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Beiträge
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Saffer38ganz grandios auch die Bridge in „Moving trucks“, wenn er singt „today I’m starting the rest of my life, today I can touch the sky….“ – fang ich jedesmal zu heulen an, erhrlich!!!
ja genau geht mir da auch so….schreie das im auto auch immer so laut
ich kann mit….durch die harmonien und meldodien dazu packt es
dich richtig an der Seele :)--
Highlights von Rolling-Stone.de11 coole Zitate aus „Und täglich grüßt das Murmeltier“
So klingen die größten Schlagzeuger ohne ihre Band
Welches Equipment verwenden eigentlich…Pink Floyd?
Musikalische Orgasmen: 6 Songs voller Höhepunkte
Dies ist (laut Fans und Kritikern) die beste Folge von „Friends“
Studio-Magier: Die 8 besten Musikproduzenten
Werbungja lieber Stefan Saffer, da stelle ich ja gerade fest, du hast die gleiche Frisur wie
Bob und ich--
AnonymRegistriert seit: 01.01.1970
Beiträge: 0
http://www.thenortonsrestaurant.com/Index.htm
wer ein wenig gossip mag, Greg Nortons Restaurant in den USA
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Bitt ein Bitja lieber Stefan Saffer, da stelle ich ja gerade fest, du hast die gleiche Frisur wie
Bob und ichHabe lange und hart dran gearbeitet, um meinem Helden in dieser Hinsicht nahe zu sein!!
(Auch mein angegrauter Bartwuchs wird dem von Bob immer ähnlicher)
Ansonsten mein Bob-Song des Tages: „The needle hits E“ (B-Side der Sugar-Single „If I can’t change your mind“)
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Saffer on myspace: http://www.myspace.com/stefansafferthokeihttp://www.thenortonsrestaurant.com/Index.htm
wer ein wenig gossip mag, Greg Nortons Restaurant in den USA
Geil und was lesen wir da unter „The Chefs“
Greg and Sarah Norton are the chefs and owners of the Norton’s Restaurant. They met in a kitchen ten years ago, and have been married for the last four. After working together for several years, Greg and Sarah decided it was time to realize their dream–to open their own restaurant. Dreams became reality when their chef and wine driven restaurant opened the doors on October 24th, 2003.
Greg Norton has spent the last 26 years in the restaurant business working with outstanding culinary teams throughout the region. Over the years, he has taken his passion for food and wine and infused it into his wine lists–several of them winning honors from Wine Spectator Magazine. Greg’s wine philosophy is to provide excellent wine to customers without the sticker shock. His wines are marked up at a bare minimum allowing diners to drink great wines at great prices. When he’s not helping his wife on the line, or creating new dishes, he loves to roam the restaurant and help diners hand select the perfect bottle of wine for the evening.
Sarah Norton has been working in the restaurant industry for the last 13 years, she began cooking in her late teens and has been developing her own style ever since. Her serious passion for Asian cuisine peeks through the menu with such ingredients as shiro miso, kim chee, and fish sauce. In contrast, Sarah also has a keen interest in traditional European techniques–Stocks, demi-glaces, creme fraiche, and a duck confit that is aged for at least a month before serving. While her work keeps her in the kitchen where she’s most content, she occasionally steps into the dining room to personally check on your meal.
Greg and Sarah have created a menu, a wine list, and a dining room that are creative, satisfying, and entice you back for more. The Norton’s hope their passion for food and wine in a unique space come through in your dining experience, and they invite you to join them in their new adventure.
Kein Wort darüber, dass er DER Powerbassplayer vorm Herrn war, öfter in der Luft beim Spielen als am Boden und mit seinem Schnurrbart sah er dann damit aus wie ein durchgeknallter Kardinal Richelieu auf Amphetaminen…na, gut würde wohl die Kundschaft, die nach der Weinkarte verlangt, etwas verstören
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Saffer on myspace: http://www.myspace.com/stefansafferWar jemand im Konzert in Hamburg oder Köln letzte Woche………….? :confused:
konnte leider nicht……………. :(
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Bitt ein BitWar jemand im Konzert in Hamburg oder Köln letzte Woche………….? :confused:
konnte leider nicht……………. :(
Hamburg war toll. Selbst schuld. :)
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ups……..das ging schnell…………..danke :)
hier Köln-Bericht…………
Bob is back!
Bob Mould
Köln, Prime Club
13.09.2005Der oft inflationär gebrauchte Begriff der Legende – zu kaum jemand passt er besser als zu Bob Mould. Vermutlich 80% der gesamten so genannten Alternative Music der 90er Jahre lässt sich problemlos auf seine erste Band Hüsker Dü zurückführen, mit Sugar und deren Debütalbum „Copper Blue“ schwamm Mould 1992 auf der Erfolgswelle mit, versorgte uns danach mit einer ganzen Reihe guter bis mutiger Soloalben und ging dabei seinen Weg unbeirrt weiter. Für seine aktuelle – von Gaesteliste.de präsentierte – Tournee wurde er nun gleich zweimal wortbrüchig – und wir sind ihm dankbar dafür. Zum einen bedeutet diese Band-Gastspielreise nämlich den Rücktritt vom Rücktritt (seine letzte elektrische Tournee im Jahre 1998 sollte eigentlich die Abschiedsvorstellung sein), zum anderen spielt er nun erstmals im Bandgefüge Songs aus seiner gesamten Karriere. Und nicht irgendwelche, sondern die besten!
„Seven Years!“, sagte Mould zur Begrüßung, auf seine Europa-Pause anspielend, und dann ging es dann gleich los mit dem Eröffnungstrio des Sugar-Albums „Copper Blue“. Laut, explosiv, ohne Pause spielten Mould und seine Mitstreiter Jason Narducy am Bass, Brendan Canty am Schlagzeug und sein „Blowoff!“-Partner Rich Morel an den zumeist ob der Rockpower nicht zu hörenden Keyboards „The Act We Act“, „A Good Idea“ und „Changes“, und auch wenn sich zumindest Canty nicht immer an die Vorgaben der Originalparts hielt, klangen die Songs keinesfalls wie nachgespielte, verwässerte Kopien, sondern ebenso frisch wie vor 13 Jahren. Wer geglaubt hatte, die Stücke von „Body Of Song“ würden gerade im direkten Quervergleich mit den alten Klassikern verblassen, lag daneben. Geschickt wählte Mould die passenden Songs aus, und so fügten sich beispielsweise „Circles“ oder „Paralyzed“ nahtlos ein. Selbst „High Fidelity“ wirkte nicht so deplatziert wie erwartet, obwohl eine solche (wenn auch gelungene) Ballade auf einem Mould-Bandkonzert trotzdem ziemlich aus dem Rahmen fällt.
Die Songs der „Copper Blue“-LP, die fast komplett gespielt wurde, blieben natürlich nicht die einzigen Rückgriffe auf die Vergangenheit. Interessant allerdings, dass Mould bis auf ein, zwei Ausnahmen keine Stücke brachte, die er schon 1998 gespielt hatte. „Hardly Getting Over It“ stand im Prime Club – übrigens fast auf den Tag genau zwanzig Jahre nach seinem ersten Konzert an gleicher Stelle, am 16. September 1985 – als erste Hüsker Dü-Nummer auf dem Programm, wirkungsvoll von Morels Piano eingeleitet, dann der langsamen, sich dramatisch aufbauenden Liveversion Hüsker Düs von 1987 folgend. Das war große Klasse, aber es wurde noch besser. Spätestens bei „I Apologize“ und – ja wirklich! – „Chartered Trips“ gab es dann vor der Bühne kein Halten mehr. Klar, dass in der ersten Reihe all die inzwischen auch älter gewordenen Indierocker versammelt waren, die man schon seit 15 Jahren oder mehr von den einschlägigen Konzerten kennt. So durchgedreht wie an diesem Abend ist allerdings schon lange niemand mehr. Oder wann, bitte schön, habt ihr zum letzten Mal einen Mann stagediven sehen, der nicht nur zum Spaß ein T-Shirt mit dem Aufdruck „Hauptschul-Abschluss 1981“ trug? Na, siehste! Wie schrieb Mould kurz darauf doch so passend in seinem Blog? „The crowd was nearly as bonkers as London. Lots of broken glass on stage by the end of the night. Rich was a little stunned at the crowd breaching the stage, while Brendan and I thought it was rather mild (compared to things we’ve seen in years past).“Mit „Best Thing“ gelang es Mould dann, trotz der Hüsker Dü-Euphorie gegen Ende des Mainsets sogar noch eine brandneue Nummer unterzubringen, die allerdings genauso energiegeladen und zwingend klang wie das ebenso unvermeidliche wie hoch willkommene „Celebrated Summer“ zum Schluss. Aber was heißt hier schon Schluss? Zwei Zugabenblöcke gab’s, die mit Krachern wie „Helpless“, „If I Can’t Change Your Mind“ und natürlich „Makes No Sense At All“ hochkarätig besetzt waren. Nachher wurde das Konzert von einigen mit den Reunion-Shows von Dinosaur Jr. gleichgesetzt, doch der Vergleich hinkt. Während sich J. Mascis und Co. derzeit nämlich darauf beschränken, ihre glorreiche Vergangenheit zu zelebrieren, bewies Mould an diesem Abend nicht nur, wie zeitlos seine Songs schon vor zwanzig und mehr Jahren waren, sondern dass er auch heute noch in der Lage ist, ähnlich gute Songs zu schreiben. Dass diese vermutlich nicht so genresprengende Klassiker werden wie so manche Hüsker Dü-Nummer, liegt nämlich nicht an Mould, sondern nur am Zeitgeist. Und dass ihm die Gastspielreise auch selbst viel Spaß bereitet hat und wir hoffentlich nicht wieder sieben Jahre lang warten müssen, kann man am Fazit in seinem Blog ablesen: „I want to go back. Soon.“ Deshalb darf man nach dem überragenden Auftritt in Köln ohne Zweifel sagen: Bob is back!
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Bitt ein BitWar jemand im Konzert in Hamburg oder Köln letzte Woche………….? :confused:
konnte leider nicht……………. :(
Da gehören wir schon zu den Hardcore-Bobs und verpassen beide die Gigs – makes no sense at all
Thanx für den Bericht!
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Saffer on myspace: http://www.myspace.com/stefansafferfalls es irgend jemand interessiert, das hier ist von mir……….. :)
vielleicht gibt es das ja auch von deren………..? :confused: :)
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Hallo freunde, ich bruach dringend die Lyrics zu PARALYZED und BEST THING
vom neuen Album Body of Song…………..über Google hab ichs nicht geschafft………kann mir irgendjemand helfen…………..
Danke im Voraus
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Interviewed by Kyle Ryan
September 21st, 2005In 1998, after 20 years of pioneering punk and alternative guitar rock, Bob Mould decided he’d had enough. The former leader of Hüsker Dü and Sugar decided to abandon the sound associated with him, even titling his 1998 album The Last Dog And Pony Show to emphasize the point. At the time, Mould planned to release an acoustic album (similar to his critically acclaimed first solo album, Workbook) and experiment with other sounds and styles. The result came in two forms: a heavily electronic rock album called Modulate, and a completely electronic album called Long Playing Grooves, released under the name LoudBomb. Modulate confused Mould’s longtime fans—who avoided Long Playing Grooves altogether—and the album received lukewarm reviews.
Mould kept working on his „Workbook revisited“ idea, but as time passed, he returned to the guitar-rock sound he’d ostensibly abandoned. Earlier this year, word spread quickly that his next album would be a „return to form,“ a notion he reinforced when he announced that he’d play Hüsker Dü songs on tour with a full band (featuring Fugazi drummer Brendan Canty) for the first time since the group broke up in 1987. He discussed all of it on his blog (modulate.blogspot.com), whose very existence indicated another seismic shift in perspective for the once intensely private musician. But when Yep Roc Records released Body Of Song in late July, it didn’t quite match all the return-to-form rumors. Instead, it was a progression from Modulate, with Mould subtly incorporating some of the electronic elements that dominated that album. But they only serve as accompaniment to his signature guitars, vocals, and hooky songwriting. Before leaving on tour, Mould spoke with The A.V. Club about finding peace with his legacy, the impossibility of a Hüsker Dü reunion, and why he’s no longer the most depressed man in rock.
The A.V. Club: When The Last Dog And Pony Show came out, you said you were done with the guitar-rock sound associated with you. How did you change your mind?
Bob Mould: I don’t know. In ’98, it had been literally 20 years of the same thing. Everything was really good up until ’95, ’96, and then it was just like all those shitty bands ruined a good thing, and that’s like, „Uh, I really don’t want to have anything to do with this stuff much longer.“ I just think looking at 20 years of doing the same thing, looking at other people sort of wrecking the party… And the travel is really tough. It takes a toll on my body and on my head and just on my life, you know? So it was sort of a grand gesture. After that, I just sort of settled into my groove in New York. It was the first time where I really, really had the time to be out and fully integrated, acquiring a lifestyle to go along with my music lifestyle and my work lifestyle. It led me to an appreciation of electronic music that I never had before, which led me to try to make these three records in ’02, and two of them got finished and released and then had this record. Fast-forward up to the end of ’04, when the president of Yep Roc was like, „Will you put a band together and tour with this record?“ I’m like, „Oh yeah, sure.“
AVC: Had that not been part of your plan?
BM: I sort of suspected that it would. When I saw what the record was going to be, when I knew that Brendan [Canty] was on board for the record, and it sort of had that edge. I think that combined with reconciling the history that I have, I guess, the guitar stuff, and sort of coming to terms with that. It seems like a good fit, at 44, probably a good thing. And I guess sort of the „ha-ha“ part of me is like, „This is what everybody gets for putting up with Modulate. You humored me for that, and here you go.“
AVC: The „return to form“ buzz was a misnomer, especially considering the dancey sound of „(Shine Your) Light Love Hope.“
BM: I told people to be careful of the „return to form“ thing.
AVC: In one interview, you said you were relieved that Body Of Song received praise, because when you get bad reviews, „It’s like getting a report card full of Ds, and you have to look in the mirror and examine yourself.“ Is that how you felt after Modulate?
BM: I just felt really exhausted after Modulate, and I blogged about this today, actually. I felt like I was on the defensive all the time, and I don’t know if I was put there or I started fighting for Modulate because it was so different. I felt like I was having to explain too much instead of just saying, „This record rocks. You’re gonna love it.“ And maybe if I had done that, people would have been more receptive. Yeah, so there was that in play. This one, because everybody is getting it—give or take a caveat or two—it makes it a lot easier.
AVC: What are the caveats?
BM: The two caveats are, „It’s great, but he sort of copped out and went back to the guitar thing,“ or „It’s great, but I wish he’d just leave the damn vocoder out of it.“ Those are sort of the two things, and again I was talking about this today when I was writing a long-winded spiel on the train. I love the nitpicking. I understand it, appreciate it—thank God it’s there, because the only reason it’s there is the enormous body of work that I can’t get away from anymore. Of course people are going to nitpick. It’s never going to be center. I’m not 23. I’m not fucked out of my head on alcohol. I’m in a different place in my life, and my music is a reflection of who I am right now. I think I’ve gotten good with all of that stuff, and I can have a good laugh with all of that now.
Interviewed by Kyle Ryan
September 21st, 2005AVC: It seems like you’ve gotten significantly healthier, mentally and physically. Was that part of your mission in ’98?
BM: Yeah, in ’98, I was filling a notebook on how to change my life. A lot of the ideas would really not have been so good, and those were sort of shelved. But a couple of those that really stuck was to get myself physically in shape. I’d always been a big guy, I’d always been a generally athletic guy, but I’d never really tuned into my diet. I’d never really tuned into a workout routine. In ’99, I got a trainer, started going to the gym every day, and dropped 55 pounds in four months, doing tons of cardio. I was working out two hours a day. I think the beauty of that—I didn’t know at the time, but I see it now—is just that discipline and that routine and that exertion and getting whatever was into my body. It’s also having an amazing effect on combating whatever depression problems I’ve had, because I don’t take medication for anything. It’s made a real big help.
AVC: Some people write more when something’s bothering them, which seems to be the case for you as well. Could a side effect of being a healthier person mean you have less to write about?
BM: It might change the overall tone of the work at hand, but there’s enough drama in my life whether I want it or not. [Laughs.] There’s enough going on right now to keep my head spinning all the time.
AVC: How are you making the travel part work?
BM: I haven’t started yet, so I don’t know what we’re going to do. First, it’s a limited amount of touring. There are shows in Europe; there’s 17 shows here. It all fits into five and a half weeks, so it’s not going to be that bad. Brendan has kids, Jason [Narducy, touring bassist] has kids, so it’s all broken up so they’re not away for more than two weeks. I think it’ll be okay. I think it’s just the time between point to point that really can be frustrating. Sitting in the car, the windshield is the hourglass; you’re looking at it, and time is slipping away. The older I get, the less I have, and sitting in the car is sort of crazy. But we’ll make it work. Diet goes out the window. I lose my workouts, my hearing gets fucked up, my throat gets screwed—that stuff I can work with. The dieting stuff is hard.
AVC: How did you decide it’d be okay to play Hüsker Dü songs with a full band?
BM: As I get older and I have limited time, and there’ll be limited interest as the years go by, I can say with absolute certainty there will not be a Hüsker Dü reunion. Given the amount of bullshit that I’ve had to tolerate from the other guys as far as what a taskmaster, what a world leader I was—everybody’s able to buy a house and have a comfortable life, so I can’t wait to hear about the shitty parts. [Laughs.] Yeah, so they’re my songs, and I’m going to take ownership of performing them however I damn well please this tour. I’m really excited about the Sugar stuff more than anything else, you know, Copper Blue and so on. It’s such a cool record, they’re such fun songs to play live, I think that’s gonna really be a blast… There are a lot of great songs in that stretch of my songbook, so that’s the focal point. The new record is the focal point. I think Hüsker hits are a focal point. You know, a lot of the Workbook stuff is so great in the acoustic setting; I might just leave it where it works best. It’s rock time.
AVC: Do you think you’ll ever reach a place where you’re completely at peace with everything that happened with Hüsker Dü?
BM: Well, with the Hüsker Dü stuff, I really left it where it was. As soon as I walked away from that thing, I said, „You know, I’ve just gotta get on with my life, and I don’t want to talk about it.“ I tried really hard to avoid… you know, that was a lot of why I didn’t talk about that stuff, because Grant [Hart, Hüsker Dü drummer] in particular, his big mouth, his list of gripes. It’s just like, „Look, man, what was keeping you there? Was it fear? Was it jealousy? What is the motivation there? Why, with all the shit that you talked for the last 18 months of that band—which has never really been talked about, at least for me—you revised all this shit, and you tried to make everybody else look like shit to try and give yourself a little more glory? Fuck you. Do something with your life. You dropped the ball in the ninth inning. Sorry, man. High school’s not forever. Let go and do something.“ So will I ever be at peace completely? I don’t know, probably when I write a book about it, and I tell my side of the story, then maybe I’ll be at peace with it, because that’ll sort of amend the tune. It’s a sad thing, and it always happens when I put a record out, too—it always resurfaces. I’m surprised there’s not another Hüsker Dü live record next week. They stacked so many releases on that band, and I’m cool with it, ‚cause I get a little money too. That was a great band. The last 18 months sucked ass—not in a good way.
AVC: Have you given up on trying to re-issue the albums?
BM: In 1991, Grant’s attorney took over all that stuff, and I capitulated because I had to deal with my other stuff from Sugar. I let this guy—and he’s like a court attorney, and he knew a couple of people in the music business. When Sugar took off, it was an easy sell to do a live album and the re-releases from Rhino and so on. But all that sort of fizzled out in the late ’90s, and I had my attorney sort of step in and remove my approval off any future projects. I’ve been hoping after 14 years that the guys in that band would sort of see that I have a career, and I’ve been really successful, and I have a really good lawyer, and people will still do business with me, but they don’t want to see any kind of influence [from me].
AVC: Have your feelings on the records—from Hüsker Dü to Sugar to your solo stuff—changed much over time?
BM: Zen Arcade caught everybody off guard. Flip Your Wig, when Grant and I took over from Spot [SST’s house producer], I thought that was probably a great moment. The two after that? Eh. Workbook, great album—such a huge sea change, all shifting, the whole shift in everything. You know, ’91 was sort of a… I had to go out and play like 120 shows just to keep myself fed. Out of that rose a couple great records. That was an amazing—’91 and ’92 were just brilliant. Since then, it’s really been trying; the hubcap record [a.k.a. 1996’s solo album Bob Mould, which has a hubcap on the cover] tried some different things. I think now honestly, this one’s probably the best one since Copper Blue. It beats Dog And Pony, it beats hubcap. Hubcap is a completely meticulous record; every note is perfectly exploited. This record has a lot of wake-up-in-the-morning vocals, a lot of sloppy-ass guitars that sound cool. This record has a lot of machines. Everything’s cool; I’m not trying to make a perfect record any more.
AVC: Some people had a pretty negative reaction to Last Dog And Pony Show.
BM: I remember the rap was that I was sleepwalking. That’s what I remember, walking away from it. People were like, „He’s sleepwalking.“ I’m like, „All right. Let’s see if [Modulate] wakes you up.“
AVC: You’ve mentioned your blog a couple of times. Reading it, it’s hard not to think of the intensely private man who was outed against his will in that infamous Spin article a decade ago. How do you think he would react to your blog?
BM: That person would be really pissed off. That person would just be like, „Who the hell cares, and how the hell dare he think anyone’s interested in that?“ Again, it’s a comfort level, and I think it’s indicative of where we are all positioned in our culture. You know, the idea of the reclusive artist who just sits like Ted Kaczynski in a box and writes stuff, I really don’t know if that’s a valid thing. That’s not where I’m at. I guess I feel like I’m living now, and I’m not hung up on mortality or immortality either way; it is what it is, right at this moment. And I think being more in the moment, I’m more willing to share the moment instead of clutching it as if it’s some treasure that needs to be unearthed 100 years later.
AVC: It’s not as if every single detail of your life is up there for the entire world to see.
BM: Yeah, you know, I’m pretty careful with it. I have a couple rules: „Am I making a fool of myself?“ and „Am I hurting any of my friends?“ If I’m not okay with those, I need to edit it. But generally I think it’s pretty fun stuff.
AVC: When you look at your career, do you still feel like you have a lot left to do?
BM: I’d like to, ideally. I don’t know. I’m 44; it’s like I’ve been listening to music since I was 4 years old, I’ve been writing songs since I was 9 years old, I’ve been making records since I was 19 or 20 years old. I’m 44 now; I feel better than I did when I was 34. I’ve got more clarity now. I wake up in the morning, and I write my blog, and then I go upstairs, and I work on music. And I do that every day. That’s what I do. I don’t check in once a week and think, „Oh, I’ve gotta come up with something now.“ I’m always writing. I was just in a coffee shop in Chelsea last night, just killing time, waiting for a friend, and I sat and wrote enough for three good songs. I love it. This is my life. It’s all I do.
AVC: Were they lyrical or musical ideas?
BM: Everything. Somebody asked me how I’d done these different things and what’s left, and I was like, „Man, I’ve got all kinds of drinking stuff. Maybe I’ll get a really bad drinking problem and fall into my blues groove.“ I mean, I’ve got tons of stuff left I can do, and that’s the beauty of life. You can do anything you want—and I’m half-joking, and I’m half-serious. I literally have held off the blues; I kept the blues out of my life knowing that it’s for later.
AVC: It’s really interesting to hear you sound so optimistic. One interviewer circa Workbook called you „the most depressed man in rock.“ That’s quite a title.
BM: He’s never met Stephin Merritt, obviously. [Laughs.] I’m not the most depressed man in rock, not anymore. I’m grateful to still be in the race.
http://avclub.com/content/node/40813
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:bier:
Concert review: Mould makes a healthy comeback
Chris Riemenschneider, Star Tribune
September 30, 2005 MOULD0930Don’t let it be said that healthy living is contrary to great rock ’n‘ roll. After avoiding the vagabond rock-band lifestyle for seven years, a fit and energetic Bob Mould returned to the loud and heavy stuff Wednesday night at First Avenue, and fans in his former hometown felt most of the wear and tear.
Backed by a no-nonsense three-piece band, the alt-rock pioneer, 43, played with the same volume and nonstop velocity that fueled performances by his previous groups, Hüsker Dü and Sugar. But he smiled a lot more this time.
It was hard not to grin over the opening trilogy of „The Act We Act,“Good Idea“ and „Changes,“ the same three songs that kicked off Sugar’s 1992 debut, „Copper Blue.“ Mould then went straight into the first half of his new solo album, including the hammering rocker „Paralyzed“ and the electro-frazzled „I Am Vision, I Am Sound,“ which was meatier and moodier live.
The nearly sold-out crowd had to wait for the big „payoff“ that Mould promised in interviews: Hüsker Dü material, which he hasn’t played with another group since the trio broke up in 1987. When those tunes finally arrived, they came like a hailstorm, starting with „Hardly Getting Over It“ and picking up impact with each song, from „Could You Be the One?“I Apologize“ and „Chartered Trips“ to the pre-encore finale, „Celebrated Summer.“
A song that has highlighted Mould’s solo acoustic shows over the past 15 years, „Celebrated Summer“ demonstrated how his new band has revitalized the old songs. Those four minutes felt healthier than four hours in a gym.
See Mould’s setlist online at www.startribune.com/reviews.
http://www.startribune.com/stories/457/5642737.html
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:wow:
Die Setlist im Minneapolis Concert letzte Woche…………
Bob Mould setlist
September 30, 2005 MOULD0930.LIST
Bob Mould setlist, Wednesday at First Avenue1. The Act We Act
2. Good Idea
3. Changes
4. Circles
5. Paralyzed
6. I Am Vision, I Am Sound
7. Underneath Days
8. Hoover Dam
9. See a Little Light
10. High Fidelity
11. Hardly Getting Over It
12. Could You Be the One?
13. I Apologize
14. Chartered Trips
15. ?? (snippet of new song)
16. Best Thing
17. Celebrated Summer
First Encore:
18. Bleeding Heart the Prize
19. Egoverride
20. If I Can’t Change Your Mind
Second Encore:
21. Helpless
22. Makes No Sense at All
23. Man on the Moon
http://www.startribune.com/stories/187/5642200.html
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na, da werden sich doch Saffer und alle anderen Bob Mould Fans hier freuen:
das hier ist aus seinem Weblog:
Tuesday, October 11, 2005
Coffee Town USA
The homecoming show. The best show of the tour (to date). I don’t think it will be topped. I felt a lot of love coming at me all night, from friends and acquaintances, from people I’d never met before. The entire day and night went without a hitch. The show was recorded, both audio and video, for an eventual release. In what format or form, I’m not certain. I want to spend some time with the footage, and with the hours of video shot along the rehearsals and tour. Brendan tells me everything looks and sounds amazing. I know the show was amazing – the best time I’ve had in a long long time. Everything was perfect.kommt wohl eine LIVE CD und DVD……..:wow:
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