Mr. Moderator

Mr. Moderator

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

Mar 052007
 

Over the years, as I’ve compared live recordings by The Rolling Stones to their classic studio recordings, I’ve suspected that the claim that Charlie Watts drummed on those studio albums is a hoax. It’s a damn, dirty lie! The guy sucks so bad live that the Stones must have been using studio drummers from their earliest days.

Let’s start with a look at one of the most distinctive beats in the history of rock. Which among the dozen archetypal rock beats attributed to Charlie Watts, you ask? How about the opening beat to “Honky Tonk Woman”.

Sure, there’s no denying that Charlie Watts is the drummer on this “live” performance of a Stones’ classic:

Judging by the fact that Jagger actually sings with his great tight-throated tone rather than his characteristic live bellow, the fact that the drumming sounds decent, and the fact that Watts doesn’t come close to faking the song’s wrap up, this is obviously one of those studio recordings with newly recorded vocals. In other words, Charlie Watts is drum-synching to the song like the rest of his bandmates. The jury’s out as to who’s actually drumming. I suspect some union guy associated with the BBC.

Now take a look at this performance of the same song, paying particular attention, if you can block out all the other poor performances, to the drums:

OK, that may not be fair. How about this one?

“Now you’re really messing with us, Mr. Mod! Everyone knows that’s not Charlie Watts and the Stones. It’s the legendary New Barbarians! What the hell are you up to?”
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Mar 052007
 

Townswoman Crystal checks in with her views on the latest in Rock Docs.

Shut Up and Sing, which chronicles the Dixie Chicks’ meteoric fall and resurrection, is well worth a watch if you missed it last year. Surprisingly even handed (except for a few scenes), Natalie Maines’ statement about being embarrassed that the President is from Texas sparked, as most of you know, a firestorm from the country establishment that was nearly unprecedented. It’s also an interesting peak into what happens to a band, in particular an all female band that were at the peak at their success, having to battle their way back because of a one-off semi-political statement. You have to at least watch for the scenes of Rick Rubin who has transformed himself into a crazy Buddha-looking producer. In the end though, even with the president’s dropping ratings and the recent Chicks’ CMA nominations, has the country really changed?

VH1 Rock Docs presents Bling’d – Blood Diamonds & Hip Hop is a fascinating look at the impact of diamonds in hip-hop and what is happening in the countries (in this case Sierra Leone) that produce them. Rappers Raekwon (Wu Tang Clan), Tego Calderon, and Paul Wall (the guy who brought us all those hideous grills) all travel to see what the diamond industry is really like. I don’t know if all for show but the plight of those living in Sierra Leone (albeit a small part) is highlighted in a realistic and sometimes unbearable light. I’ll be interested to see if the Hip-Hop community takes their lead or if it’s “We are the World” all over again. You know, there are a couple of benefit shows, a couple of checks drafted, and then nothing happens. I don’t know if it’s still playing but it’s listed on the VH1 site.

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Mar 052007
 

Wolfgang’s Vault, the Internet home of famed Filmore East/West promoter Bill Graham’s archives, is fighting back against the legal teams for Classic Rock artists who are claiming copyright infringement regarding the site’s selling of merchandise and offering of streaming audio performances. With no legal grounding, we say, Go get ’em, Wolfgang’s Vault! You paid for Graham’s archives. Led Zeppelin, The Grateful Dead, The Doors, and Santana have made us pay long enough. Come to think of it – what business does The Dead have worrying about this stuff? Weren’t they rock’s original enablers of bootlegging?

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Mar 042007
 

Rodney Anonymous checks in with his views on the union of humor and music.

Being both a victim (although I prefer to use the term “survivor”) and perpetrator of humor in music, has granted me the insight to develop a two-fold theory about the why certain people feel the need to combine music with comedy. For the sake of the following discussion, these theories shall be referred to below as The Weird Al Yankovic Theory and The Frank Zappa Theory, or, if you like, “Theory Y” and “Theory Z” (Please not that both of these theories pertain to INTENTIONALLY humorous acts as opposed to performers like Sarah McLachlan who, although her lyrics never fail to make me laugh, is not actually trying to be funny.

Here is what the two theories hold in common: Just as cartooning has been described as a compromise between the desire to draw well and the inability to do so (or, possibly, the desire to draw dicks on a men’s room wall), it’s entirely possible that “Humorous” music represents a middle ground between wanting to play and or sing well and the complete failure of most of the population (myself included) to be able to do so.

Theory Y: The Weird Al Yankovic Theory
It’s entirely possible that the majority of “Comedy-Rock” artists are
complete and utter morons.
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Mar 012007
 

Fridays are “jazz casual” on Rock Town Hall. I thought you might like the following clips of Sonny Rollins with Jim Hall.

While you enjoy these clips, perhaps you’d like to ponder the following questions. Your candid, “gut” answers will be appreciated.

  • Have you ever heard Al Anderson’s band from the time before he joined NRBQ? I think they were called The Wildweeds. I heard them the other day for the first time, and they were really good. Much more to my tastes than “the Q.” They sounded a bit like The Rascals or Ian Gomm’s songs with Brinsley Schwarz.
  • Speaking of people named Ian, please pick one of the following: a) Ian Hunter, b) Ian MacKaye, c) Janis Ian, d) Ian Anderson, e) Ian Drury.
  • If you could trim off the fat, which ’70s prog-rock band would have made the best ’60s pop band?
  • Have you ever had an idea or concept for a song that you’ve never been able to nail down and write? If so, why don’t you describe it to us?
  • What’s the coolest record/artist you’ve turned a “straight” (ie, “normal” or “square”) person onto?
  • What’s the word on Samuel L. Jackson’s slide guitar chops in Black Snake Moan?

Now back to our jazz casual Friday…
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