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Zebra w/Donnie Vie at Arcada Theatre, St. Charles, IL (2023-04-08) live review

ZEBRA Poster ZEBRA SETLIST As I Said Before No Tellin' Lies When You Get There                                                                                                        ZEBRA album Tell Me What You Want One More Chance Slow Down (Larry Williams cover) As I Said Before Who's Behind the Door Take Your Fingers From My Hair Don't Walk Away The La La Song > Guy Gelso drum solo / “Happy Birthday” to Felix Riverside Lullaby Wait Until the Summer's Gone Arabian Nights Bears He's Makin' You the Fool Encore: About to Make the Time Light of My Love Zebra setlist DONNIE VIE SETLIST New Thing (Enuff Z’Nuff song) Plain Jane I Could Save the World Tender Lights Baby Loves You (Enuff Z’Nuff song) Fly I'll Surrender Whatever Back From the Blue Fly High Michelle (Enuff Z’Nuff song) Revolution (The Beatles cover) ZEBRA Tour Dates April 14 – The Landis Theater, Vineland NJ April 15 – The Space, Westbury NY May 17 – The Wildey Theater, Edwardsville IL May 19 – The Sanctuary, McKinney TX June 01 – The Van Buren, Phoenix AZ June 02 – Counts Vamp'd, Las Vegas NV June 03 – Whisky A Go Go, Hollywood CA June 17 – House of Blues, Houston TX Nov 18 – House of Blues, New Orleans LA Read More Zebra  In March 1983, rock trio ZEBRA (Randy Jackson, Felix Hanemann and Guy Gelso) released its acclaimed self-titled debut album on Atlantic Records,

Easter weekend in the Chicagoland western suburbs wasn’t highlighted by a bunny, but instead by a zebra--

Make that Zebra, as in the classic rock band returning to the area on its 40^th Anniversary Tour, to the familiar confines of the venerable Arcada Theatre in St Charles, IL for a rousing Saturday night show.

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The evening got underway with an opening set of just less than an hour, from Donnie Vie, best-known as the voice of 80’s power pop rockers, Enuff Z’Nuff, in support of his latest full-length, 2019’s Beautiful Things, which he more recently reissued after buying back the rights to his own catalog.

The Grammy-nominated singer recently turned fifty-nine and seems to be rejuvenated by playing with a younger band (most half his age or more). His solo sound is similar to his former band’s melodic power pop with its Beatles influence and dash of vintage psychedelia, but he opened with an Enuff Z’Nuff classic, in case you weren’t sure who he was (and also despite any legal warnings he can’t perform those band songs anymore).

“Fly” featured some touching keyboard work from Alton Smith, and Vie dedicated the ballad to those that helped him conquer his addictions and put his life back on the right track. The set would end with a bang- first, the biggest song by his ex-band, the still trippy “Fly High Michelle” then a storming cover of The Beatles’ “Revolution”, a song Vie said he wished he wrote and that he said was even more poignant today.

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After a brief set change, it was time for live set over forty years in the making- Louisiana/Long Island power-rock trio Zebra first released their Atlantic Records self-titled debut album in March of 1983, and have returned to the road to celebrate the 40^th Anniversary of that major label beginning.

They amazingly have kept fully intact with the same three original members ((Randy Jackson,- vocals, guitars; Felix Hanemann- bass, keys, vocals; and Guy Gelso- drums, vocals) and Jackson continues to defy age and all vocal logic (similar contemporaries and even his idol Robert Plant, have all adjusted their live songs down into a lower key range to accommodate, but not here).

Jackson still can hit high notes most half his years couldn’t attain, and the band still has more than enough collective stamina to put on an entertaining and musically impressive two-hour set.

A threesome since 1975, there was some obvious unspoken shorthand between the members as they decided what other songs would fill out the rough setlist (see pic) and the Chicagoland faithful still embraced them as loyally as they did when the band shared the bill with Sammy Hagar in that summer of 1983, playing Solider Field (no less!), as part of ChicagoFest.

From the opening notes of “As I Said Before” fans leapt from their seats, but were also a little confused, as that song is midway (or the start of Side 2 on vinyl) on their first album, and it was followed by a blistering “No Tellin’ Lies”, which is the title track of their second album.

“How many of you thought we were playing the first album in sequence”? Jackson quipped as everyone cheered, “...that was false advertising!” he exclaimed. “...We’re gonna do it now” Jackson gave in to rising cheers, as radio hit and album opener, “Tell Me What You Want” fired up.

After a driving “One More Chance” and chugging “Slow Down”, the album sequence called out for... “As I Said Before”. “...We haven’t done it in a while”, Jackson said, knowing they opened the night with it, “We did it in soundcheck too!”, Hanemann laughingly replied, so the band (ahem, as they said before...) turned up the volume for the song’s third play of the day, with the crowd in on the joke and enjoying it, even more than previous.

Jackson switched to a 12-string guitar and sat strumming for the band’s biggest hit and first single, “Who’s Behind the Door”, still an epic track that mimics the best Zeppelin songs that start acoustically then balloon into electric greatness.

With “When You Get There” already played, Jackson strapping on a dual-neck guitar signaled the arrival of “Take Your Fingers From my Hair”, highlighted by a shredding tour-de-force that just isn’t seen by the likes of any recent bands. A melodic “Don’t Walk Away” and the sing-along of “The La La Song” would wrap up playing the record live, book-ended by a skilled and noteworthy Gelso drum solo.

All three would harmonize on the 1984 shoulda-been-a-hit ballad, “Lullaby” and “Wait Until the Summer’s Gone:” from that same second album, found Jackson hitting maybe his highest notes of the set. “Arabian Nights” is the lead track from their return 4^th album, and after repeated shouts for “Bears” (it is Chicago, after all) the band gave in, with woos and cheers in return.

“He’s Makin’ You the Fool” from the third album would wrap the main set, and the trio returned with a two-song encore to please the loyal fans with the later-period deeper cuts, “About to Make the Time” and “Light of My Love”, the latter finding Jackson singing, “Don't try to tell me that you're leaving, don't try to tell me it's so hard “- something no doubt fans were thinking, sensing it was the end of the night.

Forty years can go by in the blink of an eye, with music as the soundtrack of one’s life, and for the diehard as well as the casual fan, we’re all highly fortunate that Zebra remains together- both musically bringing back memories of a simpler time and creating new memories along the way. Their 40^th Anniversary Tour resumes this weekend on the East Coast and shouldn’t be missed.

 (Click on any image to enlarge and see in full) Thanks to Dave Rothstein at Loaded Touring for the hospitality.

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john c ([email protected]) ♥ weheartmusic.com ♥ twitter.com

Hamilton (musical) at The Music Hall, Kansas City MO thru April 2, 2023 (review)

HAMILTON playbill HAMILTON - US Tour Dates Mar 28 - Apr 7 Norfolk, VA Chrysler Hall Apr 4 – May 7 Minneapolis, MN Orpheum Theatre Apr 11 – Apr 23 Richmond, VA Altria Theater Apr 25 – May 7 Indianapolis, IN Murat Centre May 9 – May 28 Albuquerque, NM Popejoy Hall May 9 – May 21 Appleton, WI Fox Cities PA Center May 24 – Jun 4 Oklahoma, OK Civic Center Music Hall Jun 6 – Jun 18 Wichita, KS Century II Concert Hall Jul 5 – Jul 16 El Paso, TX The Plaza Theatre Jul 19 – Jul 30 Lubbock, TX The Buddy Holly Hall Aug 2 – Aug 13 Lincoln, NE Lied Center Aug 17 – Sep 10 Anchorage, AK Alaska Center Sep 13 – Dec 3 Chicago, IL Nederlander Theatre Jan 30 – Feb 25 (2024) Atlanta, GA Fox Theatre Mar 13 – Mar 24 (2024) Miami, FL Arsht Center Read More Broadway in Kansas City Hadestown, the winner of eight 2019 Tony Awards® including Best Musical and the 2020 Grammy® Award for Best Musical Theater Album....   AMERICAN THEATRE GUILD WEBSITE

The cultural phenomenon has finally returned to a live stage in our area--

HAMILTON, Lin-Manuel Miranda’s game-changing musical and history lesson that tells the story of America then, via America now, has returned to downtown Kansas City, for a two-week engagement at the Music Hall, through Sunday, April 2.

The revelatory score blends hip-hop, jazz, R&B and Broadway, chronicling the rise and fall of founding father Alexander Hamilton and has blossomed into being a lasting creative piece that has transcended the theater genre, to have a rippled effect on politics, education, television, and the arts itself.

Based on Ron Chernow’s 2004 biography, its book, music, and lyrics are by Lin-Manuel Miranda (who dazzled us initially when he was barely known and we saw the first tour of his previous musical, In the Heights) with direction by Thomas Kail.

With choreography by Andy Blankenbuehler and musical supervision and orchestrations by Alex Lacamoire, the show would go on to win 11 Tony® Awards, as well as Grammy®, and Olivier Awards, the Pulitzer Prize for Drama, and a special citation from the Kennedy Center Honors, with so many in the cast becoming seemingly overnight superstars in the process.

Growing exponentially from its 2013 workshop roots, the show itself has now become so huge, it features an ongoing NYC run, international and Canadian versions, and three concurrently touring US companies – for Kansas City, we were witness to the “Angelica” cast; which proved to be most appropriate as her character and the actress portraying her (Stephanie Umoh), was one of the show’s many highlights.

To be a successful Hamilton cast member, one not only has to be able to act, move, and sing, as most Broadway and touring productions would require; but an additional unique and key element of having lyrical flow is an essential skill necessary to successfully pull off the complicated and often hyper-paced, hip-hop styled lyrics.

Additionally, the nature of hip-hop songs are so much about being “in the moment”- relevant and urgent, both musically and lyrically themed at their time, but often seem to lose their impact ten, five, or even one year later. Hamilton’s lyrics seem to be the exception, perhaps because they double as a civics and history lesson, but are also mostly solid songs, that even the biggest non-hip-hop fan, will still be humming a chorus to, as they leave the theater.

During his relatively short life, the orphaned, Nevis-born Alexander Hamilton served as George Washington's chief aide, and was the first Treasury Secretary, instilling a financial foundation for the nation that still remains mostly intact today.

He had streaks of impetus judgment though and was despised by many of his fellow Founding Fathers, eventually gaining a longtime nemesis in Aaron Burr. Hamilton’s character imperfections, like the show itself, are flaws that add, not take away from the overall charm and appeal. During the show, duels are embellished with expressive dance movements and congressional debates morph into modern-day rap battles to advance the narrative.

For our Wednesday (3/22) performance, a few of the diverse cast was replaced by standbys, notably Kansas City native Bryson Bruce in the lead. From the playbill listing, he’s able to perform in almost any role, and smoothed into the primary, after finding some footing during the opening number, with the hometown crowd quickly accepting him in the role.

All three performers as the Schulyer sisters were strong, particularly stage veteran Umoh whose voice soared during her solo songs along with Josh Tower, who plays a solid Aaron Burr. The nimble and restless Deejay Young as Lafayette/Thomas Jefferson was ever-animated and brought a light playfulness to both roles (in a kind of Katt Williams/vintage Little Richard way), and Peter Matthew Smith’s pomp King George was the ideal blend of snarky vengefulness and spite, to keep the audience enthralled during his three brief on-stage appearances.

The stage design mirrors the Broadway production (complete with rotating center and a rolling staircase), lighting was ahem, spot-on, particularly in the contrasts between the high-energy numbers and the more sullen and sparse scenes of loss, and the precise choreography never missed a beat.

A decade later, Hamilton remains young, scrappy, and hungry and in Kansas City, the only place to be (provided you can find a very still-in-demand ticket) is at the Music Hall, the room where it happens.

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(Hamilton is playing at the Music Hall through Sunday Aoril 2)

(all photos courtesy of the official touring company website, click on any image to enlarge and see in full)

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John C ♥ [email protected]weheartmusic.com ♥ twitter.com

Matt Nathanson w Stephen Kellogg at Madrid Theatre Kansas City, MO (2023-03-11) review

Matt Nathanson Poster MATT NATHANSON SETLIST Boston Accent Headphones (w/ AC/DC "Highway to Hell" riff) Way Way Back Run German Cars Matilda (Harry Styles cover) Used to Be (Evanescence "Wake Me Up" in Cookie Monster voice snippet) I Saw (w/end snippet of The Cure's "Pictures of You") Pretty the World Car Crash (w/ U2- “I Still Haven’t Found What I’m Looking For” verse) Starfish and Coffee (Prince cover) The Boys of Summer (Don Henley cover) Faith / Faster / Kiss (George Michael snippet beginning / Prince cover to end) Sway Giants Come On Get Higher / You're the One That I Want (Grease soundtrack cover) Blush Never Tear Us Apart (INXS cover) Suspended STEPHEN KELLOGG SETLIST Milwaukee* High Highs, Low Lows It Goes Fast Love of My Life My Favorite Place*   To the Ones Who Need It Most See You Later, See You Soon*  (* = Stephen Kellogg and the Sixers song) MATT NATHANSON Tour Dates MAR 13 Washington's Fort Collins, CO MAR 15 Crescent Ballroom Phoenix, AZ MAR 16 Garden Amphitheater Garden Grove, CA MAR 18 Ventura Music Hall Ventura, CA Read More Matt Nathanson Matt Nathanson has a sold-out show at Triple Rock Social Club. We caught the popular singer in 2008, which we wrote "As for Matt Nathanson, he seems really young and lively on stage. He really loves pop music … ...

Colin Firth’s and the cast of Buffy’s plucked eyebrows, Johnny Depp’s extreme level of handsomeness, and Don Henley’s “weird Hobbit ears” …!

Just a few of the topics of between-song conversations as Massachusetts singer-songwriter Matt Nathanson played to a joyful and appreciative crowd at the Madrid Theatre in midtown Kansas City.

The evening began with another verbose and talented singer-songwriter, Connecticut’s Stephen Kellogg, out in support of his latest full-length, Keep It Up, Kid, released late last year. Kellogg started his forty-five-minute set with “Milwaukee” a song originally composed with his former band, The Sixers, then moved on to a trio of tracks from his 2018 release, Objects in the Mirror, peppering in lighthearted stories about coaching pickleball, his four kids, and his wife jokingly inquiring about how soon he’d be back on the road again.

“It Goes Fast” was a touching song about the passage of time, “Love of my Life” was dedicated to anyone in the crowd on a date, and 2011’s “My Favorite Place” was a fan’s request about that location where you feel the most perfectly safe.

The new album’s “To the Ones That Need It Most” found the audience howling on Kellogg’s cue and another fan request, 2004’s “See You Later, See You Soon” ended up being the perfect closing number.

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Matt Nathanson is winding down the tour of his latest album (and one of his most personal), Boston Accent, celebrating things with this last leg of shows and a recent Lexington EP, bringing his arsenal of emotionally open folk-rock songs, and next-door charm and humor, into his hundred-minute headlining set.

The title track of the new record opened things, and with it, Nathanson opened himself up right away to the crowd, musically telling of his upbringing with he and his two band mates (Adam Popick and Aaron Tap) all “lit like angels by the Citgo sign” from an illuminated logo of that classic gas station brand in the back right of the stage set up.

After “Headphones”, Nathanson got candid about swearing in front of his pre-teen daughter and attempted a rough Springsteen-like “Happy Birthday: when a crowd member shouted it was their special day. Nathanson would reveal that doctors had put him on vocal rest when not on stage, and that he was forced to communicate through typing in texts to be read aloud (in variable pitches) by a ridiculous phone App.

The crowd did much of the singing on 2011’s “Run” and before launching into a Harry Styles cover from his new EP, revealed the one thing that he and his daughter had been connecting with- reruns of 21 Jump Street (and how good-looking Johnny Depp was in those episodes).

Nathanson’s printed setlists serve only as a general guide, and what he would actually sing would deviate as the crowd’s collective vibe would morph into driving how the show would progress.

“Kill the Lights” was err, killed, and after the crowd sing-along of “Used to Be”, Nathanson mentioned it being the 20^th anniversary of his album, Beneath These Fireworks, and in a somewhat associated way, described how more actors in those early 2000’s, (notably Colin Firth in Love, Actually and the entire cast of Buffy the Vampire Slayer S1) seemed to noticeably pluck their eyebrows, along with how some of the music of the day sounded.

An impromptu “Car Crash” led into Nathanson into teaching the crowd the full lyrics to Prince’s “Starfish and Coffee” from the seminal Sign O’ the Times album. It’s been said that the music from your late teen years is the music that will stay with you for the rest of your life, and Nathanson proudly wears those late ‘80s influences on his sleeve, with his audience (many of a similar age) more than happy to help sing along with.

A Don Henley cover led into a hilarious comment or two about his ears (“they’re like Steven Tyler’s feet… but ears!”) and his love for Prince was repeated, ending his own “Faster” with a segue into the Purple One’s “Kiss”.

“Giants” was saved for later in the set, and while most artists wouldn’t tinker with their biggest charting hit, Nathanson was unafraid to segue a “Grease” movie song onto the back end of his “Come On Get Higher”.

The newer “Blush” was revealed to be a sequel to that radio hit- not one borne from continued desperation, but a come-to-terms love song about human connectivity and living in, and for, that unique moment that will never repeat itself again.

Sensing the crowd was still in the singing mood, an INXS cover kept spirits high, and the night would end on a positive note with his own “Suspended” and the audience singing to its chorus, “Sunshine, I’m beginning to like this.”

Stating this as a high compliment, Kansas City treats Matt Nathanson like one of their own- an old familiar friend that visits to sing some great songs, tell a few stories, and drop some familiar pop culture references while helping show everybody a good time, with a Boston accent or not.

 (Click on any image to enlarge and see in full)

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john c ([email protected]) ♥ weheartmusic.com ♥ twitter.com

Hadestown (musical) at The Music Hall, Kansas City Jan 17-22, 2023 (review)

Hadestown Playbill   HADESTOWN Tour Dates Jan 24 - Jan 29 MADISON, WI Overture Center for the Arts Jan 31 - Feb 19 CLEVELAND, OH Playhouse Square Feb 21 - Feb 26 BUFFALO, NY Shea’s Buffalo Theatre Feb 28 - Mar 5 SCHENECTADY, NY Proctors Mar 7 - Mar 12 HARTFORD, CT Bushnell Mar 14 - Mar 19 ROCHESTER, NY RBTL’s Aud. Theatre Mar 21 - Mar 26 PROVIDENCE, RI PPAC Mar 28 - Apr 2 WORCESTER, MA Hanover Theatre Apr 4 - Apr 9 HERSHEY, PA Hershey Theatre Apr 11 - Apr 16 BALTIMORE, MD The Hippodrome Theatre Apr 18 - Apr 30 CINCINNATI, OH Aronoff Center May 2 - May 7 MILWAUKEE, WI Uihlein Hall May 9 - May 14 GRAND RAPIDS, MI DeVos Perf. Hall May 16 - May 21 LOUISVILLE, KY The Kentucky Center May 23 - May 28 FAYETTEVILLE, AR Walton Arts Center May 31 - Jun 4 RICHMOND, VA Altria Theater Jun 6 - Jun 11 WASHINGTON, DC The National Theatre Jun 27 - Jul 2 FORT WORTH, TX Bass Performance Hall Jul - Aug?? TORONTO, ON Royal Alexandra Theatre Sep 12 - Sep 17 SAN FRANCISCO, CA Orpheum Theatre Read More Anaïs Mitchell Anaïs Mitchell was put together to encourage voter engagement drive in conjunction with the League of Women Voters. The “Use Your Voice Tour 2016,” produced by Columbia Artists ....

A journey we were happy to go down--

Hadestown, the winner of eight 2019 Tony Awards® including Best Musical and the 2020 Grammy® Award for Best Musical Theater Album is currently playing at The Music Hall, a historic Art Deco-era downtown Kansas City venue (which opened in 1936), and we were fortunate enough to attend the touring production’s opening night.

This fated folk opera musical was originally conceived over fifteen years ago by singer-songwriter Anaïs Mitchell (a member of Bonny Light Horseman, and who we caught playing live solo, last May in St. Paul, MN), who brought the initial vision first to a small Vermont stage in 2006, and later turned it into a 2010 concept album with musical friends (including Ani DiFranco and Justin [Bon Iver] Vernon).

The musical would eventually graduate to larger stages and director Rachel (Natasha, Pierre & The Great Comet of 1812) Chavkin was brought in to collaborate and help realize its finished form.

The core story dates back over 2500 years- the two mythic ancient Greek tales of young dreamers Orpheus and Eurydice, and also King Hades of the Underworld and his wife Persephone, both updated with modern flair and expert melodic songwriting.

At its heart, it is a love story and additionally highlights the dichotomy of doubt against faith, industry versus nature, and fear against love.

Set here in a depressed dust bowl town, the underworld becomes an underground mine and foundry, ruled by Mr. Hades who attracts workers with thin promises of warmth, food, and work, and who is married to the conflicted Persephone, allowed to spend six carefree months without abandon, and then has to go back underground for the remaining six months of the year.

Orpheus is a poor guitar-playing (instead of a classic lyre) musician, who relies on the goodness of others as he works on his ideal song soon falling in love with Eurydice, a drifter who ends up wooed into the underworld under false pretense.

Orpheus pledges to follow her and he eventually sings the song he’s long been writing– the essence of which helps convince Hades to..., all of which is narrated by the inimitable Hermes.

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The touring production faithfully recreates the immersive stage design from the Broadway production, featuring a seven-piece band tucked in high corners (including strings and trombone, but with the drummer backstage for this version), and a base floor that rotates in several scenes to help drive the narrative.

Lighting was dramatic and well-planned, and each of the cast was in good voice and form. Male lead Chibueze Ihuoma was exceptional, showing a wide dexterity of pathos, good guitar skills, and a supremely honed falsetto (maybe the best we’ve heard since seeing Prince), that’s worth the ticket price alone.

Nathan Lee Graham as Hermes takes the audience jubilantly along for the ride, young female lead Hannah Whitley already shows some seasoned chops on this, her first national tour, and the workers/fates supporting cast even includes an Overland Park, KS native Lindsey Hailes.

Finally arriving on tour after the hype and Tony Award® wins, Hadestown mostly delivers with a fresh, contemporary telling of a classic tale "of the world we dream about, and the one we live in now.”

(Hadestown is playing at the Music Hall through Sunday, January 22)

(all photos courtesy of the official website, click on any image to enlarge and see in full)

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John C ♥ [email protected]weheartmusic.com ♥ twitter.com

The Cult at Uptown Theater, Kansas City MO (2022-09-27) review

Read More The Cult As expected, The Cult played their Electric album in its entirety… The great energy between the two original two original band members, singer Ian Astbury and guitarist Billy Duffy is great THE CULT SETLIST Rise Sun King Automatic Blues Sweet Soul Sister Edie (Ciao Baby) Lil' Devil Wild Flower Aphrodisiac Jacket Peace Dog A Cut Inside Fire Woman Revolution Rain She Sells Sanctuary Encore: Love Removal Machine THE CULT TOUR DATES Sept 29 NEW ORLEANS, LA FILLMORE Sept 30 HOUSTON, TX 713 MUSIC HALL Oct 2 AUSTIN, TX STUBB’S WALLER CREEK AMPITHEAATRE Oct 9 LOS ANGELES, CA GREEK THEATRE Oct 27 COSTA MUJERES THE SANDS Mexico Nov 11 SNOQUALMIE WA SNOQUALMIE CASINO Nov 13 RIDGEFIELD, WA ILANI EVENT CENTER Nov 16 MONTEREY, CA GOLDEN STATE THEATRE Nov 17 SAN FRANCISCO, CA THE WARFIELD Nov 19 SANTA BARBARA, CA ARLINGTON THEATRE Nov 20 CHANDLER, AZ GILA RIVER HOTELS & CASINOS-WILD HORSE PASS

No “Mercy”, but four decades of classic songs, and even an on-stage birthday--

Legendary band The Cult has returned to the road, in support of upcoming new album Under the Midnight Sun (out Oct 7 via Round Hill/Frontline) and celebrated with their arsenal of multiple radio hits, a preview of the new record, and even a belated birthday for drummer John Tempesta.

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The evening began in near-darkness, and San Francisco’s King Woman taking to the stage for a generous set just short of an hour. In the most minimal dim blue lighting, the five-piece led by the haunting vocalist Kris Esfandiari, worked their way through songs from their latest (last year’s Celestial Blues, beginning with its title track) and their previous full-length, 2017’s Creating an Image of Suffering.

The band didn’t say much between songs, preferring to let the sheer impact of their doom-metal sound bowl over the mostly older crowd, many of whom seem surprised, or just shrugging and heading to the bar. Definitely an acquired taste or maybe for setting a bleaker, somber mood, the band does have its merits, but needs to be paired with more similar acts.

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No such confusion regarding any message from The Cult, as the fans knew exactly what to expect for their eighty-minute headlining set, many wearing tour shirts from previous tours and holding beverages high, as each recognizable song started up.

Beginning dreamily with 2001’s “Rise”, its Middle Eastern-inspired intro was quickly morphed into the familiar riffs of guitarist Billy Duffy to propel the song, and while Duffy may not be windmill guitaring with every number anymore, his overall playing has only sharpened over the years, and is undoubtedly the sonic engine that sends this musical beast headlong down the road.

Singer Ian Astbury still has his trademark long black hair (braided) and instantly recognizable growl, often catching a tambourine mid-air from a side stage roadie to help keep the beat of the song.

In addition to mainstays Astbury and Duffy, the touring lineup remains rock solid- Damon Fox adds a fuller sound with his keyboards, longtime Robert Plant bassist (and his son-in-law) provides an understated assurance on the low-end, and drummer John Tempesta, a sixteen-year band veteran, more than ably propels the rhythm.

Rock radio classics were peppered throughout, from a helping of “Sun King” and Doors-esque keyboard solo on “Sweet Soul Sister”, to “Edie (Ciao Baby) to the shaking “Lil Devil” from 1987’s Electric, recently moved up in the setlist from an encore song to a high-energy banger, anchoring everything near the mid-way point (with Astbury even working KC into the song lyrics).

Astbury didn’t say much to begin with, other than the occasional “Thank you kindly” but seemed to loosen and open up as the set progressed. We caught the band on opening night of this tour, in St. Paul, MN this July, and it seemed there was very little rust to shake off even then, the mark of being longtime professionals in this industry.

As mentioned, the new album releases very soon and audiences have been treated to hearing its lead single, “Give Me Mercy” live since the first shows of the current tour, but they’ve switched it up of late, instead showcasing second single, “A Cut Inside” with Astbury more than happy to declare in song, that they are “outsiders forever, the ghost of our lives”.

From there, the set found that elusive sixth gear, barreling downhill with nothing but unforgettable songs that have been key in defining them as an enduring band. By then, Astbury had loosened up, calling out friends in the audience, stripping his in-ear monitors off to finish the set old school, and questioning why everyone has decided to cut their hair short.

By the time the band got to the main set closer of 1985's “She Sells Sanctuary”, everyone in the building (still sober enough to) was singing along, with that “sparkle in your eyes" still "keeps me alive”, and after almost forty years of that signature song taking over the airwaves.

The single-song encore of 1987’s “Love Removal Machine” may not be their biggest hit, but the song was the ideal tempo, embellished with Duffy’s seemingly simple, but eminently effective guitar riffs, to send the crowd out a true musical high, even working in an overdue Tempesta mini drum solo to end things.

As the band took their bows and waved, Astbury introduced the band as the crew brought out a large birthday cake for drummer Tempesta- he, not sure if it was actually to eat or if a food fight might break out, initially held his sticks up to protect his face, before realizing everything was genuine.

Duffy even took to the mic, to reminisce that they had played this same venue years ago, when underage patrons were relegated to only the balcony, and those who could drink, were assigned lower-level round tables. “We’ve gotten older...and so have you… and it’s great!” he emoted.

Though the new album might be titled Under the Midnight Sun (actually inspired by Astbury watching footage of the band playing a 1986 outdoor festival in Finland), it’s anything but the twilight of The Cult, with years of more music, to come.

KING WOMAN SETLIST Celestial Blues Utopia Manna Golgotha Burn Boghz Paradise Lost Psychic Wound Entwined Coil Morning Star I Wanna Be Adored

KING WOMAN TOUR DATES Sep 28 Memphis, TN Growlers Sep 29 New Orleans, LA Fillmore Sep 30 Houston, TX 713 Music Hall Oct 2 Austin, TX Stubb’s Waller Creek Amph Oct 9 Los Angeles, CA The Greek Theatre Oct 22 Brooklyn, NY 3 Dollar Bill

(Click on any image to enlarge and see in full)

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john c ([email protected]) ♥ weheartmusic.com ♥ twitter.com

Bear's Den at Knuckleheads, Kansas City MO (2022-09-25) review

Read More Bear's Den U.K. band Bear's Den has sold out their entire US tour, they’ll be stopping by the Triple Rock Social Club next Saturday. We previously caught the band in 2014 and noted that.... BEAR'S DEN SETLIST Blue Hours Red Earth & Pouring Rain Frightened Whispers Fuel On The Fire All That You Are Isaac Sophie (off-mic, unplugged) New Ways Shadows Stitch in Time Magdalene Crow The Love We Stole Please Don't Hide Yourself Away Spiders Auld Wives Above the Clouds of Pompeii Gabriel (off-mic, unplugged in crowd) Agape BEAR'S DEN TOUR DATES Sep 27 Denver, CO Bluebird Theater Sep 28 Salt Lake City, UT Commonwealth Room Sep 30 Seattle, WA Neptune Theatre Oct 1 Vancouver, BC Vogue Theatre Oct 3 Portland, OR Revolution Hall Oct 5 Felton, CA Felton Music Hall Oct 6 San Francisco, CA August Hall Oct 8 West Hollywood, CA Troubadour

From Blue Hours to brighter days---

London folk rock band Bear’s Den has finally returned to these shores after some pandemic-related delays, on their Blue Hours Tour, and played a satisfying set at Knuckleheads Garage, hidden within the railway district, in Kansas City, MO.

The evening opened with a brief but well-received set from Izzy Heltai, a Massachusetts-based mid-twenties singer-songwriter, in support of new five-song EP, Day Plan, the follow-up to his 2020 full-length, Father. Heltai’s music has a gentle veneer with some West Coast laid-back influences, but like the headliner, his lyrics can often dig deeper.

Whether coming to terms with his own identity or documenting a pandemic era romance on “Beauty Queen”, the lyrics seem relatable and are delivered with a pleasant artistry. Though accompanied by his full band, the songs were even more poignant when he performed solo, such as he did to finish his half-hour set.

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When the UK folk invasion burst out onto the airwaves just over a decade ago, we became fans of many of the acts, including Bear’s Den and their related Communion Music- a London/Brooklyn artist-based organization that includes a record label, promotions, music publishing and more, and has included a roster featuring Tamino, Sam Fender, Dan Croll, Michael Kiwanuka, Catfish and the Bottlemen, Ben Howard, James Bay, George Ezra, Nathaniel Rateliff and the Night Sweats, Daughter, and Highly Suspect, all of whom are WHM favorites.

Communion even put on monthly residencies in a few music-centric major cities, and we looked forward to catching each installment live. Fast forward to an endemic 2022 and Bear’s Den has emerged like the rest of us- shaken, re-evaluating, and moved, but also hopeful and those feelings and more are a core part of Blue Hours, their fifth full-length released in May, that often serves as a mirrored reflection of those pandemic days we’re slowly coming out from. “Blue Hours felt like a name for my own depression”, singer Andrew Davie has said about composing the new record, mostly during lockdown.

And while their ninety-minute set featured several of the new songs, the mood was much more cathartic and joyful, despite any lyrical moments of despair. Their music still shimmers with a polish and lacks the purposeful arena bombast of a Mumford and Sons, maybe making their adherence to their traditional folk roots, ever more authentic.

After beginning with the new album’s title track, the title track of 2016’s Red Earth & Pouring Rain soared, with a gentle but impactful riff, similar to the best War on Drugs songs. We’ve caught them a few times live previous, including in 2014 and again in 2016, and can happily report their mostly mid-tempo folk sound, has been even more perfected.

The band is still officially just a duo (Davie, and sort-of Nick Offerman look-a-like Kevin Jones) but the four-piece band plays seamlessly together like they’ve been a unit for decades. Davie admitted to not only being very happy to be playing live again, but extra-excited to be headlining a place with this unique name and complemented the staff and food.

There was a delicate ache to the new “All That You Are” with Davie lamenting in verse, “I hope you find someone who loves you for all that you are” then adding, “I hope I find someone who loves me for all that I am” in a moment of self-redemption, ending the song vocally off-mic to a hushed audience.

As a band, they’ve always tried to provide an intimacy live and also bridge any gap between performer and audience, and a mid-set highlight was watching all four performers at the stage front, performing 2013’s “Sophie” completely acoustic and off-mic as the crowd listened in rapt attention.

“Stitch in Time” is the band’s brand-new single, with Davie looking back in hindsight, impossibly trying to change an outcome that’s already occurred. Davie ended “Magdalene” singing off-mic as well, giving an additional impact to the closing verse, and “Please Don't Hide Yourself Away” is a very recent collaboration with Jade Bird (of whom we’re a fan and have caught her live previous) for the Apple+ streaming series, Trying.

Momentum increased at the main set would end, with Davie singing, “When you’re really in the moment of something, there’s a sort of heightened sense of urgency” on 2016’s “Auld Wives” and the crowd clapped along to the elegant pain of loss of 2013’s Above the Clouds of Pompeii”.

The encore began with the band and their instruments walking in the darkness, towards the center of the venue- tougher here than in similar halls, as that section was filled with numerous placed tables and chairs, but they found a way, playing 2016’s “Gabriel” in near-dark, with the crowd surrounding them in a small circle, cell cameras held high.

Making their way back to the stage and plugging back in, 2013’s “Agape” would end the evening, a complicated song that teeters between grief and glory, hope and hopelessness, but its jangly banjo and steady beat would help end things with a flourish.

Coming out of the pandemic has meant that everyone has had to process difficult things and reflect on what was lost, and the value of things in everyday life. Bear’s Den and their Blue Hours album mirrors that, and a shared experience of those feelings and more, is the kind of group catharsis, that’s exactly needed at the moment.

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john c ([email protected]) ♥ weheartmusic.com ♥ twitter.com

The Hitman's Wife's Bodyguard

Synopsis The world’s most lethal odd couple – bodyguard Michael Bryce (Ryan Reynolds) and hitman Darius Kincaid (Samuel L. Jackson) – are back on another life-threatening mission. Still unlicensed and under scrutiny, Bryce is forced into action by Darius’s even more volatile wife, the infamous international con artist Sonia Kincaid (Salma Hayek). As Bryce is driven over the edge by his two most dangerous protectees, the trio get in over their heads in a global plot and soon find that they are all that stand between Europe and a vengeful and powerful madman (Antonio Banderas). Joining in the fun and deadly mayhem is Morgan Freeman as...well, you’ll have to see. Read More Lionsgate If you buy new Lionsgate movies, you are now required to download their Lionsgate VIP app to get access to your digital copy. Of course, the first thing I did was trying to bypass this by using their website …

We got a chance to see a sneak preview of Lionsgate’s upcoming action/comedy film The Hitman’s Wife’s Bodyguard on Wednesday, at the ShowPlace ICON theater in St. Louis Park. We hadn’t seen the first film, but decided to see the sequel, mostly because we wanted the theater-going experience again, now that theaters are opened and operating again.

Personally speaking, I haven’t been to the movie theaters in well over a year, and was just really happy to be out of the house and attending a public showing of a film.

Of course, a lot of things have changed, post-pandemic. For one thing, to buy movie tickets, at least at the ShowPlace ICON, you had to use a display and follow the instructions. The same for concessions, you’ll have to use a computer screen to order your food and drinks. Once you pay for it, you’re given an order number, which is fulfilled by the staff behind the counter.

While this sounds good, especially if it works smoothly… the reality is that there were too many orders happening at the same time that the staffs could not keep up with the orders. This created a large “wait area”, where customers pooled very closely to each other waiting for their popcorn.

As for assigned seating, again, this is just at our showing (it could be different at other theaters), they were operating at half-capacity. Seats were grouped by two, with one empty seat on each side. I actually really love that empty seat next to me, but I can’t really see this can continue - especially if the theater hope to survive.

I know this is a lot of talk about the theater itself, but I felt it was really important to talk about all the changes as a result of the pandemic. I am hoping it’s just temporary, and am looking forward to a time when you can attend a 100% full theater room without any restrictions.

As for the movie, I thought it was just a silly Summer film. Don’t really think too hard about the logic or the ridiculous plot of The Hitman’s Wife’s Bodyguard and you’ll have a good time.

The acting is what you would expect. Ryan Reynolds is doing that Deadpool dumb-thing. Samuel L is doing that foul mouth thing that made him popular… This all-star sequel also adds Salma Hayek, as the foul mouth Hitman’s wife, and Antonio Banderas as the villain.

I’m also not a huge comedy fan, I have a specific taste, and a film like The Hitman’s Wife’s Bodyguard isn’t my cup of tea. It has some moments, but most of the film’s humor wasn’t for me. I was somewhat surprised at how violent the film was (especially for a comedy), so I felt this film really is mean for the adults - not meant for children… and it’s reflected in the films rating of R (for Restrictive).

I think if you enjoyed the first film, this is more or less the same film… only they advertised as “bigger, harder, less protection”, indicating that it’s everything you love in the original, only more of it.

If there is one positive I can say about the movie, I laughed so hard when they introduced the Bodyguard’s father.

The Hitman’s Wife’s Bodyguard will be out in theaters on June 16, 2021.

vu ([email protected]) ♥ weheartmusic.com ♥ facebook.com ♥ twitter.com/weheartmusic

Asus ROG Strix G15: Electro Punk Gaming Laptop

ROG Strix G15: Electro Punk ASUS - ROG Strix G15 15.6" Gaming Laptop The ROG Strix G15 Electro Punk embodies streamlined design, offering a formidable core experience for serious gaming and multitasking on Windows 10. Featuring up to the latest 10th Gen Intel Core CPU and a NVIDIA GeForce GPU, it offers high-FPS power that takes full advantage of up to a blazing fast display Game at Professional Speed: An ultrafast 144Hz refresh rate makes the flow of fast-paced action look impeccably smooth and reduces motion blur for precision target tracking. ROG Intelligent Cooling: ROG's Intelligent Cooling philosophy mixes the right features and system settings to ensure the best experience. Performance is boosted with cutting-edge enhancements like liquid metal compound on the CPU and a well-ventilated exterior that keeps noise levels lower than the last generation. Comprehensive Connectivity: Get blazing fast transfers at Gen 2 speeds via the USB 3.2 Type-C with DisplayPort 1.4, or connect an ROG G-SYNC monitor for silky smooth gaming. Three Type-A USB 3.2 Gen 1 ports are ready for your favorite gaming gear, while HDMI 2.0b allows you to enjoy content on a 4K monitor or TV at up to 60Hz. Reliable Wi-Fi: Ultrafast Intel Wi-Fi 6 with Gig+ (802.11ax) lets you game reliably at LAN speeds wherever compatible connections are available. Wi-Fi 6 (Gig+) enables a peak interface bandwidth up to 2.4Gbps.* Windows 10 Home Edition 15.6" Full HD display 144Hz (1920 x 1080) 10th Gen Intel® Core™ i7-10750H mobile processor (6-core) 8GB system memory 512GB Solid State Drive (PCI-e) NVIDIA GeForce GTX 1650 TI (4GB GDDR6) Virtual Reality Ready Weighs 5.29 lbs. and measures 1" thin HDMI output Wireless/Wired connectivity (WiFi 6 - 802.11 ax) RGB backlit keyboard Headphone/microphone combo jack. Read More MicroSoft Anyway, when I saw that the new MicroSoft’s Surface Pro 7 (with keyboard cover) on sale for $600, I couldn’t pass it up. Currently their price is $700, but MicroSoft’s website is still showing $600. ...

I’ve been quietly looking for a gaming laptop for a while now. Let’s face it, as much as I like the Surface Pro 7, that machine is not capable of playing any modern games. I wasn’t looking to spend too much money, trying to keep it under $1,000, so when I saw this ROG Strix G15: Electro Punk laptop for $899, I couldn’t pass it up. Both New Egg and Walmart are selling this same laptop for over $1,100… so getting the laptop sub-$1k is still a good price.

For those that don’t know, this the Republic of Gamers Strix (ROG Strix) is a gaming laptop brand from ASUS. The G15 or G17 refers to the screen size, at 15 inch and 17 inch, respectively. Personally speaking, for portability, I prefer smaller screens, so I don’t mind the 15 inch, as it keeps the laptop lighter.

You can get the ROG Strix in a variety of colors, for example “Glacier Blue” or Black. This “Electro Punk” version (Black with Neon Pink trims) may actually be part of a bigger rollout of Electro Punk-related products… such as a Cherry Mechanical Keyboard, mouse, and headphones (and headphone stand?). Personally speaking, I probably won’t be buying any of those accessories, simply because I’m not a fan of the color scheme and I already own great products from Razer or Corsair, and they serve their purpose.

In order to keep costs down for the Electro Punk, there are some subpar or missing features. I’ll address some of these things, so you know what or what not to expect.

The laptop is all (or mostly) made out of plastic. It still looks good, but doesn’t have a “premium” look that some aluminum or metal laptops. The plastic looks durable to me, and I like the weird vents and cyberpunk look, so it looks fine to me.

The Electro Punk edition also has only 8GB Ram. The Strix G15 normally has 16GB, so I feel this is a stepdown. The good news is that you can always upgrade the RAM with one of their open Ram slot. I may eventually upgrade the RAM down the road, but for now, it’s not that important to me.

It also a lack of built-in webcam. This is a problem for game streamers, so if you’re one of those, you probably need to avoid this laptop. You can always buy an external USB webcam if you really need one. Most built-in webcam aren’t great anyway, it’s just a matter of convenience.

It doesn’t have a SD card reader, which really sucks… but again, you can always use an external USB dongle. Same goes for DVD/CD-Rom drive… if you need it, you’ll have to buy an external USB drive. That is not a problem for me, simply because I don’t want moving parts in a mobile device.

Keep in mind that not including those things above keeps the retail price to $999, so I think they made the right decision. If they offer a built-in SD Card Reader for $50 more, I would personally pay for the upgrade.

Let’s highlight some of the main features of the Electro Punk.

The best part about this laptop is that it has a 144Hz screen, which is unheard of for a sub-$1000 laptop. What that means is smoother gameplay. For example, it doesn’t matter if your game is outputting 120 frames per seconds if your screen can only show 60Hz (60 frames). You can only take advantage of the fast refresh screen natively on the laptop. If you output to a 4k monitor using the HDMI-out, it can only display 60Hz. I think 60 is fine.

We’re also getting an i7 with 6-core chip. Again, almost unheard of for a budget laptop. Most budget laptops or desktop uses an i5 chip (or i3). The last few computers I’ve had, I have used i5 and never thought it was lacking anything. The i5 chip is fast, so I feel i7 is just going to be better.

You also won’t find this in other laptops, but the 2020 edition of the ROG Strix comes with “Liquid Metal”, which was intended to keep the laptop cool. They use this technology on their high-end laptops, so I’m very happy to see it on their cheapest laptop as well.

I think a lot of people might scoff at the built-in 512GB SSD PCI Express, saying there’s not enough storage. You have to remember that you’re getting this in a budget gaming laptop, so it’s not a surprise that they are cutting corners on storage. The good news is that there are TWO NVME slots on the motherboard. This is amazing. Most modern desktop or laptops only offers one slot. I have already put in a 1TB NVME and plan on putting in another 1TB (for a total of 2.5TB of storage) soon.

That’s not all. We also get a NVIDIA GeForce GTX 1650 Ti graphic card (4GB GDDR6). It’s a mobile version, but it’s still very fast and can handle all my games. In addition, it’s powerful enough to fuel Virtual Reality headsets, like Oculus Rift or HTC Vive. Unfortunately, this is budget Graphic Card, so it’s not going to have the latest “Ray Tracing” technology that all the new GPU cards are touting.

What is funny is that one of the main features that Asus is promoting is that the Electro Punk laptop weighs 5.29 lbs. I feel this is very heavy, but compared to other gaming laptops, 5.29lbs is actually reasonable. The 1" thinness (when closed), is pretty compact for a gaming laptop.

We also get the latest WiFi6 (802.11ax). They could’ve kept it cheap and used an older (and more common) WiFi chip, so I appreciate the latest wireless technology. Unfortunately, my current router does not support the latest 802.11ax, but I like the idea that the laptop can take advantage of a faster WiFi… for future proofing.

You typically don’t see extra RGB light strips in a budget laptop, so what’s nice about the Electro Punk is that there are underlighting in sync with your keyboard RGB lights. It uses the ASUS’ Aura software to control the lights. For example, you can have the light display red when it hits 60 degree Celcius, as a visual indicator that the laptop is hot. There are also games that will take advantage of Aura, maybe flashing lights when you’re low in health or when it spots an enemy.

I do have some minor nitpicks on the laptop. I think the Neon Pink accents might actually discourage this for boys. I mean, why not go for Neon Green or Orange? I think any color would go great with the black. If you ignore the pink, and maybe think of this as a Cyberpunk design, it sort of make sense.

The other annoying thing is that venting fans are loud. They run all the time. I don’t think you can turn these off (even on “Silent Mode”). In a quiet room, you can definitely hear the laptop running.

It’s also expected, but I should reiterate, that you should not run games on this laptop on battery. Not only do games drain the battery incredibly fast (a 30-min session cut the battery by 50%), but games are choppy and doesn’t run very well. If you do light browsing and email, the laptop will probably run for less than three hours… so you’ll always want to bring the power adapter with you.

I definitely recommend the Electro Punk laptop, if you’re in the market for an all-in-one gaming PC solution. You can use it as a laptop, or you can always get an external monitor and workstation dock and treat the laptop as a desktop.

If money is no object to you, Asus advertised an Electro Punk with GeForce RTX 2070 SUPER version, but I’m assuming it will be a lot more expensive than $1,000. Overall, I’ve been very impressed with my Electro Punk and its capabilities.

vu ([email protected]usic.com) ♥ weheartmusic.com ♥ facebook.com ♥ twitter.com/weheartmusic

Isobel Campbell: There Is No Other

Read More Isobel Campbell Isobel Campbell started off her career in the band Belle & Sebastian (you may have heard of them?), she released two albums under her own …

Scottish singer/songwriter Isobel Campbell released a brand-new third album There Is No Other (Cooking Vinyl Records) to little fanfare. To be fair, the timing couldn’t be worst, as the world’s in a middle of a coronavirus pandemic, and there are more things to worry than trying to promote a record. With all concert touring coming to a halt, and record stores (no essential stores) asked to close temporarily… you probably didn’t know about Campbell’s latest release.

Like many of you, I first heard of Isobel Campbell through Belle & Sebastian. When she left B&S to create her project The Gentle Waves, I was on board! You see, Campbell had always had a wonderful sense of music arrangement and her sugarly-sweet vocals lends itself to such beautiful, calming songs. Unfortunately, despite Swansong For You being a great album, she retired the Gentle Waves name… and released her debut solo record Amorino.

It’s about this time, that she met Screaming Trees’ Mark Lanegan, and the two decided to collaborated on a few successful albums. The pairing is perfect, really. I named this type of dueling vocals, “Beauty & the Beast”, as Lanegan’s vocals sounds like an animal… while Campbell provide such a sweet, sweet soothing singing voice.

With Isobel Campbell’s latest, There Is No Other, we see a return to a music style, much like circa-2000 Belle & Sebastian and Amorino. There’s lovely guitar plucking, there’s sparse arrangements, there’s some very catchy melodies, and, best of all, some wonderful string arrangements (courtesy of Nina Violet).

I’m not going to break down the album for you, but let’s just say if you enjoy B&S’ The Boy With the Arab Strap and The Gentle Wave’s Swansong for You, you’ll love There Is No Other.

I believe Campbell chose “The National Bird of India” as her single, which I don’t fully love. Instead, I recommend, “Runnin' Down a Dream” or “Ant Life”.

P.S., if you buy There Is No Other on Amazon, it includes “Autorip” so you’ll have the MP3 in your locker (and can listen to it via Echo or other Amazon products). This is the only way I buy music nowadays, as I have the CD as backup… but able to access my personal music locker where it’s convenient.

vu ([email protected]) ♥ weheartmusic.com ♥ facebook.com ♥ twitter.com/weheartmusic

Guided By Voices: Surrender Your Poppy Field album review

Surrender Your Poppy Field Tracklisting Year Of The Hard Hitter Volcano Queen Parking Lot Arthur Has Business Elsewhere Cul-De-Sac Kids Cat Beats A Drum Windjammer Steely Dodger Stone Cold Moron Physician Man Called Blunder Whoa Nelly Andre The Hawk Always Gone Next Sea Level Release Date: February 20, 2020 Label: GBV Inc Total Length: 38:44 Read More Guided by Voices Robert Pollard’s is a stadium voice most at home in more intimate clubs, where devoted Guided By Voices fans can get the full effect of his vocal power. There are no nosebleed seats here; every seat is a good seat. And if you’re up front, Bob will share his beer and liquor …

Guided By Voices – Surrender Your Poppy Field album review

By Dena Maxwell

On Thursday February 20^th, 2020, Guided By Voices will release Surrender Your Poppy Field via GBV Inc.

These are my impressions of the songs on this album and may or may not reflect the actual meaning intended by the artist.

The record begins with “Year Of The Hard Hitter.” Bob is about to leave the house and he is obviously underdressed. His wife informs him in an exasperated tone: “The high today is 20!” “Okay,” he replies. Busted. Then we hear what sounds like a door closing. It is unclear whether he has come back inside to dress more warmly, or if he has slipped out without heeding her warning.

“Arthur Has Business Elsewhere” could easily be about Arthur Dent, main character of Douglas Adams’ delightful sci-fi/comedic novel series The Hitchhiker’s Guide to the Galaxy. Since Arthur is the last man left on Earth before its destruction by aliens, it’s obvious he has business elsewhere. Calliope music and rock guitar exist in harmony in the same universe.

“Cul-De-Sac Kids” will lift you right up. It’s a catchy, upbeat, classic GBV tune. Bob sees a group of teenagers cutting class and partying. They remind him of himself… at that age and even now. Having been a teacher as well as a student, he knows how dull school can be and he vows not to rat on them. He will let them have their fun, and he allows us to revel in it with him.

“Cat Beats A Drum” is obviously about Bob’s cats. The sound of their squeaky toy punctuates the song. Somehow, I can picture Doug Gillard there in Bob’s house, both men playing with the felines who lend them inspiration. My favorite lyric: “cold wet grass between my toes / Walt Whitman blows his nose…”

“Stone Cold Moron” brings a taste of metal to the record, with its heavy guitar riffs and crashing cymbals. Bob is no stranger to getting into trouble. We hear him imitating a police officer, possibly alluding to a prior experience: “Sir, put your hands where I can see them and step out of the car,” he says in a mock-stern tone.

“Physician” starts out fast and carries on like a strong current, slows to showcase fantastic choppy guitar riffs, then speeds up a bit as the riffs continue, smoother but equally powerful.

“Whoa Nelly” is Robert Pollard’s own version of the classic folk tune “Danny Boy.” It’s like a lullaby for grown-ups.

“Next Sea Level” is the album’s final track. It begins with a tolling bell. I can’t help but think of the John Donne poem: “…send not to know / For whom the bell tolls, / It tolls for thee.” The doleful sound of the bell combined with a title like “Next Sea Level” makes me a little uneasy at first, as I think of the reality of melting ice caps, “weird weather patterns,” and the ocean’s encroachment on the land. A good reason to believe we might have business elsewhere, much like Arthur. And then the song becomes soothing: “RISING / RISING / RISING / TO HEAR YOU / TO TOUCH YOU / TO KNOW / you’re coming around / still coming around,” and I think of humankind’s incredible ability to adapt and to change. There’s hope for us yet.

dena ([email protected]) ♥ weheartmusic.com ♥ twitter.com/weheartmusic