American Master, 2013

petty_hardpromises
Tom Petty and the Heartbreakers
May 20, 2013
Beacon Theatre
New York, NY
Tom Petty brings you back.
Back to those classic moments when you were growing up in a suburb of a Florida suburb and wondered how it was possible that every Petty song could be about you and your scrawny little pimple-faced teenage life.
Back to the memory of a Marine named Victor who lived next door and used to change his oil in his driveway, illegal because the oil would seep into the already rotten egg Florida water supply but a kind of a good ol’ boy macho ritual having your hot rod on cinder blocks on the front lawn so to speak. So Victor the Marine would blast “Rebels” over and over and over and I always wondered if he really got the full meaning of the song or did he just think it was like written about him because “Rebels” is really all that needs to be said about Victor the Marine:
I was born a rebel, down in Dixie
On a Sunday mornin’
Yeah with one foot in the grave
And one foot on the pedal, I was born a rebel
Back to the memory of a Disney World Grad Night sometime in the 80s where Tom Petty and the Heartbreakers were the evening’s live entertainment. Disney Grad Night, a kind of all-night high school bacchanalia dedicated to letting kids run wild and rampant through the surreal and fucked up landscape of Disney World, which is either a big mistake or a stroke of genius, depending on who you ask. So like the high school seniors hop a bus to Orlando and pack Gatorade growlers mixed with vodka and of course your PE teacher/chaperone doesn’t know anything about the lime green booze concoction, or he totally does but couldn’t care less because he’s too fucking high and it’s simply too goddamn hot to actually give a shit about anything, especially a bunch of kids getting their Grad Night groove on. So Petty is the entertainment for this fine Florida tradition, which happens between the hours of like midnight and seven in the morning and the park is closed to the public which is very cool, but at some point you find yourself tripping balls in the Haunted House, whether from psychedelics or lack of sleep or vodka-flavored Gatorade or just plain 18-year-old excitement at being able to do whatever the fuck you want in the middle of the night in the middle of Walt Disney World.
But is that really Tom Petty and the Heartbreakers playing in Never Never Land? Fuck, this is like the best night ever.
Back to the memory of that first time you heard “American Girl” and how rad it was that Petty was name checking State Road 441 and of course that leads directly to all those moments of you racing down that cracked-up Florida highway in that beat-up shit bucket 1978 Toyota Corolla that you had spray painted baby blue because that was the only color the high school body shop had leftover that year. So when Petty ends the concert with “American Girl” you may just be the only one in the audience screaming out the lyric Out on 441 like waves crashin’ on the beach because of course it has so much meaning in your personal history and encompasses pretty much everything about living in Florida in the late 70s, and how did he get it so right and how is it possible there’s so much truth and meaning in all of nine words anyway?

petty_americangirl

Which almost impossibly brings us back to the live Petty experience that’s going on right now and how it’s real and true and classic and essential and totally and fully American—but not in that Antiques Roadshow sort of way and certainly not in the F-16 flyovers at baseball games kind of thing but something more—along the lines of an old story that has traveled through time and generations and has gained regional accents and slight revisions and updates but has arrived fully formed in the present. So Petty’s songs are the core experiences, the time-stamped memories and the place-in-time dynamics that solidify your place in the world. Your sound compass, your life soundtrack.
It’s like you know the trail started somewhere but you’re not exactly sure how far back it goes but you know it’ll be there way after you’ll be anywhere.
Setlist:
So You Want to Be a Rock ‘n’ Roll Star
Love Is a Long Road
I Won’t Back Down
Fooled Again (I Don’t Like It)
Cabin Down Below
Good Enough
(I’m Not Your) Steppin’ Stone
A Woman in Love (It’s Not Me)
Billy The Kid
Tweeter and the Monkey Man
Rebels
To Find A Friend
Angel Dream (No. 2)
Willin’
Melinda
I Should Have Known It
Refugee
Runnin’ Down a Dream
You Wreck Me
Carol
American Girl
Posted in Uncategorized | 2 Comments

Good Night Ray Manzarek

Posted in Uncategorized | 1 Comment

Slipping Through a Stellar Black Hole: Miles in the 1970s

live_evil
Ok so I admit to obsessing about this whole Electric Miles thing and it’s getting way out of hand because it’s been like three days now and I can’t seem to listen to anything else or focus on actual life plans or even attempt the simple things like checking my socks for holes because who knows where those holes actually lead to because they are, of course, rabbit holes but those are not the ones worth chasing because Miles is the only one worth following down any sort of rabbit hole, worm hole, black hole…
You still with me?
So I’m one step away from total abandon and I’m certain that’s what Miles was after with this funky sunship of a repertoire he sailed through during the years 1970 to 1975.
Take just one more step and edge up to the cliff and see where that leads you.
And of course it only leads out, not down, because this exploration in tone and timbre is all gravitational pull and supernova explosions and don’t you be afraid of being sucked in and expanded upon because you only have this one physical space to call your own and wouldn’t it be something to be like truly radiant, just for once?
Whatever Miles was after (and up to) he found it and came back with something unholy, unnamed, unguarded, unfathomed, undefined, unhinged, uncontaminated, uncontrolled, un-fucking-real…
So take a trip through an ever-expanding star system and float among the gods…but only if you can find the records…
Bitches Brew (1969-1970)
The Complete Bitches Brew Sessions (1969-1970)
A Tribute to Jack Johnson (1970)
The Complete Jack Johnson Sessions (1970)
Live-Evil (1970)
The Cellar Door Sessions (1970)
Live at the Fillmore East, March 7, 1970: It’s About That Time (1970)
Black Beauty: Miles Davis at Fillmore West (1970)
Miles Davis at Fillmore: Live at the Fillmore East (1970)
On the Corner (1972)
The Complete On the Corner Sessions (1972)
In Concert: Live at Philharmonic Hall (1972)
Big Fun (1969-1972)
Get Up with It (1970-1974)
Dark Magus (1974)
Agharta (1975)
Pangaea (1975)
Miles1973bandRunning down the voodoo, live in ’73.
Live-Evil album cover by Mati Klarwein.
Dates in parenthesis reflect recording dates, not album release dates.
Posted in Uncategorized | 1 Comment

The Black Beauty, 1971

Because he’s Miles.
Posted in Uncategorized | 1 Comment

Earth Rockers, 2013

clutch

Clutch
May 2, 2013
Terminal 5
New York, NY
If you’re gonna do it
Do it live on stage
Or don’t do it at all
Photo by the Rock File
Posted in Uncategorized | 1 Comment

Good Night Jeff Hanneman

Posted in Uncategorized | Leave a comment

The Dum Dum Boys and the Last of the Transcendent Rock Experiences, 2013

iggy1
Iggy and the Stooges
April 28, 2013
(Le) Poisson Rouge
New York, NY
Iggy Pop is ready to die, and if he’s ready to die, then so am I.
And it’s on this knife edge of a living deathwish that Iggy takes the stage at (Le) Poisson Rouge in New York City and throws down the gauntlet, right in your fucking face.
Watch the fuck out, people.
So I’m thinking you’re only truly ready to pass into the infinite when you’ve grasped the moment, that one true, ecstatic moment. Is that what the white light is? Did somebody say soul? What soul?
Iggy Pop is a colossus, a force of hell-fire nature, a living shaman, a prehistoric madman. It’s as if he’s always existed—once a sadistic killing machine, like Judge Holden, or a firestarter in the Genghis Khan Army of Psychotics, or maybe he was something else entirely, like a cock-rock version of the Mad Monk, both saintly and debauched. In recent times, he worked in the red-light district of Les Halles as some junked-up chanteur, singing late-night paeans to the sad and sorry denizens of the eternal underworld.
What the fuck happened to Iggy’s skin? Has he ever worn a shirt?
So the Stooges are doing what they do best, which is bring a noise so fucking fierce and bombastic you’d think these guys invented modern warfare, which of course they did. Iggy has put you square in the here and now with a fist to the jaw and a rumble to the body—as in the fully realized moment—nothing more, nothing less. Everything has fallen away and everything you think you care about has no meaning. Not here, not tonight. Zero fucking chance.
Anybody else ready to die? Well then, break on through…
How the fuck did I end up on stage with Iggy Pop?
And will you just put that fucking phone away?
Which brings us to this…
Can anything ever again be defined as a Truly Transcendent Rock Experience at this point in our self-absorbed, small-minded, shoegazing, pansy-assed, addicted to vapid mind-sucking nothingness, shitty little garden-variety existence we call Modern Life?
Iggy Fucking Pop.
The Fucking Stooges.
Fuck me and everybody alive.
Setlist:
Gun
Job
Burn
Ready to Die
Raw Power
Gimme Danger
Sex & Money
Your Pretty Face Is Going to Hell
The Departed
1970
Fun House

iggy2

Photographs by the Rock File
Posted in Uncategorized | 2 Comments