Chicago Vic - Chicago Tribune

[LaurieBlue]

http://metromix.chicagotribune.com/reviews/critics/mmx-gsa22bbgu.7oct23,%200,6613558.story
 
From the Chicago Tribune
My Morning Jacket still finding its way
By Andy Downing
Special to the Tribune
 
October 24 2005, 1:00 AM CDT
 
Near the close of My Morning Jacket's set at a sold-out Vic Theatre, the band was joined onstage by four beer-swilling Vikings and local "rock poet" Thax Douglas (carrying a battle-ax, no less), who joined together as a boisterously off-kilter choir for the closing verse of "Into the Woods."
 
The moment, a mix of anything-can-happen rock 'n' roll abandon and "Alice in Wonderland" surrealism, was indicative of the music the Kentucky five-piece explored Saturday night over the course of its 100-minute, 17-song set. Previously known more for its reverb-drenched vocals and extended guitar jams, the band has shown more of a willingness to branch out with its latest album, "Z."
 
Opening with the keyboard-driven atmospherics of "Wordless Chorus," MMJ sounded more like a Southern-rock Radiohead—all skittish guitar and robotic drumming. Over this backdrop singer Jim James channeled his inner-Prince, letting loose with a series of "oohs" and "ahhs" in a surprisingly authentic soul falsetto.
 
"It Beats 4 U" found James strapping on an acoustic guitar and grinding out a metallic sheen over Bo Koster's percolating keyboards. "Off the Record" shuffled like a Caribbean street festival, drummer Patrick Hallahan driving the reggae groove with sharp, powerful strokes. James' singing, as unintelligible as ever, appeared to draw on a line from "Anytime" ("Words only got in the way, but then I found another way to communicate"Wink as he howled, crooned and bleated—his voice more a mournful trumpet that anything human.
 
Throughout the evening James was ably backed by the band's rhythm section and secret weapons: Hallahan and bassist Two-Tone Tommy. Sporting matching Cousin It hair, the wiry Tommy and the bear-like Hallahan drove the rockers with muscular force and still maintained the deft touch needed for the more experimental tunes.
 
Despite the band's recent embrace of atmospherics, MMJ still thrived when James strapped on his Flying-V guitar for barnburner's like "One Big Holiday" and a particularly raucous "Run Thru." Even the back-porch stomp of "Golden," delivered with an assist from opener Kathleen Edwards, sounded as natural as a living room sing-along.
 
For the most part the band aimed to keep the songs taut, only occasionally wandering off into unfocused jam sessions. But even those moments when the band did stretch its legs usually felt necessary.
 
A 10-minute version of "Dondante" opened with muffled drums and James' wavering falsetto, the band gracefully adding layers of sound until Carl Broemel donned a saxophone and helped bring the song to a natural climax.
 
In contrast, the forced coda on "Off the Record" sounded tacked on—a slight misstep by a band that is still evolving and, as James pointed out on "Anytime," finding new ways to communicate.  
 
Copyright © 2005, The Chicago Tribune

[havibulin]

In contrast, the forced coda on "Off the Record" sounded tacked on—a slight misstep by a band that is still evolving

are you fucking kidding me? tacked on? this was my favorite jam of the night. [smiley=guitar.gif]

[tdan]

http://metromix.chicagotribune.com/reviews/critics/mmx-gsa22bbgu.7oct23,%200,6613558.story

Even the back-porch stomp of "Golden," delivered with an assist from opener Kathleen Edwards, sounded as natural as a living room sing-along.

Stomp?