The Afghan Whigs – Tickets – 9:30 Club – Washington, DC – October 1st, 2014

The Afghan Whigs

The Afghan Whigs

Joseph Arthur

Wed 10/1/14

Doors: 7:00 pm

The Afghan Whigs - (Set time: 9:30 PM)
The Afghan Whigs


"Do to the Beast" is the first new album by The Afghan Whigs in over a decade and a half. Founded in Cincinnati, Ohio, in 1988, the band has long stood out from its peers, with their savage, rapturous blend of hard rock, classic soul, and frontman Greg Dulli's searing obsessions. The new album serves as both a homecoming -- it marks their return to Sub Pop, for whom the Whigs were the first signing from outside the label's Northwest base -- and a glimpse into the future of one of the most acclaimed bands of the past thirty years.

"Do to the Beast" proves an appropriately feral title for one of the most intense, cathartic records of Dulli's entire career -- one that adds fresh twists to The Afghan Whigs canon. On it, one finds the film noir storytelling of "Black Love," the exuberance of "1965," the brutal introspection of "Gentlemen," but rendered with a galvanized musical spirit and rhythmic heft that suggests transcendence and hope amidst the bloodletting. "A lot of records I've done stemmed from epochal experiences in my life -- and this time I've used them all," Dulli says. "These new songs are very visual to me. They come from the neighborhoods of my mind. It's like 'Rashomon,' with the story told from different points of memory."

"Do to the Beast" was created in L.A., New Orleans, Cincinnati, and Joshua Tree -- a virtual map of the band's past and present homes. "The album was named in Cincinnati, which is especially fitting," Dulli notes. "I was recording a beatbox track for the song 'Matamoros,' and my friend Manuel Agnelli (of Italian rock band Afterhours) was in the control room. After I finished, he said it sounded like I was singing 'Do to the beast what you do to the bush.' And I thought, 'Brother, you just named the record.'"

"Do to the Beast" features Dulli and Curley joined by the Whigs' current core players -- guitarists Dave Rosser and Jon Skibic, multi-instrumentalist Rick Nelson, and drummer Cully Symington. While original Whigs guitarist Rick McCollum does not appear on the record, a panoply of notable personages from the group's past and present make memorable cameos: soul maverick Van Hunt, Mark McGuire (Emeralds), Usher's musical director Johnny "Natural" Najera, Alain Johannes (Queens of the Stone Age, Arctic Monkeys), Clay Tarver (Bullet LaVolta, Chavez), Dave Catching (QOTSA, Eagles of Death Metal), Patrick Keeler (Raconteurs, Greenhornes), Ben Daughtrey (Squirrel Bait), Joseph Arthur, and a host of others. For Dulli, these outside collaborators add crucial dimension. "Someone like Alain is a great texturalist," Dulli says. "He and Mark McGuire create these, womblike tapestries and nuances. And Johnny Natural blew our minds when we played with him and Usher at South By Southwest. They were all instructed to play guitar not as guitar, but to create a supernatural sound -- and each one of them ran with that."

Likewise, "It Kills" contrasts its lush Gamble and Huff-style orchestration with Van Hunt unleashing a passionate virtuoso howl -- transforming the song in the process. "We'd brought Van Hunt on tour with the Whigs, and began duetting on his song 'Mean Sleep' together every night.," Dulli notes. "He'd do this scream live that he didn't do on the recording; and I thought to myself, 'Wow, he sounds like Bobby Womack!' When I wrote 'It Kills,' I wanted another voice on it, like a Greek chorus, so I called Van. I said, "Do whatever you like, just try not to use actual words -- and if you can do that Bobby Womack thing, do that, too!"

Indeed, "Do to the Beast" takes The Afghan Whigs to previously uncharted zones. That's clear from the Lennonesque primal screaming announcing album opener "Parked Outside" -- one of the hardest-rocking Whigs songs ever, propelled by a pile-driving riff that would make Malcolm Young envious. First single "Algiers," meanwhile, hotwires a pounding "Be My Baby" drumbeat with spaghetti-western atmospherics. Elsewhere, "Matamoros" -- named after a town in Mexico cursed by a series of Satanic murders -- finds Dulli at his most psychosexually sinister: over its relentless, Zeppelin-meets-disco groove, he coolly threatens to expose "every little crime that you hide."

Such themes of duality, viscera, and love destroyed echo throughout tracks that dynamically flow in and out of each other -- from ambitious revenge fantasy "These Sticks" to album centerpiece "Lost in the Woods." Here, Dulli imagines himself on his deathbed in an especially haunting lyric, set to a swinging melody evoking Duke Ellington and Cab Calloway. "That song resonates the most with me," he says. "It reminds me of my childhood; sitting in the back of my parents' Bonneville hearing 'You're My Best Friend' by Queen on AM radio. I played a distorted Wurlitzer at the end to capture that feeling; I did a lot of little personal homages like that throughout this record."

That there's even a new Afghan Whigs release at all comes as something of a surprise, even to its members. After the band initially split in 2001, Dulli went on to considerable notoriety with his bands The Twilight Singers and The Gutter Twins (the latter an ongoing collaboration with close friend Mark Lanegan). While Whigs songs would pop up occasionally in his sets, Dulli didn't fully engage that material again until a solo acoustic tour in 2010, which Curley joined for a few dates. The Afghan Whigs subsequently reunited for a successful 2012 tour that found them headlining major festivals like Lollapalooza, curating their own All Tomorrow's Parties gathering, and selling out prestigious venues throughout the U.S., Europe, and Southern Hemisphere. But once the tour was over, so, apparently, were the Whigs. "We played a final New Year's Eve show in Cincinnati," Dulli recalls. "And I assumed we were done. We'd completed the cycle."

That wasn't actually the case, however. The Afghan Whigs were unexpectedly brought back into the ring by The Fader, which had arranged for them to play a surprise collaborative set with R&B superstar Usher at 2013's SXSW conference. "That moment crystallized the possibility that we'd record together again," Curley says. "Soon after, Greg began compiling the ideas he'd kept in his pocket that he felt were distinctly Whigs songs."

Reunited anew, The Afghan Whigs will tour worldwide in support of "Do to the Beast" -- kicking off an extensive jaunt with a performance at Coachella 2014 in April. "It feels like a celebration, and the start of something new," Curley says. "Something that's exhilarating and scary at the same time."
Joseph Arthur - (Set time: 8:15 PM)
Joseph Arthur
When Lou Reed friend Bill Bentley, now working as an A&R director for Vanguard Records, read Joseph Arthur’s moving eulogy in American Songwriter magazine, he approached him to record an album of Lou Reed songs. “Bill told me, ‘Don’t overthink it,’” says Joseph. Arthur set himself up in his Brooklyn studio last December and proceeded to cut twelve of his favorites—using only acoustic guitar and bass, piano and vocals. “The only way I know to give new life to something as rich with life as Lou’s songs and recordings is to go about them in a completely different way. No drums or electricity.”

By stripping these songs down to their essence, Arthur allows us to hear Reed’s music and especially his lyrics, with brand-new ears, from the well-known (“Walk on the Wild Side,” “Heroin,” “Pale Blue Eyes,” “Satellite of Love” and the first song he attempted, “Coney Island Baby”) to the more obscure (Magic and Loss’ “Sword of Damocles,” Set the Twilight Reeling’s “NYC Man,” Lou Reed’s “Wild Child” and “Stephanie Says,” later reworked as Berlin’s “Caroline Says”).

“I put my soul into this record,” says Arthur. “It was like getting to hang out with Lou again, being inside his head.”

Indeed, Lou lets you listen to these songs as if you’ve never heard them before. “I only wish he was alive to have heard them,” says Arthur, who wrote in his remembrance, “I’m trying not to focus on the fact that I had him in my life; that I loved him, and he loved me, and not think about the lost opportunity to see him again. We can’t cross over and we can’t come back and those that go before us become one with the mystery of everything. Lou was always of that mystery.”

Lou Reed was not only one of Joseph Arthur’s musical inspirations, he was a good friend, and that “Family Love,” as the singer/songwriter/painter/designer describes the pair’s relationship, can be heard in Lou, his simultaneous eulogy and tribute to the man’s life. Reed was on hand at New York’s Club Fez back in 1996 when Arthur performed a live audition for Peter Gabriel, which earned him his initial deal as the first American artist signed to Gabriel’s Real World label. Afterward, the two went out to eat ice cream, and found themselves sitting next to Dolly Parton.

“He was always just true to himself and what he was,” admired Arthur, whose liner notes for the album states, despite his punk reputation, “Lou was lovable… Everyone I knew loved him, whether they knew him or not.”

Lou offers a glimpse behind the curtain, both homage and a way to breathe new life into Reed’s remarkably deep, but consistent, catalog for future generations to come. Lou works as a cohesive whole, even though the individual songs come from all periods in Reed’s career, from the Velvet Underground to his solo output.

The Akron, Ohio-born Arthur was a jazz fusion bassist when he first discovered the Velvet Underground in his late teens (“It was the perfect timing,” he recalls, since he had only begun singing himself), and forged an impressive solo career that began with 1997’s Big City Secrets, as the first American signed to Peter Gabriel’s Real World label, later joining Gabriel’s WOMAD tour in Europe. Two years later, the EP Vacancy, with an album cover he created and designed himself—as he did with most of his releases—earned a 2000 Grammy nomination for Best Recording Package.

Arthur released his sophomore album, Come to Where I’m From, produced by T Bone Burnett and Tchad Blake, in 2000, his last album for Real World before putting out the double album Redemption’s Son on Universal Music Group’s Enjoy Records in 2002. He followed with Our Shadows Will Remain on Vector Recordings, making the album in New Orleans, New York City, London and Prague, with string arrangements provided by the City of Prague Philharmonic. In 2006, Arthur started his own label, Lonely Astronaut Records, releasing a visual collection of his artworks in a book titled We Almost Made It, along with his fifth studio album, The Invisible Parade, recorded in Berlin and Los Angeles. His song, “In the Sun,” was covered by R.E.M.’s Michael Stipe and Coldplay’s Chris Martin for a digital Hurricane Katrina EP sold on iTunes, which included six different versions, one a remix by Justin Timberlake. A sixth album, Let’s Just Be, came out in 2007, followed by Temporary People in 2008, both recorded with his back-up band the Lonely Astronauts.

Arthur was also a member of two super groups, including Fistful of Mercy with Ben Harper and Dhani Harrison, releasing the album As I Call You Down in 2010, also collaborating with Pearl Jam’s Jeff Ament in the band RNDM. He released three solo albums over the past three years: The Graduation Ceremony, The double-CD Redemption City and last year’s The Ballad of Boogie Christ, which he successfully financed through online crowd-funding site, Pledge Music.
Venue Information:
9:30 Club
815 V St. NW
Washington, DC, 20001
http://930.com