By Michael Swanger, Jared Curtis and Jason Hancock

Who says Des Moines doesn’t rock? Not us. There has been a lot of talk over the years about bulking up Des Moines’ music scene, but a look at this week’s big concert calendar suggests it might be healthier than some would like to give it credit for, judging by some of the popular veteran and upcoming rock acts gracing the biggest stages in Greater Des Moines. From Cracker to Mouse, to Mellencamp to Mule, to Puddle to the Prince of Darkness, Des Moines rocks.

So grab your lighter, squeeze into those stinky leather pants, fork over some cash [you can’t take it with you] to buy a concert ticket or two and let us be your guide. This is the week where all the stars are aligned, before some of the big-name acts head South and West for the winter. This is the week that rocks.

Gov’t Mule
Hoyt Sherman Place
Friday, 7 p.m.
$32.50 available through Ticketmaster and Hoyt.

By Jared Curtis

One of the best live bands touring today, Gov’t Mule unleashes a fury of American music each night it takes the stage. What started out as a power trio in the mid-to-late 90’s, Gov’t Mule has overcome obstacles and tragedy, evolving into a four-piece rock machine with an extremely loyal following thanks to its mix of rock, jam, blues and soul, led by Warren Haynes’ wailing guitar and soulful vocals.

“We’re in the beginning stages of the tour, but so far everything is going great,” Haynes said. “We are trying to hit a lot of areas we haven’t been to for a while.”

Gov’t Mule has hit the road in support of its newest album, “Mighty High,” a reggae/dub flavored album full of remixes and dancehall versions of some of their best tunes. But when the band set out to record their dub album, it was intended to be a smaller release.

“It was just supposed to an EP,” Haynes said. “But it turned into something more, which often happens with the band. So it ended up being too long to release as an EP.”

Haynes said fans will hear a different side of Gov’t Mule on the island-flavored album.

“We have played a few of the songs live,” he said. “But most of the stuff is not meant for the stage.”

Opening for the band is Grace Potter and the Nocturnals. Potter and company will be on the road with Gov’t Mule for the entire eight weeks.

“We played one show with them last year,” Haynes said. “We thought they would be a good band to open for us and it has worked out really well.”

This isn’t the first time Gov’t Mule has played Hoyt Sherman Place.

“We played Hoyt before and really enjoyed it,” Haynes said. “It’s a great place to play.”

As recently as April 2006, the band conquered Stephens Auditorium. When planning the tour, Iowa was on the band’s radar.

“We always have fun shows in Iowa,” Haynes said. “The people really seem to love music.”

In 2004, the band celebrated 1,000 live shows. With more than three years worth of shows to add to that total, Gov’t Mule continues to add to its impressive live resume.

“Playing live is a completely different experience than in the studio. I love making studio records, but for a band that improvises as much as we do, the live show sets no limits,” Haynes said. “Playing live keeps the audience involved. On a great night, with a great audience, the improvisation level reaches great heights.”

Even though the band doesn’t get much airplay and hasn’t achieved mass acclaim, its constant touring, amazing music and diehard fan support keeps it above and beyond the latest hit of the week found on MTV.

“There is no sense for a band like us to be chasing trends,” Haynes said. “We’re here for the long haul.” CV

Ozzy Osbourne with Rob Zombie
Veteran’s Memorial Auditorium
Friday, 7:30 p.m.
$49.75 and $69.75 available through dahlstickets.com or by calling
(866)-550-DAHLS.

By Michael Swanger

For the record, he brought it up. After reluctantly agreeing to participate in a teleconference [one question and you’re done, two if you’re lucky] with Ozzy Osbourne to talk about his new album, “Black Rain,” and to preview his first arena tour in six years with Rob Zombie — which returns to Veteran’s Memorial Auditorium in Des Moines — I was determined to avoid talk of that infamous night 25 years ago. You know the one — Jan. 20, 1982 — the night at Vets when the self-proclaimed Prince of Darkness bit the head off of a bat thrown onstage by a fan and had to be rushed to Broadlawns Hospital afterwards to receive rabies shots. It helped cement 58-year-old Osbourne’s legend as one of rock ‘n’ roll’s ultimate wild men and continues to rank as one of rock’s most shocking concert moments. It also hasn’t escaped Osbourne’s mind, even with his newfound sobriety, as evidenced by the following exchange with Cityview:

CV: Hey, Ozzy. How are you?
OZ: I’m fine. What’s the bat situation over there?
CV: What situation? [He’s as difficult to understand on the phone as he was in his smash-hit television show, “The Osbournes.”]
OZ: The bat situation, because I’m feeling pretty hungry, and I haven’t had one for about 25 years.
CV: Oh, well, I wasn’t going to ask you about that. Looking at the tour, I see that you’re returning to Vets, and obviously there’s a lot of…
OZ: You know, when I play there, there’s going to be fucking bats from hell. I mean, I don’t know. I mean when you think about it, I made that bat somewhat immortal, you know?
CV: [At this point, I realize all hope is lost] Exactly. Looking back over the years, I’m sure you’ve talked this thing to death, any regrets? What do you remember most about that night?
OZ: I can’t regret anything because it happened and there’s not a lot I can do about it. It was not a publicity stunt. I mean if that was a publicity stunt, the injections for anti-rabies shots weren’t fun, and I was crazy back then, or crazier back then. But you know, move on, you know?
CV: Ozzy, after all these years of touring, what motivates you to keep getting out there and keep doing what you do live every night?
OZ: Well, I was watching “60 Minutes” last night, and there was a segment on Bruce Springsteen and he says when asked the same question, he says, “You know what? It’s fun.” I swear I like doing it. I like making them [audience] have fun, and I like having fun by seeing them have fun, and it’s pretty true. Let me tell you, when I was 20 I thought I was brilliant. I’d go “I’m going to die by 40,” and that was all right until I was 39-and-a-half. But, you know, I just love to see the kids. I love to. It’s sort of a challenge for me. All I do all day is vegetate in front of the TV set. I don’t read much because I’m ADHD, whatever it is, and it’s really bad dyslexia. So I don’t watch many entertainment things. I like to watch the History Channel and documentaries about things, you know. CV

Cracker with Jason Isbell & the 400 Unit and Backyard Tire Fire
People’s Court, 216 Court Ave.
Tuesday, 8 p.m.
$20 ($25 at the door) available at www.iowatix.com.
By Jason Hancock

Cracker founding members David Lowery and Johnny Hickman have a pretty simple method of songwriting. “First, I make a racket on the guitar,” Hickman said. “Then, David talks some shit. I make a little more racket, David talks some more shit and then we do it all at the same time.”

Now, with an album’s worth of new material ready to go but not yet recorded, the band is embarking on a tour of the Midwest they have dubbed the “Tornado Valley Tour.”

“We get a lot of requests to play the Midwest, but most of our shows are on the Coasts,” Hickman said. “We’re really looking forward to playing some of these cities for the first time in a long, long time.”

Lowery and Hickman have been friends since the early ’80s. When Lowery’s seminal alt-country act Camper Van Beethoven broke up in 1990, the two re-connected, bought a house together and started writing music.

Camper Van Beethoven’s musical mix of pop, ska, punk-rock, folk, country and acid rock have earned it a reputation as one of the godfather’s of what was later deemed alternative music. Cracker is considered a somewhat more traditional rock band (almost comparable to roots-rock at times), but that spirit of experimentation has managed to permeate Cracker’s sound. The band’s Web site notes Cracker as “The only band to ever open for both The Grateful Dead and the Ramones,” a distinction which is also indicative of the band’s sound and style. Cracker comfortably mixes influences and sounds ranging from classic country music, psychedelia, punk and folk into their style of rock.

“Every album sounds a little different,” Hickman said. “We try to experiment a little on each record. But we try not to wander too far from our roots, which is as a guitar-based rock band.”

After 17 years, eight albums, four gold records and eight bass players, Hickman said it’s that diversity that has kept the band interesting for so long. That, and the fact that “we don’t suck live.”

“That’s how we stay relevant,” he said. “You can do a lot of stuff in a studio, but it’s much more impressive if you can do it live.”

Every show is different, Hickman said, as the band never uses a set list.

“It keeps it fresh and interesting,” he said. “We really try to mix it up.”
Live sets are a mixture of Cracker’s new material, fan favorites from the ’90s, Camper Van Beethoven classics as well as solo work from both Lowery and Hickman.

“A lot of times the songs just morph into something different right on stage,” he said. “We just let the music go where it wants to go.” CV

Puddle of Mudd with Saliva and Deepfield
Val Air Ballroom, 301 Ashworth Road
Nov. 8
$25 in advance ($30 at the door) available at www.ticketmaster.com.

By Jason Hancock

Puddle of Mudd has seen its share of ups and downs in its relatively short mainstream career. The band’s debut record, “Come Clean,” sold more than 5 million copies and spawned four radio hits. But the follow-up, “Life on Display,” came out in 2003 and sold only 650,000 copies and received a rocky reception from music critics and fans alike. They waited four years to release their newest record, “Famous” (released Oct. 9), and lead singer and guitarist Wes Scantlin calls it the “hardest record he ever made.”

“I wanted to make sure I got it right,” he said.

For the first time the band brought in outside songwriters to help them tweak Scantlin’s songs. On one track, six different people received songwriting credit.

“They gave a lot of guidance,” he said. “We got to work with great people.”

Scantlin said he is constantly writing. He said for every song that makes it onto a record, there are five or six that didn’t make the grade.

“That’s why we need that outside influence to help us narrow down the songs we put out,” he said. “I created these, so it’s hard for me to choose which ones are the best. I have a ton of songs that didn’t make it, but they’re recorded, so we’ll do something with them.”

The album’s title track takes the time to poke fun at the Los Angeles community that Scantlin has called home for the past six years.

“There are wild things going on in that town,” he said. “That song is about the people who are famous for not doing anything at all. It seems like everybody wants to be famous anymore.”

For a guy who spent the first 27 years of his life in Kansas City, the L.A. lifestyle still hasn’t gelled for Scantlin.

“In fact, I’m moving away from there to someplace more normal,” he said. “I definitely don’t want to raise my son there.”

Anyone who saw the band’s set this summer when they came to Des Moines with Three Days Grace and Breaking Benjamin will be surprised when the band pulls back into town Nov. 8.

“The set list is almost completely different,” Scantlin said. “We’ve added a lot of new material.”

Scantlin said the fans make the experience worth it, which is the reason the band takes time after every show to spend time with their fans and sign autographs.

“We always have limited edition CDs available at every show for the fans that come out,” he said. “And we always stick around afterwards, sign autographs and hang out with everyone.”

Puddle of Mudd obviously wears its influences on its sleeve. On “Famous,” Nirvana, Alice in Chains, Stone Temple Pilots and Pearl Jam are all present and accounted for. But Scantlin makes no apologies to anyone.

“I listened to a little bit of everything growing up,” he said. “That’s where I’m coming from. I am just going to keep doing what I’m doing, and even though not everyone is going to be pleased, I hope some people dig it.” CV

John Mellencamp with Los Lobos
Wells Fargo Arena
Nov. 9, 7:30 p.m.
$40-$106 available through dahlstickets.com or by calling (866)-550-DAHLS.

By Michael Swanger

It’s been 24 years since John Mellencamp sang about “Pink Houses.” Back then, he was Johnny Cougar, darling of the radio and MTV [when it played music videos], the young man in a T-shirt with greasy hair and a greasy smile and rock ‘n’ roll stardom was his destination.

But a few things happened to the 56-year-old Seymour, Ind., native en route to being a nominee for the 2008 Rock and Roll Hall of Fame. Along the way, like those of us who first heard him on 1982’s “American Fool” (“Hurts So Good,” “Jack & Diane”), he grew up, got married, had kids, got politically involved and realized there is more to fighting authority than cranking up your car stereo — though, like the song says, authority always wins. He also changed his name, reportedly had a mild heart attack, changed his tune [though not his affection for American roots or socially conscious lyrics] and helped struggling family farmers try to stave off the tide of change in this country’s agriculture climate by helping launch Farm Aid.

Last year, Mellencamp released his first album in five years, “Freedom’s Road,” the most lyrically ambitious album of his steady, matter-of-fact, hit-making career. The album’s bare-bones musical approach, reminiscent of 1985’s “Scarecrow,” is in sync with its realistic subject matter, which includes songs about tolerance (“Someday,” “Forgiveness”), racism (“Jim Crow,” a duet with Joan Baez), crystal-meth addiction and murder (“Rural Route”) and America’s uncertainty about the Iraq war (“The Americans,” “Our Country,” “Rodeo Clown”).

At first glimpse, “Freedom’s Road” appears to be a flag-waving affair. But like fellow ’80s icon Bruce Springsteen’s massively popular 1984 album “Born in the U.S.A.,” things are not what they seem to be. Listen closely to the lines like “Freedom’s road must be under construction/Sometimes you wonder what kind of freedom they’re talking.” Some fans might even be surprised to know that in an interview with Country Music Television in March, Mellencamp confessed that “Our Country,” the song you hear every night on television during the Chevrolet Silverado ads, was inspired by President Bush’s response to the Dixie Chicks’ anti-Bush and anti-war rhetoric.

“He was very smug about it, and he goes, ‘Well, that’s the price of freedom.’ That’s when I wrote that song,” he told CMT. “It was just kind of trying to be open minded about this country. You know, ‘There’s enough room for a lot of ideas.’”

Mellencamp saves his harshest criticism of the president for the album’s final and hidden track, “Rodeo Clown,” when he sings “bloody-red eyes of a rodeo clown.” The anti-war song has been the subject of debate among his fans on both sides of the political aisle.

Controversy seems to follow Mellencamp everywhere these days. “Jena,” the first single and video from his forthcoming album, has fueled debates, too. On his Web site, Mellencamp said, “I’m not a journalist, I am a songwriter and in the spirit and tradition of the minstrel, I am telling a story in this song. … The aim here is not to antagonize but, rather, to catalyze thought.”

Ain’t that America? CV

Modest Mouse
Val Air Ballroom
Nov. 9, 8 p.m.
$32 available through Ticketmaster and the Val Air Ballroom.

By Jared Curtis

Over the years, Modest Mouse has learned how to win the rat race. After recording some great experimental rock records in the mid 1990s, the band’s last two records have been more radio friendly than experimental, leaving some hardcore fans wondering what happened to the band they fell in love with.

“We have no expectations for our live shows,” lead singer-guitarist Isaac Brock said. “Every night is different and we give it our all.”

On tour to support its latest release “We Were Dead Before The Ship Even Sank,” Modest Mouse has hit the road with Man Man and Love As Laughter (Brock recently signed them to his own label, Glacial Pace).

“I’m really excited to get their record out,” Brock said. “I love adding my input while not stepping on people’s toes, but it’s a skill I’m still learning. We like playing and traveling with them, so it works on a lot of different levels.”

Although the band has played Iowa shows in the past, this will be their first stop in Des Moines.

“We tour non stop, so there has never been a certain place we love or hate,” Brock said. “The shows usually depend on the mood of the crowd.”

Adding guitarist Johnny Marr, former member of The Smiths, has opened up the band’s sound, but the progression has nothing to do with its newest member.

“I wouldn’t say it has made our music different,” Brock said. “It frees me up to work on the vocals, and he can focus on the guitar. But it works, we are enjoying having him in the group.”

Most Modest Mouse fans picked up on the group after the first single “Float On” off of their fourth album “Good News for People Who Love Bad News” became a hit on pop radio and MTV. Artistic videos accompanied the singles and the younger generation declared them their newest cool band. The diehard fans, however have been with the band since “This is a Long Drive for Someone with Nothing to Think About” and the EP “Interstate 8.”

“We try to mix up the new stuff with the old stuff,” Brock said. “But it is tough; if we play too much new stuff, then some of the crowd wants old stuff. But a lot of people aren’t familiar with the old stuff.”

But even though most fans think of the “Good News” album as their first, they hear older songs live and go out and discover their previous albums.

“A lot of people hear the old stuff live and like it,” Brock said. “Then they eventually go and buy the older records.”

Still, the band enjoys touring and playing for its fans of all ages.

“We play more than 160 shows each year, so they kind of blur together,” he said. “But we love playing for our fans.”

When asked for a reason why people come to their shows, Brock gave a very simple answer, “We’re a fucking great live band.”

Obviously Modest Mouse is anything but. CV

Friday
• Bucky Covington, Cole Deggs, Jason Michael Carroll — Val Air Ballroom, TBA, $22.50
• The Wiggles — Hilton Coliseum, Ames, 6:30 p.m., $18-$35
• Bryan Lee — Blues on Grand, 9:30 p.m., $10
• The Autumn Project, Lucinda Black Bear, Why Make Clocks — Vaudeville Mews, 10 p.m., $5
• Casper & The Cookies, The Icicles — M-Shop, 9 p.m., $8

Saturday
• Jason Ricci & New Blood — Blues on Grand, 9:30 p.m., $10
• The Nadas — People’s Court, 9 p.m., TBA
• Taciturn — Vaudeville Mews, 5:30 and 10 p.m., $5
• “Skaloween 6” with Slaughterhouse 6 — House of Bricks, 5 p.m., $6
• BeJae Fleming — Ritual Café, 8:30 p.m., suggested donation

Sunday
• Casper & The Cookies, Poison Control Center — Vaudeville Mews, 5:30 p.m., $5

Monday
• Robyn Hitchcock, Sam Nelson — M-Shop, 8 p.m., $15
Tuesday
• Cracker, Jason Isbell, The 400 Unit — People’s Court, TBA

Wednesday
• Valella Valella — M-Shop, 8 p.m., $8
• Southeast Engine, Kate Kennedy — Vaudeville Mews, 9 p.m., $5

Thursday
• Little Man, The Wild Animals — Vaudeville Mews, 9 p.m., $5
• The Thermals — M-Shop, 8 p.m., $12
• Pam Tillis — Terrible’s Lakeside Casino, Osceola, 7:30 and 9:30 p.m., $15

Nov. 9
• Primer 55, Single Bullet Theory, Marc Rizzo, Love Said No — House of Bricks, 5:30 p.m., $15
• The Schwag — Vaudeville Mews, 10 p.m., $10
• Pam Tillis — Terrible’s Lakeside Casino, Osceola, 7:30 and 9:30 p.m., $15
• Eric Himan — Ritual Café, 8:30 p.m., suggested donation
• “Flyway Literary Review Benefit” with BeJae Fleming and The Bone People — M-Shop, 7 p.m., $5

Nov. 10
• Candye Kane — Blues on Grand, 9:30 p.m., $10
• Ari Hest — M-Shop, 9 p.m., $13
• Lojo Russo — Ritual Café, 8 p.m., suggested donation
• Cornmeal, Mr. Baber’s Neighbors — Vaudeville Mews, 10 p.m., $8

Nov. 13

• Buddy Guy — People’s Court, TBA

Nov. 14
• Celtic Woman — Wells Fargo Arena, TBA, $31-$66
• Anthony Gomes — Blues on Grand, 8 p.m., $10
• The Life and Times, North of Grand — Vaudeville Mews, 9 p.m., $7

Nov. 15
• All Time Low, The Audition, Valencia, Adelynne — House of Bricks, 5 p.m., $10
• American Catastophe, Awful Purdies — Vaudeville Mews, 9 p.m., $5

Nov. 16
• Chris Cornell — Val Air Ballroom, TBA, $33.50
• Michael Whisler — Ritual Café, 8 p.m., suggested donation
• Eddy Clearwater — Blues on Grand, 9:30 p.m., $10
• The Tyler Thompson Band, Brother Trucker — 9:30 p.m., $7
• Psalm One, Blue Scholars, Longshot — Vaudeville Mews, 5:30 p.m., $8

Nov. 17
• Little Big Fest — Hotel Fort Des Moines, 7 p.m., TBA
• The Confidentials — People’s Court, TBA
• Watermelon Slim — Blues on Grand, 9:30 p.m., $10
• Nikki Lunden — Ritual Café, 8:30 p.m., suggested donation
• Finding the Warren, Danger is My Middle Name — Vaudeville Mews, 5:30 p.m., $6

Nov. 18
• “Iowa Night” artists TBA — The Lighthouse Coffeehouse, 6:30 p.m., $5
• Lorie Line — Stephens Auditorium, 3 p.m. $20-$51.50
Nov. 19
• Ghostwriter, Brooks Strause — Vaudeville Mews, 9 p.m., $5

Nov. 20
• All Capitals, The Doldrums — Vaudeville Mews, 9 p.m., $5

Nov. 21
• Johnny Rawls — Blues on Grand, 8 p.m., $10
• Witchcraft, Radio Moscow — Vaudeville Mews, 6 p.m., $10

Nov. 23
• Duke Tomatoe — Blues on Grand, 9:30 p.m., $10

Nov. 24
• Kevin “B.F.” Burt & the Instigators — Blues on Grand, 9:30 p.m., $7
• Public Property — People’s Court, TBA

Nov. 26
• Lorie Line — Civic Center, TBA

Nov. 30
• Pumptown — M-Shop, 8 p.m., $9
• Shawn Kellerman — Blues on Grand, 9:30 p.m., TBA
• Barb Ryman — Ritual Café, 8:30 p.m., suggested donation

Comment on this story | Return to top