Roger Waters "The Wall" Live at Wrigley Field

When the opening notes of a show are accompanied with pyrotechnics, you know you might be in for something visually entertaining. When that same song closes with an airplane flying over head and crashing into the stage, you are probably in for something the likes of which you haven’t seen before. And that is, in fact, how it all began.

I had seen Roger Waters once when I was in college, and mostly what I remember was the absence of David Gilmore and the fact that Waters really isn’t much of a songwriter anymore. Bitter and pompous, he has a special ability to make me remember Pink Floyd for the music and not the personalities. His “Thank you for supporting me when I was with my other band.” farewell that night spoke volumes. But then I had heard something different. After he brought his live production of The Wall, an album he wrote almost entirely by himself in the late 1970s, to the United Center last year, the reviews were much more positive than I’d imagined they’d be. So, when another performance at Wrigley Field was announced, I figured I would give him one more chance. I mean, if there is any Floyd album to see him play cover to cover, it would be The Wall.

More rock opera than rock album, The Wall is almost entirely Waters. The story of a man’s, aka Pink, (read: Waters’) struggle with all things life and his self-induced seclusion from the world around him, it is the actualization of the drama that seems so befitting of Waters’ persona. Yes, Gilmore’s presence would be missed, but the rest wasn’t really a band effort anyway, so why not see it done by the man responsible.

Upon entering Wrigley, we were greeted with the stage. Yes, any concert at a venue that size is going to need a big stage, but big would be an understatement. Stretching from foul pole to foul pole across Wrigley’s outfield, we’re talking a stage of nearly 500 feet across. That’s not big. That’s massive! The wall itself was already partially constructed, leaving a giant gap across the center of the stage so we could see the band…for now.

Tickets said the show’s start time was “8:30 prompt,” which no one in my group had ever seen before. And you don’t need to tell us twice. This isn’t a show you want to come strolling into late, so there we were in our seas by 8:15 ready to rock. When 9:00 came around and they still hadn’t taken the stage, we were admittedly a little frustrated. But oh how that was all about to change.

“In the Flesh” is already attention-grabbing enough on its own, but add the aforementioned special effects and all the other sites and sounds around Wrigley virtually ceased to exist. All eyes were fixed upon the stage, where they would remain for the better part of an hour, as Waters playing dual roles of band leader and actor, treated us to almost every single original note of disc one (act one).

The wall itself became a canvas for some of the most advanced, high-definition images, effects and video I’ve ever seen. Timed seamlessly with each song, we saw glimpses from the movie version of the album, projections of what was happening on the stage itself, and visuals to make even the soberest individual question what was in their drink. And the sound. Oh the sound! In addition to the main stage rig, there were three more speaker towers placed throughout the infield, as well as at least two giant rear speaker enclosures in the upper deck to give the full 360 surround sound. Hearing that in your home is one thing. Hearing surround in a 41,000-seat outdoor stadium is a completely different animal.

Going into the show, I knew songs like “Another Brick in the Wall Part 2,” “Mother” and “Goodbye Blue Sky” would be highlights of the first set, but I can confidently now say that every single song was not to be missed. As the wall closed in brick by brick on the band, providing an even greater screen for the visuals, the emotion and isolation was as palpable for the band as it was for us. And as the final note of “Goodbye Cruel World” hit and that last brick was placed in the now completed wall, the single word left on my lips was “wow.”

Is it really half over?

Disc/act/set two of the album is when the theatrics really take over. But first let’s talk about the one thing that everyone in the house was waiting for: Comfortably Numb. Probably the most iconic Floyd song, this would be the true test of the evening. Can they pull it off without Gilmore. The answer? Yes. As with the rest of the show, Dave Kilminster, one of three guitarists in the band, hit it note for note, paying true homage to one of the greatest guitar solos of all time. And just as with other live versions of the tune, when it allows for a little improve towards the end, he stayed true to the Gilmore influence and really made us all, for a brief moment, feel like the man himself may just be back there wailing away. Absolutely brilliant and literally breathtaking, you could hear a collective grown/sigh/exasperation from the crowd when it was over. Bravo!

Puppets, a giant floating pig and Waters firing a machine gun into the crowd were just a few more of the countless, stupefying moments in part two. And as Pink’s trial progressed towards the climax and nearly 40,000 fans are yelling “Tear down the wall!”, chills were everywhere. This indeed was something incredibly special.

Going into the show, I figured there wouldn’t be an encore. But as the band stood on the edge of the stage and took a bow, the roar from the crowd was so loud, so long and so sustained that I thought maybe they’d just have to. Rather, Waters emphatically thanked the crowd and cued up “Outside the Wall” with on his trumpet, and with the band backing him, they slowly strolled off the stage, leaving the crumbled wall behind.

It’s not often that I’m ever excited to go to a concert and hear songs played exactly as they appear on the album. This is why some of my favorite live music is improvisational in nature. But Floyd is a different animal. Each album note is so carefully selected, so eloquently played and so emotionally received that to add a personal flare would be disrespectful. Waters knows this. Hell, he’s the one who made it that way in the first place. So, to go and hear The Wall done exactly as it was meant to be heard way back in 1980 was a special treat. If you call yourself a Pink Floyd fan and this show is coming anywhere close to you, don’t even question it. See it.

All photos credit to Ryan O'Malley

Summer in the City

There really is no better city in the summer than Chicago. Some say it’s everyone busting out of their skin from all of the winter hibernation, but I say it’s because Chicago is filled to the brim with culture and summer is when we have the chance to shine.

So, here we are again, facing another incredible summer of music in the City of Big Shoulders. Lean on me bro, as we take a little look into what’s in store. And just to give you an idea of how serious things are about to get, try this on for size: The season gets kicked off with a member of one of the greatest bands of all time playing an iconic album in a historic baseball stadium. Seems about right to me!

Notable Single Shows

• Roger Waters – Friday, June 8 (Wrigley Field)
• Deer Tick w/ Scott Lucas & the Married Men, Turbo Fruits – Saturday, June 9 (Metro)
• Earth Wind & Fire – Saturday, June 9 (Ravinia)
• Miranda Lambert, Brad Paisley – Saturday, June 9 (Wrigley Field)
• Radiohead – Sunday, June 10 (First Midwest Bank Amphitheatre)
• Dennis DeYoung – Thursday, June 14 (Navy Pier Rooftop)
• Moby – Saturday, June 16 (Congress Theater)
• Bruce Hornsby w/ Van Ghost – Sunday, June 17 (Park West)
• Jimmy Cliff – Sunday, June 17 (Ravinia)
• Foster the People w/ Tokyo Police Club, Kimbra – Wednesday, June 20 (Congress Theater)
• Mogwai w/ Balam Acab – Wednesday, June 20 (Metro)
• Keane w/ Mystery Jets – Friday, June 22 (The Vic Theatre)
• Aerosmith w/ Cheap Trick – Friday, June 22 (United Center)
• Styx and REO Speedwagon – Sunday, June 24 (Charter One Pavilion)
• Scissor Sisters – Sunday, June 24 (The Vic Theatre)
• Glen Hansard – Tuesday, June 26 (The Vic Theatre)
• Glen Campbell – Thursday, June 28 (Ravinia)
• Aretha Franklin w/ The Impressions – Saturday, June 30 (Arie Crown Theater)
• David Gray – Saturday, June 30 (House of Blues)
• Jimmy Buffet – Saturday, June 30 (First Midwest Bank Amphitheatre)
• Sarah McLachlan – Saturday, June 30 (Ravinia)
• Neil Diamond – Friday, July 6 (United Center)
• Tenacious D – Saturday, July 7 (Aragon Ballroom)
• Barenaked Ladies, Blues Traveler, Big Head Todd and the Monsters, Cracker – Monday, July 9 (Charter One Pavilion)
• Blitzen Trapper – Monday, July 9 (Lincoln Hall)
• Santana – Monday, July 9 (Ravinia)
• The Blues Brothers feat. Dan Aykroyd and Jim Belushi – Wednesday, July 11 (Ravinia)
• Barry Manilow – Friday, July 13 (Chicago Theatre)
• Diana Krall – Tuesday, July 17 (Ravinia)
• Tedeschi Trucks Band – Wednesday, July 18 (Ravinia)
• Bodeans – Friday, July 20 (Ravinia)
• Seal and Macy Gray – Sunday, July 22 (Ravinia)
• James Taylor – Friday, July 27 & Saturday, July 28 (Ravinia)
• Chicago – Saturday, July 28 (Charter One Pavilion)
• Rascal Flatts – Saturday, July 28 (First Midwest Bank Amphitheatre)
• Crosby, Stills & Nash – Friday, August 3 (Ravinia)
• Matisyahu w/ The Dirty Heads – Tuesday, August 7 (Congress Theater)
• Garbage – Tuesday, August 7 (Metro)
• Coldplay w/ Marina and the Diamonds, Charli XCX – Tuesday, August 7 & Wednesday, August 8 (United Center)
• Rufus Wainwright – Wednesday, August 8 (Bank of America Theatre)
• Huey Lewis and The News & Joe Cocker – Friday, August 10 (Ravinia)
• Train – Saturday, August 11 & Sunday, August 12 (Ravinia)
• 311 w/ Slightly Stoopid, The Aggrolites – Friday, August 17 (Charter One Pavilion)
• Tony Bennett – Saturday, August 18 (Ravinia)
• My Morning Jacket, Band of Horses – Wednesday, August 22 (Pritzker Pavilion)
• Gotye w/ Missy Higgins, Jonti – Friday, August 24 (Charter One Pavilion)
• Lyle Lovett – Friday, August 24 (Ravinia)
• John Hiatt and Combo – Sunday, August 26 (Ravinia)
• Duran Duran – Wednesday, August 29 (Ravinia)
• Daryl Hall & John Oates – Saturday, September 1 (Ravinia)
• Kelly Clarkson – Saturday, September 1 (First Midwest Bank Amphitheatre)
• Toby Keith – Sunday, September 2 (First Midwest Bank Amphitheatre)
• Umphrey’s McGee – Sunday, September 2 (Congress Theater)
• Bruce Springsteen – Friday, September 7 & Saturday, September 8 (Wrigley Field)
• Kiss and Motley Crue – Friday, September 7 (First Midwest Bank Amphitheatre)
• Buddy Guy w/ Johnny Lang – Saturday, September 15 (The Chicago Theatre)
• Rush – Saturday, September 15 (United Center)
• Fishbone – Sunday, September 16 (Congress Theater)
• Madonna – Wednesday, September 19 (United Center)
• Ani DiFranco – Tuesday, September 25 (The Vic Theatre)
• Peter Gabriel – Thursday, September 27 (United Center)
• The Avett Brothers – Friday, September 28 (Charter One Pavilion)

Special Venues

Jay Pritzker Pavilion
When it comes to music, you can’t do much better than free. The Grant Park Music Festival celebrates its 78^th season of free summertime classical music. Opening night is June 13 and it runs at least two, and sometimes three shows per week through August 18. So, pack a picnic and enjoy the world’s greatest music under the world’s greatest skyline. And if you go on Saturday, be sure to stick around for the Navy Pier fireworks.

Ravinia
The best shows from this year’s Ravinia calendar are noted above, but it really doesn’t even matter what you’re there to see. Gather some friends, get some cheap lawn tickets, pack a picnic (don’t forget the booze) and enjoy one of the most unique music venues around. Just keep in mind that they keep the lawn quiet for classical shows. So, if you want to gab with your pals, pick a rock show.

Neighborhood Festivals
Yeah, we agree, many of the hundreds of neighborhood festivals across Chicago are very similar. But as far as music goes, a few are making starting to stand out from the crowd. Green Music Fest (June 23-24),World’s Largest Block Party (June 29-30) and Wicker Park Fest (July 28-29), are among the best.

Local Festivals

Chicago Blues Festival – June 8 – 10 (Grant Park)
The largest free blues festival in the world and Chicago Blues Festival is the largest of Chicago’s music festivals. During three days, five stages and more than 500,000 blues fans, the fest proves Chicago is the “Blues Capital of the World.” This year’s highlights include Texas Johnny Brown, Floyd Taylor, Mavis Staples and many, many more.

Spring Awakening Music Festival – June 16 – 17 (Soldier Field)
This fest will make history this summer by being first dance music festival to take place both outside and inside of Soldier Field. Two-day passes are $120 and daily admittance is $65. Be sure to catch Moby, Afrojack and Skrillex.

Taste of Chicago – June 12-15 (Grant Park)
Besides the new dates, this year’s Taste also introduces a charge for seats at the Petrillo Music Shell. And a charge it is. $25 will let you rest your feet during Jennifer Hudson, Death Cab for Cutie and Chaka Khan. The Bud Light Stage is still free and it’s where you can catch Kids These Days and a special tribute day on the 14^th featuring the music of Woody Guthrie, Koko Taylor, Bruce Springsteen, Johnny Cash and Lynyrd Skynyrd.

Pitchfork Music Festival – June 13-15 (Union Park)
Hop on the Green Line and catch the first of two killer fests in Union Park. Individual day tickets are $45. Three-dday passes are sold out. Among the best of this year’s line-up is Sleigh Bells, Atlas Sound, Feist, Vampire Weekend, Beach House, Godspeed You! Black Emperor, Hot Chip, AraabMUZIK, A$AP Rocky, Grimes, Cloud Nothings and Liturgy.

Chicago Gospel Music Festival – June 21 – 24 (Millennium Park & Ellis Park)
Changing it up this year, the main part of Gospel Fest will be moving to Ellis Park (37^th and Cottage Grove). Don’t miss J. Moss, Fred Hammond, Take 6, Blind Boys of Alabama and Mary Mary.

Lollapalooza – August 3-5 (Grant Park)
More than 20 years since Lolla first blew our minds with bands like Soundgarden and Pearl Jam, the fest is now a who’s who of bands from around the world. To use the term highlights seems a bit understated, but yet again we’ll get a taste of the best with The Black Keys, Black Sabbath, Red Hot Chili Peppers, Avicii, Jack White, Florence and the Machine, The Shins, Bassnectar, Franz Ferdinand, JJ Grey & Mofro, Trampled by Turtles and Miike Snow. Single day tickets are all that’s left at $95 a pop.

Chicago Jazz Festival – August 30 – September 2 (Grant Park)

The 34^th annual Chicago Jazz Festival is a great way to wind down the summer music scene in Chicago. It’s definitely more geared towards jazz aficionados than, say, the New Orleans version. But don’t let that deter you. There’s definitely a little something for everyone. Roy Hayes, Dianne Reeves and Allen Toussaint headline this year’s gathering.

North Coast Music Festival – August 31 – September 2 (Union Park)
Put on by a collaboration of independent promoters in Chicago, this one has that special, local vibe to it. Chicago-favorites Umphrey’s McGee, Pretty Lights, Paul Oakenfold, Future Rock, Wyllys & The NY Hustler Ensemble, Family Groove Company all add to it too.

Riot Fest and Carnival – September 14-16 (Humbolt Park)
Hosted in Chicago and Philadelphia, Riot Fest and Carnival will get your head banging with Rise Against, A Day to Remember, The Offspring, Alkaline Trio, Built to Spill, Dropkick Murphys, Elvis Costello, Fishbone, GWAR, Less than Jake, The Jesus and Mary Chain, and Rev. Horton Heat.

Near Chicago

Alpine Valley (Elkhorn, WI)
Phish – June 30, July 1
Dave Matthews Band – July 6, 7
Jimmy Buffet – August 25
Kiss & Motley Crue – September 8

Deer Creek (Klipsch) (Noblesville, IN)
Dave Matthews Band – June 22, 23
Phish – June 28, 29
Iron Maiden – July 19
Jimmy Buffet – July 31
Kiss & Motley Crue – September 1

All Good Music Festival and Campout – July 19 – 22 (Thornville, OH)
Get your fill of jam bands right here! The pioneers of the genre are among this year’s headliners: The Allman Brothers Band, Phil Lesh & Friends, Bob Weir & Bruce Hornsby and Mickey Hart Band. There’s plenty from the modern era too, including Yonder Mountain String Band, G. Love & Special Sauce, Railroad Earth, The Wood Brothers and Trampled by Turtles. Tickets are only sold in four-day passes for $199 in advance. Looks like they’ll be closer to $250 at the gate.

Jammin’ on the Wolf – July 26 – 28 (Langlade, WI)
Getting bigger and better every year, this mostly-trancefusion fest features three stages and three days of solid music, mostly from the Midwest area. Break Science, Wyllys & the New York Hustler Ensemble, This Must Be the Band and The New Fuse are among more than 40 bands scheduled to play. Three-day passes are $100 in advance and $125 at the door for VIP and $75 and $90 (respectively) for general admission.

Lou Fest – August 25-26 (St. Louis, MO)
Year three and getting nothing but better. St. Louis as a city continues to make big strides towards putting itself back on the cultural map and Lou Fest is a great example. Still small but getting bigger, this year’s notables are The Flaming Lips, Girl Talk, Dinosaur Jr. and Phantogram. Two-day passes are $70, or you can grab individual days for $40 each.

Late to the Party:

Seeing as we’re all human, there are occasionally going to be bands and albums that we just flat out miss…at least for a while. Welcome to what I call, “Late to the Party.”

~~~

Bing Crosby. Frank Sinatra. Barbara Streisand. The Carpenters. These are the artists we can thank for some of the most classic Christmas albums. These are the albums our parents would dust off each November and throw on the record player. They’re the ones that, when they pop up on iTunes, take us back to our childhood, running around the house in footie pjs counting the days till the Big Man comes. Surprisingly though, there is one iconic name missing from this list of classics. Where the hell is Ray Charles?!

Sure, The Spirit of Christmas didn’t come out until the mid-80’s, but that’s no reason for it to not be a classic. In fact, I would argue it deserves a spot right up there with the rest. First of all, it’s Ray f-ing Charles we’re talking about here. You know it’s going to be good. Second, he doesn’t just dial it in, half-assing the same old tired tunes you would expect. Yeah, there’s some traditional ones like “Drummer Boy,” “Rudolph” and “Winter Wonderland,” but there’s also the much lesser-knowns like “This Time of the Year,” “That Spirit of Christmas,” “All I Want for Christmas,” and “Christmas in My Heart.” And regardless of if their popularity, every track has that great Ray Charles flair that seems to span generations. Take “What Child Is This?” for example. It starts true to its “Greensleeves” roots, but just a minute and a half in, he double-times the tempo and turns it into a big band, swing tune, almost entirely abandoning the main theme.

The album features all of your favorite Ray Charles elements: the dirty, raspy voice; the Fender Rhodes he made so popular (remember The Blues Brothers?); the jazz meets gospel meets blues style only he could perfect; and let’s not forget the ladies. The Spirit of Christmas takes holiday tunes to a whole new level. And apparently I’m not the only one who thinks this way. Remember the scene in Christmas Vacation where Clark is locked in the attic watching old family movies? Yup, that’s “That Spirit of Christmas” playing. His version of “Winter Wonderland” also appeared in When Harry Met Sally and Elf. So, it has gotten some recognition, but it deserves some more.

If you are a fan of holiday music and need a change of pace, or even if you’re not but like Ray, give this one a spin this year. If you don’t like either holiday music or Ray, well, I’m not sure there’s much hope for you. But before we go, can we talk about the album art for a second? Is he really driving that sleigh?

Watch footage from the 2003 concert, Ray Charles Celebrates A Gospel Christmas, recorded just a year before his passing:

She and Him - A Very She and Him Christmas

It's that time of the year when the world falls in love…and when our auditory system is assailed with an endless barrage of Christmas songs. One can't step inside an office building, retail store or restaurant or turn on the tv or radio without hearing sleigh bells and a chorus of voices reminding us how wonderful and joyous the season is. And like clockwork, the new release shelves are full of the latest attempts, by popular and washed-up artists alike, at reinventing tired classics like “Jingle Bells” and “We Wish You a Merry Christmas.” But, every great once in a while, if you have the time and patience to weed through the Mariah Careys and Scott Weilands, you can find one that actually offers at least a touch of originality. This year, newcomers She & Him have given us such a gift.

Have you seen Elf? If you have ever sat through a Christmas movie and not wanted to gouge your eyes out and haven’t seen Elf, put it on your list for this year. For those that have, you are probably in the camp that, when Zooey Deschanel sings “Baby It’s Cold Outside,” thought to yourself, wow she’s got a great voice! Apparently Oregon singer-songwriter Matt Ward (M. Ward) is too.

Asked to record a duet for the closing credits of the film The Go-Getter, in which Deschanel had a leading role, she and Ward immediately formed a bond over their similar musical interests and decided to collaborate further, using songs from her secret stash of previous self-recorded tunes. Since then, She & Him have released two studio albums, Volume One and Volume Two, to positive critical analysis. A mix of originals and covers, the albums bring a sound that is both original and classic at the same time. The same can absolutely be said of their latest effort, A Very She & Him Christmas.

Foregoing the big band, big sound album, A Very She & Him Christmas stays true to the She & Him style as a fairly stripped-down, bare-bones take on some winter classics. More coffee shop than concert hall, Ward’s Gibson and acoustic guitars provide the foundation for most of the tunes, with occasional additions of piano and drums. Deschanel’s voice matches her quiet and sweet personality, kind of what you might expect from PJ Harvey if she wasn’t so damn angry.

What’s probably most impressive, though, is the song selection. Rather than forcing an album-full of songs to meet their style, they go after 12 that all seem a natural fit. Hits like the Beach Boys’ “Christmas Day” and “Little Saint Nick”, the Elvis favorite “Blue Christmas,” and even Joey Spampinato’s “Christmas Wish” all suit the duo well and make for a much more pleasurable listening experience than if they had gone with the more typical choices. For those expecting the Elf version of “Baby It’s Cold Outside,” that would have been too obvious. Not only is this version faster, they also chose to go with the Miss Piggy/Rudolf Nureyev role-reversal version (thanks to Dolph Chaney for that amazing reference).

Producing a Christmas album that encompasses any sort of originality could truly be one of music’s greatest tasks. How in the world can someone be expected to take something so overdone and make it sound new again? This is why, for the most part, the new releases can be pretty much ignored, save for those put out by your favorite artist…and even then it’s not always a welcome addition. A Very She & Him Christmas, however, is certainly an admirable effort. No, it’s not the most original option out there (that award still goes to Bela Fleck and the Flecktones, Jingle All the Way), but it is definitely a good attempt. In fact, while most musicians seem to put out Christmas albums because they don’t know what else to do, She & Him, like the Flecktones, seem to have put theirs out because they actually felt they could bring something new to the scene. And that they did.

Rating
Overall: 4/5
Originality: 4/5 (all things considered)
Production: 3/5
Listenability: 5/5

Watch their recent appearance on Leno:

Jennifer Hartswick - Ocean Floor

Getting to play regularly with one of the world's best guitarists might be enough for most musicians, but not Jennifer Hartswick. This Vermont native isn't content serving as some one else's support. A dual threat with a powerful, soulful voice and both technical and improvisational proficiency on the trumpet, Hartswick is beginning to make a name for herself outside of Trey Anastasio's world, and her latest album, Ocean Floor, is another notch on her belt of independence.

Mostly r&b meets soul, her self-produced sophomore effort (and first of entirely originals) might not blow everyone away, but it will absolutely give a glimpse into the talent that is there for the taking. Joined by Nicholas Cassarino (guitar), Dezron Douglas (bass), John Davidian (keys) and Cory Healy (drums), Hartswick leads each of the eight tracks with confidence but also looseness, never becoming too rigid or structured, giving plenty of time to the band to showcase their skills.

Starting with a trio of fairly standard r&b tunes, the one thing that immediately stands out is Hartswick's voice. You hear it two and a half minutes into "Liar." There is no doubt this girl can sing. It's the title track though that gives Hartswick the chance to display some originality, as well as the softer side of her voice. It is also her first appearance on trumpet, immediately adding a new flavor to the standard set-up. A dip into freeform jazz, "Ocean Floor" is easily a highlight.

"On and On" is an around-the-horn standard, giving each of the artists a chance on the solo floor. But, again, it's the down-tempo "Possibility" that, like "Ocean Floor," seems to stand out. Highlighting Hartswick's vocals and trumpet, Davidians work on the Rhodes adds a soft and subtle touch, complimenting the tune nicely. The snap-funk of "Walk Away" serves as the juicy meat of a ballad sandwich, and is the most attention-grabbing of the up-tempo tunes with some blaring sax and back-up vocals.

A sharp departure from the hard r&b of the other tunes with the acoustic guitar and piano, "Let Go" is absolutely one of the best tracks. Closer to what you'd expect a female Dave Matthews to sound like, it's not a bad way to end the album. It may even give her a launching point for her next work.

Ocean Floor is largely a fine album, and definitely leaves us wanting more. It is absolutely clear that Hartswick has tremendous talent. You can hear it in her work with Anastasio, and it's obvious on Ocean Floor. Perhaps as she becomes more comfortable in the spotlight she will expand her reach, going beyond the traditional and creating a sound that is truly her own. We can only hope because she surely has a gift to give.

Rating
Overall: 3/5
Originality: 2/5
Production: 2/5
Listenability: 3.5/5

Late to the Party: Muse

Building my musical foundation on the likes of Pink Floyd, Led Zepplin, The Beatles, and Radiohead it’s amazing that a band like Muse could slip entirely under my radar until recently. Filled with all of the depth and fortitude, drama and excitement, creativity and precision of these others, the English trio brings with them a sound that, while bearing similarities, also brings an incredible amount of originality.

Looking to pinhole Muse into one specific category would prove to be a nearly impossible task. They certainly don’t span every genre, but they do touch enough that labeling them with one would be a disservice. Undoubtedly a rock base, they weave their way in and out of alternative (watch: “Knights of Cydonia“), drama (watch: “Time Is Running Out“) and space rock, metal (watch: “Stockholm Syndrome“), electronica, and classical, and amazingly enough there isn’t one moment in any of these when it seems like they’re not in the right place.

School friends Matthew Bellamy (lead vocals, guitars, piano, keyboards, keytar), Dominic Howard (drums, percussion, synthesisers, sampling, harmtar) and Christopher Wolstenholme (bass, backing vocals, keyboards, guitars, harmonica) are able to produce a sound much fuller than their numbers would suggest. Yes, they unabashedly take advantage of multi-tracking in the studio, but even live (often joined by multi-instrumentalist Morgan Nicholls), they are able to fill the venue with an intense and energetic aura that is truly amazing.

Looking for the closest similarities, Radiohead and Queen instantly come to mind. Bellamy exudes some of the same vocal characteristics as Thom Yorke, and the band’s frequent use of multi-part harmonies along with emotional composition and emphatic climaxes will definitely take you back to the days of A Night at the Opera. But that’s not all. Bellamy’s vocals could easily just be compared to those of Rufus Wainwright, and, as a band, there are definitely tones of Keane, Coldplay, The Killers, a even a tad of Weezer, among many others.

Since 1999, the band has put out five studio albums, all of which are exemplary. The most recent, however, Black Holes and Revelations, easily takes the cake. From the opening track (watch: “Take a Bow“) they are right in your face and don’t ease up for even a second. It’s not surprising that it’s this same album that earned them a Mercury Prize nomination as well as ranking of third in the NME Albums of the Year list for 2006. They are hoping to release their sixth album in the fall of 2012.

Most of the people I’ve talked to either have never heard of Muse or know a song or two from the radio but have never really explored them with any purpose. The packed stadiums clearly indicate I have not spoken with the masses, but to those who fall into the categories above, do yourself a favor and give them a(nother) chance. There is far too much good in what they do to be ignored.

Take a look, it's in a book...