Happy New Year!

I hope you all had a wonderful new year spent with the ones you care most about, reminiscing of the warm times you shared throughout the year that was. My own ringing in of 2009 was overall a little quieter than previous years. I guess you can blame that on the current economical collapse that were in. I was originally intending to spend New Year's Eve in New York City watching MMJ absolutely own MSG. But alas, fate had a different plan for me.... no worries though, thanks to our old friend the internet, we can now all experience their magic together:



Mmmmmm, that's some sexiness right there.

In other Green With Envy news, about a month and a half ago our good friend Richard MacIntosh had the pleasure of attending one of the two Neil Young shows in Toronto. Neil wasn't alone though, he had Chicago's own, Wilco, opening for him. Yes that's right, it's OK, you can puke all over yourself. I certainly did when I first heard about it. Anyways, some of you might remember Richard from when he reviewed an Acid Mother's Temple show for us a little while back. Well, there was no way he was going to this one without reporting back as well. Here's what he had to say about his night of musical purity:

As I walked into the Air Canada Centre in Toronto, with a craving of live music, a friend and myself immediately gain floor access and our night instantly enhances. L.A. rockers Everest opened the festivities with a shocking performance. The California-based band did not disappoint the half-full stadium, with pretty acoustic ballads and long jams induced with a sort feeling that made me believe I’ve seen this band before. But in fact when I tried to find some videos of the band (or lack there of), and despite opening for the well appreciated and impressive likes of My Morning Jacket this past summer in Europe, Everest has still yet to burst through. Their first album, Ghost Notes, was released last May. But in my eyes, they have already made a name for themselves, opening for a massive rock legend and ‘soon to be legends.’ I predict big things for these fellas, as their young and inventive, something the Indie rock world really needs more of... or does it?

Wilco took the stage after the boys from L.A. and put on an exceptional display of musical talent. With the melodic and almost monotone voice of the one Jeff Tweedy, and the satanic guitar playing of Nels Cline, Wilco should have never left the stage. “Handshake Drugs” and “Impossible Germany” truly brought out the genius of Cline’s guitar work, who at times was scaring the livin’ shit out of me. He would get into these ‘trances’ of tainted destruction, where his strumming was jet-speed and his eyes turned utterly demonic. The bands musical talent was really displayed through “Via Chicago”, where at times Tweedy and bassist John Stirrat would keep the bare melody of the tune rollin’ as Cline, drummer Glenn Kotche, pianist Mikael Jorgensen and multi-instrumentalist Pat Sansone would absolutely lose their minds and create a vicious sound. But the key here, is the band was so tight, that once the abrupt background sound began, Tweedy and Stirrat would not loose their ‘cool’ and kept to the lyrics and slow beat, as the band behind them would go in and out of sanity. After the song was over, I saw the pianist look around in disbelief almost as if he couldn’t believe his band just did that. Other tunes, such as “I’m the Man Who Loves You,” and “Jesus, Etc.” toned down their pulsating sound with a melancholy mix of love and sadness. A couple tunes in Tweedy looked around at the packed ACC, and states, “You can’t get any more Canadian than this... Neil Young in a hockey arena.” The crowd, along with myself, voiced their absolute approval.

After the lively Wilco set, Neil and his hired guns took the stage around 9:00 pm. The applause he received while walking on stage alone, was simply incredible. Despite having seen Neil twice in the past, then and there I realized he really is a Canadian Rock God. Without saying a word, Neil and his talented bunch of musicians, including long-time bassist Rick Rosas, the great Ben Keith on slide guitar/piano, Chad Cromwell on drums, with Anthony Crawford and his beautiful wife Pegi on backing vocals, quickly rocked out to “Love and Only Love.” His initial electric assault, which was capped with the sparking of a little friend name J, last name: Oint, was then followed by a plethora of beauties, including the well-known “Hey Hey, My My”, the short but ‘to die for’ “Everybody Knows This is Nowhere.” Oh believe me Neil, I felt like I was in ‘nowhere’ last night. This onslaught continued with the guitar pumpin’ “Powderfinger,” the new but lyrically impressive “Spirit Road,” the soulful and mystical “Cortez The Killer,” which gave me goosebumps and chills right down my spine. Ever since the first time I heard ‘Cortez’ I wanted to hear it live and see Neil play the guitar like it was his magic wand, while singing with his ghastly voice, “He came dancin’ across the water, man.” And boy did I ever achieve that goal last night. He then strummed right into, “Cinnamon Girl,” which I really don’t have to say much about. The song speaks for itself, nothing less than a true beauty . Neil then ripped into his singer-songwriter catalog, with the cool “Oh, Lonesome Me”, the environmentally-friendly “Mother Earth” (with Neil on the organ), the junkie-heartbreaker “The Needle and The Damage Done,” and the love letter that is “Unknown Legend.”

Just when one thought Neil was done with his big hits, he brings out two of the most memorable songs in his repertoire, another crowd pleasin’ karaoke sing-along “Heart of Gold,” and the tune that made Neil who he is today, an “Old Man.” After a few rare but ever so inspiring tunes, such as “Sea Change,” “When Worlds Collide,” and the bluegrassy “Get Back To The Country”, Neil stepped up to the plate in a omnipresent style that blew my mind, body and soul. At the plate, with two outs (figuratively speaking), Neil smashed a single into the general admission (on the floor) with “Cowgirl In The Sand.” Besides the great lyrics and catchy riffs, Neil absolutely rocked the solo like it was 1969. Immediately after, he crushed a double into the 300 section of the ACC with the worldly, “Rockin’ In the Free World.” 17,000-plus were pumping their fists into the air, belting out, “Keep on Rockin’ in the Free World,” as Neil and his gang led the way; it was special, very special.

After the ever-so-popular clincher, Neil and “His Electric Band” left the stage, to a standing ovation. But don’t stop reading yet…as Freddy Mercury once said, the “Show Must Go On,” and it certainly did just that. After a short encore break, the 63 year old Torontonian crept back onstage and stepped up to the plate yet one last time. This time, he was not settling for a single or double base hit. This time, Neil knew he had to go Babe Ruth style to end his triumphant performance in his hometown. As he began with, “I read the news today, oh boy,” mostly everyone knew what he was getting into, an improbable cover of “A Day In the Life.” The band tore through the cover, like they were the bowl-cut’s themselves, leaving nothing behind. As for the Babe Ruth style, Neil truly hit this one outta the ACC and towards the CN Tower. Especially when the song ended, as he began beatin’ the shit out of his beloved "Blacky", he started pluckin’ the strings off of it and began strummin’ the guitar with its own strings. I know it seems ridiculous, but at this point no one in the audience nor in the band could give a flyin’ fuck what Neil did! He’s a legend, a rock God, a Canadian Idol (who made it big even without the help of reality television). Listen to Neil Young – Listen to Rock n’ Roll, go to concerts – Experience live music, there really is nothing better. I would like to take the time now to thank Neil for all he has given to the music world, and for treating me and my pal to a night of musical purity.

-Rock Till Ya Drop,
Richard MacIntosh


Sounds like he had himself a wild time. Neil also just announced yesterday that he's delaying the release of his long-awaited Archives: Volume 1 yet again to February 24th. The reason being he got himself busy writing and recording a new album inspired by the shit storm the economy has gotten itself into. Here's his home video for the lead off single, "Fork In The Road".



Anyways, stay tuned as I'll soon be debuting both my "Best Albums of 2008" and "Best Films of 2008"!

After The First Spin

Way back before I shit the bed and left the blogging world for a bit, I was anxiously awaiting the release of MMJ's new album, Evil Urges. Needless to say, once it finally was released I loved it just as much as I do the rest of their back catalog. Here was my initial reaction / rough review upon the first spin of Evil Urges:

1)Evil Urges
Zeppelin circa houses of the holy, no reverb on the vocals at all, the backing string arrangement that starts swelling is a killer way to go into the breakdown, definitely hear zeppelin influences.

2)Touch Me I’m Going to Scream Part 1
Upon initial reaction, this hits me much the way Into the Woods first took me; it sounds completely out of left field and not like the jacket I’m used to. Then again, these are the songs that seem to reveal more of themselves each time you listen to them. It also shares some lyrics with "Touch Me Part 2" which is pretty sweet and great for adding to the whole overall album feel/journey.

3)Highly Suspicious
I know this tune has been getting a lot of mixed reactions but I have to say I’m all for it. With Jimmy and his Sexual Prowl Falsetto he croons the verses with, the mischievous laugh and the deep thunderous voice in the background right before the first breakdown, singing about peanut butter pudding surprises (or is that Pulitzer prizes?)The general outrageousness of it, how long Jim holds that one note right before the solo, speaking of which, it itself is incredible.

4)I’m Amazed
Wow. If there was a tune of theirs I could see being played all over the radio this summer it would be this one; probably their first all out, perfectly orchestrated pop tune. Although the lyrics are clearly more in-depth than what you’d regular hear on the radio, no tear stains on guitars here.

5)Thank You Too
Jim mentioned that during the creation of the album he was listening to a lot of soul such as Sam Cooke, Curtis Mayfield, etc, and those influences are all over this gem. It also seems like somebody got themselves a new main squeeze. Jim definitely knows how to write a great love song. I could even hear this played at weddings. It’s classic jacket, with an added string arrangement that truly brings it to another level. Think "Just One Thing".

6)Sec Walkin’
More classic MMJ; this could fit on anything from Tennessee Fire up to Evil Urges. Actually, this could fit on anything from Harvest to Sky Blue Sky. With that being said, even though the song starts in Nashville, it takes a side trip to Detroit before ending back down south.

7)Two Halves
Pretty sweet harmonizing, almost beach boyish at some parts. And Jim holding another note for a ridiculously long time, I think I counted 18 seconds?

8)Librarian
Now this is a beautiful song. Another amazing string arrangement, an excellent narrative as well (off the top of my head I can’t really remember Jim having many of those). But yes, any band would be lucky to write a song this beautiful. I can’t help but come back to thinking Jim must have found himself a special muse while writing a few of these songs.

9)Look at You
First song that I’m not really digging, it’s a little too preachy for my likings as well as a little too plain.

10)Aluminum Park
After slowing it down for a few songs, they kick it back into high gear with this rocker. Sounds like "What a Wonderful Man" but more fleshed out.

11)Remnants
Holy shit... who is this? I guess when you tour with Pearl Jam some of their greatness rubs off on you. Keeps the rocking going that was started with "Aluminum Park". It’s an all out onslaught from beginning to end.

12)Smokin’ From Shootin’
More of that classic jacket. It’s got it all, from insightful lyrics to an arrangement that’s restrained in all the right spots, but continues building up to an emotional tipping point, and then to a release that just blows you away no matter how many times you listen to it. Think the ending of "Lay Low"; the ending of "Phone Went West".

13)Touch Me I’m Going To Scream Part 2
I can’t even begin to describe this. It’s not like anything they’ve ever done before. It’s another knock out ending to a MMJ album that can rightfully proclaim its place alongside "Dondante". This last two song sequence brings the jacket to the level Radiohead is on, dare I say maybe even higher. If you thought the envelope was pushed with Z; you ain’t heard nothin’ yet.


Hopefully that lil' review will whet your appetite for the time being. Stay tuned, as in the future I will post both my Best Albums Of 2008 list as well as my love letter to the greatest place on earth: Bonnaroo. Until then, keep it fresh like Tupperware.

Dear Blogging...

Okay, what do you want me to say? I fucked up. I was immature and deserted you. From April to October you were left to fend for yourself in the ever increasing circle jerk world of hipsters. But let's put that behind us. I've come to my senses, and if you'll have me back, I'm yours. Let me be your shovel to sift through the shit that life piles upon you. Let me be your steadfast bearing on a cynical soaked compass. Let me tickle your computer keys and be the foreplay that leads to your mind cumming all over itself. Please take me back, I need you. I don't know why I ever left you in the first place. I guess I just didn't think I could handle the pressure. You can't deny you're a very demanding partner. One has to be committed to be in a relationship with you. In the end, in my heart of hearts I just knew I couldn't live without the cool blue glow of your electronic embrace. Well that... and this also added a little inspiration. He certainly makes a compelling case for your credibility. Anyways, like I said, if you can see it in your wires to take me back, then we've got a ton of catching up to do. I can't wait to tell you about everything you missed. For now though I'm going to get back to this book I've been reading.

Humbly Yours,
Dr. Kyle Gerrard Stark The First

Evil Urges Cover Art

Word on the street is that pic right there is the cover art for My Morning Jacket's new album "Evil Urges" out June 10th. First Impression: Meh, looks a little too much like photoshop to me, but the opera house vibe is kind of cool. That's them on the balcony way over there. Here's a promo pic that was also released:

New Rolling Stone Issue

The new Rolling Stone issue, released yesterday, features Mr. Jack White gracing the cover, but he's not alone, in fact he is draped by the presence of two legends of rock'n'roll: Mr. Keith Richards and Mr. Mick Jagger of The Rolling Stones. Inside they are all interviewed together, talking about many things such as getting off on stage, getting old, and passing the torch. Here is a short excerpt of the conversation between Jack and Keith and Rolling Stone:

Keith, what do you think of "Shine a Light"?
Richards: I'm just seeing what Marty Scorsese sees in the Stones. I was never aware of the cameras. I knew they were there. But once you go to work, your job is to give the audience what they want and, at the same time, get yourself off. I've no doubt that Mick was far more aware that he was making a movie. But once I get going, I just look at Charlie.
I've always been amazed by how much fuss goes on around us — the big screens, the technology. And it has to be coordinated. Mick loves to coordinate. But I'm selfish. I gotta feel good. I can't go up there worrying about things. I go onstage to get some fucking peace and quiet.

Jack, what did you learn about the Stones when you opened for them?
White: How good they were. You could see the comfort level between them, in Keith's guitar playing and Ron's slide playing. It's impressive, man, when that confidence is exuded. Someone once told me when I first started playing — you get a lot more respect if you act like you own the joint. If you fumble around, you don't gain respect.
Richards: You could have asked me that question back when we went from clubs to opening for Bo Diddley, Little Richard and the Everly Brothers on one tour [in 1963]. I learned more in those six weeks than I would have learned from listening to a million records.

What was the primary lesson?
Richards: Stagecraft — what works and how to feel comfortable onstage. The Everly Brothers were superb every night — those beautiful harmonies. We'd open, then climb the rafters and hang there, watching them. Watching Bo Diddley was university for me. Every set was twenty minutes long in those days. When he came off, if he had two strings left on the guitar, it was a fucking miracle. The Duchess was there [on guitar], and Jerome Green, with the maracas in each hand. It was my job to be Jerome's minder. I used to fetch him from the pub — "You're on, mate."

Acid Mothers Temple: Concert Review

Here it is Ladies and Gentlemen, our first entry from a foreign correspondent, a concert review by none other than Richard MacIntosh. For those of you out there who know Richard, you know he is a frequent attendee of concerts; a hobby, a passion, an obsession really, it's got to the point where they're are probably the pinnacle moments of his life. Anyways, he was nice enough to review his latest show for us, so here it is, in all it's glory:



"Music, for me, is neither something that I create, nor a form of self-expression. All kinds of sounds exist everywhere around us, and my performances solely consist of picking up these sounds, like a radio tuner, and playing them so that people can hear them."

These are the inspirational words of Kawabata Makoto, the lead guitarist and founding member of the Japanese psychedelic rock band, Acid Mothers Temple & the Melting Paraiso U.F.O. (“under-ground freak out!)” in 1995. I was fortunate enough to experience “these sounds” Saturday night (March 28th) at the Horseshoe Tavern, in downtown Toronto. A buddy of mine attending with me, and we began drinking once we hit the dusty greyhound to the big city. Our day consisted of crushing a Mickey, shots of Zambuca, multiple beers, sweet-sweet Mary Jane, and other substances that are not appropriated to leak into the “blogosphere” world. Once we consumed enough drugs that we thought were legit for a wild night, we arrived at the Horseshoe to see none other than Kawabata Makoto, and the synthesizer/guitarist, Higashi Hiroshi, struttin’ down Queen St. Kawabata with his long black hair, and Higashi with his grey, and both extending passed their skinny shoulders and their scraggly clothing, these two Japanese men had a sort of aura around them that I’ve never sensed before. We decide to follow them down the street; curious to what the hell they would be doing an hour before their performance. They entered into a Sushi bar, and so we decide to enter in after them. Since we knew nothing about these exotic looking rockers, upon entering the Sushi bar we headed directly to the washroom. While in the washroom, completely wasted, we construct a plan to approach these mad men. We finally gather enough courage and go up to them as they sit at the bar waiting for their food to be delivered to them (Korean BBQ I believe). We begin to shake their frayed hands and ask them if they were “really Acid Mothers Temple?” they respond with a gentle nod and then we tell them they “are amazing musicians.” They smile and shake our hands, while muttering something in Japanese; they clearly didn’t know what we were saying to them! With that being said, it was still a special moment that was lost in translation. After that, I felt like I knew where they were coming from; and not just Japan. After our meeting with the two leaders of the band we arrived at the Horseshoe in awe. While entering the venue, my one buddy gets this idea of buying a ticket for himself and then finding a way to sneak the other two of us in for free. To our amazement it actually worked! He found a back door into the venue and brought us in one at a time behind the bar and down a scary looking alley into the kitchen area. The rush of adrenalin you get when you’re sneaking around somewhere you shouldn’t be is always a welcome feeling. Once we finally got in, the opening band, Danava, began to perform. They were from Portland Oregon, and to my surprise, these guys fucking rocked! They began throwing down ridiculously long jams that included nicely distorted guitar solos and block rockin’ bass beats, that had the crowd in a fury. The band really got me in the mood to rock, and they especially got me ready for what was about to transpire. Once Danava left the stage to a happily clapping audience, AMT began to set up their gear and got ready for what would be a psychedelic journey unlike no other. While standing roughly three rows back in the small, sweaty Horseshoe Tavern, I wait and wonder, and then the show begins like a splash of liquid acid stinging the faces of the entire audience; yet at the same time coupled with a sense of unity that was sprinkled throughout the bar. Everyone seemed to be completely engrained in the experience I was partaking in. An experience that included mainly instrumental tracks that seemed to never end, with the odd vocals of the monster bassist Tsuyama Atsushi, also known as the band’s “cosmic joker”. The guy was hilarious to say the least, giggling and mumbling in Japanese, while the audience laughed in his essence. Kawabata was ripping the guitar so hard to the point where I had to stop rockin’ out and just listen to the “sounds” of his brilliancy. At times he would lean his guitar into the crowd and everyone around it started strumming along with the band. Along with the heavy drum beat thrown down by Shimura Koji, and the mysterious, mind-boggling sound of the synthesizer by Higashi Hiroshi, my buddy and I began to lose control and proceeded to start an outlandish mosh-pit inside the small bar. The foursome of the Acid Mothers’ were unbelievably tight, and it seemed like they reached another world inside the Horseshoe. For one night I was able to join them in that mystical land. Maybe it was the multiple drugs, or the heavy amount of alcohol, or maybe even because I met them an hour before the show; I’m not too sure. But one thing I am sure of; it was most definitely another world; a world of ecstasy and bliss, a world where every rock n’ roller needs to be to truly exonerate their minds and become one with the music. I highly suggest that everyone should experience AMT next time they reach North America, or at least broaden your musical horizon and give psychedelic music a chance. A chance to enter into another realm of pure authenticity and musical genius that begins and stops with a sense of belief that there really is something more to this modern day rock scene than just pop rock and emo bullshit. It’ll always be hard to bring back that magical sound of the 1960’s, when psychedelic rock music shined a luminous light in the rock n’ roll scene. AMT is bringing this force back and have been for many years. Music is so precious, and once you enter into its sphere and you receive its manifestation you’ll truly understand your life better. I’ll say nothing more, but end with the words of Timothy Leary:

“Turn on, tune in, drop out.”

Earth Hour 2008

When we unite our hearts and minds, there is no obstacle too great that we cannot accomplish....