Absolutely Prong

Alt.-metal frontman talks new album, Glenn Danzig, great crossover LPs and touring
By Peter Lindblad

Prong's Tommy Victor

The road hasn't always been kind to Tommy Victor and Prong. And being in a gritty, uncompromising alternative-metal outfit can be a crushing grind.

Victor has seen it all and lived to tell about it in his 30 barnstorming years as Prong's frontman, having also served on punk and metal's front lines as a sound engineer at the legendary New York City music club CBGBs in the late '80s and played alongside other musical agitators, such as Rob Zombie, Ministry, Marilyn Manson, Trent Reznor and Glenn Danzig.

These are better days for the battle-tested Victor, as a re-energized Prong – with Jason Christopher on bass and Art Cruz on drums – gets set to unleash the blistering X – No Absolutes via the SPV/Steamhammer label. In the last four years, Prong, more prolific than ever, has been on fire, releasing a string of critically acclaimed studio albums such as 2012's Carved Into Stone,  2014's Ruining Lives and the punk covers album Songs From The Black Hole in 2015, in addition to the Official Bootleg – Unleashed in the West LP, which gave Victor and company a chance to re-make some the band's classic songs.

X – No Absolutes is as vital and ferocious as any of them, an incendiary record that's remarkably fluid and fast, while refusing to tone down the violence of its heady mix of hardcore, thrash, hard rock and metal, even as more melodic elements seep in. With a massive touring schedule on the horizon, Victor recently discussed the new record, along with a host of other topics, in this candid e-mail interview.  

With Songs From the Black Hole, you covered a pretty diverse set of classic punk and rock songs. Did the making of that album have any impact on the creative process that brought about X – No Absolutes?

Tommy Victor: I didn't notice during but looking back, yes. Especially with the vocals on X- No Absolutes. I had to interpret several different vocalists on Songs From The Black Hole. That may have broadened my eventual approach on the new record. Covering Neil Young's "Cortez The Killer" was motivational for me. That was a vocal challenge for me and Chris Collier and I built a method in making that vocal happen on Songs From The Black Hole and that definitely carried into X – No Absolutes.

　

In what ways do you feel you're getting better as a songwriter, and how do they manifest themselves on the new record?

TV: I think I've become a better collaborator. I'm improving there. And in the area of figuring out the puzzle of arranging songs, I have different methods these days. Steve Evetts helped me on that big time. I like getting together with another writer or two and getting feedback and making adjustments. without killing oneself doing it. We worked at a very fast pace on this record, as with Ruining Lives. I don't like overworking songs anymore. The impact of the lyrics waters down and the riffs dry up!

Prong seems to be enjoying a rebirth in recent years, with Carved Into Stone and Ruining Lives having a real palpable vitality to them – not that past efforts didn't have that as well. Still, do you feel there's something about your most recent work that has a different creative spark or a new urgency to it?

TV: Some of that transfers into the business side of things. This really started when we signed with SPV. They want consistent records and so does management, so I feel like I'm obliged to deliver to the best of my ability. It's weird when you are given a short amount of time to get things done. I think that may create that urgency that you are speaking of. I think it goes in line with this sort of music. We really haven't had time or money to overthink things. I've also gotten real lucky with having Art and Jason, Chris Collier, Steve Evetts and Erie Loch in this mix. They've really saved Prong's ass.

Prong - X - No Absolutes 2016

It seems that X – No Absolutes has more elements of thrash and hardcore than those records, even as some songs sound more melodic than ever. Was there more of a tendency to play up those elements on this record?

TV: Prong is ever attempting to find its formula, as well as keeping an eye on the successful elements of past recordings. I must say this No Absolutes record is the most stealth record I've ever been involved with. We went into this like a well-oiled machine. The old songs are so beaten into us after so much touring. And Chris Collier and I have this amazing working arrangement that has been building since Ruining Lives. So we simply seem to have been given this instinct on what Prong should be in 2016. It's nothing designed on paper. It all comes from the gut these days.

In this environment, when music is viewed as more disposable than ever, do you think "Cut And Dry," which is really intense, has a chance to be thought of in the same way as other Prong classics, such as "Snap Your Fingers, Snap Your Neck?" 

TV: I don't know to be honest. Prong was very dialed in on the preparation for Cleansing. And I think we were dialed in even more on this record. It was a whole different time back then. Prong was newer and fresher. On the other hand I think legacy bands can make some waves these days too.

Talk about the production of your most recent records, the ones released since 2012. Do you think they sound better than past efforts? And if so, in what ways has the production improved or been able to capture what the band is all about and how has Chris Collier helped this time around?

TV: I've touched on this in previous answers.I liked Steve Evetts' mix on Carved Into Stone and Ruining Lives. But I wanted a more full-throttle attack on this new one. Chris is a younger dude. He doesn't come from the analogue era, so he really doesn't care about being vintage and I wanted that for this new Prong record. That's why I've been sort of moving him up to the role of producer for Prong starting with his work on tracking Ruining Lives. Then I pulled him into tracking vocals and mixing Songs From The Black Hole. So with two records of experience in all facets of making a records with Prong, I had him co produce, engineer, mix and master X – No Absolutes. As a co-producer, I simply have to make a few key decisions on how to get a record done efficiently and of course within time and budget. Chris took the role most commonly thought of as production. He guided all the tracking and made technical decisions along the way. A lot of that is really under the title of engineering, but Chris also had a lot of input on all the aspects of making the record – from guitar overdubs to guitar positioning, phrasing, solos, and tunings. Drum parts, arrangements and, of course, sounds. He was the ears on the vocal performances as well. He's amazing.He's really a top notch dude.

Prong is Tommy Victor, Art Cruz
and Jason Christopher

"Do Nothing" could almost be described as a ballad, and the intro to "With Dignity" features some lovely piano work. In what ways do you think X – No Absolutes expand the template for Prong?

TV: I wanted some real "songs" on the record and that was the basis for getting those tracks together. Here's where Erie Loch came in. I had worked with Erie on this industrial Primitive Race record and was blown away by his talent. He wrote the basic music for those songs and Chris and I developed the treatment. Art and Jason came in with their parts after that. I guess it is about expansion. But it's really not anything too different than what Prong was trying to do on Rude Awakening, Cleansing and even the last five records. I didn't want to completely abandon that aspect of Prong. Not many bands are doing this sort of thing and that therefore sets us apart. I never quite feel comfortable with being just a thrash band or metalcore or whatever. These days my biggest priority is getting those vocal hooks together. And writing current, biting lyrics. The music is really a backdrop for that in a lot of ways. That's sort of what I mean by classic "songwriting." Its just not all about the riff and technical proficiency to me anyhow.

You've been really busy lately, with recording and touring extensively. Has the schedule taken its toll or do you feel revitalized by all this work?

TV: I got real burnt out after the Danzig/Superjoint/Prong tour. I had to get revitalized by doing other things like hiking and really just taking it easy. As usual, one gets bored with the simple life and now I feel like doing shows again. I'll get sick of that and be itching to make a new record. I've been through this cycle so many times. I try not to get scared and try to live in the moment and just appreciate life.

What's the biggest lesson you learned as a sound man at CBGBs back in the '80s?

TV: I don't know if what I learned there applies to today's age. Back then it was important to be involved in the scene. I was right in the middle of it. For many years, I was a club kid. And I played in bands, hung out in clubs and then worked in a club. My whole life was centered down in the art scene of the Lower East Side. If I didn't do that, I wouldn't have had any juice to make the music business a career. Today everything is online. You don't really have to be "out there" making the sacrifices and earning street cred.

While known as a punk club, there were many crossover bands that played there that incorporated thrash, metal and post-punk. Did you have a sense at some point that the club was broadening its horizons? And do you feel that part of the club's history has been sufficiently told?

TV: Not to be an ass but based on your question, it's obvious that the club's history has not been sufficiently told. That place started out as a country,blue grass and blues bar. And it always welcomed music of any style. Yes "punk" bands like Blondie and the Ramones came out of there, but it was always eclectic with its music. Hardcore punk only existed there on Sunday afternoons. Then it would transform back into allowing art-rock bands, noise bands, acoustic artists, pop bands, funk groups – whatever – to come in. If you're talking strictly hardcore matinees, yes they would do thrash there occasionally, but it wasn't popular.

What was the most enjoyable part of your fairly recent tour with Danzig and Superjoint Ritual, and in what ways has Glenn Danzig influenced what you do?

TV: The fact that I got it done was the most rewarding aspect of the tour. It was tough doing double duty. Playing a rushed Prong set, then a long Danzig set was nerve-racking. Then I had to jump in the Prong van and do our own shows or support for Superjoint on Danzig days off. It was definitely the hardest tour I had ever done.

The main attribute of Glenn Danzig that I have appreciated over the years is his dedication to who he is. He's got big balls. He's totally committed to what he does and really doesn't care what others think.

What was the hardest tour Prong ever did, and by the same token, what was the best one?

TV: We've had some brutal tours. I must say, most of the tours we did back in the day were just not fun. There was too much pressure on us all the time and we were easily jealous of other bands. I really don't have that many good memories. I like this lineup. Or maybe it's the fact that I'm less of a little brat these days that I can somehow get along with people better. We've had some great runs recently. The last Songs From The Black Hole tour in Europe was stellar.

Has your approach to making records or the process of doing so changed at all over the years?

TV: Again I've touched on that. I really didn't have a clue what was going on years ago, and I still don't really. I just think I'm a little more trusting these days. All music is a gift. The songs or ideas that you think you come up with aren't really yours, they come from The Universe. I trust in these gifts and just make them happen now. I can't afford to question every little thing I do anymore. I just roll with a lot of things. 

What are you most proud of with regard to your career? 

TV: Not to act like some guru or something, but I try to avoid pride like the plague. It's too dangerous for a person like me. I'll start believing bullshit about myself and start treating people badly. Everything I have has been given to me, especially when it comes to Prong. Based on my attitude, this should have been dead in the dirt a long time ago. So actually the best moment for me in my career is right now, doing this interview with you. Everything else is bullshit. Who cares? The past is the past, it doesn't exist anymore.

What would you say are your five favorite crossover albums and why?

TV: I like early ones like Corrosion Of Conformity's Animosity. That was groundbreaking and it had all that great Sabbath overtones. Suicidal Tendencies' Join The Army. Its just so damn noisy and violent. Agnostic Front's Cause For Alarm has some great NYHC with thrash. Leeway's Born to Expire has classic crunch picking,with the CroMags style approach. Sheer Terror Just Can't Hate Enough because it's dark and dangerous.

There's that question they give in job interviews about, "Where do you think you'll be in five years?" Do you have a sense yet of what you'd like to do with Prong in that time?

TV: I'm not on a job interview! Maybe I will be in five years!

CD Review: Prong – Songs From The Black Hole

CD Review: Prong – Songs From The Black Hole
eOne Music
All Access Rating: A-

Prong - Songs From The
Black Hole 2015

Question Tommy Victor's punk credentials at your own risk. It may lead to a "Snap Your Fingers, Snap Your Neck" type of situation.

Once a sound man at New York City's legendary CBGBs in the late 1980s, Victor, the linchpin for the always incendiary alternative-metal device Prong, was practically embedded in what was a wildly combustible and intensely creative scene.

With a blistering new album of covers entitled Songs From The Black Hole, out via eOne Music, Victor and Prong revisit their punk roots, offering their own taut, high-speed renditions of songs from underground rabble-rousers Black Flag, Husker Du, Killing Joke, The Adolescents, Bad Brains and Fugazi, among others.

By turning the screws on these blasts of barely harnessed fury, Prong magnifies the propulsion and raging energy of Discharge's "Doomsday," Husker Du's "Don't Want to Know If You Are Lonely" and Bad Brains' "Banned in D.C.," while the pulse of Fugazi's slow-burning meditation on dying "Give Me The Cure" quickens, as Prong elevates its heart rate in a vigorous workout.

It's impossible not to notice the spotless production of Songs From the Black Hole, suggesting that Prong is somehow indulging in a sonic ritual purification of what is a surprisingly wide-ranging set of choice selections. The Morse-code guitars and chilly echo of Killing Joke's "Seeing Red" create an almost antiseptic environment, but in a remake of Black Flag's "The Bars," Prong takes great pains to restore all of the grit and unbearable tension of the original.

And although the disjointed version of the Butthole Surfers' "Goofy's Concern" is a slight misstep and their lukewarm rehashing of Neil Young's classic "Cortez The Killer" seems out of place, the mean grooves and tight riffs of Sisters of Mercy's "Vision Thing" – devoid of gothic blackness – are ruthlessly compelling. As is Songs From the Black Hole as a whole.
– Peter Lindblad

Prong: 'Ruining Lives' and 'Cleansing' souls

Tommy Victor talks new album, 'Cleansing' anniversary and more
By Peter Lindblad

Tommy Victor of Prong
Photo by Tim Tronckoe

Tommy Victor is beating his chest with pride over Prong's upcoming release, Ruining Lives. proclaiming its greatness to anyone who will listen.

Due out May 13 in the North America via Steamhammer/SPV, it's the aggressive, slammed-up-against-the-wall successor to 2012's bruising Carved Into Stone, a bone-on-bone record of white-hot intensity and rugged, jawbreaking brilliance that critics went gaga for two years ago. Victor believes Prong upped the ante on Ruining Lives.

"This is the fastest written and recorded Prong album ever, and it has more great songs than any previous Prong record," said Victor, the guitarist, singer and mastermind behind one of alternative-metal's most ambitious and punishing acts. "I am particularly proud of the vocal performance, and I think we captured some outstanding sounds on this album."

Especially adept at combining industrial and post-punk elements with a raging street-metal ferocity and thrash-metal explosiveness, the fiercely independent Prong has carved out its own niche since forming in the late 1980s, toying with electronics and different genres without ever sacrificing power or raw energy for the sake of trying something different.

Tommy Victor, master of the riff

It all started at the famed punk club CBGBs, where Victor worked as a sound man. Together with the venue's doorman, Mike Kirkland, and former Swans drummer Ted Parsons, Prong put out two indie records, the Primitive Origins EP in 1987 and Force Fed in 1988, before signing to Epic Records in 1989 – the result of a furious showcase performance at the old Ritz in their New York City home with local hardcore heavy-hitters the Cro-Mags and German trash heroes Destruction.

A year later, Prong let the classic Beg to Differ loose on the world, a powder keg of a record that helped bring about a sea change in heavy metal, as would contemporaries Helmet and Pantera. Prove You Wrong arrived in 1991, followed by 1994's landmark record, Cleansing, which celebrates its 20th anniversary this year.

Washing ashore in the wake of the Whose Fist is This Anyway? EP of remixes from the Prove Your Wrong album and recorded with former Killing Joke bassist Paul Raven and keyboardist John Bechdel, Cleansing had a muscular groove and a shocking amount of manic electronic edginess. And it had "Snap Your Fingers Snap Your Neck," often cited as having one of the greatest riffs in metal history.

Not wanting to repeat themselves, 1996's Rude Awakening was a departure, exploring the post-punk terrain charted by Killing Joke and welding industrial textures to its already potent sonic machinery. That run of albums was not only prolific, but it also represented an astonishing burst of creativity for Victor and Prong.

Prong: Tommy Victor, Tony Campos
and Alexei Rodriguez (in no particular order)
Photo by Tim Tronckoe

Now comes Ruining Lives, produced by Victor with help from Steve Evetts and featuring the rhythm section of Tony Campos and Alexei Rodriguez. As much a throwback to Prong's Beg to Differ era as it is a step forward in a bold new direction for a band that is constantly pushing the envelope, Ruining Lives takes everything Prong has done in the past and forms fresh, modern sonic art of it all. Victor talks about Prong's past and the new album in this exclusive interview.

Why do you think this record came together so fast?

Tommy Victor: It had to. I was presented with a strict deadline, and I agreed to it. It was important for me to honor that.

Prong- Ruining Lives 2014

Where Carved in Stone was really lean and maybe somewhat more minimalist in its approach, and just a relentless attack from the word go, Ruining Lives seems like a more diverse record, one you can immerse yourself, while still being heavy and crushing, especially on the title track and "Absence of Light." Do you see it that way as well?

TV: Not particularly. I think Ruining Lives is relentless as well, if not more so. There are songs that cross into a post-punk and diverse vibe on both records. Like "Put Myself To Sleep," "Path of Least Resistance," "Reinvestigate," "Subtract" maybe on Carved. Ruining has "Windows Shut," "Self Will Run Riot," and "Absence Of Light," and all have a lot going on in them.

"Come to Realize" is a different animal for Prong. Talk about how that song was created, how it evolved and about the unusual time signature you used. Did that make it a difficult song to record?

TV: It was fairly easy to lay down. Once you memorize the riff, it's a no-brainer. Prong started doing some odd timing back in the Beg To Differ years. I wasn't afraid to build a song out of that riff, so that wasn't an issue neither.

"Turnover" and "The Book of Change" are full of really powerful riffs and hard-hitting drumming. To you, what goes into making a great riff, and who do you think comes up with the best of them?

TV: Thanks. In the case of those songs, there wasn't a lot of thought put in. I usually jam to a certain BPM, to a metronome. I mix it up, and something seems to come out of it. There are so many great riff masters out there. I'm a little weird that way, though. I think Geordie Walker from Killing Joke writes some of the catchiest riffs of all time, and consistently, for instance. Obviously Dime [Pantera's Dimebag Darrell] had an amazing knack for riffs. [Slayer's] Kerry [King] and Jeff  [Hanneman], R.I.P. You have to admit, Jack White  is a genius at that too.

Tommy Victor performing
live with Prong

Lyrically, has your world view changed at all since the early days? Are you reacting to the world and its problems differently than you used to, or do the same things anger and provoke you to write the way you do?

TV: I had a lot of undisciplined anger in the old days – self pitying, too. There were some good messages, though, back then. "Snap Your Fingers, Snap Your Neck" has a good "live for the moment attitude," which is still cool to me. "Broken Peace" has a positive message, too, out of general frustration, and that's topically something I continue to focus on. There's just more of it now – believe it or not nowadays. The world is what it is, we all have to adapt to reality.

In what ways does this album hearken back to Prong classics like Beg to Differ and Cleansing, and in what ways has Prong evolved since then?

TV: Well, I've always had to sit in a room, maybe even a bathroom or a closet, and come up with lyrics and song ideas, like any writer. That doesn't change. Modern technology and budgets dictate the actual recording process, and that has changed things drastically. There are  lot of things you don't have to do now. And because of that you have to be more careful. I dislike auto-tuned vocals, for instance. All my vocals are performed and doubled. Fortunately, I have experience with that and can do it in a fair amount of time. The vocals have matured considerably I believe. I've learned by doing and they've progressed – same with guitar. I can blast through guitar tracks a lot faster than in the old days. That's all technical stuff. I've been blessed with getting Steve Evetts to work with. He's a godsend. also finding [producer/engineer/mixer] Chris Collier has been amazing. He's one of the most talented guys I've ever been involved with. 

You produced Ruining Lives, and you've said that you're especially proud of the vocals on the record. Did you record them differently this time around to enhance them, or was it just a matter of the performance being stronger?

TV: Well, I answered most of that in the last question. There is a progression of the same attitude on Carved Into Stone. Evetts knows how to coach singers. He produced the vocals on Ruining Lives. It's great to have him in the control room while I'm cutting vocals. Years ago, I was on my own. It was always, "Tommy go in the booth and scream, " and I've realized I don't need to do that, through Steve's guidance.

You worked as the sound man at CBGBs. How did that prepare you for what you experienced with Prong?

TV: It was a boot camp for me. I was forced to be part of the scene. I saw all the bands. And I could see what not to do. I had a firsthand glance of what was going on, so Prong could make decisions based on that knowledge.

What do you remember most about that show at The Ritz with the Cro-Mags and Destruction that helped you get signed by Epic? 

TV: I remember the amazing response we got. We had been fighting for a Rock Hotel show for a couple of years. Finally, [original Prong bassist] Mike Kirkland got [Rock Hotel promoter] Chris Williamson to agree on putting us on that show. It was an epic show that got us signed to Epic.

Talk about the progression or the evolution of Prong from Beg to Differ on through Rude Awakening. Those albums are so innovative and have elements of post-punk, industrial and metal, among others. Where did that desire to combine these different genres come from?

TV: There was beginning to be hoards of thrash-metal bands, noise/ industrial bands, hardcore and crossover bands. So what would be different? How would Prong stand out? I couldn't rely on my playing totally nor my singing. I was okay and got by. I had to rely on smart riffs and stylistic maneuvering. We also had to look to the future a lot in order to maybe break new ground. And back then there was a high ceiling for that. A focus on "songs" inevitably became a priority as well, with less emphasis on strict riffing.

Prong - Cleansing 1994

Cleansing turns 20 years old this year. What are your impressions of it all these years later, and why do you think it remains such an influential record?

TV: It's a classic, and I have no qualms about proclaiming that. It's a signature rock record, not just metal. It opened a lot of doors for a lot of new artists. It's a killer sounding record. [Producer] Terry Date was on top of his game. We made a lot of great studio decisions together. It was a fantastic experience. And it was at a time when Epic records were scratching their heads wondering what the hell we were doing.

You had the EP Whose Fist Is This Anyway?, which came out prior to Cleansing. How did that work influence Cleansing? 

TV: Well it got Paul Raven interested in taking up the bass role in Prong. We had him do a remix. Then we became friends and eventually led to him playing in the band. To those who don't know, that was the first remix record ever done by a metal band. Ted Parsons and I fought hard to get that sold to Epic records management.

Is "Snap Your Fingers Snap Your Neck" a song you feel represents what Prong is all about, or is there another that you feel is under-appreciated and deserves more acclaim?

TV: It's a magical track. We actually started playing that song while Troy Gregory was still in the band. People loved it from the beginning. Some songs are just like that. I'm noticing "Turnover" having that kind of response now.

Next up for Prong? Lots
of touring
Photo by Tim Tronckoe

Ruining Lives seems to revive so much of what makes Prong so interesting and still relevant these days. Does it seem to bridge the old and the new for Prong?

TV: I wouldn't disagree with that. It's got the riffs, it has the hooks, it has the grooves, it's got some of the New York hardcore vibe, it's got the post-punk undertones. It's a solid Prong record.

What's next for Prong?

TV: Touring. There's a lot coming up. Then writing for a new record. Maybe I'll do the next one in two months time, not three.

DVD Review: Patti Smith – Live at Montreux 2005

DVD Review: Patti Smith – Live at Montreux 2005

Eagle Rock Entertainment

All Access Review: C+

Patti Smith - Live at Montreux 2005

Montreux, Switzerland is a long way away, both literally and figuratively, from CBGBs, circa 1975. The accommodations at the famed jazz festival hosted by this Swiss city couldn’t be better – a big, wide stage, space to fit a big crowd comfortably and muted, but colorful lighting. Presumably, even the bathrooms are nice, or at least the janitorial staff is likely to clean up any vomit in a timely manner – unlike the famed venues where punk came of age and its rats spat at anything resembling convention.

This is where Patti Smith found herself in 2005, fresh off having curated the Meltdown Festival in London and in a nostalgic mood, as she and her band acknowledged the passing of 30 years since the release of Horses, one of punk’s landmark records. And while we might long to see a younger, hungrier Smith in her more natural environment once again at dirty old, graffiti-splattered CBGBs, passionately expressing her haunting, disturbingly poetic visions of people caught in desperate, dangerous circumstances  and looking down the barrel of troubling existential crises as Lenny Kaye feeds her cleverly designed, well-manicured guitar shapes and frenzied, feedback-drenched squalls, those days are gone, never to be repeated. She’s moved on to bigger, if not always better, things, and CBGBs is now a clothing store.

It’s nice to see, however, that Smith, now well into her 60s and still wearing the familiar androgynous uniform of a white shirt and black tie, has retained some of the edginess and raw emotion that fueled her finest writings and most flammable performances, as evidenced by a sometimes mesmerizing and fiery performance captured in an all-too-brief concert film “Live at Montreux 2005.” With the exception of a rather tepid and paint-by-numbers reading of Bob Dylan’s “Like a Rolling Stone” and a disjointed and sleepwalking journey through “Seven Ways of Going” punctuated by some truly pointless improvisations, Smith, Kaye, bassist/keyboardist Tony Shanahan, drummer Jay Dee Daugherty and guitarist Tom Verlaine – he of Television fame – are mostly sharp, nuanced and wonderfully intuitive in framing Smith’s arty imagery and stark sketches of street life. However, as respectful as they are of their surroundings,their performance seems somewhat bloodless.

Given a short and sweet treatment, “Because the Night” is, of course, supposed to be the driving, cathartic centerpiece of every Smith performance, although in some respects, it almost seems like Smith and company are eager to get it out of the way on this occasion. Less powerful than one would hope, “Because the Night” gives way to a more raucous, freewheeling version of “Not Fade Away/Momento Mori,” where the tension builds organically around the conversational and smartly constructed guitar interplay of Kaye and Verlaine and there’s some real muscle in Shanahan’s bass grooves.

The inspirational, jangly rock “People Have the Power” closes the show on a high note, as singer and band rediscover that precious, potent alchemy they lost somewhere midway through the set, but well before that, going all the way back to the show’s beginning, Smith and company had the audience in the palms of their hands. The sunny hooks and breezy swing of “Redondo Beach” – contrasting lyrics laced with tragedy – exuded warmth, while the bittersweet beauty of “Beneath the Southern Cross” seemed to leave everyone transfixed. “Free Money,” with its beguiling piano intro, had the same effect, before Smith and company shook them out of their stupor by racing to the song's affecting, frenzied conclusion, with a dancing Smith calling out, “Where are the dreamers?” over and over again in a state of wild abandonment. Noisier and more aggressive, “25^th Floor” might be even more chaotic and angry, and it joins “Free Money” as the explosive anthems that you wish were more prevalent in “Live at Montreux 2005." Still, there’s enough of Smith’s raw charisma and emotional intelligence here to overcome the occasional lulls. (www.eaglerockent.com)

-        –    Peter Lindblad