These Jon Brion doubleheaders at Largo at the Coronet have eased my travel decisions in many ways, and I'll never skip one if I'm in town. Still, I can safely say the Friday shows continue to rule the roost. The house is brimming, the bar is bustling, the crowds are buzzing, and when you've been absent for four months as I have, they feel even more special.
Jon Brion, Largo at the Coronet, September 30, 2011: My free Friday in Los Angeles had already been shaping up swimmingly, clocking face time with friends and family -- then it got even better after I arrived at Largo. Pals were hugged, seats were stellar, conversation flowed, and as it happened, the music was great. Hopefully I can do it some justice in the report below.
Following Thursday's model, the opening act tonight was another comedian, Margaret Cho, in this case, a longtime friend of Largo. I won't try to recap her set, but she invoked Chris Isaak, Siouxsie and the Banshees, and Yoko Ono, among others. I'll also mention she bore a large, freshly applied tattoo on her left leg, protected by a sheet of plastic wrap.
Jon and Margaret shared a huge hug during the hand-off, and already, Jon's mood was notably peppier than the night before. He kept a running count of the first four songs and joked about keeping to a schedule. Of those four tunes, I can positively identify two of them, but as always, I get lost easily when Jon doesn't sing. If you must know my wild guesses, shoot me an email, and I'll make up a couple of titles for you. But this decade-plus of shows has paid off in some ways, as I know which Scott Joplin song Jon favors. I have learned a thing or two after all these years!
The back and forth between Jon's original works and beloved standards continued with "Meaningless," followed by "It Could Happen to You." For the first build, Jon worked up a song I want to hear again and again, the world-owning "Piece of You." How much have I missed this song? I took no notes during the performance -- I just wanted to listen to the great hooks and melodies.
Jon settled back at the piano for the next track, starting with what was probably some of his film music, though I couldn't tell you the exact title. This led to "Strings That Tie to You" on mellotron and celeste, before adding the MicroKorg and piano.
Speaking of film, the video mixers entered the scene as Jon brought up clips of Leonard Bernstein, Sonny Rollins, and the Red Hot Chili Peppers. I'm not always clear on which contributions make it to the final mix, but the Chili Peppers' rhythm section featured most prominently on what turned out to be "That's Just What You Are."
When I first started listening to music, I assumed songs were monolithic creations, set in stone. Thankfully, I've been disabused of that notion, but sometimes I wonder how certain combinations could possibly coexist. Red Hot Chili Peppers plus Jon Brion plus Aimee Mann (the song's other writer) would ordinarily set off some red flags, but it actually worked. The original tune has its own prominent cadence; the Chili Peppers' signature funk sound, as manipulated by Jon, served to bolster that beat. Sonny Rollins popped in too, at well-chosen intervals.
Jon picked up an acoustic guitar for the next couple of tracks: first, the Smiths, trailed by his own song. Then he asked for requests. Alas, I didn't get one in this evening -- that is, I tried, but it didn't make the cut. (Come on, there's gotta be another "Boys of Summer" fan lurking in the readership!) As for Jon's final selection, I'm going on context clues because I can proudly say I've never listened to "Freebird." But after hearing the audience shout-out and Jon's fair warning at the outset of the performance (on vibes, by the way), then seeing him flip off the requester at the end of the tune, I put the pieces together.
The next choice was Jon's, as he built up "Walking Through Walls," but this wasn't any old performance -- it brought out Grant-Lee Phillips from the inky shadows! Matt Chamberlain was also called to the stage, but he didn't actually show up. I would've welcomed his appearance, but honestly, Jon and Grant bring all you need for a good time (though it never hurts if, say, Robyn Hitchcock hangs around too).
Grant's first two songs were both Bowie tracks, but only one ("Cracked Actor") was delivered in anything resembling a traditional approach. The other selection was channeled through Willie Nelson, which should be familiar to anyone who's seen Grant at Aimee Mann's Christmas shows. Grant called it Willie Stardust, aka the Thin White Red Headed Stranger, and you could barely believe your ears as he worked both characters at the same time.
The decisions were up to Grant at this point, and he chose well. I was glad to hear one Grant Lee Buffalo song in the set, and the Smiths and T. Rex were not unexpected. The big surprise for me was Grant's opting for the Decemberists. Of course, Sara Watkins has been touring with the band, so the Largo connection is there, but actually hearing a song at Largo? It was a first for me at least, even if I had to check my iPod to figure out where it placed in the Crane Wife song cycle (No. 3, for the record). As for Jon, I have no idea if he'd heard the song before this outing, but he picked up on the chords in no time at all to accompany Grant on piano.
Once more, Jon asked for requests, this time to end the set on his own. The Pixies quote was minuscule at best before Jon settled into "Everybody's Gotta Learn Sometimes." The studio version is all about the mellotron, but Jon zeroed in on the guitar tonight and, overall, kept it spare and underplayed -- which probably conflicts with my next observation because I loved the almost gothic sound he created, with huge, eerie heights of guitar. Hail the shoegazers!
We scooted over to the Little Room, and despite the initial wave of interest, the place wasn't even half full by the time the second set started. Margaret Cho and Grant-Lee Phillips returned with lots of chatter and a couple of songs from Margaret's record. This wasn't the first time I've heard Margaret sing, but I was surprised by how good she sounded. The hilarious lyrics were a given, of course.
They brought up Benmont Tench for an Emmylou Harris favorite, then jumped genres with a major discussion about Bob Mould -- one of my heroes, as regular readers know. It turns out Margaret and Grant are two of the acts slated for a tribute to Bob, set to take place at Disney Hall in November. Other artists include Dave Grohl (Bob recently played with the Foo Fighters on Conan and guested on their new record), Best Coast, Ryan Adams, and Ben Gibbard, who brought up Bob at a show in San Francisco earlier this year. (I was there!) They punctuated their chatter with their version of an old Sugar song.
Jon did, in fact, show up for a final song with Margaret, which I first heard a while back. Though the element of surprise didn't figure tonight, the anticipation of hearing the lyrics "I'm Margaret fucking Cho" was just as sweet.
Set 1
--Margaret Cho opener
--piano
--How Much Is That Doggie in the Window
--?
--Over Our Heads
--Maple Leaf Rag
--Meaningless
--It Could Happen to You
--Piece of You
--Strings That Tie to You
--That's Just What You Are
--Please, Please, Please Let Me Get What I Want
--Love of My Life So Far
--Freebird
--Walking Through Walls
w/ Grant-Lee Phillips
--Cracked Actor
--Ziggy Stardust
--You Just Have to Be Crazy
--Last Night I Dreamt That Somebody Loved Me
--The Crane Wife 3
--Ballrooms of Mars
--Everybody's Gotta Learn Sometimes
Set 2
Margaret and Grant-Lee
--Eat Shit and Die
--Asian Adjacent
--Two More Bottles of Wine [with Benmont Tench]
--Favorite Thing
--Enemies [with Jon Brion]
See also:
» september gurls
» i'm happy, hope you're happy too
» if there's a star above
» scraping paper to documen
» your favorite thing
» no matter what the future brings
Showing posts with label margaretcho. Show all posts
Showing posts with label margaretcho. Show all posts
Wednesday, October 05, 2011
Tuesday, January 26, 2010
no matter what the future brings
Did you make any New Year's resolutions? I didn't, but I'm vaguely trying to be more relaxed and less clinical--the tortuous setlists that pepper this blog exempted, of course. Thus, I didn't bother with year-end wrap-ups or rankings, though I think my favorites are all too clear. Still, you gotta know some things aren't going to change--such as my continuing attendance at Jon Brion's shows, including his first outing at Largo for 2010.
Jon Brion, Largo at the Coronet, January 22, 2010: Didja hear? It's not only a new year, but a new decade as well! And despite sitting within spitting distance of several calendars, I apparently didn't get the memo. Case in point: The fact that I showed up at Largo with the misguided expectation that it would be business as usual, that I could waltz up to the gate and purchase a ticket on my own timetable, and that the rain would keep the droves away.
Wrong! (On two counts anyway.) Tonight, the masses were in attendance, including a gaggle of youths, as well as a recent Golden Globe-winning actor, if my stalkervision is to be trusted. Alas, my favorite seat had been claimed long before I arrived, but I was happy to get in at all.
In his opening remarks, Flanny noted that the night's proceeds would go to Habitat for Humanity, then made way for Jon, who arranged himself at the piano for the introductory passage: his simultaneously typical and atypical piano improv, a fairly straightforward "Ruin My Day," and an off-kilter "Same Thing." Regarding that last tune, if I had any real knowledge of music, I'd not only suggest he was playing a counterpoint-based version of the song, but I'd even know what that meant.
Or I can stop trying to show offDot Com and tell you that Jon veered from playing the melody, favoring weighty undertones instead of the song's normally ebullient air. In fact, it almost sounded like a different tune.
Jon went with more originals--and unreleased ones, at that--for his next rock block, leading me to entertain the idea that last month's promise of a follow-up to Meaningless may come to fruition after all. There's no telling what will happen to a song between the time Jon plays it onstage and when it's locked down in the studio, so it's kinda useless to describe what we heard at this show--but I'll try anyway.
The first tune was spare and distinct, with a lovely melodic lilt, and I don't recall hearing the last selection (performed on the piano) ever before. However, the middle work, titled "Piece of You," as Jon revealed in response to an audience inquiry, is a gorgeous reminder of why we want him to record a new album: It sounds fucking great.
Warm and jangly, it's steeped in a late-'70s vibe, definitely extending a nod to Neil Young, but with an undeniable pop hook. I'm completely biased, of course, but I can't tell you how many times I've had this very reaction to a new Jon Brion song, only to be left wondering if I'll ever hear it outside of Largo. At least it gives me a reason to come back.
The video mixers were next called into action, and Nels Cline was the first guest of honor, joined soon thereafter by Maria Callas. After a meandering prologue, Jon unveiled the selection: "Here We Go." It wasn't the scorched-earth version we heard in December, but Jon drew out the piece to incorporate symphonic strings, as well as his own touch of guitar and drums. The song, usually the epitome of stability and understatement, arced and swayed in Jon's hands tonight, until it brought to mind the outro to "I Want You (She's So Heavy)." "Here We Go"? More like away we went.
We got one more original, then dove into the covers, starting with "Life on Mars" on the vibes. The people sitting behind us were clearly delighted, based on the stream of giggles and gasps I overheard. They weren't alone, if the applause and laughter throughout the room were any indication.
In fact, I'd argue that the audience's very enthusiasm sent Jon into crowd-pleaser mode for this segment of the show. The newbie-dominated group gushed their appreciation of Jon's transitions and selections, and Jon, in turn, seemed to capitalize on this freshness with an extensive survey of his talents and versatility. Thus, we got Tom Waits doing Led Zeppelin (says the woman who knows nothing about either), a classic delivered with a healthy dose of distortion, and finally, the long-awaited return of the Beatles to Jon's setlists.
"Tomorrow Never Knows" is nothing less than a blowout in any performance, but tonight's rendition resulted in a broken guitar string, though it didn't stop Jon from playing; briefly quoted "Revolution" and "Everybody's Got Something to Hide Except for Me and My Monkey"; and drew on more video footage, including a segment that Jon manipulated to make it appear as if Nels were record scratching. Whew! Oh, and those gigglers/gaspers behind me? They got a kick out of this one too--as did I.
For his encore, Jon took it down a notch with a solo acoustic "Love of My Life So Far." But the show wasn't over--on to the second set!
Over in the Little Room, Sara and Sean Watkins were the first to arrive onstage, and the presence of Jon's guitars gave us hope that he would show up eventually too. The siblings traded off songs, including some brand-new works and audience requests. Benmont Tench joined in next, then finally Jon took his place alongside them. Then it got really interesting.
Nature or nurture? It's a question that often crosses my mind at Largo. Do I come back again and again because the club draws so many of the artists that helped form my musical vocabulary? Or do those names dominate my listening habits because I've seen them at the club? The case can be made either way, but when certain faces pop up seemingly out of the blue, I lean toward the former and start wondering if some form of destiny is at work.
Granted, large tracts of my musical upbringing have never surfaced at Largo, but when Neil Finn drops in or Glenn Kotche is coerced onstage or Jon plays a Spoon song (then, years later, goes into the studio with them), I want to think it's not mere coincidence. At tonight's show, Charlie Sexton got me looking up star signs and reading the tea leaves all over again.
As I understand it, Charlie Sexton has been in Bob Dylan's touring band for a while now, but I'll always see him through the eyes of my 13-year-old self, thanks to the magic--or the curse--of music television and his hit single "Beat's So Lonely." I'm not sure how the clip stands up to contemporary scrutiny, but when it debuted, Charlie's striking profile couldn't be ignored, even in an era of aggressively telegenic musicians. Truth be told, the song wasn't effete enough for my teenage tastes, but the video stayed on my mind. See for yourself:
Flash-forward 25 years (OMFG, kill me now), and there he was, on the tiny stage of the Little Room, summoned by none other than Jon Brion. How did Charlie look? Pretty damn good, especially as he, Jon, and Sean threw goofy rock 'n' roll shapes around the mic.
But how did he do? Not too shabby there either. With Sara, Charlie spearheaded "Bye Bye Love," but Jon and Sean kicked in their harmonies too, while Benmont imbued it with a swinging beat. With that, their performance quickly shot up my list of favorite Largo moments.
The quintet went back to round-robin mode, sharing vocals and solos, as well as making requests of one another. By now, my eyes were glued to Jon and Charlie. For example, they contributed tasteful guitar notes to Benmont's downtempo take on ELO, and they came together to mine the rootsier aspects for "I'll Cry Instead"; coincidentally, it featured Jon's only true lead vocal of the second set. I hope it won't be the last I'll see of Charlie at Jon's shows.
To close out this long second set, Jon released the group and brought up Margaret Cho for a song they wrote together. I don't recall catching the title, but Margaret gave us some background on the song and explained that it's about an ex-boyfriend who stalked her after they broke up and didn't recognize himself in the lyrics. All you really need to know, though, is that Margaret has penned the greatest couplet in existence, rhyming "hottest girl you know" with "Margaret fucking Cho." Need I say more?
Set 1
--piano
--Ruin My Day
--Same Thing
--new song ["She's at it again/Once my rival, now my friend..."]
--Piece of You [new song]
--Here We Go
--Please Stay Away From Me
--Whole Lotta Love (?)
--As Time Goes By
--Tomorrow Never Knows
encore
--Love of My Life So Far
Set 2
Sara and Sean Watkins
--instrumental
--Any Old Time
--Damaged
--new song [Sara]
--Impossible
--Bella and Ivan
--new song [Sean]
--Hello Goodbye
Sara and Sean Watkins and Benmont Tench
--Hold What You Got
--I Go to Sleep
Sara and Sean Watkins, Benmont Tench, and Jon Brion
--Early in the Morning
--Mexican Home
Sara and Sean Watkins, Benmont Tench, Jon Brion, and Charlie Sexton
--Bye Bye Love
--Brand New Heartache
--Midnight Shift
--Can't Get It Out of My Head
--Don't Come Home A-Drinkin' (With Lovin' on Your Mind)
--?
--Pink Triangles
--I'll Cry Instead
Jon Brion and Margaret Cho
--new song?
See also:
» it's the end of the things you know
» i can teach you, but i have to charge
» i'll be out on the town
» owner of this corner and not much more
Jon Brion, Largo at the Coronet, January 22, 2010: Didja hear? It's not only a new year, but a new decade as well! And despite sitting within spitting distance of several calendars, I apparently didn't get the memo. Case in point: The fact that I showed up at Largo with the misguided expectation that it would be business as usual, that I could waltz up to the gate and purchase a ticket on my own timetable, and that the rain would keep the droves away.
Wrong! (On two counts anyway.) Tonight, the masses were in attendance, including a gaggle of youths, as well as a recent Golden Globe-winning actor, if my stalkervision is to be trusted. Alas, my favorite seat had been claimed long before I arrived, but I was happy to get in at all.
In his opening remarks, Flanny noted that the night's proceeds would go to Habitat for Humanity, then made way for Jon, who arranged himself at the piano for the introductory passage: his simultaneously typical and atypical piano improv, a fairly straightforward "Ruin My Day," and an off-kilter "Same Thing." Regarding that last tune, if I had any real knowledge of music, I'd not only suggest he was playing a counterpoint-based version of the song, but I'd even know what that meant.
Or I can stop trying to show off
Jon went with more originals--and unreleased ones, at that--for his next rock block, leading me to entertain the idea that last month's promise of a follow-up to Meaningless may come to fruition after all. There's no telling what will happen to a song between the time Jon plays it onstage and when it's locked down in the studio, so it's kinda useless to describe what we heard at this show--but I'll try anyway.
The first tune was spare and distinct, with a lovely melodic lilt, and I don't recall hearing the last selection (performed on the piano) ever before. However, the middle work, titled "Piece of You," as Jon revealed in response to an audience inquiry, is a gorgeous reminder of why we want him to record a new album: It sounds fucking great.
Warm and jangly, it's steeped in a late-'70s vibe, definitely extending a nod to Neil Young, but with an undeniable pop hook. I'm completely biased, of course, but I can't tell you how many times I've had this very reaction to a new Jon Brion song, only to be left wondering if I'll ever hear it outside of Largo. At least it gives me a reason to come back.
The video mixers were next called into action, and Nels Cline was the first guest of honor, joined soon thereafter by Maria Callas. After a meandering prologue, Jon unveiled the selection: "Here We Go." It wasn't the scorched-earth version we heard in December, but Jon drew out the piece to incorporate symphonic strings, as well as his own touch of guitar and drums. The song, usually the epitome of stability and understatement, arced and swayed in Jon's hands tonight, until it brought to mind the outro to "I Want You (She's So Heavy)." "Here We Go"? More like away we went.
We got one more original, then dove into the covers, starting with "Life on Mars" on the vibes. The people sitting behind us were clearly delighted, based on the stream of giggles and gasps I overheard. They weren't alone, if the applause and laughter throughout the room were any indication.
In fact, I'd argue that the audience's very enthusiasm sent Jon into crowd-pleaser mode for this segment of the show. The newbie-dominated group gushed their appreciation of Jon's transitions and selections, and Jon, in turn, seemed to capitalize on this freshness with an extensive survey of his talents and versatility. Thus, we got Tom Waits doing Led Zeppelin (says the woman who knows nothing about either), a classic delivered with a healthy dose of distortion, and finally, the long-awaited return of the Beatles to Jon's setlists.
"Tomorrow Never Knows" is nothing less than a blowout in any performance, but tonight's rendition resulted in a broken guitar string, though it didn't stop Jon from playing; briefly quoted "Revolution" and "Everybody's Got Something to Hide Except for Me and My Monkey"; and drew on more video footage, including a segment that Jon manipulated to make it appear as if Nels were record scratching. Whew! Oh, and those gigglers/gaspers behind me? They got a kick out of this one too--as did I.
For his encore, Jon took it down a notch with a solo acoustic "Love of My Life So Far." But the show wasn't over--on to the second set!
Over in the Little Room, Sara and Sean Watkins were the first to arrive onstage, and the presence of Jon's guitars gave us hope that he would show up eventually too. The siblings traded off songs, including some brand-new works and audience requests. Benmont Tench joined in next, then finally Jon took his place alongside them. Then it got really interesting.
Nature or nurture? It's a question that often crosses my mind at Largo. Do I come back again and again because the club draws so many of the artists that helped form my musical vocabulary? Or do those names dominate my listening habits because I've seen them at the club? The case can be made either way, but when certain faces pop up seemingly out of the blue, I lean toward the former and start wondering if some form of destiny is at work.
Granted, large tracts of my musical upbringing have never surfaced at Largo, but when Neil Finn drops in or Glenn Kotche is coerced onstage or Jon plays a Spoon song (then, years later, goes into the studio with them), I want to think it's not mere coincidence. At tonight's show, Charlie Sexton got me looking up star signs and reading the tea leaves all over again.
As I understand it, Charlie Sexton has been in Bob Dylan's touring band for a while now, but I'll always see him through the eyes of my 13-year-old self, thanks to the magic--or the curse--of music television and his hit single "Beat's So Lonely." I'm not sure how the clip stands up to contemporary scrutiny, but when it debuted, Charlie's striking profile couldn't be ignored, even in an era of aggressively telegenic musicians. Truth be told, the song wasn't effete enough for my teenage tastes, but the video stayed on my mind. See for yourself:
Flash-forward 25 years (OMFG, kill me now), and there he was, on the tiny stage of the Little Room, summoned by none other than Jon Brion. How did Charlie look? Pretty damn good, especially as he, Jon, and Sean threw goofy rock 'n' roll shapes around the mic.
But how did he do? Not too shabby there either. With Sara, Charlie spearheaded "Bye Bye Love," but Jon and Sean kicked in their harmonies too, while Benmont imbued it with a swinging beat. With that, their performance quickly shot up my list of favorite Largo moments.
The quintet went back to round-robin mode, sharing vocals and solos, as well as making requests of one another. By now, my eyes were glued to Jon and Charlie. For example, they contributed tasteful guitar notes to Benmont's downtempo take on ELO, and they came together to mine the rootsier aspects for "I'll Cry Instead"; coincidentally, it featured Jon's only true lead vocal of the second set. I hope it won't be the last I'll see of Charlie at Jon's shows.
To close out this long second set, Jon released the group and brought up Margaret Cho for a song they wrote together. I don't recall catching the title, but Margaret gave us some background on the song and explained that it's about an ex-boyfriend who stalked her after they broke up and didn't recognize himself in the lyrics. All you really need to know, though, is that Margaret has penned the greatest couplet in existence, rhyming "hottest girl you know" with "Margaret fucking Cho." Need I say more?
Set 1
--piano
--Ruin My Day
--Same Thing
--new song ["She's at it again/Once my rival, now my friend..."]
--Piece of You [new song]
--Here We Go
--Please Stay Away From Me
--Whole Lotta Love (?)
--As Time Goes By
--Tomorrow Never Knows
encore
--Love of My Life So Far
Set 2
Sara and Sean Watkins
--instrumental
--Any Old Time
--Damaged
--new song [Sara]
--Impossible
--Bella and Ivan
--new song [Sean]
--Hello Goodbye
Sara and Sean Watkins and Benmont Tench
--Hold What You Got
--I Go to Sleep
Sara and Sean Watkins, Benmont Tench, and Jon Brion
--Early in the Morning
--Mexican Home
Sara and Sean Watkins, Benmont Tench, Jon Brion, and Charlie Sexton
--Bye Bye Love
--Brand New Heartache
--Midnight Shift
--Can't Get It Out of My Head
--Don't Come Home A-Drinkin' (With Lovin' on Your Mind)
--?
--Pink Triangles
--I'll Cry Instead
Jon Brion and Margaret Cho
--new song?
See also:
» it's the end of the things you know
» i can teach you, but i have to charge
» i'll be out on the town
» owner of this corner and not much more
Sunday, September 03, 2006
sometimes when this place gets kinda empty
Just as I promised, Brianne's first non-Jon Brion Largo show turned out to be a very mellow affair, and I didn't even have to apologize to Mike at the door for hogging up a four-party reservation with only three warm bodies. As always, it's a delight when Evonne joins us.
The Greg Proops Chat Show, Largo, August 30, 2006: Three Largo-related events in five days--that may be a record for me. It would've been my fourth outing in the same amount of time if I had managed to get tickets to the Zach Galifianakis show at the Fillmore, but alas, I've been slipping for some time now.
As this is primarily a concert blog, I'll address the tunage first. Sadly, we couldn't make Greg's last appearance, nor did the junior minions go in our stead, but tonight, we saw a Largo regular other than Jon Brion take up the musical slack: Grant Lee Phillips. He did three songs total, the first of which I didn't recognize, but at the end of the set, he came back for his own "Mockingbirds" and a cover of the Church's "Under the Milky Way Tonight," which you can hear on his recently released album, nineteeneighties.
For the closer, Grant Lee was accompanied by Margaret Cho doing a hilarious burlesque routine. I had my doubts when she described her fascination with this retro form of entertainment, but leave it to Margaret to turn it into a goofy, unique exercise that I doubt you'll see anywhere else. Pussycat Dolls, eat your skinny, no-talent hearts out!
Almost as funny as Margaret's routine were the confused and somewhat concerned faces Grant pulled as she hovered near him. Still, I felt a little weird at the end when I realized we were staring at a nearly naked Margaret Cho, wearing only clear plastic platform boots, panties, two big ostrich-feather fans, and three pairs of pasties on her body.
True to the billing, Greg Proops did indeed conduct a talk show of sorts. After Grant kicked off the proceedings, Greg took the stage for one of his patented long-form rants/observations/schpiels covering, um, a lot of things, most of which weren't included in his rant/observation/schpiel opening for Jon Brion last month. His first guest was Ngaio Bealum, an advocate for safe access to medicinal marijuana. He made a convincing argument, and I liked the "I smoked weed with Ngaio" t-shirts he was hawking.
The next guest was "Lindsay Lohan," if she were trapped in the body of a 40something white guy best known for a TV show celebrating the Ohio lifestyle. Yup, we got Drew Carey sort of pretending to be Lindsay and not doing a very good job of it. Where's a hoedown when you need one??
Margaret and Greg, however, got on like a house on fire, and it was fun sitting in the dark and listening to the two of them just yakking away about every subject under the sun. Greg asked about Margaret's upcoming TV roles, Margaret compared Greg to Marcello Mastroianni, and they both voiced their disdain about being an actor--except they were a lot funnier than I could ever encapsulate.
See also:
» have you tasted the finest of trout
» "My name is Jon, I'm from Connecticut"
» top 5 Largo memories
The Greg Proops Chat Show, Largo, August 30, 2006: Three Largo-related events in five days--that may be a record for me. It would've been my fourth outing in the same amount of time if I had managed to get tickets to the Zach Galifianakis show at the Fillmore, but alas, I've been slipping for some time now.
As this is primarily a concert blog, I'll address the tunage first. Sadly, we couldn't make Greg's last appearance, nor did the junior minions go in our stead, but tonight, we saw a Largo regular other than Jon Brion take up the musical slack: Grant Lee Phillips. He did three songs total, the first of which I didn't recognize, but at the end of the set, he came back for his own "Mockingbirds" and a cover of the Church's "Under the Milky Way Tonight," which you can hear on his recently released album, nineteeneighties.
For the closer, Grant Lee was accompanied by Margaret Cho doing a hilarious burlesque routine. I had my doubts when she described her fascination with this retro form of entertainment, but leave it to Margaret to turn it into a goofy, unique exercise that I doubt you'll see anywhere else. Pussycat Dolls, eat your skinny, no-talent hearts out!
Almost as funny as Margaret's routine were the confused and somewhat concerned faces Grant pulled as she hovered near him. Still, I felt a little weird at the end when I realized we were staring at a nearly naked Margaret Cho, wearing only clear plastic platform boots, panties, two big ostrich-feather fans, and three pairs of pasties on her body.
True to the billing, Greg Proops did indeed conduct a talk show of sorts. After Grant kicked off the proceedings, Greg took the stage for one of his patented long-form rants/observations/schpiels covering, um, a lot of things, most of which weren't included in his rant/observation/schpiel opening for Jon Brion last month. His first guest was Ngaio Bealum, an advocate for safe access to medicinal marijuana. He made a convincing argument, and I liked the "I smoked weed with Ngaio" t-shirts he was hawking.
The next guest was "Lindsay Lohan," if she were trapped in the body of a 40something white guy best known for a TV show celebrating the Ohio lifestyle. Yup, we got Drew Carey sort of pretending to be Lindsay and not doing a very good job of it. Where's a hoedown when you need one??
Margaret and Greg, however, got on like a house on fire, and it was fun sitting in the dark and listening to the two of them just yakking away about every subject under the sun. Greg asked about Margaret's upcoming TV roles, Margaret compared Greg to Marcello Mastroianni, and they both voiced their disdain about being an actor--except they were a lot funnier than I could ever encapsulate.
See also:
» have you tasted the finest of trout
» "My name is Jon, I'm from Connecticut"
» top 5 Largo memories
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