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(Above: Ziggy Marley will perform at this year’s 80-35 festival, but there are many great bands waiting to be discovered.)

By Joel Francis
The Kansas City Star

Over the past six years, the 80-35 music festival has put Des Moines and the Iowa music scene on the map. Great headliners draw increasingly bigger crowds, but the festival’s secret strength is drawing the best acts from the upper Midwest.

This year is no exception. Bands from nearly every neighboring state will fill the fest’s three stages this weekend.  Here are several bands I’m most looking forward to experiencing live on our nation’s birthday. (Note: Since I will only be able to attend the first day of the festival, all of the following recommendations are from Friday’s lineup.)

Any noisy three-piece rock band from Minneapolis is going to draw comparisons to Husker Du. Fury Things don’t run away from the similarities. Guitars explode from blown amps and drums sound like they are being punished. The band makes a compelling case for coming out early, and are guaranteed to jumpstart the day. (Fury Things perform at 12:45 p.m. on the Kum & Go stage.)

If the Beach Boys hung out in Greenwich Village instead of Venice Beach they probably would have turned out a lot like the River Monks. The Des Moines-based quartet combines a sea of lush harmony vocals over a forest of banjos, guitars and other wooden instruments. Bonus points for an album cover that looks like a physical realization of Brian Eno’s topographic covers in the Ambient series. (The River Monks perform at 8 p.m. on the Hy-Vee stage.)

Singer Johnathan Tolliver fronts soul outfit Black Diet like the second coming of Isaac Hayes, only with a better falsetto. The band may come from Minneapolis, but the sound is straight-up Memphis soul. Touches of slide blues guitar alongside a meaty B3 organ imagine what Booker T and the MGs may have sounded like if Duane Allman sat in (and brought a gospel choir). (Black Diet perform at 4:45 p.m. on the Kum & Go stage.)

8035logo_1Maids haven’t released an album, but the electronic duo has more than enough original material from surreptitiously released singles to fill a set. Danny Heggen’s high tenor soars over keyboards and drum machines while just a touch of guitar fill out the minimalist sound. The song “Seashell” sounds like a lost 8-bit classic until waves of synthesizers take over the track, turning everyone in their wake into Fred Astaire and Ginger Rogers. (Maids perform at 6 p.m. on the Hy-Vee stage.)

Tree probably isn’t named for his love of forestry, but the Chicago MC proves there is more to hip hop than odes to weed. His raspy voice and rhymes are good enough, but what really stands out is the production. The song “Fame” sounds like it was inspired by William Burrough’s cut-up technique, with snippets of gospel organ or jazz piano diced and reassembled at random. “The King” employs fellow Chicagoan Kanye West’s old trick of speeding up a familiar song for the backing track, but Tree ends up with something that would sound like an over-the-top parody if it didn’t work so well. (Tree performs at 2:45 p.m. on the Kum & Go stage.)

Look for a review of Friday’s 80-35 festivities next week on The Daily Record.

 Keep reading:

10 Must-see bands at Kanrocksas (part 1 – Friday)

Wakarusa Music Festival: A Look Back

Middle of the Map 2013

(Above: Soul singer Anthony Hamilton takes a Midland Theater crowd to church in Kansas City, Mo.)

By Joel Francis
The Kansas City Star

The titles are almost identical, but the songs couldn’t be further apart. The pair arrived back-to-back about the one-hour mark of soul singer Anthony Hamilton’s Friday night concert at the Midland Theater.

“Prayin’ for You” was a jubilant gospel jam that found Hamilton singing and dancing in the middle of the crowd and featured a nice blues slide-guitar solo. A quick wardrobe change brought the mournful, contemplative “Pray for Me.”

The contrast displayed Hamilton’s chops as a songwriter, vocal abilities and his six-piece band’s versatility. The numbers also managed to capture the crowd’s complete attention in two very different ways. Several moments competed with “Prayin’ for You” as the night’s biggest party, but none was more intimate than “Pray for Me.”

hamilton_FYI_06062014_spf_0126fThe band arrived onstage like it had been shot from a cannon. The three backing vocalists also served as hype men, lathering the crowd for Hamilton’s appearance and opening number “Sucka For You.” A bit of Run-DMC’s “It’s Like That” let everyone know the historic theater was hosting a block party tonight. A well-placed piece of “No Diggity” at the end of “Woo” cemented the give-and-take between stage and crowd. Hamilton’s dancing during that number produced many squeals of delight.

Most of the performances extended well past their album length. Hamilton let the band stretch out, incorporating bits of Philly soul, Stevie Wonder, Prince Earth, Wind and Fire and hip hop into his original material. He also wasn’t shy about sharing his band. Everyone in the ensemble got a moment to shine.

One of the two keyboard players dropped some nice “Talking Book”-era talkbox on “Woo.” The bass player sported an impressive Mohawk and prowled the stage like he was the headliner. His bass and the bass drum were the focus of the mix. At times they drowned out the keyboards and guitar and threatened to swallow the vocals as well, but the mix improved as the show progressed.

Hamilton closed the 90-minute set with his breakthrough hit “Charlene,” which segued into the Dells’ “A Heart is a House of Love.” By the time Hamilton started introducing his band people were heading to the exits like someone pulled the fire alarm. They were either hurrying for the announced photo op with Hamilton in the lobby or eager to take the evening’s energy to another environment.

Keep reading:

(Above: The Rainmakers perform “Another Guitar,” one of the more subdued moments in a long, rowdy night.)

By Joel Francis
The Kansas City Star

The Rainmakers took a packed house all over the map Saturday night at Knuckleheads.

Cities like Tokyo, Omaha, Minneapolis, Boston and St. Louis cropped up in “Downstream,” “Snake Dance” and, of course, “Missouri Girl.” Lead singer and songwriter Bob Walkenhorst implored listeners to “walk on the edge of the world” on “Width of a Line” and to visit “The Other Side of the World.”

photo (2)
A Missouri native, Walkenhorst also referenced Carroll County, where he grew up, in setting up “Lakeview Man,” and nearby Ray County, the inspiration for “Swinging Shed.”

The four-piece roots-rock band started in the 1980s but took breaks in the 1990s and 2000s. Partway through the night, Walkenhorst mentioned the group’s 25th anniversary reunion show at Knuckleheads nearly four years ago to the day.

“That was intended to be a one-time, thank-you show,” Walkenhorst said. “But there were just too many new songs that kept coming up that needed a home.”

A second batch of songs were given a home late last month on “Monster Movie,” the quartet’s seventh studio album. Early in the show, Walkenhorst thanked fans who had already picked up the new album and promised everyone else a preview.

He wasn’t kidding. The concert opened with “Monster’s first three tracks, and all but two of its dozen songs were played during the night. The new material wasn’t as familiar, but it didn’t take prompting to get fans to sing along to the title song and dance to everything else.

One new song, “Your Time Has Come,” was dedicated to guitarist Jeff Porter’s son, who decided to celebrate his 21st birthday listening to his dad. Two longtime fans from North Dakota who drove in to experience the band in concert for the first time got a shout-out before “Shiny Shiny.”

photo (1)At more than 2 and a half hours and almost 40 songs, the marathon set gained steam as it progressed. The clock was nearing midnight when the band played around with “Drinking on the Job,” incorporating bits of “Going to Kansas City,” “Hey Paula” and “One Toke Over the Line.”

Admitting he had no idea where the song was heading, Walkenhorst, Porter and bass player Rich Ruth then paused for an adult beverage before finishing “Drinking on the Job.” That number went right into a spirited “Hoo Dee Hoo,” which stormed into “I Talk With My Hands.”

That would have been a perfect ending, but the band decided to make the performance legendary. It returned to burn through another four songs, including a monstrous “Big Fat Blonde,” before finally saying good night.

Even then no one, onstage or off, seemed ready to leave. As the crowd shuffled out, it had more to look forward to, because this show will be almost as much fun to relive in memory as it was to experience initially.

Set list: Sh-thole Town; Monster Movie; Who’s at the Wheel; Tornado Lane; The Other Side of the World; Snake Dance; Save Some For Me; The One That Got Away; Miserable; Missouri Girl; Width of a Line; Long Gone Long; Thirteenth Spirit; Your Time Has Come; The Wages of Sin; Reckoning Day; Believe in Now; Another Guitar; Given Time; Small Circles; Dogleg; Lakeview Man; Swinging Shed; Government Cheese; Spend It On Love; Battle of the Roses; Downstream; Shiny Shiny; Rockin’ at the T-Dance; Information; Drinking on the Job; Hoo Dee Hoo; I Talk With My Hands. Encore: Let My People Go-Go; One More Summer; Big Fat Blonde; Go Down Swinging.

Keep reading:

Review: BoDeans

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Review: Cross Canadian Ragweed

(Above: The Clash perform “Three Card Trick” at what would be their next-to-last concert in June, 1985.)

By Joel Francis
The Daily Record

Thirty years ago today, The Clash took the stage at Starlight Theater for their first and only concert in Kansas City. They were a far cry from The Only Band That Matters, as the groundbreaking punk band was known when it London by storm in the late ‘70s. Key members Mick Jones, guitar, and Topper Headon, drums, had been replaced by three hired guns. The mission, however, remained the same.

clashKCstarlightStub“You’re gonna do ten days’ work in ten minutes when you deal with us,” lead singer Joe Strummer told NME in 1984. “We’ll smash down the number one groups and show that rebel rock can be number one.”

Alan Murphy, 28, didn’t have to wait long for his favorite song. “London Calling” kicked off the night, followed by the powerful “Safe European Home.” The Starlight setlist could not be located, but staples of that tour included “Career Opportunities,” “Clampdown,” “Brand New Cadillac” and “Janie Jones.”

A pair of covers made big impressions on a pair of fans seeing the band in concert for the first time. Michael Webber, 20 at the time, was happy to finally experience the band’s iconic reggae cover “Police and Thieves.” “I Fought the Law” was a high point of the show for Derek Koch, then 23.

The “Out of Control” tour marked the Clash’s first extensive U.S. tour in two years. Although there was no new album to support, the band played many new songs that would end up on its final album, “Cut the Crap.” These included “This is England,” the last great Clash song, “Three Card Trick” and b-side “Sex Mad Roar.” Two new songs never saw studio release. “(In the) Pouring Rain” was released in live form on “The Future Is Unwritten” soundtrack and “Jericho” is only available on bootlegs.

Clash_PaulJoe-Roskilde-850005_∏Per-Ake-Warn-1024x976Koch recalls watching bass player Paul Simonon “throwing all the great poses I had only seen in pictures on TV or video, and Joe prowl(ing) the stage like an angry lion.”

Coverage of the Clash’s Sunday night concert at Starlight was surprisingly light. The Kansas City Times ignored the event entirely, and the Star only mentioned it in a run-down of summer concerts. A monster truck rally at Arrowhead Stadium dominated entertainment coverage that weekend, receiving both a preview story in Saturday’s paper and event coverage on Monday. Copies of The Pitch were unavailable for research at press time.

For Webber, Murphy and Steve Wilson, 31, the absence of Mick Jones, put an asterisk on the concert. Although everyone interviewed wishes they had trekked to other cities to see the band in its prime, that Sunday night at Starlight still carries great memories.

“(We arrived) just as the band began to play,” Wilson said. “I think what struck me was this sense, however diminished by Mick’s absence, that ‘Wow, I’m finally seeing the f-king Clash.’“

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KC Recalls: Elvis Presley at Kemper Arena

KC Recalls: Johnny Cash at Leavenworth prison

Review: Carbon/Silicon at the Record Bar

Ever Fallen For The Buzzcocks?

(Above: Diana Ross performs a medley of her disco hits at the Midland Theater in Kansas City, Mo.)

By Joel Francis
The Kansas City Star

It’s been more than half a century since Diana Ross stopped by the Motown Studios every day, begging to be part of the Detroit record label’s roster. It hasn’t quite been that long since Ross played Kansas City (it just feels that way), but the determination and energy that caught Motown founder Berry Gordy’s eye back then was still on full display Sunday night at the Midland theater.

Ross’ tight, 80-minute set raced through her biggest moments at Motown, encompassing the Supremes, solo albums and soundtrack work. A few covers of songs by influences and contemporaries were sprinkled throughout. As expected, ’60s material generated the most sing-alongs, but the ’70s disco material kept everyone on their feet.

Ross’ 11-piece band deftly handled the shifts from early soul, disco, jazz and adult contemporary. “The Look of Love” opened with a sultry saxophone solo. The song was basically a duet between Ross and the horn player. Ross let one of her backing singers stand in for Lionel Richie on a set-ending performance of “Endless Love.” The band was also given the chance to show off between songs when Ross was offstage changing outfits. The best of these moments was the bossa nova groove that broke out at the end of “Love Child.”

diana rossRoss is 70 years old, but she is as glamorous as ever. She changed wardrobe several times, wearing ensembles that matched the mood of the music. She emerged in a cherry-red dress for the exuberant Supremes set and later came out in a sparkling blue gown for the steamy Burt Bacharach and Billie Holiday covers.

The house lights were turned on throughout the evening. Ross explained she loved seeing the crowd enjoying her music because the images stayed with her for the rest of the night. From the sea of outstretched palms on “Stop! In the Name of Love” to the sing-along on “I Will Survive,” Ross likely accumulated a fine stock of moments.

Setlist: I’m Coming Out; Where Did Our Love Go; Baby Love; Stop! In the Name of Love; You Can’t Hurry Love; Touch Me in the Morning; Love Child; The Boss; Upside Down; Love Hangover; Take Me Higher; Ease on Down the Road; The Look of Love; Don’t Explain; Why Do Fools Fall In Love; Theme from “Mahogany”; Ain’t No Mountain High Enough; I Will Survive. Encore: Endless Love; I Will Survive (reprise).

Keep reading:

Diana Ross – “Ain’t No Mountain High Enough”

 

Review: Stevie Wonder

Review: The Temptations and Four Tops

Talking Motown with Bill Dahl

Review: Pixies

P2FZV.St.81

 

 

 

 

 

 

 

 

 

By Joel Francis
The Kansas City Star

For the first time in more than 20 years, the Pixies rolled into town in support of new material.

The influential college rock quartet has now been around longer as a reunion act than in their initial stint. Reunited contemporaries like Dinosaur Jr. have released multiple new albums, making the paucity of new Pixies material – two songs – even more glaring. That changed late last year when lead singer/songwriter Black Francis dropped four new songs on an EP and followed it up with four more last month.

All but one of those songs were played when the band performed at the Midland Theater on Tuesday night. Toss in the single “Bagboy” and the as-yet unrecorded “Silver Snail” and new material comprised nearly a third of the band’s setlist. The new recordings received a mix reception online, but for the most part they worked in concert.

The appropriately noisy “What Goes Boom” blended seamlessly with the band’s cover of the Jesus and Mary Chain’s “Head On.” Later, in a quieter moment, Francis segued from “In Heaven (Lady in Radiator)” to “Andro Queen.” The songs were recorded 26 years apart, but sounded onstage like they were pulled from the same session.

JfDKB.St.81“Bone Machine” announced the band’s presence, and although the thumping bassline that introduced the song was familiar the musician wasn’t. Paz Lenchantin, a veteran of A Perfect Circle and Billy Corgan’s Zwan, filled the gaping hole left when founding member Kim Deal departed last June.

Lenchantin didn’t have any problems replicating Deal’s basslines, but her thin voice was often buried in the mix.The band arrived as if shot out of a cannon, blasting through the first eleven songs in less than 30 minutes.

Doing their best Ramones impression, the band rarely paused between songs and hardly acknowledged the near-capacity crowd before barreling into the next number. The songs were never rushed, but they were definitely urgent.

Some of the best moments were the demented rockabilly of “Brick is Red” and the surf guitar intro to “Ana.” Guitarist Joey Santiago got plenty of time to play with feedback during “Vamos,” one of the few times the band deviated from the recorded arrangement. A medley of “Nimrod’s Son” and “Holiday Song” started with“Nimrod” at full speed before bouncing into “Holiday Song.” A slowed-down arrangement of “Nimrod” closed the medley.

At 33 songs and 100 minutes, the band devoted plenty of time to exhume some deep cuts from its catalog, and deliver most of its biggest songs (including both versions of “Wave of Mutilation”). Francis let the crowd take over the choruses on “Where is My Mind?” and “Here Comes Your Man.” Given the band’s underground legacy, it was odd to see fists pumping in the air with every “chien” on the chorus of “Debaser,” but the quartet definitely knew how to work the theater crowd.

The Pixies first reunion concert in Kansas City was a victory lap. The second concert was a celebration of their greatest album. This third visit was a view of the Pixies as a working band, trying to prove they still have plenty to say. They do.

Setlist: Bone Machine; Wave of Mutilation; U-Mass > Head On (Jesus and Mary Chain cover); What Goes Boom; Distance Equals Rate Times Time; Ilsa de Encanto; Monkey Gone to Heaven; Ana; Brick is Red; I’ve Been Tired; Magdalena; Cactus; Gouge Away; Bagboy; Blue Eyed Hext; Crackity Jones; unknown song; Veloria; Havalena; Snakes; Silver Snail; In Heaven (Lady in Radiator); Andro Queen, Indie Cindy; Greens and Blues; Where is My Mind?; Here Comes Your Man; Vamos; Nimrod’s Son/Holiday Song (medley); Wave of Mutilation (UK Surf). Encore: Debaser; Planet of Sound.

Keep reading:

The Man in (Frank) Black

Review: Dinosaur Jr

Review: Pavement

(Above: Chicago rapper ProbCause delivered the great album “Recipe Vol. 2″ this year.)

By Joel Francis
mcii The Daily Record

Mikal Cronin – MCII

Scuzzy guitars can’t
mask euphoric power pop.
Ears smile, feet dance.

Terrace Martin – 3 Chord Fold

Snoop’s producer blurs
genres with Glasper, Kendrick
Lamar, Khalifa.

terracemartin-3chordfold

Daft Punk – Random Access Memories

OId-school surprise
from EDM pioneers.
Track 12 got most plays.

Joy Formidable – Wolf’s Law

Even bigger roar
on album two from Welsh three.
Shoegaze meets prog rock.

Chance the Rapper – Acid Rap

JoyFormidableWolfsLaw

Chicago MC
makes jokes while provoking thought.
Shares Kayne’s hometown.

Autre Ne Veut – Anxiety

Blank frame on cover
filled with longing, desire.
Sadness sounds happy.

Neko Case – The Worse Things Get ….

Alt-country redheadacud rao
rages on state of love life.
Makes married men sigh.

Blitz the Ambassador – The Warm Up EP

Seven lively tracks

anticipate full LP.
Aptly named project.

Yo La Tengo – Fade

Indie vets mellow.
Quiet guitars and vocals.
Intimate lisiten.

somewhere

Keith Jarrett – Somewhere

Archival concert

captures standards trio
in top form. More, please.

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Top 10 albums of 2012 (in haiku)

Top 10 albums of 2011 (in haiku)

Top 10 albums of 2010

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