So, last night’s Weezer show was my fourth, and it was definitely the most unique.  The other three shows, two in support of Maladroit, one for the Green Album, were pretty straightforward.  Everybody stood in front of their mic, Rivers occasional muttered something funny between songs, they left the stage then came back for one or two more.  Simple.  The last show had flame spurts on a couple of songs, that was different, but otherwise it was a pretty basic show by a band that rocks really hard.
I’d always known Rivers was kind of goofy (consider that the first words you likely heard him sing were “What’s with these homies dissin’ my Girl?”), but he seemed pretty reserved on stage.  This made sense on the Extended Midget Tour (supporting Green), because everything about the Green Album seemed like a back-to-basics exercise, Rivers testing himself to see if he could still write pop songs.  On the Enlightenment Tour (I think I caught the European leg of it in Birmingham, it was in support of Maladroit, at least) things were beginning to loosen up a bit.  More songs from Pinkerton (at the Salt Lake show there were more from Pinkerton than from Maladroit), full renditions of “Only in Dreams,” covers, and pyrotechnics, but, like I said, pretty basic stuff.
Then there was last night’s show.  I missed out on most of the promotion for Make Believe, but I caught some AOL Sessions and I knew that if I ever saw the Weez again, it would be a distinct thing from previous shows.  I expected keyboards, and I’d heard that Rivers had a little drum kit that he occasionally played.  I didn’t expect a mini trampoline, or that both Scott (bass) and Brian (guitar) would have keyboard rigs.  To keep me from rambling too much, we’ll do a list.  You kids like bulleted lists, right?

• Rivers didn’t sing lead on every song.  Much like the new album, vocals were shared by various band members.
• This allowed Rivers to become untethered from his microphone and wander the stage as he pleased.  This is why there was a trampoline.  It also meant thatRivers got to play harmonica on “My Name is Jonas,” every other time I’ve seen them it’s just been done on guitar.
• Rivers has often been compared to Brian Wilson because he’s a little eccentric and obsessed with writing the perfect pop song (I guess if he stops singing altogether the comparison can be pushed further), but last night he reminded me more of Andy Kaufman, or, more specifically, Tony Clifton, with the way he shuffled around the stage and made bizarre shaking motions with is hands.
• Tom DeLonge and Atom Willard performed on “Undone - the Sweater Song”, Tom singing and Atom on drums so Pat could play guitar.  Rivers also utilized his drum kit for the build up of this one.
• I’m a sucker for cover songs, and we got two last night. Pat surprised us all by singing and playing guitar on a cover of Oasis’s “Morning Glory.”  Well, he surprised me, at least.  I don’t know how many other people even knew the song.  The other song will be discussed in conjunction with the encore.
• Lots of audience participation.  We were instructed to start of “Dope Nose.”  I felt so important.
• The Hootenanny: you’ve probably heard all about it.  A group of lucky fans get to take the stage with whatever instrument they play and join the band and the audience in a couple of songs.  Lemme tell you, “Beverly Hills” sounds like it was meant to have a saxophone solo.
• After the Hootenanny, which served as the first encore, Weezer’s fifth man Karl Koch (who, earlier, had played Moog on the song “King”) set up a Weezer-styled phonograph, took out a red vinyl copy of the new album and played “Heartsongs.”  During the verse about Nevermind the band came back out (Scott dressed like the Italian Stallion) and played a cover of Nirvana’s “Sliver” before ending the set with “Buddy Holly.”
• As usual, full setlist available at my personal blog.

If you’ve never seen Weezer before, there’s never been a better time (except maybe early ‘97).  Do it do it do it.  I’m tired of writing, any questions you have, though, will be answered.  Ask away!!  Pictures later.
Regarding the opening acts, Tolchok Trio were pretty good and Angels and Airwaves sound like your copies of The Joshua Tree and Disintegration had sex and cried themselves to sleep afterward.

Last night, in the space of maybe 30 minutes, I had four people (including a man on the radio) tell me about the new Weezer video, “Pork and Beans”.  Dave picked up his laptop & watched it, asked if I had.  Deven says he saw it on Boing Boing.  Taryn texts me and tells me it’s got the “Shoes” guy.  Then Corey O’Brien plays the song and invites us to go to YouTube right now and check out the video.  After that, I got the idea and watched it as soon as I was at a computer with speakers.  Then, this morning, my dad called to tell me there’s a new Weezer video.  And now I bring it to you, though it’s fairly obvious that I don’t have to.  I’m sure you already know.  Or know somebody who knows and is all, “OMG it’s got the Numa Numa Guys/Diet Coke & Mentos thing/that “Chocolate Rain” weirdo/K-Fed/that dreamboat Scott Shriner!”  And now you’ve heard it from your friendly neighbourhood spider-blog.

P.S. I’m a little embarrassed at how many of these I knew.  And also how many I now know because I looked things up on Wikipedia afterwards.

I had a conversation with a friend last night about The Kooks that went like this:

Me: You should check out The Kooks. They’re happy music. Boppity.

J: Um, I think you should pronounce them KOOKS (ooooks)

Me: I don’t think so. I don’t want to call them that. I call them The Kooks (Like cook)

J: Ok

Me: Besides, that reminds me of a slur. I just can’t remember which one.

Me: (Thinking)

Me: Oh yeah! Spooks! Isn’t that a slur?

R (J’s boyfriend): …Uh, yeah, for black people. Then there’s hooks, too, which is for Asians.

Me: Oh. See, thats why I call them The Kooks, because it doesn’t rhyme with SPOOKS AND HOOKS!

THE END.

Anyways, all racial slurs aside, and no, I don’t use racial slurs, I just though pronunciation was interesting, the Kooks got some new stuff out that I stole off the internet courtesy Stereogum. Yup, I’m a stealer (or a thief), but so are we all and you know you’re just gonna jack it from me, too. I donna mind.

So here’s Tick of Time and Always Where I Need To Be (Live). Spin it.

Oh, and if you need more Kookin’, check out the song Ooh La from their previous album, Inside In Inside Out. It’s hawt.

The Kooks | MySpazz | New Album out April 15th — KONK

 The Kooks - Tick of Time [4:25m]: Play in Popup | Download
 The Kooks - Always Where I Need To Be [2:45m]: Play in Popup | Download

So it’s my understanding that most of my peers aren’t so keen on the Valentine’s Day. I, personally, don’t mind it at all, but it’s not a blogger’s place to force his opinions on his readers (right?).

Few bands I know of are more anti-Valentine than New Year’s Day, who have released only one album but have two songs on the subject. I seem to have misplaced my NYD album, and failed to rip the whole thing, so you don’t get “My Sweet Un-Valentine,” which is the more direct song. “Ready, Aim, Misfire,” which you do get to hear, is just as effective of an anti-VD rant. If it’s you style of sounds, you’d do well to get the album anyway, it’s hot business.

Sorry if this wasn’t the best Valentine’s Day post ever, I was dog sick yesterday. I’ll make up for it in the rest of the week, k?

I love you all!!

NYD MySpazz | Buy dat mess

 New Years Day - Ready Aim Misfire [3:14m]: Play in Popup | Download

Song of the Day, which Damon used to use in his emails to me, has long been forgotten. But now I find reason to pull it out of the internet, blow the dust off, and bring it to life. This is a song that is awesome and has been following me around, in my head, at my ankles, and more importantly, in my ear. Enjoy it. It makes me think of death and life. Death tonight as I drove home from work. Life when I wake up. And here’s a pretty picture of the Tree of Life.

Radiohead | In Rainbows

 Radiohead - All I Need [3:49m]: Play in Popup | Download

Allegedly, Chris Walla’s new solo release, Field Manual, contains two tracks that were left off of Death Cab for Cutie’s 2005 gem Plans. I can’t find anywhere that tells me which songs these were, and most of these songs sound like they could have come from some point in Death Cab’s past, if you let them. But, well, Chris produces all of DCfC’s material, he’s major creative input in the band. You know, kind how if you let it, Thom Yorke’s solo album The Eraser sounds like a proper follow up to Kid A and Amnesiac. Yeah, it’s a solo project, that’s what you get. There are moments, though, like the opening Imogen Heap-like harmonies of “Two-Fifty,” that really get you excited for the next Death Cab album, if this is what Chris is doing on his own. There are some truly good songs on here. Avoiding the solo album/side project pitfall of writing songs that simply are not catchy, or good, we get songs like “The Score,” “Archer V. Light” and my current favourite “Geometry &c,” which, oddly enough, sounds like early Jimmy Eat World as much as it sounds like early Death Cab. I like it, and I guess US Homeland Security was excited enough that they wanted a copy in October.
Check out “Sing Again” and “Geometry &c” before rushing out to buy it, okay?

Chris Walla@HallofJusticeRecording.com | MySpace | Buy Field Manual

 Geometry &c - Chris Walla [3:07m]: Play in Popup | Download
 Sing Again - Chris Walla [2:31m]: Play in Popup | Download