ZONE
OUT with the ROLLING RIDER
<
< ~ ~ - -
> > x
)( < <
~ ~ - - < <
~ ~ - - >
>
)(
x x
((< < -
- ~ ~ - -
> >)) x
All-Hallows-Eve
10/31/01
Jane's Addiction
University of Denver
Denver,
CO
TV's
Got Them Images
____________________
The mere mention of Halloween literally shakes the beams in the attic -- rousing spirits lurking behind dust-caked picture frames, jostling spiders from their silken webs -- and with that, a haunting melody, courtesy of skeleton fingers on ivory keys, seems to play all alone.
In lieu of a dance with the Dead, this year the Rider had no choice but to scour the night for his fix of fright -- trod those rickety steps, clutching the trusty flashlight, it's incandescent beam searching for that indispensable macabre musical.
Like a vampire's thirst is quenched only by blood and plasma, the same could be said for the Rider and song....but, alas, there were no werewolves crooning their lonely hymns...
Enter Denver's version of Vigilia d'Ognissanti, brought to you by the always-ostentatious Perry Farrell and yes, that's right, Jane's Addiction! And, again, the mind strays to days of old...speakers pulsating with a volume so obnoxious, only you and your tone-deaf friend are able to enjoy, bouncing along in the smoke-filled high school jalopy, lights of the city and the reservoir flickering like embers in the distance.
Halloween night at Denver U. elicited a broad range of emotions, from the afore-mentioned deja vu, to the pounding soundtrack of insurrection emblematic of Jane's, to the truly sweet moments that can be captured only by the heart, and are immediately whisked away to the soul.
Electric Jane's worked the crowd into a sweaty reverie, the stage filled with circus-style contortionists, and long ribbons flittering like water snakes reflecting in a shimmering pond. Even the crowd was interspersed with exotic, long-legged dancers, using an oversized high-heeled shoe as axis, as 'Summertime Rolls' spun the Denver crowd into a trance.
The big surprise must have been when mid-show, fans in the very back of the floor witnessed Perry Farrell and friends rise up on a makeshift stage in front of them. classic Perry to play robin hood, making all the front-rowers have to get on tiptoes while the stragglers in back were treated like kings.
The secondary-stage consisted of a mere square of wood, it's roof made by countless strands of hot pink, maroon, lavender lights hung between two poles. with only acoustic guitars and percussion, the band did a poignant, flawless two-song set, 'Jane Says' [insert annoying teenybopper shrills] > 'Classic Girl'.
Then, like apparitions, the group appeared in front of their raunchy electric instruments for the finale. First, an apropos rendition of 'Nothing's Shocking' on the heels of a Perry 9-11 monologue in which he defied convention: "...the world was dangerous last year too...and the year before that...nothing's gonna stop me, kid".
While donning a see-through dress and conspicuous undergarments for set one, Perry was now in true form. Enormous purple hat, and suit seemingly made out of trillion tiny stars, the slightest movements created a mind-numbing glow, part silver-surfer, part flash-gordon, and all histrionics.
'Mr. Atom-smasher' was the embodiment of energy, part-maelstrom, part- tempest, delivering his performance seemingly levitating. Fist pumping, his insurgent voice articling youth and spitting liberated oaths. Peculiar and eccentric to the point of religion, this man's stage presence makes Mick Jagger look like a reticent wallflower.
'Trip Away' seemed to come from another world, as the stage and crowd were bathed in a deluge of electric light, dancers, and trip toys, creating a conclusion similar to the finale of a fireworks display.
Jane's Addiction is perfectly real. You wouldn't look at a 57 Chevy and say, "I'd like to change the front-end just slightly...", or listen to fragment of Beethoven's concerto and say, 'If only he could have decreased the tempo right there!". No. you take it as is. It's as real and wonderful as youth. As freedom. As opening your mind.
Nevertheless, here goes. Perry Farrell is one of the crucial voices of the late 20th/early 21st century. And, although it will drive die-hard Jane's junkies into Elmer Fudd-like fury, I'd have to say 'It is because of him that Jane's sounds so pure'. Dave Navarro and the rest mimicked those licks, leads, and haunting musical backdrops precisely. But, when it came to guitar searching, it mostly came out as overused reverb, and overdone feedback, grungy at best, one-dimensional at worst.
Overall, the show was a brilliant homage to sexual energy, female worship, nonconformity, and the indomitable spirit. Thank you, boys!
'...children
are innocent,
adults are even more fucked up,
elderly are like children...'
p.f.
truly,
Rolling
Rider
visit www.janesaddiction.com for more info...
<
< ~ ~ - -
> > x
)( < <
~ ~ - - < <
~ ~ - - >
>
)(
x x
((< < -
- ~ ~ - -
> >)) x
read
the 9.20.01 Mule Rider
~
> > ~ ~ - -
< < ~ ~
- - > >
))
((
<
< - - ~
~ - - > >
))
(( < <
- - ~ ~>
> - -
x
)( < <
~ ~ - - < <
~ ~ - - >
>
)(
x