Korry Keeker, KCOU (88.1 FM): It was three months before I was going to graduate in May, and I was extremely excited to see Superchunk, my favorite band, for the sixth or seventh time. I believe I had heard bits and pieces of On Avery Island, and though I liked it a lot, it didn't strike me as anything extraordinary from the rest of the Elephant 6 stuff or other indie stuff at the time. The Blue Note show was about one week after Aeroplane had come out.

Neutral Milk Hotel came out extremely awkwardly. The stage was covered with an assortment of instruments, and there were quite a few members, all of whom were ramshackle in appearance. I was uncertain if there was a leader in the band, as they gave off the impression that it was some sort of free-flowing cooperative that managed to haphazardly work, fall apart and stay together through the force of personality.

There were twelve to fifteen of us lined up awkwardly about ten feet from the stage in a sort of loosely spaced parabola. I remember it being one of those rare shows where you could actually see the "light bulb" going on over audience members. That is, as they busted out the tuba, the theremin and the saw, more and more people started warming up to things, as if we were taking turns freaking out. I can't remember them doing any of the Aeroplane songs in the stripped-down way they appear on the album, but they must have.

I guess the part that I remember most is the sort of crazed look on [bassist] Julian Koster's face as he cycled through playing crazy-ass drum fills and all the random instruments. Not being familiar with most of the songs, for me it was about being blown away by the pure-feverishness and the grab-bag, carnivalesque nature of the show. I admit, though, that I was over-anxious to see Superchunk take the stage and rock the shit out of some No Pocky for Kitty songs. So my memories are somewhat tempered.

February 20, 1998, The Galaxy, with Superchunk and Gaunt

Attendance: 350

Setlist: n/a

Keeker: The next day at the Galaxy bar, I was interested to see what the reaction would be, given that NMH was playing a seemingly incongruous set in between Gaunt and Superchunk. As I recall, the crowd again took [its] time warming up. There were some people there that we knew from the Washington University radio station that assured us, in their haughty Wash. U. way, that they "knew all about Neutral Milk Hotel." But I remember them standing there stone-faced and expressionless for most of the set.

Wurster: Jay Farrar was there with his dad. I imagine this was more to do with them wanting to say hello to our guitar tech (who also worked for Son Volt) than seeing any of the bands that night.

Utz: While I enjoy the records — the first more than the second — I've never quite understood the legend that grew around the band. Superchunk and Gaunt were so awesome that night.

Keeker: It's cool but also weird to see how certain bands or albums are remembered and mythologized. I mean, I was at a party a few weeks ago, and someone mentioned that they were going to fly to New Jersey to see Mangum. That person became almost weepy and likened Mangum to being one of the great, lost poets of our generation. I guess I always think of him more as an awkward, ramshackle twee-hobo who had an extended passage of clarity in which he made his bizarre characters somehow universal and resonant. I'm not sure that it speaks of a generation, but Aeroplane is certainly a great album that conjures being restless and in your twenties in the late 1990s.

Many thanks to Marla Hare Griffin, who booked all three local shows and shared the limited information she had, including attendance details. "My recollection of any of the shows I booked is almost always pretty fuzzy, unless I had some sort of trouble with the band. That was never the case with NMH," she said. 

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5 comments
mattjfernandesmo
mattjfernandesmo

And the NMH part of my review of the Galaxy show...

... Warm-up act Neutral Milk Hotel shares Superchunk's optimistic aura. They are led by Jeff Magnum, a folk singer with an insatiable itch to experiment with and fuzzify his intelligent ballads.

Those who saw NMH last year had to be ecstatic about its performance this time around. Last year, Magnum, who had the flu, could barely keep his head up and his drummer was a no show. This time, a full band was ready to make their songs come alive.

It was a bona fide rock and roll circus, complete with the versatile Julian Koster playing his "singing saw." The group clicked early with outstanding versions of "Song Against Sex," and "A Baby for Pree."

mattjfernandesmo
mattjfernandesmo

For the record, here's my review of the Side Door show:

AT THE SIDE DOOR: MORE THAN THE NAMES ARE WEIRD

St. Louis Post-Dispatch (MO) - Friday, May 9, 1997

Author: Matthew Fernandes Special To The Post-Dispatch

NEUTRAL MILK HOTEL/OLIVIA TREMOR CONTROL

Side Door, Monday, May 5

AN intense bunch of aging punk fans drifted into the Side Door looking for something more than the tiresome three-chords-and-out performances delivered by many a touring band. In their quest for meaning, they turned to Neutral Milk Hotel, a band that has made national waves over the last year.

Despite the critical acclaim for Neutral Milk Hotel's debut album, "On Avery Island," only about half of the floor space was occupied throughout the show. As band leader Jeff Mangum took the stage alone, the small gathering huddled close to the stage. They did not get too close, though, as Mangum announced that he was ill with a 100 degree temperature. Also, his drummer "couldn't be here."

Not a promising start, but perhaps the strength of the band's songs alo ne would offset the fatigue factor.

Not the case.

Mangum labored through an eight-song, acoustic set with few highlights. Mangum dominated the songs with his bold guitar work and vehement voice. Often, Mangum appeared ready to eat the microphone as his voice rang through the speakers. The effect was often awkward. Lowering the volume would have been appropriate for the band's folksy, slower tunes.

Not surprisingly, the instrumentals were the strong points. Julian Koster played the "singing saw" during some tunes, giving a surreal element to the music. The instrument consisted of a violin bow and a rusty saw, which Koster would bend to play. The bizarre sound was similar to the loony, high-pitched sound effects used in early horror films and original Star Trek episodes. An accordion and clarinet also were thrown into the mix on certain instrumentals. One memorable tune took on a traditional Irish sound, although the instruments used were anything but traditional or Irish.

On album standouts like "Song Against Sex" and "Naomi," the band lacked coordination. The jubilant horns, which made "Song Against Sex" so great on the record, were not only sloppy, but inaudible live. Some of the beauty of "Naomi" was lost due to miscommunication. A death-defying final note was held for a mini millennium by Mangum, thus salvaging the tune.

The set featured several new numbers that sounded promising, despite the somewhat crippled delivery.

Olivia Tremor Control's performance was upbeat by comparison. This band knew its material and played it in style. OTC blended the oddest of instruments to achieve a chaotic, yet pleasing sound. (Well, most of the time.)

It was a true country jamboree. Some of the oddball instruments included a banjo played with a violin bow, a sawed-off trumpet, a Moog synthesizer combined with a Casio keyboard and a strange wood box with electrical wires.

OTC's songs were tighter than those of NMH, their soul and label mates on Elephant 6. Funky bass lines gave the crowd a reason to dance. Impressive four-part melodies were featured on many songs. When the band jammed, their sound was earthy, with strictly positive lyrics, reflecting the bright and sunny atmosphere of their hometown of Athens, Ga. Each song held surprises, though; exploring homemade electronics during extended jams is clearly this band's passion.

John Tait
John Tait

I was at the show at the Blue Note. For some reason I remember a larger crowd than the chronicler above describes. I'd never heard N.M.H. and was just hoping they wouldn't play too long before Superchunk came on. I remember Jeff coming to the mike, shuffling out in an old army fatigue jacket, staring at his feet and and launching into "Comely," which sounded even more weird and fragile live than it does on the recording. I felt almost scared or embarrassed for him, like "Oh no. What's this poor guy doing?" But by mid-set in I got into them, and I can remember the songs pretty vividly considering I'd never heard them before. I especially remember liking the charming, just-out-of-tune horn section and Jeremy Barnes's amazing drumming. But it wasn't any great bolt from the blue revelation or magical moment, just a surprisingly good performance by an interesting band. And it wasn't until I started listening to the NMH albums (bought at the show) that I started to really appreciate what they were doing. Reading all the NMH / Mangum hagiographies coming out lately and trying to reconcile them with my own experience has made me a little incredulous about all the "legendary" shows and bands I've read about and wished I'd had a chance to see. Again, it was a good show, but there were no choirs of angels or clouds of fairy dust -- just some tired looking guys putting on a pretty good show.

Chris Ward
Chris Ward

I flew to New Jersey to see him, as well! But I didn't get all weepy until I set foot in New Jersey and realized "Oh god...I'm back in New Jersey." Great show, wish I would have saved my money for Chicago in some ways. Just glad to see him play, even though he didn't play Engine goddamn it.

Dane_olson
Dane_olson

while I never saw NMH play in St Louis, I did see them play twice in Chicago (both times at Lounge Ax, R.I.P.).

The first time I saw them was July 12, 1996 (the Butterglory tour) (in addition, they also had Jenny Toomey opening, as well as then-buzz artist Hayden).

my memories aren't great, but I was already a big fan of them the first time I'd seen them play. I owned ad had played the hell out of 'On Avery Island', but knew little about the band or what to expect. What I do remember is being BLOWN away by their energy and modest-exuberance. Julian played his electric saw , and either him, or both him and Jeff I recall were wearing those paper Burger King crowns during the set. I'm pretty sure Jeff spent most of the show singing his songs, staring at the floor, and pogo'ing with passion. You could tell how much fun the band was having, in it's own awkward way. And after the show I approached Jeff to thank him for coming, and he was kind but shy as hell......

I also saw them play about 9 months later, this time on a bill with Olivia Tremor Control (w/ Birth of Bablicon opening, in addition).

 
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