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Bill Wolford's Head
Perry Fulfs

Playing tonight is Perry Fulfs and Bill Wolford's Head, two Seattle musicians who originally hail from a small town in Iowa. Perry Fulfs' acoustic set consisted of mostly upbeat, swinging pop songs that singer/songwriter Alex Chilton would approve. Chai House regular Bill Wolford's Head--an acoustic duo consisting of Bill Wolford on vocals, guitar and harmonica, and Scott Larson (also known as Lott) on upright bass and backing vocals--play quirky rootsy songs.

Eclectic musically, BWH's songs musically combine elements of good old rock and roll, and world music with off-beat lyrics. Wolford claims to be the "Purveyor of Middlewestern Ethnic Music," which appears to be an odd amalgamation of rock and world with a post-modern edge. Starting the set with a fired up version of Bruce Springsteen's "State Trooper," was a fine way to begin a set. With Lott's dark and roaming bass line conjuring up images of driving down some lost highway, Wolford's raw vocals (think Van Morrison meets John Lennon) create an added sense of edgy eeriness. "Suffer" is a bluesy number that swings that prompted audience members to sing along "chop up your pity? / chop it up!"

Switching gears to the melancholic song about post-modern alienation, "Eye to Eye," Wolford's guitar is reminiscent of George Harrison's during his days in the Beatles. The audience-pleasing "Chickens" brought both the crowd and the Chai House's Jessica and Victor to clucking and cockle-doodle-dooing along.

If you like clever songwriting and miss straight ahead rock and roll, check out Bill Wolford's Head. Like the special blend of chai of this tea house, Bill Wolford's Head is just as mystical as they're bound to evoke the weirdness right out of you.

-Hope Lopez
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The Black Crowes

Landing in Boston after flying solo over the tour's final three months, The Crowes chugged and grooved through a set stocked with several underrated album tracks, such as "Let Me Share the Ride," "Nonfiction," and "Black Moon Creeping," but only a smattering of expected, early hits. Onstage appeared four longtime Crowes, two recent hatchlings (guitarist Audley Freed and bassist Andy Hess), and two female songstresses, who bolstered Chris Robinson's vocal offensive with sultry gospel tones. Jimmy Page and his gargantuan aura were nowhere in sight, neither were the tiresome Gallagher brothers, as The Crowes came together to build another floor onto their multi-colored house of rock and soul. Outside, a drizzly night dampened the spirits of Halloween ghouls and goblins, but inside, the Orpheum's costumed hordes were primed for a rock 'n' roll celebration. They were in luck, as it became evident early on that the hard-hitting, hook-happy Crowes of Shake Your Moneymaker and By Your Side had surfaced to light a festive fire.

Guitarists Rich Robinson and Freed (formerly of '90s roots-rockers Cry of Love) feasted on a diet of distorted crunch and ear-singeing volume, electrifying the already buzzing theater on "Go Faster," "No Speak No Slave," and the indelible "Twice as Hard." But the abundant electricity was not without its price. Subtle nuances that bring forth flavors of R&B, soul and country, further separating The Crowes from their hard rock peers, were sorely missed as the dueling stringslingers flooded the venue with sky-slashing amplification. Keyboardist Eddie Harsch's twinkling inflections were mostly inaudible buried under the dense layers of blues-stung riffs and chunky chords. He was given limited space to shine, as the dual engine locomotive tapered its voltage only on numbers driven by forces other than the heroic guitar riff, such as "Girl From Pawnshop" and "Wiser Time." Also disappointing was an electrified "She Talks To Angels" that failed to pack the emotional punch of the timeless acoustic version. From the opening grooves of "My Morning Song," which deconstructed into a stripped down "Whole Lotta Love," through the toggle-switch swagger of "Lickin'," it seemed that The Crowes' purpose lay in finishing off the tour with a clap of thunder, and, if so, they were successful beyond the shadow of a doubt. Blazing a trail through this storm of electricity, giving the band direction at every turn, was Rich Robinson, the so-called quiet brother.

By touring incessantly and, no doubt, keeping an open mind and ear to the masters with whom he has had the good fortune of playing, Rich Robinson has flourished into one of the most seasoned and versatile guitarists in rock 'n' roll today. With his greasy, blues-inspired riffing, syrupy slide work and knack for building chords into killer songs, he has become a modern day synthesis of Page and Duane Allmann. Not to be outdone, live wire frontman Chris Robinson was up to the task set forth by his talented, yet forever-stoic younger brother, shimmying across the stage like a rooster in the hen house and unleashing a voice that was equal parts wailing hard rock and soul-searching blues. With such powerful pipes, he had no trouble delivering his rocking soul message over the unrelenting guitar fury. During the band's recently penned gospel explosion "Soul Singing," he poured everything he had into a performance that had the venue brimming with positive energy. Together with the help of the other, stellar Crowes, the brothers Robinson proved, despite earlier efforts by a team of concert promoters to trivialize their natural and musical kinship, that there is nothing novelty about this act.

-Dan Cullity
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It's hard to be optimistic today and feeling like a small voice in this post-September 11th U.S. I'm not feeling quite the part of patriotism in the sea of jingoism, flag-waving citizens. So it was refreshing that there's Boots Riley and his partner Pam the Funktress, who make up The Coup, somehow managing to juxtapose the two worlds of sociopolitical activism and funky hip-hop, since hip hop lately has been mostly about the luxury cars and high life. The Coup definitely brings it back down to the rudiments. With a frontman like Boots, whose political activism roots began in his early years as a child of a Black Panther and continues the fight as a self-proclaimed communist, no doubt that the group keeps it real with songs like "5 Million Ways to Kill a CEO," "Ride the Fence," and "Lazy Muthafucka."

The album is a nice souvenir of the show, but a recording can't measure up to a live show, especially if there's a full band with real-to-life musicians. This show was one that George Clinton and Chuck D. would give an approving nod. Despite a few sound problems, Pam the Funktress spun and scratched providing the dope beats to make the hip-hop show flow. In "Tight," dedicated to Pam, the flow goes along with the Ohio Players "Sweet Sticky Thing." Backing The Coup was a phenomenal band--introduced by a drummer, tall funky bass player, and a singer whose diminutive stature didn't represent the booming soulful voice that came from her small frame. Evidence of the hopefulness of Boots Riley was the song, "Wear Clean Draws," dedicated to his daughter. With words like "tell your teacher I said princesses are evil / how they got all that money was they killed people / If somebody hits you hit 'em back / then negotiate a peace contract / Life is a challenge and you gotta team up," it's great to see activism alive and in a form that isn't divisive to the mainstream.

-Hope Lopez
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Hudson Falcons

The final band tonight were the Hudson Falcons, who proceeded to rip the place up with very tight in your face punk rock 'n' roll. These guys have that working-class pride and drive--spewing forth the plight of the people in their struggle for survival. Think of The Boss fronting The Clash, or a blend of Minor Threat, The Ramones, and The Devil Dogs. I thought Hudson Falcons played a great set from start to finish. From their lyrics to their stage presence, they band had integrity and respect, something that comes from producing and performing music from the gut. Hudson Falcons could not give a shit what you think as long as you stay true to yourself and your beliefs. What more could you want from a band that has all this and the music to back it up? Enough said. Check them out!

-Steve Weatherholt
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The Tremens
@
The Sunset Tavern
November 9, 2001
Seattle, WA

Links:

Picture perfect. Did I see you there?

The album: I was one of the few lucky fuckers who got an advance-advance-advance copy of Lipsicate (I only had to threaten the band with an interview to get it), and I'm really ecstatic about finally seeing it released proper--not only because Lipsicate shines top to bottom and inside-out, but also because the effort it takes to self-finance and self-release an album is enormous, and the fact that this baby has finally seen the light of day is cause enough for celebration.

Did I just hear "Double Down" on KEXP?

The show: Sold out, jammed packed, with beers and sweat pouring profusely. With its dark red colors, low ceilings, and the band playing in the back corner, the Sunset is the perfect place for this show. The place has a very comfy feel to it, and all that adds to an already noticeable electric vibe in the air. Tremens' blood brothers Dirtybirds open things up with a raucous set of stompin' tight garage rockabilly. A four-piece fronted by a tenor sax, the addition of the horn adds a noticeable timbre to the style being played. And now with the fires lit and stoked, The Tremens take to their instruments (I'd say "take the stage" here, but the Sunset doesn't really have a stage to speak of) and give it their all to an audience that is somewhat drunk but very much enamored to the band's music. And just what is their music? Tight, quirky punk played with pop sensibility and just a hint or two of surf to give it all a nice glowing aftertaste. For those of us unable to hear Lipsicate when it was played earlier over the house stereo (which was too quiet), the band mostly graced the audience with tracks off the album. Hell, they even played my favorite (and the most un-Tremens like) track, "Un-scenic."

Like I said: picture perfect. They couldn't have done better. It should be a newspaper headline: "Local Band Does Good by Doing It Their Own Way (Saves World in Time for Dinner)." So c'mon kids, put your money where it counts: give it to The Tremens. Support your local scene and buy a copy of Lipsicate, go to a show, and thank them for sticking to their guns.

-Craig Young
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