Lou Reed knocks 'em dead at the London Hammersmith Apollo

Lou Reed performed to a sold out London audience at London Hammersmith Apollo last night. Reed performed the entirety of his 1973 classic album 'Berlin' to a thunderous 10-minute standing ovation.

Highlights included the haunting "The Kids" featuring the London Children's Youth Choir on backing vocals, "The Bed" the song where the main character, Caroline, commits suicide, and the victorious and tearful "Sad Song" which ended the show. Hats off went to original Berlin album guitarist, Steve Hunter, who nailed it on every single song - the same cat who played guitar on Reed's live album "Rock'n'Roll Animal".

The Bob Ezrin produced album was given an imaginative new arrangement, augumented by a string section, horn section, a new backing vocalist calle Katy, and Reed's core rock band featuring bassist and backing vocalist Fernando Saunders, drummy Tony Thunder Smith and stand up bassist Rob Wasserman. Even Hal Willner, 'Berlin's musical director, walked out on stage to hug Reed for performing a fantastic show.

After the rapturous standing ovation, Reed and his 26-piece orchestra returned to the stage for stunning new-arranged live versions of "Sweet Jane", "Satellite of Love" and "Walk on the Wildside". It was Satellite of Love that triumphed with a refreshing news musical arrangement which showed off Fernando Saunder's falsetto vocal range, backing vocalist Katy's soulful vocals (look out Annie Lennox!) and some wild guitar playing by Reed and Hunter.

I'd been to the Apollo several times but never experienced this kind of electric audience reaction to a rock concert before. It was as if everyone had a lightening rod wedged up their ass and the power was turned on at 10. If you missed this show, you definitely missed out on a piece of rock history.

'Berlin' live is Lou Reed's swansong.

Lou Reed's 'Berlin' Comes Full Circle in Amsterdam

Lou Reed brought his "Berlin" concert to Amsterdam's Heineken Music Hall on Wednesday 20th June and virtually brought the 3,400 sold out capacity audience to their knees.

This was not just your ordinary rock'n'roll concert, but instead an emotionally absorbing multimedia event - part theatrical, but raw, beautiful and tragic. Reed performed his 1973 milestone album with a string secton, horn section, a childrens' choir and his core rock band which featured the original 'Berlin' album guitarist, Steve Hunter.

Lou performed the album in its entirety and along the way, introduced some new twists and turns on most of the songs. You could feel Lou's torment and his pain as he pushed the envelope with every nuance, lyric and guitar lick. Berlin was a personal release for him, and you could feel every note with a vengeance.

'Lady Day', 'How Do You Think It Feels', 'Caroline Says', 'The Kids', 'The Bed', 'Sad Song'.... song after song, the audience became dumbfounded by how amazing the delivery of the songs were. What started off as a tale of two lovers (Caroline and Jim), gradually turned into a one way ticket to hell, which ended in prostitution, drugs and suicide.

After final song 'Sad Son', Reed received a standing ovation. He returned five minutes later for an encore which included 'Sweet Jane' and orchestral enchanced arragements of 'Satellite of Love' and 'Walk on the Wild Side'. At the end of the concert Lou took bow and said "I Love You" to the audience.

"Berlin" - a snapshot moment in time, and probably the rock'n'roll moment of 2007. Make no mistake, this was history in the making.

Lou brings Berlin to Paris on June 23rd, then brings the show to Berlin on June 26th. The concert then moves on to the UK on Friday June 29th where Lou plays Manchester International Festival, and then two shows at London Hammersmith Apollo on Saturday June 30th and Sunday July 1st.

The following UK press page has further informaton about the current tour - http://www.noblepr.co.uk/Press_Releases/live_nation/2007_tour.htm

Liz Phair - She's Got You, Babe

What is it about Liz Phair that sounds so right?

The shortage of good new albums has forced me to dig out my old Liz Phair albums. Due too the fact that the Maroon 5 album is so vacuous (who really wants to listen to 12 songs of Adam Levine bitching about his split with his girlfriend), I remember hearing various intelligent pop songs on Phair's 2005 album 'Somebody's Miracle' that seemed to be about break-ups, but the songwriting was so much more personal and real. It had substance and wasn't devoid of any meaning. Every song on the album seemed important.

I've never figured out why Liz Phair has not been more successful as a female singer/songwriter and rock'n'roller. Her early albums were cool, but as she progressed, she became rockier but her lyrics were always snappy and direct. She's difficult to ignore.

It's also a statement on the current state of female rock musicians. It seems to be a man's world out there. What happened to Joan Jett and the Blackhearts? Were the Runaways a joke? Was Suzi Quatro just an illusion? Why is there no Heart reunion?

My point is that it's empowering to have really good female rock musicians doing their thing. Of course, you do get the commercial extreme of things that seem to be a bad dream (like the recent Avril Lavigne single 'Girlfriend'), but when you get a serious contender like Phair, who not only has the ability to write a pop savvy lyric with a political and social bent, you have to keep her at the top of the pile.

The major lablels would rather concentrate their humble efforts on plastic role models like Gwen Stefani, instead of nurturing real authentic talent. It's all style over content. Somebody shoot the stylist.

I not only commend Liz Phair for all the great albums she's released over the years, but like a fine wine, she continues to excel with every new album. Why am I looking back to her 2005 studio album for inspiration?

The difference between a lyricist like Liz Phair and a pop frontman like Adam Levine is like night an day. It's like Liz is Cher and Adam is Sonny Bono. The big difference is that Liz Phair definitely still has the 'I've Got You Babe' good seal of approval stamped across her forehead.

Check out the lyrics to the opening track, 'Leap of Innocence' on Phair's 'Somebody's Miracle' album (I rest my case) -

"I saw John. He looked so sad. I want you to know that I feel bad. For not making our dreams come true. We had so many dreams me and you. I want you to know. I love you. You're my favourite thing from the past. And all of those nights that we spent together. I never had such a blast. Anyone could tell. You were my instrument. He said "I understand you. You want to play me." Everything about us had an innocence. But everything around us was changing. It's hard to believe. So much happened so fast. Remember the way we'd always laugh. While thinking up things to do. We were kings of the world me and you. I wish it had stayed like that forever. But everyone was dropping off like flies. I had so many friends in rehab. A couple who practically died."

Check out this interview Liz did for the release of the 'Somebody's Miracle' album.

In the meantime, here's a blast from the past...

Maroon 5: Adam Levine Drops His Girlfriend (And Decides to Write An Album About It)

LA-based Maroon 5 (formerly known as Kara's Flowers), have released their highly anticipated follow up to their 2002 Platinum selling 'Songs About Jane' album featuring the radio staple hit 'This Love'. The new album is entitled 'It Won't Be Soon Before Long', and is released off the back of the infectious hit single 'Makes Me Wonder'.

Was the wait worth it?

The album is packed with mixed emotions (courtesy of singer/guitaristAdam Levine). Based on the personal reflections of the songs, it seems that Levine recently split up with his girlfriend. He's chosen the new Maroon 5 album as the place to rant his frustration about the break-up.

But why subject his listeners to this for an entire album?

What happend to the bluesy funk on 'Shiver' and the infectious, soulful mindset on 'Harder to Breathe'. What happened to the sexy strut the permeated the 'Songs About Jane' album?

What happened to Maroon 5?

'It Won't Be Soon Before Long' is the hotly tipped Maroon 5 album follow-up. It's about exciting as trip to Wal-Mart. The problem is, aside from the brilliant pop power of 'Makes Me Wonder', the rest of the songs on the album are more 'Plain Jane' than cutting edge. This album makes the Killers sound like Led Zeppelin.

Maroon 5 need to find Levine a girlfriend.

The album is already selling millions of copies in America. Adam and his slicker than now cohorts hammed it up on American Idol a few weeks ago, and as a result their single went back in to the No.1 spot in the singles chart. I mean, anything is possible. Look at Jordin Sparks!

I just can't help but notice that Adam doesn't look like he's having a good time. He looks bored out of his skull, kind of like he'd rather be doing something else.

'Makes Me Wonder' includes the lyric - "I don't believe in you anymore." You're left feeling sorry for Adam.

But not for long.

As the other songs on the album begin to unfold, the song titles seem as if they were written by a thirteen year old manic depressive - 'Little Of Your Time', 'Wake Up Call', 'Won't Go Home Without You', 'Nothing Lasts Forever', 'Not Falling Apart', 'Better That We Break'.

The new album lacks any kind of edge.

I am amazed because Maroon 5 could have produced a really good follow-up album, but instead they've come back with something to the equivalent of elevator mood music for rock'n'roll executives who are only interested in one-night stands; the same guys who are too worried about scratching the company car.

If Octone (the independent label that originally signed Maroon 5) is in bed with Universal Music for worldwide distribution, you just know the album has been market researched to the point where all the originality, blood, sweat and tears the band have put into this effort, was mass processed for Orange County bratpack rich girls who think Adam is a pin-up, while male teens aspire to be just like him.

The other thing about the album is that someone has told the band to come up with some songs with an "Every Breath You Take" bassline on 'Won't Go Home Without Y0u' and Andy Summers' signature Police guitar riff on 'Every Breath You Take' on 'Not Falling Apart'. The Police did it better.

It's not all bad.

Take'Goodnight Goodnight' - one of the memorable ballads. Nice opening guitair riff and some soothing vocals from Levine. Radio friendly and inoffensive. It's the kind of song they'd probably play during the end credits on a Kevin Costner movie. It's kind of retro, but at the same time, didn't Phil Collins record this kind of stuff back in the eighties?

As the album progresses, Adam comes up with some tunes that are familiar to vintage Prince circa 'Purple Rain' and 'Parade' albums. In particular 'Kiwi' sounds like it could be the bastard child of 1999 (without the bells and whistles).

The band saves some of their more compelling songs for last (track #11 'Better That We Break' and track #12 'Back At Your Door').

What is it with Universal slapping a 'Special Edition' sticker on the front of the CD jewell case?
Is it really so special that the album contains two bonus tracks. Maybe it's a marketing ploy to get people like me to make an impulse purchase for the extra tracks. What's ironic is that the two bonus tracks are two of the best songs on the album. What's it supposed to mean? That the other Maroon 5 tracks are not deemed 'bonus eligible' because they weren't an after thought?

The two bonus tracks in questions 'Until You're Over Me' (vintage Prince) and 'Infatuation' are what 'It Won't Be Soon Before Long' should have been all about. I am sure the band know that the big compromise on this album (via the safety-in-numbers bubblegum pop-rock sound) will fly. Is this album that defines what Maroon 5 are really all about?

No pun intended, but it kind of makes me wonder.

Adam Levine puts an altogether new spin on sleepwalking, particularly during the video for 'Makes Me Wonder' - http://www.youtube.com/watch?v=aaPIhetUn_k.

Adam Levine will continue to experience iffy relationships, he'll fall in love too easily, and suckers like you and I will continue to pay for the abuse with the hope that one fine day he'll write the pop masterpiece we all know is inside him.

Wake up Adam, it's not too late. Stop wondering about it. Just do it.

Alan Vega Commits Suicide

"There was a time when you could dream. Now, now . . . it has become a crime to dream."

'Station Station' - Alan Vega's back singing his lungs out for a crowd of "dream losers". Everybody's favourite viet vet with the signature scarf on his head is back in top form with an industrial trip hop album that makes Ministry and the Revolting Cocks sound like Timberland on poppyseed sticks.

'Station' is a relentlessly painful, semi-tragic, angry album. Vega hasn't lost the conviction from his early days with the seminal Suicide. There is no Ric Ocasek on this latest offering. This ain't no 'Saturn Strip'.

Back in his brief Elektra days, Ocasek thought he could make Vega into a pop star, kind of like an antichrist version of Billy Idol. 'Saturn Strip' rocked but mainstream radio didn't get the joke. Vega's album bombed and Ocasek left the Cars.

Who was this Sal Mineo of rock? Suicide invented the lead singer, mystery keyboard player set against a loud drum machine. This dated back to the Mercer Arts Centre in NYC back in the mid seventies. The Dolls and Wayne County and the Electric Chairs were on the scene. Richard Hell was just a newborn toying around with his mother's safety pins. The Ramones probably had brush cuts and were still in Junior High.

Soft Cell and the Pet Shop Boys took Suicide's primitive two-man line up via drum machine and commercialised it for mass consumption. 'Frankie Teardrop' got raped and re-surfaced again in the eighties as 'West End Girls'. Everyone took their cue from Marty Rev and Alan Vega, but most would never admit it.

Take track three for example - 'Psychopatha'. Vega laments - "Moms and Dads, take your kids to deadland. It'll make you a man. B brain. Get a medal. That's it. Go to deadland. It'll make you a man."

The drum machine crunches in on a war-like stampede. The troops are coming in and we're all doomed. But life goes on in Sucide land. Vega convulses like Rasputin the Mad Monk. This classic Vega with traces of paranoia and disturbing realizations.

'Crime Street Cree'; a 6-minute tour-de-force which puts Vega back on the radar. This is Vega's swansong. "It's the street of no chances. It runs to infinity. This is as bad as it gets. I'm a dead marine. I'm way to young to die."

Vega lashes out with an explosive wall of disjointed atonal synth riffs sandwiched between a machine-like, pulsating beatbox rhythm. He sings of going through hell and coming back on the other side. It's a living nightmare and this song leaves you feeling Vega's anguish and desperation. This is rock'n'roll (but not as we know it).

"The traceman dies. It came from the sky, to die. Lookin' for a human. Why? Ask why?"

In 'Traceman', Vega unveils a distorted mix of vocal samples, female spoken word, jumbled beats in a haze of macabre rhythms. It's another last ditch attempt, a hypnotic plea for help. Stunning, classic Vega.

In 'Gun God Game', Vega delivers his triple G's in spectacular fashion. Orchestral backing vocals on a demented death defying loop and some of his best lyrics in years. . .

"How many time do you need to live out of control. Rip it into that twisted wind. The wave goodbyes, the heavy hearts. It's the takedowns, the breakdowns, the humiliations. Gun God Game. Yeah, the future's determined that you can never beat that game. So why try? Not believing. I can't believe it. Hey, how many times driving to the uncontrollable release of the events twisting all around you? It's there for cryin' out loud. Give it up says the ghost of nothings. Ripping through your heart forever. It's the endless attempts of bringing back what's not there."

Alan Vega is an undisputed genius. Nobody in music can touch him. "Station" is his milestone album. Hail New York City's finest.

Here's a gem from Vega's "Saturn Strip" album. The song's called "Wipeout Beat" - produced by Ric (The Cars) Ocasek.

Candie Payne: Kiss Kiss, Bang Bang

New on the UK music scene comes Liverpudlian songstress Candie Payne. Her debut single on the Deltasonic label is entitled 'I Wish I Could Have Loved You More'. It's kind of like a throwback to mid sixties Avengers style sound track music, with an instrumental spaghetti western type of vibe.

Vocally, Candie comes across like a hybrid of Nancy Sinatra meets Julie London, with shades of Julie Driscoll thrown in. A touch of 'This Weel's on Fire' meets 'Man In A Suitcase' - it's a retro John Barry meets Monty Norman James Bond fast-forward, with monochromatic vocals. A distant nod to Dustry Springfield wrapped up elegant psychedelic black leather gloves.

Candie arrives at a time when the British music scene is stuck in limbo. Her competition is spiteful and hideous, from overrated Phl Spector drag queens like Amy Winehouse to superbrat monkey girl Lily Allen.

Candie drops in like a breath of fresh air. The single is sexy, intelligent and effortless and makes Winehouse and Allen seem as if they're battling it out in as Bette Davis and Joan Crawford in a dire remake of 'What Ever Happened To Baby Jane?'

Some say it's grim up North. This is a good reason to prove otherwise.

RUSH vs Iggy Pop: Let The Games Begin

Back in the early seventies, when Iggy and the Pop toured the Raw Power album, there was this rock trio called RUSH. One of the guys in the band, Geddy Lee, went to my Dad's school, Northview Heights (a few years before he went to the same school).

When he first started going to Northview he noticed a poster for a Friday night gig in the school cafeteria. The poster pictured these three rockers with shag hairuts dressed in what looked like skin-tight metalic Sweet outfits. At that time Rush were on their first album and they kind of sounded like a Canadian version of Led Zeppelin.

In those days my Dad and his friend's hated Led Zeppelin but really liked Iggy Pop and the New York Dolls. I reckon they were more into punk before it was really known as punk, although years later, my Dad met Iggy several times in NYC, Toronto and the UK.

Getting back to Rush performing a gig at their high school, well, it was a choice between my Dad seeing Rush in concert at his high school or seeing Iggy Pop at the Victory Burlesque Theatre on the corner of Spadina and Dundas Street (the place has now been converted into a Chinese bank).

My Dad and his friends said - "Who do Rush think they are? We give this band three years and they'll be gone."

Thirty-Three years later Rush have morphed into one of the biggest album rock bands on the planet.

Not only did they pick up a new drummer along the way (Neil Peart), but they've just released one of their best studio albums of their entire career ("Snakes & Arrows"). Gone are the shag haircuts and the tight sequin trousers and platform shoes.

Stranger things have been known to happen (www.rush.com).