Andrew Bird as Dr. Stringz

Buddy at work showed me this today. Pretty funny, and actually a good song. I love anything Andrew Bird does...new album coming out in the spring.

You can read about his process of making the new album here here

New Rolling Stone design

I'm really digging the new format of Rolling Stone. For those of you who haven't seen it, RS went from the big tabloid-style format to a smaller 10" by 12" book. It looks brighter and shinier, and at least in the first new issue, it seems like there's more inside. More features, more reviews, etc. The first issue contains 6 features, plus an Obama interview to boot.

Big thumbs up from me. Just wondered if you guys noticed/cared.

Secret Machines @ Metro

The Secret Machines can do a couple things really, really well. To start, drummer Josh Garza pumps his bass drum louder than anyone this side of John Bonham. This lays the foundation for a majority of the Machines’ tunes. To accompany this beast on drums, lead singer Brandon Curtis produces some serious grooves on bass. These two together create a truly unique sound that contains dark, eerie and pulsing elements.

Oh, and they’re really loud.

The three-member band took the stage Oct. 24 at Metro in Chicago with white wires stretched behind them. The wires were arranged to give the impression of a 3-D shape that enclosed the band. The shape reminded me of the cover of Pink Floyd’s Dark Side of the Moon. The stage and crowd was very dark. Curtis was cast in shadow for the entire night, which added to the atmosphere.

The Machines opened with “Dreaming of Dreaming,” the song the band released shortly before their latest album came out. The song doesn’t appear on the album, but it certainly feels like it could have been on there. It features the patented huge drums and bass groove combo, with guitars providing spacey bridges.

Before the show I was wondering what the setlist would be like. Secret Machines released their self-titled album Oct. 12 –- their first in 2 ½ years. The band went through a lineup change after the release of “Ten Silver Drops,” when guitarist Benjamin Curtis (brother of Brandon) left the group. So I was interested in how many of the old songs they would play.

My question was somewhat answered with the second song, when they busted out “Nowhere Again,” the main single from their first album, “Now Here is Nowhere.” The remainder of the set had a few songs from this album sprinkled throughout, but mostly they stuck with songs off the new album.

Not until the encore did they play anything from “Ten Silver Drops,” before closing with a much-anticipated “First Wave Intact.”

The drums and bass, creepy lighting, and plain-old loud rock made for an enjoyable night. However, I have to say I was quite disappointed with the Machines’ new guitar player, Phil Karnats. He messed up a lot of the old songs, and I didn’t think he brought much to the new songs. Karnats was definitely taking a back seat to the other two, and it’s possible that this was by design. And on top of everything, his backing vocals were awful. Half the time you couldn’t hear him, and the times he could be heard, he was singing way out of key. I don’t know if he couldn’t hear his monitor or what. Hopefully the band will eventually be able to iron out these problems in the future.

Overall, a great show from a very entertaining (and loud!!) band.

Yonder Mountain String Band @ The Congress

The Congress Theatre is a spectacular old building with a regal air about it. Its aged atmosphere is noticeable from the first step into the spacious lobby, the theatre screams for big-band music, highballs, and bow-ties. Fred Astaire could put on an evening showcase if the lobby were given a once-over with some wax and a few new light bulbs. Inside the music hall a soft, yet menacing red-lit dome commands the ceiling and covers the dance floor. Bars within reach of most, empty bathrooms and a spacious upstairs balcony make for comfortable music venue. However, the round shape of the venue results in poor acoustics particularly in the upper balcony. Like, really bad. Stage banter, song lyrics, and intricate solos were lost in the crossfire of commotion.

YMSB consists of four guys playing stringed instruments. No drums, no brass. That said, their sonic options are limited; but they’re playing bluegrass. Each song was a grasp at foot-stomping, knee-slapping joy. A pair of spoons would be a dynamite accessory at a YMSB concert. Quick tempos and lightning-fast picking were the special of the night. The bass held the songs together and gave the band a platform. During each song the audience was treated to at least one solo performance typically on the banjo or mandolin. The guitar and upright bass were given chances to try and carry tunes, but it seemed tough to slow down the notes from the banjo/ mando background. Regardless, the band took little time for themselves onstage and jumped from one jam to another, the energy level was high throughout the first half of the evening. An extended set break left the audience restless (and in some cases, dozing in their seats) and expecting an electric second set. The author left after the 3rd song in.

YMSB plays an entertaining brand of feel-good bluegrass, but it may be best served under the stars and with a side of bourbon. Being confined indoors by October temperatures and $8 drinks is no compliment to such a vibe.

Review: Taj Mahal @ The Morse

Let it be clear first that this review is written from the perspective of a casual blues fan & a known-by-association-with-a-jam-band Taj Mahal supporter. That said, there will not be a set list posted or introspective perception of any songs played. Frankly, the author was looking for something to do on Friday night.

It’d be unfair to review this show without mentioning the spectacular venue within which it occurred. The Morse Theatre in Roger’s Park (located on Morse Avenue, 1 block east of the Morse Red Line stop) (read: paranoid honkys need not fear) was christened this weekend after an extensive reconstruction. From the marquee to the rafters and the bar to the bathrooms, the facilities are fantastic. It’s a small venue with a 299-person capacity, much of it on the dance floor penned behind tiny cocktail tables, with booths along the walls and a horseshoe balcony. The acoustics were adequate from floor in the front, though it may take a few shows for the sound engineer to get it just right. Keep an eye on the schedule up there, the venue is definitely worth a visit.

Taj Mahal is amazing. There it is; if nothing else in you feels stable these days, you’ve just been given a constant on par with the sunrise. After ambling on stage with the backing members of the Taj Mahal Trio, Mr. Mahal picked up his gee-tar, mumbled through a countdown and began the evening. The first several songs were traditional blues choices with foot-stomping tempos. Rough and smoky with a smooth finish, like one that has been revealing the oscillations of life for so many seasons; Taj spoke of his sorrows, his sins, and his dirty desires. Moving from his guitar to a keyboard, the theme switched into a band-heavy tune with an exceptional solo session by bassist Bill Rich. Soon after a couple songs on the keyboard, (glossing over these songs is only a byproduct of the author’s unfamiliarity with the artist & slight inebriation; be assured that each tune played was a choice selection from somewhere in his 40-year recording career) Taj then jumped on a banjo and got the crowd’s feet tapping once again. Closing out the evening, the trio played the most anticipated song of the evening for many in attendance, “Lovin’ In My Baby’s Eyes.” If you have a better half, do your relationship a favor & put this song on. Lock eyes and let the song move your feet. Where you end up at the end will exacerbate any previous notion of affection. Leftover Salmon covered with Taj on vocals on their “Nashville Sessions” album & young, drunk lovers gained an anthem.

As an addendum to the venue and musical review above, Taj Mahal’s stage presence is note-worthy. From start to stop, Taj infused his music with his performance and magnified each song’s mood. He used his face as effectively as his hands, carrying the tunes along and representing what his guitar was emoting. Two-stepping across the stage, smiling at girls, slapping his strung partner as if it were playing hard-to-get; each note moved through him from fingers to feet. Truly an entertainer and bluesman par excellence.

Review: Kings of Leon "Only by the Night"

I consider myself a fan of Kings of Leon ... for now. They're not the best band out there. They can't be taken all that seriously. They're fun and they play some decent rock and roll.

But unfortunately I could see this band becoming cringe-worthy if they stay on the path they're on now. They're upset they don't sell out big stadiums in the United States like they do in the UK. The have a song on their new album called "Sex on Fire." Come on, seriously? This band is so close to selling their rock souls.

"Only by the Night" is similar-sounding to their last effort, "Because of the Times." They incorporate some keyboards and other effects. They have backing oohs and aahs. The lead vocals of Caleb Followill are still as strong as previous KOL records, but this album seems to be missing that "we don't give a shit, we just want to rock out" mentality.

Leading up to the release of "Only by the Night," I read the band wrote the songs for the album during crazy drinking binges. Naturally, I imagined the album to be a full-out rocker. In actuality, it's rather laid back. It starts off with a kick: the first three tracks are enjoyable, especially "Crawl."

But then the album takes a mellow turn on tracks 4-9. Lowlights include "17" and "I Want You." (The song titles really suck on this album.) These slower songs aren't terrible, but they're really not all that exciting or fun. And since KOL's forte isn't to write beautiful, moving songs, they should stick with fun. There's nothing on this album that holds a candle to any of the first four tracks of their second album, "Aha Shake Heartbreak."

I'd rate this album as average at best, with slight potential to grow on me. But it's not an encouraging fourth album. KOL needs to stop worrying about becoming as popular in the U.S. as the UK, and get back to their rock roots.