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Archive for the ‘New Order’ Category

[ATTENDED: October 22, 2018] Johnny Marr

My friend Garry got me into The Smiths in high school. I had been exclusively into metal before that, but there was something about the guitars and lyrics of The Smiths that I really enjoyed.  And I quickly became a huge fan of Johnny Marr.

The Smiths broke up in 1987 and that was that.  Johnny Marr has since gone on to play with dozens of bands, including Electronic, The The and Modest Mouse.  He has also been releasing solo albums along the way, but I didn’t really listen to any of those.

Because of my love for The Smiths and much of Morrissey’s solo work, I tried to see Morrissey last year.  Of course that show got cancelled.  So I assumed I’d never get to see any members of The Smiths live (I have no idea what the bassist and drummer have been up to).

Then I saw that Johnny Marr was doing a one-off in New York City for his new album Call the Comet (which was getting great reviews).  I tried to get tickets but didn’t.  Oh well, no big loss.  Then a few months later, he announced a small U.S. tour including a stop in Philly.  He has only played Philly in 2003, 2013 and 2014.  So this seemed like my only chance.

I don’t know much about the guy himself.  Morrissey, as we all know, is a prat.

But what about Johnny?  Is he an aloof 80s alt rock star?  Like hell he is.  His merch all says “Johnny Fuckin Marr.”  He was chatty and funny.  He had on a great shirt and smiled a lot.  He was generally a load of laughs.  Who would have guessed?

But the real question is, Is Johnny Marr to stuck up to play Smiths songs?  Like hell he is.  Actually I didn’t know if he’d play any Smiths songs. But i was pretty psyched when he played six of them.

But he was there to promote Call the Comet and so he started out with a new song called “The Tracers.”  It had a repeating “whooo whooo” refrain and a rocking guitar part.  Knowing what I know about Marr, I never expected his songs to rock out like this.  And yet they did rock out.  Virtually every song he played was rocking and full-bodied.  And his backing band was fantastic James Doviak played guitar and keys.  I enjoyed that he supplemented Marr, playing mostly rhythm guitar but occasionally taking on some of Marr’s signature sounds as well.  Despite the shades, he never stepped into the bright lights

Johnny then delighted me and everyone in the room by playing the opening chords of The Smiths’ “Bigmouth Strikes Again.”  This is one of the first Smiths songs I’d ever heard and it was amazing to hear it live.  The crowd went berserk (so many old men dancing!) and then Johnny sang.

Johnny is no Morrissey and he does not try to be. He does not sing like Morrissey, but he does have the same Mancunian accent so while it was no Morrissey it was not exactly wrong either.  The delivery was less arch but was still right.  It was an awesome treat.  If that was the only Smiths song he played I would have been happy.  But he had a few more tucked away.

He followed that up with the new song, a B-side to “Hi Hello” called “Jeopardy” which had a rockin riff and trippy vocals.  Then he played “Day In Day Out” which has an acoustic-sounding guitar.  Doviak didn’t switch guitars, he juts switched effects which was pretty cool.

Johnny sang from the center of the stage where the soft lights were on him.  Sometimes he was obscured by white, other times, he was faintly visible.  But every time he took a guitar solo he walked up to the front of the stage where the spotlights shone on him and we could see him in all of his leather jacketed or heart-print-shirted glory. The only bad thing was that the really tall men (are all former goths really tall? At least none of them had Robert Smith hair) would put heir heads together blocking my view to scrutinize his playing, leaving me looking at pomade and bald spots.

He said, “Hi guys, how are you all doing.”  He then corrected that he wasn’t only talking to the men.  He’s from England, if he was only talking to the men, he’d say “hello darlings.”  This was an introduction of sorts to “Hi Hello.”   And then came the opening riff to “The Headmaster Ritual.”  So there would be more than one Smiths song!  This song, in addition to having a great guitar riff also has a notable bass line which Iwan Gronow played perfectly.  It was like hearing the band (except that Johnny sang “same old suit since 1982”).

The next cover was a huge surprise because I had forgotten that Johnny was in the duo Electronic (with Bernard Summer from New Order).  Neil Tennant was a guest on “Getting Away with It” (Neil did not guest at TLA, of course).  It was odd because I knew this song pretty well but it sounded so different. The original has lots of keys but this song had far more guitar than synth (and no Neil Tennant).  But the guy next to me (short with a nice head of white hair) danced like a fool.

“Hey Angel” has some great guitar soloing.  Then Johnny switched gears to play a beautiful “Last Night I Dreamt That Somebody Loved Me.” It was interesting as he sang the words and I wondered what he thought about Morrissey’s lyrics.  They are so distinctly The Smiths, but would he have ever written anything like that himself?  Certainly he doesn’t now.  Did he feel weird singing it?  I can’t imagine that Johnny Marr has felt that way in decades 🙂

He joked that politics was fun eh?  Given Morrissey’s recent proclamations, who knew where he was going with this, but he just proceeded to say that “Bug” was dedicated to “you know who.”

Then he asked, “Any requests?  Bet you weren’t expecting to hear that!”  People shouted some favorites and he responded “That’s no one of our songs, sir.” And then finally he said, “What’s that you say sir ‘Get the Message’ from 1991.  Yea I think I can do that.”  This was another Electronic song although I wasn’t as familiar with it (but that other guy sure was).

“Easy Money” from his previous album also sounded familiar.  Perhaps it had some airplay a few years ago.  The guitar chords were very Johnny Marr but the riff was heavy and the verses were very synthy.  Either way it was pretty great.  He followed it up with another song from Playland, “Boys Get Straight.”  It was also a solid rocker, with great drums from Jack Mitchell.  Clearly I need to check out his solo albums.

Just as I was wondering how long of a show Johnny Marr would do, he started playing the most iconic riff in all alternative rock.  “How Soon is Now” was just amazing.  Johnny played the echoing chords and Doviak plays the searing note  The only downside to the whole thing was that I could barely see him or Doviak the whole time.  However, being in the same room as the guy playing those chords was more than enough.

That was a set ender and frankly could have been a concert ender, it was something I’d hoped for and I got and I was satisfied.

But they did indeed come back for an encore.   As has become traditional, the encore included two songs from the new album before getting onto real encore material.

He played that chord and we all knew it was “There is a Light That Never Goes Out.”  I never thought I’d hear a room full of middle-aged men sing “to die by your side is such a heavenly way to die!”  It was amazing.

When that song was over he told us that we were the last night on his tour so how about one more?  (It turns out he played the same two songs back to back on all of his shows.  In fact it was the same setlist all tour, but he did make us feel special).

And who cares if he was lying when the opening notes of “You Just Haven’t Earned It Yet Baby” rang out and once again, we all freaked out.  It was an awesome end to the show and left all of us singing and happy.

I had basically written off Morrissey bailed on us last time.  I basically felt that I would maybe go see him if he ever came back, but possibly not.

But now that I’ve seen Johnny Fuckin Marr play “How Soon is Now” what do I need Morrissey for?

 

SETLIST

  1. The Tracers 
  2. Bigmouth Strikes Again š
  3. Jeopardy (b-side of single)
  4. Day In Day Out €
  5. New Dominions 
  6. Hi Hello 
  7. The Headmaster Ritual š
  8. Walk Into the Sea 
  9. Getting Away With It 
  10. Hey Angel 
  11. Last Night I Dreamt That Somebody Loved Me š
  12. Bug 
  13. Get the Message 
  14. Easy Money 
  15. Boys Get Straight 
  16. How Soon is Now? š
  17. encore
  18. Rise 
  19. Spiral Cities 
  20. There is a Light That Never Goes Out š
  21. You Just Haven’t Earned It Yet Baby š

Call the Comet (2018)
Playland (2014)
š The Smiths cover
Electronic cover

 

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[ATTENDED: September 13, 2018] Yuno

I had heard of Yuno, but hadn’t realized it.  All Songs Considered played his song “No Going Back” back in February.  I liked it but had forgotten about it come September.

When I saw the poster for the Superorganism show and saw that Yuno was opening I assumed it was a dance band (possibly Japanese, probably female).  But I didn’t investigate.

So I was surprised when Yuno came out and he was an African-American dude from Florida.  As soon as he said his name (like “you know”) I remembered joking about the pronunciation of his name on the podcast and it all came flooding back.

Yuno is a 27-year-old from Jacksonville.  He recorded a lot of his work in his bedroom and posted it on Soundcloud.  In what sounds like a made up story Ishmael Butler of Shabazz Palaces started tracking him on Souncloud and eventually reached out to him to record an EP with SubPop.  (Yuno didn’t tell us this, I looked it up). (more…)

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SOUNDTRACK: THE DIVINE COMEDY-Loose Canon: Live in Europe 2016-2017 (2018).

I loved The Divine Comedy at the turn of the century (the fin de siècle, if you will).  They were one of my favorite bands.

Since then Neil Hannon (the man behind the band) has released a few albums which I have liked–but none as much as those early records.

This recording is primarily his latter songs, and as such isn’t as exciting to me.  (Although setlists from the tour shows that he played a lot of older songs as well, so this disc is mostly a latter period recording).

The first three songs are from the newest album Foreverland: “How Can You Leave Me On My Own,” “Napoleon Complex” and “Catherine the Great.”  And among the next few songs are “To the Rescue” and “Funny Peculiar.”   So that’s five in all from that album.

The previous album Bang Goes the Knighthood accounts for five more songs “The Complete Banker,” “Bang Goes The Knighthood,” “At The Indie Disco,” “Assume The Perpendicular” and “I Like.”

So that’s ten of seventeen from the two latest albums.

After listening to it a few times I have come to appreciate his newer music even more and to see that it is equally as cleverly crafted.  He’s just a different person now with different lyrical and musical ideas.  I will certainly give a re-listen to the last decade;s worth of music.

“How Can” is fun a bouncy, “Napoleon” is snarky and witty.  “Funny Peculiar” is a duet with  guest vocals from Lisa O’Neill.  She has a fascinating singing style which is kind of peculiar in its own way.

“The Complete Banker” is wonderfully sarcastic and catchy and “I Like” is so simple and delightful.  “Assume the Perpendicular” is an other fun uptempo song, but of this batch its “Indie Disco” that is the real highlight (this includes an excerpt from New Order’s Blue Monday”).

It also sounds like this was a fun souvenir for anyone who saw the tour (he dressed up as Napoleon and others, and apparently “Indie Disco” was really fun live).  I have always wanted to see them and hold them high on my list of bands to see.  But he hasn’t been to the States in almost ten years, so I don’t have high hopes to experience them live.

The band for The Divine Comedy’s live shows has changed over the years, sometimes large and orchestral or, like this tour, a simpler five-piece.  They sound good although they do underplay the orchestral quality of the music.

Going back there’s one from Victory for the Comic Muse “A Lady Of A Certain Age” and one from Absent Friends “Our Mutual Friend.”  These two songs are lovely and quite poignant, especially “Lady.”  They are a far cry from the raucous songs of old.

The first older song is from 2001’s Regenertaion with a wild and fun rendition of “Bad Ambassador.”  His voice doesn;t sound great on this song.  I’m not sure if he ever sounded great live, but he certainly underplays some of the bigger moments in the song.

The crowd really gets pumping for Fin de Siècle‘s “Generation Sex” and “National Express.”  These two songs are a lot of fun and I imagine mus t be really rousing live.  Once again he doesn’t sound great. Not that he has lost his voice but almost like he;s not trying all that hard.

The disc is collected from shows all over Europe, so its interesting if they picked songs where he doesn’t sound that great.

It’s not until the encores that he brings out two really old songs 1994’s “A Drinking Song” and “Tonight We Fly.”

I’m sure they picked this particular version of “A Drinking Song” because he admits to being quite drunk himself.  And there’s a funny moment where he gets a hair caught in his throat.  “Is it yours?”  Indeed, his banter with the audience is a highlight.  He is clearly a good showman, and perhaps that makes up for some of the shortcomings of the disc.  This song is a good example.  His voice is much louder than the instruments and, frankly, he doesn’t sound that great as what is mostly a capella–but the overall presentation is fun.

The ending “Tonight We Fly” is a treat as well.  Again, he doesn’t sound perfect, but he sounds like he’s having fun.

I feel like this makes me want to see them a little less–except that it sounds like the performance is great even if his voice isn’t anymore.  Regardless, is he ever comes back to the States, I’ll be there for sure.

[READ: January 19, 2018] “The People Who Kept Everything”

I read this novel 7 years ago.  But since I’ve been going back through old Harper’s and found this excerpt I thought it would be worth reading (the excerpt) again.  And I really enjoyed it, I had forgotten about this scene until the end of the piece.

The narrator says that on the night before he left for college his father gave him a Spanish dueling knife and told him to keep it and never lose it.

When the narrator asks his father where he got it he says he’d better not say–he could tell him he won it in a card game in El Paso or a cathouse in Brownsville.

He kept the knife in a drawer and it moved with him to every location her went–dorm rooms, apartments.  Often it was in the kitchen with the cutlery, ignored by everyone except the new girlfriend who wanted to cook something. (more…)

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SOUNDTRACK: BISHOP MOROCCO-“White City” (2010).

I’d never heard of Bishop Morocco.  Then they played this song on CBC Radio 3.  “White City” is a fascinating confluence of influences.  It sounds somehow late 80s/early 90s yet the the electronic drum sound is decideldy retro, early 80s.

The guitars are heavuily vibratoed.  As are the vocals.  It’s a surpiringly full sound given the limited instrumentation (it’s pretty much guitars and drums).  And it’s quite gloomy (circa The Cure’s Pornography), and yet once the chorus kicks in (still vibratoed, but now major chords) the song perks up (some).

The CBC site has 4 songs by them, and each one confirms that the early New Order/Cure sound is what they’re shooting for.  The cover of their EP “Last  Year’s Disco Guitars” really seems to encapsulate their sound (more so than their album cover does).  I enjoyed the song but after a few listens, I grew kind of bored by it.

[READ: July 4, 2010] “The Entire Northern Side was Covered with Fire”

Rivka Galchen is a completely new author to me.  This was a weird little story that I enjoyed quite a lot, because even though it seemed to be all over the place, narrative-wise, it was actually quite focused.  The narrator is an author who has a burgeoning fan base: male prisoners, who write letters. But of equal importance is that at the time that she sold her movie, her husband had just left her.  Out of the blue.

Although perhaps not out of the blue.  Because in a very humorous (darkly humorous) bit, we learn that all of her friends knew of her husband’s site: i-can’t-stand-my-wife.blogspot.com.   (more…)

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