Pros and Cons of the Festival World
Mentioning how R.E.M. headlined Langerado a few months ago got me thinking about festivals. First of all I would have loved to have been there to see them (of course), but I have tickets to catch them here in June. Naturally, I am really looking forward to it. Modest Mouse is opening, which makes it even better. Anyway, about those festivals…
First of all, I love live music, and I go to as many concerts as I can. This hobby does depend on available money and time, however, so it is impossible to catch everything I want to. A good solution to this problem is to attend festivals. Festivals are not only relatively cheap compared to purchasing a single ticket for a band, but also a chance to more than one of your favorite bands. Depending on how many stages are at the festival, one could feasible catch back to back concerts for a full day or more. With fewer stages, wait time between shows could be an hour tops. In all, the set up is not too bad.
For five years in a row I went to Music Midtown Festival in downtown Atlanta. This was from freshman year of high school in 2001 to Freshman year in college in 2005. The only reason I stopped going was because the festival was no more. Throughout all the years I was able to catch some great shows: Tom Petty, Foo Fighters, Counting Crows, Steve Winwood, Crosby Stills and Nash, Joe Cocker, Buddy Guy, War, Jethro Tull, Cheap Trick, Blue Oyster Cult, Bush (when I listened to that…), Stone Temple Pilots, The Offspring, The Edgar Winter Group, etc.. For a three day pass to the festival tickets were generally between $45 and $75. For my Petty tickets this summer, I spent $55. Not too bad of a price, but my point is the whole Music Midtown weekend was about the same price. That’s pretty cool.
After Midtown ended, I decided to try another festival: Bonnaroo. Unlike Midtown, Bonnaroo is a camping festival (as I sure everyone knows) and that made things a bit different. But I liked the camping part. Although my friends and I had a bit of a walk, everything went pretty well. We had our own place to go back to, we could pack or own food, etc. and we got the chance to meet new people who were close by in our camp site. Like Midtown tickets were relatively inexpensive at about $180. They were more than Midtown, but the level of bands was much higher, and there more of them. In the years I went (2006, 2007), I got to see The Police, Radiohead, Beck, Tom Petty, John Paul Jones, The Roots, Bob Weir, Ben Folds, Ben Harper, moe., Oysterhead, Mike Doughty, etc. Among them were some of my favorite shows (Ben Folds was my favorite of the two years combined) and I had some pretty good times.
There are some cons to the whole festival atmosphere though. First, it’s hot all the time. Much of the space at Midtown and Bonnaroo is in the blistering sun. At Bonnaroo, the campround had no shade. No shade means that there is no more sleeping in your tent past about 7:00 AM because it is literally like 100 degrees in there. Music doesn’t start until after noon, so you have nothing to do until you that time. I mean you can’t sleep.
Also, as a musician I like to be as close as possible to watch the band. That is also just part of human nature, too. Either way, to get up front means that you have to get their early and wait through several of the bands before that band. As people leave, you can slowly make your way up to the front. This also becomes a weighing thing too, becuase if you do wait long periods to watch a band, you may end up missing other good bands on other stages. At Midtown I once waited six hours in the same spot, on my feet to watch the Foo Fighters. At Bonnaroo, I waited under the same conditions for Tom Petty. This was not uncommon at either festival. Also, crowds are so tight up towards the front are always so crowded and hot. It was once so compact at Midtown that I was able to take the weight totally off my feet and still stand. Of course, wanting to stand up close is totally voluntary and that is just the price one pays to be so close. Some call it dedication, some call it stupidity. Whatever it is, the crowd thing is not the festivals fault but just a whole bunch of people wanting to get really close.
While festivals are good, there are some other things that I don’t like about them. First, I have always enjoyed the feeling of an intimate venue. I often purposefully avoid large arena concerts because I love smaller venues so much. Shows with one band also have the benefit of having a like minded crowd. All the people are there to see the same band. There is probably much more in common in a crowd at a single show than in a festival, and that is part of what makes that experience so cool. The venues are also alot cleaner and the shows are less work to attend. At a small, closed venue you can walk in, sit down and watch the show. At a festival you have to plan for a whole day or weekend. You also don’t walk away dirty, which is always nice. Also, the most important, and possibly underrated things about a venue show is that they are mostly at night. To me, concerts only feel right at night for some reason. Perhaps becuase that is just the nature of Rock and Roll.
These days, there are not too many festivals that I would want to go to. Although I love the music, I find more pros in attending small venue shows. I may go to Echo Project this year though. That one is in October, its camping on the Chattahoochee, and its just 40 minutes or so from my house. Definitely worth a try.
Let me know what you think about festivals!
R.E.M.: Almost 30 Years Old and Still Relevant
I have yet to figure out how some bands last for a lifetime. The fact that some not only continue to make music together, but also still enjoy doing it is hard to understand. R.E.M. is one of these bands. Almost 30 years together and 14 albums later, R.E.M. is still going strong. Not only are they still around, but they are still relevant and seemingly on top of the world. They had a recent headlining appearance at Florida’s Langerado Festival, they are about to start a small U.S. tour this summer, and their new album Accelerate has garnished the band some of its best reviews in years. Who would have thought that this small Athens band would not only make it, but would have lasted this long?
R.E.M. began in Athens, GA in 1980. They released their first single “Radio Free Europe” in 1981 for a small independent label called Hib-Tone. In 1982 they signed I.R.S. Records, the label with which they would remain until they reached mainstream success with “The One I Love” in 1987. In the time they were “underground,” they were easily one of the most important bands in the country –at least in hindsight. Audiences may not have known it then, but R.E.M. was at the forefront of alternative music. They were not only at the forefront of it, though, they pretty much created it. They bridged the gap between the punk rock of the late 70s and the pop of the early 80s and molded it into a sound all their own. It is easy to look back and see what they were doing then and recognize trends that they helped shape, although audiences might not have known it at the time. All the right bands were listening to R.E.M. and so they started something big.
Throughout their career R.E.M. has always sounded like them. Michael Stipe’s voice and lyric style, Peter Bucks guitar work which was equal parts the Smiths and the Byrds, Mike Mill’s melodic bass and trademark back up vocals, and Bill Berry’s unique, often propulsive drumming molded perfectly together to sound like no one else. Over the years their sound has matured and changed, but for the most part nothing has changed. Bill Berry left in 97 but the split was amicable and he still remains close to the band and even collaborates with them at times. in the end, “Radio Free Europe” sounds nothing like “All the way to Reno,” and that is the most remarkable thing. They have never pigeonholed themselves and have always done things on their own terms. They may have had a miss with Around the Sun, but that’s okay. They pulled it off again with Accelerate.
The first song I remember hearing from R.E.M. was “Man on the Moon” and I have loved their music ever since. I have recently begun to get back into them, and more than ever. In recent history I have never been more excited than to hear “Supernatural Superserious” played on the radio. Not only was I reminded that R.E.M. is still relevant, I was reminded that the radio can play some good music every now and then. Somehow R.E.M. has stayed relevant and important almost 30 years after they came together. Heres to one of the best bands in world. Probably the best if you get right down to it…
Top 11 Albums for an Extended Stay in/on ____.
The idea of top ten lists has always intrigued me. Just knowing the “best of the best” holds a kind of aura or power. I mean when one knows the best they know the best, and who doesn’t want to know that? Let someone else do all the thinking. In reaitly, though, the whole thing is subjective. Who is say really what is better than something else? Perhaps a group or person well educated on a subject can make such claims and get pretty close to the actual bests. Who knows. Most of the list are still simply opinion. Anyway, when done by a group or panel, it may be a little easy to pick such coveted lists. On ones own, however, it is a totally different story.
For me, today’s list is more a list of favorites than “bests.”– music is so subjective and as much as I like music, there is no way that I know every album ever. So, I am going to try my hand at making a list of my top favorite albums. These lists often come in the form of desert islands lists and almost always limited to 10. I thought, why does it have to be a desert island? And why does it have to be ten, after all? Does everyone (let alone anyone) get stranded on desert island? Do they happen to just have 10 albums? I didn’t think so either. So lets get stranded anywhere we want and have 11 albums instead of ten. Plan? Great.
Top 11 albums with a little explanation:
11. Document- R.E.M.
Simply put, this is an awesome album. By the time this came out, the band had already well established their sound. Not only did they (pretty much) invent alternative music, they continued to define and redefine it. The album is excellent start to finish and has such a variety. Every song sounds like them, though, and that is the great part. Not surprisingly this is their last album before their move to a major label. Favorite tracks: “Exhuming McCarthy” and “King of Birds.”
10. Vs.- Pearl Jam
Every time Pearl Jam plays a live show, they play like its the last they are ever going to play. To me, this is that same idea but translated to an album. Although not as popular as their first album, I think the variety of material is excellent and their growth as a band is phenomenal. Favorites: “Animal” and “Leash.” P.S. “Leash” alone could make this top ten list.
9. War- U2
If all you have heard from U2 is The Joshua Tree than you are missing a whole other side of them. Basically, this is post-punk meets new-wave dance beats. Favorites: “Two Hearts Beat as One” and “40.” (See my last blog for more on this album)
8. Grateful Dead (Skull and Roses)- Grateful Dead
It took me a little while to get into the Dead. They were a kind of acquired taste for me I guess you could say. After hearing a couple things that I liked from this album, I got it. Soon after, I became obsessed with it. The roots, country sound is central to this period in music, and as evidenced by this album, no one did it better. From the opening of “Bertha” to the closing of “Not Fade Away/Going Down the Road Feeling Bad” the album is excellent. Favorites: “Not Fade Away/Going Down the Road Feeling Bad” and “Playing in the Band.”
6. Graceland- Paul Simon
I love this album because I have never heard anything else that sounds quite like it. Paul Simon was good before this album, but the fact that he could pull off something like this is just remarkable. It is a combination of African Music, Zydeco, roots music, and pop. Somehow it works. Favorites: “Homeless” and Diamonds on the Souls of Her Shoes.”
5. Billy Breathes- Phish
Phish has always been know more for their sound than their songwriting, and this album is certainly evidence of that. This is not to say that their lyrics aren’t important or interesting, because they are, but its just that the music almost overshadows them. The album combines all of their strong points: a good sense melody, psychedelic tendencies, a small (often forgotten) folk side, and even some of their more notable uses of Latin inflected grooves. Favorites: “Taste” and “Prince Caspian.”
4. The Band- The Band
I’ve tried really hard to stop listening to this album all of the time, but I can’t. I love how The Band always feels like an ensemble more than just “one guy and his band” kind of feel. If there are solos they only take up a couple measures and never seem to be the center of the music. There is, in fact, only one guitar solo on the whole album. Their country, rock, folk, R&B sound is always paired with the lyrics that would put almost anyone else’s to shame. There are always a few lines that will get some laughs as well. Favorites: “Across the Great Divide” and “Rag Momma Rag.”
3. Darkside of the Moon- Pink Floyd
What I like about this album is that runs together like a full work, kind of like a symphony. As far as compositions go I would say it is one of the best of all time –even ranking up there with some of those symphonies. Its sounds cliche to say it, but there has never and will never be anything that sounds like it. In addition to the ground breaking music, It also touches on major themes of carpe diem, war, money, and the mind without ever sounding over done. Favorites “Breathe” and “Us and Them.”
2. London Calling- The Clash
If they were “the only band that matters,” than this album could be “the only album that matters.” “Train in Vain” was the first song that I got into on the album and that is why I had to buy the album. After buying the album, what held me was the horns. How did the Clash come up with this? A mixture of punk rock, roots rock, reggae, jazz, pop, and R&B mixed with touches of a full horn section. (The horns are not on all the tracks, though.) All throughout high school this was the album that I most listened to. I am just starting to revisit them. It wasn’t that I didn’t like them anymore, but it is just that I listened to London Calling probably more than humanly possible. Now, after a couple year hiatus, I am back and more into them than ever. Clearly, withdrawal is not working. Clearly. Favorites: “Rudie Can’t Fail” and “Wrong ‘Em Boyo.”
1. John Barleycorn Must Die- Traffic
At only 6 tracks long, this is my favorite album. Kind of like Darkside of the Moon, this whole album runs together perfectly, and to great effect. Every measure, every sound, every note counts. There is a sense of urgency that runs through the entire piece. I got this record (on record, actually…) in Atlanta at a place called Wax and Facts. I brought it home and put it on immediately. Within the first few seconds on “Glad” I was hooked and have been ever since. The organ, the piano, the loose percussion, the strange sounds, not to mention Steve Winwood’s voice. I can listen to this album anytime and any place (certainly a desert island). I had seen Steve Winwood play live before when I had no idea who he was. Like the album, I had never heard anything quite like it. I was not surprised to learn when I looked on the sleeve to John Barleycorn that many of the songs were played the night I saw the show.
Obviously, if someone told me that I was only allowed to own 11 albums, no more and no less, (kind of like in Speed when the bus couldn’t go below 55 mph, except it would be an amount imposed on the number of cds I could own) I would own these 11 albums. More than just desert island albums now, aren’t they?
War vs. The Joshua Tree: Getting into old U2
To finish up on my last post, I wanted to talk about U2’s War album in relation to their The Joshua Tree. I must admit that I have never understood how “getting into music” really works. I guess its often just a case of liking something or not liking it. Really, there is not much explanation needed past that. In over thinking things, however, I like to find out just why that is. It could be that just hearing a certain artist or album so often “forces” us to kind of acquire a taste for it. Beginning to like something can happen either willingly or unwillingly, and in fact, just hearing artists, albums, or styles often can help us gain an affinity for something without even realizing it. There are an endless amount of possibilities as to why we like certain music, and any one of them could have happened to any music fan. Am I over thinking things? Probably. So I should just probably move on and just assume that people either like something or do not, but there is always room to go between the two…
In the case of U2’s music, I have always like The Joshua Tree. Although the album has a completely original sound, it is has always seemed very accessible to me. The open, ambient, well-textured music was just something that drew me in. Like anyone who gets really into an band, I sought out more U2 albums to add to this disk, creating a kind of “collection” if you will. After doing a little research I decided to go with War. I had heard good things about the album, and especially after hearing songs like “Sunday Bloody Sunday” and “New Years Day” I figured that the album would be a good choice. After playing it, however, I didn’t like it. I knew that U2 were different in their earlier days, but not this different. There was no open ambiance, or layered texture, but rather a mix of post-punk and dance rock, with a hint of new wave. Basically, to not get too caught up in genres, it wasn’t The Joshua Tree. I liked “Sunday Bloody Sunday,” but that was really about it. A couple weeks later, I revisited the album. I had heard somewhere that some things take repeated listens to like, so a repeated listen is what I did. This time, I gave it time. It turns out that time is just what I needed. In forcing myself to listen through the entire album, I slowly began to kind of like the songs. Kind of liking the songs then turned into really liking them, which then became a kind of temporary obsession. In fact, War was all that I listened to for a few week period
I guess the whole feel of the album just kind of grew on me. The post-punk, dance beats really got me hooked. After repeated listens, I noticed that the album did have texture. Larry Mullen’s fast-paced drums on songs like “Two Hearts Beat as One,” Edges howling guitar solos –especially on “Drowning Man,” and Bonos politically-charged, loved-fuel, angst-ridden lyrics throughout. The song that I get attached to more and more on repeated listens is the song “40.” If no other song on this album does, this song predicts where U2 is heading in coming years. The slow tempo and light melody couldn’t close the album any better. The line “I will sing, sing a new song” gets me every time, just like it did the first time I listened to it, just like it will continue to every time after.
Sometimes, if nothing else, I guess that getting into something just takes time. I really can’t explain why or how exactly I get into what I do, but I guess its really just better that way. Sometimes I look back and go, why did I not like that before? Am I lame? Sometimes the answer is yes. There is no other explanation for it. Likewise, other times I look back and go, why did I like that. Another time and place apparently. Regardless, if I have learned anything from all this, its to give something a chance. War was something that I needed to give a chance to.
Getting into Music
Sometimes, artists, albums, or even genres take a little while to grow on us. The expressions “getting into” or “acquiring a taste for” something can easily apply to this type of thing. As music listeners, we are attracted to the artists or albums that are immediately pleasing to ears, which is easy to understand. I, for one, have certain styles and artists that I prefer over others. I can also be a little closed minded at times towards something new or that did not immediately grab me. I have found, though, that the music that takes a while to grow on me, often seems to stick with me the longest.
I was recently watching a documentary called Before the Music Dies which brought up the point of getting into music. Most of the artists featured throughout the film were unique, and were attempting something different with their music. Surprisingly, –or not surprisingly, depending on how you look at it– many of the artists were not immediately received by an audience or given much of a chance by their record label. The radio is a huge force in determining which artists are popular and which are not, and it is no surprise that they favor artists who are immediately received and easy to latch on to. Unfortunately, “easy to latch on to” and “immediately received” often translates into bland and generic. One speaker on Before the Music Dies argued that if something doesn’t immediately grab our attention on the radio, we are apt turn the channel to something else. Although this idea may work for a business model, it turns music into a formula rather than artistic expression. Room to let music grow on us is nonexistent in this type of system. Not surprisingly, then, many unique and creative artists will never get heard on mainstream radio.
Unfortunately, there is not much room for finding different, “acquired taste” type music on the radio, but nonetheless, you will always come across it. A couple years ago I borrowed a Phish DVD from a friend. I had been getting into jam bands, but had not heard them yet. After putting in the DVD and watching some, I was kind of turned off by the band. They just weren’t my style, I guess. A little while later, while in the car with the same friend, we listened to a Phish cd, but this time I was absolutely blown away. Nothing had changed with me, but for whatever reason I was really into what I heard. We listened to each track in its entirety, and maybe the music just kind of sunk in that time. (The cd was also one of their earlier ones, and their style was a bit different then, but that is a totally different story…) Maybe it was my friends excitement about the cd that got me hooked, or simply the fact that I just gave it a chance. Whatever it was, I was in.
In another case, I was introduced to the band Gomez. If you have ever heard Gomez, you may understand what I mean when I say that some of their music simply has to grow on you. Well, Split the Difference was disk that required some “growth time.” In fact, it was not until I heard some of their later, more accessible songs played on the radio that I really began to like the band. After hearing those songs and the buying the cd from which they came (How we Operate), I wanted to revisit Split the Difference. How we Operate had some of the experimental elements of Split, but their was a larger balance between the experimentalism and accessibility. Hearing bits and pieces of the band’s earlier sound scattered throughout this later disk got me ready to go back to the more experimentally inclined earlier stuff. Like with the Phish cd, I still had to give the music a chance, and like that experience, I have a new appreciation for the band and style of music.
Finally, I come to U2. Its easy to look at U2 and see an immediately accessible, arena-ready band. However, there is another side to them. This side, in the form of War, took me a little while to adjust to. I have always been into The Joshua Tree because of its open, ambient sound and loose, drawn out melodies. The sense of atmosphere throughout the album just really drew me in. And with the resurgence of the band with their most recent two albums, I was quite familiar with their sound as of late. I was pretty into what I heard. As most people do, I sought out some more of their music to see what else I liked by the band. I came to War. Obviously, I knew the songs “Sunday Bloody Sunday” and “New Years Day” but I had never heard anything else. I bought the cd ready to be enthralled. After a quick browse through the cd, however, enthralled I was not. (To be continued…)
