Time Traveling and Stevie Nicks Hats: Fleetwood Mac at HP Pavilion, San Jose (by Claire)

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Stevie Nicks is spinning.

Stevie Nicks is twirling stage left, spinning and grinning, the billowy sleeves of her black velvet and chiffon dress flapping wildly (this dress is a dream come true, by the way. This dress is time travel and perfection and making me want to set my wardrobe on fire). Lindsey Buckingham is lean and frenetic, all black leather and shredding solos, and Mick Fleetwood’s got a Muppet grin and he’s banging on a gong, and if Stevie Nicks sings “Landslide”—at this point I’m practically shaking my friend Andrea—if Stevie Nicks sings “Landslide,” I am going to split in two.

A long sheath descends from the ceiling, Buckingham gives a primal rock god performance of “Big Love” (“Watch this,” the guy next to me says, pointing insistently at the screen showcasing an HD Buckingham. “Watch this, you’ll never forget it.”) And when it ends I think my surprised heart might leap out of my chest, but it freezes in mid air because the room gets quiet and Stevie Nicks sings that she’s been afraid of changing cause she built her life around the guy to her right, grinning and strumming.

It’s easy to get sour on live music, especially when it’s accidentally in your life. It’s that band at the bar, it’s that guy at the party who’s still showing up with his guitar. And they’re both fine, sure, but what’s so transcendent? Or that’s what I ask myself as I scroll ticket prices and wonder what the big idea is—is it worth it? It never seems to be, especially with big acts, the ones who seem so far past their prime. “I wish I could time travel,” I say to friends. “I’d time travel back, I’d see this band in the 70’s, I’d see that band in the 80’s, I’d see them all fresh off their best albums, but why see them now?” Bob Dylan poisoned the well for me—I thought I’d see a legend, but ended up grimacing through hours with the mumbling crypt keeper, propped up and dreadful. “I wish I could time travel.”

When the first chords of “Secondhand News” exploded through the stadium, I wondered if I had. How was it possible that in 2013 I was watching the beginning of Rumours, and how was it so…electric? And everyone on stage didn’t just sound like they did on the album, a strange compliment that always begs the question “So why did I empty my wallet to see this across town when it’s back home in my speakers?” Fleetwood Mac sounded better than the original—they had the wild energy of musical attack paired with the warm glow of together-again.

The sweetness between Buckingham and Nicks was unexpectedly heartwarming. They smile and play to each other, turn the microphones to deliver lyrics face to face. At one point Nicks told a story about how Fleetwood and Mac wanted a guitarist, not a duo. “And Lindsey was such a good boyfriend, he said he wouldn’t join unless I could come too,” she said, to which Buckingham joked, motioning to the crowd, “Well I think it all worked out.”

They were home, they said, and they seemed to mean it. They went to high school in San Jose, and started playing music together their senior year. Nicks thanked a smorgasbord of childhood friends who were at the show, including her first boyfriend. At one point, the pair closed a song with a huge hug, and came out for their encores holding hands. They talked about songs they had written for each other, the ones that helped them get over their breakup and create the relationship they have now. They sang them together, watching each other, swiveling their mics to lock eyes.

Every song Fleetwood Mac song that I ever wanted to hear live, musical experiences that seemed impossible in my lifetime, happened one after another. “Secondhand News” followed by “The Chain,” then “Dreams.” “Rhiannon” complete with trippy Stevie Nicks dancing, noodling arms and flicked wrists, the original witchy hippie girl at the show. “Gold Dust Woman” required Stevie Nicks to throw on a beaded gold cape and perform an elaborate shadowy cape dance. The whole audience screamed along to “Go Your Own Way” and “Don’t Stop.” An unexpected second encore with a “Silver Springs” that made the crowd go quiet and wide-eyed. And all along Mick Fleetwood is grinning, yelling, doing a drum solo in the first encore and you can’t take your eyes off of that Santa Claus face, and he’s yelping and telling the crowd to get excited, so tangled in the energy of it all that he almost loses his voice at the end.

Check out the full set list here, and know these two important things: Yes, Stevie Nicks put on a top hat at the end and it was glorious. And yes I destroyed my throat from singing and screaming my expanding fan girl heart out, so much so that I woke up at 3AM convinced I had accidentally swallowed a knife.

Worth it. 

*Photo by Andrea Echstenkamper

 

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The Charmed List: May 23, 2013 (by Claire)

Top Heartthrob: Lindsey Buckingham

Mick Jagger moves, Mick Jagger looks, Mick Jagger looks—forget it. If you’re in the market for raw sex appeal, aging rockstar style, it’s Buckingham or bust.

Top weekend video: Daft Punk/ Soul Train

Because don’t deny it, you want life to look and sound more like this. Girls in pastel shorts suits, you are my summer fashion heros.

Top rock history song you’ve never heard: “That Made Me Stronger” by Stevie Nicks

This album, Trouble in Shangri-La, is a bell-sleeved, sorcerer and witch filled, beautiful slice of cartoonish Stevie Nicks perfection that will make you want to buy a Nicks style top hat and some crystals. It also has some incredible lyrical gems, including “That Made Me Stronger,” a thank you to Lindsay Buckingham for pushing her to write her own songs when they were kids.

Top list: The 50 Albums Everyone Needs to Own, 1963-2013 by Tom Hawking

Lots of classics and new discoveries here (Did you all know that Fire of Love by The Gun Club is the jam and forget to tell me?), though 1972 and 1978 earn a hearty “Really?! As for 1985,  Tim wins everything, always, especially when it stands next to 80′s punchline, Kate Bush.

Top Discussion Question, by Joshua: What’s your perfect show? No time restrictions, you pick the venues and feel free to spruce them up, and there are two opening acts and one special guest. Go. 

Aimee Mann and Lauryn Hill (circa Miseducation of Lauryn Hillin my living room. We walk outside after, right into the filming of “Stop Making Sense,” where a time traveling from circa- Rei Momo David Byrne shows up, and double David Byrne duets on “Life During Wartime.”

What’s yours?

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A Matter of Music, Pride, and Drinking: 1973 (by Joshua)

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Well, after three straight lists of nothing but dudes, my 1973 list blew up with the ladies. I told you I never forgot about them – I never forget about The Ladies. (I’m trying to figure a way to make that sound more sexist without using profanity, but I can’t.) The point is, 1973 is perhaps one of the best years for women in soul, let alone women in other genres of music. But I’m mostly interested in soul and jazz, so that’s what Cassie is gonna be forced to listen to.

“Call Me (Come Back Home)” by Al Green

God, if I could go back in time, I would amend my “Top 5 Album Openers” post to include this song. It sets the tone for perhaps the greatest soul album of all time. I’m Still In Love With You perhaps has the greatest sentimental value for me, but Call Me is just a better album. And the title track is without a doubt one of the best things Al Green has put out into the world. It has the majesty and grace (and Debbie) and sublime subtlety of Mona Lisa’s upturned half-smile, all wrapped up in a much slicker and hotter package. Those reading closely there: Yes, I did compare the Mona Lisa and “Call Me” and came down on the side of the latter. Mad? Tough shit. It’s way better. Plus, you can get down to “Call Me.” Try getting down in front of the painting – I doubt the Louvre guards would be much into that. (Or would they?)

“Killing Me Softly With His Song” by Roberta Flack

I would’ve been amiss had I not mentioned this song, for two reasons: First, it’s a great song; second, it was perhaps the most popular song of the year in ’73. The lyrics are heartbreakingly beautiful and the music is simple but breathtaking. It does have that half-cheesy sound to it, what with the overdrawn organ and nylon-string guitar, but the drummer really hangs you on for dear life. It’s why The Fugees’ 1995 cover works so well: They stripped the song down to its roots and were left with that thick, thick beat. Though I really could live without without fucking Wyclef Jean saying “One time” a hundred times.

“So Very Hard To Go” by Tower of Power

I have talked about this song many times before. But like a lot of things that are overplayed, it’s because it’s simply that good. It’s in my list of Top 5 Breakup Songs as the ultimate accepting-your-fate song. I wish I could, just once, go into a breakup with the kind of dignity and grace the singer does. You can ask any of my exes, they’ll tell you how that wasn’t even close what I did. Perhaps it would help it was soundtracked by Tower of Power with that kind of fat horn section. I think life, in general, would be better if we all had that fat, fat horn section playing in the background at all times. Think about it. Work would be better, driving around would be better, sex would definitely be better, and the horn sections would be better. That’s right: recursive horn sections. Horns in horns in horns!

“Angel” by Aretha Franklin

Ok, I know I’ve come out before on hating spoken word introductions to songs. I’ll be honest, I have to suck it up and just get through it every time I listen to this song. But once I do, and get to the meat of the song, I realize this song is The Goddamn Batman. In fact, Claire and I coined using that meme as a phrase replacing “it’s the jam” specifically because of this song. I know “Respect” gets far, far more airplay than this song, but I think this is the quintessential Aretha song. You know what? I can’t do this song justice talking about it. You have to just hear it. Now.

“Midnight Train to Georgia” by Gladys Knight & The Pips

This is perhaps a bit oddly specific, but I totally have a thing for a female vocalist with mixed-sex backup singers. I can’t get enough of it. I mean, how awesome would, say, The Temptations have been if Aretha Franklin (no disrespect to Ms. Knight, but Aretha just has better pipes) sang lead and Ms. Knight, Mavis Staples, and The Temptations sang backup. Oh god, I think my ears just came. (Gross.) The point is, this song has some serious chops, and it’s only enhanced by the mixed-sex backup singers. And by the by, it also is featured in one of the best musical moments on tv ever. (The best part is just how earnest Tracy Morgan sounds apologizing to Ms. Gladys Knight.)

Anatomy of a Playlist: In a Smoke-Filled Bar (by Joshua)

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Let’s face it, guys: Smoking is cool.

It’s cool because now it’s become of confluence of cool things: Anti-establishment (everywhere places are cracking down on smoking in public, and in some cases, in private), anti-health, and a retro throwback. The latter two are inextricably linked. 70 years or so ago when smoking was ubiquitous, it was still cool. “A Real Man” smoked Marlboro’s.  Joe Camel wore a hep black leather jacket and Ray-Bans. James fucking Dean smoked like a chimney. Smoking was so cool, when research started showing, hey, you will die if you smoke all the time, people didn’t quit smoking. And now that we’ve known about the health risks for decades, people born into a world of anti-smoking ads everywhere still light up.

Think about that for a second. I’ve known my entire life (even before I could legally smoke) that smoking causes all sorts of diseases, the biggest being the horrible death of lung cancer, but I still took it up. I didn’t do it for some grand anti-establishment statement, I just thought it was cool, and it turned out to be the greatest single ice-breaker I’ve ever had. Smokers have their own built-in community, tight-knight and hacking up a lung. If you wanted a cigarette, there’d always be someone willing to smoke with you, bum you a cigarette, and have a chat. In fact, I’d say the anti-smoking movement has only made the connections between smokers stronger, as now we have to congregate outside in small clumps to fight the elements when we go to bars and restaurants (or, really, anywhere).

But there was a time, not that long ago, when smokers lived untouched. We could sit at a bar, have a beer, listen to some music, have a chat, and smoke a cigarette in peace. We were people, normal people, instead of the freaks outside freezing in the cold and wind or choking in the heat and humidity. We could see our favorite bands and not worry about missing the best song for the fag break, or safely watch every pitch at the O’s game without worrying about missing that elusive grand slam.

That’s what this playlist serves to help us remember: the  elusive smokey bar scene, one straight out of a 50′s detective movies about the 20′s. You know, where everyone wears fedoras and suits and ties and slinky dresses and pearl necklaces (back before that was slang for something gross). The kind of bar where there was a raggedy old Wurlitzer in the corner churning out the hit parade, with a million stories in the Naked City, on a dark night in a city that knew how to keep its secrets. That, or a seriously old black man fronting a band on its last throes, eking out a measly melody with a torn-up rhythm, a skinny guitar sound poking its disheveled self out of a weary amplifier. He has a cigarette sticking out of the tops of the strings at the head of the guitar, at this point mostly ash, just holding its shape for a minute before his last lick knocks it into his bourbon on the rocks. No one in this bar pays them no mind, anyway, they have their martinis and manhattans to worry about. Nobody really talks, either; they just stare wistfully into their drinks, and stab their butts in the ashtray with a weary fury. It’s an absentminded maneuver, the putting out of your dead cigarette – you know its coming but still are surprised, and if you forget, it guts itself out on your yellowed, tobacco stained fingertips.

It’s  seemingly always nearing last call, and the place is as dark as is it is outside, save for the thin, off-white florescents hanging from old, burnt out fans, the bulbs teetering clumsily as the fans wobble off-center. Nothing ever works right in this joint – the taps are on-and-off, the ice-machine rattles something fierce, and the bartender would rather wipe down glasses than get you your drink. And there it hangs, right about the bartender, the thick cloud of smoke, the one we always seem to want to complain about now. It’s never in your face, but you can never get away from it. And it never smells stale – the smell of fresh cigarettes being lit always seems to take over the smell. You know the smell and the sounds well: the click of the Zippo opening, the flash of the flame catching the paper, and the dark, roasted, heady scent of fresh tobacco aflame. There’s nothing else quite like it in the world – even the smell of a campfire doesn’t hold the same sort of nostalgia and wonder a fresh cigarette aflame does.

A woman sits two stools down from you, in a black dress, and a hat with a torn veil, and asks you if you wouldn’t mind lighting her smoke. You oblige her, and she puts her white gloved hand on yours as you light it. This is when the band announces their set break, and they set down their instruments on the stage and walk outside for smokes and a joint. You take it upon yourself to fire up that old Wurlitzer in the corner, plunking down two for a quarter, a dime for a dance, filling the place with the tin-eared sounds of….what?

Well, that’s what I tried to do with this first take of the playlist. I didn’t quite capture that scene. I think at first I was trying to hard too re-create what I would like to hear in a bar, not what would play in the scene above. Here’s the first draft, and feel free to add your suggestions in the comments, and look forward to more edits in the future.

A Mixtape for Fireflies and Summer Storms

The East Coast is alive and well in San Francisco. At a birthday party Saturday night, I compared notes with my side of a long table and three of us went to high schools so close together we could’ve run into each other at the same McDonalds. It’s New York, it’s Boston, it’s the suburbs of DC—and for a couple months of the year, it’s the same conversation: Isn’t it so nice to be done with winter?

Disliking winter is simple: Who wants to slip on ice or endure those long months when it’s bitterly cold without the chance of snow? Who enjoys those days when it’s just never-enough layers and cutting wind, and one sad grey face after another?

Summer is it’s own strange beast though, my first love/hate relationship. I was not built for summer in Baltimore. I’m hilariously pale, perpetually dehydrated, and fairly certain that my blood is just sugar and perfume, since having upwards of 20 mosquito bites at a time is very normal for me.

I loathed the long summer months—but I loved the surreal, magic tinged bits.  Pale  green fireflies outside my bedroom window, crackling thunderstorms in June, the warm scent of honeysuckles in the heat, an olfactory memory that sums up the word “luscious.” Driving at dusk to the snowball stand, slurping crunchy ice and cherry chocolate syrup from a Styrofoam cup, bare feet perched on the dashboard. The sweet, heady boredom of suburban adolescence in the summer, all tied up in movie theatre air conditioning and cheap sunscreen, drinking Evan Williams in a field or backyard and wondering what to do next.

Are these memories a little far-fetched? Do they ignore relentless sticky days where the outdoors seem sweaty and downright hostile?  Yes. But I recommend embracing the idyllic and silly side of things—I recommend embracing that side whenever you get the chance.

So this is a soundtrack for staying out late with nothing to do, for driving barefoot while a storm gathers, for navigating leafy side roads as the sun sets and the day’s sweat cools on your bare arms and legs.

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“[Please] Don’t Break Me by Catwalk” —Claire’s Song of the Day or Album of the Week?

Catwalk’s [Please] Don’t Break Me is technically a single, though definitely a bit more than that since it features two distinct and different songs. I like them both, and I’m glad I do, since at first I was simply mesmerized by that fresh, pretty cover art.

In other news, I thought a several month long streak of music apathy was over, but the cure hasn’t stuck. I am now officially in a listening rut. What are you listening to? Let me know in the comments.

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Literal Bedroom Pop: A Visit to The Sylvan Annex (by Amy Berkowitz)

When you’re living in a city that’s slowly but surely being leached of culture Google bus by Google bus, it’s nice to discover a new DIY venue in an unlikely place. The Sylvan Annex is a house in the Inner Richmond that’s been hosting shows for a little over a year.

I first visited in March to see my friends’ band, Fears, play with The Saturday Giant, North Home, and Up! Escalator; and I returned last weekend for another show.

The Sylvan Annex is a unique experience. After you walk up two flights of stairs and straight through a living space, you’re welcomed by a gummy buffet, courtesy of host Dan Weiss.

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Dan and the ten (!) other folks living at the house are warm and friendly. Some of the roommates live in closets, which is adorable.
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The shows take place in Ashley’s bedroom (he’s the guy behind aforementioned drone-pop outfit Up! Escalator). Here he is at the sound board:

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Dan opened the April 13th show with a couple of acoustic songs. The audience sat on the floor and happily sang backup. Then, S.L.F.M. played a set of fast and sweet punk songs on an electric ukulele.

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The next band was Seattle’s Hana and the Goose.

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(I had to head out early, so unfortunately I missed most of Humble Cub and Le Fomo.)

Here’s a picture of the crowd, to give you an idea of how cozy the space is:

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The Sylvan Annex holds shows once a month or so. You can find out about upcoming events on their Facebook page.

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The Ladies of 1971 (by Claire)

Labelle: 70′s GLAM ALERT. The glam-est.

Let me just apologize first. Let’s get it out of the way.

Yes, Tapestry came out in 1971. Yes, it’s the best. And I really like Carole King, as a character: Her story is fascinating, she’s an incredibly gifted songwriter, and I highly recommend that you add Girls Like Us and A Natural Woman: A Memoir to your summer reading lists so you can learn more about her. But I think she may suffer from classic-rock-itis: I’ve heard every mellow jam from Tapestry so many times on 100.7 The Bay that I can’t get into it anymore. The same goes for Carly Simon, who released multiple albums in ’71. That Taylor/King/Simon/Browne 70’s moment is fun to read about (great article about The Session in last month’s Rolling Stone, on that note), but it’s not my favorite listening material.

And yes, jeez, I know—Blue by Joni Mitchell. It came out this year too. While Blue is a classic, and I’m not tired of it or bored with it like the releases by the ladies above, it’s not my favorite Joni Mitchell album by a long shot. (Court and Spark for life, guys. Court and freaking Spark. But we’ll get to that.)

I honestly don’t know what I have against Laura Nyro, other than one of those weird listening-avoidance-blocks. Leave me a song in the comments that I should listen to so I can get rid of it? Please?

“Cry Baby” by Janis Joplin

You’ve heard this before, and so have I, so lets get to the important stuff:

If you ever need to get pent up emotion out, I recommend dropping to your knees and belting this song. There should be flailing limbs and head spins that leave your hair askew in a disheveled rock goddess way.  If you don’t tend to your wild heart, it may demand thrown punches and straight whiskey. Wailing Janis Joplin is the best sort of meditation.


“I’ll Get Along” by Ann Peebles

Ann Peebles is my favorite discovery so far from our month of 70’s fun. This song  has that great, horns-laced, twinkly tambourine-filled, soulful 70’s sound, and Peebles’ voice is sweet and gravely. “I’ll Get Along” is a great anthem, especially post-break-up or when you’re feeling wronged, and there’s something especially satisfying about singing along to “Now lovin’ you baby made me a poor chooser/ You can bet your life this time, I won’t be no two time loser.”

“Dream A Little Dream of Me” by Cass Elliot

I wonder what this list would look like if it weren’t silly beautiful outside, with fragrant flowering foliage everywhere and smiling girls in sundresses, the promise of outdoor drinks lingering until the sun sets around 7:00. Would it be a little heavier in the winter? Would Joni Mitchell make the cut?

This is a yearlong favorite that’s particularly lovely right now. The twinkly percussion layered over the piano, and Mama Cass’ warm vocals crooning classic lines—it’s perfect always, and more perfect now when a light song sounds just right, when night breezes and birds singing and lingering until dawn all seems possible.

“Finest Lovin’ Man” by Bonnie Raitt

There’s this image of Bonnie Raitt, honed by years of Lite FM and some really middling albums, that she’s the kind of boring, not-quote country snooze best avoided or left to Boomers. That image is all wrong, and one listen to her circa 1971 freshman album Bonnie Raitt will prove it. “Finest Lovin’ Man” is sexy and delightful, but do yourself a favor and devour this album. Every track is amazing, as is Bonnie Raitt. A can’t miss musical experience is throwing open the windows during the first warm days of Spring and listening to “Bluebird” very loud while sipping something cold.

“Wild Horses” by Labelle

“Who’s Labelle? Why do you call Patti Labelle by her last name…do you think your friends?”

This is what I kept hearing as I was getting ready for 70’s month and stumbled onto Labelle by Labelle. No, I don’t think Patti Labelle and I are friends (though that would be cool, and if you can make it happen, let me know). Labelle was founded by Patti Labelle and it’s the third incarnation of the Patti Labelle and the Bluebelles. They took off in the 70’s when they left behind their original doo-wop sound and embraced rock, funk, and early experimental glam rock costuming. They’re inspiring badass female musicians who wrote their own songs and covered everyone from The Who to Gil Scott Heron, then went on to be the first modern pop group to play the Met.

So, if you were also ignorant to the musical stylings of Labelle, listen to this most excellent cover of the Rolling Stones classic “Wild Horses”—which makes an already great song even more complex and evocative, which turns it into something wholly different and magical.

Like this? Check out Joshua’s 1971 post, then visit The Ladies of 1970

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