Mr. Moderator

Mr. Moderator

When not blogging Mr. Moderator enjoys baseball, cooking, and falconry.

Apr 262010
 

Years after the fact, years after I wrote off all of these bands (with the huge exception of X-Ray Spex, whose “Oh Bondage, Up Yours” is one of the most-invigorating songs ever) as undisciplined, often shrill, distaff entrants into the punk world, what am I to make of bands like Au Pairs, The Slits, Siouxsie and the Banshees, The Raincoats, and many more? I so quickly dismissed these bands in my first few years of hearing punk rock and early post-punk that I’ve got them all confused these days. This called for a candid, from-the-gut reassessment.

On Saturday a couple of friends were talking about Au Pairs. One of them described them as a “female Gang of Four,” which is how I’d remembered them. Just now I found the clip that kicks off this post and confirmed both my memory of the band and my friend’s comparison. It’s pretty good, but as I felt back then, there was only room for one Gang of Four in my tastes. I still love hearing my Gang of Four albums a couple of times a year, but their style of music is a dead end. How many variations on the choppy funk chords and didactic, talk-shouted, 2-note vocals does a man need?


I went back and revisited Delta 5, another band I recalled being in this vein and having similar strengths and limitations, and my gut feelings held true. The music of this song is as good as the music in a Gang of Four song, but the lyrics sound like something a few creating kids would crank out for their 8th grade basement band. There’s a lot to be said for the off-the-cuff creativity of youth, but I felt a hundred years older than that when I was young. My loss, I’m sure. Although I truly understand the appeal of this style of music, I’m surprised young bands are still trying to ape that pose. We get it already, or at least I do.

Next, The Slits…

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Apr 252010
 

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I believe that in an ideal world, involving slight time travel and possibly Black Magic, The Move as produced by Jimmy Page to capture the band’s low-end rumble and provide space for Roy Wood‘s reedy tendencies, could have been a much easier band for me to sell to friends.

Check out this late-period song, “Ella James.” It’s melodic, it boogies, it’s hard rocking, and it has elements of Byrdsy jangle and late-period Beatlesy melodicism all the while reaching for The Power and Glory of Rock. However, the parts are not-quite-definted, and it you know the album version you may agree with me that, like just about everything The Move recorded, it’s a mess of a production. For a band led by two highly conceptual multi-instrumentalists The Move had trouble sorting through the details of their ambitious productions. They badly needed help.

Jeff Lynne would take The Move’s template and polish it up to nice effect for ELO, but I believe he avoided dealing with the parent band’s maximum heaviosity. Page would have known how to incorporate those elements while modernizing the band’s sound, making them more than a clunky version of The Who.

How I wish I could go back in time and make this so. What artist would you say needed the production skills of what producer?

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Apr 242010
 


Part of it’s the mix, but I listened to the studio version of this Thin Lizzy song, “Whiskey in the Jar,” and heard the same lack of restraint in the lead guitar. I’m not an expert on matters of tasteful guitar – and I’m a big fan of The Velvet Underground‘s “I Heard Her Call My Name” – but is the guitarist (Eric Bells?) stepping all over Phil Lynott’s vocals? I guess it’s supposed to be “Celtic” sounding, but man, get a little stringed instrument!

Tasteful guitar experts, what do you think? Is there a song that comes to mind when you think, Lead guitarist showing absolutely no restraint?

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Apr 232010
 

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As an open-minded, true believer in The Power and Glory of Rock, I often wish I could better appreciate critically acclaimed bands that have never “done it” for me. Who doesn’t want to feel part of the In Crowd when hanging with rock ‘n roll tastemakers? You’ve heard my tales of revisiting bands like Love, Randy Newman, and others, and I appreciate that you have been moved by my efforts.

Occasionally, howver, my desire to appreciate a critically acclaimed band is driven more by simple social climbing in the rock world than entry into rock’s secret society of taste-making. Sometimes I think about how my social network could be extended if only I could sincerely nod approvingly when a “cool” band I previously didn’t like comes on the stereo at a party populated by people I’d enjoy getting to know better.

This feeling was more prevalent when I was young and single and seeking broader social networks and a girfriend. Being incredibly opinionated and taking pleasure in confrontation has its downfalls, Townspeeps. I suffer less for my ways these days because I exist in the comfort zone of a loving family and rapidly diminishing personal delusions, but when I was a young man I used to think about how much better my social life could have been if only I could like The Replacements. Continue reading »

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Apr 232010
 

Some time ago we discussed rock images, good and bad, that are burned in our brains. I mentioned an image from the Disco chapter of my high school-era edition of Rolling Stone’s Illustrated Encyclopedia of Rock, or whatever it’s called. At the time another Townsman, maybe BigSteve, looked for the picture I described in his copy of the book, a different edition. He didn’t see it. It was probably too disturbing to publish in subsequent editions. Tonight I came across my ancient copy of this book and scanned in the image. I apologize in advance for any unrest this image might cause you over the next 30 years. Ready? Continue reading »

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