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Chris Cagle - My Lifes Been A Country Song [2008]

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Do You Believe in Miracles?

Thursday night in Boston, Chicago emo rockers Fall Out Boy kicked off a brief North American club tour behind their upcoming new album, Folie à Deux (due Dec. 16), by playing exactly one track from the record.

Initially hyped as a chance for the quartet to preview new material, the show took a decidedly different direction as bassist Pete Wentz asked the audience for requests immediately following the one-two punch of “Thks Fr Th Mmrs” and “Thriller.” With hands in the air, the amped-up crowd was then treated to seven songs from 2003’s Take This To Your Grave, including “Dead on Arrival.”

But why did Fall Out Boy choose to play requests at a tiny club in Boston? Vocalist Patrick Stump indicated they wanted to keep things real. After flubbing the lyrics to “The Patron Saint of Liars and Fakes,” he quipped that while a lot of successful bands use teleprompters, “we try to remember shit.”

But Fall Out Boy’s overall performance was shaky at best. During “Carpal Tunnel Of Love,” Stump struggled to remember tales of “taking sour sips from life’s lush lips” and “throwing stones in a glass room,” as bass notes and power chords battled in a swamp of dissonance. Wentz, Stump, and guitarist Joe Trohman were playing in different keys, andthey had to abort the song after 30 seconds.

Even the hits sounded bad. The vocals were so quiet in the mix during “Sugar, We’re Goin Down” that the crowd, who were signing along, drowned out Stump’s own singing.

The onstage banter became the show’s high point. We learned that Stump typically doesn’t chat between songs because of a seemingly innocuous moment at an early show in a Milwaukee basement. He explained that, after doing an extended impersonation of baseball announcer Harry Caray, he subsequently felt “like a dorky kid,” and now Wentz does the talking.

As for that one song from the new album, the stage lights were turned off as Wentz, Stump, and Trohman jumped around the stage during “I Don’t Care,” the first single off Folie à Deux. The power-punk guitar gristle and screaming vocals made this tune one of the few bright spots of the evening. But hopefully the audience’s requests were a wake-up call for Fall Out Boy: It seems they’re better suited just playing their hits in over-sized arenas.

Set List:
“Thks Fr Th Mmrs”
“Thriller”
“Chicago is So Two Years Ago”
“The Patron Saint of Liars and Fakes”
“Grand Theft Autumn/Where is Your Boy”
“Dead on Arrival”
“I’m Like a Lawyer With the Way I’m Always Trying To Get You Off”
“Sugar We’re Goin Down”
“A Little Less ‘Sixteen Candles,’ A Little More ‘Touch Me’”
“Yule Shoot Your Eye Out”
“The Carpal Tunnel of Love” (scratched after 30 seconds)
“Homesick At Spacecamp”
“I Slept With Someone in Fall Out Boy And All I Got Was This Stupid Song Written About Me”
“Tell That Mick He Just Made My List Of Things To Do Today”
“I Don’t Care”

Encore:
“Nobody Puts Baby in The Corner”
“Growing Up”
“Dance, Dance”
“Saturday”

More photos after the jump! >>

Fall Out Boy / Photo by Tim Bugbee

Fall Out Boy / Photo by Tim Bugbee

Fall Out Boy / Photo by Tim Bugbee

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Next Stop Boston - But Not What You Think
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What? It’s been two years since seminal Scots Belle and Sebastian released their last record, the astounding The Life Pursuit. But fans feeling the need to fill the void with the glut of second-tier imitators have another option: BBC Sessions, an aptly titled collection of the band’s BBC radio appearances between 1996 and 2001, out next week. Featuring renditions of classics like “The State I Am In,” “Sleep the Clock Around,” and “The Stars of Track and Field” — as well as a bonus live disc with covers of songs by the Beatles, the Velvet Underground, and Thin Lizzy — BBC Sessions is perfect for those awaiting Belle and Sebastian’s next move

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Deerhunter’s name implies aggression and brutality, but even at their loudest, the Atlanta band’s music possesses a bewildered fragility that suggests they identify more closely with the innocent creature caught in the crosshairs. Lanky, waifish leader Bradford Cox often seems passive and exposed within his own songs, as if he could be blown away by the next wave of sound, whether it’s a blaring drone or a gentle hum. There’s an intense physical sensation in all of Deerhunter’s material, a constant feeling that outside forces are acting upon the singer, and by extension, the listener as well.

Since Deerhunter released their breakthrough album Cryptograms early last year, Cox has recorded enough music under the alias Atlas Sound to merit his own retrospective box set. The tracks, most available for free on the Deerhunter blog, range from dub and ambient experiments to punk-rock piss-takes to tributes to assorted alternative icons. The quality varies, but Cox’s apparent obsession with emulating the sprawling discographies of his musical heroes (Brian Eno, in particular) highlights his aesthetic of reverential fandom. Deerhunter wear their influences proudly but avoid straight pastiche, creating a distinct hybrid of androgynous shoegazer buzz, driving krautrock pulse, serene drones, and low-key indie pop that sounds both ingratiatingly familiar and slightly alien.

Where Cox’s Atlas Sound output is scattered and eclectic, Microcastle, Deerhunter’s third album, is focused and consistent. Guitarist Lockett Pundt contributes more than ever, cowriting the woozily surging “Little Kids” and providing lead vocals on “Agoraphobia” and “Neither of Us, Certainly.” The latter, which sets a disturbing plea for erotic asphyxiation to a languid, summery ballad, ranks among the group’s finest efforts. While Cox’s solo excursions can be too ethereal to leave a lasting impression, Microcastle’s best songs are boldly dynamic (thanks largely to the rhythm section of bassist Josh Fauver and drummer Moses Archuleta), yet never compromise the band’s gentle spirit.

Themes of ennui and isolation are present in the majority of Cox’s work, and those feelings are especially acute here. The album’s two most compelling songs — the uncharacteristically perky “Never Stops” and the hard-charging epic “Nothing Ever Happened” — set lyrics about feeling trapped by boredom to an ecstatic rush of sound that pushes against the singer’s helpless desperation, while also simulating the sort of transcendental experience that he seems to crave.

On “Saved by Old Times,” Microcastle’s spacey, almost bluesy climax, Cox muses about being captured by Victorian vampires before repeating the title as a comforting mantra, which could be interpreted as Deerhunter’s passionately felt manifesto: The only way to escape the world’s monotonous grip is to embrace imagination and creativity, and allow the art that inspires you to become your salvation.

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What? When nine Staten Island, NY, rebels united in the name of hip-hop and brotherhood in 1992, a new musical dynasty descended on the music world. From Enter the Wu-Tang (36 Chambers) to the death of the ever-eccentric group’s linchpin Ol’ Dirty Bastard, the collective has weathered ups and downs, and unity and division too many times to count. The quality of their art, though, has rarely wavered and includes classic albums from both the group and its solo members, including Method Man’s Tical, Raekwon’s Only Built 4 Cuban Linx…, and GZA’s Liquid Swords.

Now the authorized documentary Wu: The Story of the Wu-Tang Clan tells their story in never before seen interviews, exclusive archival footage, and performances of Clan classics like “C.R.E.A.M.,” “Protect Ya Neck,” and “Shimmy Shimmy Ya.”

Who? The Wu-Tang Clan — Ghostface Killah, Raekwon, Method Man, GZA, RZA, U-God, Inspectah Deck, Masta Killa, and the late Ol’ Dirty Bastard — blossomed under the watchful eye of groundbreaking producer and unofficial leader RZA. Their sound — a street-wise, genre-shaping, urban assault — propelled the group into the limelight, ruling both the charts and MTV in the early- to mid-’90s.

Wu-Tang’s eternal quality has been its ability to diversify. Members have starred in movies and TV shows, composed film scores, written screenplays, and licensed everything from clothes to comic books and video games. Ubiquitous both in the hip-hop community and beyond, Wu-Tang Clan are truly a trailblazing set, whether you’re talking about spitting verses or pushing product. To date, they’ve sold over 20 million records.

Fun Fact: Before the birth of Wu-Tang, cousins RZA, GZA, and Ol’ Dirty Bastard formed the group Force of the Imperial Master. The crew released one single, “All In Together Now,” which became a mix-tape hit in the New York area and even caught the ear of Biz Markie.

Watch: An excerpt from Wu: The Story of the Wu-Tang Clan

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