The Dandy Warhols
Thirteen Tales From Urban Bohemia: Live at the Wonder

THE REVIEW

"Bohemian Like You" does it mean anything to you? He who forgets is complicit, be aware of that.
The Dandy Warhols are actually much more than that single: personally, I am a lover of the early records, the more damnably psychedelic ones, and it is precisely on those that the quartet gives their best. Nonetheless, some great records followed.

I would have gladly reviewed one of those but, unfortunately or fortunately, I arrived late but found open ground for this live album.
Let me preface that the Dandy Warhols' live performances had never fully managed to satisfy me, but here's the exception.

The tracklist simply consists of "Thirteen Tales From Urban Bohemia" (2000) in its entirety.
The album needs no introduction, it was the record that established them to the general public.

Following the exact order, the combo "Godless" + "Mohammed" + "Nietzsche" starts immediately: slightly slower than the originals, they make their way with their characteristic slow, indeed, andante between acoustic guitars, with Western hints (memorable trumpets in "Godless"), intoxicated by Taylor-Taylor's slovenly and dazed vocals. Of a profound and simple psychedelia.

The bpm rises gradually as the setlist progresses. It's the turn of "Country Leaver", an act of Psychedelic Country, and another combo consisting of "Solid" + "Horse Pills" + "Get Off": less psychedelia and more distortion for a somewhat more classic Alternative Rock.

Everything proceeds wonderfully and indeed it's time for "Sleep", which picks up the slow andante of the first tracks and with a few acoustic guitar chords gently lulls you.
This is precisely the peculiarity of the Dandy Warhols: the ability to churn out tracks with the simplest structure, spiced with that dazed psychedelia, which work perfectly.
They could be the soundtrack of a cowboy left stranded in deserted lands, exhausted by the heat and with hallucinations. That illusion of finding a source to quench his thirst.

We continue with "Cool Scene", gaining speed and picking up some Country sounds, to then arrive at the classic "Bohemian Like You": it's a track that excites, inevitably. Unfortunately, it is precisely in the aforementioned that we find the only "misstep" of the concert, namely the vocals which this time see Taylor-Taylor in considerable difficulty.
However, I feel I can easily overlook that. I'm sure the audience present did too, surely busy jumping around.

Following is "Shakin'", somewhat in the same vein as the previous, and "Big Indian", where the vocals become clearer, more limpid, and less affected, returning once again to that euphoric and pleasantly sluggish psychedelia. The track with the best vocal performance.

This beautiful flashback to 2000 closes with one of my favorite tracks, namely "The Gospel". Even slower than the original, where the "evangelizing" melancholy reigns supreme along with the excellent guitar work.

Wow, it was worth it. Perfect for those who intend to reevaluate "Thirteen Tales From Urban Bohemia".