Plants And Animals Played Mercury Lounge - Pictures, Review

Last night we stopped in at Mercury Lounge for Plants And Animals' second show in a two night New York run. Packed into the tiny room, the show was exactly what we had hoped for: a raucous celebration of rock and roll energy combined with a solid dose of musical wizardry and prowess. The band, who continue to reach new heights each time we see them, delivered a killer set for an appreciative crowd, and left us unquestionably hungry for more.

Since the last time we saw them the band have clearly been coming into their own with their new four piece lineup.  Whereas the show in Brooklyn last December showed a group feeling out the boundaries of having a full time bassist, last night was a full fledged exploration of the territories that such a foundation affords. Most of the time there were two guitars blazing in intertwined leads, and even when one went acoustic, the other still was a tour de force of pedal-driven sonic exploration. On top of all this, there was also the welcome addition of a Fender Rhodes, which lent texture to a number of tunes, including a reworked version of "Game Shows" that simply slayed.

One of the most interesting things about Plants and Animals' always-expanding live show is the way that it builds on all of their previous experience. When things change, it's not some abrupt shift. Rather, it's another iteration on a previously explored successful formula, now enhanced with new and meaningful nuance to explore some new facet of sound.  Last night's show unquestionably dipped its toe in the lake of "true" rock and roll.

Without question, the group has always been a rock band, but last night saw them take this vibe to new heights. The vocals were more aggressive and less choral, the arrangements were more foot stomping and the guitars more fuzzy, overall the band just clearly had the urge to rock. All of this was underpinned by the pieces that make Plants and Animals one of the best live bands today: The group have a rapport that is simply unbreakable, and makes for moments of practiced serendipity that never cease to delight.

For us, the highlight of the evening came with the performance of "Lola Who?". The track, which is culled from the band's Avec/With EP, is one of our all-time favorites. It's a sprawling epic that navigates its way through enough sounds that you feel like you've been on a trip for a week after listening. The band seldom plays the tune, and to hear it live, with the advent of their new lineup was, in short, mind blowingly awesome.

We'll be the first to say it: you'd be a fool not to catch up with Plants And Animals on this tour. If we had to guess by the packed house last night, this may be the tour where they begin to graduate to larger venues, and the opportunity to see them "up close and personal" gradually disappears. Whatever the case, the incentive to be at these shows is undeniable, because doing so means catching a band that is close to, if not at, their creative peak.

More photos at the HAD Archive

White Hills Played Mercury Lounge - Pictures, Review

Under the icy glow of blue LED's, White Hills took to the stage at Mercury Lounge and delivered about as much noise as can be created by three people. The band's sonic assault heavily embraced the sound of their records, but did so with even more of a nod to their predecessors in the world of 1970's guitar rock. From the squealing sounds of a pedal-heavy Les Paul, to a generous application of eye makeup and glitter, White Hills clearly had come to rock.

The band's live sound, while faithful, is not identical to that of their records. The three-piece format meant replacing the record's synths with a flurry of guitar pedal work that covered the gamut of tone twisting wizardry. While it didn't quite catch the droney goodness that an organ provide, it did manage to create a wall of sound that was more than immersive enough for a live room.

Which isn't to say that the drone wasn't still firmly in place: the bass lines in particular held true to their staunchly repetitive strains from the band's recordings. While the guitar bled on with feedback-laden squelches, the bass line plodded steadily until it came to dominate many of the night's most poignant moments. At times it became so dominant that it almost seemed to become its own entity operating outside, but in sequence with, the band.

That sequence was firmly held in place by drum lines that were the definition of percussive expressionism. Not satisfied to simply provide a backbeat, the drums were instead an always-present force, playing as an equal member of the trio. At times, as the bass and guitar worked together to create an impenetrable wave of sound, and the drums would take on an almost melodic quality as they weaved in and out.

We have to admit: we were expecting White Hills to be a bit more of a Yo La Tengo-style drone fest in the live environ. Instead, they took those tendencies and turned them on their head, choosing to minimize their record's more subtle moments and instead embrace the music's most boisterous inclinations. While the result was perhaps slightly less artistically diverse, it was also a welcome dose of straight-ahead rock and roll which, let's be honest, these days can be pretty hard to find.

More pictures at the HAD Archive.

John Cale - Extra Playful

John Cale entered into the new decade on the high of two critically acclaimed records, Black Acetate and Hobosapiens, that saw him giving a nod to his poppier guitar based rock instincts, and blending them with some delightfully experimental use of electronics and synthesizer.  As such, it should come as no surprise that 2011 finds Cale continuing on the same path, to similarly great success.

Compared to the records mentioned above, Cale's latest, Extra Playful, is perhaps the most accessible of all.  Where the others ebbed and flowed between poppy goodness and difficult sonics, Extra Playful is straight ahead pop, through and through. The instrumentation is Cale at his most accessible, firmly rooted in guitars and playful pianos. When electronics are brought into the mix, it's only to provide modest backing beats or synth textures.

Which isn't to say that the record is without depth.  The strong moments are some of the best songwriting of his career, and calls to mind his creative heyday of the mid seventies. There are weaker points (we could do without the backup singers on "Hey Ray", for one), but overall the EP holds together remarkably well as a straight forward rock and roll record.

Extra Playful is apparently the precursor to another full length from Cale in 2012, and that's great news.  His output as of late has been nothing if not a consistently rewarding treat.  For now, we'll be giving this record more than a few spins, and eagerly awaiting the delivery of the next chapter.

mp3: John Cale - Perfection

The Sea And Cake Played Bowery Ballroom - Pictures, Review

Last night at Bowery Ballroom, The Sea and Cake delivered a lengthy set, complete with two encores, to a crowd of devoted fans. The show was part of their most recent North American tour, and was devoid of all pomp and circumstance. The band was traveling with no merch, and had a stage show that (as per usual) consisted of no more than four dudes playing their songs on stage.  The caveat was thus: those dudes can play their music very, very well.

To say that The Sea and Cake can deliver a bulletproof set is an understatement.  They are a well honed band to the nth degree, and their live show is akin to a more visceral version of their recorded takes. All the parts are there, and the arrangements are rock solid, but with just a touch more spice than one finds on the stereo.  In particular, John McEntire's drumming takes on a whole new character in the live environ.  When paired with Eric Claridge's unrelenting bass, it serves as an underpinning for the band as a whole.

However, by the end of the set, the well oiled machine had upped the pace to a frenetic hum, and the band began to, for lack of a better term, rock out.  It was probably the most high-energy we've ever seen this bunch, and they seemed to be truly enjoying themselves.  Hearing Archer Prewitt start to really tear into his guitar, one got the feeling that you were looking in on the more raw side of the band, the side that might bear its teeth at rehearsal space's or writing sessions behind the privacy of closed doors.

One thing remained true for the duration of the show:  these are a group of musicians who are more than able to deliver on the promise of their craft.  For the whole of the set (which consisted largely of newer material, with the occasional dip into the back catalog),  tune after tune  emerged in tip-top shape, and fell readily upon the ears of a crowd of highly enthusiastic fans.  There was no trick, no illusion, no attempt to create something that wasn't actually there.  Instead, it was completely heart-on-sleeve rendition of songs that were carefully crafted amongst the talents of the four men on stage. And therein lies the beauty of a Sea and Cake show:  it's all about the music.

More pictures in the HAD Archive

John Cale - Fear

Lately, we've been listening to a lot more John Cale. A LOT more. Maybe it's the recent announcement of his new EP Extra Playful, or maybe it's just the fact that obsessions happen when they do, and this one is happening now. Regardless: it's time to share.

Cale is best known as a multi-instrumentalist and co-writer for the original lineup of the Velvet Underground, and no doubt, that's an incredible body of work. But even more incredible, frankly, is his run as a solo artist.  During the past 40 years, Cale has released a treasure trove of records that are some of the most rewarding experimental pop around. Some of his best known works (Paris 1919, for one) are somewhat part of the mainstream, but many of his most fantastic records (for some unknown reason) remain relegated to the worlds of collectors and enthusiasts. Case in point: 1974's Fear.

In one sense, Fear is pure, classic John Cale:  dark melancholy, experimental riffs, pop sensibility, and thorough experimentation all rolled into one. But somehow, it's also something more. Compared to his other records, Fear has a rawness and originality that is less trite and produced, but at the same time offers up a melancholy that is touching without going over the edge into the darkness. In short, the record is an expert balancing act of Cale's many artistic qualities.

To further add to the awesomeness, Fear is backed by an all-star band culled from Cale's peers. In addition to Cale's own masterful instrumentation (which is far reaching and diverse), he is joined by Eno, Phil Manzanera, and Richard Thompson to name a few. The band serves to further flesh out Cale's arrangements, and offers up a rock and roll record that still manages to be full of relevance and emotional honesty, coupled with a full dose of sonic experimentation.

John Cale can undoubtedly be difficult at times, and a large degree of this has to do with the fact that he is a man who operates in extremes.  At times, he can't always manage to reign in his experiments and impulses enough to make them accessible, and at others he is so poppy it becomes saccharine.  Granted, once they are breached, these records are well worth while, but getting there can be a long journey. Fear, by contrast, gives a tangible example of what happens when Cale manages to keep everything under close watch:  all of his strengths merge together, and create a record of undeniable greatness.

mp3: John Cale – Fear Is A Man's Best Friend

Elvis Costello Played United Palace Theater - Pictures, Review, Video, Setlist

On Saturday we stopped in at a packed United Palace Theater to catch a sold out show from Elvis Costello and the Imposters.  A continuation of the Revolver Tour (which we had seen at the same venue back in May April 2010), we had a pretty good idea of what to expect from the show.  Nonetheless, with a boatload of covers, a longer set, and a totally different setlist, there were still some surprises in store.

The evening's massive 30+ song setlist traversed Costello's career, but held a strong focus on his early and middle career, effectively something of a "classics" set.   However, those classics were not necessarily "hits" per se.  Many of the tracks delivered were non-singles, and the number of covers (7 at our count) further diversified the set.

In addition to an extremely solid night of music, the set was also characterized by Costello's decision to bring back the "Spinning Setlist".  Not only did this further increase the setlist diversity, but it also meant there were audience members on stage at (almost) all times.  This even included actress Mary Louise Parker, who spinned the wheel before "Monkey To Man", and then danced in the go-go booth for the remained of the song.

The highlight of the evening came when Costello invited the crowd to leave the venues seating chary behind and rush the stage.  Only at that point did it truly come together and feel like a rock show.  Surrounded by an adoring fanbase, the band delivered the last 30 minutes of the show in true style, with Costello prowling the perimeter of the stage, and delivering a "quiet" set with Steve Nieve before delving into the band's full encore, which seemed close to endless.  At the end of the night, we were damned tired, so it's hard to imagine how Costello was feeling.  Suffice it to say: the Imposters are on point to deliver a killer show, and they're doing it on a nightly basis.

Elvis Costello Setlist 10-1-2011
--
Alison -> Tracks Of My Tears
Lipstick Vogue
Watching The Detectives
The Judgement
Everyday I Write The Book
Cry Cry Cry (Johnny Cash Cover)
I Still Miss Someone (Willie Nelson Cover)
Stella Hurt
Monkey To Man
His Lady's Friend (Cover?, unknown)
Waiting For The End Of The World -> I Can Only Give You Everything
Little Fool
Town Cryer
New Lace Sleeves
Clowntime Is Over
Strict Time
Man Out Of Time
Out Of Time (Rolling Stones Cover)
I Don't Want To Go To Chelsea
Pump It Up
Heart Of The City (Nick Lowe Cover)
Radio, Radio
The Angels Want To Wear My Red Shoes
Purple Rain (Prince Cover)
Rain (Beatles Cover)
--
In The Mood Again
I Still Have That Other Girl
Suit Of Lights
Stations Of The Cross
--
Watch Your Step
Secondary Modern
National Ranson
What's So Funny (About Peace, Love, and Understanding)
Wheels (Gram Parsons Cover)

Wilco and Nick Lowe Played Central Park - Pictures, Review, Setlist

Last night we stopped in at Rumsey Playfield to catch the first of Wilco's two nights in New York.  The band is helping to close out the final days of the year at the Central Park venue, and despite predicted rain, the evening managed to go off without any serious interference from the weather.  Alongside the band was legendary musician and producer Nick Lowe.  The band recently covered Lowe's "I Love My Label" as a B-Side to "I Might", and apparently dug doing so enough that they decided to bring him along for their inaugural tour under dBpm Records.

Nick Lowe was touring without a band, and delivered a set in true singer-songwriter style with his voice and a lone acoustic guitar.  Much akin to his longtime friend and collaborator Elvis Costello, Lowe can still command a crowd even with such simple implements.  Lowe's voice is unquestionably in top form, and hearing him live was a real treat; Roy Orbison came to mind as we listened to the delivery.

If anything, the years have improved Lowe's voice, by giving it an even warmer, more even timbre - sweet without being saccharine.  His set started off with a fair dose of his newer material, which definitely held its own.  However, Lowe managed to truly win over the crowd when he delivered his own "Cruel To Be Kind" and "What's So Funny (About Peace, Love, and Understanding)?", as well as a cover of Elvis Costello's "Alison", at the end of the set.

Wilco took to the stage soon thereafter, and launched in to a 2+ hour set that covered the breadth of their entire catalog.  Before we go any further, we'll start by saying this:  Wilco is one of those bands who, no matter what, in any circumstance, always seem to win us over live.  Even if we're dragging a bit on the way to the show, the opposite is always true on the other side.  Inevitably, we spend the next few weeks revisiting their entire catalog and getting back into the band.

This is why it was such a surprise, that last night, this simply didn't happen.  Did the band put on a bad performance?  Not particularly, but it wasn't great either.  There was something in the band's approach and attitude that simply felt staid; like they were just going through the motions.  It didn't help things that the crowd was a bizarre mix of insanely devoted fans, and arbitrary New Yorkers who didn't even seem aware that they were at a concert.  There were no quiet moments, but there were no truly raucous moments either.  Everything chugged along a steady, neutral pace.

The new material from the band's latest, The Whole Love, was certainly tolerable, but it didn't have any real grip on the crowd.  Moreover, the arrangements of the band's old material were the same ones that we've been hearing for the past few years, with little deviation or inspiration.  The lone standout was a somewhat updated version of "I Am Trying To Break Your Heart", that added some fuzzy tones and textures, no doubt culled from the recent album sessions.

It's difficult to issue such a negative assessment of a Wilco show, because the fact remains that they are a fantastic band, and they do truly deliver, even when they're a little bit off.  Nonetheless, after watching their shows for the past ten years, we also feel pretty confident saying that they've reached something of a creative impasse, and perhaps need to find a way to get "unstuck".  It brings to mind the scene from the film I Am Trying To Break Your Heart where Jeff Tweedy opts not to play it safe as the band constructs their live setlist.  Mr. Tweedy, it may be time to take some of your own advice.

Wilco Setlist 09-22-2011
Art Of Almost
I Might
Ashes Of American Flags
I Am Trying To Break Your Heart
One Wing
Bull Black Nova
At Least That's What You Said
One Sunday Morning
Shouldn't Be Ashamed
Born Alone
She's A Jar
Handshake Drugs
Standing O
Rising Red Lung
Impossible Germany
Dawned On Me
A Shot In The Arm
Hummingbird
--
Via Chicago
Whole Love
War On War
Jesus, Etc.
I'm The Man Who Loves You
Monday
Outtasite Out Of Mind


Wilco and Nick Lowe play Central Park again this evening.

Nightmare And The Cat Played Mercury Lounge - Pictures, Review

Last night we had the pleasure of stopping in at Mercury Lounge, and catching Nightmare and The Cat on the eve of the release of their debut EP. The band, a well oiled 5 piece who put a heavy emphasis on vocal harmonies, were completely on-point, and by the end of their set had converted a nearly-full Mercury Lounge into serious fans for the night.

We have to admit, we were a tad skeptical that the band would be able to pull off their recorded sound in a live environment. The EP is a carefully orchestrated piece of rock and roll theater, and pulling off its twists and turns in a live environ seemed like quite the challenge. Fortunately, it was a challenge that the band was up to, and they delivered their sound in spades last night.

No small part of the delivery rested upon the performance of frontman Django Stewart. Not only are his vocals spot-on, but he manages to parallel their theatrics with real-live theatrics as well. Prancing and jerking on stage, Stewart worked himself into a fervor that was less Bowie than it was Hedwig. Regardless, it was a performance that was well deserving of accolades.

Django was well complimented by his brother Sam, who delivered on lead guitar and backing vocals. The guitar was high in the mix, and with hollowbody twang, it offered up more raucous sounds than on the EP. This was particularly rewarding in a live environment, where drifting too far into rock and roll theater can be a slippery slope.

The brothers were backed by a ridiculously tight band, and the performance was nearly immaculate. Not only was everyone on stage well versed in their instrument, but there was an enthusiasm and drive that couldn't be described as anything but authentic. If you think that bulletproof three part harmonies over a killer rock band would be pretty damn amazing, well, you're right.

At the end of the day, Nightmare and The Cat's sound won't be for everyone. At times it can be eccentrically glamorous, and it's painfully conscious of what they're trying to achieve. That being said, they do manage to achieve it, and extremely well at that. Moreover, the band is pursuing a sound that is unique and exciting, without getting bogged down in trends of this week or next. Which is to say, we're quite pleased with what we got for our trouble, and we're guessing you will be too.

More pictures at the HAD Archive

GROOMS Played Death By Audio - Pictures, Review

On Saturday night, Brooklyn natives GROOMS stopped in at Death By Audio to play a release show for their latest record, Prom. The show (as is often the case), started far later than scheduled. That didn't dissuade the fans, however, and when the band came on around midnight, the room was well populated by an excited and enthusiastic crowd.

For the show (we're not sure about the long term), the band had acquired a fourth member to assist with keyboard and guitar parts, but for the most part, the core three-piece contingent reigned supreme, and stayed true to the band's on-record sound. The band were technically on-point, and the drums in particular offered up an even more dynamic element than they do on tape.

Playing only one track from their first record, Rejoicer, the band then delved into an all out exploration of Prom before closing the show with a new track. The new material was solid, and the new track was possibly our favorite of the night. While the band was in top form in terms of technique, the sound system was (sadly) not quite up to the challenge. It's no secret that GROOMS can offer up some challenging levels of discord in their work, and unfortunately, the muddiness of the sound made some of that which is artfully intentional end up sounding off key, or just plain wrong.

Nonetheless, our enthusiasm for GROOMS was not abated. The band is technically adept and instrumentally bulletproof. Moreover, they are creating challenging music that is full of difficult twists and turns that even the most well versed ear needs some time to sort out. Rome wasn't built in a day, and likewise, GROOMS are laying the sonic foundation for what we believe is some of the most exciting musical exploration going on out there today.

More pictures in the HAD Archive

Beady Eye Played Live At Letterman: Video, Review

Last night we had the pleasure of stopping and catching Beady Eye in a one hour performance at the David Letterman show. As you may recall, the band is the manifestation of Oasis-sans-Noel, and has delivered a debut record that definitely pulls its weight. Different Gear, Still Speeding dropped in February, and the band is currently touring in its support.

After an entrance that was reminiscent of the opening of a title bout, the band immediately dove head on into a rocking set that drew heavily on 60's garage rock, both in sound, and in the band's on-stage aesthetic. Nonetheless, there was the undeniable vibe of a band who have toured the world together a number of times, and from the second you hear Liam Gallagher's voice, it's nearly impossible to not recall his greatness as Oasis' frontman.

Gallagher was clearly on point, and interested in getting fans in Beady Eye's corner. To be sure, the singer embraced his typical swagger and "fuck all" attitude throughout the show. Looking more than a little bit like an agitated boxer, he swayed and fought with the microphone throughout. However, he also engaged with fans throughout the show, giving high-five's on his entrance, saying hello throughout the show, and posing for photos whenever he saw a camera. You could definitely feel the love.

For us, the highlights of the set were "The Roller" and "Millionaire", but we have to be frank: the whole set was amazingly solid. It's a real pleasure to see a band that has so much history take a stand and deliver exclusively new material, and see it work. The set is clearly well rehearsed, and the songs were more than able to stand on their own agains the weight of the band's history.

Thankfully, you don't have to take our word for it: CBS has the whole gig streaming, and you can catch it below. Additionally, there's the band's TV Broadcast of "The Roller", which is completely worth your time. And, if you haven't figured it out thus far, we'll just lay it out for you: you can count us among Beady Eye's fans, now more than ever.

Beady Eye plays Webster Hall tonight.

Nels Cline and Marc Ribot Played Le Poisson Rouge - Pictures, Review

On Wednesday night we had the pleasure of stopping in at Le Poisson Rouge to catch the first-ever live performance by two of the greatest guitarists out there today. Nels Cline and Marc Ribot came out to a packed house at LPR to bring together their unique styles, and reward the room with an evening of uniquely riveting composition that left us hungry for more.

The first half of the set was entirely acoustic, with the two trading lead parts on externally mic'ed guitars. The sound vacillated from being almost folky, to bouts of intricate jazz interplay, to rock-like melody that borrowed a fair bit of character from classic Who tracks. While the technical mastery was unquestionably evident, the first half was almost certainly a warm up for what was to come next.

In the second half of the show, both picked up electric guitars, and things got moving quickly. Ribot got started with a Gibson ES-175, while Cline reached first for his lap steel. Both artists had a fair amount of pedal board work going on as well, and Cline had his signature batch of electronics at the ready.

As the show progressed, things got gradually more chaotic and noise-driven, in the very best sense. The interplay between both guitars was perfect, and waves of sound from Cline's Kaoss Pad combined with the guitar sonics in an ideally rewarding fashion. By the end of the set, Cline had broken out his signature Jazzmaster, and it was completely clear that both players were enjoying themselves immensely.

While Wednesday night's set was certainly a collaboration in every sense of the word, we have to say that it felt more like Cline's show that Ribot's. While it's obviously hard to say what goes on behind closed doors, to us it felt like Cline was more consistently leading the feel of the tunes, with Ribot playing a more complimentary role. Either way, the set was fantastic, and we have fingers crossed that this pair will play again soon.

Nels Cline appears tonight at The Blue Note.

More pictures at the HAD Archive

Sharon Van Etten and Megafaun Played Music Hall Of Williamsburg - Pictures, Review

It was a soggy night of April showers – not to mention Tax Day – last Saturday, but we were excited enough to climb out of bed, pull on the rain boots, and slog over to Music Hall of Williamsburg to check out Sharon Van Etten. We first heard Sharon’s haunting backup vocals on The National’s latest song “Think You Can Wait,” which they wrote for the movie WIN WIN. Our reaction was: “Who the hell is that!?!” So we had to check out this show and find out more.

First up, though, was Megafaun and we were lucky to arrive early enough to catch their whole set. These three North Carolinians (two brothers and a high school best friend) are former band mates of Justin Vernon and they share some of Bon Iver’s folksiness. But what makes Megafaun stand out is their energy and sense of humor. These guys simply know how to have fun on stage. When drummer Joe Westerlund – looking like a Tolkien character after a week at Burning Man – took over lead vocals for a song, he delivered a theatrical performance that almost channeled Freddie Mercury. It was surprising and pretty hilarious – and the crowd ate it up.

Megafaun’s admiration for Sharon Van Etten seemed more heartfelt than most opening bands, and by the time she came on stage and opened with two solo acoustic songs, we could see why. She has a no frills performance style. She lets her voice do all the work. But she’s the type of singer that causes everyone in the room to freeze in their tracks and hang on every single word. Her backup band eventually filled out her sound, but the crowd remained motionless and pretty much in awe throughout the show.

Things seemed to build up to the final song in the set, which happens to be our favorite. When Sharon walked over to the harmonium and squeezed out the first notes of “Love More” from her second album “Epic,” we knew it had become a special night. This slow-burning, sad, and ultimately soaring track showcases Sharon’s talents better than any other so far. We have a feeling “Love More” is just the beginning. Sharon Van Etten is clearly someone to watch out for in the future. We walked out into the rain with that great feeling only music can give you when it moves you.

Pictures and Text by Chris Goldberg

More pictures in the HAD Archive

Supergrass: Road To Rouen

Every now and again, a record comes along that defies the catalog of its creator. It presents a new sound, or an old sound in a new light. Most importantly, it takes that artist to a new level, because it exposes depth in their work that had previously been absent or unknown. When we were driving from Dallas to New Orleans with an old friend, Road To Rouen was dropped in the CD player, and that's exactly what happened. The record takes the rock and roll prowess of Supergrass, and veils it a completely new feel for the band. Loaded with orchestration, acoustic guitars, and subtle production choices, the record truly opened our eyes to another side of the British three-piece.

From the opening salvos of the record, it's clear that the band is on a new track: "Tales Of Endurance (Parts 4,5 & 6) opens with a loan acoustic guitar, and builds around waves of orchestration. It's only at the three and a half minute mark that the band finally kicks into their experienced rock groove. When they finally do, it's built upon a much stronger sonic foundation that leads to an unexpected complexity. In other words: awesome.

From there, the band falls into an easy groove, with tracks that focus more on a restrained groove than on balls-to-the wall rock. "St. Petersberg" and "Sad Girl" are both keyboard driven sonic candy, and they lead easily into the record's next true rock and roll moment with "Roxy". Even at it's most rocking, the track still rests more upon orchestration and space than it does on edgy guitars.

The second half of the record opens with the campy "Coffee In The Pot", sounding like it could have easily drifted out of 1950's LA, and definitely in a good way. Ironically, the record's title track is perhaps its most rocking moment, with riffs that recall Zeppelin, and a vibe that is as straight ahead as can be. Fittingly, the next track is titled "Kick In The Teeth", and continues "Rouen"'s rocking vibe with a lead guitar line reminiscent of The Beatles' "Day Tripper" and a bridge with vocal harmonies to match.

From there the record reenters its world of self-restraint, and "Low C" and "Fin" wrap things up by returning to the album's centering sonic subtleties. It takes a great deal of talent to slow things down and still keep them interesting. Moreover, leaving behind a tried and true sonic formula is not always an effort that pays off in full. Thankfully, on Road To Rouen, it does so and then some. Supergrass manage to leave behind their aping of early 70's glam, and instead use that (along with some 60's underpinnings) as fuel for a creative fire that is clearly their own.

For many Supergrass fans, Road To Rouen was a bit of a departure, and not necessarily welcome one. The band would return to form with Diamond Hoo Ha, and later break up, never to venture into the sonic realms of Rouen again. To our ears, that's an unfortunate misstep. The record has become a regular on our playlist, and if we had a follow up, we're pretty sure it might get just as much attention. For now, we'll have to be happy with what we've got, and sit down for another listen.

mp3: Supergrass - Roxy

Ryan Adams - Side 4

Given that Ryan Adams is one of the most prolific songwriters around, it can be difficult to pare down his catalog for the "best of the best". So, then, it's surprising that one of the very best tidbits of Adams' songwriting in existence is not only officially released, but almost perfect exactly as it was delivered: as a five track bonus EP of pure songwriting goodness.

Originally intended as the end quarter of Gold, and culled from the same sessions, Side 4 consists of five tracks. It was originally released as a bonus disc with the first pressing of Gold, and appears (as intended) as the fourth side of the album's vinyl incarnation. What's so fascinating about this record being the "redheaded stepchild" of the Gold sessions is that it might very well have been the key to winning over Gold's naysayers who longed for the "authenticity" of Heartbreaker.

Side 4 begins with Adams aping the Rolling Stones for all their worth, and he does a fine job of it. "Rosalie Come Go" is a simple three chord affair that tells the story of a drug addled protagonist and his girlfriend . What makes it truly magic are the ultra crunchy guitars and the swooning harmonica. It's short and sweet enough that at the conclusion you just want to hear it again.

"The Fools We Are As Men" follows soon thereafter, and couldn't take things in a more different direction. The track is a guitar and mandolin arrangement, and with its dark vocals and sonic simplicity it would have been right at home on Heartbreaker. More importantly, it offers a side of "Ryan Adams being Ryan Adams" that is largely absent elsewhere in the Gold sessions.

Next up, we find Adams embracing his country side perhaps more than any ever time since his Whiskeytown days. "Sweet Black Magic" is a straight up bluegrass jam, and manages to deliver on all fronts. Loaded with awesome vocal harmonies, a great nostalgic lyrics, and plunky banjo from Adams, it's as endearing as it is enjoyable.

If "sad bastard" Ryan Adams is your style, then "The Bar Is A Beautiful Place" will be more than your cup of tea. Taking cues from "Goodnight Hollywood Boulevard", but with bars being the muse instead of LA, the song is a lament of the lonely existence of a drunk. Unlike many of Adams piano ballads, however, the track never lands in self indulgence. It helps that it has a fantastic melody, a great key change, and some simple horns for backing.

The final track, "Cannonball Days", is just about as good as it gets. It manages to have the gusto of "Firecracker", the lament of "Come Pick Me Up", and one of the best damn melodies Adams has ever laid down. Moreover, it features a massive organ solo worthy of the best in rock and roll. It closes out Side 4 in top form.

While it's easy to throw up one's hands at the vastness of Ryan Adams' catalog, and lament the artist's own self indulgence, there are many facets to explore that are well worth your while. In our opinion, Side 4 is one of the best, and you need to dig it up and give a listen.

mp3: Ryan Adams - Cannonball Days

A Few Thoughts On David Bowie's Toy

A few weeks back, David Bowie's "lost" 2001 album Toy found its way to the internets. After an initial bout of excitement and hype, the critics seemed to fade in their fascination. The record was quickly deemed a throwaway, subpar, or even just mediocre. Maybe some of these things are true, but before one jumps to such conclusions, it's worth investigating where Toy came from, and what its context is in the larger context of Bowie's career. Here are a few of the points that made us here at HAD decide that the record should not be so quickly written off.

It's not a finished record.

This is the first, and perhaps most relevant point. No one knows where this leak of Toy came from, or how "done" it truly was. Sure, Bowie claimed at the time that the record was "done", but there's no telling how far along in the process these tapes are: have they been mixed? mastered? had final overdubs? Granted, they may give some insight as to the state of the final record, but there's no way of knowing just how this record might have sounded should it have seen the light of day.

It's a record by a touring band.

Much like Reality, which was recorded by the Heathen touring band, Toy is the product of living on the road. By all accounts, Toy was recorded by the band that toured with Bowie in 1999/2000 after the release of hours... Unlike many Bowie affairs, these songs were created by a band that was experienced not only in playing with Bowie, but interacting with him on a daily basis. Videos released at the time showed Bowie writing songs ("Afraid", in particular) with bandleader Mark Plati in a way that, while not crazy, certainly seemed to deviate from process Bowie had followed in the studio previously.

Who produced this record?

While we have no idea of the answer to this question, it is a worthy one. Almost all of Bowie's records are heavily influenced by their producers, even when that producer was Bowie himself. Who was leading the creative push here, and what does that mean for the record? It doesn't make up for the record's mainstream sound, but it might help to explain it. Moreover, if you took the important chunks of this record and put them in the hands of an able bodied producer, might you wind up with, oh, say, Heathen?

It marks his departure from Reeves Gabrels.

For the ~10 years prior to this record, Bowie had been heavily collaborating with avant garde guitarist Reeves Gabrels. Gabrels left halfway through recording hours..., but this is the first record where Bowie was truly free of Gabrels' input. It's worth considering that Bowie may have been somewhat adrift with the departure of his longtime collaborator. Moreover, it may explain why the record leans so heavily on Mike Garson and Gail Ann Dorsey, while Bowie contributes textural snippets of stylophone, piano and sax.

It marks Bowie's return to form.

Toy is loaded with Bowie tracks from the 60's. This had begun with his live band's playing of "Can't Help Thinking About Me" on the 1999 tour. While that track (live version below) isn't included on the record - a travesty if you ask us - it was the beginning of the project that would become Toy. By most accounts it was Mark Plati that started encouraging Bowie to embrace his former self. Although Plati would get the axe soon after Toy failed to go to market, the effect of this influence can't be minimized. After dipping his toe in the 60's, Bowie went whole hog and staged a comeback of massive proportions. Kicking off with shows at the Roseland and Glastonbury that were much lauded "greatest hits" sets, the change of direction then sent Bowie back into the studio and subsequently on two world tours that were his most solid in years.

It is the foundation for Heathen.

What emerged from the wreckage of Toy was arguably the best record of the second half of Bowie's career. Produced by Tony Visconti and with Bowie in top form, Heathen brought Bowie back to the world as an artist of note, and truly comfortable in his own skin. Not only does Toy feature a host of b-sides from Heathen, but it also features two tracks that would wind up on the record. However, the connection runs even deeper than that. Listening to Toy, the sonic palette for Heathen is already falling into place, with the return of true orchestration, Bowie testing his vocal bounds, and atmospheric textures being used sparingly, rather than as a focal point. The fact that Bowie felt comfortable embracing his roots on Heathen was undoubtedly related to the fact that he had tested them on Toy, and things had turned out just fine indeed.

And so.

Just to be clear: we're not saying that Toy is the best record Bowie ever recorded. However, to miss its context is to miss much of what the record has to offer. Getting to hear Toy is like getting a private view into Bowie's process, and seeing what carried him from the blandness of hours... into the amazingness of Heathen. You can dismiss it if you like, but for us Toy seeing the light of day has been very enlightening indeed.

mp3: David Bowie - Can't Help Thinking About Me (Live In 1999)