Coachella 2013 | April 12-14 | Friday

 

 

 

This is a three part blog entry. The link to the following day is at the bottom of the page.IMG_0884Oh, Coachella, how I’ve missed you. Though many expressed dissatisfaction with the line-up, I was ecstatic. In fact, I had circled more bands on the schedule than I could have possibly seen, so I was actually setting myself up with being disappointed based on the fact that I wouldn’t be able to see all of the acts I wanted to see. Kind of ironic now that I think about it…

I had work to finish up that Friday morning, so I knew that I was bound to miss a handful of acts that day.  I picked up a friend in Santa Monica, and we began out trek out to the desert. I had prepared an iTunes playlist of all of the music of the bands I wanted to see, so our drive would at least have a good soundtrack.

As we got closer to venue, driving on the freeway, I started noticing billboards advertising the release dates of albums from bands performing at Coachella. I nearly swerved out of my lane when I saw a billboard for Daft Punks album release date.  Umm … they weren’t scheduled to perform at Coachella… I told my friend that either this was an omen of a surprise set by one of the most demanded bands for Coachella, or it was the ultimate tease …

When we had parked and picked up our passes, we joined the mass of people on the festival grounds. Unfortunately, I had already missed the French turntable group C2C and the British rock quartet Alt-J, so I made my way to the Outdoor Stage to catch a few tunes by Of Monsters and Men. I have their album, and I their music, but at that time, I just wasn’t in the mood to listen mellow indie folk/pop. I think I was just a little too restless due to the long car ride. I’m thinking that Of Monsters and Men would have been the perfect band to see on a lazy Saturday or Sunday afternoon. Not Friday. Plus, I was way in the back, standing, when I would have much preferred laying on the lawn somewhere.

I listened to a few songs then decided to make my way to the merchandise booth. I brought a poster tube with me since last year I picked up a dope, limited edition, Black Keys, Coachella poster. Unfortunately, it appears, Coachella didn’t allow for bands to sell their personalized Coachella posters. That was a disappointment.

All of sudden I heard Passion Pit start playing “Carried Away” and I looked down at my watch. Doh! I had already seen Passion Pit at the Hollywood Bowl, and they were terrific, so I had to kick myself in the rear for not paying attention to the time to be there when they started.

As I walked toward the Main Stage area, they were wrapping up their second song, I decided to video record what was going on while I walked toward the stage.  It was quite uplifting.  Passion Pit’s music has always had an airy and energetic quality to it, and it always seems to make people dance.  When I took a look at the video later in the evening, the one thing I could notice was all of the random people frolicking across the lawn.  That made me happy.

  1. Carried Away
  2. The Reeling
  3. Love Is Greed
  4. I’ll Be Alright
  5. It’s Not My Fault, I’m Happy
  6. Constant Conversations
  7. Talk a Walk
  8. Cry Like A Ghost
  9. Sleepyhead
  10. Little Secrets

Having learned my lesson by missing the opening of their set, I decided to leave Passion Pit early to go see a relatively new band that I was particularly keen on: Palma Violets.

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A mix of garage and psychedelic rock, these guys had quite a following in England.  I got to the stage early enough to get pretty close to the front.  That being said, I was keeping my fingers crossed that they had a good live show, otherwise I knew it was going to be tough fighting my way out of the tent to find something better.  They did not disappoint.  They were good, loud Brit Rock. They sounded live, like they sound on their records, and performed with the kind of swagger that becomes rock-and-roll. Can’t get much better than that.  What I particularly liked about this band was that their two guitarists had two quite distinct vocal styles.   The bassist was more Clash. The guitarist was more Doors. Check out the two video and see if you kind of agree with me.

  1. Johnny Bagga Donuts
  2. Rattlesnake Highway
  3. All the Garden Birds
  4. Tom the Drum
  5. Chicken Dippers
  6. Best of Friends
  7. Step Up for the Cool Cats
  8. Last of the Summer Wine
  9. We Found Love
  10. 14
  11. Brand New Song

After Palma Violet’s set ended, I made a b-line to get as close as I could to the front for Modest Mouse .  Apparently, everybody else had the same idea.

The crowd for Modest Mouse was a lot younger than I had expected.  I remember buying their albums back in the mid 90’s, so I was taken aback that I was standing in a crowd of kids in their early 20s.  It was super crowded, squeezed into space like a pack of sardines.  The set started a little rough, but I think that had more to do with the sound levels not being mixed properly.

IMG_2904Isaac Brock, the lead singer, seemed banter with the crowd for small stretches, perhaps giving the mixing board more time to adjust the levels.  Honestly, his banter felt awkward, but after it seemed to do the trick, as the sound definitely picked up. The highlight of the set was when Modest Mouse powered, and jammed, through three songs in row later in their set.

What I loved about Modest Mouse’s set was that it hit popular songs from almost all of the albums in their catalog. Loved that they played “3rd Planet” and “Paper Thin Walls” from “The Moon and Antarctica”.

  1. Dramamine (Life Like Weeds Interpolation)
  2. Ocean Breathes Salty
  3. 3rd Planet
  4. Be Brave
  5. Satin in a Coffin
  6. Paper Thin Walls
  7. King Rat
  8. Cowboy Dan
  9. The View
  10. Float On

After Modest Mouse had finished their set, I decided that I would stay where I was and push further up towards the stage.  After all, the Yeah Yeah Yeahs were next, and since I had never seen them perform live, I decided not to venture to another stage.  As people left, I kept meandering as far up as I could get, which was all the way up to the barricade that separated the general admission folk from the VIP folk. I had VIP last year through work, and bought a general admission ticket this year.  I’m thinking that I may buy a VIP pass next year.  I would have loved to get all the way up front for the Yeah Yeah Yeahs.

IMG_2913As I waited for the Yeah Yeah Yeahs, the Main Stage screens lit up and a video started playing.  Here we go again … Daft Punk music started playing and the Daft Punk helmet lit up the screen … with a message that the album was coming out soon.  Then the video vanished.  Are you serious? Like, seriously? If Coachella or Daft Punk was a girl, she’d be the most devilish tease that ever lived. At this point, I was kind of over it.

Back to the Yeah Yeah Yeahs.

IMG_2910The Yeah Yeah Yeahs were my highlight from day one.  As soon as Karen O took the stage with a gospel choir, in her white suit, cape and pope hat, to sing “Sacrilege”, I knew we were in for a treat. I sensed it was going to be a dazzling set, and dazzled it did from start to finish.

Karen O is a badass. Period. She rocked that fucking stage. Shoving the mic into her mouth to and going agro on “Pin” was amazing. Watching her strut her stuff all over the stage was the definition of “bad ass”. IMG_2930

She toned it down when she introduced “Maps”, as she should, and told us fans that the song was about love, and it was for us. “Maps” is seriously one of the best songs written in the 2000s, and the Yeah Yeah Yeahs killed it for me.

  1. Sacrilege
  2. Rich
  3. Under the Earth
  4. Slave
  5. Zero
  6. Subway
  7. Soft Shock
  8. Pin
  9. Gold Lion
  10. Maps
  11. Heads Will Roll

After the Yeah Yeah Yeahs wrapped up, I started to head over to the Outdoor Stage to see if I could catch any of the Band Of Horses set, unfortunately I got there a little too late as they were thanking the crowd.  Before they dove into their last song, the lead singer simply stated, “Take care of each other”. I appreciated that sentiment.

My phone was running out of juice, so I started walking around the festival grounds to find a place to charge it.  Last year, when I had a VIP pass, I could just charge my phone at an outlet in the VIP section. This year, however, outlets were a lot harder to come by.  They had a “charging station” sponsored by Sony or Samsung or whatever, but the policy was that they took your phone and you came back an hour later to pick it up.  Screw that. I went to one of the merchants at the General Store and politely offered 5 bucks to use one of their outlets.  They had no problem with that.

After charging my phone, I was stuck with a bit of a dilemma. Jurassic 5 was playing the same time as Blur. I flipped a coin. The coin told me to go see Jurassic 5.

I loved Jurassic 5 back in the day. I do think they kind of jumped the shark a bit when they did that duet with Dave Matthews, but that’s a criticism for another time and place. The group disbanded in 2007, so them converging at Coachella was pretty big news for a Los Angeles, underground, hip-hop head like myself. With all four original MCs, and Cut Chemist and DJ Nu-Mark working their magic, their set was “best of” compilation.

  1. Back 4 U
  2. I Am Somebody
  3. Jayou
  4. Nu-Mark Desk Solo
  5. Hip-Hop History
  6. Break
  7. Monkey Bars
  8. Improvise
  9. Cut Chemist and Nu-Mark Solo
  10. Quality Control
  11. Concrete Schoolyard
  12. Countdown
  13. In the House
  14. Freedom
  15. King Tee
  16. Red hot
  17. A Day at the Races
  18. What’s Golden
  19. This Is (Outro)

I didn’t bother taking any pictures of video since I was far back in the crowd, but that was actually by design, as I new that I wanted to see the Stone Roses. As I left Jurassic 5’s set a little early, and headed towards the Main Stage for the Stone Roses, I noticed that the crowd that was there for Blur had substantially dissipated.  I was quite shocked, in fact, that they only pulled a club size crowd for their set.

Me, being the optimist, assured myself that it was simply a generation of concert goers who didn’t know how the Stone Roses music, specifically their self titled debut album, had shaped the history of pop music.  I mean come on … “I Wanna Be Adored”, “She Band The Drum”, I Am The Resurrection” …. That whole album was one of the first albums that fused dance, pop, and rock into a brand new sound.  The Stone Roses were an indie rock band that shaped and fueled pop music in the 90’s.

But … as they started their set, and Ian Brown took the mic … my optimism turned into a bit of disappointment. It wasn’t as bad as the Shuggie Otis show at the Echoplex that I saw last year, but it was very sad. The band sounded good … The levels seemed all right … it was just that Ian Brown was extremely pitchy. Unfortunately, it was not a performance worthy of closing the Main Stage on the first night, and it seems that the Coachella Festival organizers agreed as Blur and the Stone Roses swapped slots the following weekend.

Don’t get me wrong, I’m glad I got to see the Stone Roses Perform, and I’m glad I got to see them rock some of my favorite songs, but it wasn’t the best way to end the first day of Coachella.

  1. I Wanna Be Adored
  2. Sally Cinnamon
  3. Ten Storey Love Song
  4. Waterfall;
  5. Don’t Stop
  6. Fools Gold
  7. Made of Stone
  8. This Is the One
  9. Love Spreads
  10. She Bands the Drums
  11. I Am the Resurrection

I hate to admit it, but I actually left the Stone Roses set after “Fool’s Gold” to check out Trent Reznor’s band How to Destroy Angels . They had a decent sound, but it didn’t match up to my “Pretty Hate Machine” days.

  1. The Wake-Up
  2. Keep It Together
  3. Parasite
  4. And The Sky Began to Scream
  5. Ice Age
  6. The Believers
  7. How Long?
  8. Welcome Oblivion
  9. BBB
  10. The Space in Between (Sonoio Remix)
  11. Fur-Lined
  12. The Loop Closes
  13. A Drowning

IMG_2956I only caught a few songs from How to Destroy Angels as I wanted to give the Stone Roses another chance.  As I walked by the Main Stage again, all I could hear was Ian Brown’s voice missing the notes that I remembered from the album.  I decided at that point that I was going to pack it in, head back to the house, and get ready for day two.

All of my friends staying in the house had gotten back in one piece and we talked about the highlights, and lowlights, of the day.  We even got treated to a story about a valentine Karen O wrote one of the guests back in high school.  I bust out the bottle of cask strength Glenlivet that I had brought with me, and plopped myself onto the couch.  The scotch numbed the pain in my aching feet, and with Day 2 was a few hours away, I started to mentally strategize which bands I was going to check out, hoping that each band would live up to expectations.

Click Here To Continue to Coachella 2013 | April 12-13 | Saturday

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The Weeks | Three Clubs | 3/29/13

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I’m extremely grateful that my friends – most of my friends – have good taste in music.

On 3/28/13, a buddy of mine shoots me a text at 11:22am about a show that he’s planning on going to in Hollywood on 3/29/13.  He tells me that a friend of his is managing a band based out of Nashville called The Weeks.  He described them as “Shit kickin Southern rock” and that the band had recently signed to the Kings of Leons of record label, Serpents and Snakes. My buddy knows I’m a fan of Kings of Leon, so he was basically telling something that would peak my curiosity.

I check out the band’s Facebook page and I am immediately impressed with what I hear.  Their latest release, “Gutter Gaunt Gangster” definitely has a Southern Rock feel to it, but it also definitely had catchy hooks and clean production value.  It’s only 8 tracks, (with one track only 50 seconds long), so it wasn’t long before I had streamed the album 4 or 5 times in a row. It’s a loud and fun album that feels like a party.

I do a little research online and read that the band hails from Mississippi, and they are, in fact, currently signed to the Kinds of Leon’s record label, but they definitely have a sound distinct from KOL.  They remind a little bit of We Were Promised Jetpacks but with a little more funk, and a little bit like Band of Horses but with more edge on the guitars.  Mind you, I based this on only the one album I was listening to.

The songwriting is solid.  Each member of the band may be in their early twenties, but you probably wouldn’t be able to tell it from the their songs on this album.  The album opens with “The House We Grew Up” which seems to be their statement to the world that they’re on a mission with this music thing. The rest of the album seems to follow the general theme, with the band singing about looking for something better and confronting those things that have tried to hold them back.

If you listen to the lyrics on this album, a lot lyrics seems to come from an intense place.  They use religious references freely, but it isn’t preachy.  Rather, it just adds to the intense emotions they are bringing to the music.Take for example the following lyrics in “Stigmata” which has an uplifting chord progression that seems to contrast with its heavy lyrical content:

“I met the man who raped my childhood/ Oh well, we were never young it’s true/ But when everyone around you keeps dying lord,/ What the hell are we supposed to do. […] I blame the devil, what else could it be/ I blame Jesus, he ain’t answering me/ Don’t call me depressed, don’t call me sad,/ I’m giving up on this life I had”

But I digress.  This isn’t supposed to be a review about the album though.  Just trust me that it’s really good.

I text my buddy back and let him know that I’m going to make the show.  It was a long work week, so I try to figure out a way to get to the venue without driving. I ended up getting a ride from a friend who was heading the same direction, where I spent a greater majority of the ride trying assure the person driving, who also was happening to have a bad week, that things will get better, and that they had to keep pushing through the hard times … kind of fitting, right?

“Don’t let the smooth taste fool you.”

It had been a long, long time since I had been to Three Clubs, and I was surprised that I totally forgot about the portrait of Billy Dee Williams with a Colt45 gracing the end of the bar in the performance area.  It was definitely a sign of good things to come. I met up with my friend, and after briefly meeting some of his friends, I made a b-line to the bar to grab some drinks: a shot of Jameson and a Dewars on the rocks.

Shelly Colvin, a singer songwriter, was opening for the band while I ordered my drinks. Her smooth, laid back vocals helped the shot of Jameson go down quite smooth. I sauntered back out to the patio to catch up with my friend.

As I went back in later to get another drink, Shelly was finishing up her set. I got another shot of Jameson and Dewars con rocks and made my way to the front of the stage.  As the band took to the stage, they took a minute to adjust the position some of their equipment. It was a really small stage.  Shelly sang back up vocals a few songs, and her mic had to be set up off-stage left, and the keys had to be pushed to the far back to make way for the drum kit. The stage may have teeny, but the band worked every square inch of it.

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Damien Bone killing it on bass.
Cyle Barnes rocking out.
Cyle Barnes rocking out.

I had only heard the songs from their latest EP, but they seemed to have played their older (and maybe newer?) songs in their set as well. It really didn’t matter that I didn’t know all of the songs in their set though.  The band took that little, teeny weeny stage and made it their bitch.  Imploring the crowd to move closer to the stage, they fed off the crowd, and themselves, and really kept the set moving with their energy.

The energy in that club was electric and the rising temperature of the room vouches that statement. The music hit hard, fast and frenetic. The Southern rock roots, laced with funk and soul, made the it easy to dance to and the crowd in front of the stage was moving to the rhythms. The live show was groovier than I expected.

It seemed like the set flew by, and that was because everyone was having a good time.  By the end, my shirt was sticking to body, drenched in sweat.  I made a b-line to the merchandise table to pick up a vinyl copy of the album. I caught the band on the patio cooling down and took a few pictures of the players from the evening.  This one was my favorite… Probably because Shelly is a cutie.

Shelly Colvin and Sam Williams relaxing after the gig.
Shelly Colvin and Sam Williams relaxing after the gig.

I offered to buy a round of drinks and Damien and Shelly accepted.  I did a shot of Jameson with Damien and Shelly had glass of champagne.  She appreciated the gesture, and kindly gave me a copy of her latest CD: “Up The Hickory Down The Pines”. I say I got the better end of the deal.  Another of their fans was getting autographs on a T-Shirt, and after she was done, I borrowed the permanent marker to see if I could get all of their autographs on the LP I had just purchased.  In my boozy haze, I think I may have missed a few. LOL. But I did like the fact that one of the guys had “branded” the LP with an “LA 2013”. A rock and roll time-stamp, if you will. Click here if you’d like to see some more of my music treasure.

Partially autographed LP.
Partially autographed LP.

It turns out that some of the band members wanted to grab a bite to eat, and my buddy suggested a nearby taco truck that was supposed to have some of the best pastor soft tacos. Ended up getting tacos with Alex Collier (keys), Damien Bone (bass) and Sam Williams (guitar).  We grubbed it up, and afterwards, headed our separate ways.

Getting late night tacos with Alex Collier (keys), Damien Bone (bass) and Sam Williams (guitar).
Getting late night tacos with Alex Collier (keys), Damien Bone (bass) and Sam Williams (guitar).

The guys were continuing on their tour, and let me know they would be opening for Kings of Leon over the summer in Europe.  I wished them the best, and they told me to pick up their upcoming album when it gets released.  I assured them that I would.

Here’s their official video for “The house We Grew Up In” from “Gutter GauntGangter”


Here are some video clips from the show that I took.

Nik Kai | 12 Year Old Guitar Prodigy | The Future of Shredding

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In my youth, my mother made me take violin and piano lessons.  She always emphasized the maxim “practice makes perfect”, but even after over a decade of piano lessons, I don’t think I ever got close to any kind of perfection. Sure, I practiced … but I think I may been lacking the gene that made me want to get better.

I’ve always been amazed with kids who seem to be driven to push themselves (without being forced to do it) to get better. Whether its in sports, music, etc., some kids find their passion early in life and they seem to have the kind of innate drive and talent to get better.

About a year ago, a buddy of mine, Steve Miller told me about an 11 year old guitarist named Nik Kai he was helping out.  Recently, he told me that Nik was playing with a new band that had been assembled called Kemikal Kill after meeting at the recentNAMM Show, and suggested that I swing by the The Roxy on 3/25/13 to have a listen.  I’ve always supported Steve’s projects, so I did the 40 minute trek to the heart of Sunset to check it out.

Wow.

The band was young and capable, but the whole time I was there I was in awe of Nik. This 12 year old has some serious chops.  After the set, I was introduced to his mother, and I asked her about how Nik got so good on the axe.  She said that he wakes up everyday at 4am (on his own) to practice, and that he’s always interested in new types of music. She even mentioned that he was starting violin lessons.

I don’t know.  I’m sure all the practicing has played a part in Nik being so good at such a young age, and I love my mom and all, but I’m more inclined to say that this kid just has the music in him, and not everybody has that.

Here are two short clips of Nik playing with Kemikal Kill:

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Album Review: Soundgarden’s “King Animal”

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In anticipation of the Soundgarden concert I’ll be going to later today (2/16/13) at the Wiltern Theater in Los Angeles, today’s album review will be that of Soundgarden’s latest album, “King Animal”.

The picture above is the King Animal box set that I purchased.  No, the picture above isn’t the box set that I purchased.  Mine is still in its plastic shrink wrap.  I’m a music dork, what can I say?  Instead, I can only look at this picture and gain some satisfaction knowing that my set will rest in pristine condition until … well … who knows …

“King Animal” is Soundgarden’s 6th studio album, and first in 18 years.  It was released on November 12, 2012 (one day before my birthday!) and received very solid reviews across the board, and I agree with all of them.

The production quality on this album is so much more polished than their prior albums.  Each guitar lick is steady like a metronome, and pierces through without being intrusive, with the drums anchoring the steady count.  I mean, just listen to “By Crooked Steps”.

Let’s not forget about Chris Cornell’s ability to wail through songs.  His voice definitely sounds more mature than on the prior Soundgarden albums, but he can still wail.  Check out “Black Saturday”.  Though his voice may not be able to hit ALL of the notes he used to be able to sing, he’s smart enough to write melodies that fits the voice he as today.

The album starts with a bang.  “Been Away Too Long” (very fitting title, by the way), the first track, is classic Soundgarden.  Big and loud, it’s the kind of song that makes you want bust out the air guitar and fantasize about being a rock star.  Other highlights for me include “A Thousand Days Before”, “Non-State Actor” and “Blood on the Valley Floor” (which, for me, sounds like a slowed down “Spoonman”).  Coincidently, all of these tracks are in the first third of the album.

The rest of the album seems to be more toned down that the songs at the start of the album.  I’m not sure if that’s what the band was looking to do, but that’s how it feels. I can’t say I particularly liked “Attrition”, “Taree”, “Halfway There” or “Eyelid’s Mouth”.  They are average songs to me.  In fact, and I hate to even say this, but “Halfway There” and “Eyelid’s Mouth” almost feels like <gasp> soft rock.

The album, as a whole, doesn’t finish as hard as it opens, but that’s besides the point.  This is still a solid album.  And if you are a Soundgarden fan, you will not be disappointed.  I’m excited about what the future holds for them.  The album was produced by Adam Kasper, but I’d love for them to branch out and get a cutting edge producer to do the next album… “Hello, is this Jack?  Is Jack White there?”…

1. “Been Away Too Long”: ***** 

2. “Non-State Actor”: ***** 

3. “By Crooked Steps”: ***** 

4. “A Thousand Days Before”: ***** 

5. “Blood On The Valley Floor”: ***** 

6. “Bones of Birds”: **** 

7. “Taree”: *** 

8. “Attrition”: *** 

9. “Black Saturday”: ***** 

10: “Halfway There”: *** 

11: “Worse Dreams”: **** 

12: “Eyelid’s Mouth”: *** 

13. “Rowing”: **** 

Album Rating: ****

In Memoriam | Steve Marriott |1947-1991 | You, Sir, Were A Bad Ass Frontman

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I always stayed away from the band Small Faces because I knew Rod Stewart used to front that band. I recently found a copy of Small Faces’ “Ogdens’ Nut Gone Flake” and when I listened to the first few tracks off the album I said to myself, “This isn’t Rod Stewart.”

Steve Marriott was the original front man of Small Faces, and to my dismay, I just found that out. He’s got a killer rock voice. Check out the 1968 video clip of Small Faces, fronted by Steve Marriott, singing “Talk To You” and “Rollin’ Over”.

I found another killer video of Humble Pie performing “Black Coffee” back in 1973.  Wow.  I wish I could sound like that.  Artful dodger indeed.

Look’s like I’ll have to look into Humble Pie now…

The Stone Roses Headlining Friday Night of Coachella!

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The lineup for Coachella 2013 came out last night, and the first band listed, to my immense joy, was The Stone Roses.

There are other notable acts that were listed: Modest Mouse and Franz Ferdinand (2004 anybody?), Vampire Weekend, Grizzly Bear, Hot Chip and Passion Pit (Coachella 2010 revisited?), Lou Reed, Postal Service, OMD and New Order (British New Wave contingent?), Descendents, Violent Femmes and DInosaur Jr (80s, early 90s, throwbacks?)… BUT, my quest for the a “golden wristband” (Coachella issues wristbands instead of tickets) is ground in the fact that The Stone Roses are headlining Friday night.

Their self-titled debut album was a sensation. From the moment you pressed play, there was no reason to fast forward or skip through tracks because, as a whole, that album was perfect. Their brand of indie rock fused guitar pop with dance culture, but it’s attitude was all rock and roll.

Lead singer Ian Brown’s vocals assumed a laid back and nonchalant approach which seems almost to be contradictory in style to the underlying music, but it all meshed together. “I Am the Resurrection”, “I Wanna Be Adored” and “She Bangs The Drums” are highlights from the album.

I’ve noticed that a lot of the “kids” responding to the line-up news seem to be disappointed with some of the selections. They seem to be more upset that Daft Punk or other “dance” acts aren’t on the bill. What they don’t seem to understand is that The Stone Roses have musical, historical relevance in that they created an album that brought, and in late 80s and early 90s, “dance music to an audience that was previously obsessed with droning guitars, while it revived the concept of classic pop songwriting and the repercussions of its achievement could be heard throughout the ’90s.” (quoted from http://www.allmusic.com/album/the-stone-roses-mw0000653335)

It’s too bad that the younger generations can’t understand how big this act is in the context of music history. Hopefully, newbies at their crowd at Coachella will hear and feel the the amazingness of their music like I did when I first pressed play on that used cassette tape that I bought back in high-school.

Cheers, Goldenvoice and Coachella. You’ve made one hopeful patron very happy.

UPDATE: Click here to read my blog entry about Coachella and The Stone Roses performance.