Suicide has always been one of my favorites. They’re sort of a cult phenomena from the late 70′s. Just two guys, a keyboard or two, a drum machine, and some drug induced ramblings from a guy that seems possessed. I want what he’s on, lol! But its not just great for the above per se. It’s great because it’s bones bare minimalist approach and looping early industrial sounding keyboards keep you mesmerized. It’s great because singer Alan Vega conveys a person on the absolute edge of mad emotion and strange energy through his wild screams. This is stuff best played loud. Here is their classic “Ghost Rider”.
Well another year, another Dogs. It was a great night at Buddie’s Tavern, the place was packed, and people were feelin’ good. There was a local public television station present and they did interviews with many musicians playing that night. Bird’s Keith and Geoff were interviewed. The performances were broadcast on 3 television sets above the bar almost live! I only say that bc there was a brief second or two lag. But wow, little Buddies is embracing technology, going hi-fi.
Zigman Bird did three covers and an original. David Bowie’s “Moonage Daydream”, The Kinks “Victoria”, and Police’s “It’s Alright for You”. The original was a Keith Beck standard, “Compromise”.
The bands played for charity, which is great bc there are so many people in need these days. We humans need to stick together. Special thanks to Buddie’s and everyone participating for the 23rd annual Dogs of War. 23rd? Yeah, I was told 23rd, and that’s lot of history.
Here’s a full listing of bands from the event:
The Molecular Blues Machine, Mad Lees Union, Bullet Train, The Marbles, Goyum Bongo Volante, The F Bombs, Brian and the Shadowroaders, Elvis, Big Daddy and the Death Machine, Rachel and the Lost Boys, Thomas Martin, Van Cleef, Zigman Bird, Schnitzel, Joe Canzano, The Beards, The Dead Pony Cats
Long time indie heroes Burning Up White returned for their first show in what seemed like ten years to me. But after speaking with lead singer Maryanne Wilson after the show I learned it had only been about five. They just have been out there intermittently, are extremely busy, and have other music projects going as well. On to the show. It was a triumphant return for the 3 piece…wait 4 piece now! They added a bass player named Rob, and Maryanne who had played bass previously, switched over to a guitar. They sounded like they had never been away. One would expect a little rust but little was found. Breaking out mostly new material, they rocked little Buddie’s Tavern with their off kiltered spacy hooks and moody vocal musings. Some of the highlights were “Sharks”, which i believe is one of their older staples. They also breathed some new life into the Pixies classic “Gigantic”. Nice to have BUW back.
The Strokes haven’t been around in a while, but thanks to Albert Hammond and now Julian Casablancas we have some new recordings to hold us over. After a few listens of Julian’s new “Phrazes for the Young” the adjectives “quirky fun” come to mind. I am not sure if that would be a good thing if i hadn’t heard the album first. Like Albert’s albums, it is more varied than a Strokes record and relys on more instrumentation and experimental sounds. But there is a weirdness to Julian’s effort. It’s loaded with the usual guitar layers found on the Strokes (thank goodness) but also 80′s new wave keyboards, drum samples/machines, and strange parts within the songs that go somewhere unexpectedly. Oh and it’s catchy. Just when you think you’ve heard that hook before, it wanders off somewhere again. I like this album and it sounds like he had fun in the studio making it.
The Strokes haven’t been around in a while, but thanks to Albert Hammond and now Julian Casablancas we have some new recordings to hold us over. After a few listens of Julian’s new “Phrazes for the Young” the adjectives “quirky fun” come to mind. I am not sure if that would be a good thing if i hadn’t heard the album first. Like Albert’s albums, it is more varied than a Strokes record and relys on more instrumentation and experimental sounds. But there is a weirdness to Julian’s effort. It’s loaded with the usual guitar layers found on the Strokes (thank goodness) but also 80′s new wave keyboards, drum samples/machines, and strange parts within the songs that go somewhere unexpectedly. Oh and it’s catchy. Just when you think you’ve heard that hook before, it wanders off somewhere again. I like this album and it sounds like he had fun in the studio making it.
