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I met up with Julie, Jo and Jess at the head of the (short) line in front of the Middle East Downstairs door around 7:15. I thought I'd be early, since they'd estimated 7:30, but we all stood in line and talked Bands and Band Stories and Friend Stories from Concerts and disseminated the setup info that we knew and venue-newbs didn't (for example, the line starts here).
Once the doors opened, we all four magneted over to our spot stage right. We chatted with the Crash Kings' photographer a little, same guy we'd seen outside who took a picture specifically of me wearing my Crash Kings shirt. He exclaimed how great it is to get paid to have a good time. I told him yeah, that's why I'm a musician.
The first openers, the Richard James Band, were surprisingly great. Their actual Richard James was a pianist/singer, and they had guitar, bass and drums, but also a sax and a trombone. The tunes were catchy, the energy was high, and the ensemble was really tight; I intended to buy their album. Though when I went over to the booth after the show was over I ended up not having any money. I said so, thinking he'd tell me where I could buy it online, and he just gave it to me and said tell people about it and burn it for everybody. We chatted for quite a long time, waiting for the boys to come out. Kyra showed up about halfway through their last song, and I wish she'd seen their set because it was of excellent quality.
The second openers, Gold Star Morning, were not very good. They had energy, and they had gimmicky jumping, and they had a couple of moments of engaging homoerotic head-hugging between the lead singer and guitarist, but that was about it. Nothing catchy, some things were even out of tune, and the music was generally unremarkable. Julie and I, and Kyra and I exchanged some skeptical looks during the set. I was doubly glad when it was our boys' turn. I watched Josh and Jimmy avidly as they rolled the Yamaha out, and I'd guessed right, from the location of the green tape spiking the stage; I was right on the keys. While Josh did his smooth-running soundcheck, Jason loitered at the edge waiting for his turn (he usually does at least a little himself) checking levels on the drums, and saw me and Julie in our spot and waved happily.
And when they came out, there was an immediate roar, even in the near-pitch-blackness of an unlit Downstairs. Of course, the ringing tones of 1985 were the perfect opener, once again. One of the highlights of the show for me came in the throes of Non Believer, which followed. If you'll recall, I asked Tony whether he wanted the stage or album version of the Non Believer words for the transcription, and he didn't even realize they were different. So tonight, at the beginning of the second verse, Tony looked me right in the eye with a big grin, and since I was standing right in front of him, less than 4 feet away at the edge of the stage, I could be sure he was staring really hard and pointedly to make sure I noticed, for all the world like LOOK LOOK I DID IT RIGHT, as he sang "all upon the things" instead of "all around the things that glow so bright inside me". He and I were both grinning like idiots, and I did the pointy acknowledgy thing. From there, the list went to 14 Arms, You Got Me, 2nd Rate Citizen, It's Only Wednesday, Come Away, Raincoat. The crowd, as they say, was wild. There was even a group of three or four fellow hardcores behind me, all boys, who knew the harmony to Raincoat (and later, Saving Grace. I kept tossing them pleased grins). It was hotter than any show I've been to yet, both literally and figuratively; Tony was shining like he was gilt, and dripping everywhere (in fact I was a little worried he'd short the piano or the clav).
The second freakout-inducing moment of the night occurred during My Love. As we know, I've asked him about the words in My Love, too. So, once again, he leaned over nearly on top of me, looked me right in the eye, nodded, and grinned as he sang pointedly, "everything is more than fine". Album-style lyrics, for the win! He usually sings "everything would be just fine" onstage.
By this point in the night, I was no longer trying to get videos. I rocked out so hard during Saving Grace that the openers, who were standing around at the back of the stage watching the set, noticed and cheered me on. I may actually have got a touch of whiplash. The show closed, as it always does, with Mountain Man, and the energy was so high (as was the heat) that I understood for the first time what it must have been like for those poor fragile Romantic-era souls who fainted upon being overcome by a performance of exquisite and moving greatness.
I must admit I had no doubt there would be an encore. They left the stage, certainly, but this was their hometown, and everything so far in the night had indicated the crowd was as intent on it as the boys were on giving it their everything. In addition, I was primed by Julie's explanation of her conversation with la Mère Beliveau, who explained she couldn't say what the Surprise was or the boys'd kill her, but if it didn't happen in Boston Julie should come find her and ask what it was going to be.
It was a surprise, all right. Tony came back onstage by himself, and said quietly to the audience, "You guys are too much, for real. You are beautiful and you are pretty. And you are pretty things. And I wanna cover one of my favorite David Bowie songs right now." And he set right off into the sweetest exant Bowie song, Oh You Pretty Things. Mike and Jason slipped back onstage and joined him about halfway through, and the sweetness rocked just as hard as any of their originals. Seeing, however, as it was so very short, we wouldn't let them get away with a single encore. Carry On followed, screaming as desperately as I've ever heard it. And, since there's no such thing as enough, and it was clear to the boys that was how we all felt, they graciously and frighteningly intensely added War Pigs to the end of the show.
It wasn't long, as usual, before Jason was out and came right over to give me a hug. However, I spent quite awhile talking to Richard James (apparently Ricky) at the merch table. He recognized me as the one from the front row who rocked out like I was on fire, and declared me awesome. We talked about what we each do, and he mentioned he'd had a different band till this year. He's a Berklee graduate, music business major, so he learned how not to get screwed. He manages his own band, and he hates it most of the time. He laughingly said he knew he had to be out here selling records and making connections rather than backstage smoking pot with the Crash Kings. We had our chat about his record, and then I saw that the brothers had made their entrance.
After a suitable wait to let the picture/autograph hawks get their fix, I talked to Tony about transcriptions. I'd said I was going to have it, and I was awfully sorry I hadn't finished 1985. He said no hurry; he's always so appreciative when I have sheets for him that I hate not to, but I'm sure it's not a disappointment that registers on his scale. We talked at some length, and I asked why they don't do All Along at shows lately. He said they're trying to keep it fresh; it'll be on the new album and they don't want it to get old before it comes out, even though it's up on Youtube a lot. That was a convenient segue for me; I said, speaking of Youtube, people keep asking me for the sheet music when they see my covers; I don't know what to tell them, because I made it just for the band. He said of course I can do whatever. However, he then elaborated on what he mentioned in passing at the Portland show; he's always wanted to have an easy piano book of his songs for kids to learn from, so he's probably going to spend a day with an arranger in LA and do midi capture of simple versions of all his songs. That way they'll have a book to bring to shows and sell for kids and whoever wants to learn. Take that, rude Youtube commenters who think bands never sell sheet music! He actually has plans to do that very thing!
I like seeing repetitions of the same program, and explained as much to him. It wasn't the easiest conversation I've ever had with him (I think the pot that Ricky mentioned didn't help). However, the slight awkwardness of the interaction subtracted nothing from his amiable grace, and he accepted our wishes for a safe drive gratefully as we headed out to catch the last train home.
Once the doors opened, we all four magneted over to our spot stage right. We chatted with the Crash Kings' photographer a little, same guy we'd seen outside who took a picture specifically of me wearing my Crash Kings shirt. He exclaimed how great it is to get paid to have a good time. I told him yeah, that's why I'm a musician.
The first openers, the Richard James Band, were surprisingly great. Their actual Richard James was a pianist/singer, and they had guitar, bass and drums, but also a sax and a trombone. The tunes were catchy, the energy was high, and the ensemble was really tight; I intended to buy their album. Though when I went over to the booth after the show was over I ended up not having any money. I said so, thinking he'd tell me where I could buy it online, and he just gave it to me and said tell people about it and burn it for everybody. We chatted for quite a long time, waiting for the boys to come out. Kyra showed up about halfway through their last song, and I wish she'd seen their set because it was of excellent quality.
The second openers, Gold Star Morning, were not very good. They had energy, and they had gimmicky jumping, and they had a couple of moments of engaging homoerotic head-hugging between the lead singer and guitarist, but that was about it. Nothing catchy, some things were even out of tune, and the music was generally unremarkable. Julie and I, and Kyra and I exchanged some skeptical looks during the set. I was doubly glad when it was our boys' turn. I watched Josh and Jimmy avidly as they rolled the Yamaha out, and I'd guessed right, from the location of the green tape spiking the stage; I was right on the keys. While Josh did his smooth-running soundcheck, Jason loitered at the edge waiting for his turn (he usually does at least a little himself) checking levels on the drums, and saw me and Julie in our spot and waved happily.
And when they came out, there was an immediate roar, even in the near-pitch-blackness of an unlit Downstairs. Of course, the ringing tones of 1985 were the perfect opener, once again. One of the highlights of the show for me came in the throes of Non Believer, which followed. If you'll recall, I asked Tony whether he wanted the stage or album version of the Non Believer words for the transcription, and he didn't even realize they were different. So tonight, at the beginning of the second verse, Tony looked me right in the eye with a big grin, and since I was standing right in front of him, less than 4 feet away at the edge of the stage, I could be sure he was staring really hard and pointedly to make sure I noticed, for all the world like LOOK LOOK I DID IT RIGHT, as he sang "all upon the things" instead of "all around the things that glow so bright inside me". He and I were both grinning like idiots, and I did the pointy acknowledgy thing. From there, the list went to 14 Arms, You Got Me, 2nd Rate Citizen, It's Only Wednesday, Come Away, Raincoat. The crowd, as they say, was wild. There was even a group of three or four fellow hardcores behind me, all boys, who knew the harmony to Raincoat (and later, Saving Grace. I kept tossing them pleased grins). It was hotter than any show I've been to yet, both literally and figuratively; Tony was shining like he was gilt, and dripping everywhere (in fact I was a little worried he'd short the piano or the clav).
The second freakout-inducing moment of the night occurred during My Love. As we know, I've asked him about the words in My Love, too. So, once again, he leaned over nearly on top of me, looked me right in the eye, nodded, and grinned as he sang pointedly, "everything is more than fine". Album-style lyrics, for the win! He usually sings "everything would be just fine" onstage.
By this point in the night, I was no longer trying to get videos. I rocked out so hard during Saving Grace that the openers, who were standing around at the back of the stage watching the set, noticed and cheered me on. I may actually have got a touch of whiplash. The show closed, as it always does, with Mountain Man, and the energy was so high (as was the heat) that I understood for the first time what it must have been like for those poor fragile Romantic-era souls who fainted upon being overcome by a performance of exquisite and moving greatness.
I must admit I had no doubt there would be an encore. They left the stage, certainly, but this was their hometown, and everything so far in the night had indicated the crowd was as intent on it as the boys were on giving it their everything. In addition, I was primed by Julie's explanation of her conversation with la Mère Beliveau, who explained she couldn't say what the Surprise was or the boys'd kill her, but if it didn't happen in Boston Julie should come find her and ask what it was going to be.
It was a surprise, all right. Tony came back onstage by himself, and said quietly to the audience, "You guys are too much, for real. You are beautiful and you are pretty. And you are pretty things. And I wanna cover one of my favorite David Bowie songs right now." And he set right off into the sweetest exant Bowie song, Oh You Pretty Things. Mike and Jason slipped back onstage and joined him about halfway through, and the sweetness rocked just as hard as any of their originals. Seeing, however, as it was so very short, we wouldn't let them get away with a single encore. Carry On followed, screaming as desperately as I've ever heard it. And, since there's no such thing as enough, and it was clear to the boys that was how we all felt, they graciously and frighteningly intensely added War Pigs to the end of the show.
It wasn't long, as usual, before Jason was out and came right over to give me a hug. However, I spent quite awhile talking to Richard James (apparently Ricky) at the merch table. He recognized me as the one from the front row who rocked out like I was on fire, and declared me awesome. We talked about what we each do, and he mentioned he'd had a different band till this year. He's a Berklee graduate, music business major, so he learned how not to get screwed. He manages his own band, and he hates it most of the time. He laughingly said he knew he had to be out here selling records and making connections rather than backstage smoking pot with the Crash Kings. We had our chat about his record, and then I saw that the brothers had made their entrance.
After a suitable wait to let the picture/autograph hawks get their fix, I talked to Tony about transcriptions. I'd said I was going to have it, and I was awfully sorry I hadn't finished 1985. He said no hurry; he's always so appreciative when I have sheets for him that I hate not to, but I'm sure it's not a disappointment that registers on his scale. We talked at some length, and I asked why they don't do All Along at shows lately. He said they're trying to keep it fresh; it'll be on the new album and they don't want it to get old before it comes out, even though it's up on Youtube a lot. That was a convenient segue for me; I said, speaking of Youtube, people keep asking me for the sheet music when they see my covers; I don't know what to tell them, because I made it just for the band. He said of course I can do whatever. However, he then elaborated on what he mentioned in passing at the Portland show; he's always wanted to have an easy piano book of his songs for kids to learn from, so he's probably going to spend a day with an arranger in LA and do midi capture of simple versions of all his songs. That way they'll have a book to bring to shows and sell for kids and whoever wants to learn. Take that, rude Youtube commenters who think bands never sell sheet music! He actually has plans to do that very thing!
I like seeing repetitions of the same program, and explained as much to him. It wasn't the easiest conversation I've ever had with him (I think the pot that Ricky mentioned didn't help). However, the slight awkwardness of the interaction subtracted nothing from his amiable grace, and he accepted our wishes for a safe drive gratefully as we headed out to catch the last train home.
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