injecting a little positivty to the board with the negative of the negative thread.

i'll go ahead and get goat out of the way for everyone.

and say that when i saw the ex blow fugazi off the stage they cemented a place in my heart forever. fugazi was at that time my very favorite band. i've told this story a million times before, i don't need to tell it again.

that damned fly wrote:i'll go ahead and get goat out of the way for everyone.

I'll get Liar then, kthxbye.


I also love the fact that Ted Leo is a fan of the Eurovision Song Contest.

Albert Collins.

Texas blues guitar player of the Stevie Ray Vaughn type. I think he actually predated SRV, but that sort of a thing.

I have like zero interest in this kind of music, but I had occasion to see Mr Collins live in a small bar in the early 90's and it was one of the best shows I have ever seen in my life. I can't even put my finger on what specifically it was about the evening except to say that for that hour or so it was clear that this was the real deal.

It made me understand why people could enjoy stuff like this. I bought a couple Albert Collins CD's and don't really listen to them anymore, and I still have no interest in blues/rock in general.

But that night, live in a small venue and at his best Albert Collins was really something else. If anyone ever asks I will not hesitate to describe the man as truly great.

Watching the premiere of We Jam Econo in San Pedro, at the Warner Grand Theatre, with a sell-out crowd.

Made me like the Minutemen even more.

"Hi were Brainiac, from Dayton Ohio"

"this first song is called Ride, RAHHHHHHHHHHHHOOOOOOWWWWWW"

This is what it looks like when DFTR throws his credibility into the fireplace:

I went to the Fox in Atlanta to see Liz Phair open for Alanis Morrissette. This was early enough in the Arc of Suck that Phair's career was still being warmed by its proximity to the Sun that was "Exile in Guyville."

Holy shit, that was the worst live show I've ever paid to get into. I mean, just awful. The band stood there like they needed to be blindfolded and offered a last cigarette. Liz Phair was apparently distracted from her performance because she was being forced to choose between death by drowning and death by fire.... for a puppy.

I looked at my watch after the perfunctory 35 minute set, and I said to my date "Well, we've got some serious money invested in these seats. Let's hold onto them long enough to hate Alanis in detail."

Ladies and gentlemen of the PRF, I hate to admit it... but Alanis Morrissette blew me away. I don't much care for her songs, and find most of the attendant non-performance posturing of that era of her career to be annoyingly "I can't wait to get back to my dorm room and write about this in my journal" -ish...

But her live performance was so committed and powerful that (what? fifteen years later?) I am willing to post this on THIS PARTICULAR forum: I had a fucking blast watching Alanis Morrissette play the Fox Theater in Atlanta. When I say "committed," I mean that there wasn't the slightest fragment of ironic detachment or any of that "I'd care if I wasn't worried I might look silly to the kids in the smoking area" cowardice.

What I saw Alanis deliver that night was a performance with Mike Watt levels of sincerity and intensity, just not truck driver/longshoreman flavored, as is a lot of what we PRFers go for.

Do I think she's a great songwriter? Well, I don't own any of her records.

Would I pay to see that show again? In a flat second.



Well. I suppose I am in for quite a beating, but I am up for it....

















isn't it ironic?

projectMalamute wrote:Albert Collins.

Absolutely.

I've seen Buddy Guy in a similar situation, and he was batshit.

dontfeartheringo wrote:This is what it looks like when DFTR throws his credibility into the fireplace...

i'll still listen to your drum advice, but not much of your anything else advice.

dontfeartheringo wrote:isn't it ironic?

quite an understatement, but yes.

don't worry, we still love ya...

and for mine:

Flipper. When I listened to "Sex Bomb" for the first time, my jaw fell open and I started laughing. I truly COULD NOT BELIEVE what I was hearing - an unbelievably sloppy, brilliant bass riff that was distorted into next week, that distinctively heavy, nearly oblivious Flipper drumming, barely audible guitar, Will Shatter's drunken, half-retarded-sounding screaming, and high school saxophone histrionics that would get you expelled from Band if you tried to emulate them. I had never heard anything like this - what the hell were they trying to do? I just did not understand... And then I got that this, in fact, was what they were trying to do, and I was shocked and awed. This was "Louie Louie" and "Wild Thing" put together with an E-Z Chem-O-Kit and C-4 in the hull of the Exxon Valdez and blown into next century. Then I got Generic. Mind = blown.

Y'know...I kinda always thought Dream Syndicate were a competent but not that interesting 80's college radio VU-flavored bar band.

Then I'd started reading George Pelacano's novels and thought...huh, George Pelecanos really likes Steve Wynn, maybe something to it, I dunno...

Of course, it took seeing Steve Wynn live some five years with the Miracle 3 to make me appreciate what an underrated songwriter and guitarist he is. The Miracle 3 is a great band ans Static Transmission is a very good album.

So there.