Aug 102011
 

Winner!

I may have mentioned this once before, but my mom first hit the nail on the head regarding Bono and U2 a few years ago, when the band played the halftime show at the Super Bowl. She called me the day after.

“Jimmy,” as she still calls me, “what do you know about this band U2? Do you like them?”

“They’re OK,” I said. “I like a few of their songs. They’ve been around since I was in high school.”

“Mmm,” she said, noting correctly that she didn’t recall me ever talking about them when I was living at home. “That little singer,” she continued, in this most unexpected telephone chat, “really makes that band. There’s not much to their music, but he works overtime!”

My first thought was, “Jeez, as if enough girls haven’t dug Bono, now my mom’s under his spell too!” As she continued extolling the virtues of “that little singer,” however, the years of hating Bono in his mullet, then ponytail and salt-of-the-earth hat and vests without shirts and those godawful late-’80s efforts to weave his way into the fabric of every strain of American roots music under the sun started to wash away.

After I got off the phone with Bono’s Newest Admirer, I remembered how much I liked the good bits of the band’s first two albums, before the grandstanding of War and the rhythm section’s clear musical limitations began to drive me away; before those serious videos involving ponytails, bare shoulders, and salt-of-the-earth hats put me way over the edge. I pulled out my copy of Achtung Baby, the band’s first attempt at winning back my muted admiration, which I came around to liking during the year my wife and I lived in Hungary. That album gave off a cooler, more UK ’60s vibe that put the band’s sepia-toned Americana wannabe vibe in the rearview mirror—but not out of sight. I still spent more time than any adult should spend cutting up on Bono and his mates. I still found myself watching bits of Rattle and Hum, whenever I came across the movie while flipping channels, just to sharpen my blade. Just thinking of that period of U2 again almost makes me want to take back what I’m about to say. Continue reading »

Share
Jul 112011
 

With this Sunday’s demise of the British tabloid The News of the World, it got me to thinking about Joe Jackson‘s “ode” to that form of journalism, “Sunday Papers.”

This tune is from Jackson’s Look Sharp, one of my favorite albums and a strong contender from 1979. But thinking about my time here at The Hall, I can’t think of many, if any, mentions of Joe Jackson or his music. I mean, this is a guy who initially appeared to be part of that holy trinity of English angry young singer-songwriters (alongside Elvis Costello and Graham Parker) and whose choice of footwear influenced a subset of the hip and happening. He writes some pretty clever lyrics, plays keyboards and a mean harmonica, was an early adopter of the music video form, and has worked with Francis Ford Coppola.

I’m trying to ascertain RTH’s disinclination to embrace The Man. Could it be his hairline? That he has worn an earring? That he plays the piano rather than a guitar. That he has embraced multiple musical styles that don’t always sync with the tastes of the time? That he cooperated on a cover of a Pulp song with William Shatner?

That string of albums, including Look Sharp, I’m the Man, Beat Crazy, and Night and Day, are some of my favorites. Why aren’t they yours?

Share
Jun 302011
 

On the occasion of Bob Mould’s recently published memoir, is it time to reverse Mr. Mod’s critical downgrade on the Huskers? Let’s put aside the muddy-sounding Flying V, the bad drumming, the terrible production values. At a time when so much indie-rock has become marketable,well-kempt, finely polished and polite, is there something especially worthwhile to be gleaned from the legacy of a band that was none of these things? If nothing else, can we put Husker Du at the forefront (along with Eleventh Dream Day) of my invented genre T-Shirt Rock (basically, the music I listen to balance out my love of dandyish fops like Pulp and The Kinks)?

Share
Jun 032011
 

Close your eyes...

Remember BigSteve‘s Listen But Don’t Look Principle? It’s an official Rock Town Hall Glossary term, if you ever need to cite it in your own works of rock criticism, but I was reminded of it tonight, when I went searching for some vintage Leo Sayer videos—solely for the purpose, or so I thought, of laughing at how the guy looked!

I found the following clip and expected a hearty belly laugh:

Share
May 042011
 

I’ve been thinking about this for a while now, and I’m finally ready. Ready to take a bold stand in shallow waters. Ready to ask for a massive critical upgrade for Bob Seger‘s “Night Moves.” This song — this grossly overplayed FM rock radio staple, this iconic coming-of-age saga, sung by Rock Town Hall’s gravel-throated patron saint of unintentional Rock mediocrity, Bob Seger — people, this song is Great!

I ain’t lying, and I ain’t crazy. The length of my years has taught me to open my eyes and ears to many things I sneered at as an ignorant youngster: funk music, lefty politics, agnosticism, and now this. And why not? Can you find any real, substantive flaw in this song? More to the point: can you name a song that covers the same lyrical ground better?

Let’s pause for a moment and consider just how hard it must be to write a song that involves wheat fields, Chevys, and young love. I point you in the direction of the collected works of John Cougar Mellencamp to see how not to do this. But Seger’s “Night Moves” is different.

There are so many — oh, how do I say it — moments in this song that just don’t sound like utter bullshit, when they otherwise totally should. You’ll find a few in the first half of the song: “we were just young and restless and bored”; “out past the cornfields where the woods got heavy” — Alex Chilton, eat your heart out!

Then, we grow up: “I woke last night to the sound of thunder. How far off, I sat and wondered.” Ow! Seeg, you got me again! This is followed by one of those minor miracles in performance that turn into private “wait for it” moments — the way dude sings the next line: “starting hummin’ a song from nineteen sixty two…” when the song comes full circle, eventually blossoming into one of Rock’s great everymanworkingbloke outchoruses — “workin’ and practicin’.”. Just workin’ and practicin’. Isn’t that all we ever do?

Come on, people — we make a lot of good-natured fun of Bob Seger ’round these parts. Can I at least get an “amen” on the Greatness of his “Night Moves”?

HVB

Share
Apr 262011
 

For some reason I just got the urge to look up videos by Fanny, an early ’70s, female-fronted blooz-rock band I’d vaguely heard about for years but never heard a lick of—nor saw. Here’s what I found:

Lord almighty, these gals, led by the sisters Millington, were Heart a few years before the Wilson sisters got their act in gear! OK, they’re lacking the delicate balance of firepower and finesse that would characterize the finest works of Ann and Nancy, but Jean, the bass-playing lead singer’s hair couldn’t be better conditioned and her crocheted vest is to die for! Harmony-singing guitarist June provides the requisite hard-rockin’ support and possibly pioneers the art of head whipping.

Drummer Alice de Buhr doesn’t get enough face time, but I like her no-nonsense approach to fills (see her work during the guitar solo at around the 2:20 mark). The unsung hero of the band, however, may be keyboardist Nickey Barclay. Her passionate organ solo on “Special Care” is the highlight of that song (it turns out she was briefly a member of Joe Cocker‘s Mad Dogs & the Englishman, if that organ part sounds familiar)—and how ’bout that hairdo?

In case you thought these ladies were 2-boogie wonder, here they are on Sonny and Cher’s show (using their drums, no less):

Share

Lost Password?

 
twitter facebook youtube