Vinyl Notes

As I attend more and more festivals I’m learning to appreciate the unique quirks about each one. Every festival has its own theme, local culture, craft vendors, and even fashion trends.

The Treasure Island Music Festival in San Francisco is by far one of the  funkiest festivals I have ever attended. Because Treasure Island is a military base, clearance to actually drive onto the Island was limited. So we music lovers embarked on an adventure in comfy leather seated charter buses.

Once on the Island we disembarked to find that we were among the first to arrive and the first band The Frail was in mid set. Taking in my surroundings, I noticed that the two stages were set up within ear shot of each other, there was no seating except for a few bleachers for VIPs and the entire festival venue was pretty small. That didn’t bother me much though, after the 74 acre trekking I’d done a few weeks ago at Bumbershoot .

There were several lounge areas, the most popular of which was probably the the Boost Mobile Tent where there was a phone charging station, as well as futon beds and huge pillows to veg out on while soaking in the atmosphere. InCase gets the prize for the best giveaway, but loses points in the branding department since we walked away from the booth still unsure what the product was.

The line up was an eclectic collection of pop music from around the world; from Los Angeles and San Francisco to Brazil and the UK. Loquat’s performance was a display of raw talent, with melodious chords and pulsing baselines. Nortec Collective moved the crowd with its fun fusion of electronic and acoustic elements, traditional Mexican dance samples combined with an accordion and tuba.

Antibalas had some definite Latin jazz influences. Slightly disorienting was when they went from melodious and soothing to seething and acerbic with political chants. Amon Tobin was properly disconcerting with its droning baselined noise distortion that shook the ground.

The highlights of day one were definitely Chester French and Goldfrapp. Where Chester French was funky with lyrics reminiscent of Weezer but with rhythms far more energizing and a vocalist with a surprisingly big voice. Together, Guitarist Maxwell Drummey and vocalist D.A. Wallach were an adorably charismatic pair and put on one of the most entertaining sets of the day. Watching them on stage, it’s no wonder they’ve caught the attention of Kanye West and were signed to Pherell’s Star Trek label. Put these boys on your list of groups to watch.

Goldfrapp was magical. While much of the music sounded the same, the visual of the band in all white, the reflective sun and the gusting winds was fantastic. With wind gusting and  front woman Alison Goldfrapp clad in a slinky white slip dress covered in rainbow ribbons, the affect was almost ethereal. July was the most esoteric with the spacey lazer like sounds rose from the stage; the band members all swayed as if being driven by the wind. As the base throbbed and the beat to “Satin Chic” marched on, the crowed bounced happily along.

Check back for more coverage of the Treasure Island Music Festival.

America’s Got Talent (AGT) features dancers, singers, musicians, acrobats, magicians and other acts, all competing to will $1 million and the next big Las Vegas act. Last week the final five were revealed.

Neal E. Boyd may be an insurance salesman by day but by night he is a world class opera singer. He has enthralled the viewers since his first AGT performance after which he received a standing ovation.

Neal E. Boyd

Nuttin’ But Strings are two brothers from Queens, NY who want to bring the violin to the forefront of mainstream music. How you ask? With their genre bending combination of hip hop, rock and classical influences, they amazed the judges with a high energy performance that would make any kid think playing the violin. Piers Morgan, the toughest of the three judges, called Nuttin’ But Strings “fresh, exciting, original, super talented.”

Nuttin’ But Strings

Queen Emily had everyone – everyone following America’s Got Talent that is – comparing her to Aretha Franklin after her performance of “Chain of Fools.” Last week she sang “You’re Gonna Love Me” and wowed the judges with her phenomenal voice and larger than life stage presence. All her life she has been waiting for a moment like this to live out her dream and now, she’s in the top five. Proof that dreams do come true.

"Queen" Emily David

Donald Braswell was a professional singer and lost his voice after a freak accident. 11 years, three kids, relearning how to talk and almost being booed of the stage by the audience, Braswell is in the AGT top five. His rendition of Josh Groban’s “You Raise Me Up” was moving and took the crowd from wanting him to get the heck off of the stage to chanting their hope that he will be the winner: “Vegas! Vegas! Vegas!” Donald Braswell may be a veteran vocalist, but he is this competitions black horse.

Donald Braswell

Eli Mattson became an instant heart-throb with his emotive execution of “Walking In Memphs.” Judge Sharon Osborne expressed her surprise that this 26-year-old sing/songwriter had not been signed. Like all the others, America’s Got Talent is his chance for the big break he’s been working his whole life for. Even if he doesn’t win, he can’t lose.

Eli Mattson

To find out who wins or just to see more of the awe inspiring performances, check out America’s Got Talent Wednesdays 9/8 Central. The finale airs Oct. 1,  9/8 Central.

A few weeks ago we hit the Seattle ground running at Bumbershoot, this weekend I’m in the Bay Area for San Francisco’s Treasure Island Music Festival (TIMF).

The lineup for the weekend is a collection of both veterans and up-and-comers including The Raconteurs, GoldFrapp, Tegan & Sara, Vampire Weekend, Chester French, The Kills, Loquat and TV on the Radio.

Ever since watching the streaming of the Lollapalooza AT&T stage, I vowed that I would see The Raconteurs live. It was a magical experience, and I wasn’t even in Chicago’s Grant Park that night. So this weekend is my chance.

Goldfrapp has been around for ages, but has only popped onto my radar recently. She has definitely undergone some changes since her 2005 glam-pop hit “Ooh La La.” I especially like “Happiness” with it’s lovely bouncing melody and breathy allure.

Beyond those two, this will be an adventure in discovery for me. With none of the sets overlapping, and being stranded on Treasure Island (so to speak), I’ll be able to take in most of the shows.

Check back over the weekend for festival coverage!

After an intentionally slow Saturday – besides Beck there were no absolute must sees – we headed back to Bumbershoot Sunday for a whammy of an evening. Everything we planned to see was packed into the last five hours of the day. The only reprise, however bittersweet, was a cancellation by Kid Sister.

The lawn surrounding the Starbucks Stage was packed with a diverse group of all ages from Pampers to Depends to catch Jakob Dylan. Surprisingly, the audience didn’t contain rabid women throwing their unmentionables. Much like his father, most of his set was indiscernible, with Dylan chewing on his words in mumbles. Unlike us, clearly, there were people there just for the music, many sitting and even laying in the grass.

Half way through Dylan’s set, we bailed, bound for the mainstage to see rock as pure driven snow from The Black Keys. Though, the audience was full already, as the Keys began playing, the floodgates opened and people poured into the venue like the tide. We overheard many a conversation among spectators wondering who was playing; one even vowing to make an iTunes purchase. The music cut through all distractions with laser like focus, driving people to dance involuntarily.

The last hour of our day, as we wanted to catch three performances who were all playing at the same time. First stop Stone Temple Pilots but they were late, so we left to see a recommended band called Thee Emergency. Described by a fan as “Saul Williams as a woman with soul,” our curiosity was piqued. Unfortunately, they didn’t deliver. It was also strange to see the lead vocal actively directing the band, though it was hard to see who was actually playing because so many people apparently loitering on stage. So we left.

Back at STP the crowd had gotten antsy. It was thirty minutes past the scheduled start and the roadies were still setting up. Finally, at 9:45 pm the tour bus pulled up and the audience went ape shit. The sheer volume of people in the stadium was astounding, and almost made the reception for Beck and The Black Keys look small. Seattle clearly loves STP. As the set began, we could see why. There was a good mix of easily recognizable radio hits as well as songs that were clearly for die-hard fans. These are veteran showmen; not only was Scott Weiland in constant motion, the rest of the other members of band also engaged the audience.

Though Weiland started the set in shades, hat, leather jacket, vest and scarf by night’s end he was down to his shirt. The organized mayhem of the mosh pit increased with each number and the band sprinkled their performance with just enough banter between songs. Someone once asked “What’s the Big Deal with STP? Answer, see them live.

We started the day refreshed, slept in, and took our sweet time getting to the festival. After the suck that was yesterday, we were stoked at the efficiency and consideration of the festival organizers, One Reel. Not a single detail was overlooked; right down to the free water refills and the convenient recycling bins. Also a pleasant surprise, patrons could re-enter the festival. Unfortunately, it was also a slow and arduous process; probably used to collect data. Ironic, considering the strong (get link) presence of RFID protesters.

Neko Case the perfect first course; preparing our musical pallet for what was to come. Her voice was strong and rich; the band tight. The response to her set could be likened to polite spectators at a tennis match, with people politely clapping and cheering. There were two stand-outs among the set, one a banjo country number the other, a plucky number with a surprising dose of yodeling.

The air around the Fisher Green stage buzzed with electric energy. The crowd was intent on Saul Williams, paying close attention to his words. They responded enthusiastically to his message and charismatic delivery. When Williams eluded to Seattle’s political activism the audience was appreciative. When the set was over, we bolted through the crowd like hounds on a bloody fox, determined to score an interview.

After alternately talking ourselves into and out of walking into his tent, we decided fortune rewards the bold. We tentatively pulled back the curtain to find Williams plainly waiting for us to come in. His air of self-assurance was calming and as we settled into his cramped, he told we could ask three questions. His response to questions regarding attempts to pigeon hole him was a gem.

“People will always have their preferences.” He paused briefly before adding, “and will tell you. I think we try to live our lives as poems, and try to remain open to possibilities.”

Williams had nothing but love for the results of the digital release of The Rise and Eventual Liberation of Niggy Tardust, unlike Trent Reznor his collaborative partner. In the past Reznor has expressed disappointment about free downloads versus album sales. Williams considers the free release a success.

“People get to say ‘I tried this out,’ and it’s guilt free,” he said. Another boon was that there was enough interest for the album to be released in stores, as well as an overall increase in album sales for Williams.

Our last stop of the day, Beck on the mainstage. He started the set with a classic, “Loser,” which he dedicated the city. Though a charismatic and seasoned performer, it was almost as if Beck was just going through the motions. All the ingredients were there, but the souffle didn’t rise. The energy of the set was inconsistent, starting strong before quickly descending to a down-tempo movement. It’s not that Beck’s set was bad, per se, it was just a disappointed considering the breadth of his talent and experience. Even the encore was dialed in and predictable. Regardless of our interpretation, the audience was definitely behind him, especially during the numbers from Midnight Vultures.

Come back for more festival coverage tomorrow…

© 2008 Kimberlee Morrison and Tanya Payne. Some rights reserved

This weekend I’ll be traveling with my partner in crime to Seattle for the sold out Bumbershoot Music & Arts Festival. Just looking at the breadth of this festival strikes fatigue in my bones. From comedy and theatrical performances, to short form films and literary arts, to music, Bumbershoot is a festival of all things art. With a history dating back to 1971, Bumbershoot is one of the largest music and arts festivals in the world.

Tanya and I are, of course, going for the music. We’ve both marked out a tentative schedule for the festival and while I have no doubt our schedules will be very similar, I also know that there will be hard compromises. The festival is very well planned out in though, with a diverse line-up of both independent bands as well as some bigger names thrown in for good measure.

An interesting mix up

The line-up on the Mainstage for Sunday includes Keysha Cole, T.I., Black Keys and Stone Temple Pilots. Talk about complete polar opposite sides of the spectrum. I must see Keysha Cole live to determine if her voice is just as grating in person as it is on the radio. T.I. tends to make songs specifically for the radio in order to lure people to the more substantive music on his LPs. The STP show conflicts with Tapes n’ Tapes, so I might have to convince Tanya to pass on STP.

Sure to Rock?

I’m thoroughly expecting Black Keys, Offspring and Paramour to put on super rockin’ sets. Fall of Troy is a fun band to watch and it looks like Bumbershoot is their last tour stop before the head back into the studio to record their next album. Ending the music segment of the festival with Death Cab For Cutie was definitely a great way to mellow it out before people head home. Here’s my tentative schedule for the weekend.

Saturday

Neko Case
Barcelona
The Fall of Troy
Estelle Beck
Saul Williams

Sunday

Keysha Cole
Black Keys
Lee "Scratch" Perry
Tapes n’ Tapes

Monday

Paramour Offspring
Flobots
Del Tha Funky Homosapien
Death Cab for Cutie

You can visit Tanya will be posting her ideal schedule sometime this week for comparison. Check in with us at Culture Critics for daily festival wrap-ups. See the official schedule Bumbershoot schedule here. We are open to suggestions for covering other sets, but remember that our time is limited.

Amy Winehouse may be a train wreck, tabloid queen but her talent is real. It bothers me to no end that she is more infamous than she is famous. Her voice is brassy and rich, raw and emotive.

It wasn’t "Rehab" or "Back to Black" that made me a fan of Winehouse’s music, it was hearing songs from Frank when her voice was more harmonious as opposed to the dissonant tinge she too on with Back to Black. But I digress…

When I finally decided to really sit down and listen to Amy Winehouse, one of the first songs to catch my attention was "Tears Dry on Their Own." I found the peppy rhythm and arrangement juxtaposed with the sullen lyrics fascinating.

The chorus was especially despondent and up-beat as she describes the sun going down on her world as her love walks away.  Amy’s voice is defiant and the background singers go "oh-la-la-la" as she sings:

He walks away
The sun goes down
He takes the day, but I am gone
And in your way
Is this blue shade
My tears dry on their own

Its almost as if she wants to be nonchalant about the affair, but her heart and brain have not come to an agreement. She tries to talk some sense into herself but to no avail:

I don’t understand
Why do I stress the man
When there’s so many bigger things at hand
We could have never had it all
We had to hit a wall
So this is inevitable withdrawal

Even if I stop wanting you
And perspective pushes through
I’ll be some next man’s other woman soon
I cannot play myself again
I should just be my own best friend
But I fucked myself in the head with stupid men

And back to the happy "oh-la-la-las" as Amy laments that she and her lover are history and the sun has set on their triste. The song ends suddenly as Amy declares agonizingly that her tears dried on their own.

It’s been years since Goodie Mob has recorded or graced the stage together. Word is that that the Atlanta hip hop group are reuniting. In fact they made their first appearance together since 2006 at the Tabernacle in Atlanta, GA.

In an interview with HipHopDX, Cee-Lo said that the reason Goodie Mob’s project has taken so long to come together is the five part considered a threat to the establishment. He likened Goodie Mob to the Black Panthers, all but calling out artists whose music he considers to be detrimental to hip hop culture.

…When we all come back together as Goodie Mob it’s [gonna be the same] way the Panthers had to come back in to clean up their communities. So we’re probably not gonna make some good friends with the trappers and shit. And I’m not trying to knock nobody’s hustle but there has to be a balance. There’s no us anymore, no one else brave enough to pick up that torch and carry it even further. And [southern Hip Hop] is suffering because of it. But it’s suffering on such a scale that they even recognize it themselves. You may not even have to call their names out. I may not even have to do it because they do realize what a travesty it all is.  [source]

He goes on to talk about the concept of playing it safe to make money versus being genuine and go against the grain.

Everybody’s trying to feed their families, so there are certain things you have to do to play it safe. But what I love about Goodie Mob was that we weren’t doing it for any money at all. That’s how genuine it was. It was activism more than it was entertainment. I never felt like I was tap dancing for anybody. I’m anti-establishment in that way.

It would be nice to see what sort of evolution Goodie Mob has made since their 2004 release, One Monkey Don’t Stop the Show. Cee-Lo is going to be very busy, working on his solo release, touring with Gnarls Barkley and working on a Goodie Mob project. Speaking of Gnarls Barkley, I’ll be catching them live at the Austin City Limits festival as well as Bumbershoot in Seattle Labor Day weekend. Woot!

HT

You know why I love being a music writer? I get to sample music from new artists, have an excuse for keeping a constant feed of music in my ears at all times, and one of the best of all perks is covering live events.

It is my pleasure to announce that I will be covering both the Bumbershoot Festival in Seattle as well as the Austin City Limits Festival.

Back in May, I posted my seasonal music festival guide and began sending out for press credentials to those closest to me. I got decline for a few, but two festivals are better than none, and I’m super excited about visiting Seattle and Austin to see a bunch of great bands.

A potential schedule and festival preview for Bumbershoot are forthcoming, And in just a couple of weeks, I’ll be heading to Seattle!

Check out my Fall Music Festival Guide at ShePlaysMusic and come back for VinylNotes’ coverage of two of the season’s hottest music festivals.

On a long drive from Harbor City to the Valley, I popped in Kissey  Asplund as an alternative to completely rocking out. My taste in music may be eclectic, but when I’m driving I like the music loud, abrasive and super high energy. But I digress…

Having never heard of Asplund before, my aunt began asking me questions trying to get an idea of what I think (my family may not like my music, but they respect my analysis). I told her that I liked Kissey’s style but that her voice was not that great.

“That’s interesting,” said my aunt. “I wonder why it is that Americans put so much emphasis on vocal ability as opposed to the quality of the content.” (more…)