Jul 182009
 

July 17 — London, England — Longtime Broadway musical composer Sir Andrew Lloyd Weber admitted today that he was the “mastermind” behind numerous faux-metal hits purportedly written by melody-speed metal band Dragonforce. In interviews conducted at Weber’s Chelsea residence, the composer of numerous hit musicals confessed: “Maybe it’s the brandy talking, or maybe I’m just missing Elton like crazy, but… for goodness sake — couldn’t the music-listening world spot a late-20th-century ‘Lion King’ melody when they hear one? I mean, seriously… just listen to that song ‘Through the Fire and the Flames.’ It’s like ‘Cats’ or something.”

Weber went on to point out that though he had hired “pretty boys” to play the astonishingly fast guitar solos that undergird the band’s repertoire, “I want the whole world to know, those two really can play that fast. I truly think today’s youth could learn a thing or two about discipline, determination, and — yes — athleticism from those two youngsters.”

Perhaps the evening’s most telling moment unfolded when a representative of online music blog Rock Town Hall asked Weber why he had bothered writing music for the speed-metal band. After spilling his brandy alexander, Weber confessed that he “relished a challenge,” and added that he wanted to “do his part to finally and fully break down the conceptual walls between what is considered musical theatre and what is considered ‘heavy metal,'” adding, “I mean, really: that fine line between Judas Priest and ‘Les Miserables’ was just begging to be smudged, wasn’t it?” He then mumbled something that couldn’t be deciphered about the tastes of 15-year-old boys and the Broadway musical genre, and fell abruptly under the table.

Approximately 5 minutes later, the songwriter excused himself, saying he was overdue for a foot massage, and directed all follow-up questions to his personal chef, Jacques. Jacques immediately left the room, and the briefing was brought to a close.

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Jul 172009
 

I gotta thank you, E. Pluribus Gergley. I’d been meaning to post this video for months, and kept falling down on the job. Your recent comments (and those of Townsman Mockcarr), however, have finally spurred me into action.

I recently found a beat-up old single of the first of the two tunes featured in this clip, namely, “Ooh Poo Pah Do,” and it was pretty good. (Ike and Tina Turner, maybe? I forget.) But — MAN — there’s just something about seeing the schoolyard bully version of the Who belting it out in a sweaty nightclub somewhere in London town in 1964. I mean, shit — you can see just about everything that would make the Who such a great band, at least in terms of their superb Mach Schau factor… and they’re just pimply faced punks!

I just love this clip. Love, love, LOVE it. Hope you and Mockcarr do, too.

Your pal,

FS

p.s.: send me an e-mail about this jazz collection. I have no interest myself, but if you need a favor, maybe we could work something out in terms of me picking them up for you. You got any cool old music gear you don’t want?

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Jul 172009
 

Excluding Keith Moon, who lost control of his life, let his drumming magic slip, and then died prematurely, although not necessarily before the band’s greatness was well on the decline, which member of The Who did the most to damage the band’s run of powerful music making? Furthermore, without getting into a “jump the shark”-style discussion, when did this band member’s harmful influence on the band’s direction first lead to a turn for the worse?

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Jul 152009
 

On the ride in today I heard The Stooges‘ “No Fun” and The Who‘s “Getting in Tune” and the following questions occurred to me for possible discussion here in the Halls of Rock:

  • What’s the most stunning entry by a soloing guitar on record?
  • What’s the tastiest intro lick by a bass guitar on record?

I think you can figure out which songs led to each question. I’m not asking these questions, I should add, to set up a Battle Royale but rather to capture your gut responses, as we do in Dugout Chatter sessions.

A few other questions have since come to mind:

  • What’s the first drum intro that comes to mind for you?
  • What’s the first vocal ad lib/aside on record that comes to mind, now that I’ve asked?
  • What’s your favorite vocal ad lib/aside on record?

I look forward to your candid responses!

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Jul 152009
 

I know this birthday means a lot to you, Hrrundi, so I’ve tried my best to provide clips worthy of the event. You probably already own the full version of the following, including the director’s cut that was only available on the German DVD release, but in case you’re not aware of it, check it out:

I trust you will treasure the following gift on many levels…after the jump!
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Jul 152009
 


It’s Townsman HVB’s birthday, and I’d like to celebrate Rock Town Hall’s resident Master of Fun & Games, Seeker of Thrifty Music, Disciple of the Holy Trinity of Rock, Keeper of the Mach Schau, and all-around great guy (and I do mean great), with a few video treats. I’ll roll a few out through the course of the day. I’m starting out with a clip that speaks to your spiritual nature, and then, after the jump, dig into something that I hope speaks to your sense of showmanship.
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Fadeouts!

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Jul 142009
 

I love a good fade out! I was unable to locate an old Musician magazine interview with Ringo Starr on producer Richard Perry (or was it Perry himself, who would have talked about producing Ringo), but it had a great story about Perry, sitting among a cloud of pot smoke, riding the faders like a mad genius during the long fadeout of Carly Simon‘s “You’re So Vain.” Perry had a thing for fadeouts, thinking they were the key to a hit single. I don’t know if that’s still the case, but it got me thinking about a couple of my favorite fadeouts. Maybe you’ll start thinking about your favorite fadeouts as well.
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