My New Favorite Website

Simple but effective.

-AF
(My friends worked closely with them & say they are great guys. I just don't get it).

They Said It. I Repeat It.

"I’m sort of the Sarah Palin of orchestrators."

-Rufus Wainwright/Spectacle: Elvis Costello with...

Spectacle: Elvis Costello with... is not only the best new music show I've seen in years, it's the best new show period. It's airing now on The Sundance Channel.

I know. I know. You don't believe I can be objective re: anything Elvis. Trust me. Spectacle is really, really good.

Age, Diana Krall* and twins have mellowed Elvis Costello. It comes as no surprise Elvis is a skillful interviewer, a good listener, and well-prepped. However, what's shocked this veteran Elvis Costello watcher is E's become playful (see: A Colbert X-Mas) and **gasp** goddamn charming!

Dig Spectacle's guest list: Lou Reed, Julian Schnabel, Bill Clinton, James Taylor, Tony Bennett, The Police, Rufus Wainwright, Kris Kristofferson, Rosanne Cash, Norah Jones, John Mellencamp, Renée Fleming, Herbie Hancock, She & Him, Jenny Lewis, Jakob Dylan, Diana Krall and Smokey Robinson!

The sole downer? Spectacle lasts a mere 13 episodes.

-AF

Let There Be Rock

The Mighty AC/DC - "Rock 'N' Roll Train"
(From last Sunday's final tour rehearsal)*

Along with 2997 people I've never met, I was privileged to catch AC/DC's final US Tour dress rehearsal in Wilkes-Barre. It was outstanding. I've now seen AC/DC concerts in three different decades. God, I'm old. Take a gander at this VIP pass pic while I take my medicine...






















OK, I'm back and fresher than ever. It may surprise you to learn that before I heard punk, I mean really heard punk, I was a suburban heavy metal kid. That's just the way it was back in der '70s. It was the law. And no one did the heavy metal boogie better harder or better than these Aussies.

Putting their muscianship aside, and make no mistake about it they are all exceptional musicians, AC/DC is a band like no other. They exist in a state of suspended adolescence and do so unrepentantly. You'll find the AC/DC v.08 little changed from the AC/DC of 1998 or 1988 or since I first saw them on Dec. 25, 1981. And that's a very good thing.

Now about that muscianship. Anchored by Cliff Williams' chugging bass Phil Rudd's pounding drums and Brother Malcolm's archetypal rhythm guitar, AC/DC the band is tight as balls. Brian Johnson chimes in with his patented growl. (Has there ever been a more clutch performance in rock history as when Johnson replaced the recently deceased Bon Scott only to write⁺ the bulk of & record the iconic Back In Black in a just few months time?)

And then there's Angus.

Sure, Angus is only 85% as spastic as he was back in the day. (He's 53 for chrissake). But even at 85%, Angus is 200% more spastic than anyone else out there. He remains a guitarist nonpareil too. His playing is fluid, his picking is crisp and his Scots folk-inspired pull-off arpeggios are a wonder to behold.

If the hard rock is your thang, you owe it to yourself to catch this AC/DC tour. You never know how much longer they will keep on kickin' it. Oh, and their stage production is completely over-the-fuckin'-top too.

-AF

Soon Come: We rewind to 1991 with an AC/DC edition of Uncle Anacher's Punk Rock Tales in which yours truly meets the band.

*I meant to post this Monday but the week quickly got out of hand.
⁺In the tireless Bon Scott vs. Brian Johnson debate there are those who believe Bon Scott wrote the bulk of Back In Black before he died. Johnson has long laid claim to the majority of the lyrics, most notably "You Shook Me All Night Long", without the band correcting him. This alone would lead me to believe him. Plus I know for a fact that out of respect AD/DC ditched any and all new Bon Scott tunes to start anew with new singer Brian Johnson.

Uncle Anacher's Punk Rock Tales: The Clash, Vol. 1

"White Man In Hammersmith Palais" March 8, 1980.*

Those who know me from my parents to my past and present neighbors' dogs are well aware of my decades long Clash obsession. I was always the music guy. The Clash tossed my musical world on its ass.

Back in 1979 I was 15 years old and in a band that was more what I now know as pub rock than punk rock. My band played all originals at real gigs in the city in real clubs. We usually $6-$10 apiece -- enough to cover gas money and a slice of pizza or two on the way home. Already an outsider in high school, this made me a somewhat of any alien. It was just the way I liked it.

That Halloween we played an elaborate costume party in my home town. (I'm saving that story for the movie). I met an outgoing, friendly lass in my grade there who was exactly one month younger than I. Our common bond was music. I was immediately smitten.

She soon lent me the Americanized version of The Clash sans lyric sheet. Dropping the needle on the record I was immediately hooked by the raw, powerful guitars but bewildered by Joe Strummer's heavily accented barking then incoherent to my ears. Fer chrissakes I was already well familiar with, and at least could understand, The Ramones! We frequently covered Road To Ruin's "I Just Wanna Have Something To Do" at band practice.

I listened to The Clash again and again. I started to pick out two or three words in every sentence. What I little I comprehended was radical and compelling -- plus I needed to be able to discuss The Clash with my new friend. (Ha!) By the 10th time through I was completely hooked. My life was forever changed.

It never did nor ever would have worked out between my friend and I. I'm totally cool with that. I'm not the type that pines for any "love lost" that never was. Until we both moved once too many times, we kept in touch for 15 years or so. Still, I'd like to speak with her again if only to remind her I owe her a huge debt of gratitude for an album lent almost 30 years ago.

-AF
*Exactly one night before I saw 'em at Boston's Orpheum Theater.

I Wanna Riot of My Own

The only band that matters' performs their debut single,"White Riot", at the 1978 Rock Against Racism* concert, Victoria Park. Rude Boy was a bit crap but it did have brilliant Clash footage. When it first played the art houses, I was in high school/college.** I vividly remember my teenage girlfriend freaking out a bit at the bathroom bj scene which was not very graphic by today's standards. It's funny. In comparison to the teens of today, time and space have somehow made my punk rock youth look positively Victorian.

Rude Boy was finally released here on DVD about a year ago.

-AF

*"Rock Against Racism" conjures up fond memories of the long defunct WBCN/Boston Sunday morning radio of the same name. It featured everything from punk, reggae and the blues. The host's patter i.e. dubbing Peter Tosh the "right reverend of reggae" was a lodestar. Now if I could only remember his friggin' name!

**Long story. I split high school halfway thru my senior year. A neat trick if you can pull it
off. I highly recommend it.

++3/17/08 Update & FYI: Just so there's no misunderstanding... Joe Strummer's lyrics are a pledge solidarity with London's black community after he and his band mate Paul Simonon got caught up in 1976's Notting Hill Carnival riot.

I Say He's A National Treasure, Schee...

I escaped the bunker last nite to catch Bob Mould's NYC's Irving Plaza* gig. Bob's doing what I am told is his first full-on full band tour in a decade. This time around his band consists of longtime Mould protégé Jason Narduccy on bass (former co-leader of the oh-so-Sugar-y Verbow), Deep Dish bud/remixer extraordinaire/club maven Richard Morel AKA Pink Noise on keys plus fellow former hardcore superstar Brendan Fraser (of the tragically mothballed Fugazi) pounding the skins. How was it you ask?

O-M-F-G.

I think I've seen Bob 10 times in various incarnations over the years -- tho' prolly not in a decade or so. Since Hüsker Dü's '87 drugs/alcohol/ego/tragedy-fueled implosion (I believe the resulting crater can still be seen from space with the nekkid eye), Bob's built an impressive arsenal to call his own. I hadn't paid much attention to all things Bob lately. I hadn't heard his new album. I didn't know who was in his band. I was hopeful but wary. I burnt offerings & mumbled prayers that the gods of sound would favor our cause.

Fuck. Me.

Bob didn't just show up with his best band ever. No sirree. Bob & friends played a veritable fistful of Hüsker hits! Bob & co. dusted off a sixer of Sugar shanties too -- a full fucking half of Copper Blue! In fact, when all was sung and done, Bob's career-spanning 21-song two-encore set featured precisely two songs(!) from the brandy new District Line. (An aside to Mrs. Forester: You may be right. "Miniature Parade" is growin' on me).

I was woefully unprepared for this onslaught of Mouldy-goodness. If I had known, I would have packed a spare pair of skivvies. They would've come in handy 'cuz The Bobster gang roared relentlessly through a main set consummated by a deuce off HüDü's New Day Rising: "I Apologize" bursted into "Celebrated Summer". It veered on pleasantly overwhelming for all, Bob included.

Know this. Once upon a time -- I'm talking waaaaay back when Bob & I both still had little hair -- we chatted a coupla times at shows and during at least one interview. I found Bob to be not so very dour after all. Listening to his music you'd never know it. For this reluctant godfather of emo's mainstay is tapping into rage and sadness at their most primal levels. By its very nature the Bob Mould Concert Experience doesn't lend itself to witty on-stage banter, rock star smirks, collective group hugs and the like.

So as we basked in his reconnection with the cream of his canon, I was amused to catch intense ole Bob repeatedly & consciously catching himself right before he cracked a grin. And why the hell not grin? Those of us not on-stage were all in and went all-out from the sec he broke out "A Good Idea" at song #2. Together we forged our way thru 14 more angst-filled anthems 'til we reached that terribly rarefied spot where performer and performees simultaneously strike the Catharsis city limits. And we hadn't even made it to the goddamn encores!

Alas, the show's best moment kicked off its last: the first wig flipping chords to HüDü's "Makes No Sense At All". Walking off-stage Bob was visibly moved and seemingly shocked at our fervent gratitude for his gift. With the last note still ringing in our ears, we spilled into the streets our hearts full and our energies spent.

Shorter version: If Bob Mould is booked in your town by any means necessary GO! If he isn't, fer chrissakes get your ass to somewhere he is playing. It'll be good for your soul but bad for your ears.

-AF

Buy Bob Mould solo here. Workbook is 100% ASIAF-approved.
Buy Sugar here. Copper Blue is 100% ASIAF-approved.
Buy Hüsker Dü here. All but the first two are 100% ASIAF-approved. If I hadda pick just three I'd hafta snag New Day Rising, Zen Arcade and Candy Apple Grey.

*Note: I refuse to call Irving Plaza by any other name. Who in the name of Bill Graham's great ghost came up with this bright idea? The one and only NYC rock 'n' roll Fillmore, The Fillmore East, was 11 fucking blocks away in a completely different neighborhood! Live Nation's marketing dopes are tripping (and at least in their mid-60s) if they truly believe the "Fillmore" brand has a speck of name cachet with their core customers or anyone else after a 35-year absence.

All who do remember the real Fillmore - East should be be offended by this corporate identity theft. But then again they'd at best go to Irving Plaza a scant handful of times in their lives. No name change will make them attend more frequently. Calling the joint Hitler's Haus wouldn't keep them from queuing up for a dwindling chance to see Dylan, Santana or Dolly in club setting either.

++++Update: I cribbed last nite's set list from Palimpset & sprinkled lil' discog bits on it...

"The Act We Act" – Copper Blue – Sugar
"A Good Idea" – Copper Blue – Sugar
"I Hate Alternative Rock" – Bob Mould – solo
"See a Little Light" – Workbook – solo
"Hoover Dam" – Copper Blue – Sugar
"I Am Vision, I Am Sound" – Body of Song – solo
"Hanging Tree" – Black Sheets of Rain – solo
"Miniature Parade" – District Line – solo
"Your Favorite Thing" – File Under Easy Listening – Sugar
"Again and Again" – District Line – solo
"Circles" – Body of Song – solo
"Paralyzed" – Body of Song – solo
"Can’t Help You Anymore" – Copper Blue – Sugar
"I Apologize" – New Day Rising – HüDü
"Celebrated Summer" – New Day Rising – HüDü
"Divide and Conquer" – Flip Your Wig – HüDü

Encore #1
"Moving Trucks" – Last Dog and Pony Show – solo
"Egoverride" – Bob Mould – solo
"If I Can’t Change Your Mind" – Copper Blue – Sugar

Encore #2
"Chartered Trips" – Zen Arcade – HüDü
"Makes No Sense at All" – Flip Your Wig – HüDü