Pavlov's Dog - Metropolis Munich 4th November 2009
Approx Setlist: Preludin’ / Once and Future Kings / Breaking Ice / Heart of Mine / She Came Shining / Late November / Not By My Side / Subway Sue / Episode / I Love You Still / We all die alone / Gold Nuggets / Looking For My Shadow / Wrong / Standing Here With You / Angeline / Angels Twilight Jump / Song Dance // Julia / Natchez Trace
So, Pavlov’s Dog, eh? I know that, to 99% of you reading this, that means absolutely nothing, other than poking some vague memory you may have, of a comment you once heard on an episode of Frasier. Well, let me stop you right there. You’re almost certainly wrong. This Pavlov’s Dog is a band formed in the mid ‘70s in St. Louis and features the unique vocal talents and songwriting genius of one David Surkamp.
Surkamp’s voice is something you either love, or hate, there is no middle ground. The description of his voice that I like best is: imagine Geddy Lee, of Rush, sucking Helium, whilst doing an impression of Edith Piaf. This is not like a Rory Gallagher, or Neil Young thing, where you can get used to the voice. If you don’t like Surkamp’s voice instantly, it’s pretty much a certainty that you never will. It wasn’t just the voice that made Pavlov’s Dog sound so different. Whilst including a very heavy guitar sound, keyboards, complex drum patterns and bass runs, the inclusion of Siegfried Carver’s electric violin also gave it a quite ethereal, haunting quality that, with Surkamp’s uncanny ability to hit some unbelievably high notes, made Pavlov’s Dog stand out.
So, Pavlov’s Dog, eh? I know that, to 99% of you reading this, that means absolutely nothing, other than poking some vague memory you may have, of a comment you once heard on an episode of Frasier. Well, let me stop you right there. You’re almost certainly wrong. This Pavlov’s Dog is a band formed in the mid ‘70s in St. Louis and features the unique vocal talents and songwriting genius of one David Surkamp.
Surkamp’s voice is something you either love, or hate, there is no middle ground. The description of his voice that I like best is: imagine Geddy Lee, of Rush, sucking Helium, whilst doing an impression of Edith Piaf. This is not like a Rory Gallagher, or Neil Young thing, where you can get used to the voice. If you don’t like Surkamp’s voice instantly, it’s pretty much a certainty that you never will. It wasn’t just the voice that made Pavlov’s Dog sound so different. Whilst including a very heavy guitar sound, keyboards, complex drum patterns and bass runs, the inclusion of Siegfried Carver’s electric violin also gave it a quite ethereal, haunting quality that, with Surkamp’s uncanny ability to hit some unbelievably high notes, made Pavlov’s Dog stand out.
There are several versions of the story of the release of the band’s first long-playing microgroove record album. According to drummer, Mike Safron, it went something like this… In 1975, they recorded their first album, Pampered Menial, signing with ABC Dunhill Records, receiving (at that time) the largest advance ever handed out: $650,000. They were then unceremoniously fired by the label, signing to Columbia for another $600,000. The album was released in record shops in the USA on the same day, on two different labels. Apparently. Even if it’s not entirely true, it is a) a nice story, and b) still a superb debut album.
The second album, At the Sound of the Bell, came out a year later to much critical acclaim, but failed to make enough money and, after recording a third album, the band was dropped by Columbia, the master tapes for the third album put on a shelf, and it was never released by the label. The band split not long after, holding their final gig on a Mississippi Riverboat.
In the years since then, Surkamp has formed several bands, with a modicum of success, as well as working as a journalist for a spell, before re-forming pretty much the classic line-up of Pavlov’s Dog in the mid noughties.
I was so excited about this. I’ve been a fan of the Dog since I picked up the first two albums in a 2nd hand record shop in the early eighties, and grabbed a ticket for the Munich show as soon as I saw it advertised. However, by the day of the gig, a Thursday, I had contracted a rather bad dose of something and felt like absolute crap. I never take sick days, but I felt so bad by Wednesday lunchtime that I actually left work early and went back to my apartment and stayed in bed for the next 30 hours.
I was determined that I was at least going to go along, so I could say “I was there!” I got myself together and staggered into the Metropolis around 8.30pm, hoping that I would be able to make it to the end. As it turned out, the support band, hoary old German proggers, Jane, played a full set, which just seemed to go on forever, and Pavlov’s Dog didn’t take to the stage until around 10pm, by which time I was seriously worried I was going to pass out. Normally, headliners here go on about 9pm and that’s what I’d banked on. I stuck it out as long as I could and it was with great sadness that, as much as I wanted to stay and see them play Song Dance, Julia, and Natchez Trace, I left after Episode.
To say I was totally gutted is an understatement. I had waited so many years to see this band and, I have never before missed a gig because I felt too ill to go, or left a gig because I felt ill. Never.
What I can remember of the gig was pretty awesome and, at least, I got to see them play my favourite song, Late November, which is some small consolation. Musically, the band was very tight and much heavier than I’d expected. In fact, they really rocked. Surkamp’s unbelievable voice sounds incredible and he had no trouble reaching those notes that only dogs can hear. Siegfried’s replacement on violin was extremely cute too.
I wish I could write more about the gig. I am sure that Song Dance, Julia, and Natchez Trace were absolutely out of this world, because the part of the show I did see was. Hopefully, I will get a chance to see them again and this time, hopefully, I will be able to stay to the end.
Mark L. Potts
The God of Thunder
5th November 2009
The second album, At the Sound of the Bell, came out a year later to much critical acclaim, but failed to make enough money and, after recording a third album, the band was dropped by Columbia, the master tapes for the third album put on a shelf, and it was never released by the label. The band split not long after, holding their final gig on a Mississippi Riverboat.
In the years since then, Surkamp has formed several bands, with a modicum of success, as well as working as a journalist for a spell, before re-forming pretty much the classic line-up of Pavlov’s Dog in the mid noughties.
I was so excited about this. I’ve been a fan of the Dog since I picked up the first two albums in a 2nd hand record shop in the early eighties, and grabbed a ticket for the Munich show as soon as I saw it advertised. However, by the day of the gig, a Thursday, I had contracted a rather bad dose of something and felt like absolute crap. I never take sick days, but I felt so bad by Wednesday lunchtime that I actually left work early and went back to my apartment and stayed in bed for the next 30 hours.
I was determined that I was at least going to go along, so I could say “I was there!” I got myself together and staggered into the Metropolis around 8.30pm, hoping that I would be able to make it to the end. As it turned out, the support band, hoary old German proggers, Jane, played a full set, which just seemed to go on forever, and Pavlov’s Dog didn’t take to the stage until around 10pm, by which time I was seriously worried I was going to pass out. Normally, headliners here go on about 9pm and that’s what I’d banked on. I stuck it out as long as I could and it was with great sadness that, as much as I wanted to stay and see them play Song Dance, Julia, and Natchez Trace, I left after Episode.
To say I was totally gutted is an understatement. I had waited so many years to see this band and, I have never before missed a gig because I felt too ill to go, or left a gig because I felt ill. Never.
What I can remember of the gig was pretty awesome and, at least, I got to see them play my favourite song, Late November, which is some small consolation. Musically, the band was very tight and much heavier than I’d expected. In fact, they really rocked. Surkamp’s unbelievable voice sounds incredible and he had no trouble reaching those notes that only dogs can hear. Siegfried’s replacement on violin was extremely cute too.
I wish I could write more about the gig. I am sure that Song Dance, Julia, and Natchez Trace were absolutely out of this world, because the part of the show I did see was. Hopefully, I will get a chance to see them again and this time, hopefully, I will be able to stay to the end.
Mark L. Potts
The God of Thunder
5th November 2009
