Master of Irony and All Things Modern

Since I'm just starting my blog, I'm reaching back a little for some subject matter. David Byrne is the iconic singer and creative mind of the Talking Heads. Interestingly, thought Talking Heads were one of the most innovative and forward thinking bands of all time, the creative contraints endemic to all bands were ultimately too tight of a noose for Byrne and he broke free in the mid 1980's. Though he has rarely released music since then that is like the music of Talking Heads, he likewise has released music since then that is like, well, nothing else. He had a foray into the music of Brazil and South America and produced a number of records exposing little known indigenous music from that part of the world. For example, he produced a record of Afro-Peruvian music that was generated by musicians from the very distinct black minority of Peru. In the midst of years of revealing the best in world music, Byrne had time to put out some great records of his own. My favorite was simply titled David Byrne and featured some songs typical of his ironic jabs at modern consumerist society. I got to see him on that tour in 1993 in Charleston, SC at a club called the Music Farm. Byrne gave a show of immense musical quality and then rode off on his bicycle into the muggy Charleston night. Prior to that I had seen him perform on the legendary 1983 Talking Heads tour that was immortalized by the seminal Jonathan Demme film, Stop Making Sense. For 2008-09, Byrne has returned to his Talking Heads roots putting out a record with Brian Eno his early collaborator for a hand full of the most influential Heads' albums such as "Remain in Light." The new record is Everything that Happens will Happen Today and is full of the suburban irony expressed in films such as American Beauty. The tour, with a stop in Charlotte in December, likewise was spiced with this irony, featuring a band and dancers all clad in white. The dancers, not there to express any hip hop sexuality, simply offered modern interpretative swirls to help enhance the canvas that was created by the music. One song featured Byrne and the dancers rolling aimlessly across the stage on office chairs, strumming guitars and staring blankly into space. The sound quality was flawless as was the performance, enhanced by Byrne's normally awkward stage banter. The tour is in Europe now and you can follow Byrne on his blog which is linked to this blog. For a vid of "Once in a Lifetime" from the show, check out my youtube: http://www.youtube.com/watch?v=J343ah2TFzA&feature=channel_page

Dylan Gilbert

I had the opportunity to see this young fellow by the name of Dylan Gilbert a while back. He was performing at the venerable Milestone Club in Charlotte. I went to see a fave band of mine by the name of The Lights, Fluorescent. More about them some other time. Anyway this Mr. Gilbert was playing his guitar with the lone assistance of a drummer. I must say that this was an intriguing and energetic performance. The pictures above give a sense of the energy of Mr. Gilbert. He laid out some intense lyrics coupled with some ragged playing a la Neil Young in the Crazy Horse incarnation. The culmination as depicted in the linked video was a meltdown at the end with the use of a strange little light that looked like the light on one of those fish that are found at the most deep depths of the ocean. He took that little light and moved it around and made these layered feedback sounds as his guitar lay twanging on the floor. The experiment segued into a little Korg like keyboard with a simplistic little ditty he played over all of the feedback. Anyway, click this link and especially at 2:48 into it to enjoy this unique jam and be sure to catch this fellow when he is in yo' town: http://www.youtube.com/watch?v=C8X_R5a9coQ&feature=related And for his myspace check out http://www.myspace.com/dylangilbert

Norouz, The Persian New Year

My wife, Fariba, and I were pleased to be able to sponsor the Naghmeh Ensemble in a performance of traditional Persian music at our local intermediate school. This performance was particularly special because it occurred on Norouz, which is the Persian New Year celebrated on the spring equinox as it has been for perhaps 6,000 years. Shahram of the Ensemble took the opportunity to explain to the sixth graders the significance of Norouz and the history of the Persian people that well predates the Islamic conquest of that country. The soul of the Persians still shines through even in a country seemingly dominated by the Mullahs--the Islamic Fundamentalists. In reality, the Persians are an open and loving people who yearn for interaction with the U.S. and the West in general. But, as we continue to sanction the citizens of Iran and limit their access to U.S. products and ideas, the power of the Mullahs can become further entrenched. It was heartening to hear President Obama extend Norouz greetings to the Persian people. We cannot let the rebuff by the fundamentalists factor into our dealings with Iran.

Kathleen Edwards and her Canadian Style

On February 23, I had the pleasure of seeing Kathleen Edwards perform at the intimate McGlohon Theater in Charlotte. This venue, formerly a church sanctuary, is where I have seen a variety of performances such as Johnny Cash and Michelle Shocked as well as Allison Moorer and Steve Earle. Kathleen Edwards has put out three records of quality music in the Americana mode. Her most recent effort "Asking for Flowers" is by far her most diverse record that showcases the range of her songwriting ability. A song, "Goodnight, California" has grabbed me with its almost desolate tone lamenting a foregone relationship. http://www.youtube.com/watch?v=O_753bEATQI What I like about this song, and what also came through in the performance is that I see it almost as a requiem to "Like a Hurricane", the seminal jam by Neil Young. In fact, a lot about Kathleen Edwards' style reminds me of Neil Young. This should not be surprising as she hails from the same region as Young albeit from a different generation, perhaps by two. A beautiful voice and playing of instruments, a connection with the audience and heartfelt lyrics and musicianship made this a wonderful evening. Opener "Last Town Chorus", actually a one woman show by Megan Hickey of Brooklyn, was an intriguing performance on lap steel featuring a Bowie song slowed down which was apparently featured on Gray's Anatomy. Another worthwhile performance. Check my youtube link for some more tunes from Kathleen Edwards and the Last Town Chorus. http://www.youtube.com/nosyfieldstone

P-funk keeps on Grooving

Your scribe funking out at the show.

George Clinton and crew continue to tour after almost 50 years of performing. I caught their latest show on February 28, 2009 at the Neighborhood Theatre in Charlotte. I have been a P-funk fan since I first heard Mothership Connection around 1976. I caught my first show in 1977 and have been to dozens of shows since then. What has always impressed me about these folks is their accessibility and humility and their truly enthusiastic interaction with their fans. A p-funk show is an event where you can leave behind normal reality for a few hours and simply indulge in sometimes mindless grooves punctuated by contrarian lyrics and massive musical arrangements. This show featured five guitarists on stage during most of the show. I was impressed as usual by Michael Hampton, who despite having a few rum and cokes was able to do an unusually fast paced version of Maggot Brain (after he figured out how to plug in his guitar). Especially notable were keyboard player Danny Bedrosian and the young drummer whose name I did not get. And of course there was the always affable personality of George himself. Go see these guys when you have a chance. They tour relentlessly so look for them in your town. Check out my youtube for some vids from the show: http://youtube.com/nosyfieldstone and http://www.youtube.com/watch?v=Cvs3G80Y8jo (Red Hot Mama).