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Maybe I’ve been to too many death metal shows.

Maybe I’ve been too funked by to much funk.

But when I see a band completely killing it, throwing their all into their music, the sound actually moving, I need to move myself.

More salsa!

That’s why I was completely flummoxed to see the four guys in Baroness exude more energy than the entire crowd at last night’s Clutch / Baroness show at the Regency Ballroom in San Francisco.

Granted, Baroness’ brand of progressive stoner metal (a bit of an oxymoron, yes) isn’t geared toward the uninitiated. Their syncopated grooves, shifting hits of time signature, and hoarse bellows from the more scenic areas of the underworld aren’t exactly crafted for your average rock and roll booze hound.

But it was still a shock to barely see any movement in the crowd for John Dyer Baizley’s poppy scented rock band, considering that Clutch’s terminally obsessed fans came out that night for big guitars, loud drums, and big balled howling.

Which, to be sure, Clutch later brought in spades. From the two vintage Marshall half stacks on the guitar side, to the giant kick drums and massive groove of Jean-Paul Gaster’s drum kit, Clutch screamed rock and roll, and the crowd adored their no nonsense jam.

I, on the other hand, need a bit of nonsense to keep my attention, which Clutch soon didn’t. I couldn’t help but thinking that if I owned my own bar, Clutch would be my perfect Saturday night house band. Or at least a good chunk of my jukebox would slosh in the beer soaked grooves they were throwing at the crowd.

But I’ve always had trouble sitting down to listen to a Clutch album. As good a singer as Neil Fallon is (and he most certainly is a fantastic wordsmith and howler), very rarely does he actually sing a real melody. And as good as a riff monster Tim Sult is (and he most certainly is a riff monster), he rarely plays anything that really piques my interest. He’s not a Tony or a Jimmy; he lays down a fat groove, but he doesn’t do it with the soul burning fire that a rock band this capable, this potent, should be secreting from every pore.

The mighty Baroness however, perhaps with that essential intensity of a young, talented upstart, threw out their all and probably won some new fans. But it’s going to take a little dulling of their musical razor if they want to really win over Clutch’s sycophantic obsessives.

Hopefully there’ll be an open bar at the next Clutch show.

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Yes, I’ve already written a little dP blast about the Ozric Tentacles, and for good measure.  They’ve been consistently swirly for over 25 years now, and eternally fueled by hallucinogenic globs of mind stuff, will probably keep up their long trip for years to come.

Last night was their second show of their newest tour in support of The Yum Yum Tree, and while the crowd was notably sparser than their last stays in San Francisco, it was nonetheless a joyful one.  An encore was demanded by the crowd with a furor I haven’t heard in years.

Yeah, it's a little like that

While the band is led by the “man, the myth,” Ed Wynne, it is really Ed’s wife Brandi Wynne who, in managing the low end and sound spirals, is the head honcho (in poncho).  Her exuberant grins when the music spirals into infinity, and her jubilant jumping when drummer Ollie Seagle is on a roll (which he was at many times last night), fuel the fire and keep the music beaming.

Though it is still Ed that keeps the music ablaze.  With his unlabeled Marshall stack pointed directly at him, and his litany of keythings to his side, he is an unabashed musical control center, guiding his band through colors unimaginable, into worlds unknown.  The bits between the bits, indeed.

This is psychedelic, hallucinogenic music.  While the experience is certainly enhanced by the consumption of leafy greens, smelly fruits, or a chemical supplement, the music essentially provides this itself.  A great deal of audience members had their eyes closed and their heads tilted back while the Ozric Tentacles shredded their heads away.

dope

Many bands combine dub, electronic, techno, trance and psych (Younger Brother, EOTO, Shpongle, to name a few), but the Ozrics have always had the wild card of Ed Wynne’s complete mastery over the electric guitar.  Had Frank Zappa actually done drugs, he would have very likely come up with something like the Ozric Tentacles.  You can see the same smile of Ed’s face when everything is going to plan as Zappa had when his band was on a roll and it was time to take a blast into solo land.

I do need to point out one hilarious moment of the gig.  After snapping a string on his Ibanez JEM, he had to replace it for his trusty Artist at one point in the night.  However, later in the set, he went to pick up his guitar for the next song, and grabbing the JEM, forgetting what had happened.  It took about 20 seconds and a knowing glance from his wife before he noticed the guitar was crippled.  It was a hilarious moment for all, but just goes to show you that a quarter decade of living in the ether can take it’s toll.

This current group of the family Wynne and friends is certainly a psychdelic squad of the swirly, and, even after 26 albums, has no end in sight.  I raise a glass of soma, and toast the 25 anniversary of the Ozrics!

The Ozric Tentacles new album, The Yum Yum Tree, is now available.

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Download: Rodriguez – “Heikki’s Suburbia Bus Tour” (mp3)

Resurrected 60’s icon Rodriguez has announced tour dates for his 2009 tour, and it’s not to be missed by anyone into classic psychedelic folk (and you do own Forever Changes, don’t you?).

Someone lost a shoe.

For those not in the know, Sixto Diaz Rodriguez put out his record Cold Fact in 1969 to complete commercial failure.  Imagine his surprise in 1998 finding out that Cold Fact had become a huge hit in South Africa, Australia, Zimbabwe and in New Zealand.  Rodriguez had become an icon of psychedelic folk rock all over the world, and had unwittingly formed a loyal fan base that enacted an internet campaign, “The Great Rodriguez Hunt” to track him down in 1997.

Last year, Light In The Attic Records reissued Cold Fact to fan and critical acclaim (imagine that, critics changing their tune), and Rodriguez had returned.  Light In The Attic is now working on reissuing also ignored followup, Coming From Reality, and as such, a new tour has been announced.

Check it.

• Fri, Apr 10- High Noon Saloon- Madison, WI
• Fri, Apr 24- Beachland Ballroom- Cleveland, OH
• Fri, May 08- Schubas Tavern- Chicago, IL
• Sat, May 09- Magic Stick- Detroit, MI
• Wed, May 13- Rock and Roll Hote-l Washington, DC
• Thu, May 14- Johnny Brenda’s- Philadelphia, PA
• Fri, May 15- Bowery Ballroom- New York, NY
• Mon, Jun 22- Richard’s On Richards Cabaret- Vancouver, BC
• Tue, Jun 23- The Triple Door- Seattle, WA
• Wed, Jun 24- Doug Fir Lounge- Portland, OR
• Fri, Jun 26- Slim’s- San Francisco, CA
• Sat, Jun 27- El Rey Theatre- Los Angeles, CA
• Fri, May 29- Paradiso- Amsterdam, Netherlands
• Sat, May 30- Whelans- Dublin, Ireland
• Mon, Jun 1- Nouveau Casino- Paris, France
• Wed, Jun 3- Circolo Degli Artisti- Rome, Italy
• Sat, Jun 6- Barbican- London, UK
• Sun, Jul 12- Les Ardentes Festival- Liege, Belgium

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