Lyrics Here And Now Letters To Cleo

Lyrics Here And Now Letters To Cleo – Alternative rock Letters to Cleo might be hard to define but it’s still hard to resist, as a sell-out crowd of more than 900 fans were treated to Saturday night as the Paradise Rock Club hosted ” Letters to Cleo: Homecoming 2019.”

The band, who had their heyday on the charts and across the country in the 1990s and broke up in 2000, have reunited regularly since 2016 and made this holiday season’s return to Paradise a new tradition . This year’s swing saw the fivesome play a night in Los Angeles – where singer Kay Hanley now lives – a night in Washington, D.C., a night at The Met Cafe in Pawtucket and then Friday and Saturday at the they prefer in Boston.

Lyrics Here And Now Letters To Cleo

Along with Hanley, the reformed band features original members Greg McKenna and Michael Eisenstein on guitar and Tom Polce on drums. Longtime band friend Joe Klompus has been playing bass for the past few years for Scott Riebling, who is busy with other things. LTC have just released – last Tuesday – their first Christmas record, the “OK Christmas” EP.

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Saturday night’s 18-song set provided plenty of proof that the LTC lineup is quite capable of crafting as hard rock ‘n’ roll as at any time during its salad days. Just like back in the mid 90’s, LTC’s music was a dominant combination of several elements, done in a way unlike anyone else. Despite their origins in the early 90s, they are not a grunge band, although it could probably be called post-grunge. They’re not exactly a rock group, although that kind of ferocity and pellenl speed is certainly a hallmark. You could find plenty of roots-rock guitar sounds, and more than a little Beantown garage rock history in their music. .

For lack of anything more precise, we will call LTC perhaps the main example of the Boston garage rock band-on-sonic steroids. However, all that frenetic thunder was melted by Hanley’s sweet, trilling vocals – a style that suited her very well in her post-LTC Americana solo albums. And to be honest, there were times on Saturday, just like when I would see them 20-odd years ago, when Hanley drowned out a power chord and a racing rhythm section – we always wanted to boost her talk. more in the mix, so that the full effect of her voice and lyrics can be appreciated more.

The big news from Friday’s show, which we’re told was less packed, was that Greg Hawkes of the Cars stopped by, and joined LTC for the three-song encore, including two Cars songs, ” A Dangerous Kind” and “Goodbye Goodbye Love.” Alas, he was not in the house on Saturday, but the encore segment with the members of the delightful band Speedy Ortiz joining in the fun, cool anyway, with a decidedly rock and roll Christmas theme.

Saturday’s 80-minute show began with the uninhibited punky charge of “Demon Rock,” with Hanley, in a black Quick Ortiz T-shirt and jeans, seeming to serve an announcement that the band was serious. It only cut a little against that wrinkled image when Hanley would reach back between verses and sip a hot cup of tea. Some time later the surging power of “Four Leaf Clover” was another triumph, where the rhythm section and the brain-curdling guitars were at their best.

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“Big Star” could have slipped down into a sort of plodding metal mode, but the guitars added some tasty shading that gave it a more chewy air. And who could resist the harder version of Nick Lowe’s “Cruel to be Kind” which had much of the crowd shouting and singing along. That excitement level was quickly surpassed with a sprint through “I Got Time.”

The multi-hued portrait of love gone sour on “Awake” allowed Hanley to show off some of her interpretive skills, amid a more central and modern arrangement. And it might be surprising to see that the band didn’t save their biggest hit for the end of the set, but played about two-thirds of the way through, the 11th tune. But 1994’s “Here and Now” is a prime example of how the band elevates garage rock components into something incredible that had the audience singing, dancing, and in the case of one 40-ish man, at pogoing with that frenzy that they could. ‘It is known that the climactic moment.

But a little later, in one of the richest choices ever for a cover tune (which they did way back when they did), LTC opened up with their own visceral take on “I Want You To Want Me ” by Cheap Trick with maybe even more. momentum than the original, with the benefit of Hanley’s much more engaging vocals.

The musicians returned for the attacks in Christmas hats, and in Hanley’s case a Christmas sweater vest. The LTC song “WTFAMP (A Christmas Carol)” tells a little story about how the holiday reminded the singer that she’s not worth her time, and the hard-edged guitar chords told you she meant business. With members of Speedy Ortiz helping out – including with an electric glockenspiel – LTC made their new track “Miss You This Christmas” almost a ballad. But he was back rocking for a cover of the Mighty Mighty Bosstones’ ‘Christmas Time (Sure Doesn’t Feel Like Christmas Time),’ which managed the neat trick of being lively yet mystical and a little melancholy.

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And to end the night to end it, LTC and their friends performed “Father Christmas,” The Kinks’ “Father Christmas,” again injecting a little more rock power into that old nut. There was even a soft interlude to allow for a glockenspiel solo, from Speedy Ortiz’s Sadie Dupuis, before the fiery finale.

FRIDAY NIGHT: On Friday we visited Booker T’s book and concert tour at the Narrows Center in Fall River, where the great Memphis soul man came after already selling out every copy of his memoir, “Time Is Tight” own previous stops. But it was two hours of music and stories, and Booker T’s current quartet is a crackerjack unit that includes his son Ted on guitar. The night started with Booker T reading a few pages from his book, and then taking questions from the audience for about half an hour. After a short break, Booker T returned with the band and played a 90-minute show that included some of his best-loved hits, and some other classics he added.

From the swampy take on the Western movie theme “Hang ‘Em High” to the blues classic “Born Under A Bad Sign”, to his 1967 jam on Gershwin Booker T’s “Summertime” the crowd of 250 was captivated . Instrumental hits like “Green Onions,” “Hip Hugger” and “Soul Limbo” were irresistible, while Ted’s vocals and solo on “Blue Jean Blues” proved he’s a star in the making, and the band’s rhythm section was deadly. . But Booker T’s acoustic guitar reading of Otis Redding’s “Sittin’ On the Dock of the Bay” was particularly moving (Booker T played piano on the original) and his duet with Ted on Prince’s “Purple Rain” awesome But perhaps the instrumental jam on “Melting Pot” stole the night, soul, jazz, funk, and rock, all delivered with joy and exuberance by one of the best bands we’ve seen anywhere any this year. – pop darling Kay Hanley, Boston-based Letters to Cleo burst onto the music scene in the ’90s with a winning formula of clever pop melodies, irresistible guitar hooks and indestructible vocals.

And, thanks to a video clip for the band’s single “Here & Now” used during the end credits of “Melrose Place,” exacerbated by the video’s heavy rotation on MTV, for a moment of refinement it seemed that letters to Cleo everywhere.

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Breaking up in 2000, the original members of Letters to Cleo (Hanley, guitarist and Hanley’s ex Michael Eisenstein, drummer Stacy Jones and guitarist Greg McKenna) reunited for a mini-club tour, which ends this weekend with two sold-outs out. shows (Saturday at the Paradise Rock Club, Boston, and Sunday at The Sinclair, Cambridge), and new music has been released for the first time in 17 years.

“It’s something that comes up a lot every time we run into each other. ‘Oh, we should play a show. We should write a song, blah, blah, blah.’ And this time we actually did it,” Hanley said by phone last week from her home in Los Angeles. “We started talking about it earlier in the year and, next thing you know, we were writing a song. Then the next thing you know we were writing another one and recording it … All the pieces came together.”

While many people’s first image of Hanley was a precocious, pig-tailed bundle of energy in a baggy jumper, ripped denim shorts and nylon stockings, Letters to Cleo became an overnight success after years of working in the rock ‘n’ roll. trenches, including playing bars in Worcester.

“I absolutely remember Bowler’s and (Ralph’s).

Here & Now