Radio, Radio - Long but Dead on....

What follows below is a speech given last week by Little Steven to a group of radio station program directors. It should be posted in every "classic rock" station in the country. If its on where you live, his "Underground Garage" show is fantastic.....





I Love Radio!
(applause once again erupts)
And I feel nothing but love in this room because as I look around, I see only two kinds of people.
Our beloved affiliates . . . and future affiliates.
(laughter)
So now matter what happens in this next half hour, remember what I just said. It's just family talking.
And without any further disclaimers let me ask the only important question that is on my mind, and I'm sure you've been thinking about it also, especially lately.
(pause)


WHEN DID THE FUCKING PUSSIES TAKE OVER?
(applause and laughter)

When?
Don't you look forward to the day when your grandson is on your knee and he looks up and says, "Grampa weren't you in radio once?"
"Yes, Grandson," you'll reply.
"Could I ask you something," he'll say.
"Of course, my love, anything," you'll say.
"Grampa where were you WHEN THE FUCKING PUSSIES TOOK OVER?"
(more laughter)

Where were we?
What happened?
Things are out of line and we're not leaving here today until we straighten it out.
(applause and laughter)

Now I was going to wait for this but we might as well get right to it since it is all everybody's talking about.
I have come to praise JACK not to bury him.
(laughter - uncertain applause)
The guys at Infinity are friends of ours, as is everybody else, we got nothing but friends you all know that.
And I've gotta say I'm proud of these guys for having the balls to shake things up. Things needed shaking up. And history will remember them in a very positive way when looking back at this world changing moment.
Having said that . . .
Replacing 33 year old New York oldies institution CBS-FM with JACK is like replacing the Statue of Liberty with a blow-up doll.
(eruptions of laughter and applause)

But again, change is good. And necessary.
With a little bit of luck JACK will last 10 or 12 months because it is obvious people want something different, they are hungry for something, anything.
So it could be 6 months before anybody actually listens to JACK.
Once they do it is doomed for 3 obvious reasons.

At the moment it is replacing oldies formats but it is not an oldies format in the true sense of the word.
It's mostly 80's, some 70's, some 90's.
Now it must be said that the oldies format is vulnerable because over the last 5-10 years it has, in a word, sucked.
It has sucked for a very simple reason, somebody had the brilliant idea to eliminate the 50's and replace it with the 70's.
This was done by somebody uniquely stupid and deaf and ignorant and a bad businessman on top of it all.

So naturally, everybody copied it and the 50's disappeared virtually overnight.
Now let's digress and examine this oldies thing for a minute.
Assuming you accept the fact that those overseeing the oldies format these last 5 years - 10 years - are, in fact, stupid, deaf, ignorant, and bad businessmen, let's deal with it.
As far as stupid, deaf, and ignorant, when it comes to decades that matter, that matter historically, in terms of influence, importance, and never-to-be-heard-again-qualit­y - that is the 50's and 60's.

Everything we do, everything we are comes from those two decades.
You're gonna throw one away?
You're gonna replace Elvis, Little Richard, Gene Vincent, Eddie Cochran, Johnny Burnette, Chuck Berry, Bo Diddley, Buddy Holly, Lloyd Price, and Fats Domino with, all due respect, Donna Summer and the Bee Gees?

You're gonna replace primal, vital, timeless, forever cool rock and roll pioneers with disco?
Disco?
You wanna know what disco is good for?
Disco is for when you're drunk at a wedding with your old lady and you want to act like an idiot and be John Travolta for an hour or two.
That's where it belongs.
Not on radio.

And to the issue of oldies being bad business - all you hear - I'm assuming from sales people - is we must lower our demo's.
The oldies demographic are getting too old - that's the rationale for replacing the 50's with the 70's.
Now if all there was to sell in the world were Fruit Loops, Play Stations, and sneakers - they might have a point.
But I got a little secret to share.
You know that age group - 35 to 65 - that nobody in sales seems to care about?
THAT'S WHERE ALL THE FUCKING MONEY IS!
(laughter, applause)
I mean ALL the fucking money.
35 to 65.
Memo to sales team - SELL THEM SOMETHING!

And, by the way, if you want younger people listening, you can get that done. And I mean kids, if you want them.
Who is cooler?
Early Elvis or Elton John?
What appeals more to kids, Gene Vincent's black leather attitude, Eddie Cochran's teenage frustration, Little Richard's cry of liberation, and Dion's total Soprano's coolness - or the Eagles?
You want wild? Put together the Sex Pistols, Audioslave, and the Wu-Tang Clan - they aren't as wild as Jerry Lee Lewis in his prime.
But you have to explain that.
Show it, illustrate, educate, sell it.

Alright - digression over - so JACK isn't oldies so it must be some kind of classic rock/pop hybrid.
But JACK doesn't address the two biggest problems of classic rock.
15 years ago I said we're chasing all the personality out of rock radio and into talk and sports.
And the ratings went with it.
We need more personality, not less, and JACK has none. No DJ's means no personal relationship with the audience. Eventual apathy is inevitable.

The other big issue classic rock must consider is it must start playing new music again.
I've suggested it to my own affiliates and I'll keep saying it every change I get.
We've got a big problem.
Look around.
Pearl Jam does some business.
Dave Mathews - if he's rock at all - does well.
Maybe Oasis breaks this year in the U.S.
Maybe Coldplay - if they're considered rock.
But in a real sense, the last big band through the door was U2.
That's 25 years ago.
Has anybody stopped to consider that.
Basically when our generation stops touring, it's over.

That's one reason why we started the Underground Garage format.
New Hard Rock, Hip Hop, and Pop can be heard in various places, new Rock and Roll had nowhere to go.
We have played more new bands in 3 years than anybody since the 60's.
We average 30 new bands a year.
That's how many are out there.
And we are very picky out of respect to our classic rock affiliates, we know we need to keep the quality level high and we do.
But we can't sell records with 2 hours a week.

Someday somebody will have the balls to put the Underground Garage format on 24-7 on broadcast radio but until then, we only have 2 hours a week.
We need your help.
Rock and Roll is not just that museum down the street.
It's a living, breathing animal that needs to be fed.
With new blood.
And I'm not saying you need to do as much as we do, we're about 40% new and the rest from the entire 50 years of history.

And by the way everybody told us you can't combine old with new but of course you can.
As long as you're making your decisions based on musical experience, good taste, and an effective, coherent emotional communication.
As opposed to your Ipod on shuffle.
(laughter, applause)

When you properly combine old and new the old records give the new ones a sense of depth, of belonging to an eternal continuum, carrying the flag forward.
The new records give the old ones relevance, keeps them vital, connected to the next generation.
And all testing and computer analysis and surveys don't tell you that. It's all bullshit. When are we going to learn that?
(applause)
All that shit tells you is what people think they want right now.
Well that's not the way great radio happens, or great anything.

You don't do a survey before you write a song, or make a record.
We are drowning in an ocean of mediocrity because sometimes you gotta have enough historical perspective, and vision, and balls to say we have to combine short term want with long term need.
And yeah you gotta sell it.

If you're playing cool stuff make sure the audience hears it right - in the right context. That is everything.
If to a punky consciousness the Ramones are sugar and the Ronettes are broccoli you play the Ramones into the Ronettes and, because Joey learned to sing from Ronnie and you can hear it, the Ramones become hollandaise and it works.
(laughter, applause)
There is an art to this shit.
You know that.
It's the corporate bosses that forget that fact.
But it's not just music - we have this problem plaguing every aspect of our culture.

Yes content needs work, yes marketing needs work, but it is the sales teams that need to be re-educated and motivated and inspired and creative. And it's not happening because they are being led by business oversight guys.
Content guys should be running companies, marketing guys should be running companies, who put business oversight guys in charge?
(applause)
Wall Street that's who.

Wall Street continues to love and reward and worship short term success for some reason. As the culture and the economy and all our fathers' and grandfathers' and hundreds of years of hard work get trashed in a generation or two.
The tail is wagging the dog.
Wall Street should not be calling the shots.
When did Wall Street ever write a song? Paint a picture? Make a movie? Play a song on the radio that changed somebody's life?
(applause)

Where are the music people?
I see lawyers, accountants, test marketers running the world.
Where is the emotional connection?
Where is the passion?
This ain't about JACK or BOB or Moe or Larry or Curly.
It's about you.
Everybody in this room.
You are here because you are connected emotionally.
This ain't Harvard Business School.
It's fucking Rock and Roll!
(applause)

These Wall Street cats couldn't have gotten us here. They react - they don't create.
They didn't build this industry.
We did it.
And you're not here because it was a smart business decision.
I know what you make.
(laughter)
(pauses - slows down)
You're here because you loved it once.
And we've got to find a way to love it again.
And communicate that love to our audience.
I am determined - together we will find a way.
The Revolution is on.
Thank you.
(standing ovation - thunderous applause)

August Reviews - Mike H

Arcade Fire – Funeral – High pitched, almost grating vocals, damn near indecipherable lyrics. Yet, there is something about the disc that invites repeated listens. The grandness of “Neighborhood #1” and “Wake Up” are fantastic, U2-like in their self-importance. The guitar work on “Une Anne Sans Lemiere” reminds me of Edge. “Neighborhood #3” sounds like an old Depeche Mode song, only good. Great use of piano and strings on “Crown of Love”. “Wake Up” is definitely the highlight for me, vocals are comprehendible, and I love the Polyphonic Spree-type chorus, as well as the thundering bass line. Great string arrangement on “The Back Seat”. Would have given it another ½ star if I could understand more of the lyrics. 3 ½ stars

Rockpile – Seconds of Pleasure – I submitted this because it is one of my favorite discs from the ‘80’s, and I think for the most part, it holds up very well 25 years later. These guys recorded about 6 great records, under the guise of Dave Edmunds or Nick Lowe solo albums, but this was the first and last album released as a formal group. This is pure bar room power pop, nothing flashy, innovative or experimental. The songwriting is excellent, the band is tight, great harmonies throughout the whole thing, particularly on “Now and Always” and the Everly Brothers covers that were included on the CD reissue. Lowe’s compositions standout, “Teacher Teacher”, “Heart” and “When I Write The Book” are the highlights of the disc. Edmunds and fellow guitarist Billy Bremner’s playing is always tasteful. A couple of tracks (“Knife and Fork” and “Wrong Again”) haven’t aged particularly well, but all in all an excellent disc that is a reminder that music doesn’t have to be complicated to be good. 4 ½ stars.

Deathray Davies – My second favorite band name, after John Cougar Concentration Camp. “Fall Fashions” is a smart opener, great piece of power pop, good horns, nice guitar, vocal, piano, etc. The quality of the disc takes a precipitous drop after the first 4 tracks, and becomes pretty repetitious. Some good songs, most notably “In Circles” and “They Stuck Me in a Box”, but a fair amount of it seems pretty blah. Very monotone vocals throughout. I like the Farfisa Organ sound that pops up on “Plan to Stay Awake”. The best parts of the disc remind me of Fountains of Wayne, the lesser parts come off as second rate Strokes. Uneven, but a few tracks worthy of keeping. 3 stars.

Graham Parker – Howlin’ Wind – GP is one of those artists who never gets his due. He gets lumped in with Costello, Edmunds & Lowe quite a bit, but those guys all hit it big at least once, and Parker never got that success. This CD is a good one, very soulful, tight backup band, good horn section. Parker’s p.o.’d attitude is front and center on many of these tracks, especially “Not If It Pleases Me”, my favorite one on the album. “White Honey” and the title track are Parker standards. He would go on to do better work, notably on “Squeezing Out Sparks” and “The Up Escalator”, but this one is not too far below them. 3 ½ stars

SCOTS – Ken Boucher has given me many things, some of which required massive doses of antibiotics, but I digress. One of the greatest gifts he has given me was a cassette (remember those??) of this little ol’ band from the south. I was converted instantly, and several of the reasons why are on this compilation. If you’re not careful, you can get caught up in their hillbilly act and miss the excellent musicianship, particularly Reverend Rick’s intricate guitar work. Most of the essentials are here, “Banana Pudding”, “8 Piece Box”, “Cheap Motels” to name a few. I take umbrage with the omission of “Mojo Box” and “Doublewide”, but the band’s catalog is an embarrassment of riches. I suspect people will either love them or hate them. It is obvious which side I fall on. Interesting note, my three oldest boys (17,15 & 12) who constantly bitch about my taste in music absolutely LOVE this band and know all the words to “Liquored Up and Lacquored Down”, which their mother finds disconcerting…5 greasy stars


Discussion Question

Lots of questions within the question. If I had to rank the pillars as presented in the question, I would rank them this way: Berry, Holly, Richard, Lewis, Presley, Diddley, Everlys. Are they as important as preached? I think it varies. I think Elvis is vastly over-rated in terms of his importance and influence. Remember that Presley wrote almost none of his own material, nor did he compose or even seriously play an instrument; he was merely an interpreter. Dying young was the best thing that could have happened to him from a historical standpoint. He got put on a pedestal even higher than the one that was already propping him up.

To my mind, Chuck Berry is the father of rock and roll and THE most important figure in its history. Listen to the opening chords of “Johnny B Goode”, every subsequent record made in the genre evolved from that riff. I think Buddy Holly gets a little short changed as well because of the regrettably brief career he had. He was an incredible straight-forward song writer, capable of doing rockers and ballads, and showed that you didn’t need teen idol looks to be successful. His songs hold up today a whole lot better than Elvis’.

Jerry Lee and Little Richard get the props that are due them. Both introduced a flamboyance and showmanship that for better or worse has become an important part of rock and roll. They also were able to cross genres, Richard going gospel and Jerry Lee creating some great country music in the 1960’s. Bo probably gets overlooked a little bit due to the lack of actual hits, but the Diddley sound was certainly an important part of the music’s revolution. I don’t think the Everlys belong in the company of the others. They were influential, great songwriters, etc, but the most important thing they did as far as I am concerned is that in the 1970’s they hired a fellow to write them some songs and play in their backup band by the name of Warren Zevon.

If I had to name the seven pillars and rank them, it would look like this:

Berry – See above

Carl Perkins – Man oh man, you want to talk about under-appreciated. Any band that ever twanged a guitar owes a debt to this man. A great musician, excellent vocalist and writer. Listen to Elvis’ version of “Blue Suede Shoes” and then listen to Carl’s. Elvis’ is merely for laughs, sort of campy. Perkins’ version has a snarl that leaves no doubt that he means it; his blue suede shoes get stepped on, someone’s getting an ass-whuppin’. Its important to remember that Elvis only got to make his historical appearance on the Ed Sullivan show because Perkins was in a horrible car wreck on his way to the Sullivan show to perform “Blue Suede Shoes”. You can’t re-write history, but how might Perkins/Presley been looked at differently had the accident not occurred. Additionally, if we accept the fact that the Beatles are the most influential group of the 1960’s, and maybe of all time; witness how many Perkins covers they did in their early career. They knew where it was at….

Holly – See above
Little Richard – See above
Johnny Cash – Many forget that Cash was part of the whole Sun Studios crowd, but he was in the thick of it with Lewis, Presley and Perkins. “Hey Porter”, “Cry, Cry, Cry” and “Get Rhythm” are flat out rockers that helped merge country and R&B. Like others, he spanned the genres, easily switching between gospel, county, and rock and often melding the three together. Also encompasses the spirit of rock and roll better than anyone ever did. Survived his junkie period, came out clean and never apologized. Took political stances, regardless how popular or unpopular they might have been. A true warrior.

Jerry lee Lewis- See above
Elvis – See above

I hear these artists in almost all the contemporary music I listen to. My current obsession, the Drive By Truckers draw heavily from Perkins and Cash, from the twanging guitar sound to Cash’s penchant of writing about subjects and people that many would rather not think about. I hear Chuck Berry, Buddy Holly and Jerry Lee in a lot of older Springsteen records, and Little Richard’s flamboyance is a big part of the E Street Band shows. I believe that the whole alt country movement ties back directly to Cash and Perkins. Uncle Tupelo drew heavily from these two, and while it is not as obvious, their influence still reverberates in the remnants of Tupelo: Wilco & Son Volt.

Question 2

Difficult question to answer, as I think it is impossible to accurately describe why something is funny. Why do I laugh out loud at The 3 Stooges and Monty Python and not “Friends” or any other sitcom made after “Seinfeld”? Don’t know that I can explain it. As far as music goes, I think the type of music being played and the humor have to somehow tie together. SCOTS is a perfect example of that. Most of their lyrics wouldn’t sound right if done by one of Byron’s prog rock bands, although I am chuckling right now at the idea of a Demon cover of “Banana Puddin’”. If the music isn’t good, I’m not going to hang around long enough to pay attention to the lyrics. Another part of it has to do with the artist’s implied acknowledgement of the lyrics. SCOTS delivers the lyrics in such a way that you know they are being goofy, and I don’t know that the style of music they do opens the door for them to do a Springsteen –like narrative of homeless children, although this too makes me chuckle. William Shatner’s music career is a good analogy of this point. His version of “Lucy in the Sky” recorded years ago is so inane and horrible because the music is bad, and he sounds like he is trying to seriously interpret the song. However, most of the songs on his CD from last year worked, because the music was good and the lyrics were delivered with a sense of levity and humor.

8/23 meeting

Arcade Fire
These are one of those bands that seem to be everywhere. Magazine covers, Best of lists, critics choice lists. Funny thing I never ever got a chance to actually hear anything by them. Then I saw the video for Rebellion (thank you for on demand music) and said these guys are pretty good. Then the killer opening track Neighborhood #1 and said this could be cool. As a side note just name the tunes, either make them movements are call them by the name in parenthesis. No need for over artiness. But then again when your lead singer sounds like a cross of David Byrne meats Roger Waters that should be expected I guess. The best songs are the fore mentioned two plus wake up. Could do with out the female lead. Definitely was a grower type cd. Score:3

Death Ray Davis

First the riff, then the keyboards, finally the horns. Okay you got me. Then a good chorus. Yeah I guess you can say I liked this cd. By far the best cd of the month. Hell I probably would have given it a three just for the first track alone. But the best part it keeps getting better. Not a bad song on the disc. Just one good pop song after another. Score: 4

Graham Parker
Okay not what I expected. First thought it was a Gram Parsons cd. So imagine my surprised when a Southside Johnny song came on. Okay Southside Johnny with possibly Van Morrison lending a hand on vocals. Okay so then I realized this was Graham Parker cd. So I was still confused. I was always led to believe that Graham Parker was some angry near star that wrote his feelings on his sleeve. Not feel good repetitive bar band tunes. I tried, but never been a fan of Southside or Van Morrison recordings, and yes I know you gotta see them live to appreciate them. Score: 1

Rockpile
31 seconds. That is when the first Dave Edmunds guitar fill is heard. It was then that I realized how long I had listened to this cd, or any of the cd’s (actually I had them on tape) released by the Edmunds or Lowe. Love Edmunds guitar fills, Love Lowes voice. Good harmonies. Teacher Teacher great opening track. Just good music with a foot placed in the past but that’s not a bad thing. Obviously fans of Chuck Berry and the Everly’s but again that’s okay. One critism, the extra tracks don’t seem to add anything to the cd. Score: 3 (although almost lost a point for cheesy paper cd cd holder)

Southern Culture On the Skids.

These guys are awesome live. Any guitarist that can make the reverend Horton heat look average is one talented dude. And yes this guy is a dude, with an actually right to wear his truckers hat proudly. But that is the problem, there is not a bad song on this disk, but I probably won’t listen to it any time soon. Instead I will wait for the next tour, because that is where Southern Culture on the skids are at their best. I’ll witness the beehive in person, watch amazing surf guitar solos followed by country riffs, followed by some good ole pickin. And if I am real lucky I’ll catch a piece of chicken flung at me by some girl called out of the audience.


Pillars of Rock

Elvis
Chuck Berry
Ramones
Beatles
Black Sabbath
Buddy Holly

Bo Diddley, Jerry Lee Lewis, Everly Brothers and Little Richard arguably great and quite influential. But to be a pillar the music must trace back to them. My tastes do not.

Stupid lyrics
Lyrics may be silly and then they may be stupid. Stupid lyrics are those that are put together with no thought. They are there to shock and their shelf life is until the next stupid song comes around. Me so horny, I too sexy

Silly lyrics take quite a lot of thought because in a way a story is being told. In the end it is because of this story that the song will survive because of the lyrics not in spite of them. Offspring, Fountains of Wayne, Wildhearts.

Recommendations: Semisonic, the book So You Wanna Be a Rock Star by the drummer Jacob Slichter Just a fun little pop bands with quiet pop tunes.

Mike M- August 2005

Michael Mongillo
Music Group Commentary, August 23, 2005

THE ARCADE FIRE “FUNERAL” = 1 STAR
I am amazed that this awful album was on so many “Indie Rock” top-ten lists last year. This stuff reminds me of the highly overrated Elephant 6 “collective” bands (Neutral Milk Hotel, Elf Power, The Apples in Stereo), most of whom sound more like “Middle Earth Hobbit Music” than Rock & Roll. The Arcade Fire continues the E6 tradition of ridiculously high-fi production to achieve a low-fi sound, gimmicky instrumentations (harpsichord and accordion are among those heard here), and meandering arrangements. But it was the whiney male/female (dare I call them) “harmonies” that truly pushed this album into the realm of, “One of the most overrated albums, ever.”

DEATHRAY DAVIES “THE KICK AND THE SNARE” = 4 STARS
Fuzz rock/pop hasn’t sounded this good or this sincere since Papas Fritas debuted on the Minty Fresh label in 1995. Finally, a band that I can wholeheartedly adopt. The hope of discovering great music like this is the reason why I wanted to join this music group in the first place. Deathray Davies is a band that I’ve heard of but probably never would have heard otherwise so, thank you, whoever submitted this album.

GRAHAM PARKER “HOWLIN’ WIND” = 3 STARS
I appreciate this album a little more than I can claim to like it. Putting it in the context of when it was recorded (1976), it’s hard not to give it the respect it deserves. Which is not to say I don’t like it; I do. Some great bands were clearly influenced by Parker (The Replacements and The Figgs, to name just two) so it was fun to revisit his roots and rediscover theirs.

ROCKPILE “SECONDS OF PLEASURE” = 0.5 STAR
A later-day Big Star without the monster hooks, scruffy charm, or hard-rockin’ soul. It makes me feel like I’m fifteen again but only because I have an irresistible urge to describe Rockpile as, “Totally fucking gay.”

SOUTHERN CULTURE ON THE SKIDS “BEST OF” = 2.5 STARS
Although I can’t deny it is really good, slick Country Rockabilly (or whatever you want to call it) I just can’t connect with it, or it with me. It reminds me of the music I’d hear blaring from the jukebox of a bar that I realize, too late, I should have never walked into because, sooner or later, a bunch of good ol’ boys are going to start a fight with me for not having a mullet and not wearing cowboy boots.

> The seven pillars of rock and roll (Chuck Berry, Bo Diddley, Everly
> Brothers, Little Richard, Buddy Holly, Elvis Pressley and Jerry Lee Lewis)
> are arguably the most important and influential artists in the history of
> RnRoll. Going by only YOUR opinion, how do they rank with you? Are they as
> important as preached or not? Of the pillars, who do you hear in YOUR
> favorite artists? If you were to create your own seven pillars who would
> they be?

This four-part question could warrant an answer as long as a music history master’s degree thesis. Short of that, I can only give short and simple answers and they are…
1) RANK?: Jerry Lee Lewis, Elvis Pressley, Buddy Holly, Chuck Berry, Bo Diddley, Little Richard, Everly Brothers.
2) ARE THEY AS IMPORTANT AS PREACHED: Yes.
3) WHO CAN I HEAR IN MY FAVORITE ARTISTS: All of them.
4) MY SEVEN PILLARS (not including any of the “actual” seven and their inclusion doesn’t necessarily mean I’m a big fan): Beatles, Beach Boys, Rolling Stones, Bob Dylan, Neil Young, Black Sabbath, The Clash

> Secondary: Sometimes stupid lyrics are funny, witty and great and
> sometimes they are just plain inanane. We all have our boundaries- what
> are yours in determining a song with stupid lyrics or topics is great or
> dumb?

Great: What makes lyrics “great” to me is never the same. And I’m talking language and content here, not how the words are sung. I love some lyrics because they’re eloquent and precise while I love other lyrics because they’re sloppy and random. It always comes down to how or why I connect with a band/artist’s music as a whole. For example, I can’t think of a single band/artist who I can claim to like based solely on their song lyrics.
Dumb: Mostly when lyrics try for straight-out comedy (which is not the same as wry or humorous lyrics) they don’t work for me. In fact that almost always ruins a song because it’s like hearing the same joke over and over, every time you hear that song. Also, any song that has a lyric or a variation of the lyric “I was walking down the street…” is dumb. Flat out dumb.

Concerts to See

Putting Jay on the hotseat..... shows of interest are- and I quote-

Doves- Toads- 9/16
Kings of Leon (or for D'arcy KOL)- Toads- 9/27
Lemonheads - Webster - 9/30
Deathray Davies (opening for Posies -yuk) - 9/30
Tegan and Sara (TAS)-Toads- 10/3 and 10/4 Pearl St.
Jethro Tull- Foxwoods- 10/7 -ha kidding
Black Keys (BK)- 11/15

No GWAR as of yet will keep you posted.....

August Standings

Here is the Scorecard as of our last meeting.

August 2005- Ken

Music Club
August 22, 2005

Arcade Fire- Funeral
If I judged every album by one listen only, this one wouldn’t make the cut. It’s not an immediate grabber. The vocals require filtering and it’s not hook laden. But if I left all my musical interpretation to one listen I would have forgone on the Velvet Underground, Sonic Youth and probably Dylan himself. So I listened again and lo and behold I needn’t not filter Win Butler’s David Byrne squeal and I did find the hooks.

Arcade Fire doesn’t fit into a breed of music. It’s an operetta with a beat. It is nuances (the kettle sound on Neighborhood #4) and moods from the strings. I feel there should be a movie accompanying it. None of the musicians are exceptional but together they are. Honestly, I don’t get all they are singing about, but I’ll enjoy figuring it out.

I am constantly looking for something new and this is new. Can they replicate this without sounding redundant- who knows- but at least this recording is well worth investing the time for a second and many more listens. Favorite song was Rebellion (Lies). (4)

Rockpile- Seconds of Pleasure
We can blame Rockpile for the sanitized country sound that is seen and heard on CMT nightly. That easy loping, fifties beat and simple ABABCAB song structure all within 3 minutes (less the epic 4 minute Play That Fast Thing (One More Time)). Thing is- this is genesis of that sound. In a time where the synthesizer was starting to take hold here came Edmunds, Lowe, Bremner and Williams playing straight ahead rock and roll with easy to sing along lyrics.

Any comparison to the refuse played on country radio is with affection because the songs on Seconds of Pleasure are far superior. Songs that make you think, “Hell I coulda done dat”, but obviously didn’t. If there is a problem with the disc it is that it does sound dated and like the aforementioned country crap- but if one realizes that at the time Rockpile was going against the grain and they represented the sound of the past well- one should be able to forgive the datedness. (4)

Graham Parker – Howlin’ Wind
I find Graham Parker slap dab in the middle of MOR. Which does not endear me to this disc and this sound overall (Southside Johnny meets Elvis Costello). To me there is no real grove. It’s a written on paper groove- everybody go “Hey”. To me there is no edge or hook. Its in the world of the written out solo. It’s AM radio.

Now I understand that Mr. Parker is not a total hack. Too many critics adore him and he had a solid following through the years. I surmise my disdain for this disc is that I just don’t like the song and musical style. It’s like Joe Satriani. I know he’s great guitarist but his playing leaves me flat. Redeeming song, kind of- Back to Schooldays. Now if this was Graham Parsons….. (2)- because it’s a taste thing baby.

Deathray Davies- A Kick and a Snare
I’ve been following this band for awhile now, which is primarily John Dufilho and some band friends. His first few discs were only he a-la-Prince doing everything. His earlier discs are bit trippier and a Kick and a Snare is a solid straight ahead rock album. The critics don’t embrace that he has gone the route of a big, slicker sound but I think he succeeded for the most part.

Dulfilho has his obligatory They Stuck Me In a Box (part 7) version on this disc [he has at least one song with this title on every albem]. His songs rely heavily on hooks. Some so simple that it is painful- but painfully good. If there is a weakness is Dulfilho’s thin voice when the music isn’t surrounding him.

When I first bought this and offered it up to the group it wasn’t on my hit list, but the more I listen to it, the more it’s growing on me. (3.5)

SCOTS-GHITS
The worst of their songs on a disc would garner a 4.5 so I won’t waste ink with a lengthy rave. Rick Miller is a maestro of rockabilly surf guitar and if you saw him live you would discommunicate yourself from your church and worship him. Mary Huff plays steady pulsing bass and compliments Dave Hartman’s drums. This band sings about greasy food, red neck love and beat up cars better than anyone but their silly lyrics are fun not ridiculous. I dare anyone to listen to this and not get happy.

Seven Pillars
When I look at the original pillars I can’t find too much fault with their importance to the overall RnR scheme. As will everyone, I pin more importance on some more than others and this is how they pan out with me;

Chuck Berry- unquestionably the guitarist that really got it going. Without his riffs there ins’t real rock and roll. Sorry Little Richard but this man is the architect in my book. Name a guitarist who hasn’t copped at least a part of this guys repertoire and I’ll show you fibbing musician.
Bo Diddley- His rhythms were unique but nothing I don’t feel wouldn’t have been founded without him (see Buddy Holly). If I were to drop a pillar this would be one but I would drop him with respect.
Everly Brothers- These songwriters brought the harmonic sound to rock. I believe they are important to the evolution of rock but I also think that others would have figured it out. Can’t take anything away from their song archive, it’s stellar.
Little Richard- He brought bombast and energy to rock –as well as breaking the color barrier- but I think he over rates himself. His songs are pure rock and roll and are staples and should be. He was a great showman but I would nod more towards Mr. Lewis.
Buddy Holly- By the number sheer influences and number of songs covered this artist has to be a solid pillar. Though his music is not top on my list there is no disputing his reach. Hell McCartney was directly influenced by him which alone warrants his pillarness.
Elvis Pressley- Some of his music (or better described as interpretations) is brilliant and some pure schlock but there is no question that without him there might possibly not be rock and roll. He did not invent anything but he did take the “black music” to the masses and much of it was well represented – even if not as good as the originals in some cases (Big Mama Thorton’s “Hound Dog” per se). He is deserving and should be considered a pillar.
Jerry Lee Lewis- He too brought showmanship and energy to rock piano and his reputation as a hooligan who marries young cousins is definitely tougher than Little Richard’s gay reverend making Lewis a little higher in the pillar standings. Lewis had one of the first censored rock songs a lot of his music was peppered with innuendo. It’s a tough call but I take Lewis over Richard (but it may not be enough to cement his place).

My Pillars

Of the above I keep;

Chuck Berry, Elvis Pressley and Buddy Holly

I Add:

Jimi Hendrix- He takes the rock riff and guitar to a completely new plane. Without Jimi the guitar solo doesn’t evolve like it did as fast. His work is still being studied and the like Berry, every guitarist has tried his licks. Just imagine what he would have been if he didn’t hack on his own vomit.
Bob Dylan- Am I biased, you bet. But he made the rock song a work of art and proved that the song and emotional delivery was just as important, if not more, than being a pristine musician or vocalist. Without him you don’t have the great vocally impaired, but commercially excepted, artists we are now used to. Without him you don’t have songs that actually say anything or are deep enough to be open to interpretation. Still vital today
Neil Young- He was a big Dylan follower in his younger days and that is where he got his esoteric lyrics. He created alt-country, helped father grunge and played virtually every type of music imaginable whenever HE WANTED TO. He has done music on his terms and has been vital for most of his career. His list of influences is gigantic. An acquired taste yes but a required one.
Beatles- no need to say anything here. When they played live they were the best and they were the best in the studio, best at writing songs and best at beating everyone else to the punch. The best ever. Nothing more to say.
Velvet Underground- I had to expand my pillar list to 8. The VU arguably invented the art/counter culture rock movement, as well as punk attitude, which spawned countless number of other groups to follow their hearts and try “something”. Not all their music is a homerun but that’s not the point. Any time an artist or group tries unique instrumentation they are displaying a VU influence.

Stupid is Good vs Stupid is Bad

My determination of good versus bad relies in the smirk. Stupid lyrics have to have a smirk associated with them showing that the artist –though maybe trying to make a point- doesn’t take the lyrics too seriously. Bands like this months Ghits SCOTS, Cracker, some Neil Young, Johnny Cash, Ray Davies, Zappa have lyrics that, when read alone without the performance, would be construed as beyond stupid but when listened to within the song make perfect sense.

Retro Movements

While I enjoy a good band that harks the sound of days gone by, it's been a little disappointing that there is such a lack of brand new chartered waters. This is not to say there aren't decent new, young bands emerging - its just that there aren't orginal new styles being forged.

Of course I don't hear every band that records something but it seems to me that, as always in history, when there is something remotely new and inviting the rest of the world hops on. I need something to knock my socks off.

Crave

Vent / Question

So at what point does an artists continued production of crap take away from their legend? I had the misfortune of hearing new songs from Eric Clapton and the Rolling Stones today. The Stones was innocuous enough, the same garbage they've turned out the last 15 years or so. Clapton's was off the charts bad. I mean top 40 soft rock vomit inducing bad. I don't get the thought process behind his choices. Every so often he puts out a blues CD or does something like the Concert For George and I think, "Damn, he's still got it". Then he does something like this.

Its like watching Willie Mays when he played for the Mets. Just damn sad.

Ok, I've contributed. Ken, I hope you like my photo, I couldn't decide which one to use....

The Token Midwesterner