That they played a sponsored show was both surprising and not surprising.  To a lot of people, SUBS represented something truly independent.  But corporate sponsorship has become unavoidably pervasive in the indie scene here.  That’s not really today’s topic, but it needed mentioning.

Duck Fight Goose opened the show with a brief, three song set.  I know it’s a bit impolitic, but I liked them a bit more last year, before Han Han accidentally woke up as a 1970s Berliner.  Even though I like Krautrock, and their new stuff is by no means bad, it just doesn’t really do anything for me.

SUBS, however, killed it.  Their music sprawls across genres, but it tends to be hard, heavy, and sweaty.  Last year, I was convinced they were getting away from that: their show frequently meandered through long jams instead of their normal robust set.  That was not the case Wednesday, though.

The band still wandered a bit, but to a purpose this time, keeping just brief enough for singer Kang Mao to catch her breath before the dynamics shifted back.  She, of course, is the band’s real treat, a truly gifted vocalist and performer.  The band’s songs cover a wide range, which would fall apart with a less talented singer.  The dynamics shifts that make a SUBS show such an experience depend on her abilities, singing sensitive melodies, building in intensity, and then erupting into primal glory.  And, she can keep it believable the whole time.

That’s what separates them from the pack.  There doesn’t appear to be anything put-on about her performance, even though it’s obviously polished.  When she screams (which she does often), it’s not a stylistic conceit; she screams because she can’t help it.  It’s the only way she can react to the music.  There’s none of the gutteral artifice, but all of the Dionysian frenzy.  She’s completely uninhibited, going absolutely wild, and near starting a riot in the process.

SUBS are the powerhouse they are, while still being so raw and heavy, because of how organically everything fits together.  They dynamic shifts allow the screams a bit more room, since everything else has gotten louder and more aggressive.  People like me, who would normally avoid such a band, instead can get invested.  I left this show sweaty and gross, which I haven’t been after a show in years, but I couldn’t help it.  Even in flip flops, I was right up front jockeying to get up close and rock out.  Which is just where I’ll be next time they come to town.

Yes.

Most of the reactions seem to have come from people outside of China, with little understanding of how stuff works here.  I couldn’t help but laugh when I got an email from a liberal advocacy group, asking me to sign a petition to the Chinese government requesting the freedom of that certain currently-detained artist about whom everyone hoped Dylan would comment.  How much less could someone possibly understand this situation?

Politics aside, I have a different interest in this: I’m a member of the local music scene.  The rock scene here is already repressed, simply because of its nature.  Rock and roll is about individuality and rebellion, characteristics that a government might like to see suppressed.  A concert is, essentially, a celebration of those ideals.  The scene exists at the whim of the government, evidenced by how quickly things can get shut down.  My own band has run into trouble for having concerts scheduled around sensitive dates.  During the Expo and Olympics, the local scene screeched to a halt.  If Dylan had said something, all that’s been built here would probably get swept away in one wave.

Top Floor Circus, a Shanghainese band know to exercise their rights of expression.

Local musicians don’t totally avoid displays of rebellion and politics.  But such a blatant act would be too big, too visible for the government to avoid.  We keep politics out of our rock because it’s the only way we can still rock.  We’ve weighed our values and decided that music is too important to lose.  For an outsider to have come and ruined all that, frankly, would be crushing.

In a lot of ways, by not making a point to defend freedom of speech and take a stand against censorship, Dylan did a better job of doing just that.  By having simply done his job, Dylan allowed the rest of us to sing another day.

So instead, I’ll ask you: when’s the last time you listened to the Peter Gabriel soundtrack to Birdy.  Probably not recently, if ever, especially if you think Genesis got better when Phil Collins took the reins.  And, by the way, really?

It’s an album that demands re-listening, but probably rarely gets it.  The layering and soundscapes are really something.  Plus, it’s with Daniel Lanois, whose wonderful documentary, Here is What is, was passed to me by Adam Gaensler not long ago.

And, also, baseball!

Even so, I couldn’t resist the chance to see Dylan on a tour of China.  Everyone I spoke to, though, apparently could.  Many people had seen him already, and made a point repeating the word on the street: he sucks live.  One friend said: “He has no stage presence, doesn’t move from the microphone, and you can’t understand anything.”  (He then admitted to having seen Dylan 8 times)  Other people complained that he doesn’t sound anything like the records.

Boy, didn’t he.  Or, at least, the records most casual fans listen to.  If you’ve heard any of his more recent output (which, by the way, is great) you knew exactly what you were getting.  In his book, Dylan talks about how touring with the Grateful Dead influenced his live approach, which was evidenced in this set.  Many of the arrangements of his classics were different from the records, the band jammed, and Dylan himself took a very improvisational approach to his singing.

The setlist for Shanghai, like most of his tour schedule, was pretty mixed between classics and new stuff, but the classics were often near-unrecognizable.  He’s in a very blues and country phase, and the band he plays with on tour are basically the band he plays with in the studio.  The sound and approach isn’t really that different.  Playing mostly keys in Shanghai, backed by two guitarists, a steel guitar player (who also played some banjo and perhaps mandolin), and the rhythm section, the band’s arrangements are lush and layered, built around twangy guitar lines instead of chord structures.  Rather than an urgent rendition, like that on Blood on the Tracks, ”Tangled Up in Blue” took its time with a slow burn, and was perhaps the most beautiful song of the night.  ”Like a Rolling Stone,” the first encore, wasn’t aggressive and accusatory, but instead reflective, perhaps more fitting coming from a man of his age.

Dylan’s singing was a real surprise.  Rather than the incomprehensible mumble I was told to expect, he sang with a real energy and fire.  He wasn’t particularly melodic (the only real, honest singing he did was on “Desolation Row”), but instead used rhythmic vocals over the band’s melodic playing.  Even his harmonica playing, which I always found a bit gratuitous, had some kick.  I actually said aloud, “That was great!” after one of them.

A lot of the media attention to these shows made a fuss about how Dylan was forced to “submit” to the Ministry of Culture.  People wondered if he’d say subversive things or play subversive songs.  But I think these people missed the point.  While he’s surely an icon of the 60s counter-culture, like most involved, he’s moved on.  He hasn’t been political for a long time, and has at times expressed frustration with the assumption that he’s some kind of great spokesperson.  This show, instead, showcased a very different person.  He’s not Dylan the prophet.  He’s Dylan the musician.

I’m cool with that.

PS.  He played my two favorite songs of his (“Don’t Think Twice” and “Tangled”) within the first four songs.  Unfortunately, Beijing got “Hard Rain”, which would have just put me over the edge.

EDIT: My mom says that she really likes Bob Dylan.  Let the record show, however, that my old bedroom is the only place in the house with any Bob Dylan music in it.

Thank You

This might seem sweet on its own, but in the context of everyone else’s thank-yous, I wanted to explain my decision a bit.

There are, of course, many people who deserve thanks.  Mom and my sister Jenn are just as important to me as my dad is.  And obviously the rest of my family, as well as my friends, too, play a huge role in my life and give great support.  And sure, teachers count, too.

But, to say “family and friends” felt too lifeless.  If I started listing people, who would I choose?  I couldn’t possibly list all my family members or friends.  Maybe I could simply chose the ones that have influenced my musical taste or directly supported my musical endeavors.  Even that’s a long list, and more importantly, would those left off understand?  If I listed Uncle Peter, who turned me on to my favorite band, would Uncle Bill know why?  And would listing people who influenced my music be more appropriate than listing people who influenced me as a person?

What I really wanted was something sincere.  And specific.  Authors typically dedicate their works to just one person, which I always felt was elegant.  That’s what I wanted.  It isn’t that Dad is the most important or more deserving of thanks than everyone else.  It was just that, whenever I thought about music, it came back to Dad.

I learned to play the trumpet in imitation of Dad.  He introduced me to most of my favorite music and bands.  He and I loved going to concerts together.

The intention was not to exclude anyone, but instead to shine a spotlight.  I wanted to be simple and sincere.  I hope nobody gets upset, and I hope everyone knows how grateful I really am for their love and support.

Thank you.

False.

Domestic politics here in America have a pretty small influence on many of commodity prices these days.  Gas prices are not rising suddenly now after years of not drilling in Alaska.

So, what’s the real cause?  (Hint: it’s the same cause that is always responsible for increased oil and gas prices!)

Did everyone forget the biggest news story of this still very young year: a story that’s even still dominating the news cycle?  This year has brought outrageous amounts of unrest to the Middle East.  Libya is a top oil producer that has been more than happy to exploit its resources.  We don’t buy a lot of our own oil from them, but certain very oil-hungry countries do.  What will regime change mean for the oil market?  Until we really know, prices will keep going up to hedge that uncertainty.

It’s wrong of the Republicans to so badly distort the facts.  It’s worse that Americans will believe anything they say.

America, meet your greatest critic.

We’ve been slaving away for months, but the fruit of our labor is imminent.  Here’s the first track we’re showing people.  The album, “Future Superhuman”, will be released at our party on March 26.

This timely reminder popped up in the corner of the website.

It says that, according to the Constitution of the People’s Republic of China, the following behaviors are prohibited when using the internet, communications tools, or other forms of media:

1. Organizing or instigating resistance, obstructing the laws and constitution or implementation of justice.

2. Fabricating or distorting facts (hahahaha), spreading rumors, or harming social order.

3. Organizing or instigating illegal gatherings, parades, or demonstrations; disturbing public order.

4. Engaging in other violations of state and social interests, or the rights and interests of citizens.

“Everywhere I looked the spirits invaded me with their manifestations. The smell of flowers overpowered me. The songs wounded me with their relentless beauty. Seared by the agony of their melodies, I stumbled across a road and I suddenly saw them all, spirits in full bloom on a field of rainbows, bathing in the ecstasy of an everlasting love.”

Just wow. And that’s only Chapter Four.