Okay, so the “rock musical” thread was a Very Sad Thing indeed. This next video treasure hunt gives us ample opportunity to make us feel a whole lot better about the intersection of music and showbiz. What I’m looking for is the best performance — real or lip-synch’ed, actual YouTube links are appreciated — in a dramatic motion picture, in a “supporting role.” There are some ground rules:
No clips from movies about the featured band
No clips from musicals or concert films
No clips from artists or bands who were responsible for writing/directing/producing/making the movie in any way
No fake bands — though the band can be named facetiously in the script, it has to be a real rock combo, in real or faux performance
I hope this is clear enough. If it isn’t, consider The Yardbirds’ performance in Blowup — or, better yet, consider The Chocolate Watchband in Riot On Sunset Strip:
It’s been some time since we conducted a full-blown Dugout Chatter among Townspeople. Whaddayousay? Let’s hear some noise! Your gut answers to the following provocative questions are appreciated.
Ian Stewart playing piano and running errands for the Stones or Ian Stewart playing piano and running errands for Zeppelin?
True of False: If a gun was pointed at my head I could name a second song by Golden Earring.
Golden Palominos or Golden Smog?
Quick! Without looking it up can you name eight members of Golden Palominos?
Who’s your favorite rock musician commentator featured on rockumentaries whose own music you really don’t care for?
What’s the least logical live bill you’ve ever attended?
In terms of coolness, please rank the members of The Monkees.
I’m not sure any of them don’t suck, but: what’s the best “rock” musical? I contnue to believe that “Jesus Christ Superstar” is patchily listenable, but in general it’s still a turd. Can it really be the best of the bunch?
KingEd reviews the 43rd digital repackaging of Led Zeppelin’s Greatest Hits…in real time!
Funky dollar bill
The other day I was driving around with my oldest son when Led Zeppelin’s “Good Times, Bad Times” came on the radio. I cranked it up – and then cranked it up further as the solo approached. I tried to square my jaw like Bill Cowher’s and show the boy what it means to be alone, not to care what the neighbors say. Little did I know the song was probably programmed to play at that particular time on that particular Classic Rock station to celebrate the release of the latest 2-CD, remastered, repackaged Greatest Hits collection by these mighty titans of ’70s hard rock, Mothership. This edition was personally sequenced, remastered, and violated by the surviving members of Led Zeppelin. Even the ghost of deceased drummer John Bonham is said to have done his part with a red snapper.
Listen to “Dazed and Confused” and consider just how small Jack White’s well-intentioned dick is in comparison. Oh, John Paul Jones, no wonder Robert Plant is moaning during the psychedelic breakdown! As noble as Plant’s recent collaboration is with bluegrass artist Alison Krauss, this is the sound that gets the kingsnake-a-rattlin’. By the time we get to Jimmy Page’s typically ham-fisted guitar solo, who the hell cares?
As far back as the late ’60s, did the dark arts in which Plant and Page dabbled divine the following decade’s coming punk rock revolution? “Communication Breakdown” would forever haunt stuck up, insecure punks of my generation. No matter how cool we thought we were with our pumping, Ramones-style Barre chords, the mighty Led Zep had been there, done that.
Manliness established, it’s time Page picks some delicate arpeggios on his acoustic while Plant trolls for a maiden or three. “Babe, I’m Gonna Leave You” goes out to the ladies. The delicate pleas of the front men are punctuated by the massive tom fills of John Bonham, rock’s heaviest drummer. Eventually, following one last volley of Page-Plant curlicues, Bonzo inspires the pretty boys to give up the chase and go for the kill. “Baby, baby, baby, baby…” As a teen I was amazed and disgusted by how many times Page could moan “baby” and “woman.” To this day I’m a bit baffled by this practice, but now I’m willing to let it ride. Continue reading »
Hey, guys and gals! I’ve got a super swell idea for a Thrifty Music edition — let’s put up some of the keenest, niftiest songs I’ve ever found in thrift stores and flea markets… so long as they’re songs that were obviously targeted exclusively at an extremely white listening audience! Then, after RTH members have had a chance to really swing to some of these neat-o numbers, we can all talk about our fave songs that are also, you know, very White and everything! Wouldn’t that be the coolest? Sure it would!
Yet another band reputation besmirched by a “tribute” from REM
To start with, here’s a ginchie number by a groovy combo called The Clique. You may know the tune as popularized and largely ruined by REM, but here’s the extremely white original. I’m talking of course about “Superman”.
Let me know if you want to hear the wonderfully-titled A-side
Next up, “It Just Won’t Be That Way”, by super-pale band The Critters, who enjoyed a modest hit back in, oh, 1967 or something with “Mr. Dieingly Sad” — one of my fave rave song titles ever. “IJWBTW” is the less-often heard B-side, about which I want impressions from Townsmen Mockcarr, Velv, Trolleyvox, Mod, and anybody else out there with an ear for nifty white pop hooks. I want reports!
Ow — my extremely white teeth hurt!
Third in line, a sickly sweet bubblegum confection by White Plains, entitled “My Baby Loves Lovin'” — yet another song title to die for. As much as I love and appreciate music from all kinds of people of all sorts of ethno-cultural backgrounds, every now and again, a steaming pile of whiteness is shoved under my nose, and I must admit I thrill to its mac-and-cheese, bologna sandwich pungency. This is one of the artefacts that does it to me. It’s simple. It’s silly. It’s catchy. It’s draped in 100% Rayon from head to toe, and I love it. I hope you will too.
The reason I like this song
NOT the reason I like this song
Lastly, the track that will get my posting privileges revoked for sure: “Where the Action Is”, by John Paul Young. This was actually originally the A-side to JPY’s one global super-mega-smash, “Love Is In the Air,” but it was eventually relegated to the flip when its authors/producers realized they’d miscalculated. Most of you already know that I am a total ass-lick fan-boy for the svengalis behind John Paul Young on all of his musical offerings — Harry Vanda and George Young. I had to include this silly, extremely white number because, even in 1978 or whenever this song was released, the Vanda/Young songwriting team just couldn’t help but offer up some choice, extremely white, Easybeats-like production and arrangement touches — especially those background vox in the chorus! (In fact, I coud swear that’s actually Harry and George singing back there.)
Anyhow, as always, I look forward to your comments.
Yours, etc.,
HVB
p.s.: I also get a big kick out of how John Paul Young says “alright, alright, ALRIGHT!” after every chorus. Just wanted to toss that into the whiteness equation.
Let’s say I’ve just landed here from Mars, excitedly clutching a sackful of Mojo magazines and the Trouser Press Record Guide, which I ordered through Amazon’s universal browser. Let’s say I have browsed cool rock blogs and read reports of this artist named Robert Wyatt. Let’s say I have not yet heard his music, but I’m tingling with anticipation over the first notes of Marxist, jazzbo, Canterbury whimsy that’s promised on anything from a classic Soft Machine album through one of a half dozen critically acclaimed Wyatt albums. Then I hear something like this.
