Sep 162012
 

In the past I’ve been accused of not picking out stuff that’s bad enough for us to play nice. I admit, I’m not half the turdhunter as hrrundivbakshi, but lacking his leadership I will once more attempt to step into the void.

How about this 1970 clip of Hair star Robin McNamara performing “Lay a Little Lovin’ on Me”; is this bad enough for you? I’ve been known to be a sucker for these kind of bubblegum songs, but the song and McNamara’s performance define candy ass. Sorry, I can’t say anything nice about this one. I bet you can.

If so and if you still think I make it too easy to play nice, try this next performance by McNamara, of a more recent vintage:

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Sep 152012
 

Return to Forever.

The other day I read a little interview in GQ with Bob Mould. Mould is an artist I’ve long tried and wanted to like in his various guises but never quite can. My interest in Mould starts with the strong sense that he’s a good egg and a real music lover. In the 5 minutes I spoke to him about favorite punk records of our youth after a Husker Du show years ago, he was a good egg. I actually passed out for a second, leaning against the stage during his show. My friend—a close, personal friend and Townsman who shall not go named—and I were wasted on an experimental combo of canned vanilla weight loss shakes and vodka. It was a tasty combination, but not one worth revisiting. I liked Husker Du that night as much as I could have imagined. I especially liked the vibe they gave off. It was like watching some local bands in our scene at the time, good eggs onstage and off, each with a couple of really good songs and fun people watching them from the floor to occupy my time during the boring numbers. Although seeing Husker Du live helped me like them more than my experiences skipping over 10 songs on each album for the 2 good ones, the combination of Mould’s horrible open-chords on a distorted Flying V tone and his bellowing Gordon Lightfoot-style singing voice were limiting factors in my long-term enjoyment.

The hardest trick to pull off in rock and roll is the dreaded “return to form,” that abstract idea that a veteran artist can somehow, after a few decades, reclaim both the sound and the energy of their earlier work. I can’t tell you the number of times I’ve been told that a new Pearl Jam album is “their best album since [insert favorite old Pearl Jam album here].” I can’t tell you how excited I was when Metallica released Death Magnetic and it sounded way more like old Metallica than new Metallica. Being an artist is a real bitch because fans always want you to go backward. They want you to recapture a moment of discovery in their lives that can’t truly ever be recaptured. And you’re supposed to do all of it without sounding repetitive. No wonder so many musicians are prone to smashing their instruments. – Drew Magary, from his intro to the GQ interview.

A few years later I bought Mould’s first solo album, Woodshedding, or something like that. It featured energetic, acoustic guitar-driven songs with cellos and the backstory of Mould wanting to move forward and develop a meaningful, direct approach to songwriting like that of his new hero, Richard Thompson. Remember that time in the mid-’80s, when Thompson suddenly became a guiding light for slowly maturing punks looking for a way to move forward? I was one of those punks; I sought guidance from Thompson, buying almost all his works leading up to the stuff Mitchell Froom started producing once he earned his long-overdue critical acclaim. Mould’s Woodshop album was pretty good, more in tune with Thompson’s hardwood folk-rock albums prior to Froom’s addition of a cheapening polyurethane finish. With the crappy Flying V out of the picture, the lone stumbling block to my fully embracing that album was Mould’s voice. He still sounded like a punk rock Lightfoot to me.

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Sep 142012
 

The home page gives a mission statement for RTH. I’ve also referred to RTH as the Uni-Mind for Rock.

I think there is another purpose it can serve. In AA, recovering alcoholics have a sponsor, the person they can call when they feel the urge to fall off the wagon weighing heavy, someone who can talk them out of making such a big mistake.

RTH should serve the same purpose. For instance: Please don’t ever let me buy another sunshine pop/orchestral pop/Brian Wilson-inspired album again!

The latest mistake I made was buying The Critters, Awake In A Dream: The Project 3 Recordings.

I don’t know what I was thinking. I’ve been burned so many other times on stuff like this.

“Maybe there will be something as good as ‘Mr. Dieingly Sad’.”

“Maybe this one will really be of Brian Wilson-like quality.”

“Maybe, maybe, maybe…”

Never is though. File this one next to The High Llamas, The Beau Brummels, and others even more forgettable.

Please help me—and tell me how I can help you avoid such mistakes.

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Sep 142012
 

Ever get hassled for your rock-length hair? I’m curious to know if anyone ever got hassled for a reverse rock hair length, such as the first generation of punks getting haircuts in the era when long hair became the norm. Did you have a rock-hair advocate?

My Mom was ahead of the curve in the Dry Look movement of the early 1970s, when regular guys first followed the flowing hair fashions established by rock ‘n rollers and assorted mods and hippies in the 1960s. She was right there alongside Carol Brady in supporting workingmen’s rights to grow their hair to a well-conditioned groovy length. She saw that my hair was kept at least as long as the Rubber Soul-era Beatles. Among all the snobbish attitudes my Mom inspired in me and that I still call on in times of trouble, perhaps none matched her attitudes toward hair.

His Father’s Mustache. Mr. James. These are the names of the first “hair salons” that my Mom took me to after countless arguments with traditional barbers through my preschool years. There were two barber friends in the family, in particular, who wanted to get a hold of my hair, Elmer and Pat the Barber (he was never referred to simply as “Pat”).

Elmer, one of my grandfather’s oldest friends, a kindly Italian uncle figure with a ready laugh, would call me over. “Let me see that hair, Jimmy,” he’d say in his gentle voice, as he ran his fingers through it. Then his tone shifted a bit. “Why don’t you tell your mother to let me give you a real boy’s haircut.”

“Pat the Barber,” just as friendly a presence in my grandparents’ neighborhood and the father of boy I’d crawl through dirty factory lots with in the summertime, used to give me the same pitch. I’m a boy, I’m a boy, and my Mom could admit it.

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Sep 122012
 

Imagine, if you will, a series of short films documenting classic live albums. Directors would be commissioned to either assemble a concert film from archived or found footage or stage dramatic interpretations of the album. Each film would run the length of the live album’s original vinyl release.

You mission follows:

  • Suggest a live album for this treatment
  • Select an appropriate director
  • Imagine the visual style/storytelling technique for your film.

I’d like to see Paul Thomas Anderson direct a dramatic treatment of Lou Reed‘s Rock ‘n Roll Animal. It would be shot in grainy, washed-out color, somewhere between the porno look of Boogie Nights and the painterly oil drilling scenes from There Will Be Blood.

Staying with Lou Reed, I’d like to see The Velvet Underground‘s Live at Max’s Kansas City directed by Michel Gondry, who would find ways to make the most of the crumbling legacy of an already underground band as they plays what would be their farewell show. Song performances involving puppetry and primitive-futuristic technology would be expected.

The summer tentpole movies of this series would be KISS Alive I & II. I’ll leave it to fans of that band’s live albums to select the director(s) and sketch out the films’ treatments.

I’m sure you’ve got your own classic live album short films to produce.

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Sep 092012
 

Our new best friends over at Touchstone Books (a Division of Simon & Schuster) have given us three copies of the new Freddie Mercury biography. More information about the book is below the fold. To win a brand new copy of your very own simply comment with a link to an image of a music-related personality that rocks the cop ‘stache as well as or better than the late great Freddie Mercury. It’s just that easy.

ENTRIES MUST BE RECEIVED BY 11:59 PM, THURSDAY, SEPTEMBER 13, 2012.

Here are some real cop ‘staches for guidance.

For what it’s worth, according to the pros over at Mustache Summer.

The Police Departments in Los Angeles and elsewhere have a Dress Code for their officers, which details how an officer is to present himself. One of the areas covered is facial hair, which is only allowed in the form of a mustache, and cannot extend below the corner of the mouth. If a police officer wants to grow whiskers, he must grow a ‘stache. That mustachio’d cop on the corner may be burning for a goatee or a Soul Patch, but departmental regulations help keep him from making a horrible mistake.

Also, to ensure complete objectivity in judging, we have enlisted a celebrity to make the calls. Our guest judge is…

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Sep 092012
 

Elephants Memory n. A record that fails to live up to it’s packaging. See here for background.

Ever come across an album that looked so cool in its packaging that you had to buy it—possibly without the slightest idea what the record would sound like? Maybe it was the album sleeve artwork. Maybe it was the title. Maybe it was the die-cut sleeve. Maybe the album sleeve’s font caught you eye. Most likely it was some combination of factors that landed this slab of vinyl a loving home.

Sometimes there is truth in packaging that delivers. Other times, you’ve bought yourself an Elephants Memory.

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