Earth and Earthless

My writer’s block has been cured by a pair of concerts at local clubs by a pair of bands with similar names.

Earthless, Wednesday, September 7, 2022 at the Ottobar in Baltimore, Maryland.  The Ottobar is a small club, capacity 400, up on Howard Street, in a somewhat rundown neighborhood of mostly body shops and auto repair shops – in fact, very similar to the Knockdown Center in Queens, NYC where I saw the DesertFest in May of this year.  The flip side is that it’s easy to get to (just drive up Martin Luther King Blvd. until it merges with Howard Street) and street parking is plentiful.  Moreover, the venue has a decent amount of seating, perfect for my 50+ year old back. 

Earthless themselves are mainly Isiah Mitchell (guitarist), Mike Eginton (bass), and Mario Rubalcaba (drums), from San Diego, California, USA (yes, on Earth).   Their albums are Sonic Prayer (2005), Rhythms from a Cosmic Sky (2007), From the Ages (2013), Black Heaven (2018), and Night Parade of One Hundred Demons (2022).  The material is 90% instrumentals, with the song structure essentially being nonstop 100 mph guitar solos.  This is not music with a general commercial appeal.  I find it from tolerable to enjoyable depending on my mood.  I enjoyed the show; the opening act was Black Lung (not to be confused with British band Green Lung), who are actually from Baltimore.  I can say I’m glad I went.  I had seen Earthless before, at the Rock’n’Roll Hotel in DC in March 2018, plus a few online streaming shows during COVID.  As with any band, check them out Spotify to get some idea of what to expect.  In any case the way the music is set up, every studio album may as well be a live album. 

Earth, Friday September 23, 2022 at the Black Cat in Washington, DC.  Before I go further, I’ll clarify this is an American band from Olympia, Washington, formed in 1989 (hereinafter “Earth 3”). 

There was a British band called Earth in the late ‘60s – or rather, two such bands.  What I’ll call “Earth 2” was a band from Birmingham, England – Ozzy Osbourne, Tony Iommi, Geezer Butler, and Bill Ward.  They had to change their name to Black Sabbath due to another band called Earth (hereinafter “Earth 1”).  While Earth 2 released 9 albums with Ozzy Osbourne, 4 with Ronnie James Dio (5 if you count The Devil You Know), 5 with Tony Martin, and one each with Ian Gillan and Glenn Hughes, the original band which caused them to change their name only managed to release two singles, “Everybody Sing The Song”/Stranger of Fortune” in April 1969, and “Resurrection City”/”Comical Man” in December 1969, i.e. a total of four songs and no albums.  Guitarist Glenn Campbell (not the American musician often associated with the Beach Boys) disbanded Earth and founded Juicy Lucy, which put out five albums from 1969 to 1972, and four more from 1995-2006.  At an early stage they had Micky Moody, better known as guitarist with Bernie Marsden in the earlier, blues-oriented incarnation of Whitesnake.  I listened to the first Juicy Lucy album, and it sounded pretty much like all other blues-based bands of that era.

ANYHOW.

Earth 3 is mainly Dylan Carlson (guitar) and Adrienne Davies (drums).  Carlson actually took the name from the E1/E2 Earth bands, neither of which were still active in 1989 when he founded his own band.  I saw him play as a solo artist opening for Sleep at the new 930 Club in DC in 2018, then with Earth at the Ottobar in 2019 – so I can say I saw both Earth and Earthless at the Ottobar, albeit on different dates. 

By now they have 9 albums:  Earth 2: Special Low-Frequency Version (1993); Phase 3: Thrones and Dominions (1995); Pentastar: In the Style of Demons (1996), Hex: Or Printing in the Infernal Method (2005); The Bees Made Honey in the Lion’s Skull (2008); Angels of Darkness, Demons of Light I (2011); Angels of Darkness, Demons of Light II (2012); Primitive and Deadly (2014); and Full upon Her Burning Lips (2019). 

Whereas Earthless are nonstop guitar solos, Earth do the opposite:  each song picks a specific musical phrase, and repeats it over and over again without lyrics, although often with some interlude/solo in between to break up what would otherwise be the same riff simply repeated over and over again.  Like Earthless it’s a fairly raw and primitive version of hard rock music with negligible commercial appeal.  Supposedly the band was co-headliner with Iceage (more of a pop band and NOT a stoner rock band) but Earth’s set was only an hour, somewhat more than an opening act and 30 minutes short of a full set of a headliner.  However, the songs are much shorter than Earthless’ – which average out at 20-40 minutes each.   Live, they had another redneck looking guy playing guitar and bass pedals in his socks, which amplified the sound somewhat. 

Strangely, Carlson knew Kurt Cobain quite well – maybe too well.  But that is another story….

Live Stream!!!

 

This weekend my writer’s block was cured, but on Saturday, meaning I missed my (self-imposed) Friday deadline.  As before, I remain incredulous that my weekly ramblings suffice to engender anyone else’s attention, but since they do, I’m happy to continue, to the extent I can come up with anything remotely worth discussing.

By now we’re all painfully aware of the COVID crisis and how it has made a major impact in our lives.  For those of us who enjoy live music, that’s been even worse.

2020 Shows.  2019 was capped off with Clutch’s late December show at the 9:30 Club in DC.  2020 was ushered in by Church of Misery, a Japanese stoner rock band, at the Rock’n’Roll Hotel in DC – up there on U Street, a few blocks due east of Union Station.  Next up was UFO – the British band famous for Michael Schenker, “Doctor Doctor” and ‘Rock Bottom” – who I enjoyed at the Tally Ho in Leesburg, Virginia, with my brother, Matt.  Then was Opeth (as mentioned last week), at the Fillmore Silver Spring, in Silver Spring, Maryland, also with Matt – and it was his first Opeth show.  Finally OM – Sleep bassist Al Cisneros’ side band, very much drone-y like SunnO))) – at the Black Cat, right on Fourteenth Street in DC.   

Then the manure hit the oscillating climate control device.

Here are the shows we had tickets to see, and which were cancelled due to the COVID shitshow. 

TOOL, 4/24/20 at Royal Farms Arena in Baltimore, Maryland.

Fu Manchu, 5/6/20 at the Baltimore Soundstage in Baltimore, Maryland. 

King Buffalo, 6/27/20 at the Metro Gallery in Baltimore, Maryland.

King Crimson, 6/30/20 at Wolf Trap, Vienna, Virginia. 

Guns N’Roses, 7/16/20 at Nationals Park in DC.

All Them Witches (ATW), 7/22/20 at the Otto Bar in Baltimore, Maryland.

Roger Waters, 7/30/20, at the Capital One Arena in Washington, DC

Dead & Company, 8/5/20 at Jiffy Lube Live in Bristow, Virginia – with my former boss, Jerry, who hadn’t seen the Dead since …maybe before 1986. 

Judas Priest, 9/9/20 at the MGM Grand in Oxon Hill, Maryland.

Elder, 11/13/20 at the Richmond Music Hall down in Richmond, Virginia.

As you can see, it was some pretty big shows.  Fortunately Bobby Weir, Fripp, Maynard, Halford, Waters, Axl & Slash, are all still alive – Maynard surviving COVID – so hopefully those shows will be back online in 2021 after we get a vaccine that works.  My concern is that if the virus mutates to make the vaccine ineffective, and continues to mutate, we may be looking at a scenario where COVID is effectively permanent.  But let’s hope and pray that this vaccine gets the job done.

Fortunately, despite all this, some bands realized that this Internet thing could let them play a live show and stream it online.  And yes, that has happened.  Here are the live streaming shows I’ve seen so far:

Clutch, 5/27/2020.  Their first live streaming show, called “Doom Saloon”.  An hour, well done.  From Maryland, this band is mostly straightforward rock’n’roll, though the lyrics are somewhat offbeat, and bassist Dan Maines gives a bit a funk step, mixing it up a bit.  Moreover, the band has kept the same lineup all this time:  singer Neil Fallon, guitarist Tim Sult, and drummer Jean-Paul Galter.  If you haven’t heard them already, by all means check them out on Spotify. 

Clutch, 8/7/2020.  Their second show, called “Doom Saloon 2”.  They solicited proposed setlists from the fans and picked one to do.  This setlist had a fair amount of deep cuts.  They also sold T-shirts and recorded the show onto vinyl.

DOWN, 8/29/20.  This is the “supergroup” with Pantera’s Phil Anselmo on vocals, Corrosion of Conformity’s Pepper Keenan on guitar, Crowbar’s Kirk Windstein on guitar, and Pantera’s Rex Brown on bass.  I think the drummer was from Crowbar.  They played their first album, NOLA, in its entirety.  Despite liking DOWN and having all three studio albums, both EPs, and their live album, I had somehow never managed to see them in concert – until now.  They sold t-shirts of the event. 

Crowbar and the Obsessed, 10/3/20.  Crowbar is a thrash band from New Orleans, and the Obsessed features Maryland’s own stoner doom god, Scott “Wino” Weinrich.  This time around he was doing an acoustic set.  Of all these shows, this was my last favorite.

Earthless, 10/17 and 10/24/20.   This is another psychedelic band that does long, extended jams.  Both shows were fine, with different setlists.

Alice in Chains.  On 12/1/20 the Museum of Pop in Seattle, Washington, saw fit to pay tribute to the Seattle grunge band and its late singer, Layne Staley, with a free tribute show of various bands, including Metallica and Mastodon.  The material also covered some later Duvall-era tracks.  The performances were live and streamed in from various sources, all four members of Metallica performing "Would" from separate locations.  

Clutch, 12/18/20.   “Doom Saloon 3”.  Nominally this was supposed to start at 8, but from 8 to 9 what we got was the guys reminiscing over footage of them opening for other bands back in the day, and drummer Jean-Paul Gaster giving us a tour of their home base somewhere in Maryland.  Wagon wheel chandeliers will be sold out now, thanks to him.  The set itself was culled from the most requested songs in all those fan-profferred setlists which weren’t chosen for Doom Saloon 2.   This elicited some displeasure at the absence of deep cuts and obscure tunes, as if the band has some duty to play these songs to the exclusion of fan favorites just so the Old Guard can smugly remark that they recognize tracks which the main base of fans don’t.   Yes, that means don’t hold your breath to hear “Binge & Purge”. 

All Them Witches, 12/19, 2 p.m. and 9 p.m.  The two sets were different, but not completely so – about 70% of the material was the same, 30% different.  The combo pack includes a t-shirt, but no actual recording.  ATW do a good job of mixing TOOL and the Grateful Dead, if you can imagine that.  They don’t sound like anyone else, itself a miracle these days.  They’re from Nashville, Tennessee. 

in January there will be a full series of concerts out in the Mohave Desert:  Earthless (1/23), Nebula (2/6), Spirit Mother (2/20), Mountain Tamer (3/6), and Stoner (how’s that for subtle?) a band put together by none other than Brant Bjork and Nick Oliveri.  We’ll see how that goes.  

Benefits.   Most of us prefer live shows, in person, but these live streaming shows do have some major advantages over shows on location.

Logistics.  No driving to DC, Baltimore, or wherever, trying to find parking, then driving back at 1 a.m.  Just turn on your computer and watch (assuming you have an Internet connection); so far all seemed to fit well within my bandwidth.  From the privacy of your own home, you can attend the show wearing as much or as little as you like, and as inebriated or otherwise chemically altered as you see fit, without the issue of how you’re supposed to get home in that condition.  When the show is over, just crash in bed – if that’s your inclination.

No Crowds.  No moshing.  None of this BS where the tallest guy in the club decides to stand front center and block everyone else’s view.  No asshole screaming at Phil Mogg to play “ROCK BOTTOM!!!” through the entire set.  And I’ve yet to see a live stream show sell out.  Mind you, as you can see above, the big shows which would have been at arenas and stadiums haven’t made their way to streaming.

Recordings.  As yet, only Clutch seems to be actually recording these shows, though only on vinyl.  Metallica and Dead & Company are the two current bands (along with Phish and Widespread Panic) who seem to be recording all their latest shows – not just one per tour – and making them available on MP3 or CD. 

If you haven’t already, I would strongly recommend determining which, if any, of your favorite bands have gotten the memo and are live streaming upcoming shows.  Not really a substitute for real shows, but better than spending an hour to ninety minutes surfing Amazon or Facebook. 

The Sword and Witchcraft

I’ve been trying to get my brother – who mostly shares my taste in music and is my most consistent concert companion - into stoner rock, but he’s been reluctant and indifferent.  Recently he articulated his major beef:  “all the bands sound like they’re ripping off Black Sabbath.  If I wanted to listen to Black Sabbath, I’d listen to Black Sabbath.”  Fair enough dispute, though after having listened to Pentagram and sHeavy, plus Witchcraft & The Sword, adding in some Obsessed, I’d say the more accurate critique would not be that they all sound like Black Sabbath, rather that they all sound like each other.

http://thehardtimes.net/news/innovative-stoner-metal-album-blends-influences-black-sabbath-black-sabbath/

Funny enough, let’s talk about Witchcraft.  They’re from Sweden, of all places, so add them to ABBA and Ace of Base, then add in Opeth and Ghost BC.   Supposedly they started as a de facto Pentagram tribute band, which are for their part Washington DC’s answer to – drum roll, please  - Black Sabbath.   I can hear that.  But I hear enough other stuff thrown in that it becomes a bit different.  Still heavy, still droning, still riffing, but different.   Why?  Because vocalist Magnus Pelander, instead of copying Ozzy Osbourne, as sHeavy vocalist Steve Hennessy does (while looking like early-era Whitesnake David Coverdale) – mind you, Hennessy is the only one who comes close to getting Ozzy’s voice down - or even copying Pentagram vocalist Bobby Liebling – who looks more like a long-haired Marty Friedman than Ozzy Osbourne – he’s actually copying The Sword vocalist John Cronise.   See?  Mixing it up by copying each other instead of Ozzy, Tony, Geezer or Bill.  

For that matter, I’ve yet to hear a stoner rock vocalist who sounds anything like Ronnie James Dio.  Then again, Hennessy is the only stoner rock vocalist I’ve heard who sounds like Ozzy.  But sHeavy sounds so much like Ozzy-era Sabbath that many of us thought their early track “Electric Sleep” was a long-lost Sabbath song.  Listen to it yourself and decide.

 

Incidentally, Pentagram won’t be touring much anymore these days, as Liebling is going to prison for beating up his mom.  Yeah.  Liebling has been a heroin addict for a while, but like most addicts swerves from periods of relatively clean stability where he has his s**t together, to other times when he’s more of a colossal screwup.  It’s sad because musically the albums, including the most recent, Curious Volume, are actually pretty good.  In fact, you’d never know what a colossal screwup Liebling was by his music.  They’ve been around since the early 70s, but attempts during that decade to get a record deal went south on two major occasions:  he turned off Gene Simmons & Paul Stanley (KISS, you know), and then Sandy Pearlman and Murray Krugman (Blue Oyster Cult, you know).  It wasn’t until the 1980s that Pentagram finally released an album.   I managed to catch them live at American University and then the Baltimore Soundstage, both times headlining.  Anyhow.

Back to Witchcraft.  They have five albums, Witchcraft, Firewood, The Alchemist, Legend, and Nucleus.   All of them are pretty much the same, of equal quality as well as sound, with no major departures.  There’s some softer interludes and change-ups which break the monotony, so you can listen to an entire album without getting bored – though a five album marathon might be pushing it.  I haven’t been able to see them live yet.  They’re from Sweden.  They need to ask Papa or Mikael Akerfeldt who does their visas, as neither Ghost nor Opeth seem to have any trouble getting into the US to tour. 

Having absorbed their repertoire with much appreciation and satisfaction, I’m now swerving back to The Sword, who are from Austin, Texas.  Although I’ve yet to catch Witchcraft in concert, I’ve been lucky enough to see The Sword a few times:  the (new) 9:30 Club in DC in 2010, opening for Kyuss Lives at the Ram’s Head Live in Baltimore (2011), headlining the R’N’Roll Hotel in DC in 2015, then opening for Opeth at the Fillmore Silver Spring in 2016.  Not particularly energetic or exciting live, though: more of a band that just comes out and plays their music.  Now they have six albums, plus a live album:  Age of Winters (2006), Gods of the Earth (2008), Warp Riders (2010), Apocryphon (2012), High Country (2015), and an acoustic version of that album, Low Country (2016).  The Sword are somewhat faster than Witchcraft, but share this deal where every album sounds pretty much the same, making a multiple disc marathon somewhat dull. 

Song Length.  Black Sabbath songs are relatively short, with “The Warning” from the first album being the longest studio track and the extended “Wicked World” from Live At Last being the longest live track.  Witchcraft have several 10-15 minute songs.  The Sword songs are about 5-7 minutes long.  And The Obsessed scarcely tax your patience, with songs which are 3-5 minutes long, fairly brief and intense.   Though if Wino’s on it, be it The Obsessed, Saint Vitus, or Spirit Caravan, we’re talking some measure of doom involved.

Then you have Earthless.  They’re coming around on tour next spring, so I decided to listen to them again to determine if I wanted to see them for the first time in concert.  I only have two of their albums, the split with Harsh Toke and Rhythms From a Cosmic Sky.  Here we’re talking 15 minute instrumental jams.  But it’s not mellow and laid back like the Grateful Dead or the Allman Brothers, rather it’s intense soloing like Deep Purple’s “Child In Time” or Lynyrd Skynyrd’s “Free Bird”.  You kind of have to be in the mood for that kind of thing.  But it’s clearly different than Black Sabbath.

Even bands which sound like each other, like Fu Manchu and Nebula (thanks to Eddie Glass, a common member), there’s subtle distinctions.  FM are more straight ahead and even somewhat punk oriented, with shorter songs and subject matter about skateboarding or vans, whereas Nebula have longer songs and are space-oriented.  Bottom line is that you have to have the patience and inclination to really listen to the music before you can begin to distinguish them from each other – and from Black Sabbath – but the differences are there.  Black Sabbath obviously serves as the starting point, but each of these bands take slightly different directions.   For some, Pink Floyd is the opposite end they’re going for; for others it’s the Misfits or Ramones.

As for the overall resemblance to Black Sabbath?  As it is, they have 9 studio albums with Ozzy Osbourne, three with Dio + the Heaven & Hell album (The Devil You Know), 5 with Tony Martin, and one each from Ian Gillan and Glenn Hughes.  Is that really enough?