Ok, the initial analogy here is not mine but my wife's (Stacey) and I thought it was apt. She says, all the time, that when she was 12 or so she planned on marrying Adam Duritz from the Countin Crows. Why? He was hot. That was 12 or so years ago and now she says, he's not hot anymore.
There is something especially not hot about a 40 (at least) year old white guy with dreads singing songs about Shrek. The Counting Crows used to be so good, they were a huge band.
Part of the appeal there was the angst inherent in both the Duritz ballad and the Duritz rock song. He was, truly, a whiny twelve year old. To my wife at the time, and I'm sure others, that was hot. It was real emotion for the time which, I'm afraid to say, doesn't really apply anymore. One of the sad parts about the Counting crows is that they just don't seem relevant to me anymore. The emotions themselves are not relevant anymore. The world, in essence, has grown up and the counting crows have not. Back in 1996, if shrek had come out, it would have been rad that the Crows were doing a song for the movie. Now it just seems desperate.
I know, this shrek - CC thing is a long ways away. But the point is the angst of a 12 year old is not commercially appealing, or socially relevant to folks who are no longer close to that age range.
Don't get me wrong; the old counting crows were amazing. But it has occured to me that they haven't had a good song in at least 8 years and nobody cares for the angst anymore. Does that make them only a grunge / alternative band?
Not helping the counting crows is their insistence on performing songs live in an overtly DIFFERENT way. In other words, Duritz and Co. refuse to do the song the way it became famous. Now, it's one thing for Frank Sinatra to mess up the lyrics and timing of a classic, or Bob Dylan, or anybody for that matter. But the Counting Crows should essentially just play the damn song.
In terms of cover songs there is a cover song and then there is a remake. Remakes are bad, covers are good. Covers must retain a certain element of the original, the tempo, the mood, the lyrics. Remakes on the other hand are, in a word, bastardizations of the original. Think Paul Anka doing "Smells Like Teen Spirit". It's one of those situations where you hear, you think you know it, you pay more attention, and then you go..... :(
Dead Pedro
Wednesday, December 12, 2007
Thursday, August 30, 2007
Flight of the Conchords
Ok, first of all this band is actually a comedy duo from New Zealand. They play "folk parody" that ranges from sing songy ballads to faux raps...they rap under fake names (rhymenocerous and the hiphopopotamus). They now have a show on HBO that is kind of a sitcom about them being non-famous in New York. Their manager, Murray, is also from NZ and he runs the band during office hours. Murray works for the NZ consulate in NY.
The songs are really hilarious but not in your typical Adam Sandler esque fake music kind of way. FotC never drop the fourth wall and show you that they are not a real band. They always consider themselves as legit no matter how few people show up at their shows. They are, in a sense, dedicated to being a real band and the songs are always treated as legitimate music. Every so often they'll acknowledge that a certain song might be weird, but that's it.
Part of the appeal to this group is that they are legitimately good musicians and the songs are actually catchy and good. So, the first joke is that they are from NZ, think they're good, they are good, and they sing silly songs in funny voices. But there is more.
A la Monty Python there is a verboseness that will really appeal to those who love to really pay attention for the bigger comedy payoffs. The songs are funny on the surface but it's the language within that really makes these guys hysterical. The songs are, a lot of times, like conversations between two people and the best jokes come when the lyrics extend beyond the song and act more like a line of dialog.
As I mentioned, the show is on HBO. BUT, you can watch it in chunks on youtube. Here's a few of my favorites:
Rhymenocerous
Business Time
Bret You Got it Going On
Check out SAMTASTIC! for more music blogs, though likely not about this.
The songs are really hilarious but not in your typical Adam Sandler esque fake music kind of way. FotC never drop the fourth wall and show you that they are not a real band. They always consider themselves as legit no matter how few people show up at their shows. They are, in a sense, dedicated to being a real band and the songs are always treated as legitimate music. Every so often they'll acknowledge that a certain song might be weird, but that's it.
Part of the appeal to this group is that they are legitimately good musicians and the songs are actually catchy and good. So, the first joke is that they are from NZ, think they're good, they are good, and they sing silly songs in funny voices. But there is more.
A la Monty Python there is a verboseness that will really appeal to those who love to really pay attention for the bigger comedy payoffs. The songs are funny on the surface but it's the language within that really makes these guys hysterical. The songs are, a lot of times, like conversations between two people and the best jokes come when the lyrics extend beyond the song and act more like a line of dialog.
As I mentioned, the show is on HBO. BUT, you can watch it in chunks on youtube. Here's a few of my favorites:
Rhymenocerous
Business Time
Bret You Got it Going On
Check out SAMTASTIC! for more music blogs, though likely not about this.
Monday, August 20, 2007
Dave Matthews Band, Part 2: THE MUSIC
This post will likely be shorter than my last post. I'll have less complaining to do and I might run out of things to say before I get into 'I-just-plain-love-this-band' territory. Let's begin at the beginning.
The Dave Matthews Band consists of five full members (all original). They are: Dave Matthews, Carter Beauford, Boyd Tinsley, Stefan Lessard, and LeRoi Moore. I'll deal with them each in turn.
Dave Matthews is one of the most underrated songwriters of our generation. I say that not only as a huge fan but also as someone who can appreciate a good song in general. I say underrated because this band's albums are never huge commercial successes. I'm not sure how the band chooses the singles but it's impossible to judge the full might of DMB just by their radio singles. That, unfortunately, is what happens in the current market and so this band cannot be rightly judged by the record buying public. No matter, the live shows are what drive this band anyway, not the records. It's in the live shows that they thrive musically. If, as I said, you were to judge this band only by singles you'd miss the impressive range and depth of Matthews' song writing ability. Yes, he writes about drugs, but he also writes about far more important topics in cleverly disguised ways. God is one of his favorite subjects. 'Save Me', one of Dave's "solo" songs, is about a conflict between god and the devil. Sex, too, is a another big topic. "Two Step' is about having sex. Lately though, from Before These Crowded Streets Onward the albums themselves have been getting more political. 'Don't Drink the Water' is about the devastation that humankind has wrought on the earth out of greed. Think about Manhattan Island and what has become of it. It was sold for about $22. That's it, and look what has become of it. Some people love NYC, including Dave Matthews, but you can love that city and still recognize it as a blemish on the face of the earth...compared, at least, to what was once, and could have remained, natural beauty. Consider the Grand Canyon as well...there is a McDonalds there. 'Seek Up', too, is a social commentary that borders on activist anthem. That song literally changed my life. It's about, basically, how when you die you have nothing left because you can't take your stuff, and so a life spent accumulating stuff is wasted. Of course, this is sort of silly coming from a huge rock star, but what makes the music more interesting is the relationship between Dave and his topics. I have a feeling that a lot of things in the life of the singer are on a love-hate basis. Alcohol, politics, everything seems to have a good bad dichotomy. But isn't that how life is? Dave's a great writer...plus he can play the strings off a guitar. However....
You will not find a better drummer than Carter Beauford. He is, without a doubt, the best drummer ever. He can sing, chew gum, smile, and still play the drums. He's got the most drums of any set I've ever seen and they all get used. His solos are incredible, varied, eclectic, and clever. There is a sense of playfulness that accompanies every solo. His drumming is always present but never bogs down, blemishes, or ruins a track. Essentially, every DMB song is four instruments and singing over Beauford's playing. He can do so much while the normal song is going on, and he changes everything up so much, that it's almost as if everything were designed around him and every minute of every song is a solo for him. The best songs happen when Carter is free to do his thing.
Boyd Tinsley, at first glance, is a very odd edition to this band. First off, a violin? I remember thinking, when I was young, what kind of band has a violin in it? But then I realized, that these songs really did need a violin to sound right. It's the perfect instrument to compliment Moore's wind instruments. If you want to see a kick ass violin solo, go to a DMB show. Boyd dresses like a model, in designer jeans and cut-off shirts, and dances around the stage playing the violin and it's just a sight that will make you happy. Boyd, in my mind, can do no wrong.
Stefan Lessard is a natural on the bass. His riffs are, sadly, not noticed very often by the casual listener. He's known mostly for the opening of 'Crush', but every other song bears his mark as well. Stefan, like the rest of the band, likes to change up the licks during live shows but he is the master out of the band. Just one little note can make all the difference and Lessard is genius when it comes to making little changes for big effects.
LeRoi Moore is the "quiet one". He almost never speaks and occasionally sings during live shows...backing vocals of course. His 'trademark' squeaks from his collection of woodwinds separate him from every other rock-winds player. Moore, more than any other band member, has a distinctive sound that is easily distinguishable before the others. His tunes flow beautifully in smooth hills and valleys and usually culminate in a few blaring, screechy, high notes that the casual listener would deem "mistakes". No, he meant to do that, and that's why he's the greatest.
And now to the music in general. First the songs and then the performances. DMB, more than any other band ever, requires a sense of history to fully appreciate. Matthews' lyrics are often cryptic, self-referential, and prescient. So, in order to full understand what's going on, you'd need to have known what just happened. There's essentially no coming in "in the middle of the show". Fans whose first exposure to the band was Crash, Everyday, or even Busted Stuff have missed quite a bit already. For instance, 'Halloween' was on an album before Before These Crowded Streets. 'Everyday' is based on '#36'. Many of the songs from Busted Stuff were remakes of the ill-fated "Lillywhite Sessions", a cancelled album made with longtime producer Steve Lillywhite that has a long story behind it (essentially, the band members got to 'a really dark place' and nearly split up, Dave wrote the entire Everyday album with producer Glen Ballard without the rest of the band (many people hate Glen Ballard for this) but in the end the mass-produced sound of Everyday reminded the band of where they came from and resulted in some really strong albums since.) Also, live shows require a knowledge of the stories behind the songs in order to fully appreciate. Recently, at Live Earth, DMB played 'Don't Drink the Water'. How many people there fully understand the significance of that song (which I mentioned before). They also played that song at a live show in Central Park. Also, the live shows today are different than 10 years ago or even last year. Show historians can listen to a show and tell the era because Dave will be playing a certain riff that doesn't happen any more, the band will perform a certain type of interlude, or certain songs will run into each other (something that doesn't happen anymore). Also, if a show ends with the "Watchtower", chances are it's from before 2002...and these same people will probably bemoan the recent edition of "WOOOO" in between guitar riffs during live performances of "Warehouse". That really bothers me and it's something that has gained popularity only after the Live at Folsom Field release. Oh, well.
All in all, the music is organic but evolving. Something that I think all bands would do well to copy. Oh, and they play a different set every night, so it's worth seeing the show twice in a row.
Taht's all for now. Check out my compatriot Samtastic!
The Dave Matthews Band consists of five full members (all original). They are: Dave Matthews, Carter Beauford, Boyd Tinsley, Stefan Lessard, and LeRoi Moore. I'll deal with them each in turn.
Dave Matthews is one of the most underrated songwriters of our generation. I say that not only as a huge fan but also as someone who can appreciate a good song in general. I say underrated because this band's albums are never huge commercial successes. I'm not sure how the band chooses the singles but it's impossible to judge the full might of DMB just by their radio singles. That, unfortunately, is what happens in the current market and so this band cannot be rightly judged by the record buying public. No matter, the live shows are what drive this band anyway, not the records. It's in the live shows that they thrive musically. If, as I said, you were to judge this band only by singles you'd miss the impressive range and depth of Matthews' song writing ability. Yes, he writes about drugs, but he also writes about far more important topics in cleverly disguised ways. God is one of his favorite subjects. 'Save Me', one of Dave's "solo" songs, is about a conflict between god and the devil. Sex, too, is a another big topic. "Two Step' is about having sex. Lately though, from Before These Crowded Streets Onward the albums themselves have been getting more political. 'Don't Drink the Water' is about the devastation that humankind has wrought on the earth out of greed. Think about Manhattan Island and what has become of it. It was sold for about $22. That's it, and look what has become of it. Some people love NYC, including Dave Matthews, but you can love that city and still recognize it as a blemish on the face of the earth...compared, at least, to what was once, and could have remained, natural beauty. Consider the Grand Canyon as well...there is a McDonalds there. 'Seek Up', too, is a social commentary that borders on activist anthem. That song literally changed my life. It's about, basically, how when you die you have nothing left because you can't take your stuff, and so a life spent accumulating stuff is wasted. Of course, this is sort of silly coming from a huge rock star, but what makes the music more interesting is the relationship between Dave and his topics. I have a feeling that a lot of things in the life of the singer are on a love-hate basis. Alcohol, politics, everything seems to have a good bad dichotomy. But isn't that how life is? Dave's a great writer...plus he can play the strings off a guitar. However....
You will not find a better drummer than Carter Beauford. He is, without a doubt, the best drummer ever. He can sing, chew gum, smile, and still play the drums. He's got the most drums of any set I've ever seen and they all get used. His solos are incredible, varied, eclectic, and clever. There is a sense of playfulness that accompanies every solo. His drumming is always present but never bogs down, blemishes, or ruins a track. Essentially, every DMB song is four instruments and singing over Beauford's playing. He can do so much while the normal song is going on, and he changes everything up so much, that it's almost as if everything were designed around him and every minute of every song is a solo for him. The best songs happen when Carter is free to do his thing.
Boyd Tinsley, at first glance, is a very odd edition to this band. First off, a violin? I remember thinking, when I was young, what kind of band has a violin in it? But then I realized, that these songs really did need a violin to sound right. It's the perfect instrument to compliment Moore's wind instruments. If you want to see a kick ass violin solo, go to a DMB show. Boyd dresses like a model, in designer jeans and cut-off shirts, and dances around the stage playing the violin and it's just a sight that will make you happy. Boyd, in my mind, can do no wrong.
Stefan Lessard is a natural on the bass. His riffs are, sadly, not noticed very often by the casual listener. He's known mostly for the opening of 'Crush', but every other song bears his mark as well. Stefan, like the rest of the band, likes to change up the licks during live shows but he is the master out of the band. Just one little note can make all the difference and Lessard is genius when it comes to making little changes for big effects.
LeRoi Moore is the "quiet one". He almost never speaks and occasionally sings during live shows...backing vocals of course. His 'trademark' squeaks from his collection of woodwinds separate him from every other rock-winds player. Moore, more than any other band member, has a distinctive sound that is easily distinguishable before the others. His tunes flow beautifully in smooth hills and valleys and usually culminate in a few blaring, screechy, high notes that the casual listener would deem "mistakes". No, he meant to do that, and that's why he's the greatest.
And now to the music in general. First the songs and then the performances. DMB, more than any other band ever, requires a sense of history to fully appreciate. Matthews' lyrics are often cryptic, self-referential, and prescient. So, in order to full understand what's going on, you'd need to have known what just happened. There's essentially no coming in "in the middle of the show". Fans whose first exposure to the band was Crash, Everyday, or even Busted Stuff have missed quite a bit already. For instance, 'Halloween' was on an album before Before These Crowded Streets. 'Everyday' is based on '#36'. Many of the songs from Busted Stuff were remakes of the ill-fated "Lillywhite Sessions", a cancelled album made with longtime producer Steve Lillywhite that has a long story behind it (essentially, the band members got to 'a really dark place' and nearly split up, Dave wrote the entire Everyday album with producer Glen Ballard without the rest of the band (many people hate Glen Ballard for this) but in the end the mass-produced sound of Everyday reminded the band of where they came from and resulted in some really strong albums since.) Also, live shows require a knowledge of the stories behind the songs in order to fully appreciate. Recently, at Live Earth, DMB played 'Don't Drink the Water'. How many people there fully understand the significance of that song (which I mentioned before). They also played that song at a live show in Central Park. Also, the live shows today are different than 10 years ago or even last year. Show historians can listen to a show and tell the era because Dave will be playing a certain riff that doesn't happen any more, the band will perform a certain type of interlude, or certain songs will run into each other (something that doesn't happen anymore). Also, if a show ends with the "Watchtower", chances are it's from before 2002...and these same people will probably bemoan the recent edition of "WOOOO" in between guitar riffs during live performances of "Warehouse". That really bothers me and it's something that has gained popularity only after the Live at Folsom Field release. Oh, well.
All in all, the music is organic but evolving. Something that I think all bands would do well to copy. Oh, and they play a different set every night, so it's worth seeing the show twice in a row.
Taht's all for now. Check out my compatriot Samtastic!
Friday, August 10, 2007
Dave Matthews Band, Part 1: THE SCENE
I've just recently been to two DMB shows in a row, 8/7 and 8/8 in Camden, and so it seems reasonable to start with this band and this piece of youth culture. Also, my gripes and praises are fresh and so this is the best time, for the sake of clarity, to write about these topics. I'll first post about the "scene" that surrounds this band and it's shows as it may be mostly negative and then post about the music and live performance separately; you know, to end on a high note.
Gosh, going to a DMB show, for me, is like opening a wound that has long since scarred over. Going to one of their shows brings to the surface all the problems I have with going to their shows. I love going to their shows but the whole scene there really distracts and DEtracts from the music and the goodness of it all. Essentially there are two types of people that show up at a DMB show: high school kids that are just there to get their rocks off and old ex-quasi hippies who are attempting to stay young.
The young kids are there for no other reason than to get high, drunk, or both. They know one thing about the Dave Matthews Band and that is this; 'Dave's music is great to get stoned to'. I could rant all day about this kids, but I'll limit myself (hopefully). The above statement is a microcosm of what's wrong with young kids going to these shows. First off they refer to the entire band as "Dave". Granted, the band is named after Dave Matthews, but the band is much more than Dave and he is not even the most talented musician on the stage. He's great, but for some folks to refer to the entire band as Dave really diminishes their talent and it's disrespectful. Second, they clearly are thinking more about getting stoned than the set list or who's going to sit in with them tonight, which un-discovered talent is opening up, or what unrecorded songs the band will play tonight. The young kids don't care that Carter Beauford is the best drummer there is. That he can smile, chew gum, and sing funny high pitched backing vocals meant for a woman while being the best drummer on the planet. They don't know give a damn about the significance of 'Seek Up' or that 'Everyday' and '#36" have the same music but they aren't the same song, and it's "Hani" not "Honey". Look, if you are just there to get drunk and party then you might as well not be there and the reason is this (this goes for any concert really): your antics ruin the show for those of us who care.
During two shows I saw three people throw up. One guy almost urinate on a pregnant lady and get beat up by her husband. Two young kids buy pot and not know how to smoke it. A kid get hauled away for fighting and more people getting it on than I'd like to admit. It's sickening and I think it says a lot about the youth of America today. Not only are they self-centered, somewhat depraved, and greedy, but they can't even shut up and behave long enough to watch a great show. DMB is one of the best live performances there is and if that doesn't grab your attention, then there is something the matter. I feel bad about it and I wish there was something I can do; but at the same time, it's probably a pipe dream of mine that young people would go to a concert to enjoy it and not spend their time doing other stuff while the show is going on. It's just inconsiderate that's all.
Almost as bad as the really much-to-young-to-be-on-their-own concert goers are the pseudo hippies that show up. These folks are in the age range of 25-33 and usually have a tattoo of a fire dancer (DMB quasi-logo) or something similar. A lot of times it's just barbed wire. These folks are also there to get stoned/drunk, but the men of this group usually have the added noble intention of picking up the females of the above mentioned demo. The muscle-bound men and their tarted up girlfriends do nothing to further the experience. They dance erratically, shout conversations, and generally try and act young. It's pretty annoying to have to hear about how someone just "smoked three bowls" but still has to go to work in the morning.
These older concert goers have a lot in common with the above mentioned youngsters but this is the primary similarity: both are trying to be a part of a scene that typifies the Dave Matthews Band, but the scene that they are imitating no longer exists.
The greatest fans of DMB no longer attend shows and it's plain to see why. They can't bear to be around the type of people I have described. Now, I have been a fan of this band for 15 years; I bought their albums with money I got from my allowance or birthday money when I was still in grade school. It makes me really sad that the community that used to enjoy this band so much, and attend their shows, is essentially lost. The young kids and the aging scene-stealers are attempting to be the laid back fan that smokes pot and loves the music but they can't. Ten years ago the shows were completely different. There was a definite sense of community. Fans would talk about the band, share stories, and laugh about things during the show. But it never interrupted anybody's good time. The audience members were never EVER inconsiderate and they all knew every song. These new comers bring something different. They bring an aggression that was not there before and they bring a selfishness that makes me sad. I've never been stepped on or had my drink spilled at a DMB concert before this week. I've never felt more separate from the show then I did this week and it makes me sad.
The band, for their part, don't do much to control their image; not that they should. Granted, a lot of their songs are about drugs, drinking, and sex but that's not an open invitation to partake of those things in a large crowd. The song lyrics are a narrative of Dave Matthews' life and they tell a great story. However, I'm not sure how far Dave goes, or should go, to let people know how much he's reflected on those past experiences. Would he tell these young kids to now do drugs, to not drink? I'm not sure. I love this band and I love their music but I'm afraid that 8/8/07 in Camden, NJ may have been my last show from DMB. I've now got to come to grips with my new found separation from a band that has been a literal part of my life for so long.
Sorry for the long post.
Gosh, going to a DMB show, for me, is like opening a wound that has long since scarred over. Going to one of their shows brings to the surface all the problems I have with going to their shows. I love going to their shows but the whole scene there really distracts and DEtracts from the music and the goodness of it all. Essentially there are two types of people that show up at a DMB show: high school kids that are just there to get their rocks off and old ex-quasi hippies who are attempting to stay young.
The young kids are there for no other reason than to get high, drunk, or both. They know one thing about the Dave Matthews Band and that is this; 'Dave's music is great to get stoned to'. I could rant all day about this kids, but I'll limit myself (hopefully). The above statement is a microcosm of what's wrong with young kids going to these shows. First off they refer to the entire band as "Dave". Granted, the band is named after Dave Matthews, but the band is much more than Dave and he is not even the most talented musician on the stage. He's great, but for some folks to refer to the entire band as Dave really diminishes their talent and it's disrespectful. Second, they clearly are thinking more about getting stoned than the set list or who's going to sit in with them tonight, which un-discovered talent is opening up, or what unrecorded songs the band will play tonight. The young kids don't care that Carter Beauford is the best drummer there is. That he can smile, chew gum, and sing funny high pitched backing vocals meant for a woman while being the best drummer on the planet. They don't know give a damn about the significance of 'Seek Up' or that 'Everyday' and '#36" have the same music but they aren't the same song, and it's "Hani" not "Honey". Look, if you are just there to get drunk and party then you might as well not be there and the reason is this (this goes for any concert really): your antics ruin the show for those of us who care.
During two shows I saw three people throw up. One guy almost urinate on a pregnant lady and get beat up by her husband. Two young kids buy pot and not know how to smoke it. A kid get hauled away for fighting and more people getting it on than I'd like to admit. It's sickening and I think it says a lot about the youth of America today. Not only are they self-centered, somewhat depraved, and greedy, but they can't even shut up and behave long enough to watch a great show. DMB is one of the best live performances there is and if that doesn't grab your attention, then there is something the matter. I feel bad about it and I wish there was something I can do; but at the same time, it's probably a pipe dream of mine that young people would go to a concert to enjoy it and not spend their time doing other stuff while the show is going on. It's just inconsiderate that's all.
Almost as bad as the really much-to-young-to-be-on-their-own concert goers are the pseudo hippies that show up. These folks are in the age range of 25-33 and usually have a tattoo of a fire dancer (DMB quasi-logo) or something similar. A lot of times it's just barbed wire. These folks are also there to get stoned/drunk, but the men of this group usually have the added noble intention of picking up the females of the above mentioned demo. The muscle-bound men and their tarted up girlfriends do nothing to further the experience. They dance erratically, shout conversations, and generally try and act young. It's pretty annoying to have to hear about how someone just "smoked three bowls" but still has to go to work in the morning.
These older concert goers have a lot in common with the above mentioned youngsters but this is the primary similarity: both are trying to be a part of a scene that typifies the Dave Matthews Band, but the scene that they are imitating no longer exists.
The greatest fans of DMB no longer attend shows and it's plain to see why. They can't bear to be around the type of people I have described. Now, I have been a fan of this band for 15 years; I bought their albums with money I got from my allowance or birthday money when I was still in grade school. It makes me really sad that the community that used to enjoy this band so much, and attend their shows, is essentially lost. The young kids and the aging scene-stealers are attempting to be the laid back fan that smokes pot and loves the music but they can't. Ten years ago the shows were completely different. There was a definite sense of community. Fans would talk about the band, share stories, and laugh about things during the show. But it never interrupted anybody's good time. The audience members were never EVER inconsiderate and they all knew every song. These new comers bring something different. They bring an aggression that was not there before and they bring a selfishness that makes me sad. I've never been stepped on or had my drink spilled at a DMB concert before this week. I've never felt more separate from the show then I did this week and it makes me sad.
The band, for their part, don't do much to control their image; not that they should. Granted, a lot of their songs are about drugs, drinking, and sex but that's not an open invitation to partake of those things in a large crowd. The song lyrics are a narrative of Dave Matthews' life and they tell a great story. However, I'm not sure how far Dave goes, or should go, to let people know how much he's reflected on those past experiences. Would he tell these young kids to now do drugs, to not drink? I'm not sure. I love this band and I love their music but I'm afraid that 8/8/07 in Camden, NJ may have been my last show from DMB. I've now got to come to grips with my new found separation from a band that has been a literal part of my life for so long.
Sorry for the long post.
A Fresh Start
This is the first of hopefully many posts. I've been meaning to start a blog about something but couldn't decide what. So, a friend, colleague, and sister of mine, Samstastic!, wanted to do sort of a weekly point - counterpoint thing with me on music. Thus, I now have a blog. We'll be posting our own things in the meantime, but when she decides what the week will be about, I'll put something up.
I'm envisioning this to go beyond music to popular culture. If it doesn't, I'll amend the title. How can you review music and not popular culture at the same time? They are, after all, connected beyond mere association.
By the way, Dead Pedro is not meant to be an offensive name. It has nothing to do with killing, wanting to kill, or maiming anybody. Nor is it directed at any one particular ethnic group. It's merely an inside joke with myself a few of my family members. So, let's begin...
I'm envisioning this to go beyond music to popular culture. If it doesn't, I'll amend the title. How can you review music and not popular culture at the same time? They are, after all, connected beyond mere association.
By the way, Dead Pedro is not meant to be an offensive name. It has nothing to do with killing, wanting to kill, or maiming anybody. Nor is it directed at any one particular ethnic group. It's merely an inside joke with myself a few of my family members. So, let's begin...
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