Mr. Moderator

Mr. Moderator

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

Dec 172007
 

Years ago, when hot artists like Madonna, Prince, and Cher were first pushing the boundaries of MTV with daring videos that incorporated the artists’ own sexuality into their art, I used to think that MTV needed to create a premium channel that would allow these artists to see through their visions to their – and our – complete edification.

Remember when Madonna was crawling cat-like across the floor in that green dress to lick milk out of a bowl? And then, as the video faded, she was sitting on a bed, her brazenly artistic nude body nearly fully revealed while some buff guy walks into the room? Smokin’! The video for that song, “Expose Yourself”, was so close to perfection.

Later, Madonna tried to push it another step further in that “Justify My Love” video with the guys writhing around in doorways wearing Danskins and the harsh chicks with riding crops. She was boldly speaking for a broader, sexually liberated audience, but there wasn’t enough of the artist herself. It was provocative, surely, but was it was a retreat from the more personal art she had previously been working toward, art that did not fear to fully expose the artist herself. Later videos, in which she sat pimped out in the back of a limo and one in which she donned Danskins herself and made like Travolta’s dance partner from Saturday Night Fever signaled a further retreat from a completely personal form of expression.

I don’t want to belabor the background here, because what I really want to talk about is the work of modern-day rapper Spank Rock, who is doing groundbreaking work in bringing his sexuality to the fore in his music, sometime to the extent of obscuring the music altogether, but Prince’s video for “Cream” was another example of an artist embedding his personal vision of sensuality as deeply as any of the grooves provided by the crack backing musicians. There were some truly expressive moments in that video, moments as essential to that song as, say, any key lick in a Beatles song.

Cher is another artist who rarely gets credit for her merging of a unique, personal sensuality with hot, rockin’ grooves. I’m not talking about her work with Sonny, in which she had to submerge her sexuality so as to limit her natural dominance over her man, but her solo work. A little-discussed running theme of her Cher’s revolves around the sort of issues French director Louis Malle explored, of innocent incestual and otherwise sexual relationships between children and their mothers. Remember that video with her wearing little but a leather jacket and thong as she paced across a ship’s deck with her son (the spawn of her and Gregg Allman) wailing on lead guitar? Better yet is the opening shots from her forgotten, X-rated, 1969 film, Chastity. The plot is pretty twisted – and hot – and right off the bat, as the opening credits roll, she parades her slender, bra-less body in front of some young boys. No joke: check out this clip and watch closely around the 7-minute mark for the acting debut of one of our Townspeople. It’s no wonder the flaxen-haired youth of the video grew up as comfortable in his skin as he is today.

Now onto this Spank Rock guy…
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Dec 152007
 


We’ve got an honest-to-goodness contest to announce for those of you with a strong constitution and creative writing skills.

The fantastic Wolfgang’s Vault site, which holds an incredible amount of otherwise unreleased streaming audio concerts from the “exquisitely preserved, original archives of Bill Graham Presents.” There are classic concerts by all the big arena names of the past, from Aerosmith through ZZ Top. You can even hear The Sons of Champlin‘s legendary 1972 gig at Winterland!

One gig that never occurred to me as being available at Wolfgang’s Vault, however, is Billy Idol’s 1984 show at the Oakland Coliseum Arena. I don’t know, I would have figured no one would take care to preserve such a recording.

To my surprise, Billy Idol’s 1984 show at the Oakland Coliseum has been preserved, and now you can listen to it in streaming audio at Wolfgang’s Vault. Check out this excerpt from the concert summary:

This show was captured for the King Biscuit Flower Hour Radio Concert Series in 1984, when Billy Idol was at the peak of his popularity. He had become a poster child for MTV, and his Elvis-inspired “snarled” upper lip and spiked blonde hair had become a popular pop culture image all over the American landscape.

Although this set only features about half of the songs played during the entire show, it’s almost a greatest hits collection. Included are air-tight versions of “Rebel Yell,” “Dancing With Myself,” “Hot In The City,” “Mony Mony” (his rocked-out cover of an old Tommy James & The Shondells song), an extended version of “White Wedding,” as well as a blistering eight-minute version of “Flesh for Fantasy.”

You get that last part, which promises a blistering eight-miinute version of “Flesh for Fantasy”? I dare you, Rock Town Hall, to listen to this concert. Who among you is brave enough to take on this task?

The Townsperson who reports back to us with the most detailed, descriptive, vivid review of this streaming concert will win something even better than the patented RTH non-prize: a limited edition Rock Town Hall t-shirt, like the ones our models have been advertising. No joke! I know this is a difficult mission. You have until midnight, Sunday, December 16, to post your review here, in the comments field accompanying this post. The winner will be selected shortly thereafter and contacted regarding shirt size, address, and the so forth.

I dare you, Rock Town Hall!

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Dec 142007
 


If you’ve got a minute to spare between taking that Billy Idol Challenge, let me know what you think about baseball’s Mitchell Report as it reports to rock ‘ roll. Do you think it’s time we establish performance-enhancing drug testing in rock? I mean, have you compared Alex Chilton‘s voice in the Box Tops with his voice just a couple years later in Big Star? The difference is as great as that in Barry Bonds’ hat sizes. The guy must have been injecting some kind of anti-HGH! Any other rockers you suspect of having used performance-enhancing drugs? What is your rock performance-enhancing drug of choice, anyhow?

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Dec 132007
 

As we continue to reflect on the musical spirit of Ike Turner and contemplate sarcastic headlines regarding his troubled personal life in light of the announcement of his death, I thought I’d share my favorite tracks from him 1969 album, A Black Man’s Soul.

Ike Turner and the Kings of Rhythm, “Black Beauty”

Ike Turner and the Kings of Rhythm, “Getting Nasty”

This album, by the way, is available through eMusic, which you may sample for a month for free. See the little ad on the right margin of the Main Stage.

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Dec 122007
 


2000 Man, in our recent Johnny Winter-Rolling Stones’ “Silver Train” thread, mentioned a third version of this Stones’ deep cut that he’d share with us. Sure enough, the our man from the last century took care of business and sent in the following reply to the original thread. So that this version doesn’t get lost in the Comments section of the orginal post, we’re bringing it to the Main Stage along with 2000 Man’s comments. I also found a live version by Winter. Don’t think Rock Town Hall isn’t THE place for versions of “Silver Train”!

Sorry to take so long getting on this. What good is it to have a Rolling Stones fanboy in the Hall if he’s not gonna step away from the bong now and then and pitch in? Anyway, here’s the demo version that Johnny Winter probably heard. They played the song live once or twice (I’d have to look it up, I think once) and it sounds kind of like All Down the line on that one, which is probably why they dropped it.

The Rolling Stones, “Silver Train” (demo)

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Dec 122007
 

Townsman dbuskirk sent me the following clip, which I believe addresses some of the simmering concerns that have arisen from the open forum in tribute to The Minutemen. Mad props to db, Alan Watts, and the South Park creators for identifying this common RTH dynamic.

Isn’t I know what you’re thinking: No, it’s not Watts the guy whose voice is was used on Fripp’s The League of Gentlemen album? but J.G. Bennett.

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Dec 112007
 


As if often the case, I’m a few years behind in my rock-doc watching. I just watched The Minutemen documentary, We Jam Econo. As Laugh-In’s Artie Johnson character would have said, Verrrrrrry innnnnteresssting.

For about 25 years I’ve been interested in and respectful of the music and ways of The Minutemen. There may be a half dozen songs by them that I actually like on a visceral level, probably a little less, but I’m not complaining. Tonight I tried real hard to like their music more than I have, but no dice. Their vocals rarely did anything for me other than on the songs in which they talk-sang, and the linear nature of their songs, as always, brought to mind some of the same things I’ve always found unsatisfying in early Wire. That’s cool, though, and it was cool that Colin Newman spoke of his band’s influence on The Minutemen in this doc. Very interesting.

Along with who they were, which always seemed VERY COOL, there were things about the music of The Minutemen that should give me a toehold in eventually liking their music, perhaps that day will yet come. I’m attracted to their physicality, for instance. D. Boon‘s burst of guitar soloing was always cool. George Hurley’s lock of hair was amazing, for another example. They talked a great game about Creedence Clearwater Revival and The Common Man. All cool stuff.

But the point of me sharing isn’t so much about me expressing my unsatisfied interest but, instead, hearing from YOU on what the band meant/means to you. I know some of you saw them. Did that physicality – in person – make up for the lack of vocal hooks? Did the physicality justify all the chopped up, short songs? Did the scene itself play a big part in what you were seeing/hearing?

Do Townspeople under 35 dig The Minutemen? What do they mean to you, Younger Townsperson? Would I get them more readily had they been British and from an artier background? What the hell is my problem?

I’m sure there are answers to questions I’ve not even answered. This rock doc was very well done. Watt’s total lack of eye contact didn’t bother me one bit. Modern-day Hurley was amazing! What an embodiment of a drummer!

I trust you know what I’m getting at here. Are you up for some free-form chatting over the legacy of The Minutemen? And while we’re at it, how are those fIREHOSE records holding up? I remember kind of liking the music musical vocals but being put off by the REM-isms that Ed guy brought to Watt and Hurley.

Very interesting. I want to feel more.

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