2003-12-31

2003 Gigography



Here is the list of concerts by Joseph Arthur in 2003


If you own an audio / video recording and an "unavailable" concert, thank you kindly send me an email to whenyoucryyoureyesarehollow@gmail.com


2003-01-09 North Star Bar, Philadelphia, PA USA
2003-01-10 Knitting Factory, New York, NY USA
2003-01-15 Hotel Cafe, Los Angeles, CA USA
2003-01-16 Troubadour, Los Angeles, CA USA
2003-01-17 Craig Kilborn Show, Los Angeles, CA USA
2003-01-17 Crocodile Cafe, Seattle, WA USA
2003-01-18 Bottom of the Hill, San Francisco, CA USA
2003-01-21 Twist & Shout Instore, Denver, CO USA
2003-01-22 Fox Theatre, Boulder, CO USA
2003-01-25 KCRW Radio, Santa Monica, CA USA
2003-01-31 Martyr's, Chicago, IL USA
2003-02-01 400 Bar, Minneapolis, MN USA
2003-02-06 Middle East, Boston, MA USA
2003-02-07 Aldrich Museum, Ridgefield, CT USA
2003-02-09 FNX Radio, Boston, MA USA
2003-02-10 WFUV Radio, New York, NY USA
2003-02-13 Carson Daly TV Show, New York, NY USA
2003-02-13 Rivoli, Toronto, Canada
2003-02-14 Cabaret, Montreal, Canada
2003-02-21 Housing Works, New York, NY USA
2003-02-25 Fordham University, Bronx, NY USA
2003-02-27 Smiths Olde Bar, Atlanta, GA USA
2003-03-08 Calvin College, Grand Rapids, MI USA
2003-03-09 Union Ballroom, East Lansing, MI USA
2003-03-13 Higher Ground, Winooski, VT USA
2003-03-14 The Continental, Buffalo, NY USA
2003-03-15 Bowery Ballroom, New York, NY USA
2003-03-28 Rosebud, Pittsburgh, PA USA
2003-04-03 Iron Horse, Northampton, MA USA
2003-04-04 Colony Cafe, Woodstock, NY USA
2003-04-08 The Living Room, New York, NY USA
2003-04-18 Peabody Hotel, Memphis, TN USA
2003-04-19 Gerstle's Place, Louisville, KY USA
2003-04-20 3rd & Lindsley, Nashville, TN USA
2003-04-23 Waterloo Records Instore, Austin, TX USA
2003-04-24 Stubbs, Austin, TX USA
2003-04-25 Jenny Craig Pavilion, San Diego, CA USA
2003-04-26 Coachella Festival, Indio, CA USA
2003-04-30 Fletcher's, Baltimore, MD USA
2003-05-01 The Orange Peel, Asheville, NC USA
2003-05-22 KMTT Radio, Seattle, WA USA
2003-05-23 Railway Club, Vancouver Canada
2003-05-24 Sasquash Festival, Seattle, WA USA
2003-07-08 Meadow Brook, Rochester Hills, MI USA
2003-07-09 Murat Center, Indianapolis, IN USA
2003-07-11 Calvin Theater, Northampton, MA USA
2003-07-12 Merrill Auditorium, Portland, ME USA
2003-07-13 Veterans Memorial, Providence, RI USA
2003-07-15 Beacon Theater, New York, NY USA
2003-07-18 David Letterman Show, New York, NY USA
2003-07-18 Fleet Center, Boston, MA USA
2003-07-19 Casino, Hampton Beach, NH USA
2003-07-20 The Green, Shelburne, VT USA
2003-07-22 Electric Factory, Philadelphia, PA USA
2003-07-24 Wolf Trap Filene Center, Vienna, VI USA
2003-07-25 Regency Park Amphitheatre, Cary, NC USA
2003-07-26 Pier 6 Concert Pavilion, Baltimore, MD USA
2003-07-29 Thomas Wolf Auditorium, Asheville, NC USA
2003-07-30 The Tabernacle, Atlanta, GA USA
2003-07-31 House of Blues, New Orleans, LA USA
2003-08-02 The Backyard, Austin, TX USA
2003-12-13 Theatre Arc-en-Ciel, Lievin France
2003-12-14 Le Cactus, Brugge Belgium
2003-12-15 Le Botanique, Brussels Belgium
2003-12-16 Le Botanique, Brussels Belgium




UPDATED ON 2018-05-07


INTERVIEW : 2003 Bring True to the Song and Writing About Insanity (by Andy Garrigue)



In 1995 Joseph Arthur was selling guitars in some shop in Atlanta, possessed of dreams but no real prospects. In 1996, Arthur was signed as the first rock artist on Peter Gabriel's Real World label, and great expectations were heaped upon him as his first release BIG CITY SECRETS emerged.

And while he labored initially in obscurity, people started to notice. A 1999 EP VACANCY got a Grammy nomination for packaging - and Arthur earned that recognition himself because he did all the art. His second album COME TO WHERE I'M FROM drew even more attention, with Entertainment Weekly naming it the 'Number One Album of the Year 2000', and many publications, including The New York Times and CMJ, naming it to their Top 10 lists for the year.

With the release of REDEMPTION'S SON at the end of 2002, Arthur's star continues to rise, and he stands a chance of making the leap from treasured secret of in-the-know critics to household name. The London Sunday Times says the new work "exhibits the sure sign of a classic album ... brilliant." The Boston Herald calls it a "near-masterpiece, dominated by irresistible hooks, an aching falsetto and ethereal backup choruses...One of the year's best pop releases." 
CMJ New Music Report says "Arthur creates a rewarding, dreamlike universe of sound, allowing the listener to get lost deep within its sprawling canvas." And these critics apparently aren't the only ones enjoying REDEMPTION'S SON, because the album recently scored the top position on the College Music chart on the back page of Rolling Stone. I agree that REDEMPTIONS'S SON is an impressive, ambitious, enjoyable work, with a host of different feels and shades within its 75 minute journey into a man's tormented psyche. Recommended tracks include "Dear Lord," "Innocent World" and "Let's Embrace" on the prettier and poppier side, and "Nation of Slaves" and "Blue Lips" for the more harrowing and poignant moments. We caught up with Arthur at his apartment in Manhattan, shortly after the College Music Chart news arrived that this album seemed to be well on its way to more than cult success. 


9x: Congratulations on your album occupying the #1 slot on the College Music chart in Rolling Stone. Do you feel you've now 'arrived', or did you 'arrive' a while ago?
Joseph Arthur: Um...hmmm... I don't know. I don't know what 'arrived' really means.
9x: Maybe you 'arrived' when your song "In the Sun" got played on Dawson's Creek.
JA: Right.
9x: So what has made this record #1 on the College Music chart? Is there a single that's getting played?
JA: I'm not sure. It's nice that people like the record. "Honey and the Moon" is the single. The people at the label who study these things say people are most responding to it. It's got that AAA vibe, I guess. If that's a hit, then the sky's the limit! If not, I guess it's time... to release a new record -- which I wouldn't mind. It's kind of a win-win situation - either I have a hit or I get to release more material. I don't want to have to hold off on releasing new material. Sometimes people can have a hit, and they're not allowed to release more material for a while. Then, that's a lot of pressure - knowing it has to be good. I wouldn't want to be in a position like that. I've got plenty of material, and I'd like to be able to release it. I'm pretty much always writing. I haven't had that writer's block thing yet.
9x: You do a lot of art, too. You've done the covers for your records, and received a Grammy nomination for the packaging for one of your EPs. You also do a lot of sculpture, working often with found objects that you pick up on the streets of Manhattan. Does the process of songwriting compare at all to the process of painting or sculpture for you?
JA: I guess so. They're similar in some ways. You can learn things from paintings that you use in songs and vice versa.
9x: Is producing your own record kind of like directing a film you're starring in? You produced REDEMPTION'S SON. Do you produce all of your records?
JA: No, I don't produce all my records. T-Bone Burnett produced the last one, and I helped out, too. Marcus Drab produced the one before that. I don't know if producing a record is like directing a film I'm starring in, because I've never directed a film I starred in!
9x: Fair enough. Is not producing your record a frustrating experience, artistically?
JA: No, not really. First of all, production is kind of a bullshit term anyway. It means so many different things to different people. It could be getting the coffee. It could be writing the songs and playing and everything. People always talk about it as if it's something specific. It's similar to a business arrangement, where each time it can be something different, known only to those involved. I've always been really creatively involved in the production of my records, whether I'm producing or not.
9x: I first heard you on WFUV up in New York, a public radio station that plays a very wide open "City Folk" format. I heard "In the Sun," which I love, enough to let it get under my skin, and I went out and bought the record. I later heard you doing an interview there, and playing some live in the studio, and talking about the road journals that you sell as well, with notes and drawings you've done when out on the road. My question is how important is a station like that to you?
JA: Well, not that many stations play my music. So I guess they're really important!
9x: I saw on a recent set list, that I viewed on your artist's home page (accessed via www.josepharthur.com), that you did the Stones song "Wild Horses." Why did you do that one? It's a great song. And what other covers do you play? You don't strike me as a guy who does covers.
JA: That's probably the only cover I've ever played. I wish I played more. I was moved to learn that song and play it at that time. Plus it was easy to figure out. There was no special reason I played it, really.
9x: How has your life changed since COME TO WHERE I'M FROM came out? You seem more high profile now.
JA: Not really, no. Nothing has changed. Not even any more interviews. I still live in the same apartment. I still don't have any money. I mean I have money to live, don't get me wrong - I'm okay. I can eat and all. But nothing's really changed in my life. I think I need a hit for things to change. I'd like a bigger place to live. I have this one bedroom apartment - it's pretty cramped. But it keeps me honest, keeps me focused.
9x: REDEMPTION'S SON is the name of the new album, and the opening track. What does the term Redemption's Son mean?
JA: It's like... the son of Redemption. You personify Redemption. You're the product of Redemption.
9x: On the second cut on the new album, "Honey and the Moon," there are some very atmospheric background vocals, and it's very dreamy. I'm reminded somewhat of Robbie Robertson's first solo album. Would you agree?
JA: I'm familiar with his work with The Band, but not his solo work.
9x: That first one is the one to get - he's got Peter Gabriel singing on a couple of tracks, actually.
JA: Really! I didn't know that.
9x: Yeah, check out the song "Broken Arrow". Do you sing all the background vocals?
JA: I do most of the background vocals, although sometimes Pat Sansone's singing. (Hint: check out the bass background vocals on "Dear Lord" towards the end, rumbling just below the surface.)
9x: On "Dear Lord," I hear both Bob Dylan - from the BLONDE ON BLONDE era with the acoustic harp work and keyboards - and World Party. Are either of those influences on you?
JA: Bob Dylan has been. I haven't listened to World Party, so I really don't know what he sounds like. I met Karl Wallinger, though - he was really funny. I got to go to his studio in London. People have told me I sound like him ever since my first record. I take it as a compliment. I started getting lots of comparisons, and it kind of tripped me out for a while, but it's okay.
9x: I've been studying the lyrics to this new album, and I was trying to think of what album it reminded me of, and then it hit me. I hope you don't mind that I'm going to compare it to another album. This album reminds me of THE WALL by Pink Floyd, from the angle that it's an in-depth chronicle of a soul's torment and struggle with madness. Is that fair?
JA: Yeah. That's good. I like that. I like that comparison. It's funny - you're the first person who's said that. I've always thought the main character's dealing with insanity. What I'm really doing is writing about insanity. People always think I'm religious. But I'm always writing about mental illness, and just the... human condition. Every one I know is mentally ill! I don't mean that in a bad way. I think everyone is mentally ill, to some degree, if you think about it.
9x: Do you have spiritual struggles like you describe on REDEMPTION'S SON? Do you feel at times lost and then found and then lost again? The accounting seems very heartfelt and honest, as if you'd experienced it yourself, or seen it up close in someone you know.
JA: Yeah, I think so. It's definitely personal - but I don't necessarily think I'm always writing about myself. Although I am a lot of times.
9x: Who are some of your favorite songwriters or instrumentalists?
JA: I just got the Bonnie Prince Billy album, by Will Oldham. I really like that, so that's a current thing I'm into. I like the Smiths, Bob Dylan, Lou Reed, Nick Drake.
9x: I hear some nice acoustic guitar on a couple of tracks on the new album that make me think of Nick Drake, actually. I guess it's on "Honey and the Moon" and some others. What about favorite albums? I know you used to listen to Jimi Hendrix a lot when you were younger.
JA: It's always changing. To key in on one, or even a few, is misleading. That's the thing with artists - they're always into something, and it keeps changing. I like that new record The Streets a lot. Have you heard that?
9x: I haven't got that one yet.
JA: You haven't? You really should. I like that new Primal Scream record, too.
9x: What does the future hold for you?
JA: I'm working on eliminating negative things from my life - like television. And drugs. I'm thinking about writing, and how to be a better writer. The older you get, the more have to work at it, I guess. I'm more into work, and less into bullshit. Then I'll make babies! Then I'll become a full time painter when I'm 40, and have switched my passions... I'm just bullshitting now... I'm just trying to be positive, and have some peace on Earth, which seems pretty hard right now.
9x: What would surprise people about you?
JA: People think that I'm really serious. People think that because of my music. But I'm not. I guess I am in some ways, but, really... I'm a clown. I'm a goofball.
9x: Is there a message to REDEMPTION'S SON?
JA: Hmmm. I hadn't really thought about it, but there probably is. It's an overall vibe. There's a philosophy inherent in it, but there's not a particular, overt message. I'd have to say it's positive, because at the end he's still trying. So it's not nihilistic.
9x: What's the most important thing to you about your music? Would it be honesty? Your work seems very honest, and your lyrics are very direct a lot of the time.
JA: I think it's good to not be pretentious. I think you can hide behind that. I think a lot of smart people fall into that, and they get rewarded for it. So I'd like to avoid that. And honesty, yes, that's important. Being true to the song - not necessarily being true to yourself, because I think it's okay to be in character. Ultimately I'm most concerned about lyrics and melody. If that's on point, I'm less concerned about the other stuff.

(http://plan9music.com)






Rare Tracks 2003-2005







RARE TRACKS 2003-2005 - MP3



REVIEW : Redemption's Son - Variety


By JEFF MILLER


“Redemption’s Son” (Enjoy/Universal), the newest album from New York-based critics’ darling Joseph Arthur, is a sprawling collection of orchestral singer-songwriter rock that often feels as if it’s about to collapse under its own heady ambition. Arthur was smart, then, to leave the band at home and accompany himself at this show; by looping percussive guitar tracks with a sampler he brought out the best qualities of his songwriting without highlighting its occasional pretentiousness.

Arthur focused mainly on the new album, unfortunately leaving behind some of his best songs from 2000’s “Come to Where I’m From” (Real World). His set was split evenly between intimate, personal guy-with-a-guitar strumming and band-re-creating sampling, which found Arthur tweaking knobs as much as it found him playing his instrument. Though he remained on an acoustic through the night his sampler gave his playing room to breathe; he often emulated electric sounds, playing swooping, distorted space-rock solos over his own atmospheric backing tracks.

His secret weapon, though, is his voice, a Marlboro-tinged growl that often falls from falsetto to whisper in a moment. When Arthur howls, his banshee-like emoting is resonant; the set’s high points all included some sort of vocal acrobatics.

Arthur was almost upstaged by opener Alexi Murdoch, who has been rapidly drawing buzz thanks in part to heavy support from KCRW. His set of band-backed songs evoked both Nick Drake and David Gray, and audience response to even the quietest numbers was rapt, silent attention, a sign that Murdoch is well on his way to being a headliner himself.


2003-12-16

2003-12-16 - Le Botanique, Brussels




On Stage :

Solo concert


Setlist : 

stumble and pain
keyboard improvisation
redemption' son
i'm in your life
crying like a man
i donated myself to the mexican army
you are the dark
tattoo
you've been loved
into your heart
glass pipe
in the sun
eyes on my back
i am the witness


Recording :

This concert was officially recorded, and sold on CDr after the show.



2003-12-15

2003-12-15 - Le Botanique, Brussels





On Stage :

Solo concert.


Setlist :

glass pipe
into your heart
can't exist
eyes on my back
i am the witness
good about me
mercedes
leave us alone
in the sun
vacancy
toxic angel
speed of light


Recording :






2003-12-14

2003-12-14 - Le Cactus, Brugges



On Stage :

Solo concert


Setlist :

can't exist
leave us alone
glass pipe
september baby
birthday card
vacancy
big city secret
echo park
eyes on my back
in the sun
ashes everywhere


Recording :

This concert was officially recorded, and sold on CDr after the show.

2003-12-14 Brugges





2003-12-13

2003-12-13 - Theatre Arc-en-Ciel, Lievin



On Stage :

Solo concert


Setlist : 

glass pipe
vacancy
can't exist
eyes on my back
toxic angel
blue lips
echo park
i donated mysef to the mexican army
leave us alone
honey and the moon
in the sun
speed of light
straw dogs
mercedes


Recording :

This concert was officially recorded, and sold on CDr after the show.





2003-07-20

2003-07-20 - The Green, Shelburne


On Stage :

Solo concert
Opening for Tracy Chapman


Setlist : 

No information


Recording :

Sadly, there's no audio recording of this event. 
If I am wrong, thank you to inform me by email.


Poster :



2003-07-18

2003-07-18 - David Letterman Show, New York


On Stage :

Solo performance


Setlist :

honey and the moon


Recording :

Sounds horrible, but it's a document.







2017 UPDATE : a better version of this vidéo has surfaced on YT !!




2003-07-15

2003-07-15 - Beacon Theater, New York



On Stage :

Solo concert
Opening for Tracy Chapman


Setlist : 

in the sun
ashes everywhere
birthday card
innocent world
mercedes
you've been loved 


Recording :

An audience recording of this event exists. 



2003-05-13

REVIEW : Holding The Void - 75orless.com

May 13, 2003 3:57 PM

Holding The Void (Joseph Arthur)



As a side project for the increasingly prolific Joseph Arthur, this is a straight-up rock album that stands apart from his solo act.
Supported by a backing band, Arthur indulges in the occasional guitar solo and, more importantly, sounds like he's having fun the whole time. 
While the lyrics aren't terribly deep, it's proof that, underneath it all, everyone just needs to rock out every once in a while.

2003-05-01

2003-05-01 - Orange Peel, Asheville



On Stage :

Solo concert
Opening for Wilco


Setlist :

stumble and pain
mercedes
innocent world
straw dogs
i donated myself to the mexican army
september baby
birthday card
prison


Recording :

2003-05-01 Asheville





2003-04-30

2003-04-30 - Fletcher's, Baltimore


On Stage :

Solo concert


Setlist : 

september baby
leave us alone
mercedes
?
i donated myself to the mexican army
i am the witness
prison
innocent world
straw dogs
blue lips
redemption's son
honey and the moon
into your heart
crying like a man


Recording :

Sadly, there's no audio recording of this event. 
If I am wrong, thank you to inform me by email.


2003-04-26

2003-04-26 - Coachella Festival, Indio



On Stage :

Solo concert


Setlist :

september baby
mercedes
i am the witness
innocent world
straw dogs
i donated myself to the mexican army (with gomez)
big city secret
in the sun


Recording :

 2003-04-26 Coachella AUD


Poster :




2003-04-25

2003-04-25 - Jenny Craig Pavilion, San Diego



On Stage :

Solo concert


Setlist : 

into your heart
i donated myself to the mexican army
innocent world
straw dogs
in the sun
blue lips
september baby
mercedes
speed of light


Recording :

An Audience recording exist.

2003-04-25 San Diego



2003-04-24

2003-04-24 - Stubbs, Austin



On Stage :

With Pat Sansone on keys


Setlist : 

into your heart
i am the witness
you are the dark
mercedes
blue lips
honey and the moon
innocent world
i am
i donated myself to the mexican army
you've been loved
nation of slaves
in the sun
leave us alone
september baby
speed of light


Recording :

This concert was officially recorded, and sold on CDr after the show.

2003-04-24 Austin



2003-04-20

2003-04-20 - 3rd & Lindsley, Nashville


On Stage :

Solo concert


Setlist : 

mercedes
september baby
innocent world
straw dogs
vacancy
favorite girl
i donated myself to the mexican army
honey and the moon
speed of light
leave us alone
big city secret
in the sun
you are the dark

Recording :

This concert was officially recorded, and sold on CDr after the show.




2003-04-08

2003-04-08 - The Living Room, New York


On Stage :

Solo concert


Setlist : 


leave us alone
september baby
vacancy
favorite girl
innocent world
blue lips
you are the dark
invisible hands
i donated myself to the mexican army
you've been loved
honey and the moon
eyes on my back 


Recording :

Sadly, there's no audio recording of this event. 
If I am wrong, thank you to inform me by email.


2003-04-04

2003-04-04 - Colony Café, Woodstock




On Stage :

Solo concert


Setlist :

toxic angel
vacancy
birthday card
innocent world
straw dogs
blue lips
i donated myself to the mexican army
leave us alone
nation of slaves
speed of light
eyes on my back
honey and the moon
in the sun
the real you
you've been loved


Recording :

2003-04-04 Woodstock




2003-04-03

2003-04-03 - Iron Horse Music Hall, Northampton


On Stage :

Solo concert


Setlist : 

favorite girl
vacancy
september baby
leave us alone
bill wilson
toxic angel
straw dogs
blue lips
mercedes
honey and the moon
in the sun
nation of slaves
you've been loved

Recording :

This concert was officially recorded, and sold on CDr after the show.









known recording : SBD

2003-03-28

2003-03-28 - Rosebud, Pittsburgh


On Stage :

Solo concert


Setlist :

Vacancy
Birthday card
Blue lips
Innocent world
Straw dogs
September baby
Honey and the moon
I donated myself to the mexican army
Speed of light
The real you
In the sun
You've been loved


Recording :

The concert was officially recorded, and sold on CDr after the show.

2003-03-28 Rosebud






2003-03-15

2003-03-15 - Bowery Ballroom, New York


On Stage :

Solo concert, with Pat Sansone on keyboards


Setlist : 

prison
september baby
innocent world
permission
blue lips
mercedes
bill wilson
honey and the moon
i donated myself to the mexican army
you are the dark *
in the sun
history
favorite girl **
the real you **
speed of light **


* not on the sbd recording
** not on the aud recording 


Recording :

2 audio recordings of this event exits. 
If I am wrong, thank you to inform me by email.

The concert was officially recorded, and an audience recording is available too.




2003-02-26

INTERVIEW : 2003-02-26 Come To Where He's Been (by Hobart Rowland)


Come to where he's been
Atlanta and beyond -- Joseph Arthur's expanding universe



LIFE LESSONS: Atlanta made a lasting impression on onetime resident Joseph Arthur. Too bad the reverse wasn't true.

"It was the first place I lived outside of my hometown. I was just really thrilled to be ... away. I didn't go to college, and just wanted to gosomewhere."

That somewhere was Atlanta. And from there, it was as if Joseph Arthur had been shot out of cannon. His career trajectory is a marvel of breakneck efficiency. In a matter of months, the nobody musician went from eking out demos in a basement apartment behind Fellini's Pizza on Ponce to indulging his copious muse at Peter Gabriel's Real World studios in Wiltshire, England. What followed was a string of compelling and eccentric releases -- 1997's Big City Secrets, the 1999 EP Vacancy, the full-length Come to Where I'm From a year later, and his latest,Redemption's Son -- steeped in a darkly flamboyant, preternatural singer/songwriter aura unlike anything since Jeff Buckley.

Arthur spent four years in Atlanta, and he might've stuck around longer if it weren't for that life-altering answering-machine message from Gabriel. One of Arthur's tapes had found its way to Sir Sledgehammer, who promptly made the Akron, Ohio, native Real World's first rock signing.

Most of the details of Arthur's stay here are less than compelling; some are even embarrassing. "I got a couple of bad write-ups along the way -- like, in the Music Menu. I never made any sort of impact in Atlanta," says Arthur.

He worked at Clark's Music on Ponce (now a pawn shop). He played bass ("slap-and-pop style," he giggles) in funk-rock band Ten Zen Men. He played bass in rock band Bellybutton. Finally, he started writing his own songs on an acoustic guitar, and things started opening up.

Arthur wasn't new to songwriting. "I was writing songs, but it was the early '90s, so the main key of the song was getting people to rock in the mosh pit. Then I realized that if I just divorced myself form that scene, then I could be free to write what I wanted to."

Ultimately, that meant divorcing himself from Atlanta entirely in 1996. Yet Arthur, who spent a year in London before moving to New York, still has a soft spot for the city -- even if the Big Peach wasn't always a doting host. "It was like growing up," he says from his apartment on Manhattan's East Side. "I spent my college years in Atlanta smoking pot. ... No, not just that, I cleared my head. I transformed in Atlanta; I got straight in Atlanta. I met a lot of really great people."

One of those people was poet/spoken-word artist Mikel K, who was the first in a long line of artist/musician types to pass along the demo that found its way to Gabriel.

"I never even knew Peter Gabriel had a record company," Arthur says. "Mikel K gave it to Joe B, then he gave it to Harvey S, then he gave it to P.G. It just crawled through the system."

"Sorry, I'm painting right now."

Joseph Arthur apologizes for sounding distracted. He's salvaged some old dresser drawers on the street and is busy painting them as he talks. "Damn, dude, I've got some old art supplies," he says with mild disgust. "I haven't painted in a long time."

Anyone familiar with Arthur's albums knows his painting abilities go beyond furniture revitalization. His artwork -- colorful, brash, often disturbing self-portraits rendered in a manic slash-and-burn style -- lend an epic peculiarity to the album covers for Come to Where I'm From and Redemption's Son.

"With Come to Where I'm From, there's a self-portrait with two cockroaches with eyes facing off in a war with the self," Arthur explains. "On Redemption's Son, there's a humanoid figure that's grown wings and is moving from the dark into the light."

A nourishing optimism pervades not only the album's artwork, but its content as well. In both its lush production (by Arthur, with Tchad Blake) and the grainy warmth of Arthur's vocals, Redemption's Sonis restrained and somewhat conventional, its refined pop melodies bathed in a refracted glow like sunshine filtered through a cracked stained glass window. Arthur elaborates on how Redemption's Son came together:

"I had shit-piles of material and went to go mix it with Tchad [Tom Waits, Paul McCartney]. I just picked songs that I wanted him to mix -- and when we ran out of time and I had to go, that was it. Then Tchad went through a lot of the other material and put together four EPs [the limited-editionJunkyard Hearts series]. It was nice to turn the shit over to him at that point because I'd been living with it for so long."

The weeding-out process resulted in a 75-minute album whose many dips and turns make the journey somewhat protracted, though ultimately worthwhile. Still, Redemption's Son is a far cry from his '97 debut, Big City Secrets, a tortured gail-force blast of cleansing self-confessional air that manifested itself in an eccentric avant-folk style. After the album received only cursory attention, Arthur kept quiet until 1999's Vacancy EP, whose bleak cover art earned Joseph and pal Zachary Larner a Grammy nomination for Best Recording Package.

Then came 2000's Come to Where I'm From, an album so wracked with inner torment it seemed its protagonist might bleed himself dry (if he didn't hang himself first). Fractured sonic webbing, experimental flagellation and uncompromising stylistic extremes conspired with Arthur's vocal histrionics to give the effect of an extremely creative soul bouncing off the walls to be heard, whether it meant serenading a fickle public with crafted pop melodies or ripping the front door from its hinges and screaming until his face turned purple. The dichotomy worked: Perhaps swayed by their own millennial neuroses, critics connected with Arthur's antsy volatility in a big way, and Come to Where I'm From made it onto many year-end best-of lists.

Redemption's Son invites human contact in more obvious ways, even as it details the sometimes-toxic reaction of skin on skin in unnerving detail on tracks like "Favorite Girl" ("I've been so happy being unhappy with you"). And "Dear Lord," "Let's Embrace" and the title track suggest Arthur is becoming increasingly at ease with his own spirituality, comfortable in the resolution to heal thy sorry-ass self through love and faith.

It's never easy to address such subjects without listeners feeling they're being spoon-fed someone else's pat recipe for salvation. But while the potential turn-offs could've been many, Arthur averts disaster with a mixture of imagery and impulse.

"I write from the unconscious, so I don't really think about it," Arthur says. "I don't know what to think about all that stuff. But I use it to help me in life. And it does help me."

hobart.rowland@creativeloafing.com

2003-02-25

2003-02-25 - Fordham University, Bronx



On Stage :

Solo concert
This show was broadcasted on WFUV Radio.


Setlist : 

vacancy
birthday card
honey and the moon
i donated myself to the mexican army
in the sun
favorite girl
mercedes
bill wilson
innocent world
speed of light
crying like a man 


Recording :




2003-02-14

REVIEW : Redemption's Son - The Austin Chronicle



REVIEWED BY DAVID LYNCH, FRI., FEB. 14, 2003


If Joseph Arthur ever decided to contract his name, "Joe Art" would work just fine, because this Ohio-born, NYC resident is a true artist. 
His paintings are stark and powerful and helped him earn a Grammy nod for album artwork previously. 
With sound, Arthur paints with both broad and subtle brushstrokes, and his lyrics can stand free as poetry. Having contributed to several compilations, and released EPs and two LPs under his own name, Arthur has earned binders of critical and artistic praise. 
His latest, Redemption's Son, may be his best. 
Culled from over 75 songs, the 16 tracks here are all gold, and it's not hard to find overlap with other acts. 
"Evidence" could be from Elvis Costello's looped beat set list, "Nation of Slaves" is the fruit of a hypothetical Bowie-Tool recording session, and "In the Night" could be a lost gem from a Lennon-McCartney fin-de-siècle songbook. These overlaps don't mean that Arthur mimics, but rather that these artists should cover Arthur's compositions, for he is quite simply a stunning songwriter and aural watercolorist. 
"Innocent World" is beatific, but be ready to turn up the volume, because you'll want to get closer to the expression. 
While the sounds and words used by Joseph Arthur are wholly singular, his songs about loss and redemption are universal.




Source





2003-02-14 - Cabaret, Montreal




On Stage :

Solo concert


Setlist :

favorite girl
vacancy
birthday card
redemption's son
i donated myself to the mexican army
you are the dark
blue lips
nation of slaves
in the sun
bill wilson
tattoo
the real you
innocent world
straw dogs
invisible hands
echo park
mercedes 


Recording :

This concert was officially recorded, and sold on CDr after the show.

2003-02-14 Cabaret, Montreal






2003-02-13

2003-02-13 - Carson Daly TV Show, New York


On Stage :

Solo concert
with Pat Sansone on keyboards


Setlist : 

inocent world


Recording :

A recording of this performance exists.




2003-02-13 - The Rivoli, Toronto


On Stage :

Solo concert


Setlist : 

favorite girl
vacancy
birthday card
nation of slaves
bill wilson
innocent world
straw dogs
speed of light
honey and the moon
devil's broom
i donated myself to the mexican army
blue lips
you've been loved

Recording :

This concert was officially recorded, and sold on CDr after the show.


2003-02-10

2003-02-10 - WFUV Radio, New York


On Stage :

Radio Session


Setlist : 

you are the dark
honey and the moon
favorite girl


Recording :

Sadly, there's no audio recording of this event. 
If I am wrong, thank you to inform me by email.


2003-02-07

2003-02-07 - Aldrich Museum, Ridgefield



On Stage :

Solo concert


Setlist : 

toxic angel
vacancy
birthday card
honey and the moon
devil's broom
history
september baby
bill wilson
dear lord
in the sun
you've been loved


Recording :

2003-02-06

2003-02-06 - Middle East, Boston


On Stage :

Solo concert


Setlist : 

nation of slaves
bill wilson
tattoo
innocent world
straw dogs
i donated myself to the mexican army
evidence
evil will
in the sun
crying like a man


Recording :

This concert was officially recorded, and sold on CDr after the show.











2003-02-01

LYRICS : Candy Store


Tell me if you know the way to the candy store 
I guess we really should decide if I'm your pimp or your whore 
Cause if you give me a little all I need is some more 
Tell me if you have a key or should we break down the door 

You don't understand yourself at all 
You don't understand you're bound to fall 

Tell me if you know the way to the other side 
Tell me if you know the way to the end of time 
And could you help me get rid of my begging mind 
I'm calling out for you at the end of the line 

You don't understand yourself at all 
You don't understand you're bound to fall 

You don't understand you're bound to fall
You don't understand yourself at all


LYRICS : Blue Jays And Honey Bee



Waking up 
I wanna go back 
But it's too late 
Oh I'm still awake 

I wanna love you
I wanna be nice 
But the weekend comes and the money and the drugs and the parasites

Hey don't be sad 
My blue jays and my honey bees
Hey don't be sad 
My blue jays and my honey bees baby

If I were you 
I would unscrew 
My head from the shoe (?)
And forget what I knew 

I wanna love you 
I wanna be clean 
But the predators bite even when you dream at night it's the ugliest scene 

Hey don't be sad 
My blue jays and my honey bees 
Hey don't be sad 
My blue jays and my honey bees

Hey don't be sad 
My blue jays and my honey bees
Hey don't be sad 
My blue jays and my honey bees baby

Hey don't be sad 
My blue jays and my honey bees
Hey don't be sad 
My blue jays and my honey bees




LYRICS : Gone Without It



Gone without it 
Gone without it 
Gone without it
Gone without it
Without it
Without it
Without it

Got no possession, without it 
Got no possession, without it 
Got no possession, without it 
Without it

Gone without it



LYRICS : Miracle


I get by 
Without a miracle 
You 
You get by 
Without a miracle 

So we should compromise 
And we should stop telling lies 

You 
You get by 
Without a miracle 
I get by 
Without a miracle 

So we should compromise 
And we should stop telling lies 

When will you leave? 
Where will you go? 
When will you leave? 
Where will you go? 
When will you leave? 
Where will you go? 
When will you leave? 
Where will you go? 
When will you leave? 
Where will you go? 
When will you leave? 
Where will you go? 

I get by 
Without a miracle 

So we should compromise 
And we should stop telling lies


LYRICS : False Colored Eyes



Give up your lies 
And your false colored eyes 
You're buried alive 
Under your mind 

I don't care who you have left behind 
I don't care who you have compromised 
Give up your lies 

The things you despise 
Have you hypnotized 
Give up your disguise 
And the places you hide 

I don't care who you have compromised
I don't care who you have left behind 
Give up your lies 

And I need an answer 
Am I here all by 
Myself, myself 
If you can surrender 
You will only hurt yourself 
Yourself 
Yourself


LYRICS : Disposable



You lied to me 
Now I'll never see your face again 
You never knew you were my only friend 
Now you've just become disposable 

You needed love 
But don't you know that love and lies can't mix 
Eventually I saw through your tricks 
The way you get your fix off of other people's souls 

We were so young 
Out of control 
I bought the dream
The one you stole 

So let's not pretend we're good 
No let's not pretend we're good 

I gotta go 
And I won't come back this way again 
I guess your disguise just got too thin 
And now I can see exactly who you are 

I hope for you 
Eventually you'll learn to follow through 
But when you do you won't be who I knew 
Back when we threw ourselves off of every single ledge 

We were so young 
Out of control 
I bought the dream 
The one you stole 

So let's not pretend we're good 
No let's not pretend we're good 

We were so young 
Out of control 
I bought the dream 
The one you stole 

So let's not pretend we're good 
No let's not pretend we're good 

We were so young 
Out of control 
I bought the dream 
The one you stole 

So let's not pretend we're good 
No let's not pretend we're good



LYRICS : Hands Born Dirty



Help me to bury 
Feelings I can't stand 
Take me to wherever 
Take me by the hand 

Maybe I need it 
Maybe I'm a slave 
Hands are born dirty 
And I dig my own grave 

I can't wait another minute more 
Can't you see I've lost my self control?

Sun will blind me 
Make it in the light
Throw me from my window 
Hold me in the sky 

Maybe I need it 
Maybe I'm a slave 
Hands are born dirty 
And I dig my own grave 

I can't wait another minute more 
Can't you see I've lost my self control? 
I can't wait another minute more 
Can't you see I've lost my self control? 

I can't wait another minute more 
Can't you see I've lost my self control? 
I can't wait another minute more 
Can't you see I've lost my self control?


LYRICS : Look Over Your Shoulder



Give me back oblivion 
Take away my need 
Someone's always chasing me 
Underneath the trees 

Look over your shoulder 
Look over your shoulder 

Everything around me now 
Everything I see 
Couldn't get much further from 
Where I wanna be 

Look over your shoulder 
Look over your shoulder 

And I can't feel a thing 
And I can't feel a thing 
And I can't feel a thing 
And I can't feel a thing 

Look over your shoulder 
Look over your shoulder 

And I can't feel a thing 
And I can't feel a thing 
And I can't feel a thing 
And I can't feel a thing 
Can't feel a thing 
And I can't feel a thing



LYRICS : Call A Friend


Don't be paranoid 
You are a killer 
You're too serious 
Dancing with that corpse 

Could you call a friend? 
Could you love yourself again? 
Could you call a friend? 
Could you love yourself again? 

When you got it 
Feels good 
But without it 
You're so down 
So down 
So down 

It could all fall apart 
Any day of the week 
A circus marching through your mind 
Underneath all the dreams you used to seek 

I could call a friend 
I could love myself again 
Could you call a friend? 
Could you love yourself again? 

When you got it 
Feels good 
But without it 
You're so down 
So down 
So down 

When you got it 
Feels good 
But without it 
You're so down
You're so down
So down
So down
So down

LYRICS : Nothing Wrong With The City



I don't need ghosts 
They're impossible to see 
Gimme what you got 
What's believable to me 

You are my host 
I come inside of you for free 
In you I'm lost 
Far beyond where you could see 

There's nothing wrong with the city 
There's nothing wrong with my love 
And if you think I'm so very very pretty 
Why don't you buy me a diamond ring? 

I don't need love 
It's disposable to me 
Your suffering is safe 
It's a habit that you keep 

Give me your ghosts 
They're impossible to see 
Hey let's hook up 
Yeah back to where we used to be 

There's nothing wrong with the city 
There's nothing wrong with my love 
And if you think I'm so very very pretty 
Why don't you buy me a diamond ring? 

I don't need ghosts 
They're impossible to see 
Gimme me what you got 
Oh it's believable to me 

You are my host 
I come inside of you for free 
In you I'm lost 
Far beyond where you could see 

There's nothing wrong with the city 
There's nothing wrong with my love 
And if you think I'm so very very pretty 
Why don't you buy me a diamond ring? 

I don't need ghosts 
I don't need ghosts 
I don't need ghosts

LYRICS : Don't Be Afraid



Don't be afraid 
Tonight 
Don't be afraid 
Inside 
Your mind 

You're on your own 
Tonight 
You're on your own 
Inside 
Your mind 

How do I know if you're for real? 
How do I know if you're for real? 
How do I know if you're for real? 

Don't be afraid 
Tonight 
Don't be afraid 
Inside 
Your mind 

You're on your own 
Tonight 
You're on your own 
Inside 
Your mind 

How do I know if you're for real? 
How do I know if you're for real? 
How do I know if you're for real? 

How do I know if you're for real? 
How do I know if you're for real? 
How do I know if you're for real?


Holding The Void


Holding the Void was recorded in late 2002 and released in early 2003 in limited quantities on Joseph's website and at his live shows.

The album is described on Joseph's website as "pure rock 'n' roll." Holding the Void features Joseph on vocals and guitar, Pat Sansone (of Wilco and The Autumn Defense) on bass and backing vocals, and Rene Lopez (solo musician; frequent collaborator with Joseph Arthur) on drums and backing vocals.

All tracks are written by Joseph Arthur, Rene Lopez, and Pat Sansone.

Tracklist & Lyrics :

01. "Candy Store"
02. "Blue Jays and Honey Bee"
03. "Gone Without It"
04. "Miracle"
05. "False Colored Eyes"
06. "Disposable"
07. "Hands Born Dirty"
08. "Look Over Your Shoulder"
09. "Call a Friend"
10. "Nothing Wrong with the City"
11. "Don't Be Afraid"


Recorded by Tom Schick.
Mixed by Tom Schick and Holding the Void.
Mastered by Fred Kevorkian.
Artwork by Joseph Arthur.

Holding the Void's official MySpace page
























2003-02-01 - 400 Bar, Minneapolis





On Stage :

Solo concert


Setlist : 

Innocent world
Straw dogs
Vacancy
Bill Wilson
Mercedes
Evidence
Evil will
I donated myself to the mexican army
You are the dark
In the sun
Cockroach
September baby
Favorite girl
Tattoo
Ashes everywhere
Honey and the moon
Devil's broom
The real you


Recording :

This concert was officially recorded, and sold on CDr after the show.

If someone could send me a FLAC version, it will be great.


2003-02-01 MP3






2003-01-31

2003-01-31 - Martyr's, Chicago



On Stage :

Solo concert


Setlist : 

blue lips
birthday card
prison
in the sun
mercedes
bill wilson
honey and the moon
devil's broom
the real you
i donated myself to the mexican army
favorite girl
evidence
evil will
speed of light 


Recording :

The concert was officially recorded,  and sold on CDr after the show.




2003-01-25

2003-01-25 - KCRW Radio, Santa Monica, CA


On Stage :

Radio Session

Setlist :

honey and the moon
favorite girl
innocent world
you are the dark
september baby
in the sun


Recording :