"I can't believe three years ago I was dancing on stage with this guy at the Gramophone," spouts a cohort between gasps of belief. "And now I'm watching him sell out the Pageant."
Tribute bands have become a big deal -- and a big draw -- particularly when they are comprised of talented musicians from some of the most popular local bands. Rolling Stones tribute act Street Fighting Band is one of the latest incarnations of the trend that spawned tributes El Monstero and Celebration Day -- all of which share common members.
Around 2005, I stumbled upon the New Pornographers via one of those ubiquitous sampler CDs stuck in the middle of every music magazine of the aughts. The song "Use It" lead me to seek out the rest of the band's third album "Twin Cinema." It was love at first listen.
The difference between legend and legacy can seem muddled to a few, but ultimately, many realize that it's marked by a single concept, impact. While many would consider Stanley Clarke to be a living legend in the world of jazz and the bass, his appearance at the helm of Stanley Clarke Band at the Pageant on Tuesday night illustrated more than simply his prowess as a musician, but also the lasting effect he has on the youth that join him on stage and nearly every modern jazz musician that has risen through the ranks. With over four decades of experience, Clarke's discography depicts the changing face of jazz while his energy mobilizes its future.
When Spoon's Britt Daniel talked to KDHX's Kevin Korinek, he described the band's new album, "They Want My Soul," as one for playing on a car stereo. With shimmery synthesizers and guitar pedal work, the live possibilities of taking this beautiful production piece out of the car, combing it with their past efforts is daunting.
I think everyone who lived through the '80s can agree that there was no shortage of loud, longhaired rock bands dominating the radio and MTV. Amid the plethora of spandex-clad arena rockers like Mötley Crüe, Poison, Ratt and Bon Jovi, however, one band stood apart.