Singapore’s benchmark stock index, the Straits Times Index, rose 0.36% at 9:05 a.m.
The index of 30 companies traded on Singapore Exchange Ltd. rose 10.09 to 2,790.07. Among the stocks in the index, 14 rose, 5 fell and 11 were unchanged.
Gains in the Straits Times Index were led by DBS Group Holdings, United Overseas Bank and CapitaLand. About 62.31 million shares changed hands in Singapore.
Capitamalls Asia, which rose 16 cents or 8.5% to $2.28, was the most active stock by value in Singapore.
The next most-active issues were Singapore Airlines, which was unchanged at $13.78, and DBS Group Holdings, which rose 16 cents to $14.98.
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Words by: Alex Borsody | Images by: Rob Chapman
Scaring The Children :: 10.09.09 :: The Brooklyn Bowl :: New York, NY
 Scaring The Children :: 10.09.09 :: Brooklyn |
Scaring the Children, the trio formed by Bob Weir in the mid ’90s right after Jerry Garcia passed, consisted of Rob Wasserman on bass and Jay Lane on drums. This trio evolved into what is now Weir’s current band, RatDog. Jay Lane stayed with RatDog, while Wasserman continued on to do work with the likes of Lou Reed, Van Morrison and Elvis Costello. This reunion at Brooklyn Bowl, one of the nation’s best new music venues, was another shot of high grade American rock into the heart of Williamsburg.
The shirts on the security guards read “welcome,” and the acoustics are exceptional. The sound is loud and clear, while it is still possible to hear the person next to you speak. The venue is directly next door to Brooklyn Brewery and has all of their beer on tap. I had their Belgian wheat beer, which was so good I will never be able to drink Blue Moon again. As the Dead fans descended upon the posh neighborhood of Williamsburg, the locals were certainly in the minority. Shady behavior was kept to a minimum, partly due to proper planning in the venue’s layout. There is an outside area were the community can meet up, talk and share but no reentry once someone leaves. This lets people enjoy being outside in front of the venue, while limiting certain forms of questionable profiteering that can go on in the street.
The trio took the stage a little late due to the Yankees game. Weir came out with an acoustic and Wasserman with his upright bass. They opened with Bob Dylan‘s “Maggie’s Farm,” and then nailed The Beatles’ “Blackbird.” “Desolation Row” was the second Dylan song of the night and lent itself well to Weir’s dramatic vocals. Weir then switched from his acoustic to a hollow body, tobacco sunburst and sang Dylan’s classic “When I Paint My Masterpiece.” Though this is an old favorite, this version seemed special and sent a strong emotional feeling throughout the crowd.
 Bob Weir – Scaring The Children :: 10.09 |
The second set included another Beatles cover and the trio was joined by Joe Russo on the drums for the rest of the night. Russo is a Brooklyn local and the man behind some of the best collaborations in live music right now. An energetic, jazz powerhouse, Russo is the backbeat of Weir’s Furthur project, where he plays with Grateful Dead bassist Phil Lesh. The musicians closed with the Dead’s rocking version of the traditional “Going Down the Road Feeling Bad.” The jam was high energy, as usual, and had the entire crowd singing along. Weir played his signature bluesy licks and pulled off a solid solo during the climax. Taking a full throttle solo is rare for the largely rhythm guitarist, but he nailed it on this occasion.
Photographer Robert Chapman is a machine. He can go for hours without sleep to serve the music. After the show Chapman suggested we go to Sullivan Hall to hear Bonerama, who are in the midst of a Friday residency. There were some interesting guests on the bill, including Eric Krasno, Nigel Hall and The Colin Brown Band. I only first heard of Bonerama this year from a flier for the Bear Creek Music Festival. They are a New Orleans band who have actually been around for some time and are currently touring the North East.
Krasno was playing out of a Marshal Stack on a Gibson that looked very similar to Weir’s semi-acoustic, but it was a solid body. I arrived just in time to see Nigel Hall and Krasno sitting in with Bonerama, along with members of the Colin Brown Band and RatDog’s saxophonist Kenny Brooks, who was playing a tiny saxophone. They played an instrumental of The Beatles’ “Get Back,” one of Krasno’s signature tunes, and a rendition of The Allman Brothers‘ “Whipping Post.” The four horns from Bonerama played the part of what would be Gregg Allman’s passionate vocals, with the brass set loose in the New Orleans style.
Heading out of Sullivan Hall with a peace sign and star stamped on my hand, I pondered the evening and how I got into this mess. The arrival of Brooklyn Bowl on the scene is certainly a game changer for the musical topography of Brooklyn, and as goes NYC so does the country. Perhaps with The Bowl fortifying good music in the city, improvisational rock will regain its proper place in the hearts and minds of urban Americans everywhere.
Scaring The Children :: 10.09.09 :: Brooklyn Bowl :: Brooklyn, NY
Set I: Maggie’s Farm > Easy Answers > Loose Lucy, Blackbird > Victim Or The Crime > Desolation Row, When I Paint My Masterpiece > Even So
Set II: October Queen > The Deep End > The Other One > Bass/Drums* > Dear Prudence* > GDTRFB*
* – with Joe Russo
Continue reading for more images of Scaring The Children in Brooklyn…
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JamBase | Tip o’ Things
Go See Live Music!
Words by: Frank Etheridge | Images by: Ian Rawn
Widespread Panic & The Allman Brothers Band :: 10.10.09 :: BJCC Arena :: Birmingham, AL
 John Bell | 10.10 | Alabama |
“Happy birthday, Allman Brothers! Happy birthday, everybody!”
With these words, Widespread Panic frontman John Bell not only extended warm birthday wishes to the opening Allman Brothers on the occasion of their 40th anniversary, he also delivered, in vintage JB inflection, a succinct summation of a five-hour marathon of music that was nothing short of life-affirming.
Bell’s stage banter is a barometer of the band’s mood and energy, and on this Saturday night in Birmingham, it revealed a playfulness and joy that shined throughout a night that was more collaboration than co-bill, more celebration than concert. This tour partnering two Georgia-bred juggernauts, which disappointingly bypassed their home state, was long overdue; a dream-come-true for fans of blues-based improvisational rock, that even in consideration of the loftiest, dearly held expectations, met any and all promises. All the players in both bands seemed to share JB’s sentiment, with their playing inspired and fueled by an infectious energy that was amazingly levels beyond the quality Friday night show for a stellar two-set, two-encore show Saturday night.
The Allmans kicked the night off with a raucous start featuring Muddy Waters’ classic “Trouble No More.” It was readily apparent by the time Derek Trucks‘ searing licks introduced “Can’t Lose What You Never Had” that the band brought their A-game. An early highlight came in the song’s refrain – “Got drunk/ Burned it down/ Now people ain’t that sad” – that encapsulates a key theme of the band. As grizzly veteran frontman Gregg Allman belted out this cautionary tale, his tone became his essence in revealing, on the surface, a defense-mechanism flippancy buoyed by a deeply seeded seasoned wisdom key to Gregg and ABB’s survival and perseverance. Been there, done that? This legend certainly has, and on Saturday night, preaching to the choir, showed proof positive that he’s even managed to live to tell about it.
 The Allman Brothers w/ JB | 10.10 | Alabama |
“You Don’t Love Me” found the band really opening up for some intense improvisation as the double-edged attack of Warren Haynes and Trucks’ guitars sailed over Allman’s organ. The ubiquitous, but always-appreciated, “Soulshine” came next. With countless Gov’t Mule renditions setting its standard for this reviewer, it was a breath of fresh air to have Allman take the lead vocals and give it a toned-down, more traditional blues feel. The uptempo “Stand Back” put the band’s groovy shoes on as they danced about a relentless jam that rode on waves of expert drum rolls that propelled even more screeching guitar wails.
Haynes’ introduction of JB, something along the lines of, “You guys know JB?” was obviously, sarcastically, rhetorical, but the crowd, significantly larger on Saturday than Friday, roared its response of recognition. In contrast to many of the stops on this tour, younger Spreadheads dominated the audience, though there was mercifully enough gray hair and Daytona Bike Week t-shirts to counterbalance the dready factor and help keep the waves of patchouli wafting through the air at bay. Bell switched verses with Haynes on an excellent cover of Van Morrison’s “And It Stoned Me,” a poem penned by one of Bell’s idols that is ideal for his voice.
Rollicking versions of Allman Brothers staples “Revival” and “Statesboro Blues” were next and preceded the night’s highlight: “Mountain Jam.” This never-ending instrumental is dismissed by some, primarily those that find the Allmans a classic-rock FM radio act and not the Southern sojourners of truth they are in their best live moments. Sure, “Mountain Jam” can be an endless noodle long enough to go home, cut the grass, and come back without missing a thing, but Saturday night it was a beautiful melody from the start as a long, spacey intro eventually fell sway to a guitar crunch. Drummers Jaimoe and Butch Trucks worked their kits in amazing syncopation to unleash a powerful, primal rhythm. Col. Bruce Hampton – another Georgia legend that connects more than his fair share of the dots in the non-linear lineage the Brothers and Panic share – graced the stage to belt out a few verses of “Smokestack Lightning,” with “Spoonful” teases swirling about it, before an abrupt, but classically Colonel, departure as “Mountain Jam” took over again.
 Oteil Burbridge – ABB | 10.10 | Alabama |
Unlike most shows on this tour, the Allmans as opener were provided a well-deserved encore slot they filled with “Black Hearted Woman,” marked by pounding teases of the Grateful Dead’s “The Eleven.” The lush acoustics of “Little Martha” as set break PA music was icing on the (birthday) cake.
Panic opened their set with an instrumental of their own, “The Take Out,” an old school number with a few twists played remarkably well. “Diner” meandered into a brief rap by JB that carried the song out into a flawless “Rock.” A monstrous intro provided one of those jaw-dropping Panic moments, reminiscent of their days thriving as a six-headed beast, where all members’ individual music cedes to a crazed collective and begs the question, “How the fuck are they making that sound?”
“There’s nothing logical ’bout this” was Bell’s introduction to DJ Logic‘s appearance on the subsequent “Dying Man,” his effort giving an edgy dimension, a la the ‘Til the Medicine Takes version with Colin Butler as DJ.
The silky-smooth funk of War’s “Slipping into Darkness” followed and took a nasty, wonderfully dirty Panic turn. A chatty JB then looked about to introduce Gregg Allman. “Can’t see him,” Bell beamed as he finally made eye contact with Allman. They shared vocals on a cover of Bob Dylan’s “Just like a Woman,” though Bell’s voice was primarily the only audible one. In a gesture evident of the family vibe that has taken shape this tour, the always-humble, appropriately reverent Bell bowed to Allman as he exited stage left.
 Dave Schools – WSP | 10.10 |
Bassist Dave Schools cooked up a sinister bass intro to “Bust It Big,” which was eventually taken over by the frenetic keys of John “JoJo” Hermann, who deftly moved from ragtime to funk in a fine display of his prowess on a night that found his playing both inspired and free-wheeling. DJ Logic reappeared during “Drums,” which segued into a rollicking jam between Schools and percussionists Domingo “Sunny” Ortiz and Todd Nance. A soaring “Airplane” came next, with an incredible, trademark “take-off jam.” JoJo again dominated in his intro to “Good People,” which he peppered with a minute-long “Dark Bar” rap. An excellent “Junior” closed the set.
The lights at Panic shows are seldom noteworthy (Charlotte 2008 being a MAJOR exception to this due to the insane “lightning storm” during “Drums”). Saturday night, and perhaps its been this way throughout the whole tour with the Allmans, the lights were simply incredible, always spot-on, highlighting individual members during solos and fading to black as jams began, and spinning wildly as they took form. The spotlight was on JB for “Expiration Day” in the encore, the singer awash in purple and red hues as he seemed to serenade the crowd with this paean to true love, a simple life well lived, and the peaceful contentment that exists only in those virtues.
One of Panic’s best qualities is their capacity to encompass the entire gamut of human emotion, to express and embrace both the yin & yang. This hallmark reared its head as the misty-eyed serenity of “Expiration Day” moved into a snarling, fierce take on Tom Waits’ “Going Out West” to close the show, slapping the crowd on the ass as they headed out the door into an Alabama Saturday night.
The Allman Brothers Band Setlist:
Midnight Rider, Trouble No More, Can’t Lose What You Never Had, You Don’t Love Me, Soulshine, Stand Back, And It Stoned Me*, Revival, Statesboro Blues, Mountain Jam > Smokestack Lightnin’** > Mountain Jam
E: Black Hearted Woman
* w/ with John Bell, guitar & vox; James van de Bogert, drums
** w/ with Colonel Bruce Hampton, vocals
Widespread Panic Setlist:
The Take Out > Diner > Rock > Porch Song, Dyin’ Man*, Slippin’ Into Darkness**, Just Like A Woman***, Bust It Big**** > Drums > Airplane > Pilgrims > Goodpeople > Dark Bar > Goodpeople > Junior
E: Expiration Day > Goin’ Out West
* with DJ Logic on turntables
** with Marc Quinones on percussion, Warren Haynes on guitar
*** with Gregg Allman on vocals
**** with Warren Haynes on guitar
Continue reading for more images of Panic and the Allmans in Alabama, including shots from the previous night…
10.09.09 :: Fri :: BJCC Arena :: Birmingham, AL
Widespread Panic:
Hatfield > Walkin’ (For Your Love) > Wondering, Tickle the Truth > Chainsaw City > Machine > Arleen > Space Wrangler, Her Dance Needs No Body > Greta > Drums* > Maggot Brain** > Time Is Free*** > Give
* with DJ Logic on turntables
** with Derek Trucks on guitar
*** with Col. Bruce Hampton on vocals, Derek Trucks on guitar, Oteil Burbridge on bass
['Time Is Free' without Dave]
 JB & Col. Bruce
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The Allman Brothers Band:
Done Somebody Wrong, Come and Go Blues, End Of The Line, The Weight*, Key To The Highway*, Rocking Horse, Dreams**, Highway 61 Revisited***, Into The Mystic****, Leave My Blues at Home, Melissa, Jessica
E: One Way Out*****
* with JoJo Hermann, piano
** with Dave Schools, bass
*** with John Bell, guitar & vocals; Dave Schools, bass; James van de Bogert, drums
**** with James van de Bogert, drums
***** with Jimmy Herring, guitar
 Haynes, D. Trucks, Bell, B. Trucks, Schools
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 Herring & Trucks
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 Col. Bruce
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Continue reading for more images of Panic and the Allmans in Alabama…
10.10.09 :: Sat :: BJCC Arena :: Birmingham, AL
The Allman Brothers Band:
Midnight Rider, Trouble No More, Can’t Lose What You Never Had, You Don’t Love Me, Soulshine, Stand Back, And It Stoned Me*, Revival, Statesboro Blues, Mountain Jam > Smokestack Lightnin’** > Mountain Jam
E: Black Hearted Woman
* w/ with John Bell, guitar & vox; James van de Bogert, drums
** w/ with Colonel Bruce Hampton, vocals
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Widespread Panic:
The Take Out > Diner > Rock > Porch Song, Dyin’ Man*, Slippin’ Into Darkness**, Just Like A Woman***, Bust It Big**** > Drums > Airplane > Pilgrims > Goodpeople > Dark Bar > Goodpeople > Junior
E: Expiration Day > Goin’ Out West
* with DJ Logic on turntables
** with Marc Quinones on percussion, Warren Haynes on guitar
*** with Gregg Allman on vocals
**** with Warren Haynes on guitar
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Widespread Panic and The Allman Brothers Band perform together again Tuesday night (10/13/09) at World’s Fair Park in Knoxville, TN. Complete tour dates available here.
JamBase | Pedigreed
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