Aug 302013
 

Driving home from dinner with my wife and oldest son the other night our local Oldies station played a fantastic run of (albeitly cheesy) mid-’70s songs that my wife and I probably too enthusiastically pointed out to our son captured the time when we were the age of his younger brother, who was not with us on this drive. I can’t remember the killer run of hits, but it kicked off with “Young Americans” and included “We’re an American Band” and “Whatever Gets You Through the Night.”

“What a titan John Lennon was,” I marveled in my head, privately, “to be able to inject such a suspect disco-boogie romp with so much energy and cool!” I felt a tear building in my left eye as that song faded while memories of that era continued to blare, as I anticipated what the DJ computer would spin next…

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Aug 102013
 
Group shot of World Texas Tour road crew.

Group shot of World Texas Tour road crew.

You may recall a series of Bullshit On threads doubting tales of ZZ Top touring with longhorn steer, bison, vultures, goats, barnyard cats, and rattlesnakes onstage. The continuing quest to validate ZZ Top’s purported onstage livestock display for its 1976 Worldwide Texas Tour has taken a baby step forward with the following photo, provided by Townsman jungleland2. Let’s see who’s willing to shoot down the veracity of the flying bison pictured behind the band! Undeniable evidence…after the jump!

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May 042012
 

It’s not often we get to see Robert Fripp laugh, is it? I forgot King Crimson played on the failed early challenger to Saturday Night LiveFridays. Clearly, Fripp had a good time that night.

Collective critical wisdom probably considers Robert Fripp to be an “influential” musician, much like it does his old partner in crime, Brian Eno. However, unlike the body of work Eno produced, I’m not sure Fripp’s work as a guitarist, composer, producer, conceptualist, and iconoclast actually influenced many musicians. Who else plays in that weird scale that’s so distinctive of Fripp’s work? Who else uses Frippertronics? What other rock guitarists play seated on a stool? Eno inspired a generation of non-musicians to produce music, and he actually helped change the way we hear music. Fripp’s body of work suggests a musician needs to spend a lot of time practicing. Baby, that ain’t rock ‘n roll!

I’m not criticizing Fripp, mind you. I like his body of work. I like that one circular scale he plays repeatedly—and the other one, involving 2 notes that don’t quite go together yet move up the neck in some weird harmony. I love those soaring, melodic solos he occasionally plays on Eno records and The Roches’ “Hammond Song.” I consider Fripp to be an inspiring musician but not an influential one, if that makes sense. Along the same lines, I call bullshit on most folks who claim Captain Beefheart as an “influence.” His music is inspiring, but how can one be influenced by Beefheart without aping him? “Yeah, man, I like to stick daggers in the blues and sing ‘out there’ lyrics!” With rare exceptions (eg, Pere Ubu, early PJ Harvey), that is Beefheart more than it is influenced by Beefheart. I think he’s too idiosyncratic to be that useful an influence.

If you can get on board with this concept, are there other musicians you can think of who may be so idiosyncratic that they do not leave much room for influence, in terms of “building off” their work?

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Mar 132012
 

Recently we received the following offlist message in regard to our long-running investigation into the validity of ZZ Top‘s supposed Worldwide Texas Tour. Although not directly confirmed, this third-hand account, verified by our anonymous reporter, may lend some credence to claims of this suspect tour, which no one seems to have captured by a clear photograph or snippet of film.

Dear Mr. Mod,

While hanging out with our daughters at the playground today with my friend Charlie and I started talking about music, as we usually do, in this case large arena shows. I mentioned that I’d never been to rock show in a venue which seated more than 2500 or so people and he said that was the case for him as well, at least in the last thirty or so years. In his youth however, in Des Moines, he used to go to all the big rock shows at Veterans Auditorium, the largest venue in Des Moines. He listed several bands he saw and then, to my surprise, said, “I never saw ZZ Top, but I remember my friend Jay going and telling me that they brought a longhorn steer out on to the stage, and I was pissed because I thought that would have been cool to see.” I did a double take, and then asked him to repeat what he had said, and he confirmed that in the mid-to-late-1970s, a friend of his said he saw ZZ Top perform with a longhorn steer on stage.

Now I’m not sure where the ZZ Top cattle on stage debate was last left, but as a historian, I find this pretty compelling evidence, considering Charlie hasn’t spoken to the person who told him this story in over thirty years.

For what it’s worth,

[name withheld]

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Jan 192012
 

Breaking news, courtesy of Townsman diskojoe (and his friend), who writes:

A friend of mine sent me the following link to an interview of ZZ Top by Andy Kershaw of the BBC in 1987 & there’s something interesting @ the 4:50-5:00 mark when the drummer, the beardless one named Beard was asked why they didn’t tour outside the US:

Previously.

Prior to that.

Perhaps the first RTH post directly on the subject.

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Oct 052011
 

Will Your Mystery Date Be a Dream or a Dud?

Sure, this week’s Mystery Date was an easy one: that was Stiff Little Fingers, doing the folk song “Love of the Common People,” from their 1982 initial farewell album, Here Now… Many of you guessed this if you stuck around long enough for singer Jake Burns to fall into his typical “Joe Strummer on steroids” delivery. I am only disappointed that Townsman mwall didn’t chime in on this date. For a guy with strong, spartan tastes in music, he’s always surprised me by his top-to-bottom love for the band’s debut, Inflammable Material, an album I’ve always wanted to like more than I ever can beyond the amazing “Suspect Device” and “Alternative Ulster.” I was curious to hear his take on this recording—and maybe even acknowledge that I’d long ago seen beyond the facade of this band and peered into the mediocrity of their proto-Green Day track. “Brother,” I hoped he’d say, “I’ve got to give it to you for calling bullshit on these guys for all those years.”

I remember Townsman andyr or chickenfrank owning this album way back when and me thinking it was a “pretty good change of pace” for the band, the same way I thought The Ramones‘ poppy Pleasant Dreams was a welcome and long-overdue offspeed pitch to their limited repertoire. Over the years I rarely listened to their copy of that album again, but I continued to tell myself they had something extra in their tiny creative satchel. The other day I revisited this album, and boy was it lame. It sounded like they started listening to all the subpar Jam albums from the end of their run and trying to ape Weller’s moves rather than The Clash‘s.

There was no way they could have kept up with aping Clash records after Give ‘Em Enough Rope, so poor-man’s Jam was probably a reasonable career option. However, all the things that always bugged me about most of their first two albums—the blatant political pose, the complete lack of originality and/or humor, and especially the sense that “Shoot, given a manager and a producer my high school band could have made a record as mediocre as Nobody’s Heroes!”—remained. In retrospect, it’s no Pleasant Dreams.

I have another song from this album that I’d like to share with you, but it’s on my work computer at the moment. I’m too tired (and a little bummed, thanks to my Phillies losing tonight) to fire up that computer, and I’m off to a work trip to NYC all day tomorrow followed by an evening up there with Bryan Ferry, so the horn-driven, late-period “soulful” Jam-style number will have to wait. Meanwhile, enjoy the following live performance of another track from that album.

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Jun 112011
 

Following up on the recent Phil Spector thread… I will posit this:

Instant Karma” is TOTALLY overrated.

The reasons: the drum sound is horrible and sloppy, like they couldn’t get drums but decided to bang on big cardboard boxes. Lennon’s Elvis-like singing, which is a big smirk. The lame piano playing, as if Billy Preston forgot the soul that made him Billy Preston. Harrison on guitar? Is the guitar plugged in? And the overall production and playing is sloppy — it sounds like a demo, and not a demo tinged with wonder (The Modern Lovers come to mind) but a demo they were obviously too high to do another take on. You can actually hear them lagging behind and trying to catch up. And did I mention the drumming, which has some of the worst — THE WORST — fills in the known musical world.

I know the whole “written for breakfast, put out for dinner” mystique — but it’s bad. And don’t get me started on the song itself: bumper sticker lyrics with no melody. The song goes nowhere except to get to the big chorus — oh wow, the manager is singing along too. And the hand claps — the lame hand claps.

If anyone but Lennon had put this out, it would never have seen the light of day. It’s trite ’70s coked-up crap.

Thank you and goodnight.

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