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Tom Morello, Crosby & Nash Steal "E-Town" Show in Denver

August 27, 2008 1:29 PM ET

David Crosby and Graham Nash did "Teach Your Children" and "Guinnevere" and reunited with James Taylor for 1971's "You Can Close Your Eyes," but musicians the audience had barely heard of took over Tuesday night's "E-Town" during the second night of the Democratic National Convention. The first were singer Irma Thomas and pianist Henry Butler — both New Orleans residents who left their homes after Hurricane Katrina. (Thomas returned a year ago; Butler lives in nearby Boulder, but Thomas vowed: "He'll be back — trust me.") They turned Denver's Temple Buell Theatre into some kind of church service, playing Thomas' gospel-and-blues-spiced "If I Had Any Sense I'd Go Back Home" and "River Is Waiting." Afterwards, coaxed by the show's host and founder Nick Forster, the duo closed with Thomas' pre-Stones "Time Is On My Side." Inspired, as the Nightwatchman, Rage Against the Machine guitarist Tom Morello did two dark, sparse folk originals about New Orleans, including the title track of his upcoming album, The Fabled City. During a convention packed with live music, the 17-year-old save-the-environment public-radio show was sort of the concert keynote address, with Mayor John Hickenlooper, Gov. Bill Ritter and Robert F. Kennedy Jr. showing up for speeches and singer-songwriter Ani DiFranco lambasting the Bush Administration in "Our Next Bold Move." Elsewhere in the city Tuesday night, Melissa Etheridge sang and Nelly partied, but nobody left the three-hour "E-Town."

Related Stories:
Death Cab at the DNC: Resisting the Urge to Punch Bill O'Reilly
John Legend Debuts New Song at DNC
More Convention Coverage at the National Affairs Blog

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Song Stories

“Bizness”

Tune-Yards | 2011

The opening track to Merrill Garbus’ second album under the Tune-Yards banner (she also plays in the trio Sister Suvi), “Bizness” is a song about relationships that is as colorful as the face paint favored by Garbus both live and in her videos. Disjointed funk bass, skittering African beats, diced-and-sliced horns and Garbus’ dynamic voice, which ranges from playful coos to throat-shredding howls, make “Bizness” reminiscent of another creative medium. “I'd like for them not to be songs as much as quilts or collages or something,” Garbus said.

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