 million branch of the Hall of Fame and Museum in Cleveland. The Annex, in a 25,000-square-foot basement space at 76 Mercer Street in SoHo — upstairs, facing Broadway, is an Old Navy store — was created as a smaller, quicker offshoot of the headquarters.

A trip through should take about 90 minutes, and costs $26; in Cleveland, where admission is $22, the full experience takes four or five hours. As in Cleveland, you can hardly turn a corner in the Annex without bumping into a smashed guitar, yellowed lyric sheet or pointy bustier.

But the Annex was also designed as a New York-centric temple of rock culture, said Joel Peresman, president of the Hall of Fame Foundation, on a tour one crisp afternoon this week. In addition to having a special gallery for local musicians, the Annex will open with an exhibit honoring the Clash, the British punk giants who kept a particularly high profile in the city. (That shot from 1978 was taken under the West Side Highway by Bob Gruen.)

“The legitimacy of the Rock and Roll Hall of Fame, we’ve established that over 25 years,” Mr. Peresman said. (The foundation, which inducts members into the Hall of Fame, was founded in 1983; the museum in Cleveland opened in 1995.) “But in New York you have to prove yourself, whether you’re a sports team or a museum. We have an important story to tell. And you have to have something interesting and compelling; otherwise, New Yorkers are going to blow it off.”

It will be tough for any pop history buffs — whether they first encountered the Rolling Stones on “The Ed Sullivan Show” or in the recent documentary “Shine a Light” — to resist goodies at the Annex like David Byrne’s big suit from the film “Stop Making Sense,” a blue sequined dress from Tina Turner’s final tour with Ike, Michael Jackson’s handwritten lyrics to “Billie Jean,” and Prince’s coat from “Purple Rain.”

There are also teenage letters between Paul Simon and Art Garfunkel and at least two items that tell the story of Elvis Presley: his motorcycle jacket and his Bible. Some of the pieces are lent from Cleveland, and many, like a tape of a private Bob Dylan show in 1961, have never been exhibited before. And for those with particular memories of CBGB: Yes, they will have a urinal from its notorious bathroom.

Temporary exhibitions will change about twice a year; the Clash show, “Revolution Rock,” runs through the spring.

The Annex uses high technology at nearly every stop of the six galleries. Visitors, 100 at a time, are to enter in 15-minute intervals and encounter first a seven-screen “immersive theater” resembling a small club, complete with stools. They will be given headsets made by Sennheiser, a high-end audio company, which play music programmed for each exhibit, as well as sound for videos; the device is guided by wires beneath the carpet that detect a visitor’s presence.

“You’re seeing, hearing, feeling — getting the full experience,” said Stacey Lender of Running Subway, a New York-based production company that helped design the Annex.

The Annex is part of a broad expansion plan by the Hall of Fame organization to draw both tourists and financing to its main branch.

“This allows us to tell our story and reach sponsors we never could in Cleveland,” said Terry Stewart, the president of the museum, in a phone interview. More annexes are being considered for other cities, including Memphis, he added.

The museum’s growth is not without risk, and the New York Annex has a three-year lease that will be renewed if the branch is successful, Mr. Peresman said. To open it, the museum teamed with Running Subway and two other producers, Jam Exhibitions and S2BN Entertainment, a new company led by Michael Cohl, the veteran concert promoter and former chairman of Live Nation.

The partners have financed the project and will operate it, although the museum retains oversight of all aspects. Running Subway has produced “Dr. Seuss’ How the Grinch Stole Christmas! The Musical” on Broadway, as well as multimedia concerts pairing live orchestras with films of Frank Sinatra and Judy Garland.

The Annex has been under way for about two years, Mr. Peresman said, and various sites were considered for it, including some in Midtown. But the downtown space suited the subject matter better: somewhat gritty, somewhat flashy and a stone’s throw from many of the Greenwich Village clubs and other historic spaces highlighted on the museum’s detailed, white polymer model of Manhattan.

And as workers rolled in equipment, storage containers, large amplifiers and bits of CBGB, the movement at the museum’s entry — nondescript, since the building is in a landmarked zone — had more than a little resemblance to the load-in rituals that happen at clubs throughout the city every afternoon.

“There are certain things you just can’t quantify,” Mr. Peresman said, “that are just a vibe. Being in this place, it just felt like the right vibe.” (Source)

Wednesday, September 24, 2008

World Class Fad: The Child Ballads Play NYC on Thursday

(Photo by Piper Ferguson)

The Child Ballads, a great little band out of DC, doesn't play live very much, so you kids in NYC would do well to head out to Glasslands Gallery in Brooklyn on Thursday for their 9 pm show. You may recall the name of TCB's lead singer/songwriter, Stewart Lupton, as the lead singer of that little group from the 90s who influenced, well, everyone called Jonathan Fire*Eater. Lupton's new band has a vastly different sound than JFE, more stripped down and folky (read my review of their EP here), but Lupton's still one of the most enigmatic frontman you'll see performing today. Plus, his song lyrics will make your IQ shoot up 50 points after just one listen and who couldn't use getting just a little bit smarter hmm?

Wednesday, August 13, 2008

Tour NYC with The Kooks



You a fan of The Kooks? Like NYC? Care to see NYC rock music landmarks WITH The Kooks? And you're not scared of Matt Pinfield? (He sure scares me (shudder).) Then read on...

During their last US tour, Los Angeles residents were able to catch the Kooks busking in the streets for Sidewalk Sets. Now, New York fans will have the opportunity to win a seat on a very special rock and roll tour of New York, and be witness to some outdoor performances of their own. One day ahead of the band’s Central Park Summerstage show on September 10th, the Kooks are treating a handful of lucky contest winners to a guided tour of the city’s most famous (or infamous) rock and roll sights, and will be taking their guitars along for the ride. It could possibly be the first acoustic show on the top of a double-decker bus New York City has ever seen. The tour will finish up at the Apple Store in Soho, where the band will be playing a free in-store show.

Courtesy of Astralwerks, 101.9 WRXP, VisitBritain, and Time Out New York, the grand prize winner will scoop two round trip flights to NYC, hotel accommodation for three nights, two seats on the double-decker tour bus with tour guide Matt Pinfield (101.9 WRXP morning show DJ), two spots at the in-store performance at the Apple Store in Soho, and two tickets to see The Kooks live at Central Park Summerstage on September 10th. To enter, head here and for contest rules and regulations go here.

Rock and Roll Hall of Fame to Open Annex in NYC

Sweet, maybe now I'll actually get to visit the thing (sorry Cleveland-ers). And maybe the estate of CBGS's owner Hilly Kristal will be enticed to open something in this Annex and stay true to the NYC-location instead of some Hard Rock Cafe version in Las Vegas.

Best reason I heard recently about why one shouldn't attend the Rock and Roll Hall of Fame: "The fucking Dave Clark Five are in there. That's like inducting Candlebox."

NEW YORK (AP) -- The Rock and Roll Hall of Fame is coming to New York. Mayor Michael Bloomberg is expected to announce Wednesday that the Cleveland-based museum and hall of fame is opening an annex in downtown Manhattan.

Billy Joel and Clive Davis are going to join the mayor at the location in the SoHo neighborhood. It will be the first time the hall of fame has expanded outside Cleveland.

The 25,000-square-foot annex will house Bruce Springsteen's 1957 Chevy and will feature a number of different exhibits, including one featuring New York City-based sites that have musical significance. (NY Post)

Friday, June 27, 2008

Show Review: The Weather Underground @ Mercury Lounge, NYC (6-20-08)


(Click on any photo above to enlarge)

As you may tell from the things I’ve been reviewing as of late, my ears have been cocked westward to things coming from the Silver Lake/Echo Park music scene in Los Angeles for the last little while. For the most part, I hear many of these bands aren’t just great to listen to, but they also put on stellar live shows. One such group I’d heard this about was The Weather Underground; “Think James Brown fronting a punk band,” was what I heard specifically, which is one damn tall order. Thus, I blocked my calendar out when I saw they were playing DC last week.

Now, as I wrote, they were good and I definitely enjoyed their Rock n Roll Hotel show. But when I think of James Brown, I think of going to the bridge in a lavender cape, and a charisma and energy that bounces off the stage, into the crowd, and back. That wasn’t really The Weather Underground’s DC show. As I think I mentioned there were glimpses of it and the songs themselves were energetic, but you can’t feed off the energy of an audience if there really isn’t one (as was the case in the sparsely-attended DC show). So I thought hmm, why not catch the Mercury Lounge show in NYC that following Friday, maybe do a comparison and see? I mean, hell, it would be NYC, where folks go to shows even when it’s raining, on a Friday, on a bill of four bands with two relatively known (Band of Thieves and Parlour Mob), so there was bound to be more than 20 folks there. Plus, I knew that these boys, all proud Los Angelinos, would probably want to “represent” in this rival city to LA, and show the crowd that LA isn't all Motley Crue and "The Hills."

Thank you Lord for giving me good instincts because whatever it was, I was dead on, this was in no way the Bonaroo-weary-but-determined band I saw in DC. Energy radiated off that stage from the minute they tore into “Fight Songs of the Desajolos,” the opener. “Little Sparrows in Boyle Heights” followed, and by the time they hit the title track from their latest EP, Bird in the Hand, lead singer/songwriter/rhythm guitarist Harley Prechtel-Cortez was bouncing up on the balls of his feet, that baritone voice and soul-filled howl pouring forth flawlessly. His ability to maintain a long banshee yell on key in a single breath continually friggin’ astounds me.

It looked like the rest of the band had also gotten some rest because they too were right there with Prechtel-Cortez. During “Neal Cassady,” lead guitarist/keyboardist Soichi Bagley, who plays tambourine on this song, actually knocked it out of his own hand from the force at which he was hitting it, and drummer Diego Guerrero throttled the maraca with both hands, shaking it madly. Prechtel-Cortez sang their new song, “Letters,” with such passion and intensity, he looked almost surprised by it, as was the case during “Trainwreck.” This intensity carried through into a much more punk version of “Old Man Jude” than I'd seen in DC or heard on record even, and by its end, it was almost a punk/gospel sing-along. Well, for the band at least.

Sometimes you experience a show differently from the person next to you for whatever reason. Maybe the music struck me in a different way from the person next to me. Maybe the person next to him was having a bad day. Maybe the couple next to him was just biding time until Band of Thieves came on. But something made Prechtel-Cortez apparently feel that the audience, despite Weather Underground’s best efforts and a pretty scorching set, wasn't engaged because in addition to again dedicating "All Ye People" to his stepfather who passed away last year, he paused for a second and added, “Yeah, we’re almost done here folks.” Towards the end, “All Ye People” seemed to get through to the crowd though because I noticed that folks to my right stopped talking and folks to my left started clapping along.

Perhaps to capitalize on this breakthrough, the band did one more song, one I didn't know at all. Suddenly, Prechtel-Cortez came down into the crowd, still singing (this is something he typically does in the west coast shows I heard later). He then said, "A little bit of love and kindness is all you guys need," hugged the guy next to me, and returned to the stage after the chorus, apparently needing a short break....


...before the band went into a cover of The Beatles' "Dear Prudence" with gusto, complete with harmonica...




...and then they went back into whatever the previous song had been, to end the set. (Check out the picture stream at the top of this post where you can see the progression of things as they're shown in order. Alas, it totally escapes me now how Prechtel-Cortez wound up laying on the stage again playing guitar.)

So was it really “James Brown fronting a punk band”? Dunno if I'd go quite that far based on what I saw at this Mercury Lounge show last week, maybe that's an experience you only get by attending their hometown shows. But would I give them "Otis Redding fronting a punk band"? Yup, Otis, I'll give you, without question. Cause while Prechtel-Cortez may not don a lavender cape, he and his bandmates, like Redding, brilliantly synthesize the evangelical fervor of a church and the rambunctious vibes of rock 'n' roll. The Weather Underground is definitely a band with soul.

Sunday, June 15, 2008

Show Review: The Airborne Toxic Event @ Pianos, NYC (6-12-08)/Webster Hall, NYC (6-13-08)


(Click on the photo to enlarge)

So as it turned out, the weekend I was heading up to NYC to visit college friends was the same weekend that The Airborne Toxic Event was playing two shows there, this past Thursday night at Pianos in the Bowery, and this past Friday night opening for the Fratellis at Webster Hall. Given that the room at Pianos holds roughly 130 people, I had a feeling that it would be the show to see, given the “personal" nature of Airborne shows. Listening to Airborne’s lyrics is somewhat like hearing a close friend pour his heart out about a romantic relationship that went array but set to music. That sort of thing is better to hear about in a smaller setting than in the midst of a giant crowd (and Webster Hall holds three floors of giant crowds), so the choice of which show to attend was obvious.

Having last played in NYC in early 2007, the band looked cheerful, chatty, and happy to be there. But don’t be mistaken, once they got started, the set at Pianos could only be described as “intense.” I’d discovered Airborne this past March during SXSW, late one night in an outdoor courtyard. And they were fantastic. But something was definitely different this time 'round (and it wasn't just the trannie fashion shoot taking place across from the bar (heh)). It could have been the smallness of an enclosed room in a tiny Bowery bar that begged for its walls to be blown out versus a courtyard surrounded by a vast Texas night, but believe me when I tell you the songs were leaping off the Pianos stage Thursday night, grabbing the audience by their collective lapels and shaking madly.

This was a band on a mission, like they were telling the many press folks in the audience (based on the number of notebooks and mad scribblings I saw going on), "Go forth and tell others what you have seen here tonight." Lead singer/songwriter and rhythm guitarist Mikel Jollett had a look of vivid determination on his face as he sang the 10-song set, and he didn't just sing/scream his lyrics, he SCREAMED them in a passionate caoinadh. Lead guitarist Steven Chen, who normally appears rather stoic onstage, was crouching and swaying over his guitar and keyboard, almost as if his fevered playing was taking everything out of him and he was about to drop. Violinist/keyboardist Anna Bulbrook was either on her knees and tearing the sound from her violin, or a whirling dervish of dance, hitting her tambourine so hard I feared some nasty bruises would result. Drummer Daren Taylor was standing up behind his kit at times, but only to better beat the bejesus out of his cymbals and snares. This passion, coupled with the size of the room, created a definitive bombastic wall of sound especially during "Papillon," "This is Nowhere," "Sometime Around Midnight," and "Innocence." “Does this Mean You’re Moving On,” a hit on Los Angeles radio, jumped and cut more than the recorded version; there was definitely an edge to it this night. “Something New” isn’t a song I was familiar with, but when you hear it, pay close attention to Chen’s guitar riffs as they are quite catchy; all I could think of was Dick Dale if he was in the Smiths with Johnny Marr. Bassist Noah Harmon is probably the only classically trained bassist who could teach a class on how to do rock kicks and stances without looking foolish, and man, can the man play. The crowd ate him up especially during “This is Nowhere.”

If folks weren’t converted in these first seven songs, the last half of Airborne’s set changed all that. Jaws hitting the floor people, I saw jaws hitting the floor, and this all started with “Sometime Around Midnight.” I personally know at least three people from that audience who had never heard Airborne before this show, and liked what they were hearing ok, but “Midnight” was what hooked 'em for real. I’ve tried no less than 10 times now to write what I saw/felt, both in terms of the vibe in the room and what I saw on stage during these last few songs (“Sometime Around Midnight,” “Wishing Well,” and “Innocence” specifically), but I’m just not finding the words to do it justice. I think it’s because these aren’t songs with just words, these are songs that drip with vulnerable emotion. The way these songs are constructed lyrically, you’re sharing the same mind/body with the person running into that ex-lover who could always break you with a look, sharing that same busted heart from a love tangled in blue, feeling that same screaming sense of despair, regret, loneliness. The way they are constructed musically, you can’t think or focus or look away from this barrage of sound and hooks and screams of lyrical pain coming at you from the stage, even if you wanted to. It is a rather exhilarating and slightly uncomfortable experience, all at the same time.

The encore song “Missy,” Jollett’s ode to a girl and Los Angeles, didn’t lose any of this power. (Let us also not forget to state here the apparent rarity of an opening act getting an encore in NYC.) I read someplace Bulbrook loves this song because she gets to jump into the crowd and dance around, a comment I thought of when I saw her crouching down by the monitors, waiting, waiting, waiting for Jollett to scream “Well I swear that there’s still some good in me,” which is the point in the song where it goes from a bouncy little melody to something full-on and raucous. And she does it in heels no less.

Jollett, in a conversation we had about songwriting awhile back, told me, “I always spend a lot of time trying to find the right words to say, and I don't know if I always do.” From the number of “Tell me you just saw what I saw” looks of amazement on many faces after the show, I think it’s safe to say his word search, for these 10 songs at least, was a stunning success. And I think the band knew they’d tapped into a something major as a band and with the audience this night too, given the big shit-eating grin each of them wore at the end of the set.

And I did wind up seeing the Friday night show at Webster Hall after all. I hadn't planned on it initially because a) I couldn’t score a press pass and tickets were around $30, and b) Webster Hall isn’t always the greatest place for a show , a venue known to “ruin the live-show reputations of good bands.” But we wound up scoring reaaally cheap tickets at the last minute, and I thought eh, what the hell, maybe I should actually *see* the show once (after the Thursday show, friends asked me if I actually watched any of it with my eyes because I was so focused on writing stuff down). Plus who knew, maybe Pete Townshend would show up for this Fratellis show too. So we went.

Airborne’s set at Webster Hall was good and I think many of the Fratellis' fans were won over based on the enthusiastic level of applause at the end of their set. But was it a hair-raising-on-your-arms kind of intensity and energy that moved from the audience to the band and vice versa like Pianos the night before? Not really, though I think that had everything to do with the vastness of Webster Hall than anything to do with the band. Hell, Bulbrook couldn’t even jump out into the crowd during “Missy” because jumping from a stage that high up and whatnot, she’d probably broken an ankle. A guy near us at the bar, who had only ever seen Airborne live at this show and the Pianos show, made an interesting point: “Last night was more personalized, more energized. At Pianos you could almost reach out and touch them, you felt the energy. Here, it is such an expansive and big place it’s tough to have that same connection. To hear the lead singer make comments like “We want to know you so come say hello” and stuff, to hear that said at a big place like this, it just doesn’t ring true in the same fashion, though they obviously mean it, given what I saw at Pianos last night.” So do I regret seeing both? Of course not, but it did prove to me that we didn't hallucinate it, that Thursday night Pianos show was something special, so much so that it spoiled anyone who attended both.

Airbone's first full length LP is out August 5th on the Majordomo label, and will be performing at, among other places this summer, the Monolith Festival in September.