January 11, 2009 by Andy C

Andy here, from the Tuesday Evening Mix.

I know, it's kind of late, but here is a list of my favorites from 2008.

1)DoDo's - "Visiter" (French Kiss Records)

I've written about these guys before on here.  They are fantastic.  Their second full length was a total surprise to me.  The melodies are great, but really the best part for me is the percussion.  It's loud, forceful, and gorgeous.  It sounds like they are just jamming away on whatever they can find to bang on.  It's very freeing to listen to that.

2) Hayden - "In Field and Town" (Fat Possum)

This guy just does it for me.  Always has.  People think of him as being similar to Neil Young, but actually I think he writes amazing 3 minute pop songs when he wants to.  Take for example the gem of a single, "Where and When":

"The snow was falling down like pieces of the sky last Friday night

I was outside on the street, and she was inside to a beat

Next thing I know, she's watching me writing to her in the snow

"Let's go"

She got up so close, the condensation changed her to a ghost

But she appeared again, as she wrote on the glass "Well, it depends..."

"Where and when?"

Take that and add some hand claps.  Fantastic

 

3) Fleet Foxes - "Fleet Foxes" (SubPop)

Fleet Foxes seem kind of boring.  I mean this in the best possible way, though.  They are long haired guys with beards who play alot of acoustic guitar.  This has been done a million times.  In fact, the first few times I listened to them I didn't get it.  I thought there had to be more to it.  Then I started to realize that there didn't have to be more to it.  In fact the whole debut long player is so comforting and good, that it can almost creep by you without notice.  I'll be shocked if they can't keep putting out solid releases over the next 10-15 years.  It's just feels that good and that natural.

 

4) The Walkmen "You and Me" (Gigantic)

The Walkmen are a band thats quality, in my opinion, has varied greatly at times.  They can put me to sleep with how morose and alike all their songs can sound on some recordings.  However, this release reminded me of what I've liked in the past.  I think this is the first time they have put out a whole LP that is great from front to back.  They are from NYC, and not surprsingly so.  The record sounds like walking around NYC at night in the winter time.  Or maybe, it sounds like sitting around your house in the winter with friends while having a few drinks.  You may have a different opinion of what it sounds like, but I know it will involve winter.  It has to.

 

5) Retribution Gospel Choir - "Retribution Gospel Choir" (Caldo Verde)

Well, I had wondered for a while what would happen if the band Low took it up from 20 bpm, to even like 30, or maybe 40, and just got even slightly angry.  Alan Sparhawk, of Low, has done just that with this side project.  Produced by Mark Kozelek, of Red House Painters and Sun Kil Moon fame, it sounds like a lost Crazy Horse record.  No frills rock n' roll.

 

6) Spiritualized "Songs In A&E" (Fontana Intl.)

Jason Pierce's output has slowed somewhat in recent history, but the quality has not.  This is one of his best.  "Soul On Fire" is also one of the under appreciated songs of the year.

 

7) Frightened Rabbit "Midnight Organ Fight" (Fat Cat)

There is something very comforting about this record.  Which is kind of weird, as some of the lyrics are pretty harsh.  Maybe that's what makes it comforting, though.  Of course, it also always helps to swear in a heavy Scottish accent.  It just sounds that much more biting.  Not that I think that Americans should put on a fake Scottish accent and start swearing.  That would just be obnoxious.  Do you think Ryan Adams is going to start doing that?  

 

8) Vampire Weekend - "Vampire Weekend" (XL Recordings)

A lot has been written about these guys so I'm just going to tell a quick story in this place.  I have this major problem of forgetting my keys when I leave my house.  I do it probably like 5 or 6 times a year.  Thankfully my wife works at a hospital about 3 blocks from our house.  So, I have upon occasion had to call her and go to the hospital to get her key.  One cold day I did this while she was working in the ICU.  She explained to me where exactly to go and she would be waiting just inside the main doors to the unit.  I walked in and there she was.  She then preceeded to turn around and say, "Everyone, it's okay...".  The whole unit of staff turned around at this point.  "This is my husband.  You see, he locked himself out of our house so he had to walk over here to get my keys.", she says.  Everyone kind of chuckles and goes back to their business.  Kind of unnecessary, right?

 

9) MGMT - "Oracular Spectacular" (Columbia)

MGMT actually is rather over the top for me.  I'm a simple man with simple pleasures.  However, If you can write really good melodies that are amongst the catchiest this decade, well to a certain degree you can get a pass.  I still may roll my eyes at you on the cover of magazines in neon colored spandex, but I will defend the songs anytime someone brings them up.

 

10) Beach House "Devotion" (Carpark)

A very subtle release from this duo out of Baltimore.  The vocals are really what make it for me.  I find myself singing along to it all the time.  

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January 5, 2009 by kyle@wyep.org

Here's the WYEP 2008 Top 50 recordings !

1. Radiohead, ‘In Rainbows’

2. Robert Plant & Alison Krauss, ‘Raising Sand’

3. The Hold Steady, Stay Positive’

4. Kathleen Edwards, ‘Asking for Flowers’

5. Coldplay, ‘Viva La Vida, or Death and All His Friends’

6. Death Cab for Cutie, ‘Narrow Stairs’

7. My Morning Jacket, ‘Evil Urges’

8. DeVotchKa, ‘A Mad & Faithful Telling’

9. Sharon Jones & The Dap Kings, ‘100 Days 100 Nights’

10. Fleet Foxes, ‘Fleet Foxes’

11. Martha Wainwright, ‘I Know You’re Married But I’ve Got Feelings Too’

12. Vampire Weekend, ‘Vampire Weekend’

13. Michael Franti & Spearhead, ‘All Rebel Rockers’

14. Emmylou Harris, ‘All I Intended to Be’

15. Verve//Remixed 4′

16. Alejandro Escovedo, ‘Real Animal’

17. Jackie Greene, ‘Giving Up the Ghost’

18. Conor Oberst, ‘Conor Oberst’

19. Nicole Atkins, ‘Neptune City’

20. Old 97s, ‘Blame It on Gravity’

21. Joe Jackson, ‘Rain’

22. Jack Johnson, ‘Sleep Through the Static’

23. Carbon/Silicon, ‘The Last Post’

24. Buddy Guy, ‘Skin Deep’

25. Dar Williams, ‘Promised Land’

26. Elbow, ‘The Seldom Seen Kid’

27. Levon Helm, ‘Dirt Farmer’

28. The Kooks, ‘Konk’

29. Sheryl Crow, ‘Detours’

30. Okkervil River ‘The Stage Names

31. Richie Havens, ‘Nobody Left to Crown’

32. Dan Wilson, ‘Free Life’

33. Mike Doughty, ‘Golden Delicious’

34. Band of Horses, ‘Cease to Begin’

35. kd Lang ‘Watershed’

36. The Black Keys, ‘Attack & Release’

37. Joan Osborne, ‘Little Wild One’

38. James Hunter, ‘The Hard Way’

39. Drive-By Truckers, ‘Brighter Than Creation’s Dark’

40. Aimee Mann, ‘#@%&! Smilers’

41. Mudcrutch, ‘Mudcrutch’

42. Beck, ‘Modern Guilt’

43. R.E.M., ‘Accelerate’

44. She & Him, ‘Volume One’

45. Chuck Prophet, ‘Soap and Water’

46. Elvis Costello, ‘Momofuku’

47. Duffy, ‘Rockferry’

48. Jim White, ‘Transnormal Skiperoo’

49. Gary Louris, ‘Vagabonds’

50. John Fogerty, ‘Revival’

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December 19, 2008 by cindy@wyep.org

Everyone who came to the WYEP Holiday Hootenanny - THANK YOU! What an amazing night of holiday music!!! Silver & Gold were FAN-FLIPPING-tastic! Amazing local music is in our city, my friends!

Pictures are up on WYEP's Flickr, so check 'em out! Here is the defining moment of the evening captured (by the lovely Kayla Seybert) on film. It's Kathryn (of Blindsider) and Ben Hardt singing "Do They Know It's Christmas" by Band Aid:

BIG BIG BIG Thanks to musical director Jeff Baron for getting the band together and coming up with the idea

Thank you to the members of Silver & Gold
Jeff Baron (The Essex Green)
Josh Verbanets (Meeting of Important People/Lohio)
Carrie Battle (Harlan Twins)
Hallie Pritts (Boca Chica)
Ben Hardt (Ben Hardt and His Symphony)
Casey Hanner (Donora)
James Hart (Harlan Twins)
Scotts Roger (Scotts Roger)
Sarah Siplak (Scotts Roger)
Aaron Bubenheim (Br'er Fox/Meeting of Important People)
Dave Bubenheim (Br'er Fox)
Kathryn Heidemann (Blindsider)
Craig Smith (Blindsider/Lohio/The Victors!)
Paul Zyla (Harlan Twins)
Greg Dutton (Lohio)
Megan Lindsey (Good Night, States)
Elizabeth Adams (Lohio)
Jake Hanner (Donora)

Happy Holidays!!

xoxox
Cindy

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December 11, 2008 by kyle@wyep.org

Congratulations to our Morning Mix Host Cindy Howes for making the Pittsburgh City Paper's Best of List 2008 in the category of Best Morning Radio Show ! The readers of City Paper voted Cindy on the list out of some 25 Pittsburgh morning shows.

Best morning radio show
1st Jim & Randy -- WDVE
2nd Mikey & Big Bob -- The Freak Show, Kiss FM
3rd Cindy Howes -- WYEP

Check out all the interesting Best of 2008 lists at www.pghcitypaper.com

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December 11, 2008 by kyle@wyep.org

Guitarist Joe Satriani is suing Coldplay for allegedly plagiarizing the chord progression and melody of his 2004 instrumental “If I Could Fly” for their recent hit “Viva La Vida”. Satriani is seeking to receive all royalties generated by the Coldplay song.

Satriani vs Coldplay

What do you think?

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December 8, 2008 by barbmstein@aol.com

On a cold December Saturday night we went inside The Rex Theater for the double concert bill of Glen Phillips and Jonatha Brooke.

Glen Phillips (Toad the Wet Sprocket) accompanied by Jonathan Kingham (vocals/guitar) did a 55-minute, 15-song set.  Jonatha Brooke came on stage to play the piano and sing two songs with Glen.  Jonathan took a turn in the spotlight on “She’s So California”.  Glen did a couple of songs from his latest project, Works Progress Administration (WPA), “Rise Up” and his final song of the evening “I Don’t Need Anything I Don’t Have”.  From his EP “Secrets of the New Explorer” Glen did a kid’s song about radiation sickness “Solar Flare”, that Jonatha joined him on.  Some songs can stand the test of time and be stripped down.  That was the case of Toad’s “All I Want”, it was an acoustic gem.

We learned a few things about Jonatha Brooke during her 14-song, 1-hour and 20-minute set.  Jonatha will probably never record a Christmas album, she can do an impersonation of a small dog, she’s more comfortable playing the guitar then the piano, for financial reasons she did not bring a band with her, adding that sometimes she likes to go out on tour alone and that she loves her latest release “The Works”.

Jonatha sang at least four songs from “The Works”.  Most of the lyrics on the album were written by Woodie Guthrie.  Jonatha told us the history of how she went to the Woodie Guthrie Archives and came out with the idea to do this album.  “My Flowers Grow Green” was an especially beautiful tune, with Jonatha singing quietly at the piano.  Returning the favor, Glen came back on stage to sing “Sweetest Angel” with Jonatha.

Each of Jonatha’s songs seem to have a story behind them, like title track from “Ten Cent Wings” and a song that was featured in MTV’s “The Hills”.

This was the final show together for Glen and Jonatha until the spring.

http://www.glenphillips.com/

http://www.jonathabrooke.com/

http://www.jonathankingham.com/

Barb S. - Sunday Mix Host

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December 4, 2008 by kyle@wyep.org

The 51st annual Grammy nominations are out.  Some pretty interesting names from some WYEP artists that have been nominated in a variety of categories.

Radiohead has 7 category nominations. Robert Plant & Alison Krauss have 5.  The band everyone loves to hate lately, Coldplay has been nominated in several categories as well.

My early prediction is that Robert Plant & Alison Krauss win best album award for 'Raising Sand'.

Check out the entire, exhausting list at www.grammy.com

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December 4, 2008 by barbmstein@aol.com

Barb's Favorite Albums of 2008

#1: Honeydew / Shawn Mullins / Vanguard Records / 3/11/08

I was very familiar with the songs on this album before I even heard it. For the past couple of years, Shawn Mullins has been on the road introducing us to its characters in “The Ballad of Kathryn Johnston” andCabbagetown”. “All in My Head” was the catchy first release, from “Scrubs”. I absolutely love the seamless transition of “Homeless Joe” into “Leaving All Your Troubles Behind”. “See That Train”, “For America”; actually all the tracks prove that Mullins is one of the great American storytellers. This is probably his best effort to date.

#2: Where The Light Is: John Mayer Live in Los Angeles / John Mayer / Sony / 7/1/08

A live 2-CD set that showcases John Mayer in three different genres, in one night, on one stage. Acoustic, jazz/blues (John Mayer Trio) and rocking with his band. I like Mayer's cover of Tom Petty’s “Free Fallin’”. Mayer continues to grow as a musician, singer-songwriter and performer.

#3: Detours / Sheryl Crow / A&M / 2/5/08

I fell in love with Sheryl Crow’s music when I heard “All I Wanna Do”. This album takes me back 15 years to the “Tuesday Night Music Club” sound. From “Out of Our Heads” to “Shine Over Babylon” to “Gasoline”, you’re hooked. “Detours” made the list of WYEP’s Top 50 Albums of 2008.

#4: Last Days at the Lodge / Amos Lee / Blue Note Records / 6/24/08

Amos Lee is an artist I discovered this year at WYEP. Hearing the track “Listen” made me want to listen to more. Lee's 3rd effort was produced by Don Was. All 11 tracks are easy to listen to.

#5: Skin Deep / Buddy Guy / Zomba / 7/22/08

One of WYEP’s Top 50 albums of 2008. The title track “Skin Deep” features Derek Trucks. A 72-year old blues and rock guitar legend teaming up with a 29-year old “new guitar god”. Also featured: The Memphis Horns, Willie Mitchell, Susan Tedeschi, Eric Clapton, Robert Randolph and Quinn Sullivan. Great guests. Great blues.

Barb's Favorite Concerts of 2008

#1: Marc Cohn / Mr. Smalls Theater / 1/26/08

What can I say, this is only the second time I’ve seen Marc Cohn perform live in Pittsburgh in 17 years. It was a great way to start off the year, and it remains my 2008 highlight concert. Cohn’s four studio albums are like greatest hits collections. It’s always very special to see an artist who does not get out on the road that often. What a great show!

#2: Shawn Mullins / Club Cafe / 4/1/08 (solo) and 9/15/08 (opening for Dar Williams)

Having the chance to see one of my favorite singer-songwriters in an acoustic show twice this year, at such an intimate venue, was quite a treat. Mullins knows how to weave stories in his songs. I’ve been a fan since “Lullaby”.

#3: The Swell Season / The Byham Theater / 9/21/08

A great big thank you to WYEP for introducing me to Glen Hansard, Marketa Irglova and The Frames! Hansard shows so much emotion and just draws you in. This was such a wonderful discovery for me.

#4: Edwin McCain / The Palace Theater, Greensburg / 8/6/08

Edwin McCain is at his best in an acoustic setting. A great storyteller with an even greater sense of humor who knows how to relate to his audience.

#5: John Mayer / Post-Gazette Pavilion / 8/13/08

It’s been a pleasure watching John Mayer mature as a performer. There aren’t too many acts I will drive out to Burgettstown for, Mayer is on the short list.

My insatiable appetite for singer-songwriters was once again more than satisfied in 2008. I look forward to what 2009 will bring in music and concerts.

Barb S. - Sunday Mix Host

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November 29, 2008 by barbmstein@aol.com

James Blunt, Air Canada Centre, 11/27/2008

Sometimes when you go out to eat, you order an appetizer instead of entrée. It's similar to going to a concert where you're more interested in seeing the opening act instead of the headliner. This is how I felt in August, when I went to see Sheryl Crow in Philadelphia. I mainly went to see one of her opening acts, the appetizer. I really wanted an entrée. I had the opportunity to have the main course on Thanksgiving night in Toronto, Ontario, Canada at the Air Canada Centre.

This evening's appetizer was Canadian act Luke Doucet and The White Falcon (http://www.lukedoucet.com/) I was sitting in the front row among Canadians who were not familiar with Luke Doucet. It was a late arriving crowd, apparently they wanted to skip the appetizer. It's a shame, they missed the chance to hear one of their own. Luke Doucet and The White Falcon came on stage promptly at 8 pm and did an 8-song, 45-minute set. The White Falcon was comprised of Melissa McClelland on vocals/guitar, along with a drummer and bassist.

Luke did a couple of songs from his 2005 solo release "Broken (and other rouge states)", "Broken One" and "Vladivostok". A song for all the people who go to concerts alone "Cleveland", ending with "First Day", both from his latest release "Blood's Too Rich". Luke has a haunting, heavy guitar sound, reminiscent of Chris Isaak. Reading from his arm, Luke let us know he would be back in Toronto in February and out in the concourse of the arena signing CD's during the intermission. I hope the black ink washed off.

At 9:15 pm the entrée was served. The lights dimmed, the 4-piece band went to their places and James Blunt made his entrance. The 34-year old British singer-songwriter has an amazing amount of energy. The experience of touring across the globe seems to have given James the confidence to use the whole stage, even the whole arena during his show. He has a menu of about 2-dozen plus songs (mostly found on 2-studio albums "Back to Bedlam" and "All The Lost Souls"), yet he was able to mix in some unfamiliar songs with his most well known tunes. The performance had good pacing with fan favorites and new songs interspersed. Most of the changes between numbers went smoothly, with little down time, helping to keep the momentum moving forward. James alternated between the guitar and piano.

The show began with a set of some of his slow, and often thought of as, depressing songs. He decided to change the mood, by singing a song about drugs "Give Me Some Love". I confess, I love to sing along with that one when I'm alone in the car. And sing along we all did, mostly without added encouragement. Although when James debut a new song called "Love, Love, Love" he said if he forgot the words, then well we couldn't help him. He mentioned being stationed in Alberta before singing the somber "No Bravery" at the piano.

Images were projected behind the tiered stage; the lighting and lasers were creative. During "Shine On", James was bathed effectively in green lasers. From the stage he began "Coz I Luv You" (a cover of the Slade song from the 70s) and he finished it in the middle of the arena floor. Jumping off the stage, over the temporary wall, walking on seats to get to a piano that seemed to rise from the floor. At this point the crowd stood up and stayed on their feet for the remainder of the show. Green lasers projected "M-M-M" onto the upper levels of the arena seats during "I'll Take Everything".

"You're Beautiful" was not saved to the very end. I've been to a few concerts this year where the performer's biggest hit, wasn't necessarily used as the last song or part of the encore. I like this trend of giving the audience what they came to hear and then continuing to build from there. James ended with "Same Mistake", the video for which was filmed in Toronto. The 1-hour and 25-minute set was followed by a 20-minute 3-song encore. "One of the Brightest Stars" was sung in the dark with the twinkling of stars on the stage. The final song was "1973", transporting us all back to a discothèque. Silver and later red, white and blue streamers filled the air, while a disco ball rotated above, giving quite an amazing visual image. At the end of the song, James climbed on his upright piano, which didn't seem too steady under his feet. When he came back on stage, he used his own camera to get a photo of his audience; seeming to be genuinely grateful for the applause and support shown throughout the evening.

Out of curiosity, I've been reading the newspaper reviews on line of the Canadian shows as James has made his way across the provinces. Generally the reviews have been favorable, but they've noted that maybe a hockey arena is too large of a venue; that his show would be more suited to a smaller place. I think a respectable number of seats were filled in the ACC. After James played a few songs on a piano in the middle of the arena floor, he convinced me that he could make an arena feel intimate as he brought the entire audience into his performance. Also, those of us in the front row, one by one, got up to lean along the temporary wall that separated us from the stage, just to get a better view. Reflecting on it later, it reminded me of the photos I've seen of The Beatles fans reaching out across the fences trying to get closer. I'm not suggesting that James' career will parallel that of The Beatles or an Elton John, but I think his slice of the musical pie will only keep growing. I've heard that it's hard to really classify his music. Maybe this is part of the reason his popularity in the USA doesn't mirror that of other countries.

During this time of giving thanks, I'm thankful for the music of James Blunt.

www.jamesblunt.com

Check out the rest of my photos:

http://picasaweb.google.com/AvalonBarb/JamesBluntTOACC112708#

Barb S. - Sunday Mix Host

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Posted in
November 20, 2008 by kyle@wyep.org

Check out the new David Byrne and Brian Eno video "Everything That Happens Will Happen Today"

There's also a free song download.

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November 17, 2008 by mike@wyep.org

91.3 WYEP celebrates the 40th anniversary of The Beatles, the only double album released by The Beatles. The record, one of the few major albums in rock history that is rarely called by its correct title (mostly called by its nickname The White Album), was released in the U.S. on November 25, 1968.

Listen to our audio features on the White Album at our On Demand audio page. Additional information about the record and its music is below. Also, feel free to share your thoughts about The White Album (via the "Leave a Reply" box at the bottom of this post)!

Local support provided by The Priory and The Grand Hall at The Priory.

Here's a look at the songs on the White Album in the original vinyl record sequence:

Side A:

1. Back in the U.S.S.R. (written by Lennon-McCartney, primarily Paul) Ringo Starr made an enormous contribution to the success of The Beatles, from his distinctive and tasteful drumming to his quick wit at early press conferences to his superior acting abilities in A Hard Day's Night. However, he was surrounded by such towering talents that he often got the short end of the stick in recognition, certainly from the public but even from his bandmates at times. During the recording of the White Album everything came to a dramatic apex, especially when, as legend has it, Paul McCartney would sometimes re-record Ringo's drums tracks with his own secret sessions behind the drum kits. On the evening of August 22, 1968, Ringo became the first Beatles to quit the band. He stormed out of Abbey Road studios, and promptly left the country to go on holiday. To add insult to injury, the rest of the band recorded "Back in the U.S.S.R." quite well without him, as the Fab Three with Paul on drums, taking a mere two days to complete the track, making Ringo seem indeed superfluous. The song was a Paul composition, a nifty pastiche of Beach Boys and Chuck Berry musical and lyrical ideas. Of course, some anti-rock & roll crusaders took the song as final admission once and for all that the band was an elaborate Iron Curtain plot to destroy a generation of Western youth. The well-known Beatles detractor David Noebel, author of such pamphlets as "Communism, Hypnotism and The Beatles," wrote of "Back in the U.S.S.R.," "obviously the lyrics have left even the Reds speechless." (later covered by Chubby Checker and Billy Joel)

2. Dear Prudence (composed by Lennon-McCartney, primarily John) When The Beatles went on an extended retreat to India for meditation with the Maharishi Mahesh Yogi, John took advantage of the pastoral setting and wrote a particularly productive number of songs. It was quite the scene at the Maharishi's ashram in Rishikesh; not only were The Beatles and their wives in residence, but the singer Donovan as well as actress Mia Farrow. "Dear Prudence" was written about Farrow's younger sister, who was also at the retreat in India. Prudence Farrow became a virtual hermit in almost constant mediatation, and Lennon sang of his and George's efforts to get her to leave her room and join the others in communal gatherings. (later covered by Siouxsie & The Banshees, The Five Stairsteps, and the Jerry Garcia Band)

3. Glass Onion (composed by Lennon-McCartney, primarily John) John Lennon's compositions on the White Album are chock full of the clever and imagistic wordplay that was his hallmark. He also delved into montage, from the song quilt "Happiness Is a Warm Gun" to the sound collage "Revolution 9" to the tour of Beatles songs past, "Glass Onion." As put by a 1968 album review, the "Glass Onion" has "fun with all the Ph. D. candidates doing theses on their lyric content" with "all sorts of references to characters in their earlier works." The song alludes to five previous Beatles songs, including "Strawberry Fields Forever," "I Am the Walrus," "Lady Madonna," "The Fool on the Hill," and "Fixing a Hole."

4. Ob-La-Di, Ob-La-Da (composed by Lennon-McCartney, primarily Paul) Paul McCartney knew a Nigerian-born percussionist in London named Jimmy Scott who frequently used a Yoruba language expression "ob-la-di ob-la-da," or "life goes on." The Beatle plucked the saying for use in a song. From the beginning the song gave The Beatles headaches in the studio trying to record it. The band did numerous takes and retakes of the song, trying to satisfy the increasingly perfectionist McCartney. In the early versions, the song had an acoustic guitar-based arrangement. After one otherwise flawless run-through of the song, Paul realized that he mixed up the lyrics. Instead of singing, "Molly stays at home and does her pretty face" as he had written, he sang "Desmond" instead of Molly. After consideration, he decided to leave the mistake as is to give fans something to ponder. Of course, at this stage of The Beatles' career, listeners didn't need any assistance trying to decode hidden meanings in the band's lyrics. One contemporaneous reviewer, reading a little tenuously into the song's title, wondered if there was significance that the title was an anagram for "diablo," Spanish for "devil." The song used a ska beat, not very common at the time in mainstream pop songs. The beat is a little obscured in The Beatles' recording, but it's emphasized more in other cover versions. After so many attempts to get the sound right for the song, one night John walked into the studio in a fairly altered state of mind and sat down at the piano. Declaring to the others that "this is it!" he smashed the piano keys with a faster, harder, and somewhat more ragged intro to the song. That difference in energy turned out to be just the change that the song needed. (later covered by Marmalade, Youssou N'Dour, and Jimmy Cliff)

5. Wild Honey Pie (composed by Lennon-McCartney, primarily Paul) A bit of a nonsense song which merely repeats "honey pie" several times over some quirky music and concludes with a sung "I love you, honey pie!" Exactly the sort of song that makes one understand why George Martin wanted to trim the White Album to a single disc. (oddly, later covered by The Pixies)

6. The Continuing Story of Bungalow Bill (composed by Lennon-McCartney, primarily John) Written by Lennon in India after observing an American woman and her teenage son go tiger hunting and then returned to the meditation camp to continue their spiritual studies. It was described by one reviewer as "a cunningly simple ditty that flashes with hints of America's burgeoning violence and shrinking mythology." The song also marks the first time that a Beatles' significant other sang a lead vocal, if only for one line (the line "not when he looked so fierce.."). Both Yoko Ono and Ringo's wife Maureen sing on the recording, but only Yoko gets a feature line.

7. While My Guitar Gently Weeps (composed by Harrison) George Harrison's greatest contribution to the White Album, and high up on the list of his crowning achievements on any Beatles album, was his song "While My Guitar Gently Weeps." The history of the track was interesting, beginning with the randomness which informed its very genesis. Inspired by the I Ching, Harrison picked up a book selected arbitrarily, opened up to a random page, and would write a song based on the first words he saw. The phrase was "gently weeps." The song began life as an acoustic guitar number, one which had that same plaintive emotion found in the final version. Originally, the song had an extra verse that George cut before recording the final version ("I look from the wings at the play you are staging/While my guitar gently weeps/As I'm sitting here, doing nothing but aging/Still my guitar gently weeps"). On September 6, 1968, while driving in London, George was telling his buddy Eric Clapton about recording this song and finally asked him to perform on it. While The Beatles had plenty of little known session musicians on their records, they had never had a guest star play on one of their records. However, the public wouldn't be initially aware of this musical cameo, as Clapton was never credited in the album's liner notes. After hearing his performance, Clapton was unsure how it worked with the song, thinking the solo didn't didn't sound "Beatley" enough. So they mixed the guitar part through an electronic device designed for John Lennon to use for his vocals, and the result was deemed quite suitable by all. (later covered by Peter Frampton, Jeff Healey Band, and Marc Ribot)

8. Happiness Is a Warm Gun (composed by Lennon-McCartney, primarily John) On this song, Lennon stitched together three different new song snippets to form the one final composition. There was the "I need a fix" section, the "Mother Superior jumped the gun" piece, and the section which gave the song its title (the "happiness is a warm gun, bang bang, shoot shoot" section). (later covered by Tori Amos, U2, and The Breeders)

Side B:

1. Martha My Dear (composed by Lennon-McCartney, primarily Paul) Dan Wilson, formerly of the band Semisonic, underscores how a song can be diminished when you know its backstory with McCartney's tune "Martha My Dear." Actually written about McCartney's sheepdog Martha, Wilson says that when he found out that fact, "I was just deflated by the revelation -- I had had my own mental images... and to learn that" it was a dog "was such a letdown." (later covered by Slade)

2. I'm So Tired (composed by Lennon-McCartney, primarily John) John's companion piece to his earlier "I'm Only Sleeping." Following Lennon's "I'm So Tired," one can hear him mumbling, ostensibly saying "Monseiur, monseiur, how 'bout another one?" Listeners had been scouring Beatles' releases to divine special messages and hidden meanings for a long time, and beginning in 1969, the practice evolved into the "Paul is Dead" rumor, that McCartney had died in a car crash and was replaced by a lookalike, illustrated by a string of clues scattered throughout the band's albums. These rumor proponents believed that Lennon's mumbling was a backwards message saying "Paul is a dead man, miss him, miss him."

3. Blackbird (composed by Lennon-McCartney, primarily Paul) A song partially inspired by the civil rights movement in the U.S., but its message was horribly mangled by at least one listener. The mass murderer Charles Manson thought that the White Album was a personal message to him to try to start a race war and the word "rise" was scrawled at one of the murder sites, supposedly because of McCartney's use of "arise" in this song. (later covered by Bobby McFerrin and Sarah McLachlan)

4. Piggies (composed by Harrison) George's writing was often about the mystical and the sublime, he was also sometimes rather cynically worldly in his songs. Like "Taxman" several years before, Harrison mocked establishment types and English society in "Piggies." Originally, George had slightly different lyrics in the line about the piggies clutching forks and knives ("clutching forks and knives to cut their pork chops") but Lennon suggested switching "pork chops" to "bacon" making the metaphorical suggestion of cannibalism more clear.

5. Rocky Raccoon (composed by Lennon-McCartney, primarily Paul) A country-folk storytelling number. The Chicago Tribune's initial review of the album proclaimed it the critic's favorite from the record. (later covered by Richie Havens and Jack Johnson)

6. Don't Pass Me By (composed by Starkey) Up until the White Album, Ringo's songwriting credits included merely one-third of "What Goes On," the lone Lennon-McCartney-Starkey composition in the Beatles' catalogue, and the Magical Mystery Tour instrumental "Flying," attributed to all four band members. But Ringo finally completed a song that he had been working on since the group's early days, "Don't Pass Me By," Ringo's first song recorded with The Beatles. (later covered by The Georgia Satellites)

7. Why Don't We Do It in the Road? (composed by Lennon-McCartney, primarily Paul) The White Album was a sprawling collection of styles, from heavy blues-rock to folk-pop to fiddle-drenched country to old-time music hall. This diversity was a strength to some listeners and a weakness to others, particularly when contrasted to the previous year's masterpiece, Sgt. Pepper's Lonely Hearts Club Band. As Time magazine put it in their review, "skill and sophistication abound, but so does a faltering sense of taste and purpose." Producer George Martin suggested to The Beatles that they cut the number of songs down by half, but the songwriters didn't want to compromise their individual visions. Paul McCartney's contributions to the set were a large part of that sonic diversity, contributing the Beach Boys take-off "Back in the U.S.S.R." as well as the spare "I Will." But while all of Paul's songs are memorable, a number are clearly fluff, or at least ranking in the lower echelons of the Lennon-McCartney catalogue. Just as Lennon was adding to album's the signal-to-noise ratio with his sound effect pastiche "Revolution 9," McCartney was similarly adding empty calories to the album with several non-songs, like the two-line, raunch-rock of "Why Don't We Do It in the Road?" (later covered by Lydia Lunch)

8. I Will (composed by Lennon-McCartney, primarily Paul) "I Will" was a fairly straightforward song, a typical Paul dreamy love song made distinctive by its clip-clop percussion. Some complained that it wasn't even terribly original, sounding rather similar to the band's song "I'll Follow the Sun" from four years previous. Still, it turned out rather popular over the years with other folk-leaning performers, from Art Garfunkel to Hugh Masekela to Ben Taylor to Alison Krauss.

9. Julia (composed by Lennon-McCartney, primarily John) The White Album featured one song that ranked among the most personal of John's career, his ode to his late mother, "Julia." Lennon began the song with a reference to poet Khalil Gibran's 1926 piece "Sand and Foam." Gibran wrote "Half of what I say is meaningless, but I say it so that the other half may reach you." John's version was "Half of what I say is meaningless, but I say it just to reach you, Julia." "Julia" was the only song in the Beatles catalog that Lennon recorded solely by himself without any assistance from his bandmates. (later covered by Ramsey Lewis and Medeski, Scofield, Martin & Wood)

Side C:

1. Birthday (composed by Lennon-McCartney, primarily Paul) Despite Paul's reputation of tending towards schmaltz and syrupy pop in his songwriting, he always had a passion for Little Richard style belters and full-on rock 'n' roll. On the evening of Sept. 18, 1968, The Beatles took a break from recording and went a couple of blocks away to Paul's house to watch a BBC screening of the 1956 movie The Girl Can't Help It, which featured Little Richard himself, Gene Vincent, Fats Domino, Eddie Cochran, and The Platters. Afterwards, they went back to Abbey Road studios and immediately recorded "Birthday." "Birthday" was a song that Paul essentially wrote in the studio that same day it was recorded. (later covered by Underground Sunshine, in a version which charted in the U.K.)

2. Yer Blues (composed by Lennon-McCartney, primarily John) One of John Lennon's legacies as a songwriter is the absolutely fearless confessional style he evolved, particularly notably in his early solo albums. His songs for the White Album were a key part of this development in his approach. As early as the 1965 single "Help!," Lennon was trying to stretch the boundaries of pop music away from its usual light romantic fare and into expressions of his own insecurities. However, not all of John's musical expressions of misery and woe should be taken at face value. "Yer Blues" is full of heavy emotional imagery, but it was intended as a parody of blues and not a confessional at all. And yet in retrospect, one can't help but compare the lyrics to some of Lennon's early solo work. Just as "Yer Blues" refers to Bob Dylan's "Ballad of a Thin Man" ("feel so suicidal, just like Dylan's Mr. Jones") and proclaims rock & roll as little salvation from life's troubles ("feel so suicidal, even hate my rock and roll"), so too does Lennon's solo song "God" refer to Dylan, using his real last name ("I don't believe in Zimmerman") and proclaims a disbelief in both Elvis and The Beatles as figures of salvation ("I don't believe in Beatles").

3. Mother Nature's Son (composed by Lennon-McCartney, primarily Paul) Paul wrote "Mother Nature's Son" while in India with the rest of the Beatles at a meditation retreat run by the Maharishi Mahesh Yogi. The Maharishi gave a lecture on nature one day that had strong impact on both McCartney and John Lennon. It inspired Paul to write "Mother Nature's Son" and John composed "Child of Nature" which several years later turned into "Jealous Guy." In another sign of growing tensions within the band, there was a moment while recording "Mother Nature's Son" when Paul was working with producer George Martin and several horn players hired for the session. Everybody was having a good time when John and Ringo walked into the room. Suddenly, in the words of a studio engineer present, "you could cut the atmosphere with a knife." The other Beatles stayed for only ten minutes or so, and then the tenseness disappeared as suddenly as it came on. (later covered by Harry Nilsson, John Denver, and Sheryl Crow)

4. Everybody's Got Something to Hide Except Me and My Monkey (composed by Lennon-McCartney, primarily John) A number of Lennon's songs are written about his then-new relationship with Yoko Ono, including "Everybody's Got Something to Hide Except Me and My Monkey." During the sessions for the White Album, Lennon first brought Yoko with him to the studio. Not only was Yoko present but she felt free to offer suggestions and criticisms, ratcheting up the discontent and tensions between The Beatles. (later covered by Fats Domino and The Feelies)

5. Sexy Sadie (composed by Lennon-McCartney, primarily John) Originally titled "Maharishi," the song bitterly detailed how betrayed Lennon felt after the spiritual advisor (Maharishi Mahesh Yogi) was accused of a romantic entanglement with one of his students, leading John and George to leave India and cease studying with the Maharishi. The song was written after the two Beatles had just left the ashram, actually in the car angrily heading away. George convinced John to retitle and slightly rework the song, so it wasn't so directly slanderous.

6. Helter Skelter (composed by Lennon-McCartney, primarily Paul) Called upon its release as "perhaps the most frantic, compelling number the group has ever done." In fact, the song is a result of Paul's one-upmanship. He heard an interview with Pete Townshend of The Who talking about their famously loud, raucous sound, and Paul decided The Beatles needed to record a track as loud and sweaty as any band in the music scene. And rambunctious it was. Ringo's famous concluding yell ("I've got blisters on my fingers!") was the result of intense jamming on the heavy rock number. In fact, one unreleased take of the song is perhaps the most sought-after Beatles recording never to be bootlegged or heard by the public thus far: an epic 27 minute long version of the song. The song was among those that mass murderer Charles Manson interpreted as a personal message to him, assigning the name "Helter Skelter" to the violent race war that he believed it was his mission to start. The lyrics are actually written about a children's playground slide. (later covered by Siouxsie & the Banshees, U2, Pat Benatar, and even Mötley Crüe)

7. Long, Long, Long (composed by Harrison) The Beatles were always open to sonic accidents when recording their music. Sometimes it was a little touch and other times major, but one of these can be heard at the end of another George composition, "Long, Long, Long." A wine bottle left on top of a speaker began to rattle when a certain note was played on the organ. They kept it in the final version of the song to add a mysterious-sounding touch. (later covered by Low and Tanya Donnelly)

Side D:

1. Revolution 1 (composed by Lennon-McCartney, primarily John) The first song that The Beatles recorded in the studio for the White Album. It eventually became the only song on the album to also be released as a single, albeit with a different arrangement, and it was quite a rocker. The album one, officially titled "Revolution 1," is remembered for being the slower, somewhat bluesy version, compared to the harder-edged single. The Lennon-penned number began life as a chaotic, caterwauling epic, with one take running to more than 10 minutes long, but "Revolution 1," the less-intense album version, was John's original intent. Always looking for a way to make his voice sound different, John tried recording the vocals while lying on the studio floor. Perhaps the vibe was a touch too laid back, though; George and Paul didn't think the song was upbeat enough for the group's next single, so John goosed the tempo and ferocity for the single arrangement.

2. Honey Pie (composed by Lennon-McCartney, primarily Paul) Continuing Paul's forays into the music hall mannerisms he showcased on Sgt. Pepper's "When I'm 64" and in Magical Mystery Tour's "Your Mother Should Know." (later covered by Tuck & Patti and even Barbra Streisand)

3. Savoy Truffle (composed by Harrison) George's songs were finally starting to get their due with the White Album. Rather than his usual allotment of one song per album, this time he was accorded exactly one song per vinyl side. "Savoy Truffle" was inspired by George's close friend Eric Clapton, who had a vicious sweet tooth and simply could not pass up chocolates. George took many of the sweets mentioned in the song (the cream tangerine, ginger sling, and so forth) copied straight off the box of a candy sampler. Included in the lyric was a swipe at the sometimes toxic atmosphere between The Beatles in the studio during the recording of the album. George sings "we all know ob-la-di, bla-da" referencing both Paul's song and the Yoruba language translation of the phrase, "life goes on." Perhaps reminded of the endless takes the band attempted of "Ob-la-di, Ob-la-da" due to Paul's perfectionism, George also sings "But what is sweet now, turns so sour." (later covered by They Might Be Giants and Ella Fitzgerald)

4. Cry Baby Cry (composed by Lennon-McCartney, primarily John) Coming on the heels of the band's disastrous Magical Mystery Tour film, which took a merciless drubbing by the critics, the White Album was the real start of the band's latter-era intractable tension. Ringo quit the band for a couple of days at one point, only to be coaxed back. It wasn't only the band who was affected; during the recording of "Cry Baby Cry," one of the band's talented studio engineers, Geoff Emerick, who had no small contribution to the sound of Revolver and Sgt. Pepper's walked out, unable to deal with the strained atmosphere. Even producer George Martin departed in the middle of recording to go on vacation and left his assistant in charge of recording The Beatles. But despite the unpleasantness, the music was still inspirational. John Lennon wrote a few classics for the White Album, but many of his more run-of-the-mill compositions were still top-notch. One example is "Cry Baby Cry." A critic wrote upon the album's release that "'Cry Baby Cry' demonstrates anew The Beatles' knack for rendering an Alice-in-Wonderland vision in a melancholy modern vein." Interestingly, after "Cry Baby Cry" concludes on the album, but before the next track begins, the "Revolution 9" sound montage, an unrelated Paul McCartney song pops in briefly. This brief snippet of song (which could be called "Can You Take Me Back," from its lyrics) is not included on the album tracklisting, is not part of the album lyrics that were part of the original packaging, and is not among the songs officially published by the band. It's almost like a brief, official bootleg of an otherwise unreleased song by the group. ("Cry Baby Cry" later covered by Richard Barone, Throwing Muses, and interestingly, punk band Samiam)

5. Revolution 9 (composed by Lennon-McCartney, primarily John) Lennon's vision for the song was to have the song "Revolution" segue into a montage of music and sound effects which would sonically depict the revolution sang about in the musical portion. The "Revolution 9" piece was eventually moved away from its parent song, and tucked away at nearly the album's end, but it remained a brutal assault on the ears, resembling not so much a revolution as a waking nightmare. While the other Beatles and producer George Martin were strongly opposed to its inclusion on the final album, John and his then-new girlfriend Yoko Ono were proud of it as avant garde art and successfully fought for it to remain. Despite "Revolution 9" being perhaps the most despised and least-listened to track on any Beatles' album, it does have its fans. The band Phish once covered the entire White Album in concert from start to finish, even doing a surprisingly faithful live rendition of the piece.

6. Good Night (composed by Lennon-McCartney, primarily John) Traditionally, Ringo was given one spotlight lead vocal per album, usually written for him by one of the others. Ringo had often tried his hand at songwriting, but without much success. He liked to joke that whenever he wrote a song, the others would laugh as they pointed out that he had merely copped the melody of another song. On the White Album, John contributed a song to be a Ringo's vocal turn. John had written "Good Night" as a lullaby for his son Julian, and he instructed producer George Martin to score an overly lush Hollywood-style orchestral arrangement for the track. Although it was tucked away at the end of the album after the ominous "Revolution 9," the piece attracted notice with both critics and fans. The Chicago Tribune opined that it "should prove once and for all that the Beatles can do anything." (later covered by The Carpenters, Kenny Loggins, and Manhattan Transfer)

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November 9, 2008 by laxhippy@netscape.net

It's been a week now since my last dose of Gov't Mule and I am still content.  As a longtime fan I had gone to the show with a touch of apprehension.  This would be my first time seeing the Mule since the departure of recent bass fixture, Andy Hess.   The Kinder Revolution tour, which runs through a two-night stand at the Fillmore in San Francisco on November 22nd, is Jorgen Carlsson's first trip out with the group.  I confess to not digging up any info on the man, because I didn't want to form an opinion before hearing him live.

This was my first trip out to the Carnegie Music Hall of Homestead and I have to say that I am thoroughly pleased with this venue.  Dig this:  once inside you can actually leave the venue and re-enter.   Let me repeat that.  This venue has no code against re-entry.  I was dumbfounded by this.  It seems every venue in town refuses to let you go outside and catch a breath of fresh air or take a little walk around the block if the mood strikes you.  Some venues are even charging you to get a wristband so you can take a cigarette break (without naming names, I'm looking at Carson Street on that one).  The absolute freedom of the venue was refreshing.  The two bands performing within it even more so.

Back Door Slam, a blues-rock power trio from the Isle of Man, who fit perfectly with Gov't Mule's sound opened the night.  It's easy to see why Warren Haynes and company chose them to open.  They have the same spirit and level of talent of the early trio version of Gov't Mule.  They must have played a thousand notes and each one of them was the right note.  I'm looking forward to the next Pittsburgh show from this group.

I do miss Hess's dirty rock 'n roll groove, but was not disappointed by Carlsson's playing.  The band came out fired up with a rendition of Black Sabbath's "War Pigs," despite the one-song absence of Danny Louis on keys.  Then they jammed on their own composition "Painted Silver Light" from their debut disc.  The set covered a lot of ground, but had a definite early-Mule bent.  They reprised "I Think You Know What I Mean" (from Life Before Insanity) into Zeppelin's "When the Levee Breaks" back into "I Think You Know What I Mean" like they did at their Byham Theatre show a few years back.

In the second set, after a nice leisurely walk around the venue of course, "Temporary Saint" was another highlight.  Warren's voice had that cool Southern ache that only his guitar could match for emotional force.  A few tunes later the band left Matt Abts to stun the audience with ten+ minutes of primal drumming.  He rocked his first solo with sticks, his second with mallets, and his third with his bare hands.  The theatre went nuts.  The band's encore saw the return of Davy Knowles of Back Door Slam trading solos with Warren on the Muddy Waters tune "Champagne & Reefer" and Cream's "Politician".

To me the evening's two sets played out like a sweet long road trip.  I'll most likely be picking this up from Mule Tracks and playing it in my car religiously.  Now I just need a destination...

reprinted from www.mule.net

Set 1
War Pigs Trio-without Danny Louis
Painted Silver Light
A Million Miles From Yesterday
Slackjaw Jezebel
I Think You Know What I Mean->
When The Levee Breaks->
I Think You Know What I Mean
No Need To Suffer
I Shall Return
Lay Your Burden Down
Little Wing

Set 2
Ballerina
Get Behind The Mule
Temporary Saint
Effigy->
Drums
Left Coast Groovies
Mule

Encore
Champagne & Reefer with Davey Knowles
Politician with Davey Knowles

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November 9, 2008 by barbmstein@aol.com

This is a concert review from a figure skating event for charity.  Normally, I don't really care who is providing live accompaniment, as I'm there to watch what's moving on the ice.  This time, the artist almost out-shined the World and Olympic skaters.

It was the 9th An Evening With Scott Hamilton and Friends in Cleveland.  The featured musical guest was Kenny Loggins along with The Cleveland Pops Orchestra, Carl Topilow, Conductor.

The stage is at one end of the ice.  The skaters perform routines to the live music.  You've seen this format on TV.  The only difference is, these annual shows that Scott Hamilton hosts are one-time only live events that are not taped for future broadcast.

When you see Kenny Loggins perform you realize how many songs he's written that have become hits.  From the Electric Prunes to Loggins and Messina and a successful solo career with many movie theme songs to his credit, Kenny Loggins' career has spanned over three decades.

Kenny didn't really need to encourage the audience to sing along.  Many of us grew up listening to his music on the radio.  You instantly recognized songs like "Celebrate Me Home" or "Your Mama Don't Dance".  Kenny got one of the skaters (Caryn Kadavy) to sing along with him on stage.  Even though I was watching the skater's routines, I was singing and clapping.

Kenny has a lot of energy and brought with him a four-piece band, who also provided backing vocals.  Kenny, at center stage, had the best view of the skaters interpreting his songs on the ice.  The Cleveland Pops Orchestra (especially the strings) provided a richer sound to Kenny's music.  Kenny did a song from his most recent CD "How About Now", which was just exquisite with the orchestra.  He did a couple of songs from his 1991 release "Leap of Faith" which were very well received.

The 60-year-old singer-songwriter still knows how to entertain an audience, even when the main focus is not on him.  It was a very pleasant 90-minutes listening to Kenny Loggins while watching my favorite sport.

Barb S. - Sunday Mix Host

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October 28, 2008 by Andy C

Five years ago last Tuesday, Elliott Smith died of an apparent suicide. It always seemed pretty obvious that he was rather uneasy at times with life. I'm not going to offer some long writing on why he was important or why I think he wrote such great melodies. I obviously did not know him, and don't pretend I understood what made him so good. However, I will offer three things that come to mind immediately for me with Elliott Smith.

1)My cat. I have a cat named Adeline, who is named after his song "Sweet Adeline". Adeline is not sweet. She's mean, self-centered, and rude. I love her to death.

2)I saw him in concert for the first time when I was 18. The whole "Good Will Hunting" thing had just happened. He was opening for Ben Folds Five and Beck at Star Lake. He only did about 8 songs, but it was fantastic.

3)I then saw him again on Halloween about 3 years later at CMU. It was after his release "Figure 8" came out. The band and him were in Halloween costumes. Elliott was wearing a monk outfit, but with his thin frame, and long brown hair, someone mistook him for the lord almighty and shouted, "Jesus!!" in between the first and second song. He was obviously bummed out by this. In his soft voice he said, "Awww, no. It's just a monk outfit. It's not Jesus... I mean... I don't think I'm Jesus." The tenderness with which he said it made it rather funny to me.

He is still missed.

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October 24, 2008 by barbmstein@aol.com

Joan Osborne came back to Pittsburgh after a long absence and hopefully she will return soon to do the songs she didn’t have time to get to in her 16-song, 1-hour and 20-minute set.

The 46-year old singer, by my count, did at least five songs from her latest CD “Little Wild One” which was released in September.  The song that seemed to get the loudest applause was “Hallelujah in the City”.  She did a nice duet with her opening act, Matt Morris, on “Cathedrals”.  Joan’s 7th studio album has a lot of the mid-tempo type songs that she’s known for.

With Joan was a 4-piece band consisting of a drummer, bassist, guitarist and keyboardist (who, like Joan, also played harmonica).  There was also lighting that made effective use of the high ceilings in the former church.

Most of Joan’s songs had a beat, although she slowed things down at one point with a Grateful Dead song  Joan, of course, did “One of Us” near the end of her set and I can still hear it in my head.

Joan came back on stage for a 3-song encore, which included a song she sang at the Grand Ole Opry that was co-written by Roy Orbison.

http://www.joanosborne.com/site.php

Matt Morris, the son of country music’s Gary Morris, is a singer-songwriter who has had his songs recorded by Reba McEntire, Christina Aguilera and Justin Timberlake.  He opened the show with a 45-minute, 9-song set that included his own songs as well as a cover of The Beatles “Help!”.  It was Matt’s first appearance in Pittsburgh and he commented that he liked the “public radio listening audience.”  Matt performed at the Bonnaroo Music and Arts Festival this year and plans to release his first full length CD soon.

http://www.mattmorris.net/

Barb S. - Sunday Mix Host

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