Feb 122011
 

Sounds of the Hall in roughly 33 1/3 minutes!

This week’s edition of Saturday Night Shut-In features a mellowed Mr. Moderator, who’s smarting slightly from the news that the beloved Steppenwolf Live album of his youth was actually one of those fake, in-studio “live” albums, with overdubbed audience noises. Fear not, your host doesn’t harp on this news, but I think it affects the evening’s overall mood. Before this realization gets him down, however, there’s some ’80s neo-garage-psych, a stunning instrumental from someone called Delicate Steve, and more.

[audio:https://www.rocktownhall.com/blogs/wp-content/uploads/2011/02/RTH-Saturday-Night-Shut-In-15.mp3|titles=RTH Saturday Night Shut-In, episode 15]

[Note: The Rock Town Hall feed will enable you to easily download Saturday Night Shut-In episodes to your digital music player. In fact, you can even set your iTunes to search for an automatic download of each week’s podcast.]

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Feb 122011
 

In a recent thread Townsman dickbonanza asked, “Why do I like Dylan’s melodies more than his lyrics?”

Has anyone else ever felt this way? As much as I love some of Dylan’s more direct, personal lyrics, I’m sometimes so mystified by his more impressionistic ones that I’m happy to sit back and enjoy the melodies. For instance, I love the song “Visions of Johanna,” but I’m not able to begin to contemplate the lyrics. I have a friend who’s spent so much time analyzing and appreciating the lyrics to that song that he wants to wrte an essay on the topic. He’s a lot smarter than me.

Think of all the relative “lightweights” with conventionally great voices who’ve sung their hearts out on Bob’s music. Some of them must be as confused as I sometimes am by the words. In fact, perhaps as much as 40% of Dylan’s lyrics hold little interest for me; those songs are carried by the melodies. How about you?

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Feb 122011
 

This should be a rich topic, a fierce battle to see who’s Last Man (or Woman) Standing. Our goal is to cite—one song per post—songs that specifically cite a train, boat, or plane by name, number, or departure time. Descriptive terms that do not meet these criteria will not be accepted (eg, “Big Black Train”). Specifically identified rockets will also be accepted, but NOT cars, off-road vehicles, helicopters, dirigibles, buses (sorry, “Rudie Can’t Fail” and your famed 19 bus), bikes, or motorcycles. Identification by reference to a specific previous departure time will be accepted.

The time is yours…

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1974

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Feb 122011
 

The A.V. Club‘s website has started a new series of columns in which writers talk about their favorite year of music. The first one came out this week, with a very RTH-friendly choice.

There are a lot of years, I could choose as my favorite, but my first response is always 1974. That’s because of four albums: Randy Newman‘s Good Old Boys, Richard and Linda Thompson‘s I Want to See the Bright Lights Tonight, Big Star‘s Radio City and Steely Dan‘s Pretzel Logic. These albums all form a bedrock for a certain kind of music I really value. All those albums are weird pop of a sort: The musicianship is often understated (on the Dan album, it’s understated for them), but not boring; the lyrics are literate and intelligent, but they require a bit of work to penetrate. These albums don’t exactly set out to dazzle, but they create perfect senses of place and character. Each record slowly reveals something, the way a book or film might. As the cliche goes, they show, they don’t tell. You could call these albums “Rubber Soul for English majors.”

So, gut check time, and don’t think to much about it: What’s your favorite year in music and why?

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Feb 122011
 

Following are two musical acts captured in rehearsal for a televised performance. Both acts feature dance steps in their musical performances. Your mission, should you choose it, is to compare and contrast rehearsal styles, with a focus on choreography, the dynamic among musicians, and so forth.

First, Dame Shirley Bassey, seen rehearsing and in interview on some German tv show:

Next, REM with Kate Pierson, rehearsing “Shiny Happy People” for their appearance on Saturday Night Live…after the jump!

Continue reading »

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Feb 112011
 

This is not quite a Last Man Standing topic, but it may verge on one. In the glamorous, hedonistic world of rock ‘n roll it’s rare that fans actually consider a favorite artist’s sobriety a plus. Steve Earle‘s sobriety recently came up in discussion, and he seems to be one artist that even longtime fans would agree has benefitted—artistically speaking—from cleaning up his life. I mean, hardcore Earle fans would agree that his talents have at least been maintained through sobriety if not deepened, right?

Leaving the obvious personal health benefits of any rock artists’ sobriety aside, which artists come to mind as having grown artistically, at least initially, by getting his or her life together?

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