A Concert in Philadelphia|
FRIDAY NIGHT IN PHILADELPHIA ROCKS!!
Philly Show, Now Cleveland.
The Philly Show
Todd In Philly
Todd In Philly 2
Date: Sun, 29 Dec 1997 11:28:09 -0500
Subject: A Concert in PhiladelphiaSorry to be so late on this--I've only gotten home at ten yesterday morning, for goodness' sake, and I'm still tired. ANYway, I wish I could have met up with all those awizard listers...I was the one threading through with the white sign that said Teleny.
You can read the setlist elsewhere...I hadn't heard, or heard of, some of the songs and I was more interested in peripherals...this was my first live Todd show.
In case you don't know, the Electric Factory is a piece of old industrial space connected to a power plant--I would say it's a medium-large venue, with a big main floor with a snack bar, and a mezzanine with booze and tables and chairs. There are high unwashed cleristory windows and an enormous tapestry of The City In Summer, dating from (apparently) the early Seventies on one wall, which helps to underline the one of the gimmicks of the place, which is that you get a Concert on the Green indoors. To get a seat, you go to a stack of lawn chairs, pick one up, and put it down where you want to sit--I suppose that in more gracious times people came with blankets and picnic baskets. The staff is laid back and helpful-- they suggested I go in front of the stage with my sign between artists, and they seemed, unlike most nightclub folks, to be genuinely happy you're here. Sound system was great: one of the few times I've heard public music without having to put anything in my ears. Setting was minimal: two guitars, one piano with a wrapped-up PowerMac connected to a screen. Since most of the rest of the decor in the hall was in the form of projections, I assumed these would also change. (They did not.) After a bit of trouble (not having been previously been hipped to the lawn-chair thing) I sat down in a place with a catercorner view of the stage. All of a sudden, I saw the shadow profile of a Personage with bangs and a long neck on the wall of backstage--all intent on work. I swallowed hard, and the profile turned, became smaller...and there was Todd. He was wearing a leather vest and a sarong made of purple and gold painted silk--with a pleasant shock I realized that it was the same kind of material as the Peony painting on the Something/Anything cover,and seemingly painted by the same hand. (My mother, textile expert, said it probably was.)
His stage mannerisms seemed fake--I'd only seen him a couple of times previously on Night Music and a few bits of video, and he was deadpan to the point of seeming mechanical, with his dark glasses and pale skin, chanting Gilbert & Sullivan with the intent expression of an announcer of a shortwave number station, moving hardly at all. Here he seemed almost too active, acting out the lyrics in a rapid idiosyncratic Ameslan, dancing (very well) a little now and then, and screwing up his face in a manner reminicent of Joe Cocker. While playing an instrument, his hands move hardly at all, but, as if in an afterthought, his head and body move in a kind of flash-guitar parody, you know the "I'm soooo into this" look. With the abrasive monologue, I had the impression, not of sincerity, but of a canny teacher trying to lecture quantum physics to Beavis & Butthead by trying to sound like Dennis Miller, alternately taffy-pulling words and cutting them short. Opening remarks: "I was gonna start off with a nice long acoustic set, but maybe you've heard enough acoustic guitaRRrr....(his takes on the letter R alone is worth a study) and just when I was coming to that decision...I bwroke it." Sure, Todd. We know.
I was somewhat puzzled...he neither sounded like a record, or an interview, and he didn't look anything like his pictures. His voice in interviews always seemed to be carefully cut of some soft fabric, and in the video from the Kauai Conference, he walked like drifting thistledown, his hands smoothly placed, never dropped, onto anything he needed to touch. This man had some of the looks of Todd, and but none of the endearing expressions.
A lot of the songs I hadn't heard before. "Hammer In my Heart", the first song, had a good energy, but most of them seemed to be lacking something: the dramatic contrasts I heard on record (which usually are enhanced, not muddied, by live performance) were shaved off. (One set of key accents on "I Want You", that provide the soaring lift to the verse, were left out altogether.) He kept trying to get people to sing choruses, to dance, to liberate themselves, but mostly the crowd seemed to be club-uptight and boorish: the kind of people who think it's smart to shout meaninglessly "Upper Derby!", stand after every single song and not applaud (Hey, look at ME looking at him!--I sat in back of this person.) and to dance by swaying from side to side with a lit cigarette in one hand ( I have absolutely no idea how to move, so I'm gonna keep one hand on the cancer stick to convince myself I'm cool.) On one hand, it was charming that people kept giving Todd things: I had wished I'd finished weaving his hankie after one girl gave him a Kleenex for his itchy nose, but mostly it was "I wanan autograph," as if taking this trophy, not listening to music, was the whole point of the evening. (He signed a Pearl Jam T-shirt, and commented on that. One particularly obnoxious female kept yelling "Mr. Rundgren,SIR!" and standing by as if she had a right to stop the show. It didn't help that she was very fat and coarse-looking, either.) They seemed not to really care about him or his music as much as they were going to see some Philadelphian monument, like the Liberty Bell, out of a vague sense of pride of place, of rock, of being able to spend $20 and go out instead of minding children....I suppose he really DID know his audience. "I'm going to show you something that most of you haven't heard beforrRRRre...You *know* how I know this...." he said as he reached for the keyboard of the PowerMac. The sentence was left hanging. "The first thing you see are all these corporate logos..." I was relieved. The other songs were for another voice, perhaps now... "ION the Guuucci of Multimediaaa...."(ah, that mid-east coast lilt again!) and a lot of scrambling around to get the songs cued up."Like the lounge-act music?" he said, during the menu section. He showed a bit of "Fascist Christ." without explaining how the cutting worked, and the harshness relaxed somewhat. (Seeing as how the fellow wrote an OPERATING SYSTEM, and has HD space to spare, I'm puzzled as to why he couldn't have done something, anything to make it a lot smoother.) During Family Values, he made bla-bla motions with one hand when Danforth Quayle was speaking. Since I HAD seen the enhanced CD, I was somewhat torn between watching him (at one side of the stage) and the small screen (at the other side of the stage) for the family of nudists and the childrens' drawings with the RR signatures. It was just the same with "Tables Will Turn" (something I hadn't gotten to play on my own Mac) and I had to keep telling myself that I'd look it up when I got home...on a Yale machine, if necessary. He seemed more comfortable on the piano. "Viking Song" was wonderful, even faster than the recorded version, but "Compassion" suffered from the flattening I referred to earlier, and in "Too Far Gone" he broke down altogether and ended with a few bangs on the keyboard. "Black and White" with an electronic accompaniment was good, since he seemed to be able to concentrate on his playing, instead of having to act, but he kept doing the fake-flashy motions which belied the effortless motions of those strange, enormous hands, with their massive palms and tiny, pointed fingers. After "Tiny Demons" he went back to the computer. Same startup all over again...some tiny girl kept pestering him for an autograph, and would not leave until he did. This meant that he had to start the "Individualist" approximately ten seconds late. The fellow in front of me stood again, and I was trying to watch the screen, too, so I almost missed the wry expression on "funky fresh dingbat" when he did a perfect parody of Prince. "Expresso" was again marred, this time by the picture coming on with no sound. "Want to take a trip with me?" he shouted bravely. He motioned us to dance. Some did. I shouted at the girl with the lit cigarette and tried to move, but it was no use--with the smoke constricting my breathing and somehow no inspiration for movement coming between watching out for more lit ciggies, I could only pop up and down slightly. I tried to look at Todd, but this person singing the Toddmusic looked even less like a picture, and more like a somewhat unwashed bar musician back home. I went back to my seat."Can we stay here?" someone asked. I went back sometime between the final song and the encore. Not being able or willing to dance, I held onto the railing (lots of jockying for territory here, with several linebackers and one girl with a *very* strong elbow holding sway.) Todd shook a few hands, but mine was too low and too far back. Sitting at the Steinway once more, he announced he was going to try something new, and sang "Real Man" a fifth lower than written in the falsetto parts. I got situated nicely near Todd, and watched him slyly glance down at us as he introduced "Free, Male, and 21" with a plug for feminism.."You know I love the ladies...and I wrote a song to tell the denser half of the human race they really run the world..." which sailed right over peoples' heads. This Todd-person was not especially attractive, especially while singing, but he was engaging. All through this time, a thought was going through my head as to what I wanted out of the evening. I would introduce myself. I want to write for Alcazar, if and when it gets off the ground. Now, all I had to do was to convince him I wasn't just there to get a highly salable signature, and be memorable. To do so, I would say something intelligent about the music. Somewhere during One World it struck me that his voice was more like a woman's contralto than a real tenor. Androgyny. I watched the huge veiny hand stab up through the soft-looking hair. Yes. Yes. A woman had wanted to get an autograph, in the worst way, so I walked out to the stage door with her, feeling uncomfortable. Some other folks joined us: a pair of young foulmouthed fellows joking: "Todd sign my peepee!" "Todd sign my high colonic, I have it in a jar!" "Todd talk to my son and tell him to stay in school."
A soft-voiced, apologetic black panhandler, who listened to my concert review and then said "I only want to ask one question...I'm unemployed, anything will help..." So is most of Philly, man. He bothered other people until I drove him away.
They closed up inside, and I ran to get my coat."I'll miss him!" I moaned, hurrying."We'll tell him to wait!" the boys said. A cheerful fellow inside gave me my fake jaguar coat, and told me how handsome it was. Outside, they dissed it, and my leopard silk scarf, with the practised malice of the schoolyard.
They set up a police barricade. Ruth came out with the roses given to Todd earlier, and I thought to call to her, but did not. She looked a little older and straighter than my own mother, but prosperous.
A woman with honey hair came up and stood by me. "I just want a hug." she explained, and looked as if she had every right to it. Someone talked about having seen Kasim. The woman in black looked tense, and clutched her autograph book. I took out my sign, for stalling purposes, and a skinny pencil. I tried to talk to some older men, since the boys were gettting monotonous, but no dice.
People were still filing out: every so often the boys would yell "Todd!" to see me look up. (One fellow really did look like Todd.) And then, there he was.
He moved like thistledown, floating on the air, and so tall! It's not a wig, folks, his hair had dark roots in it, and his eyes are blue and sleepy-narrow, and his mouth is sensual, and you can see the new tooth. His voice was like soft material cut into careful pieces. He talked to each in turn, laughing softly at the boys' obscenities, and signing autographs with big careful hands, and hugging the honey-haired girl for a long, long time. He looked like all the pictures, and he sounded like what I remember.
I held up the sign and said, "This is a stalling move. I just want to say three sentences." "I'll sign anyway. Talk as long as you want." "First, I'm Teleny from the mailing list on the internet." Politely "I'll be sure to read some of your letters." "Second, I can't wait for Alcazar." No response. "And...I think you have one of the most delightfully androgynous minds I've ever heard." A pause. I was wondering whether I'd said something wrong. Then: "Androgynous...." It seemed like an interesting idea. "Well, all minds are androgynous...It's our effing bodies, that screw us up." Suddenly I realized I'd actually gotten a little tiny nugget of creativity free out of a very important man. "Oooh, a quote!" I said, trying to sound charming. "That's so much nicer than an autograph, don't you think?" His response was to look at me with a wide goofy grin, all handsome gargoyle, and to fix me with a sly sliver of blue eye. There was understanding there. Also pure unadulterated lust.
I recoiled, and stepped back from the divider. I blushed and laughed, trying to look cutely shy. Todd laughed also, a little tingly laugh like silver bells. All at once, I felt it was time to leave, although everyone else was there, too. I waved cutely. He waved cutely. I found myself on the sidewalk not knowing how I got there.
I spent the rest of the night sleeping in 30th Street Station, trying to figure out whether he was going to read me, or even remember me as anything other than a strange crazy groupie woman whose bluff he'd called.
Date: Sat, 28 Dec 1997 17:45:36 -0500 (EST) From: andre email@example.com
Subject: FRIDAY NIGHT IN PHILADELPHIA ROCKED !!Warning!! Very Long, totally biased & blissed out post/review/ramble follows: I usually lurk and read - so that when i finally spew it's an information overload !!
Friday night in Philly !! A great show - my (& Cheri's) first time at Electric Factory - a cool place reminiscent (sp) of a blimp hangar or something - long building, with very high ceiling, lots of space.
I'm sure someone else will post the accurate songlist ( I missed writing a few down):
TR opened on elec guitar with the comments:
" ..i guess you've heard ENOUGH acoustic guitar already" a thinly veiled reference to the overlong, monochromatic set by Jeff Gaines (??).. then TR softened the blow by adding - "i decided that...after i broke my guitar"
Anyway - a spirited HAMMER IN MY HEART started out : sound a little unbalanced - but an A for all out energy & rawness ! great version - then
LOVE OF THE COMMON MAN - TR's voice settling in for what would be one of, if not the best show i've ever seen, vocally. (I've ONLY seen the POd '93 once, and two shows on each "I" tour 95/96)
I DON'T WANNA TIE YOU DOWN, fantastic
HEY! YOU'VE GOT TO HIDE YR LOVE AWAY by now his voice was really cooking - Man, he rips when he doesn't have the band volume to contend with - too bad, because the mac/sequencer tunes only made us wish for the "real" band !!
the CD-ROM demo followed - this lost a few people, as did the several (AWESOME) guitar solos. It still shocks me that at Todd shows, a large chunk of people still sit there expecting songs from 1970-74 only.
If you've got/tried out the "I" disk i won't bore ya, but he basically ran thru some of the menus, then played some of the "fascist christ" video that's on the disk.. The elevated, sizable stage held a beautiful-sounding grand piano, atop which TR had his little mac tower in a flight case. The 6 or 8ft square screen acted as the monitor for all. For Guitars, there were 2 strat style axes, a black one used on only the first song or so, and the cool blue guitar used a lot on the two prev. tours. There was also a black acoustic that was unplayed.
then came FAMILY VALUES and TABLES WILL TURN, performed along with the audio portion from the cd (sans vocals?). Also some very cool cd/video for fam. vals. especially. These were great - with some ripping gtr in the latter - but really made ya hurt for the real band to be there !! But I just kept thinking - "how cool is this ?? This 48-year-young guy is out here, just ripping thru this diverse catalog - he clearly loves it, and i think back to that fact, incredibly, being debated during the summer dates ! I love the new stuff - so much of it kicks ass on what's on the radio today... it's great that he's out there.
anyway - some of the highlights were the piano pieces, especially the next 4:
WOULDN'T HAVE MADE ANY DIFFERENCE
the latter two were worth 3 times the admission for me, personally - these songs mean so much - compassion being one of the first TR songs i flipped over - i got healing back in 81 or 82 so it meant an incredible amount to hear it live !! His voice was so fucking ON !! I mean - listening to the "TODD" album on the way home it was striking how much of that timbre, warmth and control he has, when he gives hisself (ebonics 101) the chance. I was aglow in the words and message of "compassion" but bummed out when we we all leaving the show and everyone shunned the homeless/broke types begging for change. I mean, we can argue all day about "who deserves what" and "personal responsibility this" and "control your own destiny that" but when it comes down - it's a drag that we're not all living some of these ideals a little bit more....
that's what hits me hardest about Todd - he has consistently tried to look for answers in this area - that our lives and our actions are so vital to the growth, to the spiritual change. May sound corny to you (hope not) but what a great example of searching and growing but still accepting and laughing at mistakes and foibles..
Meanwhile Back to the guitar:
always a winner, BLACK & WHITE pleased all - this one used a basic mac-based midi sequencer to pump the bass and drums (drums by Mac Hine, get it ?) Put those midi files online, tr!
(Sidebar: i just read that Ryuichi Sakamoto is playing some live shows in Japan, with a midi-fied piano which will be sending the midi data live onto the net for nutcases to do what they will. Imagine - his live performance resulting in thousands of synths being triggered worldwide ! He'll be "virtually" playing flutes, drums, basses, vibes, voices, berimbaus, diggeridoos, etc. See Tony Levin's page at www.papabear.com then jump to Elephant talk)
Back to the TR reminisce---next came the Marvin Gaye classic I WANT YOU threw a few people - but i'll tell you, this 'blue-eyed soul' crown that Micheal Bolton has is preposterous - TR should do a CD of old soul & R+B songs (other than the ones he's written !) I think the genius of Marvin inspired an extra richness in TR's voice on this one...what a warm, syrupy voice he can have on the right tune. Bring back Luther for a reunion album !!! NH II !!!!
and then another "old fave" for me..
Sometimes i (we) forget that TR played ALL THE GUITARS on Bat outta Hell.. like it or not - it's a desert-island disk for learning rock n roll guitar 101. Whew ! And it's all still there- a couple years of band tours & several weeks of touring solo will get those chops up !!
OK, at the show now....back to the mac -cd rom for INDIVIDUALIST and perhaps another song i missed writing down.
Then, some more great piano playing, TR announced his first time ever performing REAL MAN !!!!!! another all-time fave - perhaps my fave CD is Initiation, no wait... uhh,, i can't decide. But...
Spectacular performance of this amazing song and the grand piano was gorgeous sounding - please listen to the words, world (not you awizards , you already know !!) But i will remember this 5 mins for the rest of my life. I can only hope this happens again...
FREE MALE AND 21 came next - this was new to me - i have only read about this song - i know it's from "up against it" - is the whole thing available anywhere?? Frank Bubnick ?? This was a cool tune, only cementing OH's wide range..
SECRET SOCIETY with the secret sequencer followed... ( i may have missed another here) then the closer
THE WHEEL - which was a joy to hear when it was unveiled this summer. Lets get off this wheel of karma, eh... Eat some mushrooms, look inside, ask some questions. Because the TV is not real, but so in control. Read some Terence McKenna.
uhh, i'm back. Amazing show. I'll be exhilirated for a while. WHo want's to fly me out to Chi-Town....? HMmm, what would a bus cost.? John/451 - i looked for ya - but we got there at 9:00pm...
Anyway - hope you were there or that TR is coming to town soon - his voice hasn't been stronger, guitar playing is right on, and the piano was OVER THE TOP - he's a natural. It was great to see th total range of songs stripped down to voice/instrument - all the way out to computerized sequences or cd roms.. Of course, a clam here or there, maybe a crack in the throat or three, but stellar, without pretension. It's a drink of real water in the desert of poison that is "BILLBOARD MUSIC Late 90s style"
Thanks for coming out on tour TR !!! It's great to see you and we await the next swing thru the NY/Philly axis !! THank you awiz heads for enduring my rant - but i guess you can't get much more ON TOPIC !!
peace love & happy new utopian year
Date: Sun, 29 Dec 1997 05:20:42 -0500
Thursday the 26th: local weather folk forcast a storm. They seem to be in a bit of a panic, then announce that we can expect 1" - 3" (4" locally... whatever that means). I wonder if I have moved to Pheonix where 3" of snow is reason for concern. Friday I wake to full sunshine and not a single flake of snow.
Two minute ride to "Logan Express," 30 minute ride to the USless Air Terminal, 1hr 20 minute uneventful plane trip, 30 minute ride to Philly hotel, check in. At 5 pm (time gap ala rosemary woods), elderly cabby chats with me on the way to Spaghetti Warehouse. I understand about 40% of what he is saying: "oh, really,... yeah?, ...ahhh, ...oh, ahahahahahaha..." Here is his joke: "The Trocadero use to be a burlesque house, ya know with women stripping... 2 guys leave the Troc, on the sidewalk the one says to the other, 'damn, I left my hat inside.' the other guy responds, "no you didn't, you put it in your lap.'"
Preshow dinner is a small affair, eventually swells to 10 (4 of whom were from the Boston area). Julia, our host, is speaking of people's auras. I am told my aura is magenta. I don't know what it means. Gina, whom I encouraged to take Amtrack to Philly, tells me of her long day travelling the rails. She is amused and annoyed that I chose to encourage her to travel by rail while flying the blue skies myself. Russ (Unoiam) and his wife, drive gina and josh chasin and me to the venue. Thanks!!
The venue: a cavernous place, bar on the 2nd level, first floor comfy concrete. Turns out there is seating, first 2 rows are old ratty couches and barcalounges, the rest are cheap plastic lawn furniture. We get lawn furniture.
Oh yeah.... the show:
After about an hour of Jefferey Gaines acoustic opening, Todd enters shirtless but with solid black, vest wearing the midnight blue sarong, with yellow sun/moon/star motif. He announces that he had planned on coming out and playing a bunch of acoustic numbers but thought "maybe you've heard enough acoustic guitar" he adds that he thought this about the time his acoustic guitar "broke." I'm a little concerned that this will mean some of my favorite #s will be missed tonight. (We are all concerned about Dave and Hillary, where are they??)
Hammer In My Heart (black guitar)
Love Of The Common Man (lime green guitar)
"Time to find a quiet place." Todd moves to the piano. From behind me I hear "Play some 'real Todd'" I suppose the time traveler behind me was happy with T's selections:
It Wouldn't Have Made Any Difference
Black & White (Cubase)
back to the Gucci of Multimedia
In the audience, the family (sans Dave and Hillary) was all in the house:
ruth (josh did not contribute to the toby cd collection so he was contemplating just slipping her a ten spot) marylou sans buxom blond ( i think ) jesse hi todd, oh, you're not todd? imagine what *that* is like: to be recognized as someone who is not recognized! john ferenzik i was gonna say howdy, but i thought he might recognize me and be frightened kasim the crowd is abuzz when kasim walks to his seat. i comment that you would have thought jackie o rose from the dead and walked in. I guess utopia still has a special place in the hearts of many, not that they don't have a special place in my cold heart. ------------------------------------------------------------------------ My opinion: A fine way to spend a Friday. I still highly recommend travelling and meeting others! No post show hanging, gotta scrounge a ride back to my hotel, thanks again russ (and wife of russ)!
Saturday morning: shower, check out, breakfast, then Boris (from Liberty shuttle) returns me to the philly airport and
i'm off again...
From: "egt" firstname.lastname@example.org
Yes, Anne, everyone must still be sleeping. I myself just got up. I travelled far on a miserable Amtrak to go to Philly but I have to say it was well worth it. I don't regret anything for a minute. Our pre-show dinner was excellent. I was so thrilled to meet everyone, you know who you are.
The show was Todd once again at his best. At first, when he started getting into a discussion of how his cd-i worked, I was a little worried, but he sooned picked up the guitar and rocked!!
Lee's post was very accurate and I don't want to repeat anything.
It was so much fun to put a face to all these names on the list, it was nice meeting Frumpy, JVVV2 and Kimmie. I even ran into some old friends I haven't seen in years. What a great night.
Oh, and yes, Kasim surprised everyone by strolling in unexpectedly. Also, mom Ruth was there.
The only annoying part of the night was all the autographs people were demanding from OH in the middle of the show. I don't believe I've ever seen him give so many autographs, what's up with that.
John, I hope you had a good flight back. My train ride back wasn't so bad because I slept all the way home after Josh got off in NY.
By the way, going to the Philly show was a TR related Xmas present to myself to answer that question.
Before I sign off, I also have to mention that the amount of young fans at the show was remarkable. Todd has a new generation of fans once again, and that really makes me happy, as long as OH continues to reach out to people, even if we aren't in the millions, he will keep on recording and performing for us, and that's what it's all about.
Gotta go get me a hot espresso
From: "Russell A.Monaghan Jr." <email@example.com>
Subject: Philly Show, Now Cleveland.
I can't believe I'll be the first to post about the Philly Show.
We started with a meal at the "Spaghetti Warehouse" before the show and met some of our fellow wizards.Thanks, Julia for making the arrangements.
The show was great, there was a large turnout for their hometown hero filling the hall. The Electric Factory is a old large factory.I think they forgot to turn on the heat, because at first it was very cold inside,but that was ok because soon Todd turned on his own heat. This was my first Todd solo show and I was not disappointed. By the way, his acoustic guitar was broken,so I hope he gets it fixed by Cleveland.
Set list : Hammer In My Heart
Now that we have Philly under our belts, were off to Cleveland for the Thursday show. Are there any plans for a pre-show get together yet?
Date: 29 Dec 1997 08:18:42 -0600
Subject: The Philly Show
There have already been reviews posted, so I'm gonna offer up my observations in an impressionistic, as opposed to linear, fashion. You know those columns in the paper with random items, separated by the three dots? I think Earl Wilson popularized the format years ago at the NY Post... Larry King does it in USA Today... You know what I mean... Anyway, here goes...
Can't compare this show to others on the tour, because this is the only one I saw. Overall I would have to say it had its magic moments but was ultimately only fair-to-good as TR shows go... Of course that probably puts it in the 95th percentile of concerts in general... The band show I saw over the Summer was in a whole 'nuther class of waesomeness... Talked to Jesse for a quick sec. Told him how much I enjoyed the band show I saw, and said that "I hope you all keep working together; I think you have something special going." He said yeah, he hoped so too... Some funky synchopation between guitar and vocals for Hammer, Luvatha Common Man, I Don't Wanna Tie You Down... The latter of which wa a revalation... It was a pleasure meeting so many people who I knew only via this list; everyone was, well, about what you'd expect (even Frumpy)-- nice, laid back, warm, friendly, smart. Oh, except for Julia. She is decidedly NOT nice. (Don't flame me; she took pains to assure me of this fact; seems I mistakenly thought otherwise)... Every time Todd sits down at the piano, I am reminded of just how good his guitar playing is... I've seen Love of the Common Man maybe 50 times. And I don't see myself getting tired of it any time soon. This remains a true and beautiful song, and is as vital for TR and audience today as it was when written TWENTY years ago... Man, were there a lot of way sexy girls doen in front, shaking their-- well, just shaking, is all... Real Man as an encore, Todd on Piano, was cool. I still would have preferred Hawking, tho... You've Got to Hide Your Love Away, I Want You, Tiny Demons were all goosebump hi-lights... Maybe the funniest part of the night was when the guy shook my hand and introduced himself: "Hi! I'm JVW2!" Pleasure to meetcha, JVW2. Can I call you JV?... I'll tell you what, I've seen these one man solo shows of Todd's since 1981. I've seen Todd sing against taped accompaniment. I've seen him perform with Jam Session, Texture, Enhanced CD, Cubase. You know what? I can do without ALL of it. I mean, Espresso was fun as sung to the enhanced CD, but I just don't believe there is a possibility for magic when machines make music. And this is Todd, not Depeche Mode. I'm there for the magic... Free, Male & 21 is a show tune from Up Agin' It; if you are luke warm about the rest of that work, this one won't change your mind. I'm guessing he's playing it because its gonna be on the upcoming Pony Canyon release... To all the people I got to meet, it was a pleasure-- hope to see you all again on the road. To everyone going to NYE, enjoy-- and post!
Date: 28 Dec 96 01:41:43 EST
Subject: Todd In Philly
I just got in from the Philly show at the Electric Factory. I must say that Julia did a fine job of organizing a dinner party where we met her, Josh, John, John and other people. We met a real nice couple who just there from Massachusetts! Anyway, back t o the show.
When we got in we realized it was all seating, no standing. They had set up lawn chairs where you would normally stand. There were even sofas up along the front rows. We spotted Jesse Gress in the crowd. Jeffery Gaines opened acoutically for Todd and played for about an hour. He was real good.
Then Todd came out, aggravated because his acoustic guitar broke and he could not use it. He played:
Electric Guitar: Hammer In My Heart (very different version)
Piano: Real Man
Todd was his usual self. Half way through he siad he really had to pee but he thought that it might help put an edge on his music. Called the CD-e the 8 track of the 90's. The crowd was pretty good, though somewhat subdued. Much different crowd then in New York City. Anyway, it was nice meeting the people on the awizard list and the concert was about two hours. Good time had by all attended. Going to bed. - Leebo
From: "Dave Mullins" <firstname.lastname@example.org>
Subject: Re: Todd In Philly
Wish I could agree with Lee's assessment of the show. I was quite disappointed. This may account for the lack of posts on the show. However, tr earned my $20 with "I don't want to tie you down", "It wouldn't have made any difference", and the few times he played the p project guitar. (the guitar on TWT was incredible).
Unfortunately, i missed the pre-show gathering. But, i did manage to find the post-show dinner. I walk into Cafe Nola on 3rd off South Street and noticed Kasim at a table. Soon, in came Todd, his mom, (i suspect) his brother and wife, Mary Lou, Jesse Gress and others.
Well, its off to Lancaster. I'm hoping that a more intimate hall will make the difference.
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