This might be our most exciting Future Shock yet, as several big-name shows and rare concert opportunities came down the wire. Rather than sit and gush about how awesome it is that Phoenix is one of only 17 cities on Tina Turner’s tour, or that Tom Waits is playing two nights here, let’s just get on with the roll call of radness.
Tom Waits
Tuesday and Wednesday, June 17 and 18, 7:30 p.m.
Orpheum Theatre
$90 (www.livenation.com)
Tickets go on-sale Friday, May 16, at noon
The gravelly-voiced, avant garde king of indescribable booze-jazz/art rock/blues-folk/dissident cabaret is making his first appearance in the Valley in 30 years. Waits’ song characters -- whether it’s a hooker in Minneapolis sending a postcard or a lonely kid sitting in Napoleone's Pizza House afterhours -- have endured with as much emblematic clarity for his fans as any major movie or television characters. Waits’ body of bluesy, piano-driven work stands alone as that of an artist’s artist, and he’s managed to maintain his integrity in an age where licensing deals have become one of the most lucrative avenues a musician can take. Adamantly opposed to having his music used in advertisements, Waits has filed lawsuits (and won) against companies like Frito Lay, Audi, and Levis, for using his music (or something too similar to it) in their commercials.
Random band fact: Artists who have recorded covers of Tom Waits’ songs include Screamin’ Jay Hawkins (“Heartattack and Vine”), The Eagles (“Ol’ 55”), and Rod Stewart (“Downtown Train”). Waits was also the voice of “Tommy the Cat” on the Primus song of the same name, from its Sailing the Seas of Cheese album.
Below: Tom Waits’ bizarre press conference announcing his tour -- currently the #1 featured video on YouTube:
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Tina Turner
Friday, October 24, 8 p.m.
Jobing.com Arena
$54.30-$150 (www.ticketmaster.com)
Tickets go on-sale Monday, May 12, at 10 a.m.
To quote Shania Twain (since nobody does these days), “If you’ve never seen Tina Turner live, you must see Tina Turner live.” And since we’ve seen Tina Turner live (twice), we’ll second that. The 68-year-old phemon dances around the stage with energy of women half her age, and puts on a multi-media show that includes vintage footage, pyrotechnics, giant digital effects screens, moving stage parts, backup dancers, multiple costume changes, and a “career retrospective” set that ensures everyone in the audience gets to hear their favorite Tina Turner song, from whatever-era, including the Ike & Tina days.
Random band fact: Tina Turner has sold more concert tickets than any other solo artist.
Below: Beyonce’s performance with Tina Turner at the 2008 Grammy Awards, which Turner said inspired her to tour again:
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Coldplay
Saturday, July 12
Jobing.com Arena
$49.50-$97.50 (www.livenation.com)
Tickets go on-sale Saturday, May 17, at noon
Chris Martin and company return to the road in support of their latest album, Viva La Vida, their follow-up to the #1, 10x platinum album X&Y. Critics are already commenting on the album’s “harder edge,” but concertgoers can still expect to hear Coldplay’s earlier, mellow tunes, along with faves like “Speed of Sound” and “Talk.”
Random band fact: Tim Rice-Oxley of the band Keane was offered the keyboard position when Coldplay first formed, but refused because of his commitment to Keane.
Below: A candid clip of Coldplay talking about the new single “Violet Hill” on World Premier Radio1:
The latest indie-pop darlings of the blogosphere, Vampire Weekend’s been on a lightning trajectory since releasing an incredibly catchy EP in 2007, laden with African music elements. After being labeled “The Year’s Best New Band” by Spin in March, playing a handful of much-hyped, packed-to-capacity shows at SxSW, and appearing on Saturday Night Live, they’re launching a full tour in support of their self-titled, full-length album.
Random band fact: Vampire Weekend bassist Chris Baio is the nephew of actor Scott Baio.
Below: The video for Vampire Weekend’s song “A-Punk”:
Too $hort
With Greedy Entertainment
Friday, June 27, 6:30 p.m.
Marquee Theatre
$27.50-$32.50 (www.luckymanonline.com)
Rapper Too $hort’s subject matter hasn’t changed much over the past 28 years. His first album, 1983’s Don’t Stop Rappin’, included songs celebrating big booties, himself, and rap. His 17th studio album, 2007’s Get Off the Stage, includes songs celebrating sex, rap, and himself, with a bit of a harder edge (i.e., “Broke Bitch,” “Shittin’ on ‘Em,” “F.U.C.K. Y.O.U.,” “Gangstas & Strippers”). But the fact that Too $hort influenced some of the most influential rappers in the game today (he’s collaborated with Diddy, Scarface, UGK, Jay-Z, and Snoop Dogg, among others) can’t be denied.
Random band fact: Too $hort played Lew-Loc in the Hughes brothers’ film Menace II Society.
Below: An “old school” Too $hort video, “Life Is…Too Short”:
Judas Priest
With Heaven & Hell, Motörhead, and Testament
Thursday, August 28, 5:30 p.m.
Cricket Wireless Pavilion
$31-$131 (www.livenation.com)
Tickets go on-sale Saturday, May 17, at 10 a.m.
Metal legends Judas Priest are back with a concept album called Nostradamus, and plans to split its set list into two parts, to accommodate both the new material as well as old Priest favorites. They’re joined by Heaven & Hell, which is basically Black Sabbath fronted by Ronnie James Dio, and Testament, whose lead singer, Chuck Billy, is one of the seminal screamers of the metal genre. Add the biker metal blitzkrieg of Motörhead, and you’ve got the hottest heavy metal tour of the summer, hands down.
Random band fact: Judas Priest was originally managed by IMA, a company owned by Black Sabbath guitarist Tommy Iommi.
Below: Judas Priest performing “Breaking the Law” at a 1982 show:
Digital Summer's numerous sticker advertisements have nothing on the sheer number of multimedia pieces we've put together to supplement Benjamin Leatherman's cover story on the Valley-based band. If you haven't seen the two (count 'em) slide shows we've already posted, you can see them in our Valley Fever post: Digital Sumer Slide Shows.
Need more Digital Summer? Take a listen to their song Rescue Me as introduced by Benjamin Leatherman in this Up on the Sun podcast.
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Scrubs actor and Garden State director and star Zach Braff is making a music video for singer-songwriter Jay Clifford, and he wants footage of you and your friends to be included.
If you visit www.jaycliffordmusicvideo.com, you can view a video message from Braff, where he discusses his vision for the video, and you can also listen to Clifford’s new single, “Know When to Walk Away” (the song for which Braff’s making a video).
Jay Clifford
“So many people ask me how to get started in film making, and they want to make videos,” Braff says in the video message. “And I just thought it’d be a really cool idea for all those people out there who like to make movies to make a music video together -- like a global crew of people, making one music video.”
]]> On his Web site, Braff writes, “I came up with this idea to make a music video by cutting together clips of people from all over the world singing the song and shooting the video themselves as though it were their own song.”Braff wants participants to capture YouTube-style videos of themselves and their friends lip-synching to “Know When to Walk Away.” Submissions can be as off-the-wall and creative as you’d like, but must revolve around you and your friends singing along to the song.
Zach Braff and Jay Clifford
“You can be as creative as you want, or as goofy or as serious as you want,” Jay Clifford says. “We’re hoping for shots of some kid under the Eiffel Tower, or someone out west riding a horse or somebody on the subway in New York.”
The site includes detailed directions on how to submit your videos, and links to download both the audio file and the lyrics to “Know When to Walk Away.” All submissions must be received by Friday, May 30.
Unless you’re a well-schooled jazz or R&B fan, Marcus Miller is probably the best bass player you’ve never heard of. The Grammy Award-winning Miller has played bass for Miles Davis, David Sanborn, and Luther Vandross, and also played bass and bass clarinet in a band called Legends, with Eric Clapton. He’s got his own signature bass (the Fender Marcus Miller Jazz Bass, available in 4- and 5-string versions) and is also one of the most in-demand R&B producers in the world, having co-produced/arranged most of Vandross’ albums from 1981 onward, as well as records by Al Jarreau, and The Crusaders.
As an artist leading his own band, Miller’s musical prowess is even more compelling than the incomparable session work he’s done for more than 30 years. In addition to mastering the bass guitar, Miller is also a proficient keyboardist, saxophonist, clarinetist, and singer, and artists from Corrine Bailey Rae and Keb “Mo” to Me’Shell NdegeOcello and Macy Gray have clamored to collaborate with him.
]]> Listening to Miller’s latest album, Marcus (Concord), it’s immediately apparent why the 48-year-old virtuoso is so celebrated among his esteemed musical peers. From the roiling, low-end, bumpin’ club-funk of opener “Blast” and an electrifying cover of Stevie Wonder’s “Higher Ground” to the bopping jazz burner “What Is Hip?” and the smooth, soulful seduction of “Lost Without You,” Marcus is a feelgood masterpiece.
In a live setting, Miller’s got a reputation for bringing down the house and doing multiple encores. His performance at the Rhythm Room on Tuesday, May 6, was no exception. The show was sold out, and concertgoers who arrived late had to hunt for parking and jockey for position inside the venue. Those in attendance were treated to an hour and a half-long show, filled with extemporaneous jams, blazing live renditions of songs from Miller’s new album, and some guest vocals from Jean Baylor (formerly of R&B duo Zhané, whose biggest hit was “Hey, Mr. DJ” in 1993), and topped off with two encores. Those who missed the show missed out, without a doubt.
Jean Baylor joins Marcus Miller's band on stage at the Rhythm Room.
For more information on Marcus Miller, visit www.marcusmiller.com (he’s got a plethora of awesome audio samples on the site) or Miller’s MySpace page.
When Grant McLennan, co-founder of The Go-Betweens, died of a heart attack two years ago today at the age of 48, it brought the curtain down on one of Australia's finest ever bands. Now, fellow Go-Betweens co-founder Robert Forster pays touching tribute to his late songwriting partner on his new solo album, “The Evangelist,” as well as bringing to light McLennan's final compositions.
By turns elegiac and celebratory, “The Evangelist” is the finest of Forster's five solo efforts, the first four of which were released while The Go-Betweens were on hiatus during the 1990s. On it, he plays with bassist Adele Pickvance and drummer Glenn Thompson, both of whom had joined The Go-Betweens when Forster and McLennan reconvened the band for the new century.
The sound of the new disc is definitely of a piece with the three post-reunion GB discs, yet missing an obvious presence. This is acknowledged in the simple and moving song “Demon Days” as Forster sings “But something's not right, something's gone wrong.” It's all the more poignant when you read in the liner notes that the line was penned by McLennan.
On “It Ain't Easy,” another of three co-written tunes, Forster and company settle into McLennan's brisk pop groove while the singer honors his friend with lines such as “it was melody he loved most of all” and “we'll not see his kind again anymore.”
Just as a fine funeral service offers both fond memories of the deceased and hope for the future of the living, “The Evangelist” succeeds in being both Forster's homage to his fallen friend and his first musical steps forward without him. It's in stores now on Yep Roc Records.
]]>Almost seven years after the release of Mesa-based Jimmy Eat World's Bleed American album, it might be easy for some people to forget the magnitude of that record -- especially since JEW's post-Bleed American albums, Futures (2004) and this year's Chase the Light, haven't even come close to matching the commercial success of Bleed American. Some might even wonder if Jimmy Eat World, the Valley's largest breakout band since the Gin Blossoms, will be resigned to the same sort of national collective remembrance that befell the Blossoms -- if it's not something from the '90s like "Hey Jealousy," "Found Out About You," or "Follow You Down," they don't want to hear it. Do people in Virginia even know that the Gin Blossoms released an album (Major Lodge Victory) in 2006? It’s really good. It’s just not on the radio like all their stuff from 1992’s New Miserable Experience still is.
The Jimmy Eat World songs that have been sung across the nation (and will hopefully still be turning up on radio stations five years from now) are “Bleed American,” “A Praise Chorus,” “The Middle,” and “Sweetness.” And they are all on Bleed American. Released in July of 2001 (and re-named Jimmy Eat World after September 11), this album is actually packed with familiar melodic pop rock songs, whether they were singles or not (“If You Don’t, Don’t,” and “The Authority Song” are still sing-along staples of the band’s live shows). Frankly, the whole album is both a miracle and a masterpiece, having been self-funded after Capitol Records (for whom JEW had already recorded two albums) dropped the group. DreamWorks Records (now dissolved, with roster artists absorbed into Geffen and Interscope) picked the band up, and Bleed American became JEW’s biggest-selling album ever, spawning a top five Billboard single with “The Middle” and selling around 1.5 million copies.
And it’s well worth revisiting. Now with its original title back, Bleed American has been re-released in a deluxe package with three bonus tracks (including “The Most Beautiful Things” from the Good to Go EP) and a second disc crammed with 18 tracks of b-sides and rarities. But unlike many b-sides and rarities collections, this one’s palatable – included are two versions of “The Middle” (one live and one an early demo for the German-issue single), a live version of “Bleed American,” the band’s recording of “If You Don’t, Don’t” from an XFM session, and a previously unreleased live version of “Sweetness.” The limited-edition “Last Christmas”/”Firestarter” single made the compilation, too, along with two tracks from the Believe In What You Want DVD. (“My Sundown,” and “Hear You Me”).
Bleed American is still an awesome album, and old fans and newbies alike can dig into disc two. This already has my nomination for best “deluxe edition reissue of the year.” Now where’s the New Miserable Experience reissue?
]]>The Wiley family's produced its share of local music talent. Sisters Marta and Cristiana were the cornerstone of estro-art rockers W.O.M.B., and now their brother, Sammy Wiley, has released his first CD as "The Wiley One."
We reviewed his latest album -- a feelgood mashup of folk, reggae, and hip-hop called No7 Kid -- when it was first released in November, but now he's added a tenth track, "Gotta Lotta Love," and Sundawg Records will re-release the album on May 7.
To celebrate the CD's second coming, The Wiley One will have an official release party at Martini Ranch in Scottsdale on Thursday, May 8. Special guests include Identity Crisis, MC Criterion, A Life of Science, Marta Wiley, Ashley Norton, and DJ Kensho. The show is 18-and-older, starts at 8 p.m., and costs $8. The first 70 people in the door receive special swag from Sundawg Records.
]]>Better than: Watching Vern Troyer piss himself on The Surreal Life.
When I heard there was a KISS tribute band comprised of “little people,” I knew I couldn’t miss this show. I’d never seen anything like it before, and I’ll admit I was curious. Whenever a band has a gimmick that’s as awesome as being “Minikiss,” I immediately question their musical validity. I wanted to see if these little dudes could actually play their parts, as opposed to just looking like them.
Click to see a few more images from Minikiss at Dos Gringos
Dos Gringos was packed when I arrived at the venue, and a throng of hundreds already had a collective buzz on while local band The Chris Parker Project rocked the stage in luchador masks and sombreros. The highlight of their set was most definitely a cover of Sir Mix-a-Lot’s “Baby Got Back,” complete with a horn section. It was a great primer for Minikiss.
Minikiss was supposed to take the stage at 11 p.m., but didn’t actually do so until midnight. When they came out, the crowd went nuts. All four of them had their costumes and makeup down pat, and mini Ace was even rocking the silver platform boots. The wigs they were wearing (with the exception of wig-less mini Peter Criss) were all really ratty, which added to the charm for me. When mini Gene Simmons started spewing blood out of his mouth, the combination of fake gore and his matted, natty wig reminded me of one of the demon-creatures from the Evil Dead movies.
]]> The set list was interesting. They opened with “Rock and Roll All Nite,” which is one of a few KISS songs even non-KISS fans know. They also played “Detroit Rock City,” “Beth,” “Cold Gin,” and even disco-era KISS (“I Was Made for Loving You”). But their set list also included some more obscure KISS tracks that only the hardcore fans in KISS shirts down front seemed to know, as well as some covers that weren’t even KISS songs (Guns ‘N Roses’ “Sweet Child O’ Mine,” Black Sabbath’s “Paranoid,” Ozzy’s “Crazy Train”).The big question on everyone’s mind seemed to be, “Does Minikiss play its own instruments?”
The answer is yes and no. All of them appeared to be plugged into their amps. Mini Peter was definitely hitting his mini drum kit (though I could hear a backing track behind his beats), and Mini Paul clearly played a couple of guitar solos (Mini Ace only did one solo, sans backing band or track, and to be honest – it was bad, like a little kid playing around in an instrument shop). Mini Gene didn’t play live at all, and didn’t even try to mimic playing the actual chords on his bass; he just strummed the same string over and over. With the exception of mini Peter coming out fom behind his kit to sing “Beth” (badly) into a microphone, it was hard to tell when any of them were even really singing. They weren’t lip-synching to KISS tracks, but they clearly had backing tracks of KISS covers behind them all night.
So musically, I wasn’t blown away by Minikiss, but I sure had fun watching them. And really, how often does the chance to see a KISS tribute band full of vertically-challenged people come along?
Random detail: Upon seeing the band take the stage, someone in the crowd commented, “They don’t look mini.”
Personal bias: I am 5-foot-two and shrinking.
]]>This week was a like a rock-revival for concert announcements -- acts that haven’t toured in forever are loading up the buses and making their way into the Valley. But as you’ll see, some newer, underground acts will be breaking in the stages here as well.
Stone Temple Pilots
With Frank Black
Tuesday, July 29, 8 p.m.
Dodge Theatre
$40.50-$59.50 (tickets go on sale at 10 a.m. Saturday, May 10)
www.livenation.com
Stone Temple Pilots, one of the great grunge-era bands, has reunited for the first time in almost eight years. Singer Scott Weiland left his supergroup, Velvet Revolver, to reform his more successful band (depending on whom you ask, Weiland was either asked to leave by the other Velvet Revolver members because of struggles with subtance abuse, or Weiland left of his own volition because of “creative differences”). Either way, look for STP to blast out several songs from its impressive catalogue.
Random band fact: STP reunited after Weiland’s wife, Mary Forsberg, called the DeLeo brothers (Dean DeLeo and Robert DeLeo, guitar and bass, respectively) and invited them to play at a private beach party.
Below: The video for STP’s 1992 breakout single, “Sex Type Thing”:
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Singer
With Frog Eyes
Monday, June 9, 8:30 p.m.
Modified Arts
$8 (www.modified.org)
This Chicago four-piece plays progressive psychedelic music, laden with feedback, enchanting harmonies, and droning jazz. They’re touring in support of their new record, The UNHISTORIES, out now on Drag City.
Random band fact: Singer guitarist Todd Rittmann and drummer Adam Vida were also in the band U.S. Maple.
Below: An artsy photo of Singer, since they’re so “indie” they don’t have any videos on YouTube yet:
Now that Tina Turner has retired, Neil Diamond may very well be the last truly “great” show on Earth. Generation X-ers may laugh at the kitsch of Diamond (after all, this is their parents’ music), but Diamond’s Hot August Night is still one of the best-selling live albums ever, and his songs -- “Sweet Caroline,” “Cherry, Cherry,” “I’m a Believer,” “Song Sung Blue,” “Play Me,” “Heartlight” -- are known and loved by people of all-ages, even if they won’t admit it.
Random band fact: Neil Diamond’s middle name is Leslie.
Below: Diamond performs “I Am I Said” live:
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Elysia
With A Girl A Gun A Ghost, Full Blown Chaos, and Shai Halud
Saturday, August 9, 7:30 p.m.
$12 (www.luckymanonline.com)
Full Blown Chaos is the headliner for this show, but it’s impossible to overlook the talents of Elysia. While the name sounds like a single-moniker for some poppy tweener singer, Elysia is actually a hardcore quintet from Sacramento. Their latest album, Lion of Judas, is an audio onslaught filled with sludgy drums, vocal screechings, burly guitars, and song titles like “Malignancy” and “Massacre.”
Random band fact: The band’s original name was Elysium’s Revenge.
Below: Elysia performs “Incinerate” live:
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Rusted Root
With Pete Francis
Saturday, July 12, 6:30 p.m.
$24-$25 (www.luckymanonline.com)
This Pittsburgh jam band has long been a shared favorite of Deadheads everywhere, as the band’s music incorporates World music percussion and touches of bluegrass, but leaves room for improvisation. After 18 years and only seven full-length albums, Rusted Root’s come to rely on its live shows as the best representation of their music.
Random band fact: Rusted Roots has contributed tracks for several movies, including Twister and Home for the Holidays.
Below: A link to the music video for Rusted Root’s “Send Me on My Way”:
http://www.youtube.com/watch?v=rDdokE1rAMw
"Avril Lavigne's Cricket Wireless Pavilion show tomorrow has been cancelled due to laryngitis. Refunds are available at point-of-purchase."
This is the second show Lavigne has canceled on her current tour. She canceled a show in San Diego on Wednesday night.
Local indie rock band Source Victoria is offering its CD, the fast escape for free download on its Web site, www.sourcevictoria.net. The album, hailed as "a beautiful narcotic" by Phoenix New Times music writer Serene Dominic in his recent feature on the band, was produced by Chris Testa (Jimmy Eat World, Dixie Chicks) and has garnered accolades from such local superstars as Jim Adkins from Jimmy Eat World.
the fast escape will be available for free download until midnight PST on Friday, May 2. The band's offering the album to promote its upcoming show at Hollywood Alley in Mesa on May 3. The bill also includes Monstresors; Sleepwalk, A Robot; and Mike Jarmuz.
]]>You want real “alternative” music? How about a CD titled Stories Told: Harmonized Peyote Songs? That’s the title of the new collection of authentic Native American folk songs from Grammy award-winner Verdell Primeaux with Terry Hanks. It’s one of several releases of indigenous music, folk dance, and pow-wow songs from Canyon Records, a local label that’s the focus of this week’s Local Label Spotlight.
Canyon Records (Phoenix)
Founded in 1951
Roster includes:
Verdell Primeaux
Warscout
R. Carlos Nakai
Blackfire
Judy Trejo
R. Carlos Nakai
Why they’re hot:
The label’s records have garnered a total of 22 Grammy nominations over the years, winning for Best Native American Album in 2002 (Verdell Primeaux and Johnny Mike’s Bless the People).
The label’s won the only two gold records the RIAA has ever awarded for Native American albums, for R. Carlos Nakai’s Canyon Trilogy and Earth Spirit albums.
The label’s roster represents a diverse and wide breadth of Native American Nations, from all over North America.
Where to find them online:
]]>The local garage rock babes of Bella have decided to reunite for one show, on Thursday, May 1, at The Rogue.
For those not familiar with Bella (not to be confused with the Canadian band of the same name), the trio was one of the most celebrated indie rock acts in the city. From their inception in 2002 until they decided to split in 2005 (singer/guitarist Natalie Espinosa already had another band, Huskies, up and running), Bella built a solid fan base around its high-energy live shows and had garnered interest from some indie labels. Alas, the band’s last album, Hope and Wait (recorded at Flying Blanket Studios by Bob Hoag), was never released. Bella played their last show at the 2005 New Times New Music Showcase, and writer Brendan Joel Kelley lamented the loss of such a great local band.
Two-thirds of Bella -- bassist Kristi Wimmer and drummer Jency Johnson-Rogers -- are still in Phoenix, but Espinosa moved to Brooklyn. The three have remained on good terms, allowing for Bella’s first show since their 2005 Showcase gig. Old fans and newbies alike should not miss this show!
Bella performs on Thursday, May 1, at The Rogue Bar. Show time is 9:30 p.m., and admission costs $3.
]]>Better than: A double-shot of whiskey with the Doublemint twins.
Twin sisters Tegan and Sara Quin spread their musical wings on their sixth (and latest) album, The Con, adding a bit more depth to their arrangements and increasing the potency of their New Wave/indie pop/freak-folk cocktail. But it’s their onstage banter that’s garnered them the most attention lately. It provided the angle for a recent story on the sisters by The Associated Press, and even Sara had to talk about how much she talks onstage at the duo’s gig in Tempe.
Click to see a slide show of photos from Tegan and Sara at The Marquee Theater
Her story started with her telling the audience that they’d played the Coachella festival recently, on the same night as The Verve, and that front man Richard Ashcroft was so stoic and reserved. “It got me thinking about how we are, and how much I talk on stage. I gotta knock that shit off.”
But then the story morphed into a joking confession about how Sara has a “man crush” on Ashcroft (both sisters are lesbians). “I wanted him to love me,” she said with a laugh. “Not like love me love me, but to tell me his thoughts and stuff.”
The banter was sandwiched between some stellar songs, which everyone in the crowd seemed to know and sing along with. Even when Tegan forgot some of the lyrics to “The Con,” the crowd didn’t miss a word. (Later, before performing “Call It Off,” Tegan shared a story with the audience about how a group of people down front at another show were screaming out the song horribly off-key, even going so far as to do a hilarious imitation that had Sara in stitches over by the keyboard).
While the sisters switched off on guitar, keyboards, and lead vocals, their backing band – guitarist/keyboardist Edward “Ted” Gowans, bassist Shaun Huberts, and drummer Johnny Andrews – provided a solid, faithful base for the sisters’ harmonies, and made songs off the new album (like the haunting “Relief” and the psyche-rock number “Like O, Like H”) sound like well-worn and loved material.
Over the course of 90 minutes, Tegan and Sara managed to play several songs off The Con, as well as tracks from their previous album So Jealous (including “I Bet It Stung”), and tell countless stories to the crowd. The sound was good, the show sold-out, and there were too many lesbian couples making out in the crowd to count. Well worth the $25 general admission price.
Random detail: Tegan and Sara’s merchandise includes handmade scarves.
Personal bias: I really hate the limited parking at the Marquee Theatre. Any time a show here is sold out, you can pretty much count on parking across the bridge somewhere and walking a mile to the venue.
]]>There is a new museum slated to open in Phoenix in early 2010, but it’s already kicking up some controversy. The Musical Instrument Museum, under construction at Tatum and Mayo Boulevards, just purchased a collection of rare instruments from California’s Claremont University. The 1200-piece collection includes 19th-century slide trumpets, an oboe by Lehnhold, a curved English horn from the 1760s, and a treble viol by Leandri Bisiach.
Museum director Bill DeWalt was pleased with the purchase (the price has been kept confidential), but according to the Los Angeles Times, some students and faculty at Claremont feel they’re losing an invaluable piece of musical history and culture.
The MIM aims to gives guests “an appreciation for both the musical similarities and unique differences among divergent cultures, countries and ethnicities through state of the art exhibits.” Most of the instruments in the collection are more than 50 years-old and come from more than 200 countries.
While the MIM seems geared more toward antique instruments and a classical/world music perspective, we figure if the museum can drop an undisclosed amount for a collection of instruments from Claremont, then it could probably shell out for a “pop culture/contemporary” instrument exhibit, too. And we’ve built the perfect collection below. For a lump sum of $2,528,000, the Musical Instrument Museum could add the following to its collections (without pissing off any university faculty, even):
]]> Bill Clinton’s saxophone: The saxophone that former United States president Bill Clinton played on The Arsenio Hall show in 1992 sold for $54,000 at the Music Rising Benefit, which was co-founded by U2 guitarist The Edge.
This sax sold for $54K, mainly because Clinton's lips were on it.
Jimi Hendrix’s vintage Epiphone FT79 acoustic guitar: This guitar, which Hendrix used to compose some of his songs, netted $77,000 in an auction by Bonham & Brooks.
Keith Moon’s 1968-1970 Premier Drum Kit: Moon’s champagne silver drum kit was sold for more than $260,000 by Christie’s.
Dick Clark’s American Bandstand microphone: The ageless Clark auctioned off his microphone through Guernsey’s for $33,000.
Bob Dylan’s Hohner Marine Band harmonica: Used (and signed) by Dylan, this mouth harp sold for more than $4,000 through Julien’s Auctions.
Imagine this piano being sold for $2.1 million dollars.
John Lennon’s piano: The piano that Lennon used to write his song “Imagine” was one of the most sought-after auction pieces of the last ten years. George Michael purchased it from auction house Fleetwood Owen for a cool $2.1 million in 2000. Michael subsequently loaned the piano to Virginia Tech after the 2007 shootings at the school to help benefit the families of the victims.