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.