Jun 302008
 

Quick, Townspeople! Who among us most firmly believes that rock and roll started losing its mind when bands began obsessing about albums, rather than finely crafted singles? Answer: E. Pluribus Gergely! Who’s the guy who thinks the Venn Diagram intersection of tradition, groove and melody is where the best pop music has always lived? E. Pluribus Gergely! Who’s the guy who thinks Paul Weller‘s greatest shortcoming as an artist was his unwillingness to put his heart on his sleeve and sing about his *feelings*? E. Pluribus Gergely!

For all these reasons and more, I’m happy to report that E. Pluribus Gergely — whether he knows it or not — loves the Style Council!

Now, let’s be clear: I have no illusions about our dear, beloved Plurbie and his willingness to open up even one small, wrinkled fold of his fevered brain to consider this overlooked phase in Paul Weller’s career. But I know, deep in my heart, that he should.

When Paul Weller shit-canned the Jam (one of the great, classy moves in rock history, as far as I’m concerned), his stated intention was to launch a loosely knit “band” — more of a collective, really — whose primary aim would be to produce killer singles (*not* albums!), loosely fashioned after the 45s that had brought meaning to his life as a youngster.

With that in mind, check out this vuh-deo, for the Style Council’s fourth single, “A Solid Bond In Your Heart.” Talk about an explicit blueprint for action! Weller wanted to bring back dancing, community, style, and general freedom from bullshit when he started this band. Mr. Mod may tamp his pipe and complain about the Weller “four on the floor” beat that he incorrectly perceives as being central to every Weller tune ever written — and I’m just waiting for the snarky observations about how Mick Talbot is the only guy in this video who’s actually chasing after a girl — but, hell. The tune still churns up the dancefloor, Paul’s heart is clearly in the right place, and there’s some positivity on display. As the band plowed through its first couple of years, Weller would open up even further.


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Jun 302008
 

Phooey!

You may recall a thread from a couple of weeks ago about my latent appreciation for the craft and catchiness of ’90s Britpop sensations Blur. A group I know well, a group of which I’ve long been a member, The Bad Attitude Club, needed more evidence of the band’s relative goodness. I supplied some live tracks from a bonus disc that came with the initial pressing of their Best of… collection. I doubt that either of my posts had any effect on the nasty old dudes who compose The Bad Attitude club, but more than a few Blur-loving Townspeople requested the posting of additional tracks from that live CD. To you, young at heart and open of ears, I say, Enjoy!

More from Blur at Wembley

“She’s So High”

“To the End”

“Stereotypes”

“Charmless Man”

“MOR”

“Tender”

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Jun 302008
 

Comes a time…

Coming July 22, Paul Weller will release a sure-to-be sprawling masterpiece, entitled 22 Dreams. If the following Product Description from Amazon doesn’t inspire you to pre-order the CD, perhaps an honest re-examination of Weller’s work with Style Council will.

”After As Is Now I thought the time was right to make the sort of record I wanted to make,” says Paul Weller of the creative process which led to his striking ninth solo album 22 Dreams. ”Instead of worrying about anyone else, I wanted to really push the boat out. I think the result is going to surprise a few people.” Surprises have always been part of the artistic vernacular for the man who changed rock forever with The Jam, explored a host of eclectic influences with The Style Council and cemented his position as the patriarch of Brit pop with his legendary solo work. 22 Dreams is the latest chapter in a creative journey spanning 30 years, with material spanning the full breadth of popular music rock to classical, avant garde to funk and spoken word to experimental. In addition to a cast of Weller s frequent collaborators including Steve Cradock and producer Simon Dine, 22 Dreams also features some of the largest beneficiaries of Weller’s incalculable musical influence. Noel Gallagher and Gem from Oasis lend their talents to “Echoes Around the Sun”, a writing collaboration between Weller and Gallagher. Ex-Blur guitarist Graham Coxon appears on “Black River”. The spirit of collaboration and an in-the-moment creative approach have resulted in one of Weller s most spirited works and one that is sure to expand the artistic canon of the one and only Modfather.

To help us pass the time while we eagerly await delivery of our pre-order, does anyone care to read between the lines of this Product Description?

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Jun 272008
 

The Stones had an easy time of things against Rod Stewart, if you ask me. I think I would very grudgingly concede Get Your Ya-Ya’s Out as a tie, but probably not if you really pushed me. One thing I learned is that Rod and the Faces are great once in awhile, but every day gets boring pretty quickly. I wasn’t expecting that. I thought I liked them more. Maybe that’s why I have such a low tolerance for bands like The Black Crowes.

Anyway, I think while mopping up after the fight, I’ve found some things worth keeping from the winners. Sure, they’re just sweaty towels and discarded paper cups, but I think they’re worth checking out. Cleaning up in an early round, I found a towel outside the ring, and when I wrung it out I found a song called “Criss Cross” that could replace any of the slow songs on Goat’s Head Soup and make things better.

The Rolling Stones, “Criss Cross”

I also found a paper cup with “Waiting on My Friend”, which would one day bring Mick Taylor an unexpected royalty check. He had to sue the band for the lifetime supply of Twinkies.

The Rolling Stones, “Waiting on My Friend”

I also found an unused roll of tape called “Living in the Heart of Love”. I really like this one. I like how Keith’s vocals are different from whatever Mick is singing. It’s jarring, but it’s cool.

The Rolling Stones, “Living in the Heart of Love”

I know that everyone says that Vinyl Rules, man! But here’s an example of one of the limitations of the medium. This round had to be cut short because lp’s generally lose it sonically over that 45 minute mark. That and people weren’t sure that the Stones’ generally white audience would like a slow funk song like “Fingerprint File” was originally recorded. So they sped it up, and we get a slightly Chipmunky Mick Jagger.

The Rolling Stones, “Fingerprint File”

The Rolling Stones, “Fingerprint File (slower version)”

The second version is supposedly from the original acetate. Pretty cool, huh?

And to shed a little light on BigSteve’s comments about “It’s Only Rock ‘n Roll” and its video, supposedly Mick and Ronnie were at Ronnie’s house and Mick had the idea for the song. They worked on it, together with David Bowie. Kenny Jones was called in later and did drums to make it better (he lived closer than Charlie). It was given to Keith to check out, and Keith wiped every electric guitar Ronnie put on the tape. Rumor has it that the video is Ronnie’s original demo. I think it’s one of the best records the Stones have ever made. They’ve botched it live every time, but the record itself is just perfect.

The Rolling Stones, “It’s Only Rock ‘n Roll (video version)”

There’s plenty more, but for now this will give you a nice look at what was happening outside the ring.

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Jun 272008
 

Most of us would agree that Neil Diamond‘s appearance in The Last Waltz – and Robbie Robertson‘s production of his 1976 album Beautiful Noise – constitute an unlikely rock collaboration. Excluding completely staged, novelty collaborations, like Pat Boone dueting with Ozzy Osborne, what unlikely rock collaborations are really worth our tracking and discussion?

Holiday television special duets are acceptable.

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Jun 272008
 

My apologies to The Great 48 and the Halls of Rock for not visiting the e-mail account where “G48” sent me the following report and tracks. Thanks, Great One.

The Great 48 wrote:

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I realize this is not Jazz Town Hall, but allow me a moment. I discovered tonight [6/17] that my favorite contemporary jazz musician, the Swedish pianist Esbjorn Svensson, died over the weekend in a scuba diving accident outside Stockholm.

Svensson was the leader of the Esbjorn Svensson Trio (more commonly shortened to E.S.T.), whose albums I recommend unreservedly. A lyrical pianist in the style of Bill Evans, Vince Guaraldi, or Tommy Flanagan, Svensson was capable of spiky free improv or speedy bop-influenced showboating, but his natural style fell towards the melodic and stately. He didn’t really go towards pretty for pretty’s sake, but he understood that jazz doesn’t have to be “difficult” to be good. He will be missed.

MP3s are from E.S.T.’s 2004 album Seven Days of Falling.

E.S.T., “Ballad for the Unborn”

E.S.T., “Why She Couldn’t Come”

Previously, in the News!

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