Rarely does a band come on the scene and eviscerate all other newcomers in such short time, but that’s exactly what DFA 1979 did with their monumentally disruptive debut, “You’re A Woman, I’m a Machine.” Today we add this to the series “Albums of my Life.” Enjoy
With the piano opening, you might expect this to be an album that gradually dives into its substance and influences, but rather it’s nearly the opposite. “Turn it Out,” forces you to face this demanding, high energy music, and if this is your type of jam, you’re likely gladly welcoming the tension and up close animosity soaking through the speakers. With this opening track, Jesse F. Keeler and Sebastien Grainger clearly lay down their hypothesis for what the rest of this record will consist of.
Now, these songs are short, but none feel like they need more. Except for the closer of the album, none of the tracks are over 4 minutes, with most running under three minutes or less. This does two things in a record format: First it gets the listener immediately immersed in the quick pace of the album, but secondly, it states the purpose of the band. These guys aren’t Tool or Godspeed! You Black Emperor. Rather they approach the songs from a more punk rock background. The vocals are ratty and gritty, and between the chunky bass playing and intermittent synths by JFK, they demonstrate that they have no time to waste to engage an audience, whether it be through record or live performance.
Even under the six minute mark, we’re already on track three. “Going Steady,” is the first track on the record to not be unabashedly angry, but with plenty of darker tones on the synth, it still maintains the vibe of the record. This record is a strange one in the way that you wouldn't think it would be easy to dance to, but in fact it is. Even as the song rocks on, it’s difficult not to move to it, but if you don’t go fast, you’ll miss it before you even realize it’s there. Furthermore, the introduction of “Go Home, Get Down,” basically forces itself through the door with a fist and punch mixed with heavy drums and keyboards that are basically alien to the genre being presented,
That's what makes this band so important. They subvert the angriness of random parts and make a sort of mashup that is able to exist in various forms. This band shouldn’t work on any level, but off the power of this one record, they not only created a loyal, fervent fan base, but they went from playing shit clubs to opening for Queens of the Stone Age and Nine Inch Nails. That’s progress.
The middle of the record though is where the true meat of the album is presented. “Blood on our Hands,” is a catchy accomplishment and triumphant, while “Black History Month,” is one of the most well rounded, varied songs the band includes on this album. The drums and bass are perfect, and for the first time Grainger isn’t growling with resentment. It’s a track that paints a picture of unhappiness and teenager wonder all in one fail swoop. If this isn’t among the band’s best tracks, I don’t know what is.
After that though, it’s nearly right back to the brimming violence of the album's opening tracks. “Little Girl,” “Cold War,” and the title track found at number nine all embody the spirit of a band, even if it’s still in it’s relative infancy(The band would disband immediately after the touring cycle and wouldn’t reconvene for nearly five years.) The magic presented on “You’re a woman,” is profound, cathartic, and easy to get into because of its mentality and simplicity. That’s not to undermine the record in anyway or make it out to be immature or incomplete. Basically bands like Japandroids owe these guys a huge debt of gratitude for what they accomplished. This type of act shouldn’t have success, but thankfully the did. By the closing track of “Sexy Results,” though, the band has exhausted their ideas, and choose to conclude the record with a more sexy, swagger filled track that doesn’t require thrashing about, but rather the ability to showcase how seductive and alluring they can be in going after what they want. There’s really nothing to say anymore regarding how great this record is. Thanks for reading.
For many people, including myself, the years after 2000 were where I really learned to trust my instincts and grasp new and exciting music that I wouldn’t have embraced in my formative teen years. Today I start a top twenty countdown of the best albums of the Aughts, or the years ranging from 2000 to 2009. This list will include many obvious choices, spanning all genres and nearly every year of the decade. Many of these are albums that are bands I still love, but more than anything, all of these are brilliant records that made the decade interesting. Enjoy!
20. El-P, I’ll Sleep When You’re Dead, 2007
El-P’s second album took five years to surface, but in the end it didn’t matter because it elevated his craft to a level that underground hip hop hadn’t seen in quite some time. Often times rap albums feature many guests, but rarely are the guest stars so diverse in taste. Trent Reznor, the Mars Volta, and fellow Def Jux star Aesop Rock all make appearances, but the worth of the album truly lies in Jamie’s brilliant lyrics, useage of samples, and of course, beats to out any other rapper out of business. These days he’s better known as the better looked but often overlooked portion of Run the Jewels, but with this record he took control and showed everyone what he could do when he put his mind to it.
19. Bon Iver, For Emma, Forever Ago, 2008
Since this record came out, stories of the album's creation have become indie legends among the Pitchfork faithful, but beyond the tales of a sick Vernon crafting this solitary beautiful album stands the fact that the album is gorgeous in ways that most albums can never hope to be. What’s even more interesting and wonderful is the fact that this record actually produced a bona fide great musician, and that he’s been able to continue to make music, with various acts. “For Emma” isn’t just an album for the heartbroken, but rather a healthy dose of fresh air in a sea of electronic beats and clueless rappers who couldn’t conjure up true, raw emotions if it hit them in the face.
18. the National, Boxer, 2007
Even though this record was the first record I truly gave notice to this band, I can’t think of a better record to showcase their depth. Of course I’ve gone back and rocked out to the previous efforts, but “Boxer” was the record that showed their brilliance and concise instrumentation, all within the confines of twelve tightly wound, intricate tracks. Berninger’s voice bellows when it needs to, and the sadness and energy prevailing over everything only makes this album more cathartic and resolving. The National may not have been a big name when this record was released, but after its release, the National had officially arrived.
17. the Knife, Silent Shout, 2006
The Knife had had a fair amount of success on “Deep Cuts,” but what they did following that is something only bands who give no fucks are able to do well. They dismantled everything they built for subsequent releases, and made an electronic album so cold and distant from everything else in the genre that even after ten years it’s one of the best most innovative records to be released under the giant umbrella of what can be considered Electronic music. Karin and Olof crafted brilliant tracks like “Silent Shout,” and “Marble House,” and in the process became an enigma in EDM, joining the likes of the equally brilliant Aphex Twin and Daft Punk.
16. At the Drive In, Relationship of Command, 2000
For many people, their awareness of the band came from the initial success of the Mars Volta, which featured probably the two best musicians of ATDI, but for a brief period of time before TMV’s success, At The Drive In was a force of nature in the area of post punk rock that broke huge with this album and swiftly fell apart under the weight of being a now successful band. The record however, is still brilliant and brimming with intensity, even over fifteen years later. Track after track pummels you, leaves you breathless, and makes you want to jump and thrash about for the sake of fun. Alas, in the years since, no band can match the magnificence of who ATDI was and how important they were to music t this crucial time in their career.
15. the Strokes, Is This It?, 2001
Many, many people I know consider this to be the single best album of the decade, and while the record is a garage rock masterpiece, for me it simply falls under the category of one of the best albums of the decade, not the best. “Is This It?” wasn’t only a huge monsoon of fresh atmosphere, but also an album full of chunky guitar parts, brilliant hooks, and enough no care swagger to make anyone fall in love. They, along with the White Stripes helped to shape the early aughts rock revolution, but The Strokes succeeded over the Stripes nearly only because of how cool they are. I mean, the White Stripes are amazing and of a somewhat different chain of the same dna, but even they couldn’t come off as cool as the Strokes do when they bang out “Modern Age” or “Hard to Explain,” even if the Stripes are better overall.
14. Mastodon, Leviathan, 2004
Mastodon still isn’t a household name everywhere you go, but among hardcore metal fans this band has gradually become the same type of band that Metallica or Pantera was. That’s not to imply that they are anywhere near as big as either of those, but Mastodon has arguably made more great records than those two I mentioned before. Largely, it began with the groundbreaking, earth shattering, “Moby Dick” inspired “Leviathan.” The album features some of the band's best known tracks, and while tracks like opener “Blood and Thunder” reign down with power, the greatness of the record lies in how intricate the musicianship and plot elements alike are used to explosives success.
13. the White Stripes, Elephant,2001
Many album's stand out over time, and for me this is one of the most vivid reminders of where I was when I first came into touch with this kick ass Detroit duo. Nearly immediately after hearing the pulsing energy of “Fell in Love with a Girl” the album was purchased and filling my house with electric jams that were unique and familiar all at the same time. Even after all these years, I still get pumped when “Aluminum” rips apart with reckless abandon, or when Jack sings softly to Meg on “We’re Going to be Friends.” Jack may have gone on to numerous bands and a pretty large solo career, but the backbone of what he has accomplished will always lie upon the amazing chemistry he had with his ex wife, Meg, and the music they made as the White Stripes.
12. LCD Soundsystem, Sound of Silver, 2007
Mixing electro, punk, disco and a myriad of other styles, James Murphy and company came on the scene and quickly took off with a mix of music weird enough to make sense to many music snobs. It wasn’t until the 2007 release of “Sound of Silver” however that things really broke big. From the epic opener of “Get Innocuous” to the life changing moments courtesy of “All my Friends” this record cemented their spot among the Indie elite, and before long they weren’t only the new cool band, but also the band you never knew you desperately needed in your life. The first record may have been awesome in its own right, but “Silver” was the big push the needed to get even closer to being a perfect band.
11. Deftones, White Pony, 2000
There are two forms of Sacramento's Deftones as I see it. The brief, angry period before “White Pony,” and the more abstract, free flow of ideas that came after it. “White Pony” was an album that not only enabled the band to jump drastically out of the quickly dying circle of Nu Metal simplicity, but a record that mixed their early intensity with deep rhythms, ambient soundscapes, and whimsical and mythological themes throughout. The album is easily one of the best things I’ve ever heard, and while it ranks in the top three best albums I’ve ever heard, on this list it finds itself at number eleven, rounding out the first part of our countdown.
And Here we go with the Top Ten!
10. Gorillaz, Demon Days, 2005
After the massive success of their debut, the animated “group” really showed their depth with the equally diverse “Demon Days.” The whole range of the album is difficult to pinpoint, but with Albarn at the helm, it ends up being just as focused and energized as the previous record. I mean seriously, did you ever realize how much you needed Dennis Hopper narrating a track until you heard “Fire Coming Out of the Monkey’s Head,” or be as pumped to dance as when you heard “Dare” for the first time? Track after track is a different formula for how awesome the band can be, and while the next album featured an even more diverse mix of talent and sounds, “Demon Days” remains the Gorillaz landmark album and still easily holds up eleven years after being released. They just don’t make bands like this often, which is why it’s always refreshing to dive into Albarn's and Hewitt's weird mashup of a world.
9. Nine Inch Nails, Year Zero, 2007
I’ve long been a huge fan of Trent Reznor, and with each successive NIN album, he manages to not only grow his brand of complex industrial, thought provoking music, but build a world so doomed you can’t help but be curious. “Year Zero”is easily one of the bands strongest efforts, and the scope of the themes touched upon in this “Year Zero” really drive the point home of what TR was trying to convey. The images of a world left ruined by a corrupt and controlling government permeates the essence of the album, and with tracks like the pummeling “Survivalism,” and the extremely tongue in cheek “Capital G,” the record captivated long time fans of the band. For me though, it was a huge source of inspiration. Not only was the brilliant ARG campaign fun to follow, but the music that followed was some of the more innovative music he created in the later years of his career. If you’re a fan of wide ranging storytelling in music and concept albums in general, you’ll find this record stands up against NIN’s best works.
8. Kanye West, Graduation, 2007
Kanye is crazy, Kanye is impulsive, and Kanye isn’t always right in how he handles situations. But also, Kanye is one of the most polarizing artists of our generation, and the touches and finishes he adds to each album truly make him a worthy artist to watch. With “Graduation,” the last in his unofficial trilogy of breakthrough albums, we find Mr. West really diving in to hone his precision in ways that wasn’t overtly obvious on his previous efforts. “Good Life” provides a perfect beat and feel good vibe to assist any gorgeous day in the sun, and the Daft Punk sample heavy “Stronger” was able to bring new fans into his world based on the killer beat and reinterpretation of an already brilliant song.West may be brash and outspoken, but his albums are repeatedly not only engaging, but with hooks like the ones found on “Graduation,” he entered his own world and stood on the precipice of being the most captivating figure in modern day hip hop.
7. Portishead, Third, 2008
More often than not, when a band takes nearly eleven years to release an album, it’s rare that a record not only matches the excellence of the band's earlier works, but also manages to become their best effort. “Third” is utterly intoxicating in ways the band's earlier records aren’t and it shows that not only became a better band in the passage of time, but they broke new ground in areas the world wasn’t even aware could occur. It’s easily my favorite project Portishead ever released, and with it still simmers with urgency and new sounds eight years after releases. Gibbons, Utley, and Barrow all give their everything on “Third,” and while a track like “Deep Water” is unlike anything the trio had ever constructed before, it still fits nearly in the net of what Portishead is as a band. One of the best surprises of the decade musically, the third record by the Bristol group stands out as their most innovative and awe inspiring record, which is saying something considering how dense and interesting their early records are.
6. Radiohead, In Rainbows
Before “In Rainbows” the concept of a band releasing a surprise album wasn’t nearly as normal as it is today. Once again Radiohead had upstaged everyone with something revolutionary. The album however isn’t merely a genius marketing tool, but the music presented on “Rainbows” stacks up against the band's best efforts, and nearly ranks at the top of the band's brilliance. Over and over again the band rises to the occasion, and dismantles expectations about what type of band they truly are. Radiohead is so wide ranging in their tones and influences that it's difficult to calculate how awesome they are. “Nude” soothes the listener into maximum comfort musically, while remaining dark and ominous in the presented lyrics, while other tracks like “Bodysnatchers,” and “Jigsaw Falling into Place” show the band can dial it up and still be a thoroughly energizing rock band that can kick ass with the best of them. Most Radiohead albums are good, but on “In Rainbows,” Yorke, Selway, the Greenwood's and O’Brien reminded everyone why they are the most innovative band of the last twenty years.
5. Daft Punk, Discovery, 2001
Let’s just get this out of the way: Daft Punk is quite possibly the most groundbreaking electronic act of all time. Certainly the most well known. This is a band capable of taking years and years off and still somehow staying ahead of the curb. This is extremely evident by the time they released the now classic “Discovery” in 2001. The album features otherworldly beats, themes of love and loneliness, and epic musical throwdowns. No other act in the electronic realm is even capable of being as uncomplicated or cool as the much beloved french Duo. With classics like opener “One More Time” they not only captivated the music world but also showed how accessible electronic music can be to a large number of people. Further, there’s not a single track on the record that seems redundant or contrived, which is most certainly part of the Robots charm. They have plenty of great sounds on all of their albums, but if you want the Daft Punk golden standard, look no further than the masterpiece that is “Discovery.”
4. the Flaming Lips, Yoshimi Battles the Pink Robots, 2002
Oh the Flaming Lips. Known more now for how weird and diverse Wayne Coyne is then the brilliance of their music, this is the album that tied everything together for them. “Yoshimi” is easily their most cohesive, single idea drawn out to perfect effect that the band has ever released, and while it’s definitely weird, it’s never too weird to get into. From the thumping energy of “Yoshimi Battles the Pink Robots Part 2,” to the rarely mentioned magic of “Are You a Hypnotist??,” this album thrives on beats and energy that are right at home in our vast solar system. Let’s also not forget how “Do You Realize??” quickly become an alt rock anthem for everyone, and made the fans that had been with the band for years proud of the weird little band from Oklahoma finally got a chance to shine in the stratosphere.
3.Arcade Fire, Funeral, 2004
Rarely in music does an indie band launch onto the scene and be immediately hailed as the next big thing. Even more rare is when it actually ends up being true on subsequent releases. Montreal’s Arcade Fire though, are in fact the real deal, and it all began with “Funeral.” Over the course of ten solidly paced tracks, the brothers Butlers, Regine and company captured moments of adolescents haunted by despair, unbridled happiness and solitude in a way that hadn’t been seen before. The album is fresh, and alive and even today the themes and lessons running through the tracks aren’t understated or blown out to maxed out importance. For many music fans this record was a slap in the face(In a good way), and for good reason. “Wake Up” soars over mountains like classic U2 songs did before the band became laughable, and the closer “In the Back Seat” perfectly paints a picture that everyone has experienced in their early years: watching the world through the back window, wondering what majesties await us.
2. Tool, Lateralus, 2001
Number two on our list might be a surprise to some people, but it really shouldn’t if you ask me. Tool is continuously a band that pushes what is acceptable in a hard rock world where it’s more acceptable to write songs about drinking and speaking like you’re still a fourteen year old child whose parents would buy you something than to actually approach things in a very introspective, thought provoking way. These terms came through bluntly with the meticulously calculated “Lateralus.” The record, clocking in around eighty minutes, never gets dull, uninteresting or overextended. Adam Jones, Danny Carey, Justin Chancellor and Maynard James Keenan fire on all cylinders here, and push what they were capable of on previous albums to the hilt of excellence. This is a record that thrives in anger when it needs to(“Ticks and Leeches”), wraps you in a glorious path of uncertainty(“Disposition,” “Reflection,” and “Triad”) and finally with the title track makes you worship the world you have at your fingertips and “Separate the Body from the Mind.” It’s not only the band's best album to date, but stands as the water mark for a thinking man's hard rock album.
1. Radiohead, Kid A, 2000
If you’re surprised by this, then either you’re an idiot or you’ve never experienced the record in all of it’s flawless, well crafted poised. After “Ok Computer” ruled the world, no one expected the band to delve into the electronic sector, but in doing so they managed to not only prove they had more than one excellent album in their heads, but that they also weren’t merely a rock band. One of the biggest departures from “OK” is the elimination of most strings and guitars. What’s even more frightening is how well it works. In some ways this is the best the band has ever been, if only because it was so unexpected. At times it doesn’t seem plausible that the same band from the first three albums is even the band you’re listening to, but that’s the mark of an amazing band. Able to switch, adapt and ultimately capture people's love and imaginations with an album as starkly contrasted as this one. The best record of the Aughts, Radiohead’s perfect,cold and uncompromising “Kid A.”
Thanks for reading.
For nearly two decades now, Queens of the Stone Age has pulverized and persuaded fans to join their cause. They can be raucous and romantic, cynical and cleansing, and everything in between. With Joshua Homme at the helm, each album has showcased different qualities in the band, and they’ve remained relevant in a sea of uninteresting. Today I give to you the Top Ten songs by Queens of the Stone Age. Enjoy!
10. the Lost Art of Keeping A Secret, Rated R
Why do people tell you they have a secret? That defeats the entire point of a secret. It’s like if someone comes up to you and says “I have your favorite meal, but you can’t have any.” How about you just fuck off with your meal and/or secret. Anyway, This was one of the first songs I got into by this band. It’s also a shame that this song is very rarely played live. I was supposed to go to see them two different times, and both times complications were involved. Either way, this song kills it musically, and it’s worthiness in being on this list is hardly a secret
9. Little Sister, Lullabies to Paralyze
More cowbell! Getting that out of the way, this song is just a foot on the pedal of awesome. It’s fast, driven, and has one of the best chorus’ in the band's entire catalog. For awhile I had this as my little sisters, you guessed it, ringtone. I was always fighting between hearing the song or answering. Sadly in the last few years I’ve come into the information that the track is actually about incest, so yeah that was awkward to learn. Part of me still hopes it’s a song about the Lannisters from Game of Thrones, but I highly doubt it. Lastly, if you haven’t seen the SNL footage of them playing this with Will Ferrell (in costume on cowbell), I highly suggest you do so.
8. Sick, Sick, Sick, Era Vulgaris
From the thumping of the guitar and drums, you can easily tell this isn’t going to be a lovey dovey situation, which is fine, because Queens are at their best when it’s immediate and in your face. This album is among their least interesting, at least to me, but “Era” has moments of invigorating intensity, and “Sick, Sick, Sick,” is very high on that list. Homme’s rushed vocals and ramblings play in perfect tandem with the hurried instrumentals, and overall these techniques play to the band's strengths, and showcase how proficient they are as musicians.
7. I Sat by the Ocean,...Like Clockwork
For the record, “...Like Clockwork,” is probably the best album the band has made so far, which is interesting since it’s fairly deep within their career. “I Sat by the Ocean,” and others truly help to propel the record way up there. “Ocean” is a jaded love song that only Homme and company could write. It’s also a brilliant representation of the dissolution of a once prosperous union. Many people can relate to that, and with Joshua’s crooning voice and the slow blues infused guitar behind it, the song is an instant classic among the band's best. Sure it’s a disheartening song, but sometimes it’s the mopey, reflective stuff that really can make a difference in a person's live.
6. 3’s & 7’s, Era Vulgaris
A video that goes perfectly with the song. The breakdown at the end is just as interesting as the rest of the song. Castillo’s drumming during that part is pure manic craziness, but in a good way. Seriously although Jon Theodore is an amazing drummer, Castillo fit the mold of what they need, even if what he did best was hit the hell out of the drums with reckless abandon. To the rest of the track though, I still don’t know what he’s howling at the end of the song, but sometimes it’s more fun to just make up your own lines.
5. the Vampyre of Time and Memory,...Like Clockwork
One of the most touching, eye opening, sobering songs in QOTSA’s discography finds us at the halfway point of the Top Ten Queens of the Stone Age songs. Homme’s voice is slow and gentle, and wincing through agony both out of body and internal. This record and the road to it were particularly difficult for Homme, and on “Vampyre” you can feel all the emotion and damage wearing through. All in all, it’s a powerful song about confusion and loss, and the struggles of making things work when they seem reserved to falling apart.
4. Better Living Through Chemistry, Rated R
I like to envision a scene from an old, not great movie. Picture this song as the music for the trailer to “Planet of the Vampires,” by Mario Bava. It’s not an excellent film, but it captivated me. The first time I saw this performed live was at Voodoo Fest in 2003. The sun was setting, and it was the last day of the fest. Just an amazing feeling in the air. So many of this band's songs grow and expand and end up in a completely different place from where they began, but this is the one that works the most. Sometimes I wish they had gotten their just deserves and would be headlining arenas but I have a feeling Homme and the band like it right where they are. They truly are the great rock and roll band of our time, even if tons of people still aren’t aware.
3. Burn the Witch, Lullabies to Paralyze
The drums and the groovy, dreamlike tempo set the stage. I never realized how cinematic a lot of their songs actually are. “Burn the Witch” especially oozes with the images being projected to you. I can picture myself being wooed by an evil seductress in a bar that has only red lights. Oh, and the Ba- na- na through the song is priceless. The song, while sarcastic, is also one of their most reliable hard rock tracks. It’s consistent and thorough in it’s musical ability. Lastly though, Homme never gets enough credit for his lyrics, which is sad and frustrating, seeing as they’re brilliant, funny, and extremely tongue in cheek.
2. Fairweather Friends,...Like Clockwork
What other song can you think of in this day and age that features multiple well known artists, outside of a rap track? “Fairweather Friends” isn’t only the best song on “Clockwork,” but it manages to pull more star power than most rap ensembles. Homme is joined by Dave Grohl, Trent Reznor, and Elton fucking John on this massively catchy song. John’s piano can be heard hammering away in the background, while Reznor growls here and there. The real star though is Homme, who yet again proves how brilliant he is in his usage not only of metaphors in music, but also how reliable he is as a competent musician. This is a track i could listen to over and over again, and quite frankly I don’t know if any new record can topple the masterpiece that is “...Like Clockwork.”
1.Go with the Flow, Songs for the Deaf
Quite possibly the song that took this band to the next level. The record itself is a masterpiece, and many of the songs are intensely brilliant, but “Go with the Flow” is the easy winner of the whole album. The track starts at 70 MPH and doesn’t slow down even remotely throughout its three minutes and seven seconds duration. Troy Van Leeuwen's keyboard and guitar playing are inescapable and relentless, while Grohl's drumming and precision take the track to totally new level, one which the band hadn’t reach to before. Not only is this the best track of the entire record, it’s also the best song the band has in their arsenal, and one we’re likely to be enjoying for many many years. Thanks for reading!
Tool is a band known for their live performances. The thought, design and execution of Tools live show has always been nearly perfect, and on a past Sunday night at the horribly named Smoothie King center they demonstrated again why they consistently sell out tour after tour. This time though, they weren’t the only big powerhouse on the bill, but we'll get to that shortly.
Opening the show was 3Teeth. You would think with a name like that they’d be straight out of the nu metal haydays, and while that assumption isn’t accurate, the music wasn’t some great secret waiting to be discovered. When I think of this band, the first thoughts are that vocally they sound like Ministry, while musically they make you think of Rammstein. All of this is true, but while they somewhat sound like these bands in one way or the other, they are far less interesting than either of them. For nearly thirty minutes they performed, but it was fairly obvious that the crowd was there for Tool, and even Primus a bit.
Having said that, it’s a shame Tool didn’t decide to just go with Primus as the lone opener. In all the countless times I've seen Tool at their own tours, never once have they had two openers, so it’s a bit puzzling why’d they have two when the band has the best opening act they’ve ever taken out on tour. Getting to the actual set though, Primus killed with the fifty minute or so set, and the crowd seemed warm to their performance. For a measly seven songs the band seemed tight, focused and ready to go. “Mud” droze the crowd into rocking out, while the finale of “Southbound” saw Danny and Justin from Tool come out and have an extended jam session with the San Fran boys. All in all, the set was fantastic, and left the crowd wanting more, which is a shame because we didn’t get it.
PRIMUS SETLIST: Those Damned Blue Collar Tweekers, Too Many Puppies, Frizzle Fry, Jilly’s on Smack, My Name is Mud, Jerry was a Race Car Driver, Southbound Pachyderm
Tool however, had oodles of time to work with, and boy did they deliver. Opening with Zeppelin classic “no Quarter,” the band dove right into the set which for once featured tons of songs that hadn’t been played in a long time. The stage show, as expected, was massive, with screens dropping and moving into configurations quicker than I could figure what out where they were coming from. Also an awesome chunk of the set was devoted to the masterpiece that is LAteralus, which saw “The Grudge” and “Parabol(a)’ get showcased for the first time in over a decade. Hit after hit rolled through the air, finally coming to a conclusion with the even more rarely played “Sweat,”(!!!), and Stinkfist.
The band was extremely tight, which you would guess seeing as it was the last date of the tour, but they also seemed to be in high spirits. Maynard, coming out for the encore in some weird Tutu top hot outfit had the crowd enamored, while Jones’ and companies playing certainly hit all the right strides and notes. After everything was done, I’d have to say my 21st Tool was just as awesome as the others, if not better. Now if we could just get a new album and tour, that would be dope.
TOOL SETLIST: No Quarter, the Grudge, Parabol(a), Schism, Opiate, Aenima, Descending, Jambi, Forty-six and Two, Sweat, Stinkfist
Thanks for reading!
Landon Murray is a New Orleans native, who thrives on painting the world he interprets through the useful forms of all types of art he feels connected to. He's seen over 1000 bands, and had loved mostly every minute of it. He has an amazing 10 year old dog, and is loving life.
Are you looking for the old Wordpress blog posts?