Just in case Rock Town Hall ever has the opportunity to organize a party, I'm curious to see how much room we'll need on the dance floor. Please don't be shy about answering any of the following questions.

Read more

You know the drill. Review this performance, then comment. But remember, if you can't say anything nice, don't say anything at all!

I look forward to your responses.

HVB

I'm a sucker for fuzz guitar and other subtly shit-hot leads! There are plenty of underwritten songs and even entire albums (eg, The Pretty Things' SF Sorrow) that I otherwise might not give the time of day if not for the soul-stirring fuzztone guitar parts. There are other songs, like The Blues Project's version of "Back Door Man," that are loaded with subtly shit-hot leads that will forever be burned in my mind.

Over the weekend, on the way to a soccer game, Edwin Starr's "War" came on the radio, and I cranked it up for my son and his friend. I LOVED this song since I was a little kid, but I hadn't heard it for years. I was pleasantly surprised by the subtle, shit-hot fuzz guitar fills on the choruses, fills that seemed to be a precurssor to the fills The Isley Brothers would put in their early '70s hits. I'd forgotten about them and how much they added.

Then I thought about the time many moons ago, when Townsman Andyr pointed out to me maybe the most unexpected use of fuzztone and subtle, shit-hot fills: those that appear in the distance midway through Simon and Garfunkle's thoughtful "Sounds of Silence." The song was forever improved for me, and the consciousness of these fills made me aware of Paul Simon's penchant for working subtle, shit-hot fuzztone leads into his seemingly placcid music. Think about the guitar fill that follows the doobie-smokin' line in "Late in the Evening."

I'm sure I'm not alone in my appreciation for fuzztone and shit-hot leads. I'm pretty sure I'm not alone in holding some subtly shit-hot examples of these qualities in mind. What are your favorite uses of unexpected fuzz guitar and other subtle, shit-hot fills?

ALERT: There's something happening here. Rock Town Hall is growin' up. They said sit down and we stood up.

Welcome to RTH v.3: StickyRhino. The ever-changing world in which we live in. (StickyRhino is best viewed at a screen resolution of 1280 or higher.)

You won't have to look too hard to orient yourself. The Rhino is a direct budding from DirtWeed and should in fact put to rest the long and hard fought flame wars of the AARP skin.

The gates of steel are being crashed Towsfolk. Hourly, by the throngs, rabid fans hell bent on devouring our unique brand of pablum are arriving. We are stardust. We are golden. We are half a million strong.* We can no longer fly under the radar. This is a call to action, fellow Townsfolk.

How you gonna come? With your hands on your head?

Read more

When I was college, I experienced the wonderful realization that -- with a little effort -- I could actually write songs. Not great ones, but songs that were occasionally not half bad. Catalyzed by my encounters with The Jam's All Mod Cons, Townsmen kcills, Mod, and a few other personal and professional icons of the pop/punk ideal, I began doing this in my spare time, forming a band as so many around me were doing.

One of the groups that convinced me it was possible for mere mortals to write pleasing, interesting music was the dB's. Their Repercussions album is still on my short list of "One Day the World Will Wake Up and Celebrate This LP and the Band That Made It" discs -- and it's one of the reasons why, when I met Chris Stamey a few years ago, the first thing I blurted out was, "you're a National Cultural Treasure."

Anyhow, as a hopeful collegiate songwriter, the one song that rose to the top for me -- across all the Great Bands I was soaking up in those impressionable years -- was "Neverland" by the dB's. I thought then, and continue to think today, that it's the Perfect Pop Song. And the spot (at 2:27 in this newly discovered video) when Gene Holder shoots up the neck to the tonic is one of those shudder-inducing "wait for it" moments that make musical life worth living.

I defy you to find anything wrong with this song. I even dare you to tell me this 26-year-old song sounds dated. You can't. You just can't.

HVB

p.s.: per Mod's request, I add -- do you agree, or ARE YOU AN ASSHOLE?

Simple topic: Of all the songs about athletes, which is the best?

Early vote is pictured above: "Boom Boom Mancini" by Warren Zevon.

"Spot light on talent, baby!"

Aerosmith's Steven Tyler never tires of reaffirmations of his band's popularity.

As mentioned on Friday, I have a few worthwhile covers from the 1997 Bond theme tribute album Shaken and Stirred to share with you all. This album was produced and masterminded by film composer David Arnold, who has since gone on to score for every Bond film from Tomorrow Never Dies onward. (According to Wikipedia, John Barry, upon hearing this album, recommended Arnold for the job.)

First up, as promised, is a swell version of "Thunderball" sung by ABC's Martin Fry, who proves here that fops can have a manly swagger of their own.

Martin Fry, "Thunderball"

Next, we have a rendition of "Nobody Does It Better" from Aimee Mann, aided and abetted by Jon Brion, as was often the case in those halcyon days. This track is a pretty wild collision of the Mann/Brion aesthetic with the electronic leanings of Arnold, who has some Bjork credits in his background.

Aimee Mann, "Nobody Does It Better"

Finally, a track that is obviously close to my heart, Pulp's "All Time High." As I see it, Jarvis Cocker decided to sing this song in the guise of James Bond as an aging, dissolute, has-been drunk pleading some sweet young thing for her time. He has no intention of really taking this relationship beyond a one-night stand, but he's so suddenly committed to the task at hand -- a task that was once effortless -- that he finds himself really meaning the things he's saying, in spite of himself. Incidentally, Cocker maintains this persona on much of Pulp's album of '97, This Is Hardcore.

Pulp, "All Time High"

If you need to open your mouth this is the place to do it.

You tell me.