glorious

The 'Last Splash'-era Breeders line-up in 2013 is as improbable as sex after marriage.

That's how the quote goes, right?

Right?

Anyways, here we are and here they are, on the final leg of a year-long global tour celebrating an album that clogs up every dollar bin in every remaining record store on said globe. The mere idea would have been absurd just over 12 months ago - frankly, it still kind of is - but if we've learned anything over these past 20 years, it's this: never count Kim Deal out.

So on this third round of shows in New York City over 9 months, KelleyKimJosephineJim(andCarrie) have brought some new tricks. 'Last Splash' - from opening chimes of "New Year" to the final feedback squall of "Roi (Reprise)" - still leads the proceedings and it's still fucking glorious.

It's important not to gloss over this, as the tour has dulled the excitement just a tad. All fifteen songs are here and we still love every note. The start of "New Year" will always send chills down my spine; I will never, ever, EVER tire of "Cannonball" - twenty years worth of listens later it's still a thrill, conventional fan-wisdom that the overplayed hit is no good be damned; "Do You Love Me Now?" with KelleyKimCarrie harmonies melts hearts; "I Just Wanna Get Along" should still be played twice in a row. The two highlights remain, though: "Mad Lucas" is impossibly delicate and gorgeous and mother.fucking. "Roi". Three letters, so simple, so powerful.

Anyways, "Glorious" you say? 'Pod' has come along for the ride this time. "We have another record, it's like 20 minutes long. It's called 'Pod'. We're going to play it."

"Da da da da da da da." I knew it was coming, but nothing could prepare for it actually happening. "Glorious" is just that, and we're off. Eight shows and eleven years later, I finally get "Doe" and it is worth the wait and then some. "Happiness is a Warm Gun" and "Oh!" return from the earlier legs - again, not to understate this as it's the Breeders with Carrie playing "Oh!" - but then we get on to some newbies. I last heard "Hellbound" on the 2002 tour and it's a welcome, rockin' return. I've never heard "When I Was A Painter" live and it's done a little slow, but we'll forgive 'em. "Fortunately Gone" always seems pretty but slight, though "Iris" is a fucking beast tonight: Kim wailing at the top of her lungs and Jo and Kelley making an unholy racket behind her. Honestly it's never been a favorite on the album but tonight it's a massive impact and begins a final run of pure joy.

Next: "Opened". "Opened". "OPENED". There are no words. "Only in 3's" is also a little slow but we'll still forgive 'em. "Lime House" returns from the earlier leg and it's still absolutely wonderful.

And now: motherfucking "Metal Man". It was a totally left-field surprise in 2009, but even seeing it coming 12 songs away tonight it still bowls one over, especially that 15 seconds where it gets all loud and shit.

Did I mention balloons?

They leave again, but come back for one more treat: "Walking With A Killer". Introduced as a new song, it adds fuel to the "new album from this line up coming in 2014" rumor that can easily be written off as fan wishful thinking, but then again maybe not. It is absolutely lovely. 

And then they're gone. As before, they seem as surprised as we are that they can pull this off, and the thank yous and appreciation pours out of them all night. All five linger near the front of the stage before walking off, shaking hands and giving out picks and set lists and handshakes, soaking us in as much as we're soaking them in.

...and I get to do it all again tonight.

The Breeders: LSXX & PodXXIII at Webster Hall, December 19th 2013:

'Last Splash':

New Year / Cannonball / Invisible Man / No Aloha / Roi / Do You Love Me Now? / Flipside / I Just Wanna Get Along / Mad Lucas / Divine Hammer / S.O.S. / Hag / Saints / Drivin' on 9 / Roi (Reprise)

'Pod':

Glorious / Doe / Happiness is a Warm Gun / Oh! / Hellbound / When I Was A Painter / Fortunately Gone / Iris / Opened / Only in 3's / Lime House / Metal Man

Encore:

Walking With A Killer

we have come for light

"Hi. We're going to play 'Last Splash' for you."

This is what Kim Deal says as she takes the stage of the Bell House in Brookyln last night, as if it's just another gig on just another Friday night.

It is, of course, a very special gig on a very special Friday night. Joining her on stage is the rest of the "classic" line up of the Breeders. Josephine Wiggs to her immediate left and Kelley to hers, Carrie Bradley on Kim's right and Jim MacPherson behind the drums. This is only the second public performance of this line up in almost 18 years - the first being two nights earlier in Kentucky - brought back together to celebrate 20 years of 'Last Splash'. This is a Big - *ahem* - Deal.

Except, in typical Breeders fashion, it's not. The line up that should not exist - between the drugs and the fights and the alcohol and more drugs and more line up changes and losing touch for decades and whatever else they've been through over the years - except somehow it does.

The opening chimes of "New Year" suggest that we're in for a glorified rehearsal - which, if you've seen the band before, is the feeling all of their gigs give, and I mean that in a very good way. It's a bit unsure, Kim's vocals aren't high enough in the mix, and there's a palpable nervousness coming from the stage. However, when the song kicks into high gear a third of the way through, all of that is gone and they are fucking KILLING it and the audience is eating it up, shouting along to each and every word. The song ends and we erupt into a cheer usually saved for after the Big Single - which we all know is coming next - but we can't help ourselves. We're actually here, actually seeing the Breeders actually play 'Last Splash' start to finish - and, it must be said, doing better than they ever did the first time around.

And it continues. Say what you will about overexposure or whatever - and I've gone over that before - but "Cannonball" still SLAYS and is an absolute monster with this crowd. Next up, "Invisible Man", at which point my friend Steve leans over to me and says: "Holy shit, I can't believe they're actually playing it start to finish." But oh yes, they are.

"Invisible Man" is noticeably slower than on album - it wasn't exactly a set regular back in the day so probably required a bit more re-learning than some of the others on the album - but it's still amazing to hear. They've even brought the chimes for the end except Jim misses his cue, causing Kim to tell us the first of many stories of the night about how they brought these chimes all the way from San Francisco so Jim could do the interlude and he missed it so let's give him another chance. He takes a dramatic swoop of the chimes and the room explodes. Yes, they have us eating out of the palm of their hands and we know it, but no one cares. We still can't believe we're actually seeing this.

"No Aloha" is next and it may as well be "Cannonball" again with the massive reception it gets. And now, my moment - "Roi". It does. not. disappoint. 

But wait. We notice Josephine is getting behind the kit and Jim has a bass strapped on. What's going on? "Josephine plays drums on the record for this so she has to tonight." I feel like somewhere I knew that but had forgotten it over the years, but it's a total treat to watch Jim out from behind the kit play the bass for "Roi". There's also a story about a mini-Moog that didn't travel well and how Jim is now playing the replacement "mini-Moog" - in quotes, I think suggesting the bass is being processed to sound like one? I'm not really sure what was going on. Oh, and Carrie is playing violin again on this one, doing the chug chug parts at the end of the song on it. Yes. It works. Kelley is thrashing her guitar like a madwoman and I'm in heaven. "Roi" has always been #1 on my wishlist for a Breeders show, and now I've gotten it and it alone is worth the ticket price.

"OK, OK. 'If I saw..'" (hysterical laughter). Whoops, they messed up the beginning of "Do You Love Me Now?" No one cares. There's a lot of onstage discussion to get the cues right, and when they do they nail it. 

"This is the last song on the first side. It's called 'Flipside'." (giggles) It's a bit slow - which is odd, because during the 2002 tour it felt like they were trying to play it as fast as they possibly could just to see if they could do it. Slightly disappointing, but hardly soul crushing.

"Kelley sings this one." Yes. Yes. YES. Another obvious crowd favorite, "I Just Wanna Get Along" come and goes too quickly. 

Next, the moment of truth - what are they going to do with "Mad Lucas"? On record it's all about the texture and atmosphere - and, let's be honest, a bit slow and go-nowhere for a live set - and friend Nick and I had had lengthy discussion about how we were very, very curious to see how it translates live. (Had they ever done it before this tour? I don't think they had.) 

No worries, though - it is fucking GORGEOUS. Carrie played a CRAZY violin to do that scraggling guitar line that goes through the whole song, and the whole thing is just a thing of beauty. It also gives us the best crowd interaction of the night, when halfway through and everything drops out but Josephine's bass for a solid 20 seconds, part of the crowd starts to hoot and holler like the song is over - suggesting that perhaps not everyone there is as intimately familiar with the album as at first suggested - and Josephine shoots a look out into the crowd and gives a hand motion to cut it out, it's not over. Amazingly, it everyone's in a reverential hush for the rest of the song. "Roi" was the one I was waiting for, but "Mad Lucas" was the revelation and possible highlight of the night. Yes, I said it - three cheers for "Mad Lucas". (It does also contain my favorite line of the whole album - "You're a nuisance, and I don't. like. dirt.")

Big Single #2 next - "Divine Hammer", as always, is divine. The second biggest surprise of the night, though, is "S.O.S." which is just a beast. Any hesitation that might have caused them to play "Flipside" a bit slow is gone and this one threatens to get away from them multiple times, but they always manage to hang on. Completely unexpected, but WOW.

Carrie plays some sort of weird interlude/bridge ambient thing on her keyboard as the band get ready for "Hag", the tempo of which suggests that this one is going to be brought down a notch as well. However, Jim clicks in and it's played proper speed and it is wonderful. For the first time of the night, they instantly transition to the next one, and Kelley let's the opening riff of "Saints" fly. The room, of course, explodes once again and it is beyond glorious.

As they're getting ready for the next one, Kelley says something about how the show sold out, like, super fast and thanks us for coming. Someone in the crowd shouts: "THANK YOU FOR DOING THIS" and everyone goes NUTS. There's a definite pause on stage as everyone takes the adoration in. It's a very touching moment and even though it's been apparent all night, it's now very clear that this is a very special tour - a gift from the band to us, but also a gift from us to the band by allowing them the ability to do it.

"Drivin On 9" comes up and we know the end is getting near. It's a bit somber tonight, Kim telling a story about how it was written by a friend of theirs that has passed, and you can see her singing it to him tonight. (Side note: somehow, "Drivin On 9" is one of the only songs they've done each and every time I've seen them.)

And then - oh, yes - "Roi (Reprise)". Josephine and Jim stay on their proper instruments this time and it's only 45 seconds or so, but it is the perfect ending to the set, just as it's a perfect ending to the album. A little wink to the crowd, a little thank you for coming. I really can't put it into words, but it's kind of everything.

They leave, we scream, they come back. Kim talks about the upcoming 'LSXX' reissue and says they're going to play some songs from it.

BAM! "Shocker in Gloomtown"!

BAM! "Head to Toe"! (It's SO nice to hear this one again, having been absent from the sets since 2002. And to hear Josephine KILL that bass line makes it even more of a treat.)

BAM! "Happiness is a Warm Gun"! (OK, not from 'LSXX' but very welcome. Kelley and Kim trade share vocal duties on this one, I forget if they've done that in previous tours.)

BAM! "Safari"!

"We're going to play some songs from 'Pod' now."

BAM! "Lime House"!

"A few more."

BAM! "Oh!" (I've gone on record saying that this is my least favorite Breeders song overall, but it is wonderful tonight.)

"One more."

BAM! "Don't. Call. Home!" I knew it was coming, but it still caught me off guard. A total blast with it's stop/start nature - a chance for the band to play with the crowd one more time. At the end, it's just a wall of sound as Kim shouts: "Don't! Even! WRITE!" and everything just stops.

Except, of course, our love for it. The room explodes one last time as Jim comes out from behind his kit and they take a group bow, soaking it all in. We love them, they love us, and they've just given us a performance for the books.

I'm determined to get a picture with Kelley to pair with my picture with her from 2002, so we watch the room. Jim and Josephine come out first but they're instantly engaged in conversation with people, so I don't want to be rude. As we walk around, I notice Kelley come out on to the stage with her coat and purse to grab another bag from the stage and sneak off behind the curtain, so it's probably not going to happen.

That's OK - Carrie is standing in the doorway. Something I forgot to mention - whenever she wasn't playing on stage, she was dancing along to the band as their biggest fan, and it was a total blast to watch. Steve goes: "I want to tell her how much I loved her dancing." I say: "Do it." He says: "You want to see me? OK." So we go over and he mentions to her how great he thought her dancing and the show was and we get in a bit of a conversation with her about the show. She mentions that the stage was a bit small and she had to hold back a bit, and I say well, the stage at Webster Hall (where they're playing in May) is bigger so she'll have room to really go for it. She says, OK, maybe, and I say well look, the show's on my birthday and I'm super excited to get to spend it with them, so she looks at me and says, OK, for you, I'll really go for it.

*melt*

Here's the thing - on a certain level, there are shows that define you, that feel like they were put on solely for you. Tour packages that you wouldn't dare put together in your wildest dreams because there's no way they could actually happen. For me, this is one of them. Until last night, my favorite show I had ever seen was the Breeders on the 'Title TK' tour in July of 2002 at Lee's Palace in Toronto. Hands down, don't even have to think about it. And while I could never pick an actual favorite Breeders album, 'Last Splash' is certainly the most special to me. So I went in with INSANE expectations for this show, fully expecting to have some of them deflated a little. Somehow, it was even better than I expected. A perfect storm of perfection. I could say: yeah, I wish they had done "Doe" or "Hoverin'" or whatever - and I do wish those things - but there was not a note wrong with anything we did get. Maybe they'll swap some encore stuff out for the main tour, maybe not. 

In any case, if you're even remotely a fan of this band or this record, you *need* to get to one of these shows. No questions. This is a Very Special Tour by a Very Special Band, a Very Special Gift to the fans. You will regret not going, this I promise you.

it's so salty, Jesus!

Sometimes, after a long day that seemingly would. not. end., all you need is Kim Deal screaming at you about giving Jesus head:

Glorious.

The thing about 'Pod' is that it's SUCH a - pardon the term - vagina album. It's so girly and all pink and purply and there are images of fucking clippings of the band member's hair on the inner sleeve. At the same time, there are songs about giving Jesus a blow job and walking abortions and enjoying incestual molestation and the best fucking Beatles cover ever - and that's just on the first side of the record - giving it bigger balls than most male-dominated indie albums of the time. It may be my least favorite Breeders album - solely due to the presence of "Oh!", which is jut not up to par - but it's still a swift kick in the gut and incredibly unique for it's relatively standard guitar/bass/drum structure.

Speaking of, isn't it about time for a new Breeders album/EP/single/tour/SOMETHING? Please?

cool as Kim Deal

We were talking.

Kim Deal is a musical National Treasure - notice the caps? - and deserves to be treated as such. I'm only going to see the Pixies 'Doolittle' show - a reunion which probably shouldn't have happened seven years ago and certainly shouldn't still be going - because She will be there. (Secretly hoping - completely in vain - for a break out Breeders set. The worst Breeders record is better than the best Pixies record - FACT. Not. Open. For. Debate.)

Had I to pick my favorite Breeders record, it probably wouldn't be 'Pod' - solely for the fact that it contains the one Breeders song I could do without, "Oh!". It's just...not great. But. But. BUT! It contains eleven other AMAZEBALLS tracks the richest band would KILL for. "Limehouse". "Hellbound". "Glorious". "Metal Man"! (They did it in 2009 - with Josephine! - and it was ridiculous. Like, you never walk into a show thinking: "gee, I hope I hear "Metal Man" tonight", but you're still beyond glad you got to experience it, because, really, it's "Metal Man".) Motherfucking "Doe". When these make up your "weakest" - and I use the term loosely, and only in the sense that SOMETHING has to be your weakest - album, you're doing pretty damn good.

The "Safari" EP is brilliant even though it includes a Who cover. Yes, it survives that.

Had I to pick my favorite Breeders record, it might be 'Last Splash'. Here's the thing. "Cannonball" is overexposed, overdone and THAT song that they have to play at every show. But - a-ha! - it's still fucking. brilliant. If you're pulse doesn't get racing, your heart doesn't get beating, you don't start sweating with anticipation the second you hear that opening "AWOOO!!", you're dead. I don't care. I have never been to a Breeders show and, when it starts, think: well, I'd rather hear something else. Because I wouldn't. It's. That. Good. Are there Breeders songs I like better? Absolutely. Is it their finest moment? No way. But it has survived 18 years of overexposure and remains one of the most oddball songs to "make it big", if you will, one of the most endearing and consistently AMAZING tracks of the 90's.

And that's one song out of fifteen - ok, fourteen. Every single track here is dripping with genius. Every single one, you get it? Yes, even - and, perhaps, especially - "Mad Lucas". Genius. It's a fact. Don't argue. Gen.ius. "I am the new year." "I don't like dirt." "He's the invisible man." "I just wanna get along." "I like sticky everywhere." Anyone who says it's unfinished/unfocused/too many wasted instrumentals/too many half-songs/whatever-else-they-say-about-it is missing the point. It is genius incarnate. It's possibly the best album ever. (It's not, but it makes a good argument for it.) I'm not usually like this, but if you don't like 'Last Splash' you don't enjoy life either, do you? You're no fun. If I ever get to experience "Roi" live and in the flesh, I might have lived out everything I ever needed to live out. Yes, it's that good, and if you don't think so you're probably wrong, so get over it.

The "Head To Toe" EP is also totally brilliant. The title track is, well, obviously amazeballs, and "Shocker In Gloomtown"! Christ. They did it as the second song on the first show of the 'Mountain Battles' tour and it KILLED. Seriously. Completely unexpected and totally floored the crowd. It's not their song but they made it their. song. "Freed Pig" is pretty good, too.

Had I to pick my favorite Breeders record, it might be 'Pacer'. "But!", you say, "It's not a Breeders record!" In name, perhaps, but in spirit it is totally the proper follow-up to 'Last Splash'. In fact, it's better than 'Last Splash'. (Yeah, I said it.) It's perfect in a way records aren't supposed to be perfect. Pop broken in half and stitched back together again. "Hoverin" makes its argument for the "Best Song In The World", exactly because it is clearly not the best song in the world. Every time I've seen the Breeders they've done at least two songs off this record and they are invariably the highlight of the evening. ("Hoverin" live in 2009 was quite possibly the most amazing thing I've ever witnessed. You probably weren't there so you don't know - if a concert you go to DOESN'T include Kim Deal doing "Hoverin", it's almost not worth going. Jesus. Christ.)

Had I to pick my favorite Breeders record, it probably would be 'Title TK'. Surprised after that crazed rant on 'Last Splash'? Don't be. Knowing full well this could put a price on my head, 'Title TK' is - without doubt - the finest record both Kim Deal AND Steve Albini have ever been involved in. Fact. Don't argue it because you'll lose. It. Is. It's life changing in a way records aren't supposed to be life changing. It's half-baked and the songs probably don't work in the way that Kim herself thinks they do, and that's why it works. Even moreso than 'Last Splash', it is genius incarnate. If this isn't your favorite record in the whole world you're doing it wrong. Listen to the way Kelley "ooohs" and "aahhhs" and basically grunts in the background of "Too Alive". Life. Changing. Genius. Don't argue, I'm right. This is the stuff dreams are made of. 'Title TK' is what we've been waiting for. It's the Rapture. Everything is downhill from here.

I'll repeat: 'Title TK' is the finest record either Kim Deal or Steve Albini have ever been involved in. Come and get me, motherfuckers.

Had I to pick my favorite Breeders record, it might be 'Mountain Battles'. After perfecting sound - which, let's be frank, 'Title TK' did - where do you go? You break it all over again. This bitch here makes 'Title TK' sound like the most-ready-for-Top-40-collection-of-pop-songs ever record. This is some seriously fucked up pop shit. Songs don't do what you think they should, "Bang On" is a TOTAL hot mess - and that's the second song! - there's a song in German and a song in Spanish - neither of which the girls know very well - etc., etc., etc. This is the true sound of pop revolution. There's more underground records - clearly, they have more major label backing - there's harder to wrap your head around records, there are obviously more immediately catchy records, there's records that are clearly better, but at the same time, almost nothing is better than this. It. Is. Sound. It's only fault - ONLY FAULT - is that it's not 'Title TK'.

"Fate To Fatal" - the song - is ridiculous. So good. 'Fate To Fatal' - the EP - is the only non-essential Breeders purchase. The other three tracks on the EP, quite frankly, just aren't that great. Also, I wasn't able to get a handscreened sleeve because Record Store Day is a crock of shit - and I literally got physically shoved out of the way of a rack of records (if it was even in there) so I'm a little bitter - but really, it's the weak link. It makes me a bit sad that it's the last Breeders release we have for now because it's not totally amazing.

Kim. Seriously. Fuck the Pixies. You don't need them. We need more Breeders material ASAP. (Judging from the track record we'll have to wait until 2015 for another LP, but I can be patient. I know it will be worth it.)

(I should write after margaritas more often, but I've been waiting YEARS to get that off my chest.)

we get high on our music

Finding a parking spot on East Carson Street in Pittsburgh on a Saturday evening is not easy, but - after double checking with a friendly police officer in the Starbucks we leave our vehicle in front of - we manage. Only a block from the venue and we take our time. It's only 8:10 and doors were at 7 - accounting for the opening band, we've probably still got a solid half hour until the Breeders take the stage.

However, as we walk up to the doors of Diesel and pull out our IDs, I hear it - "New Year". Fuck, they've started and the bouncer is telling me he won't accept my enhanced New York State drivers license. "Enhanced - what's that all about? We get a lot of these that are fakes down here." Even if it was a fake, do I look like I'm under 21? If so, thanks and get your glasses checked. We finally convince him and get our tickets scanned on the way in just as "New Year" finishes. I round the corner to the stage and am confused - there's Kim and Kelley [looking very slim these days, I might add] and Cheryl From Florida and Jose...but who's that on bass? It's certainly not Mando...is it? No it can't be.

"AWOOOOOO-oooh." "Cannonball" almost immediately - uh-oh, this isn't often early in the set, how much of the show did we miss? All these years and hears later - and there have been plenty of both - it is still a monster of a song and I still love hearing it live thankyouverymuch. By the way, did Kim just call the woman on bass "Josephine"? No way...

"Kelley will sing this next one" so it is, of course, "I Just Wanna Get Along". Score! Missing from the "Mountain Battles" warm up show I saw, it was a very welcome return. Plus, I've a total thing for Kelley. Three 'Last Splash' songs in a row - I'm certainly not complaining, but...odd.

"Ready to start this next one, Josephine?" No fucking way, I heard that wrong. And the next one is....."Do You Love Me Now?" Seriously? Stunning.

The 'Last Splash' run can't go on forever...so we'll break it to visit 'Pod' for a bit. "Happiness Is A Warm Gun", "Iris" and "Fortunately Gone" all follow in quick succession, all awesome. Maybe I didn't miss as much as I thought I did...and what is going on with Josephine/Not Josephine? [There's no way it can be...right?]

She ducks away for a bit and Kelley takes the bass. Hrm, where are we going with this one? A snare drum is brought out from behind the wall of amps. Oh nice, "The She" returns! But wait...Kim usually plays a full set for that one and this is only one drum. Maybe the economy has affected even "The She". Or maybe...

...oh, yes. "Hoverin'". Are you shitting me? In my mind, my dream-Breeders-set-list doesn't even contain it because it seems so impossible to make an appearance, but here it is. And it is, for sure, the highlight of the show and worth entry price alone. "We get high on our music", indeed. I'm gone on this one. 'Title TK' does get a rep next, though, with a crushing "Little Fury". So good.

"Ready?" "Ready." It takes a minute to sink in because it doesn't seem possible, but we're back to 'Pacer' and it's....."I Am Decided". No. Fucking. Way.

Way.

"I can either play bass good, or sing good. Which one do you want?" This is why I love Kelley.

"Both." This is why I love Kim.

"Alright...we'll give it a go."

"Now I lie to get by..." The 'Pacer' run finishes with the lovely title track, always welcome. Time for some more instrument switching - Kelley back to guitar, Cheryl From Florida onto bass and Jose doctors his drums for the sole 'Mountain Battles' track of the evening - that I see, anyways - "Bang On". Nice choice. I love you, girls, never you worry - and tonight I love you more than ever.

"I'll try not to go to fast for you," Kim says to Cheryl From Florida as she TEARS into 'Huffer'. Done in 90-seconds flat, I'm sure, and what a minute-and-a-half.

"This worked out in rehearsal, so we'll see what happens." Josephine/Not Josephine comes back to the bass, Cheryl From Florida goes and naps for a minute and Kelley has three sheets of paper for this one. What the hell could it be? Kelley and "Josephine" swap spots so the potential imposter has a mic. OK, so maybe it is Josephine, because it is - dun dun dun - "Metal" fucking "Man". Really? Incredible. Another one you'd never dare dream to hear, but there it is. Someone in the back is prepping the violin. Is it time for...

No, but "Safari" comes out to play in all of it's extreme-noise-freak-out glory. Now? Nope - but how about a riff-tastic "Saints"? At this point, I have my usual Breeders concert thought of: "I can't believe it takes all of these people to play these somewhat simple-in-terms-of-complexity songs." Then I realize: yes, you need five people to properly gives "Saints" all of the attention it needs - it's not as simple as you think.

"Thanks for coming, guys!" No wait...well, obviously we've got at least one song for an encore. Sadly, one song is all we end up getting. But what a song. "Kelley can't play the violin, but she can play this song. It's weird." This is why I love Kim and Kelley. "Drivin' on 9", of course. Always welcome, but - and a very small but - kind of an anti-climactic last-song-of-the-evening kind of song.

So, what just happened? Was Josephine Wiggs just on stage with the Breeders? The set list sure suggests it - only three songs post-1996. If you have to refresh yourself quickly, it would make sense to do so on songs you already know. I purposely avoided any tour spoilers so that doesn't help. Bryan just saw them a few nights previous in NYC, I'm sure he would've mentioned something.

Turns out Mando's girlfriend was about to give birth so they called in a favor from our good friend Josephine Wiggs to fill in for the rest of the tour - past the NYC shows. [Though apparently Carrie Bradley was at those so they got to hear "Oh!". I'm fine with that - it really is the one Breeders song I could do without.]

As if that wasn't enough, they have one shirt for sale this evening - a Tammy and the Amps shirt.

A
M
A
Z
I
N
G

If I missed anything, I don't even care. Looking back, I don't see "Tipp City" or "Divine Hammer" and they don't usually stay home for the night. Also, with the return of Josephine should come - I imagine - the return of "Head To Toe", but I've heard that one before too. If I missed "Doe" I'd be kind of miffed, but other than that the night was so perfect it doesn't even matter if it was incomplete.

I almost skipped out on this tour. So close to missing the show of a lifetime. Come out again soon, girls. I already miss you.

record poor day

Today was the second annual Record Store Day...and I did not enjoy it one bit.

Mostly because neither store I went to had any of the Breeders handscreened 'Fate to Fatal' EPs - the physical format only available on this day at stores participating, supposedly - and now I have to settle for a digital copy come Tuesday from stupid iTunes.

It also didn't help that everyone was very pushy today - I was actually pushed out of the way of a box of records. OK, not very hard, but still...really?

And to top all of that off, I'm not at Coachella dancing in the desert to Hercules & Love Affair.

:(