Re: Solos (was: Goose Creek Symphony)
A short, tasteful drum solo (no, that is not an oxymoron!) in the hands of the right guy is thing of beauty. I guess I'm thinking mostly about jazz and big band drummers, rather than rock guys. I had the pleasure of watching Ed Shaughnessy (sp?) from the Tonight Show band play at my college, and my god, he was amazing. Ditto with Buddy Rich solos. Or Louie Belson. Louie Bellson could play with wooden spoons and hockey pucks and he would sound like he invented drums. Same goes for Elvin Jones. Buddy Rich, on the other hand, I would disagree with (to an extent). Rich may have played solos like they were going out of style, but like Gene Krupa, he had an awful tendency of walking all over his bandmates toes. Both guys were phenomenal soloists, but so what? As far as I'm concerned, if you play an instrument with a band, and you're unable to integrate your musical expression with the rest of the band (i.e. you are masturbating/showing off) then I could care less how much training you had at Berklee. To switch from drums back to guitars, I think Lucinda's show at the HOB on Friday is instructive. Both of her guitar players--Ken Vaughan (sp?) and John Jackson--could probably strip the paint off a '69 Camaro with their git-playing. Instead, they used their playing to flesh out Lucinda's wonderful songs with appropriate amounts of gut-wrenching slide work (Jackson) or the aforementioned paint-strippage (some Jackson but usually Vaughan). I think "Joy" has become their workout song, where Lucinda lets both guys show us what they can really do, and it was about right. Too much soloing says to me, "We're not very good songwriters, but hey, watch what I can play!" And didn't Westerberg already cover the too-many-notes part g?? Don't even get me started on jam bands. Phish: The Beatles without a John Lennon or any sense that Chuck Berry might have existed. Dave Matthews Band: Little Feat without any sense that Lowell George might have existed. Widespread Panic: Wanking off without any sense that good taste has ever existed. Lance . . . PS: OK, I think G Love the SS qualifies as a "jam band," but they drop science like Galileo dropped the orange. I'll keep them.
Re: All The Way Down
Anyone who claims License to Ill is hip-hop is fronting - I don't care who
they are. Such claims are revisionist history. At the time of its
release it was widely recognized as a jokey joke from a gang of upperclass
brats.
JP
Once again, JP, I agree with you here, but only to a point. Licensed to Ill
was most certainly a send-up of rap, but as far as it, or the Beasties, not
being taken seriously as artists, I refer you to Daryl McDaniels of Run-DMC,
who once said on touring with the Boys: "From day one they were killing.
Even when nobody knew them. It could be a completely black, Negro, Southern
crowd there to see Run-D.M.C. and Whodini, but when the Beasties came on it
wasnt like people were walking around getting hot dogsthey really paid
attention to them white boys."
And Chuck D has been quoted as saying: "They came out to our radio show at
WBAU (in Long Island), trying to prove to the rap market that they were
viable white kids. You really couldn't doubt their legitimacy 'cause they
were down with Def Jam and Run-D.M.C., and the beats were right. And as long
as they talked about white boys and beer and stuff like that, who could
knock their topics."
These quotes may be revisionist history, but if so, I would say that's not
giving DMC or Chuck D too much credit. And as far as the class issue is
concerned, that's a sword that cuts both ways. Public Enemy, Run-DMC, Eric B
Rakim, De La Soul, LL Cool J, Tribe Called Quest, Ice Cube, and Dr. Dre
all came from working middle-class (or better) homes. Does this mean that
their contribution to rap should be less significant because they really
didn't come from "the streets?" Or if you say that because they're black,
their contributions are inherently more credible, doesn't that smack of
racism? I guess it comes down to an oppositional argument--Class vs.
Race--and I'm not so sure that class has been less significant in the
development of the rap genre.
Lance . . .
PS--Found the Beasties first Def Jam 12" ("She's On It")--with LL Cool J's
Radio stuck inside!!--Run-DMC's Raising Hell, and Eric B Rakim's "Move the
Crowd" 12" (inside of an Afrika Bambaataa sleeve) for two dollars each in a
Lafayette, Louisiana junk store this weekend. Life is good.
Re: Captain BeefheartTom Waits
Man, I can't even find the words to express how much I hate Beefheart. I know hate is a strong word, but it's really not strong enough. Marie Captain Beefheart was and is a unique character. Brad If nothing else, Captain Beefheart paved the way for his musical superior, Tom Waits. Or, maybe I should say that the Beefheart precedent seems so clearly to have influenced Tom's work from Swordfishtrombones onward. Personally, I think the Beef have some very annoying stuff, and is almost certainly overrated, but I do think that "China Pig" is a great, bluesy song, FWIW. Lance . . .
Re: Artist of the Decade? (My first Beasties rant)
Do you know any black people who listen to the Beasties? Do other rap acts give them shout-outs on record? They are making white music for white people. Nothing wrong with that, but it ain't hip-hop. JP Says Leyla Turkkan, former publicist for the Beasties: All the really hardcore hip-hop heads wouldn't publicly admit it, but quietly, they'd all say to me, "Oh my God, the beats on this record are the most unbelievable thing on earth." From Chuck D to LL Cool J to KRS-One, they were all in awe of Paul's Boutique. Says Russell Simmons: Eric B. told me he could steal 15 albums off the Beastie Boys' second album. JP, you're right about the lack of on-record shout-outs for the Boys--as these quotes attest. And you're probably right about them making music for people who generally aren't black. But, if you go to a Beastie Boys concert, I guarantee you that you're gonna see kids, adults, whites, Asians, Latinos, males, females, and several other groups I ain't representing right now. I guess one of the inherent problems with discussing the Beasties as rap artists is the amount of essentialism that must be chopped away before you can discuss the music they create. But, just because black people don't publicly admit to listening to them (or dismiss them) doesn't necessarily mean that what they're creating isn't hip-hop. Of course, I would say that Check Your Head and Ill Communication are more "influenced" by rap than traditional rap, but it could also be argued that what the Beasties were doing with those albums is redefining what was possible with not only rap, but also rock 'n' roll. I will say this, though. You make the mistake and judge a man by his race you go through life with egg on your face. Lance, amateur Beasties-ologist . . .
Re: My first Beasties rant (long)
As far as I can remember hip-hop is a cultural movement (analogous to rock and roll in the fifties) while rap is simply a form of music. The primary elements of hip-hop seem to be cultural cross-pollination, societal marginalization and opposition to the dominant culture. There's also a lot of talk of racial harmony, anti-consumerism and weed as well as more than a hint of spirituality (surprisingly often Islam) and talk of social change. Hip-hop as a cultural movement (of which rap is a part) is true. It began in the mid-70's as a creative outlet--and alternative--to the gang-banging of the South Bronx. Of course, guys like Afrika Bambaataa blur the line because he was a member of a gang called the Black Spades, but his later Zulu Nation was a conscious effort at artistic expression. Anyway, hip-hop began as graffiti tagging, breakdancing, and DJing street parties and such. Rapping (or MCing, as it was called then) came a little later with guys like Melle Mel, but it was generally included with MCing as part of hip-hop's musical backbone. What hip-hop became after mainstream co-optation in 1979, however, is anyone's best guess. Cultural cross-pollination has probably existed since the US was settled, so I'm reluctant to include that as a distinctive element of hip-hop. As far as marginalization and opposition to the dominant culture are concerned, well that may make good copy, but I don't think the rap music I've heard for the better part of this decade is opposed to the dominant culture, so much as it panders to it. In fact, most of the post-Dre, post-Massa P rap that I've heard seems to have far more in common with the Zip Coon minstrel tradition than any sort of real oppositional force. If hip-hop represents anything to me it's lost opportunities for substantive musical expression. The advances made by Ice Cube, PE, EB Rakim, Tribe Called Quest, the B-Boys, etc. have fallen on not-so-def ears. Hell, Run-DMC's first album sounds postively revolutionary these days. Speaking of which, your buddy's call for racial harmony was one of the early signifiers of rap music. In fact, listen to Run-DMC today and you might be surprised at how often this subject was reiterated. I think after NWA, and definitely after Rodney King, this line of thought seemed terribly inappropriate. As far as anti-consumerism is concerned, any musical form that was based on buying records and cutting them up into dance breaks (sampling, that is) is, by definition, not anti-consumerism. And weed is weed. Whatever. In fact, I think Dre's most poisonous contribution to rap was his advocacy of pot--in the studio. After the success of The Chronic, all the rap records became slower, phatter, and BORING. If that motherscratcher is the AOTD, then that distinction doesn't mean a damn thing. Not that anybody I know is wasting their time figuring out who's keeping it real and who's not. Sounds like your buddies have been keeping score pretty well. And trust me, any academic approaching the subject of rap has to discuss "keeping it real" whether they want to or not. Me, for instance g. Lance . . .
Beale Street Music Festival-May 7-9 (Big Star, etc)
For those of you relatively close to Memphis this May, keep in mind that Big Star will be playing a very rare show at the aforementioned festival on Friday. Unfortunately, detail on bandmates is unknown at this time, but as long as Jody Stephens shows up, a splendid time is guaranteed for all. Los Lobos is also playing on Friday, as is a Stax Records Salute, featuring Booker T. the MGs, the Bar-Kays, Eddie Floyd, etc!!! On Saturday, the list of performers includes Wilson Pickett (who I have to imagine will have BT the MGs backing him up), Dr. John, G. Love Special Sauce, Bela Fleck the Flecktones, Cheap Trick, Koko Taylor, RL Burnside, Corey Harris, and a Sun Records Salute, featuring Billy Lee Riley, Paul Burlison, Sonny Burgess, Malcolm Yelvington, and a buncha others. Anyway, head over to www.memphisinmay.org/beale/ and check out the fest. Should be fun!! Lance . . .
Re: Artist of the Decade?
What does everybody think of Rolling Stone's typically head up their ass selection of Kurt Cobain as Artist of the Decade? Try most pathetic loser of the decade. The guy had nothing interesting to say musically or lyrically and then he blew his brains out. Any alternative selections we P-2ers can offer them. Wow. Do I even bother counterpointing this? Let's just say that whatever Slone said above, consider my opinions the exact opposite. Except the fact that Cobain blew his brains out. That is irrefutable. And really fucking tragic, if you ask me. Obviously, Slone disagrees. Neal Weiss Um . . . what you said. Twice. Lance . . .
Re: Single Most Influential--Bob Marley (duh)
I'm curious why we've collectively overlooked the influence of Bob Marley in our discussion so far. Is it because he's not from the United States? Is it because we find reggae to be a marginal music that has had little impact in American culture? Or is it because we're sick of hearing Legend blasting from SUVs owned by upper middle class trust-funders? Well, that would seem to be short-sighted at best, ignorant and ethnocentric at worst. I think Bob Marley's contributions to popular music in the second half of this century might be substantial enough to place him near the top. Certainly Bob Dylan, the Beatles, and James Brown have each had a profound impact on Western culture, and maybe one or all of these artists deserves to be higher than Marley. But I'm not so sure that's as clear cut as we think. And that's just taking into account music. If we add definitive political contributions into the mix, none of them outshine Marley. Sure, Dylan had some fantastic finger-pointers, and songs like JB's "Say it Loud" were defiant statements of racial pride, but didn't Marley do both throughout his entire career? At least during his association with Island Records, his records consistently addressed--directly--political concerns of not just Jamaicans, but black people all over the world. And unlike Dylan, when Marley spoke on behalf of the abject poor and dispossessed, it was because he had first-hand knowledge of those people. He was those people. Don't forget either that Marley also influenced the outcome of the 1976 Jamaican presidential election (and not in some milquetoast Springsteen fashion). I wouldn't necessarily say that Bob Marley should be numero uno, but that we've neglected his impact thus far seems to indicate that, I for one, have been far too US-centric. Lance . . . PS--If someone can better defend the man's contributions than my half-ass attempt, please do so.
Re: Artist of the Decade?
The artist of the decade is, of course, The Beastie Boys. Later... CK I agree, and not just because I'm finishing up a paper on the Boys at this very moment g. As far as I'm concerned, the decade of the 1990's really began with the release of Paul's Boutique, and nothing released since then has surpassed it in either musicality, imagination, or ambition. As Q-Tip said, "The Beasties are the Bugs Bunny of hip-hop." Classic, baby, classic. Good call, Chris. Lance . . .
Re: Der Bingle
I'm with brother Cantwell on this, have been ever since Merle Haggard cited Der Bingle as one of the most influential singers in the history of country music and one of his favoritest. Jon Weisberger I'm really glad you brought this up because just last week I was listening to Merle's Jimmie Rodgers tribute LP, and it occurred to me that Merle's phrasing kinda sounded like the Binger. So, I suppose the next question is: Has Merle ever covered a song associated with Crosby? And didn't Crosby record some tracks with Louis Armstrong in the 20's or 30's? Lance . . .
Re: Single Most Influential 20th Century Pop Musician
Crosby has said that his greatest musical influence was Al Jolsen. Should we be talking about Crosby here or should we be giving a nod to Al Jolsen as one of the single most influential? Tera "There's only been four of us: Al Jolson, Jimmie Rodgers, Hank Williams, and Jerry Lee Lewis. That's your only four fuckin' stylists that ever lived. We could write, sing, yodel, dance, fuck--makes no damn difference. The rest of these idiots is either ridin' a fuckin' horse, pickin' a guitar, or shootin' somebody in some stupid damn movie." --Jerry Lee Lewis Lance . . .
Re: Der Bingle
PS: Bing recorded two sides, My Baby Said Yes and something else I forget, with Louis Jordan and His Tympany Five in 1944. David Cantwell Yep, and to cycle this thread backwards, Jordan also recorded with Mr. Armstrong in 1932 on the "Medley of Armstrong Hits." Now, if I find out that Jordan recorded with Jimmie Rodgers I think my head is gonna do that Scanners thing g. Lance, choo choo ch'boogiein' to class . . .
Re: Single Most Influential 20th Century Pop Musician
Dylan, Cash, Crosby, Elvis, whatever. Why don't we all just admit that without the Ramones our lives would have no meaning? Lance . . .
Re: Single Most Influential 20th Century Pop Musician
As for the MOST influential, however, the way to look at it, seems to me, isn't to identify the influences upon an act (in the way Oliver paved the way for Armstrong) but to find out how far, and how broadly, into the future a person's influence reaches. In Oliver's case it's not much further than Louis, is it? In Louis' case, though, it's all the way through Miles and on up--and well beyond jazz into the entire culture. David Cantwell It's hard to argue AGAINST Armstrong, but I think Charlie Parker put Louis' massive instrumental contributions into something of a musical perspective. Not only was Bird--like Hendrix later on--the most imaginative and "electric" player of his era, but unlike Armstrong, there has never been a time since when his ideas have fallen out of favor. Bird's reconception and reorganization of Armstrong's formal solo made even Louis' monumental earlier efforts seem a bit dated (which was admittedly unfair). Bird made complex harmonic and melodic ideas swing, and he made oddly accented and angular rhythmic reinventions seem natural. Plus, and most importantly I think, there was very rarely a sense that even his most "out there" ideas weren't still the blues. Once Bird appeared on the scene, musicians emulated his playing and not, directly anyway, Armstrong's. (Unfortunately, too many players also emulated his junkie lifestyle for ANY insight into his muse). Charlie Mingus once said something to the effect that if horn-playing was gunslinging there'd be a whole lot of dead copycats. The same, of course, could be said about Armstrong, which is why it's impossible to argue AGAINST him. However, the influence of Bird on even contemporary players is still huge compared to Armstrong (which is, once again, unfair to Satch). If Armstrong was the foundation upon which modern jazz was built, Parker was the edifice itself. Personally, I don't think either man should be slighted at the other's expense, but the role of Bird from the early '40's onward is a tough chunk of history to look past. Lance . . .
Re: Remember, its Denver
Cash is one of only two musicians in both the country and rock halls of fame. Is this still true? Because Bob Wills just went into the Rock 'n' Roll HOF a few weeks ago, and I've gotta believe that he'd already made the cut for the Country Music HOF. Unless the Opry's still pissed about that drum thing g. Lance . . .
Re: Era of Perfect Singles
It would be nice if the perfect singles of this era--and there are more than a few--were played on the radio, but unfortunately, they aren't. And since MTV wouldn't know M if it fell onto its face and wiggled, what's a modern single lover to do? It's as if the mass media outlets of today avoid these songs for fear of catching herpes. So, if the era of the "perfect single" was the '60's and early 70's, it could be because these songs were written for (and digested by) a mass audience (i.e. allowed to be "singles"). You can't tell me that "New Madrid" or virtually anything off of Built To Spill's There's Nothing Wrong With Love are anthems-in-waiting, but the only people hearing them are the choir to which preaching is unnecessary. Lance . . .
Re: criminally underappreciated albums of the '90s
Here we go. Something for everyone to ignore: The Muffs--S/T--1993 fIREHOSE--Flyin' the Flannel--1991 Urban Dance Squad--Life 'n' Perspectives of a Genuine Crossover--1991 Uncle Joe's Big 'Ol Driver--Chick Rock--1995 Treepeople--Just Kidding--1993 Nirvana--Nevermind--1991 (just kidding) Silkworm--Libertine (1994) and Firewater (1996) Overwhelming Colorfast--Two Words--1994 Fastbacks--Answer the Phone, Dummy--1994 Motocaster--Loaded--1994 Maria McKee--You Gotta Sin To Get Saved--1993 Nuisance--Confusion Hill--1991 Nova Mob--The Last Days of Pompeii--1991 Mudhoney--Every Good Boy Deserves Fudge--1991 Lance . . .
Re: criminally underappreciated albums of the 90s (The Meices/powerpop)
4. The Meices. "Tastes Like Chicken." A real good Replacements style work out. Take a look if you haven't had a chance. Jake I put Uncle Joe's on my list in lieu of their partners-in-crime, The Meices, but this was definitely one of my favorite rock 'n' roll albums from that period. In fact, seeing UJBOD and The Meices at Moe's--after the release of their respective albums--will always be one of the high voltage moments of my concert-going life. Mmmm . . . voltage . . . And I have to agree with Daddy Don about power poop. In general, I find the genre to be nothing more than boring rock 'n' roll. And I, for one, have no interest in hearing rock 'n' roll WITHOUT the edge because that's the whole point. Where I would slightly disagree with Yates' assertion, however, is in these band's ignorance of black music (although putting a little ass in their bass couldn't hurt). Not that I endorse a lack of R or B, but my ultimate problem with power pop isn't the pop--it's the lack of power. If you're gonna bother having the damn genre in the first place, then at some point, it would seem that power would have fit into the equation. Let the lips flame. Lance . . .
Re: Crazy Cajun (was Sir Doug Sahm: Alt.)
he would cut a single, make an acetate of it on the studio lathe, and walk upstairs with it to KXOL radio (where I eventually was a kid DJ) and if the PD liked it, he'd stick it into the night rotation to see how the kids responded to it. If it did anything, Major Bill would press it up and put it in the stores and the rest would be history. Sam Phillips used to do the same thing in Memphis with Dewey Phillips. These were major, mass-market radio outlets. "A lot of record executives in their ivory towers could come down into a record shop and work on Saturday night in the ghetto behind the counter and learn a hell of a lot about the record business. That was the best test market in the world. We literally took the demos up there, put them on the turntable, and watched the reaction." --Jim Stewart, Stax Records, on the adjacent Satellite Record Shop
Re: Wilco's new horizon
I can't stand any pink floyd or sgt. peppers Stevie Stevie my man, the Floyd I ain't even gonna touch, but The Pepper? As overrated as I think the album truly is, "A Day in the Life" is why rock means a damn thing (and may redeem the mediocrity which preceded it). If nothing else, McCartney's bass playing on the album is nothing short of breathtaking. Listen to even a silly song like "With a Little Help" and you can hear how Mac's bass runs were probably the equal of guys named Entwhistle. "Getting Better" is another beautifully arranged song featuring dynamite rhythmic accents and a testament to the album's unrealized potential. Lance . . .
Re: Today is the 99th day of the 99th year:Tornadoes
Oh, jeez. I wrote that last message two whole days ago, and my server died when I tried to send it. Now it sends it after everyone else has finished with the subject, and others have said the same thing. Sorry. Jamie S. Well, I for one don't think you need to apolgize for bringing it all back home. "Come on do what ya did . . . " Lance . . .
Re: MC5 / roir
I too think Roir is still in business. In fact I seem to see more of their CDs today than ever. Their MC5 compilation, for ex., is terrific and highly recommended junior What comp is this? Lance . . .
Re: Good covers (was: Kelly Willis calling the shots)
This covers thread raised a question for me -- what's it called when an artist -- I'm thinking of Dave Alvin, specifically -- "covers" a tune that he wrote for a band that he played in, but didn't sing, and covers it in a wildly different (and better, in Alvin's case) fashion? Border Radio, Romeo's whatever, a few others. I'll try to think of some other artists who did this sort of thing. -- Terry Smith How about when Bob Dylan covers Buddy Holly's "Not Fade Away," but the arrangement of the song adheres pretty closely to the Dead's version? Is there a name for that? Isn't it Harmolodic Bifurcation? OR maybe I'm thinking of Caesarean Retrofication? Yeah, that's it. Lance . . .
Re: Old 97s -- arena rock?
Heard while watching the Red Wings visit the Stars on Fox's weekly NHL game: "Timebomb" over Reunion Arena's PA. Is this a new development? Carl Z. Actually, as coincidence would have it, in the Russian language "timebomb" loosely translates as Federov, a clever and sopisticated blow to the Wings star. He had to have felt that one the next day. Plus, with Brett Hull's hometown being Belleville (Ontario, however), clearly the Stars management is comprised of feverish alt.country/No Depression/grange-rock backers. Not since the Pittsburgh Pirates discovered they were a family back in '79 has a sports franchise blessed with such music-savvy partisans. Cowtown . . . be proud. Lance . . .
Re: Good covers (was: Kelly Willis calling the shots)
You know, I'm glad this came up because as we speak I'm taping some of the Pine Valley Cosmonauts LP. What strikes me is that the songs which fail do so because they spotlight vocalists who are weak singers. Or, maybe it's that they are trying to adopt the Wills arrangements too strictly, which were able to feature a singer as fitted for those arrangements as Tommy Duncan was. Whatever the case, some of the vocalists on the PVC's album sure sound like they're used to singing rock 'n' roll songs, so they're unable to hide behind (or among) the band because the band is arranged around them. Their vocal "deficiencies" aren't as big a liability in most rock 'n' roll environments because they need only be tunefully enthusiastic, not sensitively collaborative. So, the PVCs band is shit-hot, but more than a few of the singers aren't up to the challenge. This is probably why Merle and Willie and George Strait can pull off Western Swing. It's not that their bands aren't all respectively brilliant, it's just that each of their voices is distinctively complementary. As Willie might say, they're aging with time like yesterday's wine. I hope some of these folks on the PVC do stick with the swing, maybe they'll have a great album before long. Or maybe someone should convince Dwight Yoakam to sing with the band. Lance, smoking T for Texas . . .
Re: your worst fears realized
Vol 21, Number 18, March 26-April 1. It's part of a special music issue that also includes a great story on the rise and fall of one-time local buzz band Mary's Danish. Actually, it's some of the best music journalism that paper's done in some time. NW So, what DID ever happen to the Danish, Neal? I remember them becoming an unfocused mess within a couple of years of forming, but early on they sure seemed like a solid blend of X and Thelonious Monster (and torch-bearers for both). As I recall, the blonde singer in the band--Gretchen Seager?--started a band called Battery Acid. I'm going to assume they went nowhere fast. However, what about the--hubba hubba--brunette, Julie Ritter? During MD she spent a lot of her time trading insults with Bob Forrest (Her "you Beat Up" for his "Politically Correct Song For a Girl From the Valley," for instance).
Re: Ray's Tokin, obviously For the Good Times
The local paper yesterday noted that pot busts have been more numerous under the Clinton administration than under the Nixon administration. The "If you don't vote you can't complain" folks have themselves to blame. Bob Oh, I get it, you accidentally hit the send button. It happens to all of us at one time or another. Because heaven forfend we blame Clinton for his own policies, and surely we can't blame the people who voted him into office (and indirectly contributed to the application of those policies). It has to be the people who didn't even vote for him. Those sonsabitches ruin everything. Well now, that makes perfect sense. Lance, who would like to believe that if voting actually changed anything, it'd be illegal . . .
Re: NATO bombs
Play some good music. I sugest you new Tom House - white man's burden. I'm obsessed with this cd last 2 weeks. I hope you'll be in better mood soon. Alex Alex, if this was an unintentional reference, you, my friend, are a savant. Lance . . .
Re: Beale Street Music Festival
Is this free (hah hah hah . . . that's a good one) or what? Sounds fun. Lance . . .
Re: Ray's Tokin, obviously For the Good Times
ARRESTED: Grammy Award-winning country singer Ray Price (For the GoodTimes), on a marijuana charge, near his Texas ranch. He was charged withpossession of marijuana and drug paraphernalia and fined $700. Mike Hays My eyes are burnin' darlin' While my heart is sad and yearnin' Yearnin' yearnin' burnin' just for you Lance . . .
Re: THE OTHER SIDE of Beale Street Music Festival
Hmm. I think I'd rather see Sammy Hagar do some of his hits ("Cruisin and
Boozin", "Red", "I Can't Drive 55")than any of the rest of that lot though.
Frampton? Please. Robin Trower? Sorry man, too many high school nights
wishing
we had some more of whatever hallucinogen we didn't have. Let's call it a
Hendrix homage. Hootie? Well, they seem like nice fellers...g
b.s.
Well it's a Sammy Hagar weekend
It's a Sammy Hagar - state of mind
It's a Sammy Hagar weekend
It's a Sammy Hagar - way of life
We're gonna drink some beer
Smoke some pot
Snort some coke
And then drive, drive over 55
Cuz it's a Sammy Hagar weekend
It's a big man's day
We got our - Metallica t-shirts
We got out little tiny, baby mustache
We got our, jacked-up Camaro
We're sittin' in the parking lot of Anaheim Stadium
Drinkin' beer
Smokin' pot
Snortin' coke
And then we'll drive, drive over 55
Cuz it's a Sammy Hagar weekend
Well, it's a big man's day
(solo)
We're gonna drink some beer
Smoke some pot
Snort some coke
And then drive, drive over 55
Cuz it's a Sammy Hagar weekend
It's a big man's day
A Sammy Hagar weekend
A Sammy Hagar weekend, yeah
Just a'cruisin' and boozin,' yeah
On a Sammy Hagar weekend . . .
(outro to backwards masking)
-- Bob Forrest
Lance . . .
Re: V-roys gossip
Some of the punks yelled for the V-Roys to get off the stage. One came up to the stage and threw an empty beer cup at the band. Mitch matthews Mitch! Mitch! Mitch! Do you mean to tell me that the city that gave birth to the the Nuge, the MC5, AND the Stooges now has so-called punks that assert their manhood by throwing an EMPTY BEER CUP You mean to tell me that that's the best they can do?? Iggy had bottles thrown at him for Chrissakes! What the hell is wrong with these guys. They're not punks. They're pansies. I hang my head in shame for the state of Detroit punk. Lance, nerfing out the jams . . .
Re: The Gram Parsosn tribute concert
how come Gene Parsons has never gotten the credit that he deserves? Inventer of the B-Bender, Member of the Byrds, Member of Nashville West, Member of a bunch of other stuff. He's definately in that Chris Hillman catagory of great yet underrated and under appreciated sidemen. Jeff Wall What exactly is a B-Bender? A drink? Guitar? Style of playing the B-string on a guitar? Early version of the wonderbra? As for why he and Hillman aren't more recognized, I can only surmise that they had the nerve to not die "tragically." Plus, Gram is a cutie, and those guys are just regular lookin' Joes (anyone who cares to deny that element of the cult o' Gram, well, I just happen to have the last Strat that Jimi Hendrix ever played. Just like new. How much ya want for it?). By the way, is the G. Parsons to which "Drug Store Truck Drivin' Man" is co-credited Gram or Gene? Lance . . .
Re: Bending the strings
Wow! Ask and ye shall receive. Thanks, Jeff, for the history lesson, but since my head hurts now, I'm gonna listen to some Byrds and poke the cat. Lance . . .
Re: Tweedy @ Salon
Joel Reese's take on Joe Henry: This movement is known for its zealous fans, quick to accuse a band of selling out if it doesn't meet their exacting purist standards. (Just ask The Jayhawks and Wilco, which have both evolved from their country-rock roots.)" Don't you actually have to sell records to sell out? Lance . . .
Re: Tweedy @ Salon
The first time I heard "Guess I Planted," I thought Bragg had hired The
Band to back him up. The keyboards are reminiscent of the swirling Garth
Hudson
variety and the lead guitar is in the Robbie Robertson doing Hubert Sumlin
style. Couldn't just be a coincidence, could it? ;-)
Gregg
Yeah, and on "Hoodoo Voodoo," damn if Coomer's giddy-up ride cymbal don't
call Levon Helm to mind ("Time to Kill" from Stage Fright, in particular).
The harmonies from "At My Window Sad and Lonely" are also remarkably similar
to the double-helix vocals of Danko and Manuel. But, on "Hesitating Beauty,"
does anyone else hear the mighty Everly Brothers--or is it my Percodan
talking again?
Lance . . .
Re: Clip: Buddy Holly lawsuit
"Basically, after Buddy Holly died, the record company went through a lot of manipulations with his former manager to issue a lot of recordings,'' Glasheen said. ``MCA had agreed to pay the family additional royalties, but then wanted to add additional terms to the agreement.'' Does anyone know if the "former manager" here is Norman Petty? Lance . . .
Re: Covers: responding to some comments (was fulks and covers)
Jake-- Your quoting of critical theorists is frightening me. I'm only a caveman. But, just out of curiosity, while I wouldn't argue the irony at work on the Mat's take of "Black Diamond," hadn't they already done this? I'm speaking of their appropriations of both "Oh Darling" and "Strawberry Fields Forever" for "Mr. Whirly" on Hootenanny. Now, I realize that the Fabs don't have the kitsch quotient of KISS, but couldn't that also be seen as ironic? Not that this invalidates anything you said previously (which I barely understood anyway), but that "Whirly" pre-dates "BD" has to mean something. Right? Lance . . . PS--Does Ben still have Alcohol Funnycar together?
Re: Reading between the lines
ObTC Has anyone ever written a good phlegm song? Jeff Wall Does "TB Blues" count? Or, how about the "TB is Whipping Me?" And let us not forget any number of pot-smokin' songs. Of course, for some reason, none of them are coming to mind right now. What was the question again? Lance . . .
Re: RIP Stanley Kubrick
My favorite Kubrick movie is "The Killing," a film noir from the late 50s, I think (pre-Lolita anyhow). The dialogue was written by Jim Thompson. It's hilarious. The heaviness of the later films would let you forget that Kubrick had a hell of a sense of humor once. Will Miner Denver, CO H . . . I wonder if Tarantino ever watched this one while trying to get ideas for Reservoir Dogs? : ) Lance . . .
Re:Crash on the Barrelhead
Um, please tell me that this is the actual title of the song and not a cover of "Cash on the Barrellhead." Then again, if _that_ tune is the weakest on the disc it _must_ be pretty amazing. g Later... CK It is "Crash." As least that's what Murry said on a radio interview before he and Rhett started pile-driving into the song. I don't really remember digging it all that much either, but the rest of the show sounded very promising. Lance . . .
Re: Tweedy generations - cont'd
I don't think that many growing up in the sixties waved a cautionary flag to the ever-changing musical parade ripe with social commentary. For many of the boom generation, there was complete shock, sadness and a permeating sense of disbelief that "The American Dream" as told to us by our parents as interpreted through the grand deceit of politicians was NOT infact a natural progression. It signalled a wake-up call from innocence and a pathway through which those who wished to could express their attitudes and beliefs toward the chicken-in-every-pot depression era and WWII ideals. Gen X cynicism is a hand-me-down albeit more intensified and "what about me" attitude from the Baby Boom generation. Tera Then why didn't the Velvet Underground sell more records?? Lance . . . np--Sunday Morning
Re: Tweedy generations - cont'd again
I've come to a firm belief that Boomer Bashing is surviving now as the
nostalgia of today's 30 somethings. Who are getting a little long in the
tooth for it themselves!
Barry M.
Yeah, it's not a good sign when your girlfriend enjoys playing with your
ever-increasing amount of white hairs ("Hey honey! I found another one.
See?").
But, anyhoo, points well taken, Barry. I feel, of course, that I should
respond for no other reason than my cheeky "fuckin hippie" comments (sorry,
Tera). And actually, I do like to think that I listen to this stuff with
fresh ears, so that if I, perchance, don't get on the Plane, it's NOT
because of their symbolic value as hippie icons. After all, my arms are sore
from taking punches for the Dead, so there is that.
And since we're on the subject--I've been wondering for awhile about the
Velvet's "Who Loves the Sun." I can't decide if this song is Lou Reed's
concession to the "peace and love" demographic, a send-up/parody of that
same demographic, or both. (I tell you what, though, whenever I happen to
have that song on around people who haven't heard it, their reaction tends
to be, "What the hell is THIS?" And not in a good way). If I say it's a
parody, am I really revealing what I want it to be. After all, the Velvet's
can't WANT TO sell records, right? Yeah, I realize that after John Cale
left, the band got suspiciously "poppy," but nevertheless, they didn't sell
records because they were SO OUT THERE. Right? Right? No? D'oh
So, I guess that dovetails back to your point about 1999 vs. 1969 ears,
doesn't it? Well, any ideas on this one are encouraged.
Lance . . .
Re: RIP Stanley Kubrick
"Wendy, gimme the bat. Wendy! I'm not gonna hurt ya . . . I'm just gonna bash your fuckin' brains in!" "Gentlemen, please! No fighting in the War Room." Lance . . . np--Singin' in the Rain
Townes
Can anyone tell me about this Charly comp? Does it have any non-LP tracks, outtakes, demos, and that sort of thing, or is it a collection of previously released material? And since I'm on the subject, does anyone know what the status is of the Townes boxed-set. Is it a career-spanner? How many CDs? And does there figure to be overlap with the Charly comp? That's more than enough questions for now. Thanks. Lance . . .
Re: Townes
I picked up the new Charley 2-CD "Live at the Old Quarter" while I was over in London recently, anyway, cause I just hadda have it. Barry Yeah, what's the deal with this one? Is the second disc really just the CD-version of the double vinyl with the extra songs? Or is there a whole 'nother 60 minutes or so? And why, in the name of Allah, is this show of shows not available in America? Lance . . .
Re: Tweedy quote
You can go back through the twentieth century and see that the predominating influential music of an era was rather high-speed frantic, sexually charged rhythms and lyrically suggestive vocals which seemed to "speak" to the adrenaline-laced, sexually confused, frustrated and seemingly manic-depressive alter states which is adolescence Though I found myself nodding along with most of your assertions, Tera, I would insert one caveat. While Elvis Presley would certainly win a lot of votes as this century's most influential performer, and his music was certainly frantic AND highly-charged sexually, it wasn't quite so simple. He also took his cues from non-frantics like Dean Martin and the "White" hit parade, and his example is repeated often, for even the most "suggestive" musicians. The pop charts have been something that has affected even the most marginal of musics--in one way or another--and in some cases it was good, in others not. Thus, some alt.country musicians may be struggling with this very punk sense of "How commercial is too commercial?" Or from the record company's/financial investor's side: "How country can alt.country be and still make a decisive commercial impact?" Lance . . .
Labels and other headache-inducing stuff (long)
I have a feeling some of you will say it wouldve been cool for BM
to take a crack at soft rock.
Chris Orlet
OK, in an attempt to tie up some of the loose synapses in my head (and on
this list), let me begin by undressing this statement. First of all, there
is no such thing as "soft rock." If the creature at hand is "rock," by
definition it is not "soft." "Soft Rock" and "Lite Rock" were ways for the
industry to categorize more easily the pop, ballad-oriented stuff guys like
Paul McCartney--who had been typically associated with "Rock" and provides
an easy example--were doing. And I think this is some of the problem with
this infernal, good-for-something-we're-just-not-sure-what-it-is ND tag.
Whether Uncle Tupelo invented "alternative country" or not is very
debatable, but that they've been categorically represented as such isn't.
They have become the point guards for this movement-that-may-or-may-not-be,
and it's forced all concerned to react accordingly. That is, the media
players, label players, and most importantly, the musical players themselves
have to reckon with this "alt.country/ND" tag. For some it's restrictive,
while for others it's liberating, and a way to sell more records to a
relatively-defined consumer base. For some of the media folks it's a
convenient way to identify, for an otherwise uninformed public, who these
young cats are. Unfortunately, these press clippings are then read by the
artists themselves who don't wish to be represented as such. The labels (in
general, I'd say) don't really care how their artists are represented as
long as they can recoup their investment. If it helps to be "alt.country,"
fine. If "ND" is the tag-du-jour, that's OK, too. Hell, if "rock 'n' roll"
meant anything--and, as far as I'm concerned that's what most of these folks
are doing--than that now-meaningless label would be dripping off of every
AR guy's tongue by the end of the day.
The problem seems to be that many of these artists have grown up (as artists
and fans both) with a defined antagonism toward the music industry. Many of
them started as punks, and they've seen their friends get signed by labels
looking to cash in on the latest trend ("Grunge," anybody?), pigeonhole
these artists into whatever market they thought they might fit, market these
bands for maybe 15 minutes, and then, subsequently drop them when the
band--surprise, surprise--didn't "make it." (Does anyone else recall the
debt that the Jayhawks accrued with American Records??) So, while guys like
Tweedy seem to be protesting the boxes with which they've been assigned (by
a largely indifferent media industry, and a single-minded music industry,
upon which the former is dependent for promos and other perqs), I think it's
nothing more than a savvy--which is not to say, altogether mature--reaction
to their paradoxical situation. On the one hand they want to be seen as
artists with an individual vision (and represented as such), but on the
other hand, they're contractually obligated to an animal that doesn't care
about art as much as it does profit. So, while these artists would be wise
to start their own record labels (see: Bad Religion, Black Flag, Fugazi, Ani
Defranco), and thereby control (better) their place in the market, they
would probably then lose access to the powerful machinery which allowed them
to have even the tiniest of voices in the first place--distribution, major
radio markets, Rolling Stone, that ever-elusive possibility of appearing on
SNL, etc.
And now you wonder why there are so many band guys who are either junkies,
drunks, or members of AA?? This shit is depressing. But we are here for the
music, and whatever we choose to call it, I think we've done a good job of
keeping the music primary. Even if the music sucks, as in the case of the
Goo Goo Dolls. Kidding!!
Lance . . .
"Kids, you tried and failed miserably. The lesson here: Never try."
--Sage advice from one Homer Simpson
Re: Tweedy quote/alt.country (LONG and IRRITATED)
Exactly, man. The facts is the facts. Hell, I went right out and I bought a pistol right after I heard "Gun" because I worship Uncle Tupelo. And that's not all - when Anodyne came out I rented a car and drove to the New Madrid fault and slept there for a few days in my flannel t-shirt and blue jeans. I then went out a bought a house with a screen door so, I, too, could have my friends over to sing. We would all have our whiskey bottles with us and bitch about the boss and how we just couldn't rip ourselves from our hometown. Those guys SPOKE to me man. They were real. They knew the struggle of farming, just like I did. Tee-hee, this are funny. You know, there's something about comedy that just makes me laugh. Lance . . .
Re: Covers and a defense of irony (long)
Grow up, Lance, please. You cakehole. Anyway, around here they say "piehole". Joe Gracey I used to say "piehole" until my girlfriend said thought "cakehole" was funnier. So, "cakehole" it was. And between the 700 of us, I think "wordhole" is my favorite. Lance . . .
Re:cheech and chong
Recently I bought a copy of Los Cochinos by Cheech and Chong (the one with Basketball Jones). Because of this I went to the CC site on All-Music guide, and subsequently found out that the guys sing backup on Joni Michell's Court and Spark LP. What in God's name is the story behind this gig? Was Joni secretly hip and no one told me about it. Lance . . .
Re: Wilco in Boulder
Does anyone happen to know the specific date of Wilco's show in Boulder, 1995? I just got a video copy of the show on loan for a few days, haven't watched it yet, and thought I'd ask before I did. Why? Who the hell knows? Thanks bunches. Lance . . .
Re: Dusty Springfield Dies of Cancer
Isn't Dusty supposed to be inducted into the RnR Hall of Fame this year? Too damn late IMO. She was amazing. RIP. Slim Yeah, and she can soak up what's left of the spotlight after Billy Joel and Paul McCartney have besmirched it. And don't forget Bruce's fist-pumping anthems with the reunited E-street Band. Good thing that's DEFINITLEY NOT a marketing strategy to help his fans forget he: A) Owns an acoustic guitar that doesn't include a band, B) Might have a politically-oriented conscience that politicians couldn't exploit with a 10-foot pole, or C) Is a folkie and not the average-guy multi-millionaire rock 'n' roller like the rest of us greasemonkeys. Brce Poor Dusty. Poor Curtis. They're being inducted into an institution both of them are two classy for--in every sense of the word : ) Lance . . .
Re:cheech and chong
PS -- Speaking of weird liner notes -- Los Cochinas lists Klaus Voormann and I believe, George Harrison, as musicians on the record. A stoner joke? True? William Cocke Yep, not only them, either. When I scraped the seeds away, I found out that Nicky Hopkins and Billy Preston also play on this cut. Go figger. Lance, still smokin' . . .
Re:cheech and chong (Basketball Jones)
Oh yeah, Carole King also plays electric piano and Jim Keltner's on drums. What was this thing--an Acapulco Golden Smog? Lance . . .
Re: Covers and a defense of irony (long)
It's sorta like the Ramones taking a very bad novelty record like "Surfin' Bird" and turning it a pretty great rock n roll song. Will Miner I'm not sure what the story is with the Ramones covering this song, but I'd be willing to bet dollars to cakeholes that it was a self-conscious homage. I think "Surfin' Bird" is one of the great one-hit wonder songs in rock 'n' roll (although, I have to admit, it does get old quick). I believe, though, that bands like The Ramones--especially The Ramones, in fact--owe their existence to songs like this. The idea of a three-chord--at most--rock 'n' roll song providing a template for an entire career was virtually destroyed by bands like The Beatles, who went from these same three-chord songs into worlds of far-out musical experimentation and sophistication. Every band, it seemed, had to do their "psychedelic" album, their "concept" album, and so forth. Well, The Ramones--Joey, in particular--never forget how good it felt to hear simple songs like "She Loves You" on the Sullivan show. And if they took anything from the Beatles conceptually, I guess it would be the idea that four leather-clad "brothers" playing as if The Beatles stopped recording after "A Hard Day's Night" was it. Thus, songs like "She Loves You"--via The Ramones--would, inadvertently it seems, end up providing punk with an important part of its structural and musical foundation. So, that The Ramones would cover "Surfin' Bird"--in this light--seems to make perfect historical sense. And even had it been ironic, let me utter a few words in defense of irony. It would seem that "being ironic" is not something to aspire to, but I believe that the context is vital. Irony--for me anyway--is sort of like marijuana. You might wanna dip into the bag every now and then, but a lifestyle based on it is silly and boring. So, the Mats covering a KISS song can definitely be seen as a socially-connecting device (No way, dude, I bought this KISS album in the fifth grade. WOO-HOO!), but a entire album of KISS songs would be (urge) overkill. This also seems to be the difference between aberrations like the "Cocktail Nation" (Boy, that didn't get old fast, did it?) and the Swing revival, and bands who happen to find genuine, artistically-satisfying inspiration in the Louis Prima/Keely Smith/Sam Butera records. It also seems to be the difference in bands that wrap themselves in the ND-alt.country.com flag, and bands that just happen to find inspiration in Neil Young, UT, and Creedence. Unfortunately, there is no convenient device for discerning between the posers and those who, we might feel, have their hearts in the right place. Add to this, the possiblity that shitty bands can find genuine inspiration in songs we love, and bands we love finding genuine inspiration in irony. Confusing, isn't it. Anyway, I got through this whole post without using the word fuck. Maybe I am growing up. : ) Lance . . .
Re: Dusty Springfield covers
Include Maria McKee's cover of the Dusty in Memphis gem, "I Can't Make it Alone," from You Gotta Sin to Get Saved. OK, technically, this is a Goffin/King cover, but you know what I mean. And speaking of Maria, I just bought her first 2 albums today for my girlfriend, and then, a few minutes later I came to find out that Dusty had passed away. Tragic and weird. And definitely in that order. Lance . . .
Re: Generational irony and cover cheeze
I would like to make one last point about irony, because Carl sums up much of what I would certainly agree with. If there was one thing that I do see a bit differently is the idea of irony as a '90's development (of course, if you weren't suggesting that, Carl, please call me out). In point of fact, irony seemed to be a fundamental part of punk the moment rock came down with its case of arena-goggles. Developing in (self)-conscious opposition to the Bic Rock of the late 70's and 80's, punk bands like the Mats could drunkenly stumble their way through BTO and Zeppelin--and still be punk--because by reappropriating the rock from the arena, they were unconsciously (in every sense of that word with the Mats!) commenting on their own inability to have a piece of the commercial pie. (And Carl, this sounds like what you were saying.). Add to this list of commerical lepers, bands like Redd Kross, the Circle Jerks, the Butthole Surfers, Sonic Youth, and even early REM, all of whom were so defiantly non-mainstream, that their appropriations of the mainstream could only be seen as them laughing at themselves as well as the objects of their derision. All of these bands could be ironic AND punk because they were so far underneath mainstream's radar, their irony only served as a reflexive afterthougt. And then there was Nirvana. No longer could punk react against a mainstream to which it was now most definitely a part. Like rap (the other punk meat), the early 1990's brought with it, no simply commercial viability, but a re-evaluation of its once "sacred" values. Phrases like "sell-out" were bandied about with relative ease, and groups like Fugazi werer held up as "beacons of integrity." It was around this time that irony became a very prevalent marketing strategy of record labels (not to mention MTV). We all know that irony had become a PR staple because that music that had once been called punk had gone mainstream, and in so doing, emerged anew as: Alternative. Alternative to what? you ask. Precisely. Practically anything that didn't sound like Garth Brooks or Dr. Dre was tagged alternative, and to all of us who had been "punk" for any length of time, we felt like we had been felt up by a dirty old uncle. sincerity had become the new alternative, and into that vacuum stepped alt.country. In many ways, this music's development in opposition to the mainstream is very reminiscent of punk, and that shouldn't be surprising. Many of the rock 'n' roll elements of this "movement that dare not call itself that" have grown up as fans of Black Flag, Dinosaur, Husker Du, etc. The funny thing is, when--or if--this music breaks into the mainstream we're all gonna be humming to ourselves about the newcomers: "He's the one, who likes all them pretty songs, and he likes to sing along, but he knows not what it means." Lance . . . PS--If Nirvana's Nevermind album cover doesn't sum up this decade, brother, nothing does.
Re: Damn This Old LA Town
And you're rude and disgusting. What a vile mouth you have! How dare you flame another poster that way. It is not funny! Who do you think you are? I've read your self-important postings lo these past months and I cannot believe that anyone could put up with your long, I-AM-GOD self-righteous rants.How dare you flame Dan for his opinions. Further, I cannot believe that anyone here has not touched upon this... and taken you to task for your long-winded bullshit. You are not pertinent, not valid and definitely not funny. I am ashamed of you. Tera Hello, I wasn't talking about Dan. I wasn't trying to flame Dan. I was sympathizing with Dan in HIM having to put up people talking around HIM. Jeesh. And I may be self-important and self-righteous and think I am God, but I have to model myself after somebody g. Anyway, I hope this clears things up. Love ya. Lance, getting ready for therapy . . .
Re: Model Rockets
Lead MR John Ramberg has also been busy backin' up the divine Neko Case (who's playing the Tractor Tavern on March 11).--don Is he the brown-haired fella or the blonde one (who I always thought looked like a young John Lennon)? Lance . . .
Re: Changing Subject Lines
Earnestness is one thing, finding something fresh to say is another. It's gotta be really something special at this point to make me want to write about it and/or listen to it a million times. np (again)--Steve, Del, and Iris. 20 down. 999, 980 to go . . .
Re: Robbie Fulks and Jet
OK, OK, finally I just have to ask "WHY?!!!" I just don't get it. Why do people love for country or alt.country bands or so-called alt.country bands to do covers of godawful cheesy rock songs? Why do people respond to these more than they do to the, OK, I'm going to say it, "real" songs? Dina Never one to pass up an opportunity to state the obvious, I believe the answer to this one is, "Because it sounds good." Covers can be fun, ya know, and I believe that's just as important as earnestness or "keeping it real." And as far as "Jet" is concerned, I think this song is actually one of his finest moments in and out of the Fabs. BUT, aside from his first album and Band on the Run--neither of which are flawless masterpieces, anyway--don't even get me started on the guy. BTW: does anyone in the Pacific Northwest know if the band the Model Rockets are extant?? They used to do a great cover of this song, which got me to thinking of their Cheap Trick-ish selves. Lance . . .
Re: Damn This Old LA Town
I was within oh, 15 feet last night of Richard Buckner as he played an abolutely riveting set and was surrounded on each side by groups of folks who could not shut up dan bentele Though this doesn't surprise me in the big picture, in a smaller sense I don't get it. Aside from weaselly industry outposts like LA and New York (or sites of conventions, seminars, and such which corral in those industry weasels), who would go to a Buckner show to talk? The kind of music that Buckner writes seems to presuppose an audience that is cultishly devoted on one hand, or just a lover of well-written language on the other. It's one thing to talk during a band like Better Than Ezra. Their popularity is in a demographic that tends to view music as a "place" to be seen and not necessarily a "thing" to be heard. But Buckner?!?! How can his show be the "place to be seen?" That assumes that Buckner has word-of-mouth "street cred," but wouldn't the word-of-mouth say that his word is MUCH MORE creative than whatever spills out of your cakehole? I don't get it, like I said, in the small picture. In the big picture it's obvious. "Hey, Fuckface! You're not in your living room watching TV! And that guy on stage is NOT a cathode-ray figment of your delusional self-importance! Shut the Fuck up!!!" Lance . . . feeling pain . . .
Re: The Eradication Game (Re: Grammyszzzzzzzzz....)
OK in no real order, these are the ones my sous chef and I agree on: Jimi Hendrix Jefferson Airplane Beach Boys Nicholas OK, the Airplane, I basically agree with. However, I love White Flag's parody of the "Surrealistic Pillow" cover with Kim and Ronnie from the Muffs. I'd hate to see that go. But I have to say, that's one of the most pretentiously unfunny album titles of all friggin time. (Maybe we should start that thread--hint, hint). But Hendrix and the Beach Boys? This is a joke, right? Right? Hello . . . is this thing on? Lance . . .
Re: wilco (all over the place)
Hey, I was wondering if anyone knew exactly how long Wilco's All Over the Place EP is? Thanks, Lance . . .
Re: The Eradication Game (Seger The Dead)
FWIW--Bob Seger sings a bit o' background on the MC5's "High Time" LP, which is my favorite record of theirs (though certainly not because of the Seeg's "oozin aahs"). And as much as Birk-patchouli-and-crystal wearing hippies annoy the body odor out of me, certainly The Dead shouldn't be eradicated. I love Keith Godchaux's barrelhouse piano-playing, Kreutzman's drumming, and Garcia's take on "You Win Again" is one of my favorite Hank-related moments. However, I don't like any of Weir's takes on country songs, Mickey Hart should have been deported, and actually, if the band--as a whole--would've lost their arms and legs in a freak boating accident around 1977, I'm sure I would like them even more. Fuckin hippies. Lance . . .
Re: Phish food
Well, then, if we can't agree on the Dead, how about the evil which they hath wrought? Namely, Rusted Root and Phish? Erin I haven't really heard the Root, but I like about 5 out of every 45 minutes I hear from Phish. I heard their White Album cover thingy awhile back and I figured out what it was about those guys that I don't like. The band has four Paul McCartneys and no John Lennons. While experimental, there's nothing I find particularly edgy or unconventional about their brand of experimenting. In fact, I've often felt that their appeal (beyond the comfortable Deadology) is that it's jazz for people who don't really like jazz. I just don't think their sense of improvisation isn't nearly as interesting as I think its given credit for. In fact, whenever one of their fans tells me how "visionary" they are I tell em to go buy some Mingus or Coltrane if they want to hear vision. That said, I will find myself bobbing along to their occasional bluegrassy type of song. Otherwise, I just don't get them. Lance . . .
Re: The Eradication Game . . . Ray Earth Daddy Stevens
BTW, did that number make Stevens another, uh, " fuckin hippie'? Barry That depends. When he got his money for "Beautiful," did he forget to bathe, wear one pair of corduroy flares for three weeks straight, talk about "The Man" while driving around in his parentally-funded SUV, and pass around joints instead of working cuz "the herb's natural, maaan . . . " If so, I'm afraid ol' Ray's a hippie. : ) THIS is beautiful. And, oh yeah, Robert Plant should be eradicated. Lance . . .
Re: Skinning the Cat (Was: Re: Lucinda)
Here's a little nit to pick. I hope not to seem too picky or anything, but it's a minor pet peeve of mine... I enjoying mixing metaphors as much as the next bartender, but, ahem, the "cat" in question when "skinning a cat" is a fish and not a feline. Shane Rhyne Maybe it's just me, but I think it's funny that us mixing up animal metaphors is a "pet" peeve of yours. Sorry. Between midterms and the paper I'm not writing I'm punch drunk. Lance . . . not counting his eggs before the cookie crumbles before the horse : )
Re: Hyper produced Bobby Bare
To me, production is like makeup on women; when it draws attention to itself, then it's not working. Terry Wow!! What a great sentence, do you mind if I steal it? And while I'm not the only one who agrees with its attention-getting flavor concerning 60's.pop.country.com (I'm pretty sure if Buck "approved" with the coin-jingling Nashville Sound he wouldn't have felt compelled to create his own Buckersfield Sound), you have to allow for those moments where individual talent rise above. Some folks' tastes run to Bare or Snow. Mine sure run to Ray Charles and Charlie Rich, two cases where (lip-)glossy production values didn't always hurt their ability to make a soulful artistic country statement. Lance . . .
Re: Concept albums (generally a goofy thing, but...)
The concept for Sgt. Pepper was based on creating an oldtime sort of big band that accompanied a traveling circus , I think. It most definitely was a concept album. Read your music history books. Slim So, where does "Within You Without You" fit into this context? I didn't realize mush-mouthed ragas were old-timey big-band g. Unless Glenn Miller incorporated sitar into his Air Force marches and I wasn't notified, I'm pretty sure that Sgt.Pooper's is a collection of disparate tracks that sometimes inter-connects, but often doesn't. Paul may have wanted it to be a concept album, but it just doesn't add up to one (though the title track I'll admit is conceptual). In fact, I don't think this LP's anymore of a concept album than Side 2 of Abbey Road (although some rock historians insist that that's "conceptual" as well). Maybe it comes down, as so much ultimately does, to which version of history you want to believe. As far as the "accompaniment of a travelling circus," I believe that was the M.O. of the disastrous Magical Mystery Tour, which is a whole different sheet of acid. That SPLHCB incorporated many different musical elements--with varying degrees of success--doesn't necessarily make it a concept album, despite what the mythology may imply. And I'll stand on Billy Shears' coffee table in my Beatle Boots and tell him that. The walrus was Brian Epstein. Lance . . .
Re: Village Voice Pazz Jop
I don't think I've ever heard a more self-congratulatory, smug, preaching-to-the-choir routine played out so effectively, at least in the press. Williams smothers her every note with affect, with shapeliness, with semaphored irony. Greil Marcus Berkeley, California What the hell does that mean, motherfucker? Joe Gracey Joe, I believe that means he IS a motherfucker. Don't even get me started on Marcus. Palmer dies, Wolfe's laid up, but good ol' Mystery Pain is still around to make insightful comments like these. Can't we recruit Guralnick to cage-match this guy and get him out of our remaining hair?? Lance . . . "You should hang around some stupid people some time, you might learn something." --Woody Allen
Re: 50/90
Just curious--who here (who is NOT a critic) has heard the most of these? Dina I've heard most of them (if more than 25 counts as most), and I have to say I'm troubled by the "well-roundedness" of the list. On one hand, it's gotta be a thankless and (somewhat) admirable task to try and sum up an entire decade in 50 gulps, but it seems as if he's trying to touch all the appropriate bases and not offend anybody. Which, of course, ends up offending everybody. And it's not that it isn't eclectic, but in quite a few cases, the guy picks the wrong album from whatever artist he's trying to highlight. (PJ Harvey "To Bring You My Love" and Beck "Odelay" come immediately to mind). Plus, let's face it: If you have 50 goddamn chances to pick Anodyne and you come up with the goose-egg--get to the back of the bus, ya chump!! Lance . . .
Re: 50/90--My Uncle's Better Than His
I'm not 100 p.cent sure that one "has to" pick a Tupelo on such a list Carl W. Well, since arguing seems to be in fashion once again, I'll get the proverbial gloves on. I agree with Carl that UT does not have to be on the list. Of course, aside from Nirvana or Public Enemy, I'm not sure anyone else HAS to be on the list either. But, my point with Anodyne (or any of their albums really) is this: If you're gonna take the time to make a list of the Top 50 bands/albums of the '90's--and the word "rock" is in the title of the piece, accidentally or not--how could you justify NOT putting UT on the list? How many other bands reconciled traditional American music, from folk to rock 'n' roll to punk, while also moving forward with such single-minded vision? How many bands have influenced the publishing industry to the point that at least two 'zines directly pay homage to their existence (ND, of course, and I've seen one here in the Deep South called Grindstone)? And how many of those bands have, not just random fan sites, but also "newsgroups" that consistently revolve around the doings of their musical efforts--and those of their offshoots--and then connect them to the decades-old culture of music which surrounds those same efforts? In the end, of course, it doesn't matter that some random critic shunned UT. However, as someone who believes in rewarding musicians for paying attention to their history and having good taste to boot, screw him. Just because something's happening here and he don't know what it is doesn't mean I have to pat him on the ass for giving it the old college try. Lance . . .
Re:Times They Are A-Changin'
Not that I disagree with the lyrical irrelevancy of this cut, but I, for one, don't really care about that during a show. As odd as this may sound--and as brilliant a lyricist as Bob, no doubt, is--I'm more interested in what the music (and Bob) sound like. If he and the band sound good, he could throw in a Terence Trent D'Arby cover and I would be happy. (Well, sort of, but you know where I'm going). But, if he and the band sound like shit, then I wouldn't really care if he played my favorite Dylan song--"Tombstone Blues"--because I'm there to be entertained--and shit is not entertaining. (That's why I never liked GG Allin, but that's another story). It's all about the music for me. What that Ellington saying? It don't mean what if it ain't got who? Lance . . . np--Wiggle Wiggle (just kidding)
Re: Runs in Hoses/ Poor Paul Westerberg
GnR came from Sunset Strip Hairville, but it was their punk influences opened the door for Nirvana. Jennifer This may be a mere matter of hair-splittage, but if I had to pick a Hollywood band that really opened up a door for Nirvana, I'd have to pick Jane's Addiction. I realize Axl and Co. incorporated punk and primal rock 'n' roll into Appetite, but by the time Nirvana showed up to the mainstream party four years later, they were as much a reaction to the exiles on hairville as anything else. In fact, the success of Nirvana seemed to be a repudiation of Guns 'n' Roses, and the lesser bands of that hair-farming ilk. Perhaps this is why GnR's "Spaghetti Incident" rang so hollow for me. After Nirvana, GnR's take on punk was all sound and fury, signifying nothing. Poor Paul Westerberg. He spent his time in the Mats cracking jokes, and everyone took him seriously. Now, he spends his time taking himself seriously, and everyone thinks he's a joke. I said this Arguments lose me when they generalize. "everyone"? Sez you. Chris said this in reply OK, my fault. So, let me enunciate my beliefs on Paul's new one. I don't think it's very good. Musically, I find it to be tepid, and lyrically, let's just say that Paul and I aren't exactly on "speaking terms" anymore. But, if it touches a nerve in you, then my generalization is particularly unfounded. But, let me say this. Generalizations can work both ways. Some of us old-school Mats fans don't necessarily want Westerberg to return to the "drunken poet" era of yesteryear--even though we may see all of his post-Pleased To Meet Me stuff as lesser works to one degree or another. For me, the "lesser" in question isn't contingent on "to drink or not drink." To me, the lesser at work is one of taste and passion. I just feel like he's mailin em in these days--and has been for some time. Live, he may resuscitate his earlier passion, but on disc it just doesn't sound like he cares whether I care or not. Maybe he does, but regardless, to suggest that I don't like PW's work because of some fantasy of juvenalia is as much a generalization as my earlier generalization was. Lance . . .
Re: Be Like Mike (no, the other Mike)
Prince has also been cited by Chuck D. as a profound influence, while Dr. Dre has pointed to the Black Album as a major influence on NWA. If someone's already pointed this out, sorry, but I've been gone doing Mardi Gras stuff all weekend, and I didn't get any of Saturday or Sunday's messages. Anyway, for the record, Dr. Dre was in a pre-NWA group known as the World Class Wreckin' Cru, which began as a shameless Prince knock-off--lace and all. And, then, NWA's "look" was an open bite of Run-DMC--according to MC Ren, anyway. As for Chuck and PE, I like to think Coltrane's sheets-of-sound, late-50's/early 60's stuff was a precursor to the PE/Bomb Squad sound. But, maybe that's just me. Lance . . .
Re: Be Like Mike (no, the other Mike)
But anyone who thinks Michael Jackson is not one of the 100 most influential Black musicians of the twentieth century just isn't thinking very hard. If there's room for Ulysses Kay - and I like his music as well as the next person - then there's certainly room for Jackson; to leave him off the list would simply make it laughable. Well, of course, you're right, and I fully admit to not thinking about it. But, now that you've brought it up, I am thinking about it, and my hackles are raised. OK, fine, let's put Mike in the club. In fact, let's put him in the Top Ten. No, no: Top Three. After all, his influence alone, would, indeed justify it. The mass-market-shackled, lowest-common-denominating drivel that Jackson has ridden into Swiss Bank Accounts and the Beatles back catalog is so influential that modern RB still suffers by and for it. If disco put the pop in funk, Mike put the pop into disco--like that needed to happen--and almost single-handedly ruined black music. (Of course, programmers at "urban radio" have helped immensely, but that's another argument). Jackoff was so unbelievably successful at what he did, that anyone even remotely related to the increasingly oxymoronic RB field had to adjust to it. I've heard him compared to James Brown and the comparison is apt--if we're talking about basic cause-and-effect. Brother James made--and smoked--millions by laying down the funkiest, sweatiest, and most musically-dense grooves to ever move asses--and wallets. Mike, however, topped Brown by scraping any trace of "black" off his milquetoast, and not only did he sell exponentially more, but his presence forced record labels, producers, AR reps, and any other parasite in that part of the music industry to look for "their" Michael Jackson. RB? Hell, thanks to Mike, the R is much less confusing, and the B is barely non-existent. And that's why good old Jacko should be in the Top Three. For one guy to be able to ruin the amazing tradition of African-American music is an achievement as noteworthy as walking on the moon. Lance . . .
Re: Be Like Mike (no, the other Mike)
I'll stand on David Cantwell's coffeetable and say that Off The Wall and Thriller are two of the finest pop albums of the past 20 years.--don Must've been a slow 20 years g Lance . . .
Re: Buck buck
Buck, Buck -- girl pop-punk from LA, CA. Fans of LA homegirls the Muffs, the Go Gos and L7 might wanna check it out. Neal Weiss What is this Buck Buck--an all-female Fat Albert cover band? Anyway, if I like the Muffs--which I do--how do they compare? Screaming vocals, Brit-pop-punk? Hotter or colder? What the hell's up with the Muffs anyway? I know they played a show in the Bay Area within the last couple of weeks. Does that mean a new album is in the offing? Lance . . .
Re: Be Like Mike (no, the other Mike)
OK, I guess I'm riding solo on this one.
I will admit that I was an MJ fan (no the other MJ) going back to the
cartoons, and then Off the Wall, and finally Thriller--so much so that there
are still ruts in the floor at my childhood home from where I would try to
"dance like Mike." (No, really, that's what happened). Anyway, recently a
friend of mine had both OTW and Thriller in his collection ("Don't ask," he
admonished), and for old-times sake, I listened to them. I'm sorry, but they
haven't held up very well. If you like them, fine. If you wanna rock the
night away, be my guest. Go ahead and jump on the coffee tables in your
sequined flats and tell me to beat it. But, aside from acknowledging the
"man's" influence--which I feel is pernicious to no end, but nevertheless,
undeniably powerful--his brand of RB is nothing more to me than James Brown
twice-removed (note: I'm not including the J5ive in this assertion). I don't
find it interesting enough to even shut up and dance to. Was the guy a great
musician? I guess, but, like Elvis post-Army, I feel he should be considered
more of an "entertainer," than a proper musician.
Nope, nope, don't like it. Not one bit. And that's my final yap on the
subject.
Lance . . .
Re: Mando-Earle
I saw Earle play at the Hootenanny in SoCal during the summer of '97, and sho nuff, he played "Copperhead Road" on mandolin and through the Marshalls.
Re: Alejandro Escovedo/Buddy Miller/Railroad Jerk
OK, I realize I should be publicly flogged for being completely ignorant of ND's "Man o' the Decade," but I saw an AE disc sitting patiently in the used section of a local record store and wondered about it. It was called "13 Songs" or something like that--the one with the "Theme Song." Anyway, I also saw a Buddy Miller disc that had the word "lies" in the title. Well, anyway, you get the picture. These are a couple dudes whose names tend to get dropped every day or three, so all you fans let me know what's up. And for the fella who asked about Railroad Jerk, I think "One Track Mind" may be one of the sleeper records of the decade. If you like the JSBX--but grow tired of the schtick--and you like Beck's wacky electro-folk-hipster-hop-damnation, check it out. Clever without being too cheeky, methinks. I thought Third Rail was a step backward, but good enough to buy used. Are they even around anymore? I haven't heard from them in awhile. Gots to go. Lance . . .
Re: 1R1R in ND
Well, it was clear the reviewer hadn't heard "Face made For Radio" cos then maybe he would have noticed the Pere Ubu cover, proof of their eclectic record collections, a point the reviewer sat on for awhile. He also didn't notice that they cover a Great Plains (the OH Garage-"punk" band) tune on the new one, if he needed more proof of eclectism. And way back, they covered Duke Ellington. Who are y'all talking about here? I know Clawhammer has done Pere Ubu and Ellington covers, but I'm pretty certain that isn't the group under discussion. Lance . . .
Re: Dylan
So I meant to ask about this a few days ago after Lance's and others' raves about Dylan. Can he really still sing? Will Will, I don't know how to convey how skeptical I was before I saw him. Your very question, in fact, was pre-eminently on my mind. I was expecting to be respectfully bored for the duration of the show, like I was for the Stones. But, lemme say that my earlier praise was--by no means whatsoever--qualified. He sounded fantastic. He did not hit the notes in the manner in which they were recorded, mind you. But, he adjusted the song around the capabilities of his voice--which was surprisingly strong AND capable--and, in addition to sounding fantastic, augmented his re-interpretation with great arrangements. I'm not sure if he's been given enough credit for being a bandleader, but how he framed his voice was remarkable. It wasn't just a Bob thing. His band is smoking. Standup bass, country picking, pedal steel, and mandolin are all well-represented. Like I said, if he can take an old warhorse like "The Times They Are A-Changin,'" and make it sound new . . . well, you do the math. I guess what I'd have to say about the guy is this: He ain't getting any younger and he ain't getting any better. He may not be "Dylan '66," but that ain't very fair. He put on a helluva show, and great entertainment should be its own reward. Besides, he set the bar so damn high, and reinvented the wheel so many times, I think we expect from him the unrealistic. I know I did. The guy's the bomb. Don't miss him. You will NOT regret it. Lance . . .
Re: Dylan
One thing worth mentioning -- Dylan's been radically reinterpreting his songs in concert for years. Check out the '74 live album Before The Flood for some *very* different versions of some familiar Dylan "warhorses."--don Yes, true enough, true enough, indeed. However, since my reply was specifically in reference to a Dylan fan wary of wasting $30 in the near future, I thought I'd concentrate on the current state of Dylan interpretation. Besides, it could be argued that Bob's croaky destruction of "Masters of War" a few years back on the Grammies was also a reinterpretation--it just sucked. The same goes for that listless, unforgivable Letterman appearance, and the list goes on and on. Disappointments have abounded. Now though--and for whatever personal reasons--his powers of (self)-redefintion seem to have been rejuvenated, and it would seem a shame to pass up this golden opportunity. And, for what it's worth, I think Bob's show now is much better than that recorded for Before the Flood. I understand that that was the last show for that Band/Bob tour, and I would probably have a different opinion had a SEEN the show, but nevertheless, there's only a few moments on that record that really jump out at me. Lance . . .
Re: Dylan
lance davis wrote: The same goes for that listless, unforgivable Letterman appearance, and the list goes on and on. Disappointments have abounded. Stevie replied: Hey, just hang on a doggone minute there. Are we talking Dylan on Letterman in 1984? Dont Start Me Talkin, Jokerman and License to Kill? One of THE great Dylan performances ever (... and I have the live tape collection to prove it) ? Surely not. To which I re-reply: My bad for not specifying. I was referring to the Letterman gig which, I believe, was Dave's 10th Anniversary Special (1991/92?). Bob stumbled and bumbled through something that sounded vaguely like, "Like a Rolling Stone." Anyway, now that you've let the cat outta the bag, how can a humbled Dylan spouter get a copy of those '84 songs?? Offlist reply perhaps?? Lance [EMAIL PROTECTED]
Re: THE HOT 100 // THE MOST INFLUENTIAL AFRICAN-AMERICANS IN MUSIC //
Well these exercises serve only to rile of course, but what the hell is Michael Jackson doing perched on top of Robert Johnson and Bird Parker? I suppose it depnds on what "important" means. And why is the Orange County paper doing this, of all places in the country? Stuart Well, to answer the last question first, "Who the hell knows?" They got there first, perhaps? Maybe historical irony is a necessity now and then. Anyway, as far as I could tell, Jackoff was perched on top of RJ and Bird, only--and this is the only acceptable reason--because the list was alphabetical. If I'm wrong, I'm gone, but I think that was the rationale for the listing being printed the way it was. I mean, I love "I Want You Back" as much as the next guy, but Michael Jackson shouldn't be ranked in the Top 100 unless psychologists and plastic surgeons get to vote. Lance . . . (ignoring record sales, moonwalking, and milquetoast "RB"--and loving it)
Re: Dylan (long)
If you are someone who doesn't give a rat's ass about Bob Dylan go ahead and delete this. If, on the other hand, you happen to have a few--or a lot--of the old man's recordings in your collection, check it out. I went to see Bob last night in Birmingham, and though I was expectant, I have to admit I was very skeptical. I mean, I first became a fan of the guy about twelve years ago, but this is my first time seeing him in person. With the stories I'd heard and the TV appearances I'd seen, I wasn't exactly filled with confidence on coughing up my dough, you know. But his last few records have been understated gems and recent reports have all been positive, so I figured, what the hell. Well, after last night I am converted anew. His voice was in fine form, but it wasn't just about hitting notes, bub--but, I gotta say, he did do that. No, it was about phrasing and how a real performer can remake the familiar. It was during "The Times They Are A-Changin," in fact, when I realized that he was making absolutely fresh what I had thought I never wanted to hear again. How many times had I heard that song on the radio and turned the channel in familiar boredom?? Well, he did it and did it wonderfully. And "It's All Over Now, Baby Blue" was the same. Man!! He would turn corners around words that I didn't know were there and sneak up on me, turning old chestnuts, including his Jimmie Rodgers cover, into something . . . relevant. And that was what impressed me about the old guy. He was relevant again, and I found that to be mesmerizing. Bob Dylan could coast on the ducats of nostalgia--Lord knows he has been accused of that by some folks--but here he was with a stand-up bass player, mandolin/pedal steel player, and a great country picker ripping into "Honky Tonk Blues." This is Hank Williams country, by the way, but last night Bob made that brilliant song his very own. There he was on-stage, smiling, knowing that we were helplessly in his spell, and we--and him, I'd like to think--loved every goddamed second of it. And when he did "Not Fade Away," he was not only paying homage to Buddy, of course--and the increasingly irrelevant Stones--but it was the Garcia/Dead arrangement, so all of us, not just the numerous hippies in the crowd, were spinning in circles. And then he was gone, leaving me, and us, wanting more. "Not fade away." A brilliant choice to end the show with. It was as though he was letting all of us know that not even death is gonna kick his ass. He's going to make damn well sure he sticks around for awhile, and we just better get used to it. But, folks, he isn't. He will fade away. Last year's death scare seems to have lit a fire under his ass, and guess what? We get to benefit. But Bob ain't getting any younger. And, given the guy's eccentric career, there is no telling when he may become filled with rock 'n' roll ennui and start mailin 'em in again. So, for those of you who count yourselves among his fans, do yourselves a favor. Go see him. He is truly at the top of his game and who knows how long it will last. Last night was one of the most impressive nights of music I've ever experienced (Setzer was a ball, I should add), and I wanted it to keep on going. But, it won't. Someday there won't be anymore Bob shows, just like there ain't anymore Monroe shows and Townes' shows. Don't miss him. Lance . . .
Re: BOOK REVIEW: Gender in the Music World (fwd)
Indeed, the very discrepancy between the public's general knowledge of Mick Jaggar versus the largely unknown female group Bikini Kill reveals the gendered nature of the music industry. Far be it from me to discredit the notion that rock is a man's world. Cuz it is. We control the language and the money, we decide who gets to be proselytized as the next "woman in rock," etc. I'd like to think that it was a man who saw the cash potential in pumping up Alanis as some sort of feminist model rather than the more appropriate and musically-gifted PJ Harvey. HOWEVER--to compare the public's knowledge of Jagger/The Stones to Bikini Kill is a horribly misleading advocacy device. If the Stones' popularity is to be compared relative to a female artist, it should be a female artist from the mid-60's, and preferably from Decca or London Records. Hopefully it could be demonstrated that her promotion was slighted in favor of The Stones' promotion and that sort of thing. BK isn't as well-known as The Stones, but they aren't as well-known as Janis Joplin either, but it has nothing to do with their gender. The proper question might be: Why isn't BK as well known as Nirvana or the Smashing Pumpkins? Or Better Than Frickin Ezra? Or the Offspring? Or, could it be argued that Kill Rock Stars Records simply didn't have the financial resources to compete with the promotion depots of the major labels? If you can accept that to be true, I think BK did about as well as could be expected. I mean, they were fantastic self-promoters (although they paled next to Courtney Love, but that's another story), and they are probably more well-known than, say, Bratmobile or Team Dresch. Popularity can be a dicey subject, because it's hard to say whether a band like Sleater-Kinney is commercially-unpopular because they are aggressively female, or because they're on Kill Rock Stars and are thusly ignored by MTV and the major radio stations. So, the final question I have is this: In the current market, is a band's popularity more contingent on gender or class? Lance . . . np-Kathleen Hanna's rant on Mike Watt's "Tugboat" LP . . .
Re: Richard Thompson
I understand why many people can't stand Fairport, and I understand why people find Thompson's later solo work inconsistent as hell (because it is), but neither of those points discounts the fact that he is perhaps the greatest guitar player in the history of rock. Amy OK, I like to consider myself reasonably open-minded (even though I'm really a cantankerous, walled-off bastard). So, in the spirit of, er, Valentines Day, would anyone on this list care to make me a tape of Thompson cuts that don't fall prey to over-production and do cut to the heart of his genius. (Especially if there's live stuff and big, loud, thundering guitars involved. In my book, this is known as Gd!!). Contact me on or off-list and maybe we can arrange a trade. If he is the mack, then I want in. I'm not promising that I'll traipse in the meadow of goodwill upon hearing the tape, but if I am, indeed, swayed, I will gratefully acknowledge it. Now, as for the greatest guitar player in the history of rock, Amy, that's a MIGHTY heady statement. Don't get me wrong, I like mighty. And heady I'm fine with. But I don't know if anyone will knock James Marshall offa the top of my list. Nevertheless, I welcome the challenge. I mean, opportunity. Lance . . . [EMAIL PROTECTED]
Re: Checking in..- Ray Price.
Ray Price: I love the guy. I must admit that I ignore the stuff past the honky tonk years and live in bliss. I have the one CD "essential" recording from Columbia and would recommend it to anyone with ears. Steve G. Totally worth saving your hard-earned pennies for!!! The cornerstone of my collection. Boudin Dan And just so you folks know, TotalE is having a $1.49 shipping sale, and their Ray Price: Essential 1951-1962 is going for $7.98. That means you get honk AND tonk for the low, low price of $9.47. I know this because I just bought it. Thanks to all of these high-falutin' recommendations, I felt like I was missing out on the gravy train. Damn you people and your infernal influence on me!! I mean . . . thanks, I needed that. Lance . . . np-Jerry Lee Lewis, "Crazy Arms"
Re: Fairport Convention/Airplane (was Re: Vital Rock of the 60's - you had to be there man!!)
i was never a big fairport fan but i will say richard thompson deserves a listenhis work with his ex linda is good stuff and his solo work after that is excellantgreat guitar player and songwriter mark Well, I guess I should've amended my earlier statement about Thompson, but I was on a roll, yabba dabba doo. But, like Surrealistic, I picked up a copy of Shoot Out the Lights by the former Mr.-and-Mrs. I got it because it KEPT ON showing up on critics and fans lists of Top Whatevers. Plus, Bob Mould had done a blistering version of the title track, and anyway, I got it. And while I will acknowledge how floored I was by the guitar work on the title track, I liked maybe one other song on the album. The songs may have been good, but the production of the album left me flat-out cold. For some reason, I take production as seriously as I do musicianship, and if I don't feel the production flatters a song (or songs), then I don't think the song's gonna be great. Thompson's stuff all seems to strike me this way, so maybe I'm just hearing the wrong records, but at fifteen or so bucks a pop, I can safely say that I'm not gonna find out. Oh well, it's not the last boat I've missed. After all, I can't seem to fathom the effusive praise for Son Volt's live shows, so there ya go. Lance . . .
Re: Vital Rock of the 60's - you had to be there man!!
No decade produced music more integral to its soul than the '60s. Does anyone else have a problem with this sentence (especially since it provides the lead-in to one long 60's blowjob)?? And the author's list of "essential" 60's stuff includes: No Velvet Underground or Stooges. No Band. (No Band?!?!) No Stax/Volt. But, by gum, gotta have that Fairport Convention. Gotta have that Jefferson Hairpie. WHATEVER. Fuckin hippies. Lance . . . np--Public Enemy, "Who Stole the Soul?"
Re: neil's steel/used vinyl
At least On the Beach is relatively easy to find on vinyl. TFA is very difficult to find (at least around here), and the only used copy I've come across recently looked rat-chewed and sounds like it had been used for Frisbee practice. Same with American Stars 'N' Bars. Some of those '70s party/latenite stoner albums saw some hard use. And if you do happen to locate a copy of Time Fades that is even playable, you then have to decide if you want to have the insert that originally came with it. It was about 20" x 30" and included all the lyrics in longhand (just like After the Goldrush). I never really thought about it before, but I have to admit, I haven't seen too many copies of this one hanging around, so the copy I found (with insert) for about 5 bucks now seems like a gift from the gods. BTW: Has anyone ever seen a vinyl copy of Ragged Glory that WASN'T an import?? Been wondering. Lance . . .
Re: Feeling extra-Neilly
I do have a tape copy of the Chrome Dreams boot which is pretty damn thrilling Stevie Since there seems to be a Neil-binge going on, I'm gonna dive in head-first. What is this Chrome Dreams boot that I hear all the kids talkin bout? And does anyone have an idea how the new mega-"Decade" will affect its relevancy? Lance
Re: Bye, Bye American Pie...Hello East Orange
Anyway, I read something interesting about the infamous Winter
Dance Tour yesterday: it continued on without the three dead headliners,
substituting Holly-wannabe Bobby Vee as the star! Some things never change
about the music industry...
Hey, isn't this the same Bobby Vee that hired a young piano player named
Bobby Dylan within a couple years after this gig?? Of course, he didn't last
that long with the band ("creative differences" is what the papers
reported), but it does remind me of what Woody Guthrie supposedly told
Dylan: "Well, kid, I don't know about your writing, but your voice'll take
you places."
Lance . . .
Re: The Band/Levon Helm bitterness.....
Well, having recently read Levon's book, I'm not sure I would characterize it as "nasty," like the author of the Observer does. In fact, I felt it was directly honest--and refreshingly so. If anything, it seems to reveal a guy who's still in disbelief that his band--and I'm sure he saw The Band as HIS band--was "taken away from him." As for his obvious bitterness toward Robertson, my gut feeling is that he has a point. I don't know the particulars, of course, but in EVERY single interview I've seen with Robertson, it seems very important to him that he be perceived as an introspective, soulful, "thinking man." All of his responses are so weighted with calculation, and he carries himself with such smug pretension, that I can hardly bear to watch him. Levon, on the other hand, comes off as a thoughtful, yet regular guy, someone you'd like to sit down with and share some beers. Like Robertson, Greil Marcus is another one who obviously has a stake in creating a mythology--any mythology will do--and while it may appeal to some, I find it obnoxious, and every Christmas I wish for it to go away, but nevertheless, it remains. That being said, Robertson's contributions to The Band were indeed wonderful, I think Mystery Train is a must-read, and here's hoping that Helm finds some inner peace before he gets to his own Last Waltz. Lance . . .
Re: WOW! (from Alex)
If I ever admit to my students that I like (some) country music, I have to do it in a very guarded manner to protect any shreds of credibility I may still own in their eyes. Stevie Hey Stevie, what sort of credibility could Oasis fans possibly offer you?
Re: Motown stuff
Once The
Corporation let Wonder and Gaye loose on their own, they produced some
great albums, no question--but they also produced Here My Dear and The
Secret Life of Plants, for example
Cantwell
Wasn't "Here, My Dear" Marvin's alimony "settlement" to his ex-wife? If so,
I could see how he may have been less-than-inspired to create anything more
than a toss-off. Not that it excuses it mind you, but it does make for
interesting context.
Yeah, the Temptations had the smooth/gritty thing down cold. Really
polished harmonies backing David Ruffin's gospel shouts, all backed by
an ace band -- it got no better than this.
Carl Z.
Though I can't disagree with this assertion, the three-year period following
Ruffin's departure deserves a shout-out. Replacing the
seemingly-irreplacable Ruffin with Dennis Edwards of the Contours ("Do You
Love Me?") was an inspired choice, and made for such classics as "Cloud
Nine," "Runaway Child, Running Wild," "Don't Let the Joneses Get You Down,"
and the, ahem, very Stax-influenced "Gonna Keep on Tryin' Till I Win Your
Love." By the time Eddie Kendricks left in '71, the Temps--and Motown as a
whole, I would say--began to noticeably suffer a drop in their game. But
until then . . . man. It really didn't get much better than that.
Lance . . .
