DOWNLOAD LINK: Rick Buckler Crash Cymbal Quotient Analysis, edited source material

I pass along a note I received today from RTH Labs' Senior Music Engineer, Milo T. Frobisher:

MEMORANDUM

FROM: Milo T. Frobisher, Senior Music Engineer, RTH Labs
TO: Townsman Hrrundivbakshi, Senior RTH Labs Liaison
RE: Rick Buckler' Crash Cymbal Quotient/Numerical Crash Analysis, "Away From the Numbers"

Townsman Hrrundivbakshi, I send this quick note to summarize our recent research findings in re: Rick Buckler's Crash Cymbal Quotient (CCQ), as found in "Away From the Numbers," by the Jam.

Our methodology was simple, though far from easy: over the full four minutes (exactly) of this song, our junior engineers counted the exact number of times Rick Buckler deployed his crash cymbal for rhythmic emphasis. Please note that we did not undertake the low-frequency extraction from his snare as you requested, nor a pattern analysis of his tom fills to determine their similarity to, or substantive difference from, those of KISS' Peter Criss, aka "Cat Man."

I should warn you that by listening to the edited source material above, in which we replaced each instance of Buckler hitting his crash cymbal with a spoken word marker, you run a significant risk of never being able to listen to this song in the same fashion again. I should specifically point out that my nephew, James Frobisher -- an intern in RTH Labs -- needed to physically remove himself from the Laboratory premises after being asked to do the CCQ analysis in the instrumental break in the middle of this song, so profound was its effect on his young mind. You have been warned.

The results of our investigation are startling. Over the course of this four-minute song, Rick Buckler hits the crash cymbal -- importantly, he seems to hit the same cymbal every time -- a total of 137 times. By our base-60 calculations, that amounts to, roughly, one cymbal crash every 1.8 seconds. We leave it to you and your more contextual thinkers in the Hall to determine the subjective value of this datum.

Thank you for your time in this matter. I look forward to working with you further in the future.

MTF

Jody Stephens (center), join the club!

Bev Bevan and Rick Buckler have been raked over the coals in this long-suspended series already. Today a Townsperson other then E. Pluribus Gergely finally called bullshit on the drumming of Big Star's Jody Stephens. In honor of cdm's candidness, let's open the floor to other drummers who suck* despite powering the rhythms of bands we love!

*A point of clarification: By "worst" or "suck" I'm not really asking for a list of the technically worst drummers in rock, if any of us are even capable of assessing that, but drummers whose playing you find necessary to overlook (overhear?) while listening to a favorite artist.

Please explain.

I dig The Jam as much as most of you. Sure, I've got my beefs with drummer Rick Buckler, but I have given him props for his running skills. I can't stand The Style Council, but that doesn't color my views on The Jam or Paul Weller's solo career. I'm not a fan of bassist Bruce Foxton's bass tone, and that does factor into what I'm about to say.

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Driving home from Maine in the middle of the night a couple of weeks ago, with my boys asleep in the back, my wife half out of it, and the iPod plugged into my car stereo and set to SHUFFLE, The Jam's "That's Entertainment" came on. I had the volume down on the stereo so I wouldn't wake anyone, but I started to get annoyed that I couldn't follow the lyrics to this old favorite. I'm not married to lyrics - and I'm definitely not one of those people who search for a lyric sheet as soon as I buy a new album - but I've always like Paul Weller's lyrics and will eventually pore over his latest set of words. I've always liked the lyrics to "That's Entertainment," but on this night, with the volume turned down, I couldn't make out what he was singing. I had to stir my wife.

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Which songwriters come to mind when you think, Songwriters who frequently employ nonsense syllables to carry the melody? I think of two Pauls: Simon and Weller. It seems every third song by them includes a section that's nothing more than melodic Las or Oohs. Are there other songwriters who stand out for using this device? No artists with a notable example only, please.

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Link: http://www.independent.co.uk/news/obituaries/john-weller-father-of-paul-weller-who-managed-his-son-for-30-years-1674817.html

The previous year, Polydor had rejected the fifth full-length Style Council studio album, the house-influenced Modernism: A New Decade, and John fought Paul’s corner, lifting head of Polydor David Munns out of his chair during a particularly fractious meeting and telling him: “You don’t talk about my son like that.”

One of rock's coolest dads, John Weller, who supported and managed son Paul's career from his earliest rock aspirations as a teenager through The Jam, The Style Council, and his rebirth as a solo artist, has died. I don't know a whole lot about the guy, but I've seen interviews with him and read some stuff and I've always thought that if either of my sons wants to be a rock musician, I'd like to be as willing as John Weller was to be in his son's corner and help him achieve his rock dreams. Pere Weller had excellent hair to boot!

NEXT: Rock Town Hall's Official Eulogy...

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UPDATED!

Long before Paul McCartney and Wings put out an album of the same name, the idea of a band on the run ties into rock's rebel spirit as well as the earlier tradition of the bluesman with hellhounds on his trail. Although rock artists often sing of being on the run - from The Man, hellhounds, adoring fans, what have you - they rarely agree to be filmed running. Lately I've been scouring YouTube to find videos showing actual rock musicians in the act of running. It's been tough finding all but a handful of clips that my fading memory could remember from the days when MTV and VH1 actually played music videos. Even that wildly popular OK Go video, although choreographed for treadmill, includes no running. The results are mixed, but I think the results of my survey will satisfy any lingering questions you might have over the marriage of rock music and running. Take your time with this one; we may need all weekend.

Let's start this examination of bands on the run with arguably the greatest of rock running videos.

NEXT: Arguably the greatest of rock running videos!

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Link: http://myweb.tiscali.co.uk/mikejh/CK.htm

Implicated

From The Lodgers

On my arrival I was greeted by four characters. Stephen White, who had just been proclaimed Master Of The Sticks by a pirate station in Cumbria run by a retired colonel. Miss Dee C. Lee who I espied on a clifftop alone with nothing but her sweet voice singing out into the clouds and a large parrott on her shoulder. Paul Weller, who sat naked in front of the sea on a deckchair shouting, "stop I say, hold thyselves, my parts freeze," as the waves rushed past him, and Master Michael Talbot by a bonfire, splendidly clad in a lame blanket and hard at work on one of Stravinsky's unfinished works he had come across in a disused priory.

Remember The Cappuccino Kid, that mysterious liner note writer for releases by The Style Council? Nobody knew who exactly The Cappuccino Kid was, but many speculated!

Not ringing a bell yet? Perhaps the following passage from Our Favourite Shop will jog your memory:

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It saddens me to find myself stuck in the middle with Townsmen Hrrundivbakshi and E. Pluribus Gergely over issues of The Style Council and animality. I'm reminded of the words of founding Traffic member Dave Mason.

Before we turn the page on these issues, before we possibly reach the level of understanding and unity offered by the first-ever European International Pop Festival (go to about the 00:50 mark of the above video for a full explanation of our potential as a community of music lovers), let's consider the following clip:

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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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