Fuel/Friends dives in at SXSW 2011

On Wednesday night, as we braced ourselves for the marvelous musical onslaught that was churning ready to release onto the streets of Austin, somebody told me that the SXSW Festival was 40% larger this year than last. I have no idea if that is true because I am terrible at estimating numbers of anything, but I can certainly believe it, as SXSW continues to grow and draw so many acts down to Texas that I always leave feeling like I’ve been through a musical washing machine. Or maybe I feel like that episode of ‘I Love Lucy’ where she is trying to eat the chocolates that just keep coming so fast, and more, and more, and more. No one can keep up with all that deliciousness, but I was game to try. I’m always game.

After a splendid opening reception for media at Austin City Hall with some excellent local talent and gift bags with bottles of Tito’s (uh oh), I headed as quickly as I could over to Bat Bar for Walk The Moon, to start my SXSW 2011 off right. You know I was mightily excited. With the crowd packed close and the bar walls open to Sixth Street passersby stopping to watch, their set was crackling with the kind of kinetic confidence that comes easiest in youth. Their energetic, dancey set can best be illustrated by two texts I sent to a friend while I was trying to convince him to come over.

9:24pm: “These guys are adorable. And twenty.”
9:26pm: “And wearing facepaint.”

It was everything I had hoped for. The first show of my SXSW was also the feel-good winner. I had to stop filming a video clip because I decided I had to dance instead.

Walk The Moon

I want to join Wild Flag. I want them to adopt me as egg-shaker rocker girl (since I couldn’t depose the formidable Janet Weiss, of Sleater-Kinney, as their drummer) and take me on tour with them, so I could bask in their rock glory every night. Fronted by Carrie Brownstein, this new band of Pacific Northwest badasses were phenomenal at the NPR party, playing their squalling guitars held behind their heads. Their songs had strong driving melodies and basslines, with that singsong female voice that sounds even better with the right heft behind it.

Their MySpace helpfully says “Apt adjectives for describing the band’s music: wild. Also: flaggy.” To that I would add: really damn good. Cannot wait to get their (Britt Daniel-produced) first 7″ on Record Store Day.

Wild Flag

After lunch on Thursday I started out from the house I was staying at, and walked past the Auditorium Shores where The Strokes were due to play that night. There was already an amazingly long line of kids standing waiting in line for the free set. Even if it hadn’t been for the multitude of Strokes shirts in incarnations from the last decade on every other person, it would have been fun (and easy) to try and tell which band they were waiting for just based on the fashion.

That night was my first time seeing The Strokes, and it was long overdue. I was giddy with anticipation. For a band that saw its comeuppance in small NYC clubs and the sweaty intensity of raucous tiny shows, I was acutely aware that something was missing from the way I was experiencing them for the first time, but beggars can’t be choosers, as they say, and to me they sounded absolutely terrific. With the Austin skyline silhouetting them, their set peppered with new songs, Julian brought his lackadaisical drawl (I’ve always said it sounds as if he can’t be arsed to get up off the couch), but there was that underlying edge, the guitars and drums tight and spot-on.

On most days, this is my favorite Strokes song, and I just stood there with a big stupid grin on my face to get to see it from so close.

The set ended with a massive bombardment of surprise fireworks that started exploding during the opening drumbeat of “Last Nite.” I am a sucker for fireworks. I also thought fleetingly about some sort of metaphor in there for a band that used to cause all the fireworks themselves in small dark clubs, now playing such massive stages that they can light off pyrotechnics into the night air.

After a quick beer with my drummer friend Robby from These United States (who looks awesomely like Jesus these days, and whose sets I totally missed in Austin this year, sadly) I headed off – to church.

The rootsy new G. Love album, produced by the Avett Brothers, feels very much like the album he was always meant to make, and since it was recorded in a church, this seemed also like the setting I was absolutely meant to see it performed live in for the first time. Joined by Luther Dickinson from the Black Crowes and the North Mississippi Allstars for a few songs, he wailed and howled and stomped his way through his very solid and compelling set.

G. Love

Lord Huron from Los Angeles were more potent and feisty live than their warm and woolly EP suggests. Instead of bringing that Fleet Foxes meets Edward Sharpe vibe, they cranked up the percussion (dude was wearing a washboard on his chest and I wanted to run away with him immediately into the Texas night) and were entirely danceable, in a near-tropical way.

The Stranger – Lord Huron

Lord Huron

My night ended on Thursday watching all dozen+ members of Gayngs (with Justin Vernon, and a dude in a white cape) cover George Michael’s “One More Try” to a packed Mohawk crowd. I just looked around a little confused and tried my best not to enjoy it (longstanding hatred of GM). And then sang it all the way home, dammit.

Gayngs

Friday’s mercury climbed into the sticky-uncomfortable range, and became the day I decided to start a new photoblog called hipstersinhotweather.com. It is going to be completely amazing. From the moment I left the house, the sweat beads formed and were unrelenting, and I saw a large number of skinny jeans pulled up into man-capris, and plenty of dark clothing and impractical scarves sweat through. I was grateful for my dress.

To escape the heat, and because there is a fantastically vibrant scene there right now, our first stop of the day parties on Friday was the SXSeattle showcase at Copa, where we caught Ravenna Woods, Young Evils (harmonic, well-crafted pop with a kickass girl drummer named Faustine), and a hip-hop artist named Sol that we danced our asses off to, to spite the heat. I also had the WINNING moment of Damien Jurado showing me his driver’s license so I would believe who he was. Ummmm, the heat was scrambling my brain? Sigh. Sorry Damien. You are awesome and I know it.

Young Evils

Get Over It – Young Evils

Sol

Later that afternoon, I caught one of the most high energy sets with Middle Brother playing to a packed Barbarella backyard porch. This is the supernova collaboration between three excellent bands: Deer Tick, Dawes, and Delta Spirit. There was a genuine affinity between the three frontmen (see kiss below) and lots of interaction with / dancing in / throwing beer on the crowd to complement their crunchy riffs and early-’60s garage rock feel. [VIDEO: Me, Me, Me]

Middle Brother

I also, not surprisingly, kept finding myself at The Head and The Heart shows – I think three in 2 days, by my count. The buzz on the street for them was thrilling. After SPIN Magazine hyped them as their #2 band to watch at SXSW 2011, it seemed that everywhere I went (photographers pit, radio lunches, that welcome reception) people were asking each other if they’d seen them yet. I had a few friends to drag to see them, so I happily went along spreading the gospel.

They played a wickedly hot midday show at Lustre Pearl for the Dickies/FILTER party on Thursday afternoon (their first “real” one, they said, meaning to a bunch of sweaty kids instead of to industry folks). Then on Friday, both the legendary Antone’s as well as headlining the Sub Pop showcase at 1am, before heading to the airport for their European tour with The Low Anthem. They left vapor trails in their wake, from an explosive week for them.

The Head and The Heart

In between Head and The Heart sets on Friday night, I popped into the Ale House for my favorite Australian from last year’s SXSW, Andy Clockwise. Completely dousing the audience with charisma like gasoline, Clockwise commands you watch him, and commands you enjoy. He brought the girl next to me up onto stage to play electric guitar and I couldn’t help but be jealous of her badassery.

Andy Clockwise

Josh Ritter played the St. David’s Church sanctuary at 10:30pm, and I got in only for the last few songs. It was quite a shift after Andy Clockwise, but it was utterly spellbinding, and –as you can imagine– transcendent. If there is a more poignant moment than Ritter performing “In The Dark” in a church, in the dark, with the crowd singing softly and spontaneously along, I don’t think I can handle it.

Josh Ritter

Saturday morning I hopped right on up out of bed (ouch, cowboy boot blisters, ouch) ready to tackle the final full day of SXSW. By that day, everyone is feeling it and you best be talking quiet. Denver’s soiree of the music year at the Reverb Party was happening at Parkside, and it was on the lovely rooftop patio overlooking Sixth Street. Since I forgot to have a breakfast taco back home, my day started gently with Great Divide’s Wild Raspberry Ale (I mean, this is Colorado, so we do up our free beer at day parties RIGHT).

Port Au Prince is the new project of some good friends from the now-defunct band Astrophagus, back with a completely different sound. They are more accessible but still smart, with call-and-response melodies that made me happy when they rang down over Sixth Street.

Port Au Prince

I headed over to the Ryan’s Smashing Life blog party at Rusty Spurs, where Adam Duritz did a cameo appearance with the rapper NOTAR that he has signed to his T Recs label. I definitely gushed on a little too much when I met him about what his music has meant to me over the years. But then again, let’s be honest I am not known for hiding my feelings, and Duritz has been a major force in my musical development over the years. It was a great moment for me.

Also at that same party I got to check out the super talented Ivan & Alyosha from Seattle who were having quite a bit of fun up there. They’ve named their band after brothers from Dostoyevsky who struggle with faith and family ties, and chats with them before their set belie a depth of intelligence that is palpable in their smart, substantial songwriting. One of my favorite unexpected discoveries of the festival.

Easy To Love – Ivan & Alyosha

Then I went and decided to Mess With Texas at their free outdoors day party on the other side of the highway, and in a shocking role reversal it ended up just completely messing with me instead. I was sending texts about !!! and people thought I was so excited that I was forgetting a word in there, but really I was just totally wowed by their live set. For a man wearing (very) short blue shorts and a purple striped polo shirt, the lead singer of !!! had charisma in droves. Despite my weepingly aching feet, I found myself dancing harder than I have in a very long time, there on the dusty field.

I’ve been googling lead singer Nic Offer today (since I’ve decided to abduct him for a dance party, after that show – and that Prince outtake they covered!), and this quote from the A.V. Club profile on him pretty much sums it up in the very best possible way:

“A few years back, I perfected ‘The Prance,’ where you’re almost skipping in place and you have a look on your face that says “Nobody’s business, ain’t nobody’s business if I do!”

I do so adore a man who isn’t afraid to dance. As one of the best songs on their new album says, my intentions with him are unabashedly bass.

Jamie, My Intentions Are Bass – !!!

!!!

I packed into the giant sweaty tent for the ass-shaking extravaganza that was a Big Freedia show that I was promised would change my life (I never thought I would see a black man with a pompadour that impressive also have those sort of limber hips) and then almost died during Odd Future (no seriously) and evacuated the premises.

The last show I saw at SXSW 2011 was Rural Alberta Advantage at the Central Presbyterian Church late Saturday night. I have an affinity for the resonance of churches, and the simple quietude that is found in the shows that happen there. I am someone who is familiar with the interiors of churches, and lately shows like the RAA are the most deeply resounding and peaceful of the connections I make. Their set sounded fantastic: affecting, urgent, and honest. There was a simple joy, and words that needed to burn their way out. Their latest album Departing has been on non-stop repeat even before their set, but so much moreso after.

For their final song, they unplugged and walked down the red velvet aisle to stand among us and perform a stripped and perfect version of “Good Night.”

rush into the woods where we first felt god
ripple through our veins from the moment when we touched

When Nils threw his head back and the veins popped out on the side of his neck and he howled, “someday if you get it together in your heart / maybe we might get back together but good night….” I started crying and wasn’t even sure why, except for identifying with the longing permeating each syllable. It wasn’t a specific loss, rather a cumulative one.

I wandered alone through loud and colorful streets for about another hour, watching the expansive Laurel-Canyon sounds of Dawes for a few minutes from the street outside the crowded Lustre Pearl, but ultimately took my iPod, cued up Departing, and started the long walk home. The air was heavy and warm, and the as I crossed the river the almost-full moon was reflecting off the ripples. And of course, with so many songs ringing in my head, I was happy. There is no festival like this one.

[all of my best pictures from the week are here on the Fuel/Friends Facebook page]

G. Love and the Avett Brothers?!

This is a collaboration that I never thought I would see in a million years, but I have to admit that I am completely intrigued. The old church, the involvement of The Avett Brothers at the production helm, the stripped-down songs (and stomping! and clapping!)? I’ve actually had this semi-secret fondness for G. Love ever since I heard “Cold Beverage” on a SPIN Magazine cassette sampler in ’93 or ’94 (the same one that I first heard Jeff Buckley on, as well). I also remember several epic G. Love shows I’ve had the pleasure to be at over the years – Garrett has serious blues chops, and knows his way around a harmonica. This album feels like it might be the one we’ve always been waiting for from him.

Fixin To Die is out February 22 on Brushfire Records.

One last gasp at warmer days

So, did I tell you I am going to Hawaii in January? Yaay. A relative is getting married on Kauai so I’ll be boarding a plane for eleven million hours and then living the island lifestyle for a good six days or so. Meanwhile in Colorado . . . little flurries of snow tentatively started falling last night (winter seems to be delayed this year which is okay with me) so I am bracing myself for colder days from now until then. Before we launch into December and Christmas music and all that, here’s one last track for sunnier days.

Island Style (with Jack Johnson) – John Cruz

John Cruz is a legendary Hawaiian slack-key guitarist/musician, and this duet is the closing track on the new Brushfire Records compilation album of laid back live cuts from their roster of, well, really laid back artists.

Thank You, Goodnight: Live Tracks from Bonnaroo and Vegoose
is available directly from Brushfire Records store, as well as from your local indie brick & mortar record store (find your nearest at Think Indie).

THANK YOU, GOODNIGHT TRACKLIST
1. Take You There – G. Love and Special Sauce
2. Wasting Time – ALO
3. Staple It Together – Jack Johnson
4. Songs We Sing – Matt Costa
5. Color Of Your Blue – Money Mark
6. Constellations – Jack Johnson
7. Hot Cookin’ – G. Love and Special Sauce
8. BBQ – ALO
9. These Arms – Matt Costa
10. Island Style – John Cruz (Featuring Jack Johnson)

Monday Music Roundup

Home again, home again, jiggety jig. I had a fantastic loooong stretch in California this past week-plus. In addition to seeing two unbeatable concerts and witnessing a cousin get married off in a burst of winery festivities, I also got to see lots of old friends, swim in a bonafide swimmin’ hole up in the Sierra Nevada mountains, chat up an old neighbor we call Larry Woodstove and find out the haps in the ‘hood I grew up in, eat my favorite gelato twice and In ‘N’ Out three times, discover a little Italian pottery and antique shop, sit burn on the beach in Santa Cruz, and spot this bar sign (I love taking the scenic route):

I found time to duck into Amoeba Records in Berkeley and Streetlight Records in San Jose. I drove many miles of California highway, waited approximately 832 hours for flights, and I’m pretty sure that some of my underthings were swiped from my luggage by a Transportation Security Administration minion. Never pack em in the outside pocket.

It’s good to be home. I’ve got a backlog of blog posts built up in my head, and a bunch of great music to share with you all.

Put It On Me
Ben Harper
Hot dang, the new Ben Harper is an absolute scorcher. I literally kept saying “holy crap!” out loud when I listened to tracks like this one, a funky soulful feisty downright boogie. Dig the Isley Brother guitar riffs, the dirty piano, and the full gospel backing vocals. Fantastic. Absolutely fantastic. Lifeline is out August 28.

Diamond Hoo-Ha Man
Supergrass
Astute NME readers will note that “Britpop veterans” Supergrass opened for Arctic Monkeys this weekend and played a few new songs, which, of course, sent me out on the hunt to hear them for myself. Supergrass just helped me out in my quest by posting a live mp3 on their site of this new dense White-Stripey-rocker tune. I’m not sure how the protagonist here got access to a diamond hoo-ha, but I’m sure he’s not complaining. If you dig this sound like I do, sign up for updates on their site. Supergrass have completed their latest album and are mixing it this summer in L.A.

Spiderman winner and a sweeeet new giveaway from Brushfire Records

I didn’t forget about that Spiderman 3 soundtrack contest — you guys thought of some freaky superpowers. I think Ali’s was closest to my own heart, although if I had this superpower I would be ridiculously sleep-deprived from going to a concert every single night, somewhere in the world:

At May 14, 2007 12:12 PM, Ali said…
The superpower I wish I had would have to be the ability to Apparate (referencing the magical Harry Potter-isms), to appear somewhere else (like a pete yorn concert, for instance) *snap* just like that. anytime, anywhere, whenever. no plane tickets, rental cars or luggage necessary.

Ali, please email me your address and I’ll get your soundtrack prize pack sent. Thanks for playing!

NEW CONTEST — and this one may be my favorite yet.

I am a hearty fan of the laid-back quality tunes on Jack Johnson’s Brushfire Records label (formerly The Moonshine Conspiracy Records), which was started in 2002 as an offshoot to the surf film collaborative Woodshed Films. Jack birthed this idea in 1998 with Emmett and Chris Malloy during the creation of the surf film Thicker Than Water, and since then they’ve released soundtracks to several like-minded films, and built up a roster of artists whom I unfailingly enjoy.

So, I recently came across a new bright green Matt Costa t-shirt that I picked up in a schwag bag at a conference last year and it gave me the idea for this new contest. Thanks to the good folks at Brushfire, one random winner will get a fine smattering of the entire artist catalog:

1 Matt Costa CD [previously on Fuel]
1 Money Mark CD [previously on Fuel]
1 ALO CD [previously on Fuel]
1 G. Love CD [previously on Fuel]
1 Jack Johnson CD (your choice)
1 XL Matt Costa t-shirt
1 signed Matt Costa poster

Leave your name and email address (and some pleasant words or a joke or something if you want to make me smile too) in the comments and I will pick one lucky person next Friday.

Let It Be Sung – Jack Johnson w/ Matt Costa & Zach Gill of ALO

Rainbow – Jack Johnson and G. Love

UPDATED: G. Love’s original demo tape songs: “Oh Yeah!”

G. Love (or Garrett Dutton, as his mama calls him) sent out this cool announcement today:

In January Philadelphonic Records will be releasing my “first” record, G. Love Oh Yeah. This record was recorded in 1992 in a number of different studios including Skidmore College and Temple University studios.

This record was the first documentation of Hip-Hop Blues and includes the original recordings of “Baby’s Got Sauce”, “Shooting Hoops” and “Rhyme for the Summertime.” I originally pressed up 250 cassette tapes of “Oh Yeah” and sold them on the streets of Boston while I was busking.

I call “Oh Yeah” my first record and 15 years later it finally hits the digital stores. Pretty cool. I still can’t figure out exactly how I played all of these songs. It’s as easy to hear the John Hammond and Lightning Hopkins influence as it is to hear the De La Soul. It’s definitely a cool record and is 100 percent acoustic solo foot-stomping-streetside-blues.

Samples:
Mother – G. Love
Sauce (original version of Baby’s Got Sauce) – G. Love

I think the album sounds fantastic, as early thumpin’ stompin’ G Love tends to be my favorite. The digital release of the album is set for January 23rd, with an exclusive earlier release on iTunes a week sooner (1/16).

:: TRACKLISTING AND NOTES FROM GARRETT::
1. SAUCE
The original version of “baby’s got sauce… the version I used to play on the streets of Boston … the original hip hop blues
2. WHAT’S GOING ON
This is a sweet romancing song written when I couldn’t get a date. Front porch style.
3. WRITING ON THE WALLS
When blues and hip hop city streets meet. A glorification of my graffiti writing days.
4. GIRLS AT THE LAUNDROMAT
Another day dream about meeting the perfect girl at the Laundromat.
5. RUN FOR ME
This is a cool tune about trying to get served as a minor all about finding yourself in a strange town.
6. MOTHER
A dope rap about saving Mother Nature. The chorus was inspired by the Robert Johnson tune “breakin’ down”
7. RHYME FOR THE SUMMERTIME
This is the first rap I wrote. Slide guitar and chicken scratch.
8. LEAVING THE CITY
One of my best blues. A city kid dreaming of the country.
9. THE FAT ONE
Nothing wrong with the fat one.
10. SHOOTIN’ HOOPS
The original version of a G. Love classic. No frills straight streetside.

:: TOUR DATES :: (some with Matt Costa)
Fri. 1/12 – Nashville, TN – City Hall
Sat. 1/13 – New Orleans, LA – House of Blues
Sun. 1/14 – New Orleans, LA – House of Blues
Wed. 1/17 – Tulsa, OK – Cain’s Ballroom
Thu. 1/18 – Kansas City, MO – Voodoo Lounge
Fri. 1/19 – Denver, CO – Fillmore Auditorium
Sat. 1/20 – Denver, CO – Fillmore Auditorium
Tue. 1/23 – Seattle, WA – The Showbox
Wed. 1/24 – Seattle, WA – The Showbox
Thu. 1/25 – Portland, OR – Crystal Ballroom
Fri. 1/26 – San Francisco, CA – Warfield Theatre
Sat. 1/27 – San Francisco, CA – Warfield Theatre
Tue. 1/30 – San Diego, CA – House of Blues
Wed. 1/31 – San Diego, CA – House of Blues
Thu. 2/1 – Tempe, AZ – The Marquee Theater
Fri. 2/2 – West Hollywood, CA – House of Blues
Sat. 2/3 – West Hollywood, CA – House of Blues
Fri. 2/16 – Chicago, IL – House of Blues
Wed. 2/28 – Baltimore, MD – Rams Head Live

New G. Love: “Hot Cookin’”

What, pray tell, is summer without some G. Love & Special Sauce playing on the radio? No kind of summer, I’ll tell ya that much.

G. Love and Special Sauce hold the coveted place in my musical book of “One Of The Best Names Ever” for the self-effacing and lighthearted brilliance of their moniker. Just try and tell someone what concert you are going to when Garrett and crew roll into town without smiling.

Here is the first single off G. Love’s new album Lemonade (Brushfire Records) which features guest appearances from the usual suspects (and some new ones): Ben Harper, Jack Johnson, Marc Broussard, Blackalicious, Tristan Prettyman, Donavon Frankenreiter, and more.

Hot Cookin’ – G. Love & Special Sauce

Kevin at So Much Silence has the fun G. Love & Blackalicious track from this album: “Banger”

I’ll have to give the whole album a fair shake, but I must say — as much as I would really like to like this song, I find it a bit on the b-o-r-i-n-g side. Yes, it is has a good mellow groove, but it’s almost as if he’s just pumpin’ out the same kinds of songs without that edge and that sass of some of his previous releases. No one has ever listened to G. Love to find the meaning of the universe, but he’s laid down his bluesy share of clever rhymes, sick harmonica, and unique (kickass) beats.

Here are some of my favorites:

Booty Call
(from The Hustle, ridiculously fun)

Baby’s Got Sauce
(from G. Love & Special Sauce)

and, my favorite slightly-guilty pleasure:

Cold Beverage (from G. Love & Special Sauce)

Stick it in the fridge, stick it in the fridge, stick it in the fridge.

Stick in IN the fridge.

As for me, I’ve been invited to drop in on this today. Sounds pretty cool, huh? Yeah, that’s what I thought. It’s a big step up for me in terms of conferences – the ones I am used to going to have session topics like “New H1-B Immigration Visa Rules” and “Health & Safety Action Plans: What YOU Need To Know Now.” While those were all good in their time, this thoroughly-saturated musicfied environment will be most enjoyable.

Splashing around in the Live Music Archive

Ahhh, it is so much fun (and so time-consuming!) to just browse around and see what kind of good stuff there is for the listening in the Live Music Archive. It really is a phenomenal resource for music lovers. Late one night recently I spent some time immersed in the archives and I wanted to share with you what I sauntered away with, happily. Oh, and this is just the tip of the iceberg. It’s like the Smithsonian, which I once got lost in during the class trip to Washington D.C. in junior high. It’s easy to wander off.

COLLECTIONS:
All kinds of great KFOG in-studio sessions (Matt Nathanson, Jack Johnson, Cracker, Cowboy Junkies, etc)

Lots of KCRW stuff (Ben Lee, David Gray, My Morning Jacket)

A bunch of Amoeba Records in-stores (Rogue Wave, Michael Franti & Spearhead, etc.)

NEIL HALSTEAD of MOJAVE 3
10/10/04, Moonshine Festival in Laguna Beach
See You On Rooftops
(and note that the cringe-inducing hissing at the beginning stops shortly after the song starts)
**He was also featured on the surf-movie soundtrack Sprout that I posted about a while back

MIKE DOUGHTY
(formerly of Soul Coughing)
June 22, 2002 at the Aladdin Theatre, Portland OR
Grey Ghost (partly because it is a good song, and also because it is written about Jeff Buckley)

ELLIOTT SMITH
Recently added: February 26, 2000, The Empty Bottle in Chicago
Angeles


MATT NATHANSON
Bent > Anna Begins
(one of his great original songs segueing into -!!!- a Counting Crows cover. Really lovely.)
(From his 10/29/04 show at the 9:30 Club, Washington DC).

MY MORNING JACKET
FM Broadcast (= great quality) of the show at The Palace Theater in Louisville on November 23, 2005.
Off The Record

ROGER CLYNE AND THE PEACEMAKERS
My favorite show of theirs to listen to from the Live Music Archive is still the August 19 show at the Gothic Theatre last year: It was my birthday, and my first inauguration to the sweaty, rockin’ goodness that is a Roger Clyne show. Plus, Clyne kissed my hand after the show for a birthday present. The whole show is top notch, and I love how it captures all the audience participation as well.
Banditos

ANIMAL LIBERATION ORCHESTRA (ALO)
Loving Cup (Rolling Stones cover)
From their New Year’s Eve 2005 show, Mountain House, Santa Barbara

SPOON
A great show from last month: 2/2/06, La Zona Rosa, Austin, TX
I Turn My Camera On

RYAN ADAMS
Recent show: February 15, 2006 at the Carling Academy in Glasgow
(excellent setlist & show quality!):
Dear Chicago, an absolutely heartwrenching version of Please Do Not Let Me Go, and Ryan’s banter about receiving text messages from his mom.

G. LOVE AND SPECIAL SAUCE
Some goodness from his January 18, 2006 show at the Belly-Up Tavern in Solana Beach, CA:
Cold Beverage > Gold Digger (Cold Beverage is a guilty pleasure of mine. Hidden talent: I can rap ALL the lyrics, stemming from the same SPIN Magazine cassette sampler in 1994 that introduced me to Jeff Buckley, oddly enough)
The Times They Are A Changin’ (yes, a Bob Dylan cover, since Garrett knows how to play the harmonica)
– And, why not: a little Booty Call action

JACK JOHNSON
Sitting, Waiting, Wishing (with a little Just What I Needed thrown in) From August 5, 2005, Dodge Theatre, Phoenix

Soon Forget (Pearl Jam ukulele song)
From June 11, 2005 at the Bonnaroo Festival in Manchester, TN

Free (with Donovan Frankenreiter)
From May 10, 2005, Palladium, Cologne, Germany

Three Is A Magic Number/3 Rs (a little Schoolhouse Rock love)
From the August 10, 2005 show at the Santa Barbara County Bowl
(Tip: don’t make drunken concertgoers chant counting answers!
Jack: “And the eighteenth letter of the alphabet is . . . “
(no response – crickets from the crowd) -
“Well, that’s kind of a hard one, it’s actually hard…”)

Plus, they have the whole Jack Johnson show at Santa Clara University (my alma mater) from Feb 10, 2002. I thought that was pretty cool, an excellent sound-quality recording.

It’s in the .shn format (like a lot of the stuff on the Live Music Archive), but there are some free converters that you can use to change it into .wav, then mp3 (I use FreeRip).

That should keep you well-stocked for the weekend, muchachos, wherever it takes you! Be good.