Wang Center from the back row of the upper balcony, just before Jay Reatard and the Pixies play

Wang Center from the back row of the upper balcony, just before Jay Reatard and the Pixies play
hard rock tickets
Image by Chris Devers
Posted via web from Chris Devers’s Posterous linkblog thingy

Almost as much fun as it was seeing them in 2004 🙂

More links about the show, mostly via the Frank Black Forum:

Vanity Fair – For the Pixies, Cashing in Is the Right Thing to Do.

It sounds damn good live too, thanks to an excellent sound setup and the songs themselves, which are as dynamic, colorful, and deliciously sinister as a David Lachapelle photograph. Having said all that, though, it’s hard to escape the conclusion that the Pixies, whose best-known members are rumored to not like each other very much, have been reunion-touring for the past five years for one overriding reason: to make money. Money that probably would have been beyond their wildest imaginings back in the late 80s and early 90s, when they were actually writing songs together and putting out albums.
Is that a bad thing?
It is if it means that audiences are spending top dollar to see a band go through the paces and cash a check. But that’s not what happened last night. The audience was in ecstacy, amazed at its luck to worship the Pixies in person. Countless hours spent listening intently to Doolittle, Surfer Rosa, and Come on, Pilgrim had led them to this moment, when they could share their obsession with thousands of like-minded souls. They knew every word to songs as foreign to the mainstream as “Hey,” “Monkey Gone to Heaven,” and even “Gouge Away.”
Not even screaming, weeping tweens possess this level of intimacy with their idols’ respective repertoires. It takes time to become this close to an album and, by extension, to an entire body of work. And if I’m right, then the young people I saw at last night’s concert won’t be the last generation to appreciate this music and hunger for a chance to see it performed for themselves.

The Boston Globe – Pixies return to their ‘Doolittle’ days.

Devoted fans of bands that have broken up are like casualties of divorce. They cherish the stories of the good times long after the fighting starts and the records stop.
An album like “Doolittle’’ is proof that the good times were indeed good – really good.
The Pixies recorded their second full-length album in 1989, and it is regarded as the Boston band’s crowning achievement, especially by zealous fans who still lurk on Pixies online forums and wear their “Come on Pilgrim’’ T-shirts long after they’ve faded to gray. A balancing act of melodic guitar and diabolical yelps, “Doolittle’’ solidified the place of the phrase “loud/quiet’’ in the rock ’n’ roll vernacular and exalted the Pixies as the godfathers of grunge. To commemorate the album’s 20th anniversary, the Pixies are touring again, playing all the songs from “Doolittle’’ and its B-sides in concert. The tour stops at the Wang tonight and tomorrow.
“Doolittle’’ epitomizes the polarities that the Pixies are remembered for. The album is gruesome. The opening track, “Debaser,’’ is about slicing eyeballs, and from there “Doolittle’’ only descends into apocalyptic lyricism, with songs about hell, blood, aliens, and AIDS.
One of the most widely revered songs from the Pixies catalog, the uncharacteristically straightforward and jaunty “Here Comes Your Man,’’ is evidence of the stronghold that pop had on the band. The song is the fifth track on “Doolittle,’’ though it was written years before. Steve Albini, the audio engineer who recorded the Pixies’ first album, “Surfer Rosa,’’ successfully argued for keeping “Here Comes Your Man’’ off that album. But engineer Gil Norton, who worked on “Doolittle,’’ saw the song’s potential.
“Here Comes Your Man’’ became one of the two singles that “Doolittle’’ produced. The other, “Monkey Gone to Heaven,’’ falls at the other end of the album’s spectrum, although the songs are separated by only one track. Full of demonic numerology and shrieking, “Monkey Gone to Heaven’’ encapsulates the dissonance and darkness of the Pixies, both musically and interpersonally.

The Boston Globe – The Pixies party like it’s 1989.
The full album concert concept that has become so popular in the past few years is on one level a gimmick to help juice catalog sales and draw out those less inclined to see a group they’ve already spent time and money on. But with a record as exhilarating and irresistible as “Doolittle,’’ it’s easy to understand the desire for both seminal alt-rockers the Pixies and their audience to want to party like it’s 1989.
It felt appropriate that the University of Massachusetts-spawned group was hitting the Hub around homecoming because the 94-minute show – the first of two sold-out gigs at Citi Wang Theatre – felt like a reunion with old friends. A big, loud, dry-ice-infused, sense memory-generating reunion of sticky melodies and squalling guitars. Sure, everybody’s gained a few pounds and lost a few hairs, but the spirit was there, from David Lovering’s first crisp downbeat and Frank Black’s throat-shredding scream.
Old-school fans and younger folks getting their first live taste of the group screamed right along to the outbursts from “Monkey Gone to Heaven’’ to “Dead.’’ The crowd bounced en masse to the rhythmic left turns of “Crackity Jones’’ and bopped to “Here Comes Your Man’’ with Black and bassist Kim Deal aptly replicating their metal and smoke harmonies. “Wave of Mutilation’’ got two spins, with the original coming in its spot and the whisper-smooth “UK Surf’’ flavor popping up in the encore.
Deal, a propulsion machine throughout, was also the evening’s appointed tour guide, giving in-progress announcements — “we’re halfway through the first side’’ – accompanied by her goofy grin.
The band buttressed the 40-minute centerpiece with a quartet of b-sides from the album and encores chock full of assorted non-“Doolittle’’ favorites. Those included the juicy big beat drone of “Into the White,’’ complete with a cloud of hazy dry ice, the chilly coo and growl of “Where is My Mind,’’ and the clangorous and celebratory “Gigantic.’’
Buzzed-about indie rocker Jay Reatard handled the evening’s warm-up duties.

Chris Devers’s Posterous linkblog thingy – The Pixies play the Wang Center, Boston.…
The 90-minute show started with scenes from ‘‘Un chien andalou,’’ a surrealistic short film with the infamous sliced eyeball scene. It was the particular inspiration for ‘‘Debaser,’’ the kickoff to ‘‘Doolittle.’’
The Pixies played the album to perfection, which is to say most of the songs were nasty, brutish and short.
Songs rarely went over the three-minute mark. Santiago’s noisy guitar squalls were essential, but there were surging pop hooks in ‘‘Here Comes Your Man’’ and surf-guitar licks splashed throughout. Deal’s high harmonies lent a tad of sweetness to Francis’ screams.
After playing ‘‘Doolittle,’’ they encored with several more B-sides before nailing hits ‘‘Where Is My Mind?’’ and ‘‘Gigantic.’’ What accounts for the Pixies’ peculiar longevity? The band’s life after death, if you will?
Perhaps it’s because life may be even more conflicted and tumultuous than it was two decades ago. As such, the Pixies are, oddly enough, in step.

True/Slant – Pricey Pixies Tickets, or Can Critics Complain About Concert Costs?
It’s been well over a week since Jim DeRogatis reviewed the first night of The Pixies’ three-night Doolittle retrospective at Chicago’s Aragon Ballroom. DeRogatis caused quite a stir among Pixies fans with statements like:

…it’s hard to consider them anything but a cynical corporation cashing in on blatant nostalgia–a hipper version of Creedence Clearwater Revisited or Journey and whoever is singing with that group these days.

Pixies defending aside, DeRogatis has a right to his opinion. After all, that’s his job. As any critic who has ever encountered the briefest whiff of resistance from diehard fans over the years can tell you, not everyone’s going to agree with what you write. And of course, this came in droves for the eight paragraphs DeRogatis wrote about The Pixies set. There were comments from fans who couldn’t believe DeRogatis would compare their beloved Pixies to Journey of all bands – Journey?!?! There were comments from fans who said DeRogatis was elitist and assuming the worst before setting foot in the Aragon.

Flickr – The Pixies at the Wang Center in Boston, 27 November 2009.
Kelly Has Thoughts – Pixies Pics!

Flickr user sdowen: Pixies at the Wang Center in Boston – Nov. 27, 2009 — a set of photos from the second row, unlike my pictures from the last row of the top balcony.

Rescued From The Abyss (1 in a semi-continuing series): Art Supplies and CDs!

Rescued From The Abyss (1 in a semi-continuing series): Art Supplies and CDs!
heavy metal movie
Image by raider3_anime
These were stashed in a few boxes up on a shelf in a closet in the house, and some were in a box by my bed. I’ve got here, resting on a Size XL FanimeCon 2008 T-shirt (I’ll fit into it by the end of this year, or beginning it next!)….

* ADV’s domestic relaease of the Spriggan movie soundtrack. (Yu Ominiae — Because we can’t all be like Arnold Schwarzenegger….)

* Konami’s import release of Dance Dance Revolution 2nd Mix soundtrack
Favorite tracks off of that disc set:
** Have You Never Been Mellow [The Olivia Project]
** Kung Fu Fighting [Bus Stop featuring Carl Douglas]
** That’s The Way I Like It [KC and the Sunshine Band]
** Butterfly []
** My Fire [X-Treme] (Seems to be an interesting remix of Dan Hartman’s "Relight My Fire")
** Little Bitch [The Specials] (I have the full length track in my music collection, and, ironically, I’ve performed it at karaoke)
** Boom Boom Dollar (Red Monster Mix) [King Kong & D. Jungle Girls]
** Smoke [Mr. Ed Jumps The Gun]
** Boys [] (Don’t give me grief about liking this song – Don’t judge me. ^_^;)
** Stomp To My Beat [JS-16] (Got the full track of this as well. ^_^;)
** Dub-I-Dub [Me & My] (Believe it or not, I sang this song at karaoke…. Yeah, I should be ashamed, but I can hit that vocal range.)
(For the record, I’m a disaster on two feet when it comes to DDR – I can only do a handful of songs from 2nd mix, and even then on 2-feet difficulty. I’m still a bit too heavy for DDRing… I need to get a decent metal pad like my friend Dominic/DJ Sandman, and every release of DDR for the PlayStation 2)

JVC’s domestic release of the You’re Under Arrest (Taiho Shichau Zo!) OAV soundtrack.

And my initial collection of art supplies, including an assortment of Copic markers, a few other random markers, metallic pencils, a Tachikawa brush pen with a couple refills, and one Tone Hera (spatula for transferring comic tones to comic paper), a pen holder and assorted nibs (including maru nibs, spoon pen nibs and G pen nibs), a few erasers, including a kneadable eraser and a refill for a Pentel Clic eraser, and a full set of Copic MultiLiner markers. ^_^;

I also found a mostly blank sketchbook, but I’m looking for the one that’s got my writings and the semi-decent sketches in it.

I’m getting closer to returning to my roots, I guess. ^_^;

I’ve freed up three cardboard storage boxes!

I also know where most of my "How To Draw Manga" books are, as well as my Hogarth’s "Dynamic Wrinkles and Drapery" book. Still need to find Hogarth’s "Dynamic Anatomy" and Jack Hamm’s "Drawing The Head and Figure" reference books.

(Update 2009.11.1: Found my Jack Hamm and Hogarth books. Life is fine. ^_^; )

I also found 6 volumes of Kimagure Orange Road manga, and… J. O’Barr’s ‘The Crow" collected volumes (4th printing, but hey… I found it!!)

More buried treasure excavations Wednesday night and most of Thursday.
Off I go, however, to brush, floss, and sleep. (And possibly shave with Occam’s Razor , saw the legs off the Periodic Table, and other quixotic endeavors…)

Fall From Grace “Burned” Fall From grace “Burned”. Fall From Grace is a Hard Rock Phoenix rising from the ashes of adversity. Each of the four band members are a walking testament to the saying “that which does not kill you, makes you stronger.” Creating music for the masses, each song is a story of struggle, and triumph. Fall From Grace formed in the musical hotbed of Seattle Washington. However this punk-rock, foursome does not subscribe to the indie pop culture or grunge persona most are used to from the area. Instead, Fall From Grace live and play in the underbelly of the Seattle scene, hitting the hardcore clubs and breathing life into a new movement they are building, one that is breaking through with the help of acts like Aiden and Amber Pacific. Fall from Grace’s gritty punk-rock sound is exemplified by their non-stop action packed live show. Front man Tryg commands the mob of psycho scenesters while singing songs with infectious melodies, brutal breakdowns and crowd clap choruses. Their music gives something to everyone. Although the subject matter is dark at times the display is up tempo and incites a dancing riot. This band has come together and faced the darkest of times but has spun it in a way that brings the message of hope and hard-core happiness to all who hear it. Each of the four members of Fall From Grace has remained victorious against possible impending doom making this band their career and life focus. Ken Olson made it to every show and every daily
Video Rating: 4 / 5

Black Crowes – Hard To Handle (From “Live in San Francisco” DVD) Shot live in San Francisco in August 2005, The Black Crowes present a set of their all-time greatest hits to a jam-packed house of their dedicated fans. After taking a break to pursue solo ventures in 2002, their 2005 tour became one of the hottest tickets wherever they performed. From the opening chords of “(Only) Halfway To Everywhere” to the final crash of the cymbals on their cover of The Band’s “The Night They Drove Ol’ Dixie Down”, The Crowes give their all to the appreciative crowd. An animated Chris Robinson belts out staples “Sting Me”, “Jealous Again” and “Hard To Handle” with the passion that any frontman worth his salt would aspire to achieve. Brother Rich Robinson lays down the blues-based rhythm while providing soulful backing vocals. The band slows it down in the middle, with the Brothers Robinson mesmerizing the crowd with acoustic versions of several tunes, including “Sunday Night Buttermilk Waltz” and “She Talks To Angels”. Tracklisting: 1) (Only) Halfway To Everywhere 2) Sting Me 3) No Speak No Slave 4) Soul Singing 5) Welcome To The Goodtimes 6) Lovin’ Cup 7) Jealous Again 8) Space Captain 9) My Morning Song 10) Sunday Night Buttermilk Waltz 11) Cursed Diamond 12) She Talks To Angels 13) Wiser Time 14) Non Fiction 15) Seeing Things 16) Hard To Handle 17) Let Me Share The Ride 18) Mellow Down Easy 19) Remedy 20) The Night They Drove Ol’ Dixie Down

Gary Moore & The Midnight Blues Band – Still Got The Blues (From “Live At Montreux 1990” DVD)

For more info – Gary Moore is one of the best rock and blues guitarists ever to come out of Ireland. Born in Belfast he moved to Dublin in the late 60s joined a band called Skid Row and met Phil Lynott, who shortly after left to form Thin Lizzy. Moore stayed with Skid Row for three albums before joining Lynott briefly in Thin Lizzy. He then joined Colosseum II (which also featured Don Airey on keyboards) before going solo and having a huge hit with Parisenne Walkways, which featured Lynott on vocals. This lead to a further short stint in Thin Lizzy, including their classic album Black Rose. This track is from the full concert DVD “Live At Montreux 1990”, out now on Eagle Vision.
Video Rating: 4 / 5

Victor Shade aka RA Scion from Common Market & Friends talk SAS

On May 27th 2010, Victor Shade aka RA Scion from Common Market will headline a night of Hip Hop produced by Team Up for Nonprofits as part of their Gigs4Good series. The event will benefit Seattle Against Slavery, a coalition working to make a slave-free world one city at a time and will be at Seattle’s newest music venue, The Hard Rock Cafe Seattle. This video features some of the musicians preforming at the event disicussing Seattle Against Slavery and Human Trafficking, it includes… -Victor Shade aka RA Scion from Common Market -DJ B-Mello -SOL -Dice -Tilson from The Saturday Knights (host) Buy your tickets now, go to… Or visit

Paolo from Trivium On Lil Wayne, Toby Keith, Unusual Influences

Bassist Paolo Gregoletto from Trivium chats with about his interest in genres outside of metal, like electronic, pop and R and B. He tells us this music still teaches him something about songwriting. Unless it’s Toby Keith.
Video Rating: 4 / 5