Tag Archives: Shihad

Rocks In The Attic #349 Bob Dylan – ‘Another Side Of Bob Dylan’ (1964)

RITA#349I like this stage of Dylan’s back catalogue: completely solo, pre-electric, and just before his fame got in the way. But Another Side is probably my least favourite of his first four albums. To me, it’s his Beatles For Sale – he sounds stuck in a rut with nothing particularly innovative on offer. A change of direction is on the horizon, but not just yet. Well, at least he didn’t resort to rewriting children’s nursery rhymes like Lennon and McCartney did in their desperation to get an album together in time for Christmas 1964.

I’ve just watched the latest Coen brothers’ film, Inside Llewyn Davis – about a struggling folk singer in New York’s Greenwich Village in the early ‘60s. As well as a perfect of the time novelty song – Please Mr. Kennedy – which I laughed at more than anything else I’ve seen in a long time, I really enjoyed the ending of the film where (SPOILER ALERT!) Dylan is glanced at, just as the film’s titular protagonist is about to give it all up and missing out while folk explodes into mainstream America.

There’s an element of openness to the ending that I liked. You don’t get to fully find out whether Davis calls it a day. In the final scene, he gets a beating for heckling a performer the night before, and that might be enough for some people to think twice about their options. But Davis’ character was loosely based on Dave Van Ronk, a contemporary of Dylan’s, who did go on to have a career in the folk boom of the mid- to late-‘60s, although nowhere nearly as successful.

I like to think that Davis didn’t quit – but maybe that’s the muso optimist in me. In the past I’ve had to quit a few things as a guitarist – some bands, some partnerships. Sometimes you just have to. The regretful thing is that I feel by moving to New Zealand, I’ve quit being a musician completely. I looked into joining / starting a band when I first moved here, but I could never find any other like-minded people. Everybody just wanted to play New Zealand music. Musicians here are blinded by a parochial mindset that I’ve never encountered anywhere else.

There is good Kiwi music out there, but it’s few and far between. That’s why nobody outside of New Zealand has ever heard of Dave Dobbyn or Anika Moa. Even Shihad are at best a whisper of a memory in the minds of overseas rock fans. World famous in New Zealand is just that – it’s mean to be an amusing way of embracing the country’s size and limitations, but it ends up being Kiwi music’s epitaph. And why would that ever change? The most successful musical export of this country was Crowded House – a band so to blame for putting New Zealand into the artistic middle-of-the-road, that it’s not surprising that foreign drivers have so much difficulty remembering to drive on the left when they get here. Even tall poppies like Lorde are derided by Kiwi music critics, because her music is so typically un-Kiwi, and how dare she achieve worldwide fame without playing barbeque reggae or singing about Dominion Road.

Still…Slice Of Heaven, what a tune!

Hit: It Ain’t Me Babe

Hidden Gem: I Don’t Believe You (She Acts Like We Never Have Met)

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Rocks In The Attic #280: Shihad – ‘Churn’ (1993)

RITA#280Before I came to New Zealand, there were only two New Zealand bands I had heard of – Crowded House, obviously, and Shihad. In fact, I didn’t even know Shihad were a Kiwi band. I’d heard some of their material and thought they were American, which isn’t a difficult mistake to make. But I had heard of them nevertheless.

Since living in the country, I’ve come to understand that they’re a national institution – a national treasure, if you will – which is odd considering that they started their career as a metal band, and a pretty heavy one too. Churn, their debut album from 1993 is a very heavy album, and doesn’t sound too much like the radio-friendly band that they would evolve into over the next twenty years.

My contact with Shihad in the five years I’ve been living in New Zealand has been with them fulfilling one of their key roles – that of New Zealand’s most prominent support band. It seems if there’s a big hard rock / metal band touring in New Zealand, you can almost bet Shihad will be supporting. I saw them play a radio-friendly set, supporting AC/DC in 2010, and earlier this year I saw them support a reformed Black Sabbath. Their set supporting Sabbath couldn’t have been any more different to the AC/DC slot – they drew heavily from this album, which had been re-released on vinyl for the first time that day – Record Store Day – to celebrate the album’s 20th year; and they were obviously playing to the more hardcore metal fans who had turned out to see Ozzy, Tony and Geezer.

Hit: Stations

Hidden Gem: Factory

A Little South Of Sanity

It’s May in New Zealand. That means another summer’s worth of gigs is over. Since moving to this country five years ago, standout gigs have been few and far between – we’re a little off the beaten track for international acts – but this summer has yielded many, many fruit.

It makes sense for international acts to tour here during the summer. It means they have the best of both worlds. They get to tour Europe and the US during the Northern Hemisphere’s summer, and then they take a trip over the equator and make the most of our summer while touring here and Australia. Nice work – if you can find it!

weezerlive2012

Summer kicked off in January with a nostalgia trip back to 1994. Weezer were in town, playing the Vector Arena. I love Weezer’s debut album – the Blue Album. It’s always remained a favourite over the years, and even though I haven’t really appreciated anything else they’ve done – aside from the sublime Hash Pipe – the promise of that first album played in its entirety was just too much.

Local support band U.M.O. (Unknown Mortal Orchestra) have been receiving many plaudits over the past few months with the release of their second album, so I was looking forward to catching them. I wish I hadn’t. Whether they were plagued by bad sound, or whether they just can’t play live, I was disappointed to see them. A tuneless dirge.

A quick catch-up with some old friends, and then Weezer appeared to play their first set, a greatest hits set. I didn’t recognise half of the songs, but it didn’t matter. On his way around the arena – ‘connecting’ with the fans – I got to high-five Rivers Cuomo. That’s not something I get to do every day.

The intermission, before they came back on to play The Blue Album, provided a nice touch. The lights remained down, and a slideshow of early band photographs was shown on the big screen behind the stage. Narrated by a member of the road crew, it showed the band in their early days, in their respective bands before Weezer, through to the recording and subsequent promotion of their first album.

I haven’t seen any of the tours in the last decade or so where a band play one of their classic albums in its entirety. I always thought I’d see one by accident – at a festival or something like that – so I was glad that the first one I would see would be an album I love. It was great to see.

Highlight: Say It Ain’t So

A month later I saw a Beatle in the same venue. I’ve seen McCartney play before, but this was my chance to see Ringo Starr and his All Starr Band. I’m a card-carrying Beatles obsessive but this was just the most bizarre mishmash of popular culture imaginable. This version of Ringo’s band included Steve Lukather (from Toto), Todd Rundgren, Gregg Rolie (from Santana) and Richard Page (from Mr. Mister).

Ringo

Aside from the inevitable Beatles songs associated with Ringo which, yes, sounded just as bad as they do on record, we were ‘treated’ to a couple of songs from his new album (2012). It’s hard to keep a straight face when you’re faced with lyrics of such elegance as ‘This is an anthem, for peace and love / We’ve gotta keep trying, we can’t give up’.

The rest of the show was taken up with cover versions of the band member’s hits from their respective bands. So we had the likes of Rosanna, Africa and Hold The Line (courtesy of Steve Lukather), Broken Wings (courtesy of Richard Page) and Black Magic Woman (courtesy of Gregg Rolie). Thankfully, Ringo left the vocals to his bandmates for these ones. Bless him.

Highlight: I Saw The Light

Rodriguez

A month later we saw Sixto Rodriguez come back from the dead at the ASB Showgrounds. The last time I was there, I was watching two porn stars jelly-wrestling. There wasn’ any jelly-wrestling this time, thankfully, but it was great to see Rodriguez after finally watching Searching For Sugar Man last year. Given his condition (he had to be led out to the microphone as his eyesight isn’t the best), I don’t think I’ll get the chance to see this frail old man perform again.

Note to self: avoid gigs at the ASB Showgrounds in the future. It’s not a great venue for music with some seats at an almost 90° angle to the edge of the stage, and pillars blocking the view from some. I might go back for the jelly-wrestling though.

Highlight: Sugar Man

Fred

Four days after Rodriguez, I went to see Fred Wesley and the JBs at The Powerstation. It’s almost impossible to not get a good view of the band in The Powerstation, and this makes it my favourite Auckland venue hands-down. Being able to see the band is especially important when seeing Fred Wesley and his band, if only to see the looks on their faces when they glance around the stage. It looks as if they’ve just smelled something truly awful, as though they’re accusing each other of farting, but they’re simply congratulating each other for playing something unbelievably funky.

After dancing for two hours, I was absolutely shattered so on my way out, despite seeing Fred make a beeline for the merchandise booth (presumably to sign autographs), I went straight home. I regret that massively.

Highlight: Pass The Peas

Plant

Another regret came a few weeks later when we saw Robert Plant (supported by The Blind Boys Of Alabama), back in Vector Arena. I don’t regret seeing Plant – for the third time, after catching him twice at Glastonbury over the years – but I regret not paying more for my ticket. We were sat right at the back of the arena, next to the sound desk, and although we enjoyed the fantastic sound from being sat there, I should have bought better tickets. If tickets had been released earlier, I maybe would have bought premium seats, but as it was, it was one of the last shows announced for the summer, so funds had to stretch accordingly.

With an impressive band (The Sensational Space Shifters), including one of the guys from Massive Attack shaping the overall sound, Plant shone across nine Zeppelin songs. Some of them were ‘re-imaginings’ but the more acoustic ones like Going To California and show-opener Friends, from Led Zeppelin III, were right on the money.

Highlight: Friends

I returned to Vector Arena nine days later to see something I thought I’d never see in person: a reformed Black Sabbath. Unfortunately Bill Ward wasn’t present, but it was still great to see Ozzy, Tony and Geezer; and the drummer they brought with them – Tommy Clufetos – was fantastic.

Shihad

I had celebrated Record Store Day earlier that day by buying Shihad’s debut record, Churn, on vinyl for the very first time, and so it was great to see them support Sabbath. I’ve always admired Shihad from afar, and it was interesting to see them play such a heavy set, in contrast to the more radio-friendly set I saw them play when they supported AC/CD at Western Springs a couple of years ago.

Highlight: Factory

Black Sabbath.Auckland.logo.0420-13

Sabbath were every kind of awesome. Just hearing Ozzy’s voice for the first time while the stage was still shrouded in darkness was unbelievable. He might not be the best singer in the world, but his voice is unreal. I read somewhere recently that in the entire lyrics of the first Sabbath album, there are only two or three words that are longer than two syllables. Thankfully the guitar riffs are where it’s at with this band, rather than the wordplay, and it was really Tony Iommi who was the star of the show.

Highlight: War Pigs

A few days later, I flew down to Dunedin on my own (leaving a heavily pregnant wife at home with our 16-month old) to see Aerosmith. I don’t think I ever thought they would play in New Zealand, so I was ecstatic when I heard they’d announced a show, but then equally dismayed that their one and only show was to be in a city in the deep south of the country.

A cheap flight with Jetstar, and some cheap accommodation meant the trip wasn’t too expensive, but I didn’t account for how wilfully backwards they are down there. The airport is about half an hour’s drive out of the city, and there’s no public transport from one to the other. So the choice was a $70 taxi ride or a $30 shuttle minibus. Somebody is getting very rich off this arrangement.

It hardly stopped raining in Dunedin all the time I was down there. As soon as I reached my accommodation, I braved the rain to walk down to the local supermarket (going down the same hill that the steepest street in the world is on, just a few streets away). I instantly regretted my choice of footwear – a pair of old Adidas with a hole in one of the soles. Grr. I had to spend the next couple of days with plastic bags lining my right foot to keep it dry – to various shades of success.

FBS_ASmithNew

There’s a couple of rumours why Aerosmith chose to play somewhere so isolated. Either the promoter offered them big bucks to play there (and there only) – or the other thing I’ve heard is that Auckland doesn’t have an indoor venue big enough for one show (the Forsyth Barr stadium in Dunedin has a roof, which my right foot was very thankful of) and they didn’t want to risk an outdoor show because of the weather at this time of year. I think the former seems the more likely. Elton John did exactly the same thing a couple of years ago, and avoided both Auckland and Wellington to play down there.

The thing is, Aerosmith undersold. The stadium’s capacity is 40,000 but they only sold 20,000 tickets – and according to some bloke from the Dunedin Hotel and Motel association, all the accommodation was booked up. So I don’t know where they expected people to stay the night, if the show had sold out?

Still, I’ll take the opportunity. My favourite band, and all that.

dead daisies

Some of the support bands left a lot to be desired. Local try-hards Diva Demolition kicked things off with a short set – short on melody. They were followed by arrogant cocks Head Like A Hole, whose only saving grace was a great cover of El Bosso’s I’m On Fire. The next band up was The Dead Daisies – whose truly awful name was rivalled only by their truly awful middle-of-the-road Dad rock.

Wolfmother

Finally, Wolfmother saved the day. I’d been a fan of their first album, but then they sort of drifted off my radar over the last couple of years. They bounced onto the stage like puppies with their huge hair, and played a set that really warmed the stadium up. Apparently this was to be the last Wolfmother show, with lead singer Andrew Stockdale intending to tour and release work under his own name going forward.

Highlight: Joker & The Thief

Half an hour later, Aerosmith took the stage. This was the fifth time I’ve seen them, and again the set was very different to the last time I saw them, indicating that they’re getting more and more comfortable playing their older material. The set list seemed to alternate between old songs and new (Geffen onwards) songs, which was nice to hear after the Geffen heavy sets they played the first three times I saw them.

Aerosmith

The highlight for me was No More No More, one of my favourite songs from Toys In The Attic, which I’d never seen them play live before; and their version of Come Together – again a song that I’ve never seen them play live, but know like the back of my hand from listening to their studio version countless times.

Highlight: Being this f**king close!

I walked back to my accommodation in the rain, with a wet right foot, a new Aerosmith t-shirt and ringing in my ears. Here’s to next summer!