Jim James & the Roots Team Up at Prospect Park

Two of my favorite concerts this year have been the Roots and Jim James, so for me, it was a no-brainer to attend State of the Union in Prospect Park.  Billed as "an evening of collaborative performances," the show only featured four such collaborations, but solid sets from both acts satisfied the soggy spectators.

"A little rain's nothin' to be afraid of.  I think it makes it more fun," remarked Jim James as raindrops fell on the Brooklyn crowd.  "Every time we've played in the rain, we've been lucky enough to get a beautiful rainbow."  While we never got the rainbow, we did get to watch James have a blast.  On "Know Til Now" alone, he mimicked a sax solo on a real saxophone and danced around with a golden teddy bear statue held high above his head of wild hair.  If it was your first time seeing Jim James in concert, it would've been hard for you not to be completely hypnotized by the charismatic frontman.  However, I attended his fourth solo show ever, at the Music Hall of Williamsburg, so I was more interested in seeing how the band (guitarist/keyboardist Kevin Ratterman, keyboardist Dan Dorff, bassist Alana Rocklin, and drummer Dave Givan) would gel now that they'd had more gigs under their belt.  Although they didn't top the dark magic they conjured in "God's Love to Deliver" at MHOW, their time playing together resulted in a few new glorious jams by stretching out some of the other Regions of Light tracks.  After Jim James' solo on "Dear One," he left Dorff, Ratterman, and Givan onstage for a pounding three-member drum section that was then reduced to a Givan solo, packed tightly with propulsive fills.  James returned with a black towel on his head to slow things down with "A New Life," taking what seemed like a minute-long pause before delivering the final "Once more!" into the song's joyous ending.  "Of the Mother Again" benefited from some sweet vocal harmonies from Rocklin and Dorff, as well as a groovy closing trip.  

"All is Forgiven" was the standout. The band ripped open the dirge with sounds resembling the crackling electricity of the switch used to bring life to the Frankenstein monster. They continued down the macabre path with James adding some sax to the high-voltage mix before making his way into the wings.  As it turns out, Jim was the reanimated monster, creeping stiff-leggedly back onto the stage while singing the opening lines of "God's Love to Deliver." The 13-minute opus featured laser keys, a saxophone reprise, and a ferocious electric solo that had the roadie struggling to put the guitar's wireless transmitter back in JJ's suit pocket. "It's a real goddamn pleasure being out here," James said, having finished the Regions album, minus "Exploding."  He capped it off with Monsters of Folk's "The Right Place" and the Woody Guthrie-penned "Changing World" just as the rain stopped.

I was glad the storm ceased, though I knew the weather would have no effect on the legendary Roots crew. Their uninterrupted set in the rain at Beale St. Music Featival in May was the best of the fest. They took the same non-stop house party approach, albeit abridged. Pausing during "Mellow My Man," Black Thought polled the audience, "Brooklyn, y'all still with us or what?" It was a warranted question, as a snippet of "Jungle Boogie" was unfortunately the only tune that had succeeded in igniting the crowd. This made the heady keyboard jam following "Jusufckwithis" an even bolder decision, whereas in Memphis they went with a ?uestlove drum solo that whipped the crowd into a frenzy. If I had to pinpoint the moment things turned around, it was a little ways into the epic "You Got Me" sequence, the hallmark of any Roots show. Percussionist Frank Knuckles jumped from his riser and did a lap around the stage, raising his sticks in the air to elicit applause, and sprinted back to hit his cymbal perfectly in time. This lead into Kirk Douglas singing along with his guitar notes, climaxing into "Sweet Child o' Mine," where audience excitement hit an all-time high.  The Roots owned everyone from that juncture on.  The band fed off the energy of the fans, and vice-versa, creating that perfect concert symbiosis.

I found it a little disheartening that so much love was shown for the covers as opposed to the originals, but then again, several Roots' classics like "Proceed" and "Step Into the Realm" weren't on the setlist.  But now that we were eating out of their hands, they brought their own material back, and we lapped it up.  The crowd smiled at F. Knuckles' silent hypeman schtick on "Here I Come," but they absolutely lost their shit when the entire band broke into a choreographed dance.  Cody Chesnutt may not have performed "The Seed" at the Bandshell last week, but the Roots plunged into it with gusto, and the fans responded by singing along even louder.  Nobody cared that they were playing it safe by ending with two more covers, especially during "Move on Up" when Capt. Kirk and Tuba Gooding, Jr. leapt off of the stage and raced into the center lane that divided the venue.  "Celebrate Brooklyn! Celebrate life!" Black Thought yelled to the screaming masses.

The stage was dark, but camera flashes illuminated the lion-like Jim James smiling for photos with the band.  We kept cheering for the partnership we'd been promised, and two minutes later, the lights popped on, revealing Jim and the Roots.  They began with "Dear God," bringing to life the Roots' 2.0 version of the Monsters of Folk track. James sang the hook and even busted out some more saxophone. The Roots-James union reached its pinnacle with a reggaefied take on Prince's "I Could Never Take the Place of Your Man," so unique in sound that it wasn't immediately recognizable.  They followed with two songs James performed at last week's Bonnaroo Rock n' Soul Dance Party Superjam, Bill Withers' "Use Me" and John Lennon's "Instant Karma!" While typically a fail-safe cover, "Use Me" was a strange misstep, seemingly done in a different key.  "Instant Karma!" was good, but it was over too quickly, possibly because the encore itself was so brief.  Hell, it was only twice as long as "God's Love to Deliver."  And though I would've preferred more of the alliance, I walked home in a good mood, a Jim James' shirt in hand and a Roots' song in head.

JIM JAMES - 06.18.13 - PROSPECT PARK BANDSHELL (1 hour, 15 minutes)

SET -
State of the Art (A.E.I.O.U.) / Know Til Now / Dear One / A New Life / Of the Mother Again / Actress / All is Forgiven / God's Love to Deliver / The Right Place / Changing World

THE ROOTS - 06.18.13 - PROSPECT PARK BANDSHELL (1 hour, 10 minutes)

SET -

Table of Contents, pt. 1 > The Next Movement > Get Busy > Jungle Boogie > Mellow My Man > Jusufckwithis > Keyboard Jam > Who Are You & Who Are Your Crew* > Break You Off > Turn on the Lights* > You Got Me > Shame on You* > Love to Love You Baby > Shame on You* > Sweet Child o' Mine > Bad to the Bone > Who Do You Love > Bad to the Bone > Immigrant Song > Welcome to Jamrock > You Got Me > Unknown (tease)* > Thought @ Work > Apache / How I Got Over > Get Into It* > Here I Come > The Seed 2.0 > Move on Up > Men at Work

JIM JAMES & THE ROOTS - 06.18.13 - PROSPECT PARK BANDSHELL (25 minutes)

ENCORE -

Dear God 2.0 / I Could Never Take the Place of Your Man / Use Me / Instant Karma! (We All Shine On)

Jim James Flies Solo at Music Hall of Williamsburg

The last time I saw Jim James, he was playing to a sold-out Madison Square Garden crowd with his band, My Morning Jacket.  But that was 2011.  This is 2013.  Now touring behind his recently released debut solo LP, Regions of Light & Sound of God, James captivated a sold-out Music Hall of Williamsburg crowd with a straight-through album set and a few surprises for the encore.

The gig was opened by Dean Wareham, who you may know from Galaxie 500, Luna, or Dean & Britta, the indie pop duo he shares with his wife, Britta Phillips.  I'd heard of all these bands, but never listened before, so Wareham was uncharted territory for me.  Backed by a band that included Phillips, who looks fucking amazing for 49, Wareham doled out a short set heavy on Galaxie 500 tunes, including "Strange."  "That was an old song.  As you can tell because I mentioned Twinkies," Dean joked.  You'd suspect that being billed as a solo act, Wareham wouldn't be relying so much on the "Twinkie songs" of yesteryear (1989), but that wasn't the case.  Because he's been playing guitar so long, I also wanted more than the simple, slowed-down jangle pop instrumentation, with a solo at the end of "When Will You Come Home" serving as the lone moment of prowess.  He brought things to a close with a cover of New Order's "Ceremony."

After a lengthy set change that included the mounting of James' Gibson Flying V on a stand that made it appear as a literal Flying V, the lights finally dimmed for the show.  James began with album opener "State of the Art," an excellent choice, considering the slow build as each instrument was added one by one.  James sauntered around the stage in his suit, fist-bumped a crowdmember, and led fans on the chorus of vowels.  On the right-stage stairs sat ?uestlove, who dubbed James' "A New Life" the "most beautiful song he ever played on Late Night."  Once the song had gained full momentum, James came to the line "The power's goin' out," and the room abruptly went black.  The lights popped on again as the music returned, and the grinning audience immediately adapted to cheering "Woo!" on the return beat.  Those who listened to Regions of Light and were let down by the lack of guitar solos didn't have to worry about the Flying V going to waste, with James shredding a killer one here, and on two later tunes.  The album's single, "Know Til Now" shuffled out next, coming to its end with a mimed sax solo (I didn't see a mic.) from James.

The album unfolded in sequence, and you could tell by the look on his face that James was just happy to be up there singing these songs.  The record's instrumental filler track "Exploding" took on a little more weight as a live number, and "Of the Mother Again" actually got the crowd dancing.  Set-ender "God's Love to Deliver" was the obvious highlight, however.  The song wound down to what would be the record's last grooves, but this wasn't the record, and it evolved into a bass-led jam that conjured some of the same dark magic found in Phish's 12.30.12 "Carini."  Five minutes later, James topped it all off with a real sax solo (He played into a center-stage mic.).  The solos and jams effectively doubled the album's runtime, and James and company retreated backstage.

Having not spoken at all during the set, when he returned to the stage, he thanked us genuinely, "This is our fourth show ever.  It's been a real pleasure.  You've been beautiful."  James then played his first actual solo number of the night, an acoustic "Wonderful," which culminated in some sighs that sounded like a Muppet version of Elvis.  Realizing how silly it sounded, James remarked, "Do that when you go home and get in the shower tonight.  Just let it all out.  Let the day out."  The band joined him for some more My Morning Jacket tunes, "Wordless Chorus" and "It Beats 4 U," with James touching fans in the front fingertip-to-fingertip like E.T.  "Touch Me I'm Gong to Scream pt. 2" had fans screaming when MMJ bassist Two-Tone Tommy appeared to play electric guitar.  The song segued nicely into a joyous "Victory Dance" to finish out the memorable evening.

(Help is appreciated with Dean Wareham setlist.  Thanks.)

DEAN WAREHAM - 02.19.13 - MUSIC HALL OF WILLIAMSBURG (31 minutes, 22 seconds)

SET -

Star Shine* / When Will You Come Home / Blue Thunder / Strange / Somebody Tell Me Which Way* / Ceremony

JIM JAMES - 02.19.13 - MUSIC HALL OF WILLIAMSBURG (1 hour, 38 minutes)

SET -
State of the Art (A.E.I.O.U.) / Know Til Now / Dear One / A New Life / Exploding / Of the Mother Again / Actress / All is Forgiven / God's Love to Deliver

ENCORE -
Wonderful (The Way I Feel) / Wordless Chorus / It Beats 4 U / Touch Me I'm Going to Scream pt. 2 > Victory Dance

Top 15 Most Anticipated Albums of 2013

2013 is shaping up to be a stellar year for new releases, so I put together a list of 15 albums I'm jonesing for.  Hopefully they're all released on vinyl...

15. Charles Bradley - Victim of Love
Release Date: April 2
Why I'm Excited: I saw the "Screaming Eagle of Soul" open up the second day of the Great GoogaMooga Festival, and he was a treasure to behold.  Bradley will be backed by Menahan Street Band again, but this time delving into Temptations psychedelic soul territory.

14. Hellogoodbye - TBA

Release Date: TBA

Why I'm Excited: HGB have started playing some of the new songs live and at Daytrotter, and they're just as catchy as anything they've done before.

13. The Black Keys - TBA

Release Date: TBA

Why I'm Excited: The Keys rushed to get El Camino out into the world, and while it didn't live up to Brothers, it was a pretty good album.  They're taking the same approach here, so not sure what to expect, but I'd be lying if I said I wasn't looking forward to it.

12. Bill Baird - Spring Break of the Soul

Release Date: February

Why I'm Excited: His previous LP made my top ten list last year.  Originally conceived as a musical, Spring Break is a sprawling 17-song double album influenced by Captain Beefheart.  Watch Baird in a dolphin costume in the weird promo video below.

11. Matt Costa - Matt Costa

Release Date: February 12

Why I'm Excited: Matt originally wanted to record a folk album akin to his debut, but if the horn-filled "Good Times" and the T. Rex-inspired "Loving You" from last year's Sacred Hills EP are any indication, there's no telling what it's actually gonna sound like.

10. Ben Harper & Charlie Musselwhite - Get Up!

Release Date: January 29

Why I'm Excited: No stranger to recording whole projects with different bands and artists, this time Harper teamed up with renowned harmonica bluesman Charlie Musselwhite.  Here's a little taste.

9. The Postelles - ...And It Shook Me

Release Date: April 23

Why I'm Excited: The bouncy pop-rockers introduced a handful of new songs at Cameo Gallery back in September, and they've still got it!

8. Frank Turner - Tape Deck Heart

Release Date: April 23

Why I'm Excited: Turner recorded the album with his touring band, the Sleeping Souls, and he's apparently "pleased as punch" with it.  While "Wherefore Art Thou Gene Simmons" sadly only made it to the deluxe version, those who were awarded the title of Dance Champions of the United States of America will be delighted to know that "Four Simple Words" is track 7.

7. Cookies - TBA

Release Date: TBA

Why I'm Excited: I got an email in December saying Cookies were working on their first album, which was "great but taking forever."  Let's hope forever isn't literal.  Until then, download a bunch of free songs here.

6. Streetlight Manifesto - The Hands That Thieve

Release Date: TBA

Why I'm Excited: Now that the release date has been delayed twice, I'm seriously hoping this record will see the light of day and doesn't go the way of the oft-rumored Bandits of the Acoustic Revolution full-length.

5. Phoenix - Bankrupt!

Release Date: April

Why I'm Excited: Phoenix broke into the mainstream with Wolfgang Amadeus Phoenix in 2009, winning the Best New Alternative Music Album Grammy and serving as the soundtrack to several commercials.  But we haven't heard a peep from them since.  Now it's time.

4. Phish - TBA

Release Date: TBA

Why I'm Excited: As the band celebrates its thirtieth year after a spirited 2012 tour and New Year's run, they're planning on heading back to the studio for the third album in their third era.  (I'm counting Party Time, so spare me the arguments.)

3. Jim James - Regions of Light & Sound of God

Release Date: February 5

Why I'm Excited: After fifteen years of fronting My Morning Jacket, James is going solo for more than just a few George Harrison covers.  I've already got my ticket for Music Hall of Williamsburg.

2. David Bowie - The Next Day

Release Date: March 12

Why I'm Excited: I think a lot of people were shocked the other day when Bowie revealed that he'd be unleashing his first album in a decade.  Although leadoff single "Where Are We Now?" is a ballad, producer Tony Visconti claims the album is a rocker.  Visconti produced some of Bowie's most acclaimed works, including The Man Who Sold the World and the Berlin Trilogy, so expect a solid LP.  Even if it's not, Bowie is already prophesying another album starting with four tracks that didn't fit on this one.

1. Broken Anchor - TBA

Release Date: TBA

Why I'm Excited: Who the hell are Broken Anchor, and why are they at the top of this list?  Two days ago, their sampler appeared on NoiseTrade as a free download.  I decided to give it a whirl.  Though they're based out of L.A., the only things Californian about their sound are the Pet Sounds-inspired reverb and vocal harmonies.  The rest owes more to the Northwest, with Austin Hartley-Leonard's vocals recalling Kurt Cobain and lyrics reminiscent of Death Cab for Cutie.  And I can't stop listening.  Download the sampler below.

What releases are you looking forward to?  Share in the comments.