Sep 212010
 

I went to a Record Show the other day, which is something I have always liked to do. Lately, they’ve been like having a mega Record Store all to yourself, but last Sunday was different. It was packed! The way it used to be in the early ’80s. [Which reminds me, if you have never been to one, and you go, don’t put your bag on a row of records and look through the one next to it. I know, there isn’t anywhere else to put your records, but I got tired of asking people to get their shit off the crate next to them.] That was good to see, and prices were still generally three bucks for the records I want anyway. Since Alive Naturalsound started reissuing The Nerves‘ and Breakaways‘ stuff, I’ve been getting more interested in Paul Collins‘ side of things. I always liked Peter Case, but didn’t really follow Paul at all. I found the first Beat album, and loved it. I found a more recent one, Ribbon of Gold, and I loved that, too. So I was kind of surprised to find the second Paul Collins Beat album, The Kids Are the Same at the show I was at, and I figured I had to grab it. I was expecting another good power pop kind of album, and I think it holds up well.

This came out in ’81 or ’82, which is about when I started raising a family on $4.50 an hour. Cable TV was something I did not even think of having, so I missed whatever MTV airplay Wikipedia said this album got. What I did have was a radio and we listened to it all night at work on the night shift. I can remember hearing this song, “On the Highway,” and it was one of those songs that I instantly loved and instantly thought was a perfect nighttime song, like “Marquee Moon.” The problem is, I knew who sang “Marquee Moon,” but back then college kids spent way more time playing records than telling you what they played, so I never knew who sang this, what album it was on, or anything about it. I put it on yesterday afternoon and was feeling pretty good about my purchase (nice clean record, not noisy, flat and sounds great) and this song that I loved came out of nowhere and was cranking out right there in my own living room!

Has that ever happened to you? It’s happened once or twice to me, but it’s been a long time. I think that’s like the best feeling of all in a Rock Music Nerd’s Life (or lack thereof). It happens so seldom, but I have a feeling it’s what keeps me digging through crates and reading about music instead of living a normal life. What song jumped off a record unexpectedly on you?

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Sep 212010
 

Universal Music dropped by The Back Office this weekend and I found a greatly appreciated little pouch tucked inside the new Gin Blossom’s CD.

No Chocolate Cake releasing September 28, 2010. Eleven new tracks written, produced, and performed by the band with the help of Danny Wilde (The Rembrandts). The first single is “Miss Disarray” and it’s been getting great reception. Fans can also download another new track off the album, “Somewhere Tonight”, at 429records.com as well.

Miss Disarray: http://bit.ly/b3P4I2

Stay tuned in the coming days on you can win a copy.

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Sep 202010
 


I’m always jazzed when I hear an obscure song in the wild that makes me stop and go “Wait. I know that song. Fuck. What is that song? Oh yeah! I like that song. Haven’t heard it in a while. I’m going to queue it up right now!”

This happened throughout my favorite Edgar Wright films, Shaun of the Dead and Hot Fuzz. When XTC‘s Sgt. Rock came on in Hot Fuzz, a song that I’m quite familiar with, it took what felt like an eternity to place it because it just isn’t a song I’d ever expect to hear anywhere in the wild.
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Sep 182010
 


This is a follow-up to a previous piece on some of the admirable-if-best-forgotten qualities of King Crimson.

As he did in our original clip from 1973, bassist/singer John Wetton, with his flowing man and polyester silkscreened shirt, lays claim to the heretofore inconceivable title of Sexiest Man in Prog. Can you imagine the D&D tail lining up to get backstage after a show?

Can Townsman Northvancoveman or other hockey fans of the Hall confirm if that is actually some form of a Boston Bruins logo on drummer Bill Bruford‘s overalls? It turns out he was wearing that thing in the earlier clip, but I didn’t notice the logo. Bruford must have been sweet on that outfit.

And thinking of a recent thread, is that a xylophone or a marimba I see behind Bruford?

Violinist David Cross seems to be wearing the same suit as in our original feature, but his haircut suggests a coming client meeting for his day gig. The guy cleans up nicely!

Robert Fripp is still the brains of the operation, making no effort to get in step with the latest styles. It’s cool, though: he usually stays in his office, wrapped up in his latest designs and out of our hair. Bruford and Wetton will pitch any new capability Fripp cooks up.

See also: Making the Case for the Sexiest Man in Prog-Rock.

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Sep 182010
 

What if founding “27 Club” members Janis Joplin, Jimi Hendrix, and Jim Morrison lived long enough to each make a celebrated comeback album? Let’s say they went through the standard cylce of rock bottom, rehabilitation, humility and self-awareness, and finally a well-crafted, highly acclaimed comeback album produced by the likes of Rick Rubin and T-Bone Burnett. What would these comeback albums sound like? Who would produce each one? What guest star would be featured on the lead single?

Bonus question: What instrument would Brian Jones be featured playing on Kurt Cobain‘s comeback album?

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Sep 172010
 

Quick thought following about 3 minutes of reflection: I’m reading this Slate piece on the partnership of Lennon and McCartney, and my mind started drifting to the wealth of fantastic English bands vs the wealth of fantastic American solo artists.

Think about the titans of rock ‘n roll (and country and soul, in the case of America): Americans gave the world Elvis, Chuck Berry, Bob Dylan, James Brown, Aretha Franklin, and Johnny Cash, among other major solo artists. England gave the world David Bowie and…Donovan?

When it comes to bands, though, England gave us The Beatles, The Rolling Stones, The Kinks, The Who, The Clash… America gave us The Beach Boys and…The Byrds?

Does the wealth of legendary American solo artists (and dearth of legendary American bands) have something to do with our independent pilgrim/cowboy spirit? Does the converse concerning English musicians have something to do with their spirit? Am I overlooking American bands at the usually acknowledged top level? Am I overlooking English solo artists at the usually acknowledged top level? Am I really going to have to hear it from Ramones and Scott Walker fans?

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