Jun 242010
 


Townsman Al just passed along the sad news of Kinks bassist Pete Quaife dying at 66 years of age. Although it’s hard to gauge how much magic Quaife contributed to a band led by control-freak Ray Davies, his departure from the band in 1969 marked the beginning of the end of The Golden Age of The Kinks. The band would make a couple more fine albums with replacement John Dalton, but Dalton’s Look never melded near as well as Quaife’s did with the Davies brothers and Mick Avory.

I wonder how late in his Kinks kareer this 1969 clip dates?
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NEXT: Rock Town Hall’s Official Eulogy…
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Jun 182010
 


Let’s review the ground rules here. The Mystery Date song is not necessarily something I believe to be good. So feel free to rip it or praise it. Rather the song is something of interest due to the artist, influences, time period… Your job is to decipher as much as you can about the artist without research. Who do you think it is? Or, Who do you think it sounds like? When do you think it was recorded? Etc…

If you know who it is, don’t spoil it for the rest. Anyone who knows it can play the “mockcarr option.” (And I’ve got a hunch that there are a lot who know this one.) This option is for those of you who just can’t hold your tongue and must let everyone know just how in-the-know you are by calling it. So if you know who it is and want everyone else to know that you know, email Mr. Moderator at mrmoderator [at] rocktownhall [dot] com. If correct we will post how brilliant you are in the Comments section.

The real test of strength though is to guess as close as possible without knowing. Ready, steady, go!

Mystery Date 061810

NOTE: Although representative of the times, this tracks is not typical of the rest of the tracks on the album on which it appears, which is also keeping with the times. Also, it’s not so much the artist who’s our Mystery Date but one of the band members.

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Jun 142010
 


What’s the best “seat” you’ve ever had for a show?

Mine was probably when Townsman andyr and I stood a row or two back from the 4-inch “stage” that barely held X, when I saw them play in a dance studio (you know, with mirrors and those stretching bars on the walls) in support of Under the Big Black Sun. The band was so energetic, animated, and sexy – and they were right in our faces. It was like in the movies, yet people in Philly didn’t do a lot of stupid slam-dancing back then, so I could stand there in my typical arms-folded stance and bob my head in appreciation. It was my first up-close look at what a band’s onstage dynamic could be, and I’ve never had a better look at a better dynamic since.

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Jun 082010
 


Has an interview with a musician ever changed the way you hear that musician’s music, for better or worse? I recently caught the tail end of a little piece on Janis Joplin on NPR that reminded me of this. Joplin’s appearances on Dick Cavett, excerpts of which, when I first saw them as part of some documentary on her that already began to turn my head on an artist I once despised, sealed the deal in helping me like her and even her music! As rock experts, we usually pride ourselves in not falling prey to the Sincerity Fallacy and issues of Look and the like and, instead, focus directly on the music, man. But sometimes the human side of an artist, as seen in an interview, is too powerful to overlook – and so powerful that it informs the artist’s work.

The quote that NPR used, which reminded me of all this, begins at the 25-second mark, but any clip I’ve seen of her few Cavett appearances since that documentary contains a raw, open, feisty, sexy spirit that, for me, is one of the payoffs in dealing with people, let alone the arts. Most folks really need some scratching to show this side of themselves, but Janis is overflowing with what makes her tick. I know, that’s a trait that can wear thin in a hurry, and to this day you won’t find me listening to more than three Janis Joplin songs in a row, but these interviews helped me see this overweight, ance-scarred freak as beautiful – and that’s not meant as a knock on overweight, acne-scarred freaks. I hope we all have moments when our inner beauty shines through.

The 5:35 mark of the following clip is also pretty cool in building empathy for this artist, not to mention her guitarist’s sloppy fuzztone in the partial clip that closes this segment. Continue reading »

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You Make the Call

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Jun 062010
 

Hartford, CT has two passable radio stations. WDRC-FM 102.9 is an oldies station, although they have been tweaking the format for the last 2 years and no longer use the term oldies but rather “good time rock ‘n roll.” WAQY-FM 102.1 out of Springfield, MA is a classic rock station.

In honor of MLB umpire Jim Joyce, I present nine choices for you. These are taken from actual instances on the radio while driving on weekend errands. I noted which song was being played on DRC and which song was on 102.1. So, you make the call: If you were listening, which song would be safe and which would be out. First song listed in each is the oldies choice, second is the classic rock choice.

(1) Neon Philharmonic, “Good Morning Girl” vs. Santana, “Oye Como Va”
(2) The Beatles, “I Want To Hold Your Hand” vs. The Beatles, “Golden Slumbers” medley
(3) The Four Tops, “Same Old Song” vs. Heart, “Barracuda”
(4) Archie Bell & The Drells, “Tighten Up” vs. David Bowie, “Young Americans”
(5) Elvis Presley, “Suspicious Minds” vs. Boston, “More Than A Feeling”
(6) Dusty Springfield, “Wishin’ & Hopin’” vs. Journey, “Lights”
(7) Beach Boys, “Wendy” vs. Don Henley, “Dirty Laundry”
(8) Jonathan King, “Everyone’s Gone to the Moon” vs. Grand Funk, “American Band”
(9) Billy Joel, “Only The Good Die Young” vs. Billy Squier, “Lonely Is The Night”

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May 282010
 

It’s rare that a thread earns Friday Flashback status so soon after its initial posting, but a new Townsperson among us, beenreepin, had some Main Stage-worthy comments on how to best appreciate Motorhead. Click the link to pick up where you may have left off in December, right to his belated comments, or revisit this entire thread and original discussion.

This post initially appeared 12/3/09.


If you point a gun to my head I can hum out the 3 words that make up both the title and (most of?) the chorus of Motorhead‘s “Ace of Spaces.” Other than that I know I’ve heard a song called “Eat the Rich,” or something like that. If memory serves it sounds like the sound a motorcycle makes when a biker revs it up, right? In fact, I think every song I’ve ever heard by Motorhead sounds like a revved up motocycle engine. I know bikers and other motorheads dig the sound of revved up engines, but a lot of rock fans I know who say they dig Motorhead yet drive around in whole-grain, alternative-energy vehicles don’t seem to get a thrill out of listening to a real motorcylce engine. In fact, these well-educated, concerned citizens of rock scoff at real-life motorheads and the pin-dick compensatory measures they – no, we – like to believe those big engines represent. Yet they tell me they dig the band Motorhead. What gives?

These same, value-based proponents of “old-school” practices like leaf raking and loose-leaf tea steeping wouldn’t be caught within 50 yards of a real-life person who looked anything like that human, filthy boil Lemmy – unless they were dedicating a Saturday morning to volunteering in a soup line – yet they tell me how “fucking cool” Lemmy’s wart-encrusted Look is. What gives?
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