The Bowery Ballroom
Soul Asylum

Soul Asylum

Joseph Arthur

Thu, July 26, 2012

Doors: 8:00 pm / Show: 9:00 pm

The Bowery Ballroom

New York, NY

$20

Sold Out

This event is 16 and over

Soul Asylum
Soul Asylum
Formed in the summer of 1981 by high school friends Dan Murphy, Karl Mueller, and Dave Pirner, Soul Asylum (named Loud Fast Rules up until 1983) quickly became frontrunners of American college rock, following in the tradition of fellow Minnesota bands Hüsker Dü and The Replacements.

Landing their first record deal with Twin/Tone in 1984, Soul Asylum recorded a total of four albums for the local label: Say What You Will… Everything Can Happen in 1984 (later re-released as Say What You Will, Clarence… Karl Sold the Truck), Made To Be Broken, and While You Were Out in 1986, and the EP Clam Dip & Other Delights in 1988. The band then switched to A&M, releasing Hang Time in 1988 and And the Horse They Rode In On in 1990 under that label. Although they enjoyed some success as a live band, Soul Asylum suffered from low album sales and considered disbanding.

In 1992, they signed with Columbia Records to produce Grave Dancers Union, a record that would come to transform them from underground college rockers to international superstars. The first two singles off the album, Somebody To Shove and Black Gold, both came in at high positions at the Modern Rock and Album Rock charts, but it was the album's third track that led them to their major breakthrough. Runaway Train peaked at #5 on the Billboard Hot 100, raised album sales to double-platinum level, and won Soul Asylum the Grammy Award for Best Rock Song in 1994.

In 1995, Soul Asylum followed up the success of Grave Dancers Union with Let Your Dim Light Shine, which climbed to #6 on the Billboard 200 and featured the #1 Modern Rock track Misery. After releasing Candy From a Stranger in 1998, the band members took a break from recording and didn't release a new studio album for the better part of seven years.

They reunited in 2004 to record their ninth full-length album. Shortly thereafter, Karl was diagnosed with throat cancer. Up until this point, Soul Asylum had always included Dan, Karl, and Dave, despite several line-up changes. This changed on June 17th, 2005, when Karl passed away after finishing his work on the new album. The Silver Lining was released in 2006 and dedicated to Karl Mueller's life and memory, with Dan expressing that, "For me, this record is Karl."

In 2009, after many rumors, it was confirmed that the band are working on a new album set to be released in 2012: Delayed Reaction.
Joseph Arthur
Joseph Arthur
When Lou Reed friend Bill Bentley, now working as an A&R director for Vanguard Records, read Joseph Arthur’s moving eulogy in American Songwriter magazine, he approached him to record an album of Lou Reed songs. “Bill told me, ‘Don’t overthink it,’” says Joseph. Arthur set himself up in his Brooklyn studio last December and proceeded to cut twelve of his favorites—using only acoustic guitar and bass, piano and vocals. “The only way I know to give new life to something as rich with life as Lou’s songs and recordings is to go about them in a completely different way. No drums or electricity.”

By stripping these songs down to their essence, Arthur allows us to hear Reed’s music and especially his lyrics, with brand-new ears, from the well-known (“Walk on the Wild Side,” “Heroin,” “Pale Blue Eyes,” “Satellite of Love” and the first song he attempted, “Coney Island Baby”) to the more obscure (Magic and Loss’ “Sword of Damocles,” Set the Twilight Reeling’s “NYC Man,” Lou Reed’s “Wild Child” and “Stephanie Says,” later reworked as Berlin’s “Caroline Says”).

“I put my soul into this record,” says Arthur. “It was like getting to hang out with Lou again, being inside his head.”

Indeed, Lou lets you listen to these songs as if you’ve never heard them before. “I only wish he was alive to have heard them,” says Arthur, who wrote in his remembrance, “I’m trying not to focus on the fact that I had him in my life; that I loved him, and he loved me, and not think about the lost opportunity to see him again. We can’t cross over and we can’t come back and those that go before us become one with the mystery of everything. Lou was always of that mystery.”

Lou Reed was not only one of Joseph Arthur’s musical inspirations, he was a good friend, and that “Family Love,” as the singer/songwriter/painter/designer describes the pair’s relationship, can be heard in Lou, his simultaneous eulogy and tribute to the man’s life. Reed was on hand at New York’s Club Fez back in 1996 when Arthur performed a live audition for Peter Gabriel, which earned him his initial deal as the first American artist signed to Gabriel’s Real World label. Afterward, the two went out to eat ice cream, and found themselves sitting next to Dolly Parton.

“He was always just true to himself and what he was,” admired Arthur, whose liner notes for the album states, despite his punk reputation, “Lou was lovable… Everyone I knew loved him, whether they knew him or not.”

Lou offers a glimpse behind the curtain, both homage and a way to breathe new life into Reed’s remarkably deep, but consistent, catalog for future generations to come. Lou works as a cohesive whole, even though the individual songs come from all periods in Reed’s career, from the Velvet Underground to his solo output.

The Akron, Ohio-born Arthur was a jazz fusion bassist when he first discovered the Velvet Underground in his late teens (“It was the perfect timing,” he recalls, since he had only begun singing himself), and forged an impressive solo career that began with 1997’s Big City Secrets, as the first American signed to Peter Gabriel’s Real World label, later joining Gabriel’s WOMAD tour in Europe. Two years later, the EP Vacancy, with an album cover he created and designed himself—as he did with most of his releases—earned a 2000 Grammy nomination for Best Recording Package.

Arthur released his sophomore album, Come to Where I’m From, produced by T Bone Burnett and Tchad Blake, in 2000, his last album for Real World before putting out the double album Redemption’s Son on Universal Music Group’s Enjoy Records in 2002. He followed with Our Shadows Will Remain on Vector Recordings, making the album in New Orleans, New York City, London and Prague, with string arrangements provided by the City of Prague Philharmonic. In 2006, Arthur started his own label, Lonely Astronaut Records, releasing a visual collection of his artworks in a book titled We Almost Made It, along with his fifth studio album, The Invisible Parade, recorded in Berlin and Los Angeles. His song, “In the Sun,” was covered by R.E.M.’s Michael Stipe and Coldplay’s Chris Martin for a digital Hurricane Katrina EP sold on iTunes, which included six different versions, one a remix by Justin Timberlake. A sixth album, Let’s Just Be, came out in 2007, followed by Temporary People in 2008, both recorded with his back-up band the Lonely Astronauts.

Arthur was also a member of two super groups, including Fistful of Mercy with Ben Harper and Dhani Harrison, releasing the album As I Call You Down in 2010, also collaborating with Pearl Jam’s Jeff Ament in the band RNDM. He released three solo albums over the past three years: The Graduation Ceremony, The double-CD Redemption City and last year’s The Ballad of Boogie Christ, which he successfully financed through online crowd-funding site, Pledge Music.
Venue Information:
The Bowery Ballroom
6 Delancey St
New York, NY, 10002
http://www.boweryballroom.com/