Concert: Rob Thomas & Counting Crows at Shoreline Amphitheatre (Mountain View, CA)

Or: Partying Like It's 1996

I go see Rob pretty much any time he's within driving distance, and my husband is a big Counting Crows fan, so this concert was custom made for us.

The show started with K Phillips, someone I wasn't familiar with, but I did enjoy his music. Definitely showed his Nashville and Austin influences.

Rob's set was mostly older stuff; the only song he did from the newest album was the latest single "Pieces." I was sort of sorry about that because I really like The Great Unknown. At the same time, however, this concert reminded me how long it's been since I listened to the other two albums and how much I like those as well.

He played "Unwell," which is a great song, but I kind of wish he'd do "Dizzy" instead. I feel like those two songs have the same sentiment behind them, but "Dizzy" is the better of the two in that it cuts closer to the bone. (Wouldn't say no to "Here Comes Horses" either, Rob, next time you're in town.)

And while I'm addressing you directly, Rt, you can stop telling that same "Smooth" story now. We all know it.

But you're looking fit, and we love you, and speaking of looking well, Adam Duritz also seemed in good spirits. This was my third time seeing him and Counting Crows in concert, and the best time. Adam had good energy. Lots of cuts from the latest album, and of course all the favorites. There was also the obligatory moment in which they were all on stage together, singing "Holiday In Spain" and "Rain King" to finish things out. It's cliché, but no less fun for all that. Adam and Rob singing together met expectations yet somehow also seemed to exceed them in that it was better than it had any right to be.

As far as stagecraft, I'd call this simple but effective. I enjoyed the pseudo-cityscape of lights in Rob's set. It was interesting to watch them turn the stage over for Counting Crows; they had it down to a science but it still took a while, and they were loading some things directly into the truck. This tour must be a bruiser. Counting Crows had a panel of lights behind them, and they were used to good effect along with the usual spots.

Overall, one of the better shows, and I like Shoreline as a venue, though it more or less looks like dozens of other similar places. It was a great night.

Music: The Great Unknown by Rob Thomas

We all know I love Rob. So, you know, keep in mind I'm probably biased here.

Aquarians are weird. They're fiercely loyal and committed, but also fluid. They need things to move. Their also very caught up in connections, wether it those ties be between people or society at large. For an Aquarian it's more or less the same thing, actually, because they see that it's the minute bonds between people that hold us together as a world population. That's why so many Aquarians end up being activists of one kind or another. They see and feel all this so clearly it's sometimes painful. And like their Tarot significator the Star card, they must channel all that (pour the water) into their art or work or hobbies.

I don't mean to get woo-woo on you. It's just that these themes are recurring for Rob in his music. And yet one can't say "more of the same," really, because as an Aquarian he is fluid and does change things up a bit. There's something very definitely him at the core—echoes, say, of "Lonely No More" and the like—and yet no one of his solo albums, or of Matchbox Twenty's albums for that matter, sounds really alike.

Now, I originally said of "Trust You" that it didn't sound like Rob at all. And it still doesn't to me, not really. That song has Ryan Tedder/OneRepublic written all over it. That said, it has grown on me a bit. Other songs on The Great Unknown called to mind American Authors and Jason Mraz. This isn't a judgement, and not necessarily a bad thing, just very noticeable to me.

That said, I really did enjoy my first couple listens to the album. Most of it is upbeat, even danceable. The title song is slower and, intentionally or not, evokes the 23rd Psalm with its talk of valleys and, well, The Great Unknown.

I think so far I most like "Nlytm" and "Lie To Me," though there's no one song I don't like, which is pretty impressive. Yes, even "Trust You" will stay on my iPod. For now.

The whole thing hangs together quite well if you listen to it straight through. The next test will be to see if, when my iPod is on shuffle, I feel the need to skip through any of these songs when they surface. It does make a difference, believe it or not. Something that's fine in a bloc may not stand alone very well.

But thus far, it's all good.

Concerts: Plain White T's and Rob Thomas at Mountain Winery (Saratoga, CA)

This time I wore the stripes.

Mountain Winery in Saratoga, California is one of my favorite venues. You drive up a twisty path and arrive high above everything around you, with breathtaking views. But more than that, it's like being on another planet. And though it's a large enough arena, it feels very intimate.

The Plain White T's opened, none of them wearing plain white t's at all, which I find to be false advertising. Would it be too precious if they did wear them? I don't know. I'm not sure about the politics around naming a band after an item of clothing.

Not a white tee among them.

I'll go ahead and admit I don't own any of their albums, though I've enjoyed some of their songs on the radio. Some but not all. In fact, that "Hey There Delilah" song, which is probably still their best known, is one that really irritates me. But I knew there would be no escaping it, and indeed they closed the set with it. I, for one, prefer the more upbeat. "1, 2, 3, 4" is a good one, and "Should've Gone to Bed." In truth, they put on a good show and were working hard for it, too; it's tough to be the opening band. You're almost never the one people came to see, and a lot of seats are usually still empty when you start. Tom Higgenson called people down to dance in front of the stage, hoping to get some energy going, and that helped.

Rob, meantime, put on as good a show as he ever does. This tour has been fraught with acute allergy attacks and—affecting last night's show—band member emergencies that prevented them from playing anything but the single "Trust You" from the forthcoming new album (which Rob says is due to drop in August). That was disappointing, as I was looking forward to the new stuff, but Rob still put on a robust show. He's a fine entertainer, and a large part of that is he genuinely enjoys it but also doesn't take it for granted. It's clear he's grateful for his fans and the opportunity to do what he loves, and it's equally clear there's love and respect between him and his band. That makes him a pleasure to watch and be with for a couple hours.

(I gotta give up for Rob's drummer, too, in particular; Abe kills it.)

Not a lot of change-ups in this show. What I mean is, most things came out sounding more or less like the album versions, only live, and though Rob touched on some Elvis (doing a bit of "That's All Right" coming out of "Getting Late," like usual) and some Steve Miller (skimming "The Joker") he didn't do any one full cover song. He played "Rest Stop" and "3 A.M." and from there stuck to his solo album catalogue. Well, and he played "Smooth" of course. No piano for Rob this show, either.

Still and all, it was a solid outing, and everyone left satisfied, filled up on a great experience.

I've seen Rob perform (solo and with Matchbox Twenty) more times than any other artist, and I've seldom if ever been disappointed. But this particular show—and I think the venue plays a big part here—had particularly good energy. Thanks, as ever, Rob, for another wonderful night.

Music: "Trust You" by Rob Thomas

It's catchy and has Ryan Tedder's fingerprints all over it; the song could easily be by OneRepublic. Which I suppose is my major beef with it: it doesn't sound like Rob Thomas.

"Trust You" is fun and upbeat, but it's synthesized all to hell. Not my thing. I like the song, I'll listen to it plenty, but there's nothing about it that says "Rob Thomas" to me. ::shrug::

This seems to be the way music is moving, everything sounding a lot alike . . . There are few distinctive voice left.

See you in July, Rob. xoxo

P.S. At least your stripes are getting better. It's all about the spacing.

This

This picture makes me ridiculously happy.

Thanks, as ever, Rob, for lifting my spirits!

Movies: The Wolverine

I'm going to blog as I watch. I'm also drinking a piña colada, so you know . . .

• We start with the WWII bombing of Nagasaki. Our hero (that's Wolverine if you're wondering) saves a Japanese soldier. And impressively regenerates.
• But then he wakes up next to Jean Grey. Except that's a dream too? Ugh, I hate this kind of thing.
• Wait, now he's Grizzly Adams. 'Bout to trounce some asshole hunters for hurting his bear friend.
• So now we've shown that Logan/Wolverine is noble and a badass. This is what we call "establishing character."
• Why must they always give Asian girls weird hair colors?
• She has come to take Wolverine to dying Yashida, the man he saved in Nagasaki. But first we need the obligatory bath-and-shaving scene. (Hey, I'll take on the task of bathing Hugh Jackman any time. Yes, even if he's flailing like a beast. Especially if he's flailing like a beast.)
• Turns out Yashida doesn't really plan to die. He just wants to offer Logan the opportunity to "live as a normal human." Oh, and also ask him to protect his granddaughter.
• So is that considered a really good kiss or a really bad one? I'm going to go with bad.
• Oh, and Yashida is dead. So much that plan of his to live and all. Yukio is sad because she has precognitive sight but failed to see Yashida's passing.
• People on rooftops. Can't have a superhero movie without people on rooftops.
• When I die, I hope they play "Getting Late" by Rob Thomas. (As opposed to this chanting and gong thing.)
• Also, I hope no one starts shooting at my funeral. Because I would be totally sorry to miss out on that. Especially if there were arrows. I love arrows. Would hate to miss arrows.
• Really long action sequence. I am clearly not the target audience for this movie. Really long action sequences bore me.
• I do love those Japanese arcades, though.
• Did they give the one girl bright red hair so we'd be able to tell them apart? And is that racist? Kind of?
• Kaiju! I call my kids that all the time.
• More fighting. This time on a train. How long before someone ends up on top of the train? (Answer: Not long.)
• Obligatory awkward forcing together of two people (here, they must share a room in a love hotel) in order to create false sexual tension.
• Wait, what? A goat? I hate goats. Ah, I see; a veteranerian is helping take the bullets out of Logan and stitch him up. So the question is: Why isn't Logan regenerating? And the answer is: Bad kissing.
• Now we're back outside Nagasaki. Chopping wood is harder than it used to be.
• Flashback: Yashida tries to give Logan a sword, but Logan tells him to keep it safe and he'll come back to claim it later.
• More awkward tension as Mariko ties Logan's kimono for him. (Is it a yukata?)
• Kissing. Less bad than with the other lady but still painful to watch.
• Maybe he should just always sleep in a separate bed. I feel like that would solve a lot of these problems. (No spooning for you!)
• The flashes of Jean are really obnoxious and dumb.
• Oh, wait, Yukio is having a precognitive dream of Logan's death. And Mariko is being kidnapped.
• So Yashida was bankrupting his company in attempt to turn himself into the next Wolverine (that is, he was stockpiling adamantium and working to prolong his life so he could be ageless and self-healing like Logan).
• This Viper chick isn't a very interesting or formidable villain. -Ess. Villainess.
• Time for Logan to make Yukio's nightmare come true by pulling his own heart out.
• More fighting. And now Logan is back to being Logan.
• The score for this movie is pretty over the top.
• Time for the big finish. Wolverine has had some of his claws cut off by some robotic samurai thing with a hot sword. (And no, that's not a euphemism.)
• And Viper has shed her skin, though I don't know why. Just to show off maybe.
• Oh, wait, am I supposed to believe Yashida is in that armor? I'm confused. I should have paid better attention. Except I wasn't interested enough to pay that much attention. And really, I don't feel like I missed anything.
• Yup, there's Yashida. Turns out he's a villain too. And he's . . . Draining Wolverine's life force? Or something?
• Oh look, he got younger. And then Mariko stabbed him. In the throat.
• Wolverine finishes the job.
• The "sayonara" was tacky, though.
• I think Logan needs another bath . . .
• And apparently we've got a bad rom-com in the making: Yukio as Wolverine's bodyguard.
• Yay! Magneto! Professor X! Best moment of the whole movie, and you have to wait partly through the credits to see it. Pfffttt.
• There was not enough piña colada for this.

Concert Review: Goo Goo Dolls & Matchbox Twenty in Concord, CA

Last night I took my 8-year-old son to his first real rock concert.

Due to traffic and the long parking process at the venue, we missed a portion of opener Kate Earl's set, but what I did hear I mostly liked. Or really, I very much liked her earnestness . . . There was something honest about her and her music that I found appealing.

And then the Goo Goo Dolls. Now, I like them, but I really only know their work through their radio hits (and the fact that Johnny Rzeznik and I were once published in the same issue of Rosebud; his was called "Iris" and mine was called "There Was an Old Woman," which is a pretty good example of why I don't still write poetry).

Anyway, I guess the short answer here is that I don't know enough about their music to say more than, yes, I enjoyed hearing and seeing them live. We had good seats, seventh row center, but the iPhone's camera is useless at concerts because of the lighting, so the few pics I can offer are underwhelming. Rzeznik & Co. played mostly songs I recognized, and they also did a really sweet new number called "Come to Me" wherein they put the lyrics up over the stage so people could "learn" the words.

(Stupid camera always makes stuff look farther away than it is, too, but whatever.)

When I asked my son what his verdict was regarding the Goo Goos, he said, "They were pretty good, even though they have a weird name."

But what he really wanted to know was when Matchbox Twenty was going to play. It was well past his bedtime after all.

The MB20 stage was kind of fun; three cube-shaped screens and a lot of neon piping.

This actually made it easier for my son to see what was going on, and the cubes more or less mesmerized him. (You have to understand that Rob Thomas is my son's inspiration for learning to play guitar and wanting to learn to sing, so his attention was divided between watching Rob and then also watching Kyle Cook play—my son was impressed by how fast he had to move his hands.)

As for the concert itself, it was all pretty rote. There was nothing by way of interesting new arrangements of old favorites; everything was played more or less radio and record style. Nor did they really play anything one might call a "deep cut," since it was all their hits and singles. ::shrug:: Give the people what they want, I guess.

Still, it was fun, and my son was so excited they played his favorite song, which is "Bright Lights." He's loved it since he was three years old and used to yell at the concert video, "No, Kyle, don't stand on the piano!" (And no, Kyle did not stand on the piano last night.)

One interesting thing, I suppose, is that they opened with "Parade," which I would have counted more as something to end with . . . Usually one might expect a show to open with something more upbeat, but it was nice anyway.

As concerts go, the night was fun but not spectacular. I suppose that says something about these bands and the people—like me—who listen to them. It all tasted of risk aversion. But then again, that worked in our favor in the parking lot as we exited in slow but mostly orderly fashion.

Entertainers of the Year

Entertainment Weekly just put out their annual "Entertainers of the Year" issue, which of course prompted me to think first about how irritating their online surveys have become* and then to wonder who would make my personal list.

You'd be surprised (if you happen to know me, or even read this or PepperWords on a semi-regular basis) that I'd count Steven Moffat as one of my Entertainers of the Year. Go ahead and rub your eyes, blink a few times, and read that again. Look, I know I'm harsh when it comes to Mr Moffat, but I'm only ever hard on the ones I think have genuine talent and can do better than they have done. (Rob Thomas and his bandmates would agree.) Steven Moffat takes the easy way out a lot of the time, but I think—at least in part—that's because of how hard he's working. He's producing two television programs (though only one on a semi-regular schedule, come to think of it, Jesus, what is he doing with his time?), and whatever else I may say or think, I'm still watching both Doctor Who and Sherlock, so that must count for something. So here is my one and perhaps only nod to Mr Moffat. I hope he enjoys it.

I think Jonny Lee Miller and Lucy Liu also make my list. No secret I like Sherlock Holmes, and I really enjoy their chemistry on Elementary. And Zachary Quinto on American Horror Story who, despite it being a bit of a drag to see him playing yet another villain, still does a fantastic job. And Billy Burke and Giancarlo Esposito, the only two truly compelling actors on Revolution. Though David Lyons, too, is doing his best with the little they've given him.

That's television, but what about movies? I'll side with EW and count Ben Affleck as one of the Entertainers of the Year thanks to his great work on Argo, both acting and directing. Daniel Craig, Judi Dench, and Javier Bardem in Skyfall also make my list; that movie was the epitome of "entertaining." Haven't seen The Dark Knight Rises yet, so I can't speak to that. The Hobbit: An Unexpected Journey might also fit in here, but I don't know yet (though I do have IMAX 3D tix for opening night, and at the HFR viewing, too, so stay tuned).

I have to admit to being a bit outside of things when it comes to music this year. I listen to my iPod more than the radio, so I seldom hear anything really new. I liked that "One More Night" song by Maroon 5 and thought the new Matchbox Twenty album was okay . . . Don't know that I'd call them "Entertainers of the Year" though. I think that honor goes to Train for "50 Ways to Say Goodbye" and fun. for "Some Nights."

Books! I'm almost done with Anatomy of Murder by Imogen Robertson, and I think she'd make my list; I'm really beginning to love Mr Crowther and Mrs Westerman as protagonists. Ben Aaronovitch, too, for Whispers Under Ground. And Adam McOmber for The White Forest.

So that about sums it up for me barring any late entries in the month of December. Or anything I've simply forgotten. It has been known to happen, particularly when I'm hungry (which I am).

*EW has a habit of sending online surveys which first ask me whether I'm interested in [insert egregiously long list of television shows, movies, actors, musicians], then asking me effectively the EXACT SAME QUESTION by forcing me to choose AGAIN whether I'd like to read about [long list of television shows, movies, actors, musicians] in their magazine. Dear EW: you can safely assume that IF I am interested in something or someone, I would also be interested in reading about it, AND if I am NOT interested in something or someone, I do NOT want to read about it. And yet, despite my telling you these things REPEATEDLY and CONSISTENTLY, you still shove stuff like Twilight and Fifty Shades of Grey (more or less the same thing given the origins of the latter) under my nose on a regular basis. DO NOT WANT. Are we clear?

Music Video: "Our Song" by Matchbox Twenty

Okay, quick: my favorite band? I know, I know, there's no accounting for taste, but I've loved these guys for forever, and now they've released an "official" video for one of my favorite songs off the new album (North, it's #1 if you hadn't heard).



The song is catchy, and the video is cute, even if it is only a collection of recording room snippets. (Not much to do with the song, really, but whatever.) I like having proof that I'm not the only person in the world who lies around on the floor periodically; people always poke fun at me for that, but see! Rob does it too! Maybe it's an Aquarian thing, or a grounding issue. But sometimes I'm just like, I need to lie down. Right here will do. (The flip side of this is climbing on shit for no real reason, which I've also been known to do.)

The other song I really like on North is "How Long?" . . . I have to say, even though Matchbox Twenty is my favorite band, or one of my favorites, I haven't even heard the whole album yet. Bad of me, I realize. But I haven't had the chance to just settle in and listen, so I'm only getting what my iPod throws out on shuffle. I promise, boys, I'll get around to it. Eventually.

But first, I just need to lie down. Right here under the desk will be fine.

Music: "She's So Mean" by Matchbox Twenty

So this is the new MB20 single off the forthcoming North (out 4 Sept). I'll count it as catchy but the lyrics leave something to be desired. At least, what I can remember of them. The gist of the song appears to be that this girl is really pretty and a lot of fun, but she'll wreck your life so [the guy they're singing to?] should just dump her. Oh, and also: she's mean.

Fun! But mean. Hot! But mean. Scratches your records and stuff. Drinks too much rum.

Um . . . Okay.

I know I'm reading too much into this. I have a degree in cultural media studies; I've been designed to break things apart this way. And so I just can't dig this song as much as I'd like to be able to. Oh, it'll be stuck in my head for a while, sure, but . . . I'm looking forward to hearing some other stuff from the album. This one is middling.

Concert Review: Rob Thomas in Boston 11.09.09

Written as an open letter to Rob here.

Rob Thomas on VH1's Ask Me Anything

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Music Review: cradlesong

Rob Thomas
Atlantic, 2009
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While I enjoyed perhaps 2/3 of the tracks on Thomas' first solo album Something to Be . . . (2005), I find that I like all the songs on cradlesong--rather in the same way I tend to like all the songs on matchbox twenty albums as well. Additionally, while I found some of the juxtapositions of songs on StB rather jarring, cradlesong flows and fits together well, rather like the musical equivalent of a Dove chocolate melting in your mouth.

Of course, the cover art for cradlesong is decidedly unattractive, but never judge an album by its cover, I suppose.

While the single "Her Diamonds" is now in heavy rotation on Mix-style radio stations everywhere, it's only the first of many strong compositions on the album--and, possibly not coincidentally--the first song on the album as well. The upbeat "Give Me the Meltdown" has garnered some attention as well and also sports an erratic music video (while the video for "Her Diamonds" features Alicia Silverstone encased in ice and slowly thawing). I have a decided preference for "Meltdown," as does my three-year-old son. Not sure what that says about me, my son, or the song really.

For the most part, cradlesong is full of songs dealing with relationships, and specifically difficulties in relationships; Thomas has admitted in interviews that he does most of his writing when he's having a bad time. Still and all, songs like the title track and "Mockingbird" have a sweetness to them that impart the bittersweet that comes with loving someone, even when there are problems and despite the imperfections in oneself or one's partner. If music, like any writing, is at its best when it can be appreciated in the absence of its author--by which I mean, one understands the meanings and feelings behind it without having the composer explain separately what he or she meant by something, and one can also relate on a personal level regardless of the original intention of the composer--then cradlesong meets this criteria, far better than anything on the rougher StB ever did. Thomas has long been lauded as a fine songwriter, and this reputation is deserved, but he does especially well here, having knit together both the powerful and the soothing in a way that is almost seamless and thus pleasing to the ear.

Music: Video Preview of "Her Diamonds"

Music: "Her Diamonds"

Just heard a VERY short advance clip of Rob Thomas' first single from Cradlesong--the entire song and accompanying video is due out mid-April. Still, it sounds promising, very groovy. The entire album is slated to drop at the end of June.

And no, none of this is an April Fools joke.

Music: Rob Thomas' Cradle Song

drop date: June 30
atlantic records
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Although Thomas' initial intention was to write an album full of Latinesque music à la Paul Simon's Rhythm of the Saints, he admits that what was coming out of him didn't all fit that bill. Various tracks have been labeled "Tom Pettyish" and "in the vein of INXS." While that second one gives me pause, the first doesn't at all; Thomas has shown those particular roots before--I recall a very good live cover of Petty's "American Girl" that I witnessed during the Mad Season tour. Thomas could do far worse than to produce this generation's Full Moon Fever, after all. (Aside: wasn't 1989 just the BEST year?)

Of course I'll buy the album. My three-year-old will surely insist upon hearing it multiple times, as he does all "Uncle Rob" music. Still, if I'm being entirely honest, I only enjoy about 2/3 of Something to Be . . . ; the rest I generally skip the tracks on, which is something I can't say of the matchbox twenty albums, of which I enjoy every cut. I realize it's only one solo effort, but I find StB uneven, and I'm hoping the sophomore outing will have a bit more confidence behind it, be more of a straight-shot arrow than a meandering smoke cloud.