Dearth of Posts

Yeah, I've been lighting this thing up in 2008, huh? I apologize. Real life fucked Vitamin J right up the old poop chute for much of this year. Things did turn around for me sometime around Labor Day and they got even better a few weeks after that.

I hate to be all vague and whatnot, but some heavy shit is going down and Death May Be Your Santa Claus just isn't the proper venue.

Happy holidays.

Brought to You by the Letter "B"

Local H, the greatest fucking live band in the world and don't you ever goddam forget it, played in Covington, Ky. on Nov. 28. As they are the greatest fucking live band in the world, they rocked. Oh, how they rocked.

What makes this an even more special event was the fact that they were OPENING for another band (Electric Six, whom I kind of like, but still).

Therefore, Local H only played for about 45 minutes, give or take. Seeing as how this is the only time I saw them in 2008, I'll take what I can get.

Setlist:

Jesus Christ, Did You See the SIZE of That Sperm Whale?

Bag of Hammers

Blur

BMW Man

White Belt Boys

Hands on the Bible

Buffalo Trace

Toxic

Bound for the Floor

Back in the Day

About two songs in, Scott Lucas announced, "This show is brought to you by the letter 'B.'" I was like, "Whatever, dude." But then, as I was dutifully jotting down the setlist, I noticed that, save for the first tune, each song did in fact feature the letter "B" in its title. Hunh. Even "Toxic," which is a cover of a Britney Spears song. Oh, how clever! Why, the drummer's name is Brian St. Clair and Lucas was even sporting a Beatles t-shirt.

Except where did set-opener "...Sperm Whale" fit in the mix?

When I Am King You Will Be First Against the Wall

Saw Radiohead in Indianapolis Sunday night. They were pretty goddammed fantastic. Although the show was at Deer Cree.. oops, I mean, Verizon Wireless Music Center, which is your standard American outdoor concert venue, which means you have to get there six hours before showtime and stake your turf (either that, or pay the extra $25 for actual seats). Being adults, we got there about an hour before opening act Grizzly Bear took the stage (they're good, but nobody came to see them) and we were about as far back as you could get, but the sound was awesome and Radiohead's light show provided plenty of visual interest.

Amusingly enough, the last time I saw Radiohead was at Deer Creek when they opened for R.E.M. on their Monster tour. That was in September of 1995. Time flies.

I was going to call this post "Packt Like Sardines in a Crushd Tin Box," but there was enough elbow room, all things considerd [sic].

Highlights: "Everything In Its Right Place," "Pyramid Song," "Bangers and Mash," "Karma Police" and "Street Spirit." Also, they played every song from In Rainbows, their latest album, which I think is pretty cool. There are many bands who play two or three token tracks from their latest effort and then play what amounts to the same set they always play.

Setlist:
15 Step
Bodysnatchers
There There
All I Need
Pyramid Song
Nude
Weird Fishes/Arpeggi
The Gloaming
Climbing Up the Walls
Faust Arp
Videotape
Morning Bell
Idioteque
Reckoner
Everything In Its Right Place
Just
How to Disappear Completely
- - - - -
You and Whose Army?
Bangers and Mash
Exit Music (For a Film)
Jigsaw Falling Into Place
Karma Police
- - - - -
House of Cards
National Anthem
Street Spirit (Fade Out)

I Can Easily Pass for 37

The big four oh. Forty years old. Hello, middle age.

Sigh.

Captain Bligh

Saw Filter last night. A surprising number of my friends think Filter sucks, lumping them in with other also-rans from the '90s altrock boom (e.g., Lit, Seven Mary Three, Better Than Ezra), but for whatever reason, I love the band. Check out their second album, Title of Record.

And they were pretty good, but like it or not, Filter's commercial heyday is long gone, and playing in a two-thirds empty Coyote's was undoubtedly a humbling experience for Filter frontman Richard Patrick. The fact that the crowd was pretty lame didn't help. You could see the energy level onstage decrease with each passing tune. In fact, after playing "Hey Man, Nice Shot," Patrick blithely told us, "We usually walk offstage and let you guys clap for a few minutes, but we won't fuck around with that tonight (paraphrased)." In other words, "Let's get this over with as quickly as possible."

Set list:

Welcome to the Fold

American Cliche

Soldiers of Misfortune

Dose

The Take

Where Do We Go from Here?

(Can't You) Trip Like I Do

It's Gonna Kill Me

Jurassitol

Hey Man, Nice Shot

Take a Picture

Skinny

Blog? What blog?

Updates have been nonexistant, I know. Time constraints and personal issues. I plan on describing some things, like getting hit by a car while riding my bike, my Altima getting totalled last October, my new job, my stupid band, the lawsuit I nearly got involved with at my old job, stuff about Groop Dogdrill... Lots of potential topics. Please feel free to make suggestions, what the hell. I do this for myself, but mostly for the practice and to vent.

Talking animals = GOLD

Like most red-blooded Americans, I hate TV commercials. But thanks to Consumerist, I saw some that made me laugh. For real! You will, too -- if you don't, you don't have a soul.





I like this'n too.





Ming blue?

El Conquistador

Hello. It's been a while. I have started numerous posts but I never seem to have enough time to make them DMBYSC-worthy. Anyway, I know it's bad blogger form to blog about how you've been ignoring your blog, so here's a baby ocelot from the Louisville Zoo:


Best part? They named him "El Conquistador."

A Special Night for Everyone

I went to Nashville last Friday and caught Local H live. I have waxed rhapsodic about the magnificence of seeing Local H perform live, so I'll spare you the purple prose, but as always, the band delivered and I was glad I went.

Highlights:
1) No equipment malfunctions, thus no Scott Lucas hissy fits\
2) Three new songs were played; all three are really fucking good (I've heard two of them on the band's MySpace page) and I can't wait until they put out a new album
3) "Buffalo Trace" was played
4) Lucas called out some drunken asshole who passed out on the stage:

Set list:
Them's Fighting Words
Bound for the Floor
Fine and Good
BMW Man
Eddie Vedder
California Songs
Michelle
Hands on the Bible
Buffalo Trace
User
Hey, Rita
All Right (Oh Yeah)
Fritz's Corner
High-Fiving MF
- - - - -
I Like Little Boys
Wolf Like Me (TV on the Radio)
Toxic (Britney Spears)
That's What They All Say/Star-Spangled Banner/Good Night (Cheap Trick)

Ouch

OMG, The Secret Invasion has begun

Big Rock Weekend

Friday, August 3: Road trip to Covington for a show by Interpol. Even though I think their new album has a few dead dead spots, I thought it was a fine show in an interesting venue. And it has to be said: A pleasantly high number of hot hipster chicks were in attendance. It it also has to be said: Carlos D's new frontier dandy look is not half as striking as his Hitler Youth look, mainly because that little douchebag Brandon Flowers beat him to it.

The venue, the Madison Theater, was pretty cool. It was sort of like Louisville's Palace without seats. My pal Shay and I were parked near the sound board. Some guy standing behind me saw me writing down the song titles as best I could and about seven or eight songs into the show asked me if any selections from Interpol's first album had been played. I replied, "Not yet." To which some oaf in a Killers t-shirt (hmmm) turned around and said, "You don't have to stand here if you don't want." Which made absolutely no sense to me or the guy who asked me the question, so we just gave Mr. Killers a who-asked-you-asshole look and he turned around.

But wait, it gets better. The sound techs had several small fans aimed in their direction. Mr. Killers couldn't help touching them and changing them, and he got thrown out, which was, all things considered, pretty fucking hilarious. But at least he didn't have to hear anything from the first Interpol album.

Set list:
Pioneer to the Falls
C'mere
Narc
Slow Hands
Rest My Chemistry
Mammoth
Public Pervert
Pace is the Trick
The Heinrich Maneuver
Evil
Not Even Jail
PDA
- - - - -
NYC
Obstacle 1
Stella Was a Diver
(thanks to Shay for filling in the gaps)

Sunday, August 5: Road trip to downtown Louisville for Queens of the Stone Age at Coyote's, which I had always asumed was a cowboy/biker bar. And it is, but they've been booking rock shows of late (Modest Mouse are scheduled later this month). I was supposed to interview one of the Queens for an article in LEO, but I couldn't make things line up with my schedule (I work a day job), so in the interest of not blowing a deadline, I backed out of the assignment. Which kind of sucked because it meant that comp tickets were not coming anymore, and the admission was $25, which seems a little steep for QOTSA, but whatever -- we got in to Interpol free, so I guess it all evens out. Once agin, Shay was along for the ride, as was our pal Chris. We met at Chris's house in beautiful Jeffersonville, Indiana and had a few adult beverages before we crossed the river for a night of heavy rock.

Now, I dig QOTSA, but I must admit that two of their last three albums have kind of left me underwhelmed. I was especially disappointed by their somewhat patchy third album, Songs for the Deaf, because it came after their start-to-finish brilliant second effort, Rated R. Happily, their newest effort, Era Vulgaris, grew on me after repeated listens, particluarly "I'm Designer," "Make It Wit Chu," "Turnin' on the Screw" and "3's & 7's."

So anyway, I was pretty psyched to see them play live -- especially material from Rated R. I figured "Feel Good Hit of the Summer" and "Lost Art of Keeping a Secret" were both guaranteed, but I was hoping maybe they'd throw in "Auto Pilot" or "Monsters in the Parasol" as well.

The joke was on me: QOTSA completely ignored Rated R. Assholes. It's like Josh Homme read my mind and said, "Let's fuck with this jackass and skip Rated R tonight, boys."

Whatever. It was still a decent show -- they played a lot of stuff from the new disc -- but still a letdown.

This never wopuld have happened if Nick Oliveri was still in the band.

Set list:
Regular John
Do It Again
First It Giveth
Tangled Up in Plaid
3's & 7's
Avon
Into the Hollow
Misfit Love
Suture Up Your Future
Burn the Witch
Turnin' on the Screw
The Fun Machine Took a Shit and Died
Little Sister
Sick, Sick, Sick
Go with the Flow
- - - - -
No One Knows
Song for the Dead

Don't Stand So Close to Me, Or: Packed Like Lemmings into Churchill Downs

The Police performed in Louisville last night. I went. Fantastic weather, fantastic venue (Churchill Downs), fantastic sound, fantastic show.

Set list:
Message in a Bottle
Synchronicity II
Walking on the Moon
Voices Inside My Head/When the World Is Running Down
Don't Stand So Close to Me
Driven to Tears
Truth Hits Everybody
The Bed's Too Big Without You
Every Little Thing She Does Is Magic
Wrapped Around Your Finger
De Do Do Do De Da Da Da
Invisible Sun
Walking in Your Foootsteps
Can't Stand Losing You/Regatta de Blanc/Can't Stand Losing You
Roxanne
- - - - -
King of Pain
So Lonely
- - - - -
Every Breath You Take
- - - - -
Next to You

Tool Time

Saw Tool in Evansville last night. A damn fine show.

Set list:
Jambi
Stinkfist
46 & 2
Schism
Lost Keys (Blame Hofmann)
Rosetta Stoned
Flood
Wings for Marie Part 1
10,000 Days (Wings for Marie Part2)
Lateralus
Vicarious


Lots of extended material. During "Lateralus," members of opening act Melt Banana joined Tool for an instrumental freakout.

Slight problems: Maynard James Keenan's vocals were low in the mix, but for all I know, that may have been intentional -- he's not your standard metal band frontman. Also, this being Evansville, there were plenty of rednecks, hillbillies and other assorted white trash in the audience. My favorite was the one who started moshing during the slow, understated part of "Wings for Marie," which is a song about the death of Keenan's mother.

The Only Thing I'm Neutral On

What American accent do you have? (Best version so far) Midland ("Midland" is not necessarily the same thing as "Midwest") The default, lowest-common-denominator American accent that newscasters try to imitate. Since it's a neutral accent, just because you have a Midland accent doesn't mean you're from the Midland.

Click Here to Take This Quiz Brought to you by YouThink.com quizzes and personality tests.

Don't Stop Believin'

I was wrong about The Sopranos.

...or WAS I?

The show ended on a typically open-ended, ambiguous note, par for the course, as anyone who watches the show should know. Of course the interwebs were ablaze with numerous postings, articles and suchlike. Many of these armchair producers were whining and crying that they didn't get a "real ending," that it "denied them closure." Fuck them. If they want neat, pat endings, they should stick with Entourage. Real life doesn't end in a nice, neat bundle. Threads dangle, sometimes forever. I realize we watch fiction precisely because it's the rare place where everything can come to a ciomplete ending, but I think these folks would have been even more disappointed if David Chase had brought every single plot element back in for a contrived ending.

I was just happy that Phil Leotardo got shot, and then had his head run over by an SUV. That was all the closure I needed.

You Don't Need a Gynecologist to Know Which Way the Wind Blows

The Sopranos ends tomorrow night.

I don't know if The Sopranos is the best TV show ever, but it is certainly ONE of the best shows ever. When the show debuted way back when, it was accompanied by a wave of hype which, frankly, turned me off, and coupled with the fact that at the time we didn't have HBO, I didn't watch the first season as it aired. But HBO reran the series and my curiosity got the best of me so I had a friend with digital cable tape the first season for me (thanks again, Jimmie!) and I was hooked. I'm not made of stone, people.

In fact, Vitamin Jen and I liked it so much, we upgraded to digital cable just so we could watch The Sopranos as each episode aired. And despite the fact that the show's creators got a little arrogant, taking upwards of 18 months off between seasons, I am and always will be a fan of the show.

Meaning that when he final episode airs tomorrow at 9 p.m., well, since I'lll probably be slugging down some bourbon, or at least a Woodpecker, all through the broadcast, there may be tears when those final credits roll.


Here's my speculation as to what's gonna go down:

Due to the show's overall tone and based on previous story arcs, I am among those who thinks that Tony Soprano will be killed in the final episode. My theory is that Paulie Walnuts has been working with Phil Leotardo on the sly and that he will be the one who plugs Big T. Remember that Paulie was kissing up to Johnny Sack several seasons ago, so we know that he has considered jumping ship before, and in last week's episode, Sil and Bobby told Paulie they were gonna whack Phil at Phil's goomar's house, and then Phil magically never shows up and the goomar's father got whacked instead. Phil's absence was explained as Phil having left town immediately after ordering the hits on Tony, Sil and Bobby, but this was just speculation on Tony and Sil's part. And in that vein, when we saw Phil's lieutenant Butchie discussing the three killings (Tony, Sil and Bobby), one of the crew asked if they were gonna whack Paulie. Butchie said no -- protecting their inside man? One final tidbit: It has been widely reported, since the series began, that Tony Sirico, the actor who plays Paulie Walnuts, agreed to take the role on the condition that his character never "turn rat," and I've seen these anecdoyes circualting again in press accounts of the show's finale. I think that's a big ol' red herrring. I think when he said "turn rat," Sirico just meant that his character would never go to the Feds -- I think it's entirely reasonable that Paulie would join a new crew if he thought it was in his best interests.

Based on all of the above, that's what I think is going to go down. But then, predicting what's going to happen on The Sopranos is not an easy thing to do, which is one of the reasons why the show is so beloved by its fans. And why it will be missed.

Shut Your Cakehole, Caruso

Somewhere, there’s a pot of gold at the end of a rainbow missing a very solemn, very fugly leprechaun dressed in black.


If there is a more ludicrous television characterization than that of Lieutenant Horatio Caine as played by David Caruso on CSI: Miami, I haven’t seen it. For those of you who don’t watch the show, Caruso stars as the ringleader of a squad of crime scene investigators who work in and around Miami. Aside from the obvious gaffes – like, which hack writer thought the name “Horatio” would inspire anything besides eye-rolling and/or snickers? -- CSI: Miami deserves special praise for using so many formulaic ticks and gestures to flesh out Caine’s persona in lieu of any actual character development.

Caruso’s Caine is such a smug, obnoxious prick that I can’t help but wonder if Caruso is portraying him that way deliberately. He’s certainly nailed down a few gestures and mannerisms that just annoy the living shit out of me – so much so that I get a masochistic thrill out of watching the show just so I can see how many times in any given episode that, for example, Caruso puts his hands on his hips, turns his head so he’s not directly looking at any other actor and then delivers his portentous pronouncements as if he’s some brilliant, infallible, inscrutable cross between Sherlock Holmes, Mr. Spock and Socrates. If you’ve ever seen one of these instances of TV magic and not felt an immediate urge to bludgeon Caruso with a heavy object, than you must be a robot or something.

And as CSI: Miami prepares to launch yet another season next fall, there are literally hundreds of scenes of Caine putting on those fucking sunglasses while delivering a supposedly witty bon mot with the same exact vocal inflections. I’ve seen more varied and nuanced performances in old Clutch Cargo cartoons. Why, somebody should make a clip that strings a bunch of ‘em together, so you can see what I’m talking about.

Oh wait, somebody did:

I like the way the person who edited this video left in Roger Daltrey’s scream from “Won’t Get Fooled Again,” CSI: Miami’s theme song – it helps underscore Lt. Caine’s sheer ridiculousness.

And as for those show-opening witticisms, I liked them a hell of a lot better when Jerry Orbach as Detective Lenny Briscoe on Law & Order did it – he came off as a regular guy with a realistically cynical perspective on his job, not a sanctimonious douchebag. Caruso should check Orbach’s performances out on one of the innumerable L&O marathons running on TNT or USA – he might learn how to change up his line delivery.

Parents: Watch Your Fucking Children

She got served. Serves her ass right.

Next time, bitch better BRING IT.

Those Who Sneer Will Fade and Die

One summer day 20+ odd years ago, I bought Ultravox’s 1981 LP Rage in Eden at the Book Broker for $2. I was just barely cognizant of Ultravox because I had seen portions of their “Vienna” video on USA’s Night Flight, and the reason I remembered them at all was more because I thought their name was cool rather than “Vienna” making much of an impact on me. But when I glimpsed Rage in Eden’s elegant Peter Saville-designed sleeve* and I put it together that this was indeed that Ultravox, I knew I had to purchase it. So I did.


And best of all, I wasn’t disappointed after I pedaled home, fired up the stereo and put on the headphones. Rage in Eden showed that synthesizer-driven new wave music needn’t necessarily be synonymous with shitty bands and singing haircuts (e.g., A Flock of Seagulls, the Human League, Modern English). And even though I can understand why some people might find Midge Ure’s vocal stylings a tad bombastic and overblown, I really like the way he sings on this album. He belts it out like nobody’s business (“We Stand Alone,” “The Thin Wall”), but he can also dial it down a notch for more subtle shadings (e.g., “Your Name (Has Slipped My Mind Again),” the title tune). My favorite cut from Rage in Eden is easily “The Thin Wall,” a bouncy little number with vaguely sardonic lyrics (“They shuffle with a bovine grace and glide in syncopation”) and mountains of symphonic synthesizers.

So from that day on, I was heavily into Ultravox. About a year later, I got my first job (at Hardee’s (shut up)) and with my very first paycheck, I purchased brand-new copies of Vienna and Lament at the Disc Jockey in Eastland Mall. Vienna came out before Rage in Eden and was Ure’s first with the band, while 1984’s Lament would prove to be the “classic” line-ups final release, as drummer Warren Cann split after its release (the remaining three members – Ure, Chris Cross and Billy Currie – released an album called U-Vox in 1986 but I have never heard it).

Both Vienna and Lament are great records. The former features the epic “Vienna,” of course, as well as more straightforward, rocking numbers like “Passing Strangers” and “New Europeans,” plus stylistic holdovers from their previous incarnation as a more glam/Krautrock outfit with the spoken-word character study “Mr. X” and the sweeping, soaring, cinematic instrumental “Astradyne.”


Lament is a slightly different kettle of fish. The best songs are all frontloaded on Side 1, making Side 2 seem a little underserved, so I took the liberty of rearranging the album’s running order and dubbing a cassette version for myself. Purists will be aghast that I tampered with an artist’s original vision, but I really think my version flows better than the official sequence.

Original:
Side 1
"White China"
"One Small Day"
"Dancing with Tears in My Eyes"
"Lament"
Side 2
"Man of Two Worlds"
"Heart of the Country"
"When the Time Comes"
"A Friend I Call Desire"

DMBYSC Special Mix:
Side 1
"White China"
"Man of Two Worlds"
"Dancing with Tears in My Eyes"
"When the Time Comes"
Side 2
"One Small Day"
"Heart of the Country"
"A Friend I Call Desire"
"Lament"

Of course, the CD version of Lament features numerous extended remixes, two b-sides and two instrumental versions, but I didn't have those on vinyl. Feel free to dig out your own copies of Lament and listen to both running orders and let me know what you think.

*In a recent Q/Mojo special edition, Peter Saville rather unprofessionally mentioned that the work he did for Ultravox (and there was quite a bit of it) was phoned in, but I’ll be damned if they’re still not cool-looking album sleeves.