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Pride Week: Concert

Seattle Men’s Chorus Covers ‘N Sync and the Beatles for ’Heartthrobs’

Prepare to swoon through seven decades of boy bands.

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Heartthrobs

The gents of Seattle Men’s Chorus embrace their inner Justin Timberlakes for Heartthrobs.

Dozens of heartbreakingly cool bands. More hit songs than even Lou Pearlman could swindle. You may scream like a 12-year-old Bieber fan when Seattle Men’s Chorus performs Heartthrobs —boy band classics from across the decades—this weekend at McCaw Hall. Assistant artistic director Eric Lane Barnes shares his thoughts on some of SMC’s picks.

1960s “I Want to Hold Your Hand” by the Beatles. “This is the quintessential male harmony song. It was one of their biggest hits. We [start the night] with an actual clip of their performance on the Ed Sullivan Show. You hear that voice in the darkness—Ed Sullivan talking about these four young lads from Liverpool. Their creativity and their song writing has trumped anyone since. I think they were probably the best group of all time.”

1970s “Papa Was a Rollin’ Stone” by the Temptations. “Motown was basically the soundtrack of my childhood. People from my generation have a connection with this era of songs. When I was a kid, I danced around in my underwear to these songs. As an adult, I’ve gone back to listen to them and realized how musically complex they are. [The Temptations] had to have spent a week in the studio just on this song alone. It has terrific layers.”

1980s “Another One Bites the Dust” by Queen. “Freddie Mercury was just amazing. I remember when I was a kid, my clock radio went off before school and ‘Bohemian Rhapsody’ started, and I just sat transfixed. I just love all of the operatic and choral stuff that Queen added to their songs. And watching these videos, it also struck me how incredibly gay Freddie Mercury was. And their name was Queen! People weren’t openly gay back then, but Freddie Mercury was!”

1990s “It’s So Hard to Say Goodbye to Yesterday” by Boyz II Men. “They were incredibly creative. It’s kind of like marrying hip hop and a barbershop quartet, and they did it well. I have a lot of respect for those guys. We have a soloist for this song, and he is amazing. He tears the song up. It almost sounds like a hymn.”

2000s “It’s Gonna be Me” by ’N Sync. “I was thinking that this music was a little too plastic and polished. It seemed like it was too calculated. That said, in my opinion, ‘N Sync was clearly better than [Backstreet Boys]. Part of that is due, in no small measure, to Justin Timberlake. I can’t help watching him. I think he’s a really good musician.”

Heartthrobs is June 24 & 25 at 8 at McCaw Hall. Tickets ($20-$55) are available at flyinghouseproductions.org.

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Tags: Concert, preview, Music

Concert Preview

All Bowie, All Night

The Seattle Rock Orchestra pays tribute to the 1970s glam years of David Bowie.

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It’s tough to pick a favorite David Bowie era/persona (Thin White Duke? Berlin? The Goblin King from Labyrinth?), but the glam years are unquestionably his most iconic.

In homage to his most prolific decade, the Seattle Rock Orchestra will perform 15 songs from Bowie’s early ‘70s albums (namely Hunky Dory, Ziggy Stardust, and Diamond Dogs) at the Moore Theatre this Friday, March 26. Vocalists for the evening include Jon Auer (formerly of the Posies), David Terry (Aqueduct) and Nouela Johnston (People Eating People).

At the helm of this event is bassist Scott Teske, director of the SRO—an all-volunteer group of local musicians who lend back-up accompaniment to local and touring acts (including Suzanne Vega and Jeremy Enigk of Sunny Day Real Estate). But after a successful sold-out show at Fremont Abbey last November, where they covered Arcade Fire’s debut album Funeral in its entirety, Teske realized they could moonlight as a tribute band.

So why Bowie? “Who doesn’t love Bowie,” Teske told me matter-of-factly. “Secondly, whether or not people love Bowie, I love Bowie.” One needs the deepest devotion to Ziggy Stardust to pull off an adaptation of 15 songs for 86 musicians who play a spectrum of classical instruments, from the harp to the tuba to the oboe. Oh, and let’s not forget a guest choir conducted by Rafe Wadleigh (choirmaster at Holy Names Academy), adding another 30 people into the mix for a grand total of 116 individuals onstage. At the Moore.

Openers the Kindness Kind (for whom Teske plays bass) will also join the SRO for its Bowie blowout set. Teske insists they’ve gotten so good at covers, the band could “probably take a pseudonym and play the casino circuit.” Whether casino-goers are as fond of Bowie as they are of, say, Carlos Mencia remains to be seen.

Seattle Rock Orchestra: A Tribute to David Bowie starts Friday at 8 at the Moore Theatre. Tickets are $15-$18 at STGPresents.org.

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Tags: Moore Theatre, Concert, preview, Met Picks, Weekend, Seattle Rock Orchestra, David Bowie

Music preview

One Fast Move or I’m Gone

Lead singers of Death Cab and Son Volt play their Kerouac-inspired album at Showbox at the Market.

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Farrar (left) and Gibbard play the Showbox.

Jack Kerouac, author of the Beat Generation bible On the Road, once said that the only truth is music. But Benjamin Gibbard (Death Cab for Cutie) and Jay Farrar (Son Volt) have found the reverse true: Kerouac’s writing, which they’ve long loved, could give their music the honesty they craved. So it was only natural that the indie rockers collaborated on the score for a Kerouac documentary One Fast Move or I’m Gone, based on the author’s autobiographical novel Big Sur. Drawing 90 percent of their lyrics from the text itself, the doe-eyed, shaggy-haired duo turned the score into a full-length album. The result is a tender, nostalgic piece of folk-rock Americana that celebrates Kerouac at his best—his most insightful—while acknowledging his darker moods.

Stymied by an alcohol habit he couldn’t kick and an America he no longer understood, Kerouac wrote Big Sur while sequestered in a cabin in Big Sur, Calif.—where Gibbard also stayed while working on a Death Cab album. In an attempt to capture pure sound, Big Sur disintegrates into an ode to the sea that hints at Kerouac’s declining emotional health: “Terplash . . . Is Virgin you trying to fathom me Tiresome old sea, ain’t you sick & tired of all of this merde? . . . this incessant boom boom & sand walk?”

This is the restless mind that defined a generation. “I’m writing this book because we’re all going to die,” Kerouac said once. The song “Big Sur” is aptly melancholic, but the lyrics “Here comes the nightly moth to his nightly death / In Big Sur / The best thing to do is not be false” are not so obsessed with death as they are with honesty. The song taps into the essence of Kerouac’s philosophy—his mortality never slows his lust for life. What we admire in Kerouac is not his carelessness, but his fearlessness.

Gibbard’s sprightly tenor blends smoothly with Farrar’s bluesy voice throughout the album. In “These Roads Don’t Move”, great vocal harmonies send off each line with a little push, like a hitchhiker who thumbs each car with a little twinge of hope. Some fans of Death Cab or Son Volt may be impatient with the slow-rolling roots grooves—more swaying than indie types are used to. But this album captures Kerouac’s emotional range in a way that speaks to the musical tastes of this generation, and for that reason alone, Kerouac would dig it.

Gibbard and Farrar perform One Fast Move or I’m Gone at the Showbox at the Market on Sunday, January 24, at 8pm. $24 adv/$28 doors.

Find out what else is going on this weekend here.

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Tags: music, Ben Gibbard, Jay Farrar, Jack Kerouac, One Fast Move or I'm Gone, documentary, Concert, preview

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