The Week In Rock

Death Angel - 3rd Annual Christmas Show- December 16th/17th, Slim's San Francisco- Well, I had to miss this tradition for the first time! Worked on Friday, went to another show on Saturday. These are the first OFFICIAL headlining live shows promoting The Evil Divide, and by all acounts, these two shows were packed.

Green Day plays secret show and nobody cares- (2/3rds of the band did, anyway.) - On Sunday, 1234 Go! Records in Oakland hosted a benefit punk show, and a couple of guys from Green Day got onstage and jammed some really old numbers. These days, Green Day plays more secret, tiny shows than they do regular gigs. Good luck on their upcoming arena tour.

Metallica plays the Fox Theater in Oakland, December 17th- This was a hard ticket to get! Hetfield and Company were warming up the pot for their upcoming stadium tour. Three songs of the excellent new album and a bunch of fast old cuts. Beautiful. Sorry I missed it.

Neurosis rocks the Regency Ballroom, San Francisco- December 17th. This was the show I participated in. It was pretty good. Four new songs. Good rock and roll. 

Best Albums of 2016

2016: What a year! Kind of bad personally, pretty good professionally, but spectacular musically. Thank God for that. This is the closest I've been able to compile a top ten in a very long time. (Disclaimer: this list contains only nine.)

Some of these were announced months before release. (Metallica, Neurosis, Death Angel.) Some I had no idea were coming out, (KISS, Rolling Stones.) A few just dropped out of the sky into my disc player and provided some killer thrills, (Discharge, Cough, Kicker.) 

Most of these I bought on or very near the release day- Metallica, Neurosis, Death Angel, Discharge, Descendents, KISS, Rolling Stones. CD was the main purchase, but I scored vinyl on quite a few to add to the collection. (Although Descendents and Discharge were pretty flimsy quality vinyl, so I skipped them.)

More than ever, I needed to lean into music for emotional support, and I drained these records of all the foundation they could provide for me.

NEUROSIS- FIRES WITHIN FIRES- (AUGUST 24th)- When it was announced that this album would contain a scant five songs in forty minutes, it may have caused fears that perhaps this Oakland quintet was running low of ideas. On the contrary, it's obvious that the bludgeoning powerhouse wanted to trim the fat of previous releases and hammer home a condensed, compact document. They succeeded on every level. This is all the best elements of Neurosis, and I wonder how they continue to deliver on such a high level. 

(For an elaboration on some of the songs, check out my breakdown of the recent Portland shows.)

  Metallica- HARDWIRED...TO SELF DESTRUCT- (September 23rd)- This album is the SHOCK of the year!!! I liked 'Death Magnetic,' (2008,) but Hardwired blows it away. Twelve songs spread evenly throughout two discs, (although you should buy the three disc version, which was a STEAL at $9.99 on release day.) 

I am already cranking out the miles on the bike with this album as my soundtrack. Admittedly, disc one weighs in with the strongest cuts: Title track, 'Atlas, Rise!,' 'Moth Into Flame,' 'Halo On Fire,' but there is also some very strong material on the second disc: 'Am I Savage?,' and the astounding 'Spit Out The Bone,' Metallica's answer to 'Damage, Inc.' in 2016. Speed Metal is back!

Either James Hetfield or Lars Ulrich described this album as 'Kill 'Em All' meets 'The Black Album,' and that is not too far from the truth. I have bashed Metallica in the past, but never did I think I would say that I was glad the band was no longer a democracy. (Songwriting and control is firmly back in the iron grip of Hetfield/Ulrich, and it works out tremendously.) Kirk Hammett is kept in a corner to crank out guitar solos and bassist Robert Trujillo lays it down and earns a credit for the intro to 'Man Unkind.' 

Vinyl fiends were scattering for the double black vinyl, double red vinyl, and the triple disc deluxe edition. Record stores were handing out posters and turntable slipmats at the point of purchase, making it feel like the glory days of albums sales are BACK.

Hardwired shot to Number One in 57 countries, and deservedly so.

DEATH ANGEL- THE EVIL DIVIDE- (May 23rd)- Death Angel's fifth studio album since their 2004 'The Art of Dying' return. There is a lot at stake for D.A., so Rob Cavestany and Co. record each album as if their lives depend on it. There is very little weak material (if any) on a Death Angel record, and The Evil Divide is no exception.

Strangely, Death Angel have yet to properly tour this album; they piggybacked on a late summer tour with SLAYER and ANTHRAX. Not sure how those shows went, but hopefully the band was able to flesh out great songs like 'The Moth', 'Lost', and the emphatic screaming of Mark Osegueda on 'Hell To Pay'.

DISCHARGE- END OF DAYS- (May 13th)- When I heard England's Discharge had a new album coming out, I had to laugh. Aren't these guys washed up? I thought that there best years were 1980-1984... (Let's not bring up their 1986 show in San Francisco, where they got heckled right off the stage when the former hardcores attempted to play some poser/glam metal.)

Death Angel- Rob sporting Discharge shirt.

When I saw a photo of Death Angel guitarist Rob Cavestany sporting not only a Discharge shirt, but a shirt of their new album, I thought I might have to check it out. Wow! No regrets. 'End of Days' is a relentless album, easily bringing to mind the classic Discharge era of 'Never Again' and 'Hear Nothing See Nothing Say Nothing.'

I would drive around with this blasting in the car on my way to work, and I would exit the ride rattled. The album is like a jackhammer of rage and ripping riffs. 'Raped And Pillaged,' 'Meet Your Maker,' and 'False Flag Entertainment' are a convincing continuation of the Discharge legacy. If I had to deduct a couple of points, it is that the singer is channeling his predecessor, Cal, who left his mark on those early classics.

DESCENDENTS- (July 29th)- This entry is more for sentimental value. The first Descendents album since 2004's woefully inadequate 'Cool To Be You.' On first listen, this new one is a lot stronger and more focused than the last one, but.... I don't know. These guys used to idolize women and was the soundtrack to my teenage crushes. But now that they're in their fifties, and some of the topics are pretty ugly, it makes it difficult to channel my inner high-schooler. However, I give much thanks that Bill Stevenson is still alive after some serious medical issues, but I am not entirely sold.

ROLLING STONES- BLUE & LONESOME- (December 2nd)- Another shock. Why would I want this album? It's a collection of blues covers, not exactly my favorite kind of music. You can attribute my enthusiasm to the great reviews this was getting and the fact that it was recorded in three days. 

I feel fortunate that I was even able to score a copy, it has been selling out all over. It's got a real fun and loose feel to it, incredible to think about since Mick and Co. have been a band for over FIFTY YEARS. Wow.

'Everybody Knows About My Good Thing,' 'Little Rain,' and 'Hate To See You Go' are standout tracks, and suddenly I find myself a fan of the blues. So cool!

KISS- ROCKS VEGAS- (August 26th)- Hey Hey!!! No regrets here!!! I actually attended the first two shows of the Greasepaint Goblins' 2014 residency at the Hard Rock Casino, and I thought it was awesome. I know they recorded the final night of this run of shows, but I never thought it would see release.

What does this album count as? KISS ALIVE 5? KISS ALIVE 6? I am okay with 'Rocks Vegas.' Not only do you get a CD of genuine live KISS Klassics- 'Detroit Rock City,' 'Parasite,' 'War Machine,' but there is also a DVD/Blu-Ray of the concert which is super high quality. 

Gene, Paul, Tommy, and Eric are a tight live outfit, which is pretty incredible, since there is a barrage of explosions and lasers going on around them. 

I got back into KISS about three years ago, and this has been a fun ride. My childhood heroes still crank it out, and that is very gratifying.

COUGH- STILL THEY PRAY- (June)- Okay, this record was merely a Doom Metal stand-in for me until the new Neurosis album came out. This gave me a Sabbath fix for a couple of months, but once Fires Within Fires hit, I quickly forgot about it. 

Cough kicks ass, though! I don't want to penalize them too harshly. Good album.

KICKER- RENDERED OBSOLETE- (September 9th)- This is probably tied for the most fun album on the list. (With the Rolling Stones.) Kicker is an Oakland punk band featuring Pete The Roadie on vocals, and Neurosis dude Dave Ed on bass. 

This is the kind of music I used to hear on the radio (MAXIMUMROCKNROLL) in 1984/1985. After each song, I expect a DJ's voice to come on and re-cap the punk rock set that preceded it. 

Special shout out to the very nice gatefold vinyl package with the free download that comes with it. I don't know how to further describe this record, except the best sing-along is about that thing old people wore around their neck on the TV commercial when the old lady said "I've fallen and I can't get up!" Who remembers that? And who decides to write a song about it in 2016? 

Very endearing.

MY DAMAGE: Keith Morris And OFF!, 2016

 November 12th, 2016- When OFF! announced their eight-city West Coast November tour, I figured the best place to see them would be at The Garage, a dive bar in the beach town of Ventura, CA. The San Francisco choice was Slim's, which is a great venue, but it is more of a nightclub setting. I knew that the show at  The Garage would have cheap beer flowing and a rambunctious crowd. I was not disappointed.

Along the way, Keith Morris scheduled reading/book signing sessions prior to each show at record and book stores. Fortunately, the Ventura stop featured a signing at Saltzer's Records, a great store I've been going to for over twenty years.

As for the book itself, the former BLACK FLAG/CIRCLE JERKS frontman weaves a highly readable memoir, (with the help of co-writer Jim Ruland.) 

In the battle of the Black Flag singers/writers, Henry Rollins has published about 30 books, while Morris weighs in with a scant one. Keith's book is better than AT LEAST fifteen of Henry's books, and that is not a bad showing. (I bring Rollins' 1998 classic 'Smile, You're Traveling' on EVERY trip I take, because I find it to be very inspiring.)

Keith tells an interesting tale of growing up in Hermosa Beach, getting a little too involved in drugs and alcohol, and the perspective of being the lead singer of (at least) three legendary punk bands. 

The Black Flag beginnings are great, of course. The Circle Jerks chapters are engaging. The lean years, where the aging diabetic was earning his living by waiting tables on Sunset Boulevard, those parts are kind of tough. The creative rebirth that eventually materialized a few years ago with OFF! is a positive way to close out the book.

At the Saltzer's signing, my friend Steve and I walked in while Keith was reading from the book. There were about 60 people in attendance, listening to Morris recount the moment he joined Black Flag. I must admit, though, he didn't sound like he was into it. Here's a guy who usually sounds electric every time he speaks. On this occasion, he sounded like he was, well...Reading.

No big deal, however. I was just happy to get my copy of the book signed without being an autograph hound. I mumbled something to Keith about a part in the book I liked, and he just stared at me, offering up the fist for an old fist bump.

After exiting the record store, we had a couple of hours to kill before the OFF! show. When we trekked on over to The Garage, I was surprised to find this place located right in the suburbs. I felt like I was in my own neighborhood with the  residential street parking. As we walked to the bar, I laughed thinking about how the neighbors must love this place, that recently hosted the rambunctious D.R.I. and M.D.C.... 

It was 2150 Hrs. when we walked in, and OFF! were scheduled to go on in ten minutes. Perfect! Just enough time to grab a beer and get right up front. My kind of place: low stage, band members having to walk through the crowd to get to the stage, sweaty atmosphere. 

We stood in front of bassist Steve McDonald, who currently does triple duty in OFF!, THE MELVINS, and his original band REDD KROSS. Those three represent three styles of music, and how he can seamlessly transform between the three is beyond me. He not only rocks, he's also the co-star of one of my ALL TIME favorite movies, 'Spirit of '76.' 

Someone in the crowd yelled out, "I loved your book, Keith!," and the frontman responded "So did my mom..." 

The election was only a few days before, so I thought Morris would go off on the coming political apocalypse, (which I have seen him do in the past,) but Keith was stoic, inferring that he had an open mind for the future.

I would love to give you the set list. I really would. In fact, it would have been hilarious to even try, since we are talking a band that writes songs that average about one minute in length. They go by in short, sharp flurries. 

I did hear all my favorites, though, for sure- 'Jeffrey Lee Pierce,' 'Wiped Out,' 'Peace In Hermosa,' 'Poison City,' 'Rat Trap,' 'I Don't Belong,' 'Jet Black,' 'King Kong Brigade,' 'Hypnotized,' and 'Void You Out.'

The audience was great. Screaming, singing, starting a pit. Egging the band on. Guitarist Dimitri Coats, he IS the second coming of former Black Flag guitarist Greg Ginn. He was sporting two of the most beat up Marshall cabinets I have ever seen, and they still sounded great. 

I had lost faith in punk rock for years until I heard OFF! sometime in 2011. It was the perfect blend of old and new. (So new, in fact, that their 2012 fifteen-minute self-titled album broke the Billboard Top 100, coming it at number 96. That's impressive.)

Plus, their non-greedy ethos is refreshing. The show was cheap at $15, shirts were a steal at $15. CD's for $10, and FREE STICKERS with purchase! If I looked in the mirror during the show, I'd be shocked to find a dude in his late 40's, as I felt like I was 16. 

Drummer Mario Rubalcaba, is of course, great. I have no idea how he remembers the count in of each number, since OFF! songs vary, and when you're playing 30 cuts a night, my brain would be in a blender trying to keep track with them all. True professional. 

Before coming back for an encore, Dimitri asked the crowd to hurl as much abuse at the band as possible, as they would be filming this. It was pretty fun to yell "You Suck!" at the top of my lungs, sounding like I meant it, and other people were weighing in with their own brand of insults. It was pretty convincing. I filmed a portion of this and the people I showed it to asked me "What happened? Why did they boo?" 

As usual, at these awesome shows, it was over much too fast. The Ventura crowd howled it up and continued to party at The Garage. The merch table was doing brisk business, with T-shirts flying and one girl asking "What CD should I buy?" Since there was no backstage, Keith Morris fled to the band's van in the parking lot to recover. 

Let There Be More Light: NEUROSIS, Portland, Oregon, 11/25-11/26/2016

Portland, Oregon- When Neurosis announced two shows at the Hawthorne Theater that would take place during the Thanksgiving break, it was a no-brainer for me to book a flight and skip town. 

In December, 1985, as a 16 year old, I was told of an upcoming gig featuring CLOWN ALLEY and pre-Neurosis outfit VIOLENT COERCION at a shithole in San Francisco called Club Foot. At the time, I had to ask myself if I had the $3.00 for BART? (Hop the gate getting to the city, but had to pay full fare on the return.) Did I have the $3.00 for the show? Yes. Did I have $3.00 for the Violent Coercion demo? No. My friend and I split it, chipping in $1.50 each.

Fast forward 31 years later, and I am asking myself similar questions: Do I have the $300 for the flight? Do I have $300 for the hotel? Do I have X Amount for Neurosis merch? Yes.

I researched Portland's Hawthorne Theater via Yelp beforehand, just to see what I was getting into. The reviews had me frozen- The bouncers are dicks, the sound sucks, there's no ventilation. As usual, the online whining turned out to be entirely untrue, and I am eager to return.

"Was it heavy? Did it achieve total heaviosity?"

-Woody Allen, Annie Hall

Kowloon Walled City

Both nights featured the same triple bill of NEUROT RECORDING artists- Neurosis/Yob/Kowloon Walled City. All three bands delivered their sets with heavy precision on both nights. I'd seen San Francisco's Kowloon Walled City once before, opening for the very same headliner at the Great American Music Hall in 2014. 

The shows commenced precisely on time Friday and Saturday, with Kowloon Walled City hitting the stage at 2000 Hrs... From the get-go, their songs are pounding- 'Your Best Years,' from their latest album GRIEVANCES was a particular standout. On the second night, when they walked out onstage to the closing strains of THE MELVINS' cover of 'Going Blind,' (KISS,) it was the perfect setup. From what I could see, they sold a lot of merchandise, even after explaining "Our merch is over there....Because we're the opening band!"

Yob

As for YOB, man, they are so fucking crushing!!! They're from Eugene, OR, so I am pretty sure they had a lot of hometown fans in the house. Veterans of at least three CLASSIC record labels that I know of- Metal Blade, Southern Lord, and Neurot. Not a bad resume'. 

The trio was a highlight back in 2012 at The Fox Theater in Oakland, opening for Neurosis, and they killed in Oregon as well.

The rhythm section of bassist Aaron Rieseberg and drummer Travis Foster kick ass; of course it's singer/guitarist Mike Scheidt that is quite the force. He is a guitar virtuoso, if that is possible in the Doom genre. His singing can range from a Biff Byford wail to a death metal roar. The audience was mesmerized both nights, but for me the highlight was the 20-minute renditions of 'Marrow,' from the 'Clearing The Path To Ascend' album. Man, this music is so empowering!

However, let's get to what this trip is all about: NEUROSIS, playing two SOLD OUT shows.

Anyone who gambled that Neurosis would perform the same set list both nights to save some money and attend only one show....LOST. There was some rotation and changing it up, which was a killer bonus.

For years, one of my favorite parts of the show is when the band members walk onstage to tune their instruments, tweak the microphone placement, and adjust their pedals while barely acknowledging members of the audience. It is such a concentrated routine, and reminds me of the dark cloud that comes over my head before the band goes on.

On both Friday and Saturday nights, the sets commenced at 2230 Hrs., with Noah Landis walking onstage and giving longtime soundman Dave Clark and the light person the pyramid signal, meaning it is time to darken the venue and start the show.

Set List #1:

Given To The Rising

Stones From The Sky

Bending Light

Lost

Broken Ground 

Fire Is The End Lesson

The Casting of The Ages

Distill (Watching The Swarm)

At The Well

Locust Star

-Given To The Rising- This transported me back to 2007; the opening number of the album with the same name. "Let us rest...," said Scott Kelly, brandishing a #12 Oakland Raiders jersey emblazoned with THE SNAKE on back, a/k/a the immortal Ken Stabler. 

During the final few minutes of this one, the entire band was going off. They were there to kill, and the audience responded accordingly. Noah seems intent on destroying his keyboard setup, I have no idea how it survived.

-Stones From The Sky- The haunting closer from 2001's 'A Sun That Never Sets.' Once again, this is Kelly on lead vocals, though Steve von Till joined in for the "You've been shown, over and over, don't you know?" refrain. From there, the song becomes an instrumental with drummer Jason Roeder pounding it our pretty hard and the rest of the band slashing chords in a repetitive meltdown.

-Bending Light- I traveled this far hoping to hear some new songs, and I would not be disappointed. Over the course of two nights, we would be treated to 4/5ths of the 'Fires Within Fires' album, and the metaphorical opening line of "This restless sea is breaking me" is something I identify with since I work on the The Bay. "The end is endless and washing over me..."

The new songs blending in very well with the rest of the set. The audience knew what was up; they gave every song the proper respect.

(A sidebar about 'Fires Within Fires:' People claim that the music industry is dying, but this is the first Neurosis album since Enemy of The Sun that I was able to buy the CD and the vinyl on release day IN A RECORD STORE. (And even the cassette if I wanted that too.) I like that the album is a scant 40 minutes and only 5 songs. The band claimed they wanted to trim the fat and they did.)

-Lost- It was the fourth number where von Till got the mic and built it up until Dave Edwardson gets to pronounce us all 'Lost' with his stentorian judgment. This is the 'Enemy of The Sun' classic that made me a fan for life when I saw this performed at the Berkeley Square in March, 1994. 

Back then, it was a Steve with long, snaky dreads and Dave Ed sporting equally long sinewy locks. I think this song is now being performed better than ever and that maybe clean(er) living has something to do with it. 

Noah's First Show!

-Broken Ground- This is the perfect mix of Country Rock and Heavy Doom, if that makes any sense. Neurosis previewed this on tour in Europe prior to the 'Fires Within Fires' release, and after checking it out on Youtube, couldn't wait to hear the final product.

We only got this one night in Oregon, and it's rich tones were much appreciated. 

-Fire Is The End Lesson- When I heard this for the first time when I got the new album, I couldn't believe how psychotic it was. It's a bumpy ride. I thought the middle section was a cello, but it's von Till manipulating his guitar to sound that way. 

I filmed a one minute segment during the instrumental part, and the band is banging it out so hard, you would swear that the footage is speeded up. It's uncanny. The crowd looks speeded up too, nodding their heads in unison. 

-The Casting of The Ages- For some reason, I didn't think I'd get to hear this live. Four years after it was first released, I get to check it out. The Portland crowd ate this one up. Wow, Noah just goes off on the keyboard/noise, and it filled the hall with an all-encompassing presence. This one is buried in the latter half of 2012's 'Honor Found In Decay,' an album that featured the welcome return of simultaneous Scott/Steve vocals. The lyrics tell an epic story, I'll leave it up to you to investigate it.

-At The Well- Motherfucker!!!! I first saw/heard this at the Great American Music Hall two nights in a row in January, 2011, almost two years before 'Honor's' release. I will look to Decibel Magazine's recent Neurosis issue and quote Yob frontman Mike Scheidt on HIS reaction to first hearing this song:

"In 2011, when Yob was opening for Neurosis in Portland, we heard them soundcheck 'At The Well.' It was the first time we heard any of the new material, and we kept saying to each other, 'They did it again...'"

Jason Roeder is so loud on the buildup, it brings to mind what one of the band members recently said in a magazine- "In the early days, we had to buy bigger amps so we wouldn't be drowned out by Jason." 

-Locust Star- The memorable crusher. This is the first time (I think) I've seen them close with the 'Through Silver In Blood' classic.

At 0015 hours, the show was over!

Set List #2

Lost

The Web

A Shadow Memory

Distill (Watching The Swarm)

Fire Is The End Lesson

Takeahnase

At The End of The Road

Bending Light

The Doorway

Through Silver In Blood

(In the past, many shows would begin with Pete Inc.'s or Josh Graham's visuals commencing the the set and Noah triggering some unearthly sample so that there was already a psychic barrage before one note was even played. It is quite a site to witness the band circa 2016 walk out onto a darkened stage amidst silence until...."Are you lost?")

-The Web- This is a 'Souls At Zero' favorite that has NOT been treated like a distant relative through the years. Through the years, it has managed to occasionally muscle its way into the set, and the results never disappoint. As a struggling, suffering 20-something, I COMPLETELY identified with the opening line "Leave Me Demons Did I Want You..."

-A Shadow Memory- "When life has exhausted the casting of shadows..." Another deceptive number that lures you in with a clean guitar before pounding you over the head. Track #2 on the new album, with some eerie sounds under the surface provided by Mr. Landis. The 'Fires Within Fires' numbers sound really tight live, which is surprising, only because I don't think the band is rehearsing five days a week. I don't know how they do it, besides collective consciousness.

-Distill (Watching The Swarm)- This one went over well both nights, and I was able to decode the sources of sounds, including Dave Ed's bass scrapes that fill the hall during the 'quiet' part. It's all von Till on vocals though, and the crowd banged along with this one in a near-frenzy.

-Takeahnase- I'm pretty certain this one went through a 20-year retirement until it was re-ignited at the 30th Anniversary shows in San Francisco earlier this year. (In fact, on that first night at the Regency Ballroom, someone tapped me on the shoulder and asked "Did you see the set list??? Takeahnase!!!!" It was news to me and a welcome return.)

-At The End of The Road- Now, I need this explained to me. How can a song that is ALREADY powerful quadruple in power nine years after it was first unveiled? I've seen them open with this one, after thinking it as a non-opener. Saturday night, the dynamics almost imploded the building, it was that strong. (This isn't bullshit hype!!!! I saw it with my own eyes!)

-The Doorway- This is the only number from 'Times of Grace' that would rear it's wolf's head over the two night residency. "That night I saw a burial train..." Every time I ride a BART train through West Oakland, I can see Soundwave Studios off in the distance. This is where the album was conceived over many months back in 1998.

At the Hawthorne Theater, the headbanging was intense during the slow part, and even a pit started during this one.

"Don't Crawl Seek His Burn of War..."

-Through Silver In Blood-  The conclusion of 'The Doorway' was so drawn out, with instruments on the brink of being destroyed, I feared that it would be the last number. In the darkness, though, I could see two stand up drum kits being brought out on stage. Ah, yes. Through Silver In Blood.

A 13-minute song that the band once said of, "You play that one 300 times, and you will end up with one hell of a headache." I believe it.

Summon any Youtube video from the 1996-1997 tour and you will see grown men attempting to kill themselves with intensity. It's scary. Hopefully, time and sanity have made this crowd favorite not so detrimental to perform. What a way to close the show. Portland was graced with two nights and a combined three and a half hours of post-apocalyptic brilliance. 

The crowd roared it's approval at the conclusion, and the lights came up. I exited the theater into the rainy night, replaying in my head what I just witnessed while I walked back to the hotel.

Smashing Pumpkins- In Plainsong, San Francisco, 3/25/2016

(This post consists of a journal entry/show review. Words and photos by Count Blood.)

3/28/2016- The real fun happened in San Francisco on Friday, March 25th. SMASHING PUMPKINS at The Masonic. It was another mind blowing experience. Their third show of the Electro/Acoustic IN PLAINSONG tour, which kicked off three days earlier on March 22nd in Portland, Oregon.

I was on BART in the early afternoon, riding out to The City, when I received a text from Britt asking me where I was. he was already at the venue, so once I exited at Montgomery Street, I hustled to the top of Nob Hill, and made it in quick time to California Street.

This was my first time at The Masonic, and it looked really impressive from the outside. While I waited for Britt, I saw the two Smashing Pumpkins ladies on the tour, (Sierra Swan and Katie Cole,) deal with their luggage outside of the tour bus. Both appeared disorganized as they walked the thirty yards to the front door of the venue with their suitcases. Then, seeming like they each forgot something, they turned around and walked back to the bus, only to repeat the process. It was slightly amusing to watch. (Though I became a fan of both via YouTube the day before, I elected to not say anything that night.)

Britt came outside to get me, and his All Access pass got us both inside, just like that. I was amazed. We walked backstage to see if guitarist Jeff Schroeder was in his dressing room. He was not, but drummer Jimmy Chamberlin was there. Britt struck up a conversation with him, and they talked for a few minutes. I waved hello, but didn't say much. 

We made our way to the auditorium, where Jeff was onstage, sound checking. He was playing a white Stratocaster. The stage lights were beaming down, it was a cool atmosphere. I said hello and shook Schroeder's hand.

He said to me, "You've got tickets, but you don't have to watch the show from out there, you can watch from the stage." How cool is that?!?!?!? The only problem was that I wanted to take photos with my good camera, after being denied at a few recent shows.

I replied timidly, "Well, I want to take photos," so Jeff says, "Then you'll have to do it from out there." No problem! I was just elated to bust out my Canon in a concert situation at last.

Britt and I went down to catering. I didn't feel like eating, but grabbed a cup of coffee and appreciated the hot java.

-Back to the auditorium, Billy Corgan, Sierra Swan, and Katie Cole walked onstage to sound check. I decided to stay out of their line of sight, which was a wise move. Anyone who wandered in and sat down was immediately hustled out. I listened from the side of Stage Left, and the band sounded great. Jimmy Chamberlin joined them onstage for a cover of 'Malibu' by HOLE.

People would have KILLED to be where I was sitting. A little later, Britt and I walked through the lobby and saw the line for the V.I.P. Meet And Greet- it had to be 50-65 people deep of a bunch of smiling, nervous, excited fans clutching their 'In Plainsong' tour posters. I watched the Q & A with Billy Corgan later on YouTube, and he was frank with the fans, admitting things like "I don't get millennials."

He also regaled a tale of running into an old/outdated fan at the airport who was clutching an infant and asking for a photo with the frontman. Corgan responded, "I will take a photo with you, but it can't be a selfie." The woman seemed perplexed by this 'No Selfie' rule and after registering a confused look, simply abandoned her request.

-Britt and I hung outside for awhile, where Britt told me about a car accident he got into ealier in the day on California Street. We went inside for dinner at Band Catering. I was impressed as I traversed the buffet line, (I had a salad and fish on Good Friday.) I sat down at a round table with Jeff, Britt, Schroeder's guitar tech Mike, and a guy who was trying to sell Jeff some guitar pedals.

Dinner was interesting, lots of talk of Guitar Gods, including the time George Lynch played with The Smashing Pumpkins. (Somehow, the 'Paris Is Burning' shredder mistakenly thought he was being groomed to join the band.)

One of Billy's good friends joined us at the table, but did not look well- said he's had bad oysters the night before.

Jimmy Chamberlin sat at the table next to us, but then joined us and sat next to me. He was talkative, so I asked him if he had to restrain his playing during these acoustic sets, but he said it was just different. He also talked about his jazz band back home in Chicago, and the New York/Japan tour they've got lined up after the SP run.

Chamberlin also told me about now playing Sakae drums, after being with Yamaha for many years. He said Sakae was the original maker of Yamaha drums, but the Sakae team left in 2013, feeling that Yamaha was being over-commercialized, and Jimmy followed. 

-At 6:30 p.m., I said I was going to pick up my tickets and passes. (Thank you, Mr. Schroeder!)

I grabbed my camera out of the dressing room, and then it was time to leave the band alone. Britt and I went to locate some friends of his who were coming to the show. (One of whom received my extra ticket.)

I found my seat, which was in the ninth row, and it was killer! The show was sold out, and the excitement was palpable, with a lot of elated Smashing Pumpkins fans inside the ornate auditorium.

Opener Liz Phair took the stage at 8:00 p.m., dealing out a solo performance. With each song, she'd alternate electric guitar/acoustic guitar. Liz had a hit album in the 1990's with 'Exile In Guyville,' but I am not sure what she's done since. 

Her music was good, it sounded honest. Was this her comeback attempt? I have no idea. She seemed in good spirits, although people were shuffling to their seats during most of her set. (Earlier, Britt and I walked past the diminutive Liz backstage, where she was seemingly locked out of her own dressing room.)

Smashing Pumpkins had a nine p.m. start time. Billy Corgan walked out on stage alone, wielding an acoustic guitar. There was quite a cheer for the frontman, and the first four songs were a solo affair. It was cool to see how strong these numbers are with just one man and a guitar. It was very captivating.

It was for the fifth number that Jeff Schroeder appeared, for a cover of David Bowie's 'Space Oddity,' which is also on the 'Oceania Live' Blu/DVD/CD. The San Francisco version was excellent, of course, with the moody, atmospheric lighting and dramatic backdrop of blossoming trees. The Pumpkins delivery of the song featured FANTASTIC guitar interplay between Corgan and Schroeder.

(Most of all, I was happy to finally hear a MALE tribute to the recently deceased David Bowie, (01/10/2016.) I was getting tired of Lady Gaga and Lorde appropriating the legacy of the Thin White Duke.)

'SOMA' was up a few songs later, and this is when the rest of the group strolled onstage- Jimmy Chamberlin, Sierra Swan, and Katie Cole. 

'Sorrows' introduced another backdrop change, a forlorn tree reminiscent of the cover of the first TROUBLE album. (Chicago Metal.) Schroeder handled 100% guitar duties, while Billy served as lead singer to a sea of shrieking fans. Katie and Sierra put down their instruments to serve up some backing vocals. This was followed by 'Eye,' another deep cut, from the David Lynch film 'Lost Highway.'

I was enthralled with an AWESOME rendition of 'Stand Inside Your Love,' with Katie Cole handling co-lead vocals. I love this song! (From 'Machina/The Machines of God.')

The Wild Card tune of the tour was unveiled with a HOLE cover, (the Billy Corgan co-write of 'Malibu.' It was quite a rousing rendition. Driving and rocking, with Ms. Cole's vocal talents on full display. I was never a Hole fan, but this powerful performance had me re-thinking this tune.

Next up was 'Spaniards,' arguably the most electric song of the night. Jeff and Billy were banging out dual, intense, pyro-filled six string leads with a blue light hue and starry backdrop- Photo Op alert!

The band left the stage for a few minutes then returned for the final two numbers. First up was the doleful 'Angie, (a ROLLING STONES cover,) and concluding with 'Amaranthine,' which is not only a new tune, but the 26th song of the evening. 

The glorious applause at the end signaled a very happy audience and a concert that was a triumph of artistic integrity.

I stepped into the hallway to witness the exiting, happy masses, just to get a look at their elated faces. I took a peek at the mile-long line for merch. Great concert, terrific venue, it was cool!

After most had streamed out, I headed backstage. I didn't know where Britt was, and the door of Dressing Room #2 was shut. I certainly wasn't going to barge in, let alone knock.

I somehow figured out that Jeff, Britt, and Britt's friends were hanging out next to the production office. (When I saw Tour Manager Doug, I said to him "I saw your name in the Hardcore DEVO credits!) Like a fireworks barge that needs to cool down after a display, Jeff was unwinding, and the conversation revolved around Britt's caffeineated antics of the past. There was a lot of laughter.

The Smashing Pumpkins tour bus was rolling out quickly, so there wasn't a lot of hangout time. Britt and his friends took a token photo with Jeff. I thanked Schroeder profusely for the show, and then Britt and I hit the road- (meaning trying to figure out which parking garage Britt was parked in!)