Showing posts with label Music. Show all posts
Showing posts with label Music. Show all posts
Governor X's Best of 2017
December 22, 2017 | Comments (2) | by Governor X
Look, none of you give a damn but I love a good year end list more than I should, so here are some Top 5 of 2017 lists for you. I'm old and don't actually go to the movies anymore.
Top 5 2017 Movies I Added to My Will-Eventually-See List but Didn’t Go See
1) Trainspotting 2
2) Star Wars: The Last Jedi
3) It
4) Alien Covenant
5) I, Tonya
Top 5 Albums of 2017
1) The Used – The Canyon
2) The Killers – Wonderful Wonderful
3) Taylor Swift – Reputation
4) U2 – Songs of Experience
5) AFI – The Blood Album
Top 5 Worst Artists of 2017
1) Imagine Dragons
2) All the rap ones
3) John Mayer
4) Coldplay
5) Maroon 5
Top 5 Songs on Chinese Democracy
1) Better
2) Shackler's Revenge
3) Catcher in the Rye
4) Madagascar
5) This I Love
Top 5 Albums From Artists I Used to Like but Aren’t Any Good Anymore
1) Tokio Hotel – Dream Machine
2) Bush – Black and White Rainbows
3) Pitbull – Climate Change
4) Rise Against – Wolves
5) Kelly Clarkson – Meaning of Life
Top 5 Songs on Sixteen Stone in 2017
1) Machinehead
2) Comedown
3) Testosterone
4) Alien
5) Glycerine
Top 5 Dumbest Current Members of the US Senate
1. Mazie Hirono
2. Susan Collins
3. Bill Cassidy
4. Joni Ernst
5. Ron Johnson
Top 5 2017 Movies I Added to My Will-Eventually-See List but Didn’t Go See
1) Trainspotting 2
2) Star Wars: The Last Jedi
3) It
4) Alien Covenant
5) I, Tonya
Top 5 Albums of 2017
1) The Used – The Canyon
2) The Killers – Wonderful Wonderful
3) Taylor Swift – Reputation
4) U2 – Songs of Experience
5) AFI – The Blood Album
Top 5 Worst Artists of 2017
1) Imagine Dragons
2) All the rap ones
3) John Mayer
4) Coldplay
5) Maroon 5
Top 5 Songs on Chinese Democracy
1) Better
2) Shackler's Revenge
3) Catcher in the Rye
4) Madagascar
5) This I Love
Top 5 Albums From Artists I Used to Like but Aren’t Any Good Anymore
1) Tokio Hotel – Dream Machine
2) Bush – Black and White Rainbows
3) Pitbull – Climate Change
4) Rise Against – Wolves
5) Kelly Clarkson – Meaning of Life
Top 5 Songs on Sixteen Stone in 20171) Machinehead
2) Comedown
3) Testosterone
4) Alien
5) Glycerine
Top 5 Dumbest Current Members of the US Senate
1. Mazie Hirono
2. Susan Collins
3. Bill Cassidy
4. Joni Ernst
5. Ron Johnson
U2 Albums, Ranked Properly
November 29, 2017 | Comments (1) | by Governor X
The decaying husk of Deadspin just released a garbage ranking of U2 albums in preparation of the release of Songs of Experience on December 1st. Please disregard it. Here is the correct list:
1) Achtung Baby
2) Zooropa
3) Joshua Tree
4) Songs of Innocence
5) Rattle and Hum
6) Pop
7) The Unforgettable Fire
8) How to Dismantle an Atomic Bomb
9) October
10) No Line on the Horizon
11) All That You Can’t Leave Behind
12) Boy
13) War
1) Achtung Baby
2) Zooropa
3) Joshua Tree
4) Songs of Innocence
5) Rattle and Hum
6) Pop
7) The Unforgettable Fire
8) How to Dismantle an Atomic Bomb
9) October
10) No Line on the Horizon
11) All That You Can’t Leave Behind
12) Boy
13) War
Thunder Matt's Saloon Best of 2009: Music
January 22, 2010 | Comments (12) | by Jake the Terrible Cubs Fan
Well better late than never. As we did for 2008, and 2007 and even 2006, it's time for our Best of 2009: Music list. Like before, a handful of the TMS bartenders put together a list of their favorite albums from the past year.This year may not seem as diverse as last year but that's only because we don't have Governor X here to exclaim how great Adam Lambert and Tokio Hotel are.
Anyway, on with the lists.
Arcturus - I'm shocked to see actual new music on this list.
1. Middle Cyclone by Neko Case. I did a review of this album earlier in the year which pretty much says every thing I want to say about it. In my opinion, it's still the best album of 2009. The cover with her with a sword on the hood of a classic Mercury is pretty righteous in and of itself.
Check Out: "This Tornado Loves You", "Magpie to the Morning", "Prison Girls", "People Got a Lotta Nerve"
2. The Beatles Remasters. All of these albums are classics and the remastering job is fantastic. These recordings have never sounded as good, as least not since the vinyl era. I was really impressed by the sonic clarity, as each instrument is more sharply defined than on the 1990 CD versions.
Check Out: It's The Beatles, numbnuts. Aside from some of the dippy country covers where they let Ringo sing, it's pretty much all money.
3. The Fall by Norah Jones. Norah Jones is a big Tom Waits fan, especially of the album Mule Variations, to the point where she enlisted Jacquire King, one of the engineers on MV, to produce The Fall. King brought in some of the musicians from the album, including guitarists Smokey Hormel and Marc Ribot. The result is a slow burn of an album, with Jones's smoky voice set over an eclectic art-rock background. The more I listen to it, the more I like it.
Check Out: "Young Blood" (co-written by Okkervill River's Will Sheff), "Even Though", "Chasing Pirates", "Light as a Feather" (co-written by Ryan Adams). Also, make sure to download the Amazon bonus track "Can't Stop", which was too damn good to leave off the album, in my opinion. Also noteworthy is her subdued cover of Wilco's "Jesus Etc." from the deluxe version available on iTunes.
4. Coltrane by John Coltrane. Also known as Prestige 7105 or First Trane, this was Coltrane's first album recorded under his name for Prestige Records and released in 1957. While this was before Coltrane became a big name in jazz and before his evolution into one of the greatest jazz innovators in history, this is nonetheless a fantastic album. Coltrane's big tone is there and while he broke no new ground with this recording, it's one of my favorites of his.
Check Out: "Violets For Your Furs", "Chronic Blues", "Bakai", "While My Lady Sleeps"
5. By a Thread by Gov't Mule. The Mule's first studio album in three years. Gov't Mule have a new bass player, Jorgen Carlsson, who proves a muscular addition to the group consisting of Warren Haynes (guitar, vocals), Matt Abts (drums), and Danny Louis (keyboardist, guitar). Recorded at Willie Nelson's Pedernales Studio.
Check Out: "Broke Down on the Brazos" (featuring ZZ Top's Billy Gibbons), the traditional "Railroad Boy", "Steppin' Lightly", "Gordon James"
6. Rollin' With Leo by Leo Parker. 2009 remaster of a 1961 session, baritone sax player Parker's second with Blue Note Records. Sadly, it would be his last, as he died from a heart attack four months after recording it. The album itself is a real burner, straight ahead bop with some real swing. Parker's baritone growl is well suited for the material and the various ensembles that back him.
Check Out: "The Lion's Roar", "Rollin' with Leo", "Mad Lad", "Talkin' the Blues"
7. Bible Belt by Diane Birch. Diane Birch's debut album has a nice Carole King, blues/gospel/soul kind of feel to it. Some of the horns are even provided by members of the Blues Brothers Band. I was surprised that this was her first album, as the songs are well written and very soulful. Worth looking into.
Check Out: "Rewind", "Rise Up", "Fire Escape"
Wolter - The Top and Only Four Albums Wolter Has Heard in 2009.
Mastodon - Crack the Skye: The best "prog-drenched metal album loosely based on Rasputin's life" of 2009. Not quite as good as Leviathan, but not much else is.
Zu - Carboniferous: The best "largely instrumental metal-jazz fusion album with a Mike Patton guest appearance" of 2009. Though Patton's by far the weakest link on this one.
Art Brut - Art Brut vs. Satan: The best "Art Brut album" of 2009. They really haven't changed the formula at all for this one. But I like the formula, so I really don't care.
Assjack - Assjack: The best EVERYTHING of 2009. It's also my vote for Best Picture, Best Detective Fiction, and Best Local Pizza. Hank Williams III plays all the instruments. If you don't own and love this album, I strongly suspect you have a vagina. And that your vagina has it's own vagina. Also you are deaf. Redneck punk-metal-violence fusion. Sure, the songs all sound alike. That's the point, Sally.
Brant Brown - This music is best served while eating your daily lunch of a turkey sandwich, chips and an apple.
1) Chris Cornell - Scream: For my money, this was the most exciting release of the year. I was floored when I first heard it, as I had found his previous effort, Carry On, absolutely stale. I applaud his daring effort to throw rock convention to the side. More artists need to take chances these days. Did it work out for him? Probably not, as he was widely ridiculed. But it worked for me, and if nothing else, it may have provided the necessary kick in the ass to regroup Soundgarden for a summer tour.
2) 7 Worlds Collide - The Sun Came Out: This double album is a collaboration of original songs by Neil Finn's friends throughout the industry. Joining Finn in the effort were members of Radiohead, Wilco, Johnny Marr, KT Tunstall, Bic Runga, and Neil's son Liam and brother Tim. All proceeds from the album sales go to Oxfam. A fantastic collection of music, all geared toward a good cause. Can't go wrong with that.
3) Richard Swift - The Atlantic Ocean: Swift is solo musician and multi-instrumentalist who specializes in tight, catchy numbers that make you want to tap your feet. Drum machines and effects give the record a brittle, poppy sound that gets stuck in your head and makes you whistle. A very enjoyable album.
4) Stereophonics - Keep Calm and Carry On: Certainly not their most ambitious effort, these songs get much better with repeat listens. There may be no satisfying guitar solos, but Kelly Jones' voice lifts many of these tunes to arena-worthy rockers.
5) Wilco - Wilco (the album): Laugh if choose, call them pretentious. They make no bones about this album having cosmic importance. This is no Yankee Hotel Foxtrot, but it's not supposed to be. Jeff Tweedy brings a light, refreshing airiness to this collection of songs. There are a few really worthy lite-rock tracks found here. That's all it is, nothing more, nothing less. It's fun.
Rounding out the Top Ten...
6) White Rabbits - It's Frightening
7) M Ward - Hold Time
8) Pearl Jam - Backspacer
9) Blakroc - Blakroc
10) Flaming Lips - Embryonic
Honorable mention:
Don McGlashan and the Seven Sisters - Marvellous Year
I haven't heard this album yet, so it can't make my list. It's an import from Australia, and Amazon and Amoeba Records can't help me out in obtaining it at this time. I will keep looking for it in 2010.
6) White Rabbits - It's Frightening
7) M Ward - Hold Time
8) Pearl Jam - Backspacer
9) Blakroc - Blakroc
10) Flaming Lips - Embryonic
Honorable mention:
Don McGlashan and the Seven Sisters - Marvellous Year
I haven't heard this album yet, so it can't make my list. It's an import from Australia, and Amazon and Amoeba Records can't help me out in obtaining it at this time. I will keep looking for it in 2010.
The Hundley - May have just reposted his 2008 list and changed the album names.
1. Black Crowes - Before the Frost...Until The Freeze
I'm including both of the albums here. ...Until The Freeze was a free add-on when you purchased Before the Frost. Seems to me that the Black Crowes keep getting better with age. They really seem to have developed their own sound with the past few releases as opposed to the Faces-clones they were before. They even decided to "roots" it up here, specifically on the second album, which could be called a bluegrass/Americana album. An amazing tight band and album.
Tight Cuts: Good Morning Captain, A Train Still Makes a Lonely Sound, What is Home, Roll Old Jeremiah
2. Dan Auerbach - Keep It Hid
The Black Keys front-man steps out on his own here. Gone is the two-instrument arrangements of the former band, here arrive more low-key songs that are accompanied by bass, drums, and organ. Keep It Hid is surely a choice album for those that love the stoner rock genre. Consistent, looping hooks and mellow vocals will do that. An amazing tour accompanied this album as well, with Texas-based, Hacienda, stepping in as Dan's backing band.
Tight Cuts: I Want Some More, Real Desire, Street Walkin
3. Emmit-Nershi Band - New Country Blues
Take the main guys from Leftover Salmon and String Cheese Incident and put them together to make a traditional bluegrass album. A pretty basic concept, yes, but they really pull it off with aplomb. Both Drew Emmitt and Billy Nershi handle lead vocal duties for the versatile band. Acoustic guitar, mandolin, banjo, fiddle, bass guitar and some occasional drums are all that are present. Full of instrumentals, ballad-y stuff, and knee slapping jigs, hey, it's a fun album.
Tight Cuts: New Country Blues, These Days, Wait Until Tomorrow
4. Built to Spill - There Is No Enemy
If you like classic Built to Spill, then you'll be happy with There is No Enemy. Not sure what else to say. It isn't groundbreaking, it certainly isn't their best effort (though closer to the top than the bottom), but it's better than subjecting yourself to Bon Iver or Grizzly Bear. It may not rock out quite as much as some of their earlier stuff, but even this more ballad-y album still has plenty of catchy hooks and layer upon layer of guitars. Like I said, classic Built to Spill.
Tight Cuts: Aisle 13, Nowhere Lullaby, Pat
5. Bowerbirds - Upper Air
I'll admit it, I'm a homer. I went to school with the main dude, Phil Moore. Even so, this is an incredible album. Sometimes you just want to get home and chill the fuck out. When this urge has struck me in the past few months, my go-to album is Upper Air. I really like that they've added more instruments to the fold, going with violin, piano, and organ in addition to their conventional acoustic guitar and accordion. Friend or not, Phil Moore really is a poet, and he writes some great lyrics. There are no weak songs here.
Tight Cuts: Northern Lights, Teeth, Beneath Your Tree
OK, I think this is supposed to be a Top 10 list or a Top 20 list, but I'm not filling them out with description because I just don't see them being all that strong, certainly not enough to be spoken about in such an eloquent tone that I throw down. Let's say they were OK in some aspects, but nothing to brag about. You'd need beer goggles, wait, EAR-goggles to enjoy them. In no particular order:
Pearl Jam - Backspacer
Relentless7 - White Lies for Dark Times
Decemberists - Hazards of Love
Umphrey's McGee - Mantis
Yo La Tengo - Popular Songs
John Mayer - Battle Studies (Go ahead and make fun of me. Yeah, I like John Mayer!)
The Flaming Lips - Embryonic
I'm including both of the albums here. ...Until The Freeze was a free add-on when you purchased Before the Frost. Seems to me that the Black Crowes keep getting better with age. They really seem to have developed their own sound with the past few releases as opposed to the Faces-clones they were before. They even decided to "roots" it up here, specifically on the second album, which could be called a bluegrass/Americana album. An amazing tight band and album.
Tight Cuts: Good Morning Captain, A Train Still Makes a Lonely Sound, What is Home, Roll Old Jeremiah
2. Dan Auerbach - Keep It Hid
The Black Keys front-man steps out on his own here. Gone is the two-instrument arrangements of the former band, here arrive more low-key songs that are accompanied by bass, drums, and organ. Keep It Hid is surely a choice album for those that love the stoner rock genre. Consistent, looping hooks and mellow vocals will do that. An amazing tour accompanied this album as well, with Texas-based, Hacienda, stepping in as Dan's backing band.
Tight Cuts: I Want Some More, Real Desire, Street Walkin
3. Emmit-Nershi Band - New Country Blues
Take the main guys from Leftover Salmon and String Cheese Incident and put them together to make a traditional bluegrass album. A pretty basic concept, yes, but they really pull it off with aplomb. Both Drew Emmitt and Billy Nershi handle lead vocal duties for the versatile band. Acoustic guitar, mandolin, banjo, fiddle, bass guitar and some occasional drums are all that are present. Full of instrumentals, ballad-y stuff, and knee slapping jigs, hey, it's a fun album.
Tight Cuts: New Country Blues, These Days, Wait Until Tomorrow
4. Built to Spill - There Is No Enemy
If you like classic Built to Spill, then you'll be happy with There is No Enemy. Not sure what else to say. It isn't groundbreaking, it certainly isn't their best effort (though closer to the top than the bottom), but it's better than subjecting yourself to Bon Iver or Grizzly Bear. It may not rock out quite as much as some of their earlier stuff, but even this more ballad-y album still has plenty of catchy hooks and layer upon layer of guitars. Like I said, classic Built to Spill.
Tight Cuts: Aisle 13, Nowhere Lullaby, Pat
5. Bowerbirds - Upper Air
I'll admit it, I'm a homer. I went to school with the main dude, Phil Moore. Even so, this is an incredible album. Sometimes you just want to get home and chill the fuck out. When this urge has struck me in the past few months, my go-to album is Upper Air. I really like that they've added more instruments to the fold, going with violin, piano, and organ in addition to their conventional acoustic guitar and accordion. Friend or not, Phil Moore really is a poet, and he writes some great lyrics. There are no weak songs here.
Tight Cuts: Northern Lights, Teeth, Beneath Your Tree
OK, I think this is supposed to be a Top 10 list or a Top 20 list, but I'm not filling them out with description because I just don't see them being all that strong, certainly not enough to be spoken about in such an eloquent tone that I throw down. Let's say they were OK in some aspects, but nothing to brag about. You'd need beer goggles, wait, EAR-goggles to enjoy them. In no particular order:
Pearl Jam - Backspacer
Relentless7 - White Lies for Dark Times
Decemberists - Hazards of Love
Umphrey's McGee - Mantis
Yo La Tengo - Popular Songs
John Mayer - Battle Studies (Go ahead and make fun of me. Yeah, I like John Mayer!)
The Flaming Lips - Embryonic
Adam Blank - Tunes for the unemployed.
1. Yoko Ono & The Plastic Ono Band - Between My Head & the Sky: I know I have a weird obsession with Yoko Ono, and I'm going to get help. Regardless of my unnatural fixation, this is how I wish more of today's music sounded. Whether she's pouring out her aging heart in slow lounge tunes or rapping nonsensical refrains in surreal dance songs, Yoko isn't afraid to try new & different things. Somehow, the clusterfuck of textures create a cohesive album that's more insightful, experimental and downright interesting than anything made by people fifty years younger than her.
2. Sonic Youth - The Eternal: It's 2010. By now, you know whether you're a fan of Sonic Youth or not. If you aren't a fan yet, The Eternal offers nothing to convert you. If you are a fan, then you probably already know that this is easily their best album since the early 90's. After a decade and a half of mediocrity, I'm just happy that Sonic Youth finally released an album that doesn't make me feel embarrassed for them. Now, please retire before you make another NYC Ghosts & Flowers.
3. Dinosaur Jr.- Farm: Everybody is making a huge deal about this album and I'm not sure why. It sounds just like the Dinosaur Jr. I remember from high school. That's not a bad thing. It just goes to show you that distorted guitars & competent solos will never go out of style.
4. Micachu - Jewellry: The most positive thing I can say about Micachu is that she reminds of The Raincoats on downers. The simplest tracks tend to be the best. Luckily for us, she keeps most of it fairly simple.
5. Kasabian - West Ryder Pauper Lunatic Asylum: There's nothing extraordinary about this album, but it's fun picking out their influences. Everything from Paul Revere & The Raiders and early Zeppelin to the techno bullshit of today is hinted at in their songs. It's more interesting than it is good.
6. Hope Sandoval & The Warm Inventions - Through the Devil Softly: This album makes the cut only because Hope Sandoval has the most awesomely haunting voice ever. Although both of her post-Mazzy Star albums sound pretty much like Mazzy Star albums, they lack some intangible quality that made the originals classics. As such, this isn't a bad album, but it's no Mazzy Star.
7. The Dead Weather - Horehound: This is really close to being a great album. Unfortunately, it's weighted down with too many songs full of obnoxious frat boy-style choruses that are reminiscent of the dark days of Limp Bizkit and Kid Rock.
8. Them Crooked Vultures - Them Crooked Vultures: Who knew if you took a guy from Led Zeppelin, a guy from Queens of the Stone Age, and a guy from Nirvana that you'd get the best Alice In Chains album since Facelift?
9. The xx - xx: If your album cover consists only of a giant 'X', I'm going to assume that the criminally underrated Los Angeles punk band came out with a new album, and track it down. When I finally discovered that this was some new band, I decided to give them a day in court anyway. To be perfectly honest, I'm not sure what I think of the album. The first time I listened to it, I was underwhelmed. The second time, it blew me away. The third time, I hated it. Subsequent listening evoked the same range of emotions.
10. Girls - Girls: I was lamenting how my taste in music seems to be permanently stuck in the punk/post-punk era of the 70's and 80's, and a friend suggested I go on Pitchfork to see what bands the cool kids were currently raving about. At the time, they were raving about this album. I have no idea why. Whereas I thought Kasabian was interesting because they borrowed from their influences, Girls goes out of their way to copy every nuance from their heroes and we're left with a predictable and jumbled album. But goddamn it if it isn't full of catchy songs. Fuck you, self-titled debut from Girls!
Chaim Witz - His ten favorite of 2009, aside from Cymbals Eat Guitars of course.
1. Yeah Yeah Yeahs - It's Blitz! - The punky rockers deliver a imminently danceable yet utterly rocking masterpiece. Kicks yours ass and then kisses you on the mouth, without a false note.
Choice Cuts: Heads Will Roll, Dull Life, Hysteric
2. KISS - Sonic Boom - The face painted rockers eschew musical growth for an a throwback album of good time party rock, with blistering Ace Frehley solos not performed by Ace Frehley. If you can get past the dilemma of hearing a 60 year old man sing, "Baby feel my tower of power", you're in for a treat.
Choice Cuts: Modern Day Delilah, Russian Roulette, Say Yeah
3. Pearl Jam - Backspacer - The newly gregarious Eddie Vedder and his gang of flannel wearing Neil Young proteges deliver their best album of the decade. Upbeat and energetic, it contains the secret ingredient that was sorely lacking from their last few albums: memorable hooks.
Choice Cuts: Speed of Sound, The End, Got Some
4. Them Crooked Vultures - Self Titled - Probably not as kick ass it should be, but sometimes 'good enough' is still great. The good stuff is really, really good.
Choice Cuts: Mind Eraser/No Chaser, New Fang, Elephants
5. Julian Casablancas - Phrazes for the Young - The Strokes frontman puts together a crafty album of electro pop-rock (Strokes style), that is equal parts dance rock and music for the morning after. Beware of this post-hype sleeper.
Choice Cuts: 11th Dimension, Ludlow Street, Tourist
2. Sonic Youth - The Eternal: It's 2010. By now, you know whether you're a fan of Sonic Youth or not. If you aren't a fan yet, The Eternal offers nothing to convert you. If you are a fan, then you probably already know that this is easily their best album since the early 90's. After a decade and a half of mediocrity, I'm just happy that Sonic Youth finally released an album that doesn't make me feel embarrassed for them. Now, please retire before you make another NYC Ghosts & Flowers.
3. Dinosaur Jr.- Farm: Everybody is making a huge deal about this album and I'm not sure why. It sounds just like the Dinosaur Jr. I remember from high school. That's not a bad thing. It just goes to show you that distorted guitars & competent solos will never go out of style.
4. Micachu - Jewellry: The most positive thing I can say about Micachu is that she reminds of The Raincoats on downers. The simplest tracks tend to be the best. Luckily for us, she keeps most of it fairly simple.
5. Kasabian - West Ryder Pauper Lunatic Asylum: There's nothing extraordinary about this album, but it's fun picking out their influences. Everything from Paul Revere & The Raiders and early Zeppelin to the techno bullshit of today is hinted at in their songs. It's more interesting than it is good.
6. Hope Sandoval & The Warm Inventions - Through the Devil Softly: This album makes the cut only because Hope Sandoval has the most awesomely haunting voice ever. Although both of her post-Mazzy Star albums sound pretty much like Mazzy Star albums, they lack some intangible quality that made the originals classics. As such, this isn't a bad album, but it's no Mazzy Star.
7. The Dead Weather - Horehound: This is really close to being a great album. Unfortunately, it's weighted down with too many songs full of obnoxious frat boy-style choruses that are reminiscent of the dark days of Limp Bizkit and Kid Rock.
8. Them Crooked Vultures - Them Crooked Vultures: Who knew if you took a guy from Led Zeppelin, a guy from Queens of the Stone Age, and a guy from Nirvana that you'd get the best Alice In Chains album since Facelift?
9. The xx - xx: If your album cover consists only of a giant 'X', I'm going to assume that the criminally underrated Los Angeles punk band came out with a new album, and track it down. When I finally discovered that this was some new band, I decided to give them a day in court anyway. To be perfectly honest, I'm not sure what I think of the album. The first time I listened to it, I was underwhelmed. The second time, it blew me away. The third time, I hated it. Subsequent listening evoked the same range of emotions.
10. Girls - Girls: I was lamenting how my taste in music seems to be permanently stuck in the punk/post-punk era of the 70's and 80's, and a friend suggested I go on Pitchfork to see what bands the cool kids were currently raving about. At the time, they were raving about this album. I have no idea why. Whereas I thought Kasabian was interesting because they borrowed from their influences, Girls goes out of their way to copy every nuance from their heroes and we're left with a predictable and jumbled album. But goddamn it if it isn't full of catchy songs. Fuck you, self-titled debut from Girls!
Chaim Witz - His ten favorite of 2009, aside from Cymbals Eat Guitars of course.
1. Yeah Yeah Yeahs - It's Blitz! - The punky rockers deliver a imminently danceable yet utterly rocking masterpiece. Kicks yours ass and then kisses you on the mouth, without a false note.
Choice Cuts: Heads Will Roll, Dull Life, Hysteric
2. KISS - Sonic Boom - The face painted rockers eschew musical growth for an a throwback album of good time party rock, with blistering Ace Frehley solos not performed by Ace Frehley. If you can get past the dilemma of hearing a 60 year old man sing, "Baby feel my tower of power", you're in for a treat.
Choice Cuts: Modern Day Delilah, Russian Roulette, Say Yeah
3. Pearl Jam - Backspacer - The newly gregarious Eddie Vedder and his gang of flannel wearing Neil Young proteges deliver their best album of the decade. Upbeat and energetic, it contains the secret ingredient that was sorely lacking from their last few albums: memorable hooks.
Choice Cuts: Speed of Sound, The End, Got Some
4. Them Crooked Vultures - Self Titled - Probably not as kick ass it should be, but sometimes 'good enough' is still great. The good stuff is really, really good.
Choice Cuts: Mind Eraser/No Chaser, New Fang, Elephants
5. Julian Casablancas - Phrazes for the Young - The Strokes frontman puts together a crafty album of electro pop-rock (Strokes style), that is equal parts dance rock and music for the morning after. Beware of this post-hype sleeper.
Choice Cuts: 11th Dimension, Ludlow Street, Tourist
6. XX - Self Titled - Yet another dude/chick combo, but this one is British, ambient and not nearly as good looking as Pete and Scarlett. None-the-less, this hauntingly sparse production is chill in the best sense of the word.
Choice Cuts: Crystalised, Islands, Basic Space
Choice Cuts: Lisztomania, 1901, Fences
8 Ace Frehley - Anomaly - Ace counters KISS with an album with fewer Ace Frehley solos than the KISS album he didn't play on, and instead delivers a (relatively) mature, polished album.
Choice Cuts: Change the World, Sister, It's A Great Life
9. Alice in Chains - Black Gives Way to Blue - No Layne Staley, no problem. AICN don't miss a beat on their latest gem, delivering the sludge-y yet melodic sound that made them everyone's favorite Nirvana alternative in the mid-90's.
Choice Cuts: Check My Brain, A Looking In View, Private Hell
Choice Cuts: Realtor, I Don't Know What to Do, Wear and Tear
Other albums I enjoyed to an extent:
Silversun Pickups - Swoon - Choice Cut: Panic Switch
The Black Crowes - Before the Frost...Until the Freeze - Choice Cut: Been a Long Time
Grizzly Bear - Veckatimest - Choice Cut: Two Weeks
Biggest Disappointments
Muse - The Resistence - I hoped this would grow on me, I really did. I loved Black Holes and Revelations like an adopted son, but besides Uprising, none of these songs make my privates tingle.
The Swell Season - Strict Joy - Once is one of my favorite movies of the decade, possibly ever, so I had high hopes for the follow up from Glen Hansard and Marketa Irglova. Alas, it's all pretty same-y, uninspired and quite frankly, boring.
U2 - No Line on the Horizon - Apparently all of Bono's efforts went into saving Africa and not writing good music.
Chip Wesley - Because I was told putting "New Moon" down 20 times wasn't acceptable.
1. Grizzly Bear - Veckatimest: Overall an outstanding album. Hauntingly beautiful, it's a great album to relax with.
2. White Denim - Fits: More kick ass tracks from White Denim. Unlike last year's release Exposion, Fits is not compiled from various EP tracks and singles they had previously released. Therefore as an album it's much more cohesive. I highly recommend you check them out. If you hate it whatever, but at least you heard them.
3. The Rural Alberta Advantage - Hometowns: I'm sure no one will notice, or most likely care, but I had this album on my 2008 list ranked 17th. However, since it was still relatively new at that time and that it had an official U.S. release in 2009 I decided to include it again and give it the proper recognition it deserves. Definitely another one to seriously seek out.
4. Richard Swift - The Atlantic Ocean: Another great release from Swift. Who knew depressing sad bastard music could be so damn fun?
5. Radio Moscow - Brain Cycles: Seriously heavy psychedelic blues rock from a two-man outfit from the middle of Iowa. Their debut album two years ago was produced by Dan Auerbach of the Black Keys. If you dig the Keys then you'll certainly dig Radio Moscow.
6. The Dead Weather - Horehound: "It's not like the Raconteurs." That was one excuse I heard as to why someone didn't like Horehound. Seriously? Why on Earth would they assemble a new band to sound just like the one they were just in? This album is an all-around badass mix of sleazy rock and grimy blues.
7. Scott H. Biram - Something's Wrong/Lost Forever: If you haven't experienced the awesomeness of Scott H. Biram yet then it's about high time you did. This is the way I wish all country music today sounded.
8. Dan Auerbach - Keep It Hid: Speak of the devil. Auerbach's solo album doesn't steer too far from the Black Keys sound we've grown to love, but there's hints of a softer more personal side to this album that really make it a nice listen.
9. Sonic Youth - The Eternal: Honest to God fact: I have never fully listened to a Sonic Youth album until this one. I can't say I fell in love with it right away, but after a couple listens I started to realize how much The Eternal really fucking rocks. With so many indie acts doing throwbacks to post-punk 80's sounds, Sonic Youth does a throwback as well, except that it's a throwback to Sonic Youth.
10. White Rabbits - It's Frightening: Being a fan of Spoon it only seems fitting that I would enjoy this album as well. The opening track, "Percussion Gun" may well be the best song of 2009.
OK, I'm not going to bore you more with writeups for the rest of my list, so here they are in simple list form.
11. Franz Ferdinand - Tonight: Franz Ferdinand
12. Mos Def - The Ecstatic
13. The Veils - Sun Gangs
14. Beirut - March of the Zapotec and Realpeople: Holland
15. Wolfmother - Cosmic Egg
16. Royal Bangs - Let It Beep
17. Phoenix - Wolfgang Amadeus Phoenix
18. Animal Collective - Merriweather Post Pavillion
19. M. Ward - Hold Time
20. Bowerbirds - Upper Air
Honorable Mention:
William Elliott Whitmore - Animals in the Dark
Art Brut - Art Brut vs. Satan
Yeah Yeah Yeahs - It's Blitz!
Gomez - A New Tide
Arctic Monkeys - Humbug
Albums that I just never got around to giving them enough of a listen to rank them but would have likely made the list if I had:
The Flaming Lips - Embryonic
Langhorne Slim - Be Set Free
Heartless Bastards - The Mountain
The 'I was wrong about this album last year' Award: Fleet Foxes. I just didn't care for this album at all and noted it last year by awarding it with the Interpol Award for the band the critics adore but I don't get the big deal. Well after several more listens the album really grew on me and I would like to retract my previous statements.
2009 Interpol Award: Phoenix - Wolfgang Amadeus Phoenix. I have this album in my top 20 I know. It's a good album but I'm seeing this make #1 on a lot of lists, even making some best of the decade lists. Seriously? It's got some great tracks on it but it's really not that much different than Oracular Spectacular from MGMT. It opens strong with some great songs but completely fizzles out in the second half of the album. I guess I just don't see how it can be considered that great when half of it seems like filler.
Biggest Disappointment: Wilco - Wilco. What's the sound of thousands of listeners being bored to death? I'm by no means a Wilco hater either. I liked Sky Blue Sky. But this last album seems to really only appeal to Brant Brown and hipster dads in their late 30s that have lost any sense of being edgy.
Best Album Reissue of 2009: Beck - One Foot in the Grave. Recorded before Mellow Gold, this awesome lo-fi basement folk gem got a deluxe re-release this year with a whole second disc full of tracks.
*Comics from Married to the Sea and Superpoop
Steven Tyler Quits Aerosmith?
November 09, 2009 | Comments (0) | by T.R.
Word on the Internets is that Steven Tyler has, for all intents and purposes, left the band Aerosmith. Lead guitarist Joe Perry has alluded to this in recent interviews, though he admits that it is not out of the ordinary for Tyler to go incommunicado for lengths of time.If it is indeed true that Tyler has given up his post as the frontman for one of America's most iconic rock 'n' roll bands, Perry says they will seek a new lead singer and new direction. However, it would be a daunting task to replace the flamboyance and showmanship of Tyler. It likely could not be done, thus making it difficult to promote an Aerosmith tour at $75 per ticket. If he is replaced, the more likely scenario is a downshift in ambition, and a prominent place on the state fair circuit next summer.
In my more impressionable days, I held Aerosmith in incredibly high regard. They were my first exposure to good old-fashioned dirty rock music. Unfortunately, they've been largely irrelevant over the last decade. Such is life, especially when you've been going at it for nearly 40 years. Aerosmith has certainly overcome adversity in the past, but if Tyler is truly gone, the rest of the boys will be facing a steep uphill battle.
Concertgoing For Dummies: The Indie Scene
October 27, 2009 | Comments (0) | by The Hundley
Hey, have you been to a music show lately? If you're a follower of this blog, there's no doubt that you've read about many o' indie bands. Christ, Chip Wesley gives you enough to listen to for the next five years in his Albums of the Year posts. Perhaps your interest has been piqued and you want to see some of these groups live. It's a tough world out there, folks. It's not like the good ol' days when you could just wear Levi's and a t-shirt to a Slowhand show while you danced at will. Nope. Sorry. Things have changed. Luckily for you, I learned my lesson last night about what the rules are for watching an indie band. My shame is now for your benefit. You're welcome.The most important thing to remember is that the music is not paramount; you're actions and appearance are what matter most.
Appearance:
Goddamnit, this is important, so listen up. Floppy hair is best, and don't be afraid to use some light product, though take care to make it look a bit disheveled. Any and all hair should be combed in a consistent direction, with best results being the sideways style. If you must wear something on your head, a fedora or a 70's era tuque is acceptable, as is a hoodie (only worn with the hood up while inside).
Facial hair is acceptable and often encouraged. NEVER wear a goatee, but feel free to sport a beard, the more length, the better. If you must, an ironic moustache is passable, but never for back-to-back concerts. If you're unable to grow a beard, at least have the decency to have some sideburns, preferably flared at the bottom. There's a reason Dylan from 90210 is epic. Also acceptable: mutton chops.
If you wear glasses, you have one choice and one choice only: Rivers Cuomo
T-shirts are OK as long as they are promoting an obscure band, an indie record label, or a solid and uncommon color. However, this time of year calls for something long sleeved, even with the show being indoors. Tweed sportcoats and cardigans are the go-to getup. Bonus points if either have some sort of elbow patch.
If your pants aren't an indigo color, you might as well stay home. Levi's or Old Navy jeans are for Foo Fighters fans. It's enough to have you tried for war crimes, so don't even think about it. Sizing is just as important as color. Find out your "mainstream" size and then go with at least two sizes smaller.
Footwear lends you two non-negotiable choices. The first is the timeless indie classic, the low-cut Converse All-Stars. Your only other option is a lip-on dress shoe. Again, this is non-negotiable. Tennis shoes are for Pearl Jam fans.
Conduct:
Now that you're fit to go outside and be seen by other indie fans, you better learn how to act. Yeah, the music may be great, but knowing how to act is the key to avoid discriminating looks.
If the show is in an intimate setting, there is no standing. You shall stay seated and view the band with a discriminating eye. Feel free to eat some food, maybe even pack that in your napsack. By all means indulge in a beverage as long as it's a microbrew from at least two states away from your location, or an obscure European brew.
If your location demands that you stand, for the love of God, please DON'T DANCE. Try and find a wall that you can lean on. Once you're good and posted up, you can tap your foot to the bass beat of the drum and/or gently nod your head. Don't forget to give a simple and conservative applause after each song. Any more than that and you might as well get tickets to a Rolling Stones concert.
Indie events are a family friendly affair. Bring your kids and be sure to bring a large bag of toys. Even newborns are perfectly acceptable to bring along. Just be sure to bring ear protection for little ones under the age of 1. Don't worry if your rugrats wander during the show, your fellow indies will keep them entertained, all the while viewing you as "the cool parent they never had".
When it's all over, buy a sticker from one of the opening bands (not the headliner) and converse with others. Be positive, but keep it in check. You know that sound guy had the rhythm guitar WAY too loud.
The 1979 Files, Volume 3
October 15, 2009 | Comments (0) | by Wolter
Has it really been over three weeks since I last spoke on that most glorious of music years, 1979? A quick look at the calendar says yes. But a quick look into my heart says I never really left.1
And so, as promised back in the mythical era of late September, I now return to the Promised Land to bring back a slab of near perfect wax. And as promised, I present to you the Finest Hour from The Only Band That Matters. I present:
The Clash - The Cost of Living E.P.
(A disclaimer: I like the Clash. A lot. A whole lot. As in, I "have a tattoo of Joe Strummer on my right arm" like the Clash. So I have some very strong opinions about them. Some of them are irrational. Deal with it. )
Okay, I'm sure several people probably already assumed the best Clash release came out in 1979. And they assumed it was London Calling. I'm not here to find fault with London Calling. I love that album more than most people love their children. But anything that has a song where Joe Strummer sings about tantric sex (shudder) will never be a perfect album.
But the Cost of Living is.
This is four songs that basically define what made the Clash a great rock band. Their seminal debut is a classic of the time, but the razorwire production and inconsistent songwriting knock it down a peg. The criminally underrated Give 'Em Enough Rope is a classic in the heavy 70s glam guitar tradition (and is not a Heavy Metal album, despite what the lazy music press accuses it of being), but the vocals are too far down in the mix, and side two dips in quality compared to the amazing 1-2-3 punch it opens with. London Calling is a deep and rich album, and gives CoL a run for the money, but falls just short. Sandinista! is a sprawling,2 insane mess. Combat Rock is filler-heavy, and is clearly the sound of a band breaking up. And Cut the Crap? Clearly the work of a madman.
The Cost of Living, however? Perfect. It's a distillation of the Clash in their purest form. And as it's only 4 songs, I can actually do a song-by-song review without spending the rest of my life writing this:
"I Fought the Law" - Opening up the first side with a galloping, unforgettable drum beat courtesy of Topper Headon, wailing guitar, and perfectly spat-out vocals, this track is, without a doubt, the definitive version of the Sonny Curtis classic. Sure, the Bobby Fuller Four version still gets airplay, but everyone who has ever covered it since is basically covering the Clash version. Simply stunning song, absolutely flawless cover, and a great way to start the album. In fact, I would go so far to say this is the single greatest cover of any song in rock history.
"Groovy Times" - The fact that this is the weakest track on the E.P. should show how strong an album this is. A scathing indictment of the depressing state of late 70s Britain, this is an epic track, with a surprisingly deft, understated guitar and harmonica courtesy of "Bob"(actually guitarist Mick) Jones. Bitter lines like "They discovered one black Saturday/the mobs don't march, they run" and a subtle swipe at Elvis Costello (so subtle it was nearly 10 years until I became aware of it) dance across the elegiac music. Again: the weakest song.
"Gates of the West" - Mind-rapingly awesome power pop with a Mick Jones vocal about the band on the brink of actually breaking America, an achievement that 95% of British bands claim not to care about while desperately attempting to do so. Proof that the Clash could have gone down the Cheap Trick/Raspberries/Knack path and still been legendary. When I started collecting Clash bootlegs, I was gutted to learn this was never played live.
"Capital Radio Two" - Holy. Shit. This song smokes more than Dan Ackroyd does in Ghostbusters. The original "Capital Radio," a scathing assault on the government sponsored radio station, was released on a promotional flexi-disc from the NME, which was so sought-after that copies were going for over 40 pounds within a year of realease. To rectify this, the Clash re-recorded it...louder...and with a different arrangement. Beginning with a simple, soft intro, the song kicks into overtime about 30 seconds in, as the entire band smashes into the song like a brick of compressed radness slamming you in the face. And after about a minute and a half of pummeling your senses with Les Pauls and Telecasters, Joe Strummer calls the bands attention and tells them they'll never get on the radio like that. So, "on the count of four...FOUR!" the band breaks into a hilarious parody of disco music, including a lyrical swipe at the Grease soundtrack and screeching falsettos leading to fadeout.
Thus ends the most perfect release in Clash history.3
The Cost of Living is a little tricky to get your hands on in a hard copy these days. If you want to pony up the money for the Singles Box Set, you can have a replica sleeve, but it's pretty much only for hardcore fans. "I Fought the Law" is on the American reissue of the debut, and pretty much every Best of... complilation the Clash have ever released. The remaining songs can all be found on Super Black Market Clash (where I originally heard them in 1993), a compilation that I highly recommend for showing all of the strengths and all of the weaknesses of the Clash on a single disc.
Thanks to iTunes, I rather imagine you could download all of the tracks separately and make your own, though. You really should.
Tune in next time as I somehow use the weakest album from one of my favorite bands to glorify 1979.
1. This is entirely metaphorical. A quick look into my actual heart actually reveals decades of McRib-related arterial plaque.
2. It is mandated that all reviews that reference Sandinista! use the term "sprawling."
3. Okay, the original vinyl release, and the Japanese version of the recent Singles box set include the "Cost of Living Advert" track, but that isn't really a song, so much as Joe Strummer talking in a really bad Jamaican accent over music. But you'd have to go out of your way to hear it in that version, so I discount it.
And so, as promised back in the mythical era of late September, I now return to the Promised Land to bring back a slab of near perfect wax. And as promised, I present to you the Finest Hour from The Only Band That Matters. I present:
The Clash - The Cost of Living E.P.
(A disclaimer: I like the Clash. A lot. A whole lot. As in, I "have a tattoo of Joe Strummer on my right arm" like the Clash. So I have some very strong opinions about them. Some of them are irrational. Deal with it. )Okay, I'm sure several people probably already assumed the best Clash release came out in 1979. And they assumed it was London Calling. I'm not here to find fault with London Calling. I love that album more than most people love their children. But anything that has a song where Joe Strummer sings about tantric sex (shudder) will never be a perfect album.
But the Cost of Living is.
This is four songs that basically define what made the Clash a great rock band. Their seminal debut is a classic of the time, but the razorwire production and inconsistent songwriting knock it down a peg. The criminally underrated Give 'Em Enough Rope is a classic in the heavy 70s glam guitar tradition (and is not a Heavy Metal album, despite what the lazy music press accuses it of being), but the vocals are too far down in the mix, and side two dips in quality compared to the amazing 1-2-3 punch it opens with. London Calling is a deep and rich album, and gives CoL a run for the money, but falls just short. Sandinista! is a sprawling,2 insane mess. Combat Rock is filler-heavy, and is clearly the sound of a band breaking up. And Cut the Crap? Clearly the work of a madman.
The Cost of Living, however? Perfect. It's a distillation of the Clash in their purest form. And as it's only 4 songs, I can actually do a song-by-song review without spending the rest of my life writing this:
"I Fought the Law" - Opening up the first side with a galloping, unforgettable drum beat courtesy of Topper Headon, wailing guitar, and perfectly spat-out vocals, this track is, without a doubt, the definitive version of the Sonny Curtis classic. Sure, the Bobby Fuller Four version still gets airplay, but everyone who has ever covered it since is basically covering the Clash version. Simply stunning song, absolutely flawless cover, and a great way to start the album. In fact, I would go so far to say this is the single greatest cover of any song in rock history.
"Groovy Times" - The fact that this is the weakest track on the E.P. should show how strong an album this is. A scathing indictment of the depressing state of late 70s Britain, this is an epic track, with a surprisingly deft, understated guitar and harmonica courtesy of "Bob"(actually guitarist Mick) Jones. Bitter lines like "They discovered one black Saturday/the mobs don't march, they run" and a subtle swipe at Elvis Costello (so subtle it was nearly 10 years until I became aware of it) dance across the elegiac music. Again: the weakest song.
"Gates of the West" - Mind-rapingly awesome power pop with a Mick Jones vocal about the band on the brink of actually breaking America, an achievement that 95% of British bands claim not to care about while desperately attempting to do so. Proof that the Clash could have gone down the Cheap Trick/Raspberries/Knack path and still been legendary. When I started collecting Clash bootlegs, I was gutted to learn this was never played live.
"Capital Radio Two" - Holy. Shit. This song smokes more than Dan Ackroyd does in Ghostbusters. The original "Capital Radio," a scathing assault on the government sponsored radio station, was released on a promotional flexi-disc from the NME, which was so sought-after that copies were going for over 40 pounds within a year of realease. To rectify this, the Clash re-recorded it...louder...and with a different arrangement. Beginning with a simple, soft intro, the song kicks into overtime about 30 seconds in, as the entire band smashes into the song like a brick of compressed radness slamming you in the face. And after about a minute and a half of pummeling your senses with Les Pauls and Telecasters, Joe Strummer calls the bands attention and tells them they'll never get on the radio like that. So, "on the count of four...FOUR!" the band breaks into a hilarious parody of disco music, including a lyrical swipe at the Grease soundtrack and screeching falsettos leading to fadeout.
Thus ends the most perfect release in Clash history.3
The Cost of Living is a little tricky to get your hands on in a hard copy these days. If you want to pony up the money for the Singles Box Set, you can have a replica sleeve, but it's pretty much only for hardcore fans. "I Fought the Law" is on the American reissue of the debut, and pretty much every Best of... complilation the Clash have ever released. The remaining songs can all be found on Super Black Market Clash (where I originally heard them in 1993), a compilation that I highly recommend for showing all of the strengths and all of the weaknesses of the Clash on a single disc.
Thanks to iTunes, I rather imagine you could download all of the tracks separately and make your own, though. You really should.
Tune in next time as I somehow use the weakest album from one of my favorite bands to glorify 1979.
1. This is entirely metaphorical. A quick look into my actual heart actually reveals decades of McRib-related arterial plaque.
2. It is mandated that all reviews that reference Sandinista! use the term "sprawling."
3. Okay, the original vinyl release, and the Japanese version of the recent Singles box set include the "Cost of Living Advert" track, but that isn't really a song, so much as Joe Strummer talking in a really bad Jamaican accent over music. But you'd have to go out of your way to hear it in that version, so I discount it.
It Might Get Loud
October 13, 2009 | Comments (0) | by The Hundley
Put three influential axemen in a room and see 
what happens. Perhaps that is the seed that first entered Davis Guggenheim and the production team's minds when they decided to make It Might Get Loud. Guggenheim, who is perhaps best known for directing An Inconvenient Truth, makes an interesting choice in the three guitarists he chooses to profile. In the days of Guitar Hero video games, the term 'rock God' gets thrown around quite a bit, and in this movie it takes an interesting direction. More than anything, the movie profiles Jimmy Page, The Edge, and Jack White.
Does Jimmy Page even need any introduction? The soft spoken and reserved guitarist and song writer for Led Zeppelin, Page has penned some of hard rock's most recognizable guitar riffs and has long been known to be as equally immersed in creepy black magic as he is at guitar. The Edge comes to us by way of Ireland, being the guitar man for U2. He's a curious choice, as you'd guess that a documentary about guitar playing wouldn't feature a rhythm guitar player. Perhaps Page put it's best when he describes The Edge as a "sound architect", using multiple guitar effects pedals to get U2's signature sound. Jack White, known to most for his work in The White Stripes and The Raconteurs, is the up-and-comer that's already been able to forge a signature sound. Much more so than any of the others, White has more of an outward and aggressive demeanor.
Much of the movie goes into character study. We get the whole background of Jimmy Page growing up in England and how he's introduced to the guitar: his family moved into a new house when he was a boy, and the previous homeowners left an acoustic guitar there. From there we see a teenage Page playing in a kind of English rockabilly band and from there moving on to become an accomplished session player before moving on to The Yardbirds and ultimately Led Zeppelin. Page boasts a friggin' huge record collection, and he plays many of his favorite cuts, most notably an old 45 of "Rumble", where Page says he really got the itch to play with a more thick, heavy sound. The filmmakers even follow him to a countryside mansion where Zeppelin recorded IV, and he shows us where Bonham laid down the drum tracks in the front foyer.
The Edge comes from a working class section of Dublin during a time of economic hardship. We find that U2 is the only band he's ever been in, and it all started by way of a post-it note on his school's bulletin board. He freely admits that for the longest time he was not technically adept at playing the guitar, but he had a sound in mind that he wanted to achieve. The Edge even shows us how he plays typical guitar chords in a different fashion which gives it more of the U2 ringing sound. The biggest nugget we get, though, is how he uses guitar effects. If you've ever listened to U2 from The Joshua Tree and on, you know much of U2's sound is driven by echo effects on the guitars. We get to see that he has an entire board of guitar effects that all run through a giant computer. The Edge even plays the main hook to "Elevation" both with and without the effects. Without the effects, it's simply two chords.
Jack White definitely likes to give off the throw-back vibe. We see him driving an old car in Tennessee, making a one string guitar on his porch with a coke bottle and some wire, and he's always seen in his signature porkpie hat. Oddly, much of the film has Jack White being followed by a "young Jack" White, a 9 year old boy dressed like White, presumably supposed to be him in his formative years. We also travel to Detroit, where White grew up and worked as an upholster and found a musical partner in his boss (they even formed a band called The Upholsters). White talks at length of how he likes things stripped down and pure, frequently mentioning his favorite record, an old Son House piece from way back. White even tells us that he likes to struggle with his guitars, and that his White Stripes "number one" is a red plastic guitar from a department store.
The entire movie, naturally, has great music playing in the background. Mostly interspersed over old footage, we see all three of the musicians in past and present day footage. Page almost seems apprehensive to let people into his mind or his technique, though we do get some boner-inducing shots of his playing some Zeppelin classics for the other two. The Edge opens up a but more, even pulling out some old demo cassette tapes where we got to hear some Joshua Tree Era stuff. White leaves nothing left to the imagination. As I said, he was bay far the most open of three, even recording some stuff on an old reel-to-reel. And he seemed hungry to impress the others ("I want to trick these guys into showing me their tricks), showing how he came up with an idea to incorporate a vocal mic into a guitar, allowing him to get that distorted vocal sound that's evident to those familiar with White's work.
The whole movie builds towards the end, where all three will be in the same room, culminating in an epic jam. This is where the movie falls short. There is little to no chemistry between the three with only White seeming to want something big to happen. After a few awkward jams where The Edge clearly was uncomfortable trying to play some lead lines, we were treated to the movie's gem - a jam on The Band's big hit, "The Weight". The Edge and White handle the vocals when Page makes it clear that he doesn't/can't sing.
This is a movie that will appeal to fans of the musicians involved and those who are big into guitar playing. It's a wholly enjoyable movie, but one that could have been much more. Instead of an in-depth look at the guitar, it's more of an overview of the men themselves, almost a Greatest Hits look instead of what really makes them tick. We do get some interesting back stories, but they're ones that could easily be read on the artist's Wikipedia pages. That being said, the music and the cinematography make it an overall positive experience. Unfortunately, I can't stop from wondering what might have been.
Thunder Matt Review: 7 stars out of 10
what happens. Perhaps that is the seed that first entered Davis Guggenheim and the production team's minds when they decided to make It Might Get Loud. Guggenheim, who is perhaps best known for directing An Inconvenient Truth, makes an interesting choice in the three guitarists he chooses to profile. In the days of Guitar Hero video games, the term 'rock God' gets thrown around quite a bit, and in this movie it takes an interesting direction. More than anything, the movie profiles Jimmy Page, The Edge, and Jack White.Does Jimmy Page even need any introduction? The soft spoken and reserved guitarist and song writer for Led Zeppelin, Page has penned some of hard rock's most recognizable guitar riffs and has long been known to be as equally immersed in creepy black magic as he is at guitar. The Edge comes to us by way of Ireland, being the guitar man for U2. He's a curious choice, as you'd guess that a documentary about guitar playing wouldn't feature a rhythm guitar player. Perhaps Page put it's best when he describes The Edge as a "sound architect", using multiple guitar effects pedals to get U2's signature sound. Jack White, known to most for his work in The White Stripes and The Raconteurs, is the up-and-comer that's already been able to forge a signature sound. Much more so than any of the others, White has more of an outward and aggressive demeanor.
Much of the movie goes into character study. We get the whole background of Jimmy Page growing up in England and how he's introduced to the guitar: his family moved into a new house when he was a boy, and the previous homeowners left an acoustic guitar there. From there we see a teenage Page playing in a kind of English rockabilly band and from there moving on to become an accomplished session player before moving on to The Yardbirds and ultimately Led Zeppelin. Page boasts a friggin' huge record collection, and he plays many of his favorite cuts, most notably an old 45 of "Rumble", where Page says he really got the itch to play with a more thick, heavy sound. The filmmakers even follow him to a countryside mansion where Zeppelin recorded IV, and he shows us where Bonham laid down the drum tracks in the front foyer.
The Edge comes from a working class section of Dublin during a time of economic hardship. We find that U2 is the only band he's ever been in, and it all started by way of a post-it note on his school's bulletin board. He freely admits that for the longest time he was not technically adept at playing the guitar, but he had a sound in mind that he wanted to achieve. The Edge even shows us how he plays typical guitar chords in a different fashion which gives it more of the U2 ringing sound. The biggest nugget we get, though, is how he uses guitar effects. If you've ever listened to U2 from The Joshua Tree and on, you know much of U2's sound is driven by echo effects on the guitars. We get to see that he has an entire board of guitar effects that all run through a giant computer. The Edge even plays the main hook to "Elevation" both with and without the effects. Without the effects, it's simply two chords.
Jack White definitely likes to give off the throw-back vibe. We see him driving an old car in Tennessee, making a one string guitar on his porch with a coke bottle and some wire, and he's always seen in his signature porkpie hat. Oddly, much of the film has Jack White being followed by a "young Jack" White, a 9 year old boy dressed like White, presumably supposed to be him in his formative years. We also travel to Detroit, where White grew up and worked as an upholster and found a musical partner in his boss (they even formed a band called The Upholsters). White talks at length of how he likes things stripped down and pure, frequently mentioning his favorite record, an old Son House piece from way back. White even tells us that he likes to struggle with his guitars, and that his White Stripes "number one" is a red plastic guitar from a department store.
The entire movie, naturally, has great music playing in the background. Mostly interspersed over old footage, we see all three of the musicians in past and present day footage. Page almost seems apprehensive to let people into his mind or his technique, though we do get some boner-inducing shots of his playing some Zeppelin classics for the other two. The Edge opens up a but more, even pulling out some old demo cassette tapes where we got to hear some Joshua Tree Era stuff. White leaves nothing left to the imagination. As I said, he was bay far the most open of three, even recording some stuff on an old reel-to-reel. And he seemed hungry to impress the others ("I want to trick these guys into showing me their tricks), showing how he came up with an idea to incorporate a vocal mic into a guitar, allowing him to get that distorted vocal sound that's evident to those familiar with White's work.
The whole movie builds towards the end, where all three will be in the same room, culminating in an epic jam. This is where the movie falls short. There is little to no chemistry between the three with only White seeming to want something big to happen. After a few awkward jams where The Edge clearly was uncomfortable trying to play some lead lines, we were treated to the movie's gem - a jam on The Band's big hit, "The Weight". The Edge and White handle the vocals when Page makes it clear that he doesn't/can't sing.
This is a movie that will appeal to fans of the musicians involved and those who are big into guitar playing. It's a wholly enjoyable movie, but one that could have been much more. Instead of an in-depth look at the guitar, it's more of an overview of the men themselves, almost a Greatest Hits look instead of what really makes them tick. We do get some interesting back stories, but they're ones that could easily be read on the artist's Wikipedia pages. That being said, the music and the cinematography make it an overall positive experience. Unfortunately, I can't stop from wondering what might have been.
Thunder Matt Review: 7 stars out of 10
TMS Music: KISS - Sonic Boom
October 06, 2009 | Comments (0) | by Chaim Witz
Things That Make You Go Boom
Release Date: October 6th - Wal Mart exclusive (gross, I know)
Nearly 11 years have passed since the release of the last KISS studio album, the generally underwhelming Psycho Circus. Since then, the band has experienced breakups, makeups, Farewell Tours, Kaskets, Kondoms, embarrassing reality shows, Peter Criss solo albums, and of course, 9/11. Now they are back with Sonic Boom, purported to be the best KISS album since Abbey Road or the four 1978 solo albums, I can't remember which.
A self professed KISS geek*, I admittedly haven't been this excited for an album since...well, probably Psycho Circus. For the last month I've been frequenting KISSONLINE like The Hundley frequents those chat rooms you always hear about on Dateline. KISS message boards, rumor mills, song samples...honestly, I've really been shirking my impending duties as a expectant father in favor of the the Hottest Band in the World. Help pick out a primary color for the nursery? But wait, did you see Tommy Thayer's new boots?
This time around, gone are lead guitarist Ace Frehley and drummer Peter Criss in favor of Eric Singer (who used to be in the band back in the one non-makeup era where they actually were kind of badass) and Tommy Thayer. Some fans cry foul that Tommy and Eric are wearing Ace and Peter's makeup, but to me it's a moot point. Gene Simmons and Paul Stanley own the rights to the designs (after Peter and Ace sold those rights), and at this point I've resigned myself to the fact that KISS is more of a brand than a band anyway, so in that regard, it makes sense. Besides, Eric Singer is a much better drummer than Creaky Pete, and while I miss Ace's drunken charisma, Tommy can play Ace's old solos better than even Ace could towards the end of his run.
Anyway, back to the music, the one aspect of KISS that they are probably least known for (or most reviled for by monocle-sporting music snobs). Produced by frontman Paul Stanley, using no outside writers, Sonic Boom represents a return to form of sorts for a band whose form has been 'flabby at best' for close to 30 years. That isn't to say that the album is a strict return to their 1970's sound per se...instead it represents the first time in a long time that the band hasn't tried to chase trends or cling to delusions of mainstream relevance. Instead, they've gotten back to basics. Good, catchy, and most importantly, fun rock tunes befitting of a band that wears white pancake makeup, high heels and more leather than a combination Rob Halford/Sturgis Motorcycle Rally-themed cocktail party (my God, what a random and wholly unsettling image that is. But I bet it would be fun, no?)
Make no mistake about it, this isn't music that will make you ponder the deeper meaning of life or gaze down glumly at your shoes. There are no inner demons here, only the Demon. The riffs are crunchy, the lyrics are raunchy, the guitar solos crackle with a decidedly vintage feel (nods to old Ace solos abound) and Gene Simmons bass playing has never been so prominent and driving.
Let's put it this way. Sometimes I watch Top Chef and crave a pretentious meal of lambshanks, foie gras and chocolate foam. Other times (mostly after I've been drinking), I crave the NFL paired with a McDonald's Double Cheeseburger Meal and a large Coke. Sonic Boom is the latter, with extra cheese.
If you're still reading and haven't logged on to Pitchfork to cleanse your palette yet, let's move on to the song by song breakdown:
1. Modern Day Delilah - A raucous start to the album, this Paul Stanley penned rocker is probably the "heaviest" song on the album and recalls their Revenge era, where Gene actually looked cool and the band had a big-time leather fetish. Killer guitar solo. 9/10
2. Russian Roulette - Gene comes out of the gates with a bassline that will make your testicles drop and lyrics with more sexual innuendos than a David Letterman company mixer. 9/10
3. Never Enough - A catchy slice of the 80's from Paul. Think 'Nothing But a Good Time' meets 'Pledge of Allegiance To the State of Rock N Roll' (which, you probably haven't heard unless you own Psycho Circus. Like I said, you probably haven't heard it.) 7/10
4. Yes I Know (Nobody's Perfect) - You want your 70's KISS? Here you go. It's even got (more) cowbell. The bridge before the chorus will stick in your head like peanut butter. It becomes apparent early on that Gene Simmons is the MVP of the album. It almost (but not quite) makes you forgive him for that abomination of a reality show, his last solo album, causing Ace to drink, and running KISS into the ground. Like I said, almost. 10/10
5. Stand - Probably the track that will have the most love/hate among fans. It might be my least favorite for now, but its something I could see growing on me, like the time I had shingles. The whole vibe reminds me of 'God Gave Rock N Roll II You'. 6/10
6. Hot and Cold - Another 70's style rocker from Gene Simmon's Wig, with a killer Frehley-esque geeeetah solo from Tommy. The lyrics are cliche and trite, but this is KISS after all, not a Thom Yorke solo album. 8/10
7. All For the Glory - Eric Singer takes the lead on the vocals with this straight ahead rocker that makes you want to drive fast and possibly buy a used Camaro if the price is right. 7/10
8. Danger Us - This is probably my second favorite Paul Stanley song on the album. Nice 70's riff with a cheese-tastic sing along chorus 'Danger you, danger me, danger us!' 9/10
9. I'm An Animal - Gene's obligatory "scary Demon" song. 'Within' meets 'God of Thunder'. Kind of has a 'Dazed and Confused' (Zeppelin) riff. Awesome old school metal scream at the end. 7/10
10. When Lightning Strikes - Tommy Thayer on vocals. This one sounds pretty 80's, and at first I really resented it...it kind of reminded me of something that would fit on the Karate Kid soundtrack. But after a few listens I'm really digging it. I'd upgrade it to the Roadhouse soundtrack instead. More cowbell! 7/10
11. Say Yeah - My early favorite track on the album. The perfect blend of old KISS with new KISS. What a great album closer and classic anthem. Say YEAH! 10/10
Overall Rating: 4 Vinnie Vincent Lawsuits Out of 5
*One of these days I will chronicle how I, the pretentious bastard of the group, became so smitten with a band that is so decidedly low-brow. It may take me around 11 years, but I've got the mullet pictures to prove it. (Fun fact: A mullet automatically gets you assigned Sergeant in the KISS Army.)
Release Date: October 6th - Wal Mart exclusive (gross, I know)
Nearly 11 years have passed since the release of the last KISS studio album, the generally underwhelming Psycho Circus. Since then, the band has experienced breakups, makeups, Farewell Tours, Kaskets, Kondoms, embarrassing reality shows, Peter Criss solo albums, and of course, 9/11. Now they are back with Sonic Boom, purported to be the best KISS album since Abbey Road or the four 1978 solo albums, I can't remember which.
A self professed KISS geek*, I admittedly haven't been this excited for an album since...well, probably Psycho Circus. For the last month I've been frequenting KISSONLINE like The Hundley frequents those chat rooms you always hear about on Dateline. KISS message boards, rumor mills, song samples...honestly, I've really been shirking my impending duties as a expectant father in favor of the the Hottest Band in the World. Help pick out a primary color for the nursery? But wait, did you see Tommy Thayer's new boots?
This time around, gone are lead guitarist Ace Frehley and drummer Peter Criss in favor of Eric Singer (who used to be in the band back in the one non-makeup era where they actually were kind of badass) and Tommy Thayer. Some fans cry foul that Tommy and Eric are wearing Ace and Peter's makeup, but to me it's a moot point. Gene Simmons and Paul Stanley own the rights to the designs (after Peter and Ace sold those rights), and at this point I've resigned myself to the fact that KISS is more of a brand than a band anyway, so in that regard, it makes sense. Besides, Eric Singer is a much better drummer than Creaky Pete, and while I miss Ace's drunken charisma, Tommy can play Ace's old solos better than even Ace could towards the end of his run.
Anyway, back to the music, the one aspect of KISS that they are probably least known for (or most reviled for by monocle-sporting music snobs). Produced by frontman Paul Stanley, using no outside writers, Sonic Boom represents a return to form of sorts for a band whose form has been 'flabby at best' for close to 30 years. That isn't to say that the album is a strict return to their 1970's sound per se...instead it represents the first time in a long time that the band hasn't tried to chase trends or cling to delusions of mainstream relevance. Instead, they've gotten back to basics. Good, catchy, and most importantly, fun rock tunes befitting of a band that wears white pancake makeup, high heels and more leather than a combination Rob Halford/Sturgis Motorcycle Rally-themed cocktail party (my God, what a random and wholly unsettling image that is. But I bet it would be fun, no?)
Make no mistake about it, this isn't music that will make you ponder the deeper meaning of life or gaze down glumly at your shoes. There are no inner demons here, only the Demon. The riffs are crunchy, the lyrics are raunchy, the guitar solos crackle with a decidedly vintage feel (nods to old Ace solos abound) and Gene Simmons bass playing has never been so prominent and driving.
Let's put it this way. Sometimes I watch Top Chef and crave a pretentious meal of lambshanks, foie gras and chocolate foam. Other times (mostly after I've been drinking), I crave the NFL paired with a McDonald's Double Cheeseburger Meal and a large Coke. Sonic Boom is the latter, with extra cheese.
If you're still reading and haven't logged on to Pitchfork to cleanse your palette yet, let's move on to the song by song breakdown:
1. Modern Day Delilah - A raucous start to the album, this Paul Stanley penned rocker is probably the "heaviest" song on the album and recalls their Revenge era, where Gene actually looked cool and the band had a big-time leather fetish. Killer guitar solo. 9/10
2. Russian Roulette - Gene comes out of the gates with a bassline that will make your testicles drop and lyrics with more sexual innuendos than a David Letterman company mixer. 9/10
3. Never Enough - A catchy slice of the 80's from Paul. Think 'Nothing But a Good Time' meets 'Pledge of Allegiance To the State of Rock N Roll' (which, you probably haven't heard unless you own Psycho Circus. Like I said, you probably haven't heard it.) 7/10
4. Yes I Know (Nobody's Perfect) - You want your 70's KISS? Here you go. It's even got (more) cowbell. The bridge before the chorus will stick in your head like peanut butter. It becomes apparent early on that Gene Simmons is the MVP of the album. It almost (but not quite) makes you forgive him for that abomination of a reality show, his last solo album, causing Ace to drink, and running KISS into the ground. Like I said, almost. 10/10
5. Stand - Probably the track that will have the most love/hate among fans. It might be my least favorite for now, but its something I could see growing on me, like the time I had shingles. The whole vibe reminds me of 'God Gave Rock N Roll II You'. 6/10
6. Hot and Cold - Another 70's style rocker from Gene Simmon's Wig, with a killer Frehley-esque geeeetah solo from Tommy. The lyrics are cliche and trite, but this is KISS after all, not a Thom Yorke solo album. 8/10
7. All For the Glory - Eric Singer takes the lead on the vocals with this straight ahead rocker that makes you want to drive fast and possibly buy a used Camaro if the price is right. 7/10
8. Danger Us - This is probably my second favorite Paul Stanley song on the album. Nice 70's riff with a cheese-tastic sing along chorus 'Danger you, danger me, danger us!' 9/10
9. I'm An Animal - Gene's obligatory "scary Demon" song. 'Within' meets 'God of Thunder'. Kind of has a 'Dazed and Confused' (Zeppelin) riff. Awesome old school metal scream at the end. 7/10
10. When Lightning Strikes - Tommy Thayer on vocals. This one sounds pretty 80's, and at first I really resented it...it kind of reminded me of something that would fit on the Karate Kid soundtrack. But after a few listens I'm really digging it. I'd upgrade it to the Roadhouse soundtrack instead. More cowbell! 7/10
11. Say Yeah - My early favorite track on the album. The perfect blend of old KISS with new KISS. What a great album closer and classic anthem. Say YEAH! 10/10
Overall Rating: 4 Vinnie Vincent Lawsuits Out of 5
*One of these days I will chronicle how I, the pretentious bastard of the group, became so smitten with a band that is so decidedly low-brow. It may take me around 11 years, but I've got the mullet pictures to prove it. (Fun fact: A mullet automatically gets you assigned Sergeant in the KISS Army.)
What Did Slowhand Ever Do To You?
October 06, 2009 | Comments (0) | by The Hundley
"I'll say it: the wrong Clapton fell out of that apartment window." - TMS Email Thread Archives
Sure, many times we make bold and shocking statements on the email thread, so I'll forgive this crazy statement from a fellow bartender who shall remain anonymous. But the seed is there. For whatever reason, people don't like Eric Clapton. I don’t get it. Did he kick your dog? Did he cost Chicago the Olympic Games? Did he take your mom out for a seafood dinner and then never call her again?
Seriously, what is it?
It’s clearly not his musicianship. Aside from his solo career, just look at the bands he’s been in: The Yardbirds, John Mayall & the Bluesbreakers, Cream, Blind Faith, Delaney and Bonnie, Derek & The Dominos. That’s a friggin’ Murderer’s Row, brah. And yes, all of those bands had other talented musicians, but Clapton was the centerpiece and what drove the bands. Yes, the whole “Clapton is God” graffiti was a bit much, but that’s no fault of Clapton’s.
Clapton has always said that he is first and will always be a blues guitarist. Like many others of his time, he developed his style by studying and then adapting his style after black American bluesmen. Guys like Muddy Waters, Buddy Guy, BB, Freddie, and Albert King, Robert Johnson, Elmore James have all unquestionably been brought to a greater audience by way of Clapton. Some of these heroes even ended up touring with Clapton.
Clapton is also no one-trick pony. Not only does he have the blues sound, he’s also dabbled in country (Lay Down Sally, Hello Old Friend), reggae (I Shot The Sherriff, Swing Low Sweet Chariot), where he helped introduce the world to a little-known artist named Bob Marley, early hard rock (Sunshine of Your Love, White Room), acoustic (The Unplugged Album), pop (My Father’s Eyes, Change The World), and love songs (Layla, Wonderful Tonight). As easy as it would be for him to rest on his laurels and keep churning out the same album over and over, he takes the risk and the challenge of trying something new. You have to give the guy credit.
Much has been made of his drug use. Find me a music star that doesn’t have that problem. Clapton chose to focus his efforts and struggles at sobriety into helping others by way of his treatment center, Crossroads. Through Crossroads Centre, he’s helped many people cope and overcome addiction since the centre’s inception in 1998. Clapton has also organized and performed at many benefit concerts for causes like political unrest in Bangladesh, Tsunami victims and survivors, Special Olympics, Amnesty International, and others.
So there you have it. Yeah, the guy is way overrated and a dick. If you’re gonna hate because you think he’s over-saturated the industry, maybe head over to Bitchfork Media and find yourself a nice, pretentious spoken word album, because who wants to like music that anyone else enjoys?
Sure, many times we make bold and shocking statements on the email thread, so I'll forgive this crazy statement from a fellow bartender who shall remain anonymous. But the seed is there. For whatever reason, people don't like Eric Clapton. I don’t get it. Did he kick your dog? Did he cost Chicago the Olympic Games? Did he take your mom out for a seafood dinner and then never call her again?
Seriously, what is it?
It’s clearly not his musicianship. Aside from his solo career, just look at the bands he’s been in: The Yardbirds, John Mayall & the Bluesbreakers, Cream, Blind Faith, Delaney and Bonnie, Derek & The Dominos. That’s a friggin’ Murderer’s Row, brah. And yes, all of those bands had other talented musicians, but Clapton was the centerpiece and what drove the bands. Yes, the whole “Clapton is God” graffiti was a bit much, but that’s no fault of Clapton’s.Clapton has always said that he is first and will always be a blues guitarist. Like many others of his time, he developed his style by studying and then adapting his style after black American bluesmen. Guys like Muddy Waters, Buddy Guy, BB, Freddie, and Albert King, Robert Johnson, Elmore James have all unquestionably been brought to a greater audience by way of Clapton. Some of these heroes even ended up touring with Clapton.
Clapton is also no one-trick pony. Not only does he have the blues sound, he’s also dabbled in country (Lay Down Sally, Hello Old Friend), reggae (I Shot The Sherriff, Swing Low Sweet Chariot), where he helped introduce the world to a little-known artist named Bob Marley, early hard rock (Sunshine of Your Love, White Room), acoustic (The Unplugged Album), pop (My Father’s Eyes, Change The World), and love songs (Layla, Wonderful Tonight). As easy as it would be for him to rest on his laurels and keep churning out the same album over and over, he takes the risk and the challenge of trying something new. You have to give the guy credit.
Much has been made of his drug use. Find me a music star that doesn’t have that problem. Clapton chose to focus his efforts and struggles at sobriety into helping others by way of his treatment center, Crossroads. Through Crossroads Centre, he’s helped many people cope and overcome addiction since the centre’s inception in 1998. Clapton has also organized and performed at many benefit concerts for causes like political unrest in Bangladesh, Tsunami victims and survivors, Special Olympics, Amnesty International, and others.
So there you have it. Yeah, the guy is way overrated and a dick. If you’re gonna hate because you think he’s over-saturated the industry, maybe head over to Bitchfork Media and find yourself a nice, pretentious spoken word album, because who wants to like music that anyone else enjoys?
The 1979 Files, Volume 2
September 22, 2009 | Comments (0) | by Wolter
It's a random Tuesday morning, so that can only mean one thing: the return of my quasi-popular series (well, now that there are two, it's a series) profiling that of forgotten year of majesty, 1979.
Today I will be joined by special guest co-blogger, me at age 13, who will be providing a non-post-punk-fans perspective of this album. Part of the purpose of this will be for me to convince people of the importance of this relatively obscure work. Because at 13, I needed to listen to much better music than I did. So without further ado, we bring you:
Today I will be joined by special guest co-blogger, me at age 13, who will be providing a non-post-punk-fans perspective of this album. Part of the purpose of this will be for me to convince people of the importance of this relatively obscure work. Because at 13, I needed to listen to much better music than I did. So without further ado, we bring you:
The Slits - Cut
Wolter: Thank you for joining us, 13-year old version of me. I know you've had a tough year, what with the hurricane destroying your house, and the Cubs getting knocked out of the playoffs by goddamn Will Cla--but I digress...
Wolter: Thank you for joining us, 13-year old version of me. I know you've had a tough year, what with the hurricane destroying your house, and the Cubs getting knocked out of the playoffs by goddamn Will Cla--but I digress...
13-Year Old Wolter: Excuse me...are those tits on that cover?W: Yes, but--
13yoW: Wow...right on the cover?
W: Yes, but really that's no big deal. They were making a comment on the commodification of sexuality--
13yoW: Can I look at that again?
W: No. Honestly, the Slits weren't even that attractive. And their lead singer is kinda insane. That's not my point. Cut is a seminal album of the post-punk era. At first dismissed as teenage groupies and hangers-on of the punk scene (with an admittedly amazingly perfect name), the Slits managed to put together one of the more iconic female-led albums of the scene.
Cut is louded with naive (in a good way) guitar play, heavy dub bass, solid drumming (from future Siouxsie & the Banshees drummer Budgie, the only man in the group), and weird-but-engaging vocals. Vocalist Ari Up was singing like Bjork before Bjork knew how to sing like Bjor--
13yoW: Whose tits are hers? The middle one?W: It's not important. What's important here is the sense of genuine female empowerment in these songs. Such classics as "So Tough" and "Instant Hit" provide a strong mockery of some of the more foolish and bravado-laden men in the burgeoning punk scene. They makes the commodified rebellion of Alannis Morrissette seem as contrived as the so-called "Girl Power" of the Spice Girls. And the back-to-back punch of "Spend Spend Spend" and "Shoplifting" present the problem of commodification and a not-quite-tongue-in-cheek solution.
13yoW: So, back to this cover...
W: I'm beginning to think I made a huge mistake. I should have asked 19-Year Old Punk Rock Wolter for his persp--
19-Year Old Punk Rock Wolter: Up yours, sellout. I'm not writing your shitty blog post for you, fatass.
W: Nevermind. Anyway, there are several other standout tracks, like "FM" (which stands for Frequent Mutilations) and "Love and Romance." And, of course, the standout track, "Typical Girls." A wild sleighride of a song, which speeds up, slows down, and rocks hard at every turn, "Typical Girls" is a slam on all of the cultural notions of what women are supposed to be, that asks the question:
Who invented the typical girl?
Who's bringing out the new improved model?
Then gives the chilling conclusion:
And there's another marketing ploy:
Typical girl gets the typical boy!
Which points out we are all forced to play the roles that society assigns us, and the typical boy is no better off, as he will also be caught in the same web with the typical gi--
13yoW: I'd settle for getting caught in a web with any girl at this point.
W: Oh for Christ's sake! Will you--Okay...I probably shouldn't have tried talking about sexuality with a 13-year old. This is bringing back some embarrassing memories.
Okay...moving on...the only flaw I have with this record is the flaw I have with all heavy, dubby music: though I don't think any of the songs are weak, it's hard to listen to in one solid sitting unless one is high enough to drink the beef juice out of a crock pot full of loose meat for sandwiches--
13yoW: What the hell are you talking about?
W: You'll understand when you're older.
At any rate, Cut is a first-rate postpunk album, that has inspired, either directly or indirectly, a large portion of women's independent music in the last quarter century. Whether this is a good or a bad thing is probably up to you to decide.
Oh, and if you decide to get this album, I recommend the version with bonus tracks, so you can hear the pretty cool heavy reggae version of "I Heard It Through the Grapevine."
13yoW: Does it have the same cover?W: ...Yes.
13yoW: Awesome.
W: Tune in next time, when I focus on the best slab of vinyl The Clash ever made. And it's NOT what you think.
13yoW: How old am I when I finally get this album?
W: Old enough to buy actual porn.
13yoW: Oh. Cool. I guess...
1979 Files Archive:
Entertainment!
Entertainment!
The 1979 Files, Volume 1
September 01, 2009 | Comments (0) | by Wolter
Ah, 1979. I have nothing but the fondest memories of that year. Probably because the only memories I have of that year are vague ones about seeing the Star Wars reissue in the theater and getting a puppy for Christmas. But as I’ve gotten older, I’ve realized that 1979 was pretty much the watermark for Music That Is Designed to Make Wolter Happy. Which therefore makes 1979 the Artistic High Mark of Human Culture.
Bear with me on that.
I know you’re going to talk about the prevalence of shitty disco and bad chart music. But know this: since the 60s ended, every year’s top 40 and dance music has been crappy. That’s what top 40 and dance charts are for, and it can be safely ignored. Also, I should cop to the fact that unlike bartender Chip Wesley (who could probably write a top 100 albums for every year TMS has been around), I own maybe 25 albums recorded in the 21st Century. Of which I regularly listen to about 3.
So with this, the first in a potential running series of articles (we’ll see how much steam I have on this) highlighting the achievements of this underrated year, I’ll start with an obvious choice:
Gang of Four – Entertainment
Leave it four very Caucasian Marxists from Leeds to take funk, remove the sexy from it, add political sloganeering and guitar noise (and just a slice of dub-reggae production), and create a masterpiece of angular, quasi-danceable, post-punk manifestos. This album is the aural equivalent of a slow building mental breakdown, except halfway through the process you realize that going crazy was probably the sanest thing you’ve ever done.
From the plodding, spaciously-claustrophobic opening track (“Ether”) to the final ominous, noise-droned anti-love song (“Anthrax”), which on one channel has Jon King chanting neurotic lyrics about his aversion to love, while on the other channel, guitarist Andy Gill casually and clinically analyzes why bands record shallow songs about love, not a note is wasted. Gill’s scraping guitar often sounds like it’s spilled across Dave Allen and Hugo Burnham’s muscular rhythm section, only to coalesce into a tight, noisy lockstep that shows he knew what he was doing all along.
God, I love this album. Sure, the lyrics are mostly sloganeering, but so are all political songs. The unreconstructed angry leftist in me eats up songs decrying the Great Men Theory of history (“Not Great Men”), Patriotism and Militarism (“Guns Before Butter”), and the commodification and work-induced regimentation of every waking moment of our lives (“Return the Gift,” with the insistent, chilling chant of “Please send me evenings and weekends.”). But the bitter, alienated cynic in me can latch on to the anti-Romanticism of the aforementioned “Anthrax” (a case of which King compares falling in love to catching), and the jaundiced view of sexual relationships found in songs like “Damaged Goods” and “I Found That Essence Rare,” (which reminds us that the bikini is named after an atoll decimated by atomic testing – “She doesn’t think so, but she’s dressed for the H-Bomb.”).
Before you start sneering, “Jeez, Wolter…that sounds really fun. Why don’t I just open a vein instead,” I need to point out that this album rocks. Hard. Sure it’s angular and dissonant, but it’s also danceable and funky as hell (in a funhouse-mirror sort of way). And it has a long reach: Flea from Red Hot Chili Peppers has said that hearing Entertainment! changed the way he viewed playing bass guitar, and a slew of the stronger Punk/Hardcore/Independent bands of the past 30 years have followed Go4’s lead, which is especially clear in the way both 80s SoCal stalwarts The Minutemen and 90s post-hardcore legends Fugazi incorporated their guitar vs. rhythm section arrangements. And I’m not even going to spend more than a sentence saying that Franz Ferdinand, Bloc Party, et al, have more or less made careers out of re-hashing Go4 songs, in the same way that Enemies of TMS Oasis have done with the Beatles and their contemporaries.
Top this off with provocative cover art about Cowboys and Indians that can be interpreted as a slam on historical Colonialism, the unspoken media presentation of racial and cultural issues in simplistic terms, or simply emblematic of the album’s relentless assault on the exploitation, commodification, and dehumanization of modern society (repackaged as entertainment, no less), and you have one hell of a party.
If these adjective-vomiting histrionics have somehow inspired you to check out this album, I strongly suggest the Rhino reissue, which has the entire Yellow Ep as well as 4 other bonus tracks (including a surprisingly faithful live cover of “Sweet Jane”) tacked on to the end.
Tune in next time, when I will probably review an album with tits on the cover.
Bear with me on that.
I know you’re going to talk about the prevalence of shitty disco and bad chart music. But know this: since the 60s ended, every year’s top 40 and dance music has been crappy. That’s what top 40 and dance charts are for, and it can be safely ignored. Also, I should cop to the fact that unlike bartender Chip Wesley (who could probably write a top 100 albums for every year TMS has been around), I own maybe 25 albums recorded in the 21st Century. Of which I regularly listen to about 3.
So with this, the first in a potential running series of articles (we’ll see how much steam I have on this) highlighting the achievements of this underrated year, I’ll start with an obvious choice:
Gang of Four – Entertainment
Leave it four very Caucasian Marxists from Leeds to take funk, remove the sexy from it, add political sloganeering and guitar noise (and just a slice of dub-reggae production), and create a masterpiece of angular, quasi-danceable, post-punk manifestos. This album is the aural equivalent of a slow building mental breakdown, except halfway through the process you realize that going crazy was probably the sanest thing you’ve ever done.From the plodding, spaciously-claustrophobic opening track (“Ether”) to the final ominous, noise-droned anti-love song (“Anthrax”), which on one channel has Jon King chanting neurotic lyrics about his aversion to love, while on the other channel, guitarist Andy Gill casually and clinically analyzes why bands record shallow songs about love, not a note is wasted. Gill’s scraping guitar often sounds like it’s spilled across Dave Allen and Hugo Burnham’s muscular rhythm section, only to coalesce into a tight, noisy lockstep that shows he knew what he was doing all along.
God, I love this album. Sure, the lyrics are mostly sloganeering, but so are all political songs. The unreconstructed angry leftist in me eats up songs decrying the Great Men Theory of history (“Not Great Men”), Patriotism and Militarism (“Guns Before Butter”), and the commodification and work-induced regimentation of every waking moment of our lives (“Return the Gift,” with the insistent, chilling chant of “Please send me evenings and weekends.”). But the bitter, alienated cynic in me can latch on to the anti-Romanticism of the aforementioned “Anthrax” (a case of which King compares falling in love to catching), and the jaundiced view of sexual relationships found in songs like “Damaged Goods” and “I Found That Essence Rare,” (which reminds us that the bikini is named after an atoll decimated by atomic testing – “She doesn’t think so, but she’s dressed for the H-Bomb.”).
Before you start sneering, “Jeez, Wolter…that sounds really fun. Why don’t I just open a vein instead,” I need to point out that this album rocks. Hard. Sure it’s angular and dissonant, but it’s also danceable and funky as hell (in a funhouse-mirror sort of way). And it has a long reach: Flea from Red Hot Chili Peppers has said that hearing Entertainment! changed the way he viewed playing bass guitar, and a slew of the stronger Punk/Hardcore/Independent bands of the past 30 years have followed Go4’s lead, which is especially clear in the way both 80s SoCal stalwarts The Minutemen and 90s post-hardcore legends Fugazi incorporated their guitar vs. rhythm section arrangements. And I’m not even going to spend more than a sentence saying that Franz Ferdinand, Bloc Party, et al, have more or less made careers out of re-hashing Go4 songs, in the same way that Enemies of TMS Oasis have done with the Beatles and their contemporaries.
Top this off with provocative cover art about Cowboys and Indians that can be interpreted as a slam on historical Colonialism, the unspoken media presentation of racial and cultural issues in simplistic terms, or simply emblematic of the album’s relentless assault on the exploitation, commodification, and dehumanization of modern society (repackaged as entertainment, no less), and you have one hell of a party.
If these adjective-vomiting histrionics have somehow inspired you to check out this album, I strongly suggest the Rhino reissue, which has the entire Yellow Ep as well as 4 other bonus tracks (including a surprisingly faithful live cover of “Sweet Jane”) tacked on to the end.
Tune in next time, when I will probably review an album with tits on the cover.
Fulfilling the Esoterica Quotient: A look at Tubular Bells
August 12, 2009 | Comments (0) | by Anonymous
Mike Oldfield: you're a douche
Bear with me for a moment here as I attempt to clumsily segue into whatever the hell I'm talking about: my good friend in Long Island plays rec league soccer, and frequently plays against a former Dutch League goalie-turned-alleged-embezzler, about whom someone created a website to warn others of his embezzlement... on said website there's a bizarre short video about the guy and his "crimes" that uses this song as the ominous backing track. It's Tubular Bells, and it drives me fucking insane.
The Exorcist is iconic for many reasons -- the spinning head, the vomit, the lame Leslie Nielsen spoof -- but one thing that truly frustrates me is the use of Tubular Bells, a song far more ubiquitous than it really should be. Composed and recorded in 1973 by Mike Oldfield, an English musician who's done nothing of note since beyond some weird electronic/celtic music, it's painful to listen to, painful to deal with, and NOT just because of its association with a possessed Linda Blair.
Take a listen and then get back to me:
It's prog before guys like Rick Wakeman and Jon Anderson were able to spin it into a million complex time signatures and back the whole thing with a sonorous Moog. It's simplistic enough in its composition, but a testament to Oldfield's pomposity that performing the damn thing requires some 30 people on stage. And the collection of instruments! Mandolins, glockenspiels, and a vast array of other marginal music-making contraptions that even the most pompous people dare not break out in public. How self-important must you be to force a small army of session musicians to play through this rubbish?
(I swear there was a blog about Pomp and Culture where this might have scanned better, but I digress...)
I was reminded of this song this morning scanning that embezzlement website, and it brought back vivid memories of wishing I could kill my prog-loving parents, who gobbled up anything in Mike Oldfield's discography and anything by his French counterpoint, the interminable synth dribbler Jean-Michel Jarre.
Seriously, what is this shit and why do baby boomers go nuts for it?
No, they didn't do a ton of drugs, but they sure liked to mimic the sensation of having ingested three bars of Xanax and a gallon of communion wine. (My mother also loved Magnum, which is for analysis another time)
I apologize for this weird screed, but the tale needed to be told, and the miniature freak-out I suffered through this morning upon being reminded of this dreck needed to be expelled. And what better place to do it than TMS?
I was reminded of this song this morning scanning that embezzlement website, and it brought back vivid memories of wishing I could kill my prog-loving parents, who gobbled up anything in Mike Oldfield's discography and anything by his French counterpoint, the interminable synth dribbler Jean-Michel Jarre.
Seriously, what is this shit and why do baby boomers go nuts for it?
No, they didn't do a ton of drugs, but they sure liked to mimic the sensation of having ingested three bars of Xanax and a gallon of communion wine. (My mother also loved Magnum, which is for analysis another time)
I apologize for this weird screed, but the tale needed to be told, and the miniature freak-out I suffered through this morning upon being reminded of this dreck needed to be expelled. And what better place to do it than TMS?
Dear Jeff Tweedy: Please Rediscover Drugs
July 01, 2009 | Comments (0) | by Anonymous
PLEASE, GOD, NO
So the new Wilco album is out, and it kinda sucks. It sounds as if the band, complete with guitars, dusty memorabilia and memories, have decamped to an old person's home to record their dying days. It sounds like stagnation. It sounds like lack of effort. It sounds like late-era Steely Dan.
In their dotage, Wilco have become rather comfortable, and as such, their music lacks a certain cutting edge that it might still possess were its members embroiled in scandal, heartbreak, drug addiction and financial hunger, for it is from those difficult corners of life that great art often swells.
It's not just music, either; the second Stephen King signed himself to a gargantuan book deal worth millions upon millions, he stopped writing coherent, legitimately scary fiction and began phoning it in. Seriously, did anyone read "The Tommyknockers" or see that TV mini-series? What the fuck was that all about?
But back to music again, as there's where the bulk of this rant originates. I merely wish that musicians and artists would stop being so fucking selfish and would pick up the needle or the bottle again in order to give us, the paying public, some more of that good, old-fashioned, visceral, knock-your-dick-in-the-dirt music again! Or at least default on a couple of mortgage payments having blown $80,000 playing baccarat with Charles Barkley just to show that you still need the money and the fame to get by.
While I'm pleased that you fought an addiction to painkillers and won, Mr. Tweedy, the tough truth is that your music fucking sucks without that stuff, and I fear it shall taint your legacy permanently. If Rolling Stone gets a whiff of your current obssession with releasing hackneyed Americana records, you're well and truly fucked.
Songs like "Shot in the Arm" and LPs like "Yankee Hotel Foxtrot" were born in some gloomy, gloomy neighbourhoods of the human psyche, and now you're peddling rock lite that no amount of tongue-in-cheek branding can hide! Seriously! "Sky Blue Sky" was fucking awful! Music to mow the lawn to! Music to play while chauffering the elderly from doctor's appointment to doctor's appointment! Music to feed to patients in a methadone clinic while they lie in an apathetic stupor. Nothing intriguing or challenging about it, and that's the death knell for music, books, or really any creative enterprise.
To his eternal credit, Kurt Cobain gave us album after album of grimy, pessimistic music, and then followed through on his torment by putting a bullet in his head. That shows some guts! Meanwhile, Tweedy, you went to rehab and became a rather withered husk of that angry former self who is content to release drive-time dreck like "Impossible, Germany". Don't get me wrong; your human struggle almost cost you a marriage and several close relationships, but it also made your music kinda suck.
It's a difficult relationship between life and art, and normally, the two are forever inverse. When you're angry, you tend to write better.
Ask Chip Wesley, whose seething Cubs rants read better than anything on TMS.
Ask Billy Corgan, who got out all that teen angst on the first couple of albums while the rent checks were still due, and as soon as his debts were paid, we were forced to endure weighty, retarded concept albums about star-crossed lovers on imaginary planets, all of it backed by awful-sounding industrial rock that not even the most atonal, drooling moron could appreciate.
Ask Brian Wilson. In the first era of the Beach Boys, you could begin to hear the thin veneer barely holding that tubby composer together. When it finally did all go wrong, the band fucked off to Europe and recorded "Holland", easily my favourite Beach Boys record for its off-kilter mood and still-beautiful instrumentation.
Or maybe ask Axl Rose. Shit, if he'd have shown some balls in releasing "Chinese Democracy" during those weird, wild days of punching Tommy Hilfiger and slowly going insane, it might have been half-decent. As such, he waited until life calmed down again and he was able to "focus" on finishing those songs, with the ensuing album sounding like warm garbage being filtered through Fran Drescher's lower intestine.
Frusciante: demented, addled genius on drugs. Shitty, noodly guitarist off drugs.
Conversely, John Frusciante's weird, homemade solo albums while hooked on heroin may have been hard to listen to, but at least they bared his struggles for us to appreciate. Which reminds me, the Red Hot Chili Peppers are equally culpable of this curse... since they all got clean (and we all know they did because it seemed like all of "Californication" was explicitly, unrelentingly telling us this much), their music is now absolutely intolerable.
So that's just a small slab of the music world covered. If you look at film, check out George Lucas, whose bloated oeuvre became a sad parody of itself once the dude had more money than Jesus. Or books (we already mentioned King), where John Grisham can ejaculate a 372-page law/crime/scandal-packed novel every 12 months, each more contrived and devoted to legal minutiae than the last. In his new one, I hear some guy exploits a 401(k) loophole in conjunction with new legislation offsetting tax liens for offshore companies, with spooky, violent, and breathtaking results! Thrills ensue!
But I digress, and shift back to Wilco with the full brunt of my ire.
I beg the soft-rock collective to get Tweedy a forged 'scrip or two so we might be able to enjoy their output once again. Until then, their tunes are fast approaching Michael McDonald territory.
And you know what's funny about Michael McDonald? Never did a fuckin' drug in his life. Never had a nervous breakdown in his life, either, and you can hear it in that debilitating, nerve-damaging shite he calls music.
If I May Be Pompous For a Moment...
June 16, 2009 | Comments (0) | by Wolter
Note: In lieu of writing TWO non-Hitler-Punch-Related Blog Entries in the same month, I am dual posting this entry on TMS and my own personal (long neglected) blog, The Slog . You know...in case you give a rat’s ass.
Welcome to Wolter’s Music and Pop Culture Theory Corner, a feature deemed “Too Pseudointellectual Even For Pomp Culture” by a volunteer panel of U of C grad students.
Today’s discussion is based on aspects of the Generational Theory first espoused by William Strauss & Neil Howe in their seminal work, Generations (not to be confused with the incredibly bad Star Trek movie of the same name), and how they related to the lyrical content of the debut single two unrelated UK bands from roughly a quarter century apart (The Adverts and Art Brut).
Generational Theory is a more or less cyclical explanation of long-term historical trends based on each generation’s relation to and reaction at the previous generations throughout the phases of their life. It’s a very fascinating tool that, while not fully accurate as a predictive device, is very interesting as a means of analysis of events. You can get a decent quick-n-dirty overview in the wikipedia link above, which I strongly recommend reading as a background material (I'm going to be relatively brief in my reasoning, so if you find flaws with this theory, remember that Strauss & Howe wrote several books on the topic, and it's worth reading more about it).
At any rate, the short version is each generation has an overall character that is the result of its environment (though obviously there are always members of each generation that defy the prevailing norms). The two generations that matter for this discussion are Generation X (also known as 13th Gen) and the Millennial Generation (also known as Generation Y).
The Adverts formed in 1977 as part of the slew of punk bands that appeared in the wake of the Sex Pistols (and to a lesser extent, the Clash and the Damned) rise to notoriety in the UK. Their debut single, “One Chord Wonders” is a marvelously paranoid ode to the bravado and gallows-humor of musicians with low-self-esteem everywhere who know in their hearts they are doomed to failure. For the purposes of this discussion, please feel free to download a copy here.
And, for your perusal, here are a copy of the lyrics (hopefully correct, as god knows I don’t want to search too deeply for lyrics sites, and the requisite computer viruses they seem to contain):
On the other hand, Art Brut (who formed in 2003 at the cusp of a Post-Punk revival in the British charts, are staunchly part of a Hero Generation (The Millennials who followed Generation X and are most closely analogous to the GI, or Greatest Generation born c. 1900-1924). Team oriented, optimistic, and usually hard-working, Millennials are often thought have no use for the cynical irony of the Gen X-ers (which irritates Gen X-ers almost as much as being called "Gen X-ers"). They have the sense that they are special and have been brought up for a purpose, which can be seen in the debut single "Formed a Band" which can be found here (well, the album version). Also, note (like T.V. Smith) that Art Brut's lead vocalist Eddie Argos was born just before the technical beginning of this Generation, but is singing to an audience of first cohort Millennials. I think some artists on Generational cusps are the canaries in coal mine who feel the shift as it's happening.
Now contrast the following lyrics with what goes before:
Ultimately, of course, this is just an observation I made while listening to my iPod on shuffle. But it gave this late-cohort Gen X-er (God, I hate that term) some food for thought about two songs he happens to enjoy quite a bit for very different reasons.
Welcome to Wolter’s Music and Pop Culture Theory Corner, a feature deemed “Too Pseudointellectual Even For Pomp Culture” by a volunteer panel of U of C grad students.
Today’s discussion is based on aspects of the Generational Theory first espoused by William Strauss & Neil Howe in their seminal work, Generations (not to be confused with the incredibly bad Star Trek movie of the same name), and how they related to the lyrical content of the debut single two unrelated UK bands from roughly a quarter century apart (The Adverts and Art Brut).
Generational Theory is a more or less cyclical explanation of long-term historical trends based on each generation’s relation to and reaction at the previous generations throughout the phases of their life. It’s a very fascinating tool that, while not fully accurate as a predictive device, is very interesting as a means of analysis of events. You can get a decent quick-n-dirty overview in the wikipedia link above, which I strongly recommend reading as a background material (I'm going to be relatively brief in my reasoning, so if you find flaws with this theory, remember that Strauss & Howe wrote several books on the topic, and it's worth reading more about it).
At any rate, the short version is each generation has an overall character that is the result of its environment (though obviously there are always members of each generation that defy the prevailing norms). The two generations that matter for this discussion are Generation X (also known as 13th Gen) and the Millennial Generation (also known as Generation Y).
The Adverts formed in 1977 as part of the slew of punk bands that appeared in the wake of the Sex Pistols (and to a lesser extent, the Clash and the Damned) rise to notoriety in the UK. Their debut single, “One Chord Wonders” is a marvelously paranoid ode to the bravado and gallows-humor of musicians with low-self-esteem everywhere who know in their hearts they are doomed to failure. For the purposes of this discussion, please feel free to download a copy here.
And, for your perusal, here are a copy of the lyrics (hopefully correct, as god knows I don’t want to search too deeply for lyrics sites, and the requisite computer viruses they seem to contain):
Note the outright pessimism and cynicism of these lyrics. This is a band that fully expects to go nowhere, but plans to do so defiantly. This is very indicative of the Nomad Generation mentality, which describes both Generation X (born c. 1960-1982 – opinions differ on the exact dates) and preceding similar generations (such as the Lost Generation). Of course, Adverts lead vocalist TV Smith was born in 1956, a few years before the first Generation X cohort, but this song’s worldview is much more Gen X than Boomer (and most of the fans he was reaching for were first cohort Boomers). Indeed, most of the idealized notions of the Punk subculture are overwhelmingly suited to the first stirrings of Generation X – rebelliousness tempered with nihilism, a belief that there is no future and very little hope. Irony is the shield of the Nomad Generation, defending it against the dark pessimism ingrained in most members.I wonder what we'll play for you tonight.
Something heavy or something light?
Something to set your soul alight?
I wonder how we'll answer when you say,
"We don't like you - go away,
"Come back when you've learnt to play"
I wonder what we'll do when things go wrong,
When we're half-way through
Our favorite song,
We look up and the
audience has gone.
Will we feel a little bit obscure?
Think "we're not needed here,
"We must be new wave
- they'll like us next year"
The Wonders don't care
- we don't give a damn (repeated to end of
song)
On the other hand, Art Brut (who formed in 2003 at the cusp of a Post-Punk revival in the British charts, are staunchly part of a Hero Generation (The Millennials who followed Generation X and are most closely analogous to the GI, or Greatest Generation born c. 1900-1924). Team oriented, optimistic, and usually hard-working, Millennials are often thought have no use for the cynical irony of the Gen X-ers (which irritates Gen X-ers almost as much as being called "Gen X-ers"). They have the sense that they are special and have been brought up for a purpose, which can be seen in the debut single "Formed a Band" which can be found here (well, the album version). Also, note (like T.V. Smith) that Art Brut's lead vocalist Eddie Argos was born just before the technical beginning of this Generation, but is singing to an audience of first cohort Millennials. I think some artists on Generational cusps are the canaries in coal mine who feel the shift as it's happening.
Now contrast the following lyrics with what goes before:
Formed a bandWe have two songs about more-or-less the same subject by bands that aren't massively musically dissimilar. But what a difference a generation makes. A specific denouncement of irony (at least the humorless kind), and a bouncy statement that despite their admitted shortcomings, Art Brut (whose very name means, more or less, "Primitive Art") will take the world by storm and solve everyone's problems. The Adverts seems to be saying "You probably will hate us, but screw you, we don't care what you think...much...." Art Brut is saying "You don't know it yet, but we're your new favorite band. And we love that about you." There's a bit of a twist of the knife at the end, but no true darkness pervades this song.
We formed a band
Look at us
We formed a band
(x4)
Honey pie, I don't know when it started
Just stop buying your albums
from the supermarkets
They only sell things that have charted
And Art Brut?
Well we've only just started
And yes, this is my singing voice
It's not irony
And it's not rock and roll
I'm just talking
To the kids
Formed a band
We formed a band
Look at us
We formed a band
(x4)
I want to be the boy
The man
Who writes the song
That makes Israel and Palestine
Get along
I'm gonna write a song
As universal as Happy Birthday
That's gonna make sure
That everybody knows
That everything's gonna be ok
I'm gonna take that song
And we're gonna play it
Eight weeks in a row on Top of the Pops
Formed a band
We formed a band
Look at us
We formed a band
(x4)
Dye your hair black
Never look back
My past is my business
Ultimately, of course, this is just an observation I made while listening to my iPod on shuffle. But it gave this late-cohort Gen X-er (God, I hate that term) some food for thought about two songs he happens to enjoy quite a bit for very different reasons.
