Now that’s some cool stagecraft! What was the last great integration of technology or gadgetry you saw at a rock and roll show? Conversely, what was the worst deployment of technology in the service of Rock you ever witnessed on stage?
I look forward to your responses.
HVB
Mark Metcalf, the actor who played Niedermeyer in Animal House, plays the angry dad at the beginning of Twisted Sister‘s “We’re Not Gonna Take It” video. To me, that’s one of the best big screen feature film-to-music video crossover roles ever. Metcalf carries the crowd-pleasing asshole qualities of his best-known movie role over to the small screen, adding some mainstream credibility to this then-upstart band’s breakout video. Not all established film actors are able to bring so much to their music video work. Take Johnny Depp, for instance.
Surely you remember Depp’s work in Tom Petty‘s “Into the Great Wide Open” video. You do, right? It’s the video in which an already-acclaimed Depp, still years away from believing he was actually his pirate/Keith Richards character, revisits themes from his underappreciated work on 21 Jump Street while playing out scenes from Petty’s version of Bad Company’s “Shooting Star.” Blame it on the script, if you must, but I think Johnny was more interested in going along for the ride, playing the rock star he always wanted to be, and test-driving a Wide Bandana Look that his hairline-challenged rocker friend had been considering, than focusing on his acting chops. In the pantheon of big screen actors appearing in rock music videos Depp’s performance is among the least effective.
So what are the most memorable big screen feature film-to-music video crossover roles ever? What are the flops? Pre-stardom appearances, especially pre-small screen stardom appearances, such as Courtney Cox‘s unparalleled career turn as the cute girl plucked from the audience to dance with Bruce Springsteen, do not count.
Sounds of the Hall in roughly 33 1/3 minutes!
In this week’s edition of Saturday Night Shut-In your host, Mr. Moderator, briefly reflects on the death of Don Cornelius before kicking off a set best enjoyed long after sunset.
[audio:https://www.rocktownhall.com/blogs/wp-content/uploads/2012/02/RTH-Saturday-Night-Shut-In-65.mp3|titles=RTH Saturday Night Shut-In, episode 65][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.]
I tend to do most of my music listening while driving to and from work. This nice half hour drive gives me a chance to get through most of an album or a collection of singles. Today, I was listening to a mix of recent music that Mr. Royale had compiled for me, and it included a song from St. Vincent‘s most recent album, Strange Mercy. The song is “Surgeon” and features David Cronenberg/JG Ballard-like lyrics, some Yes-style guitar work, and a grand Prince finale. Despite this odd assortment of styles, I sort of like this song. On my second listen this evening, it dawned on me: Annie Clark is today’s Kate Bush. Both reveal a great deal of emotionality through somewhat breathy singing, and their music is lushly produced.
So tonight, I looked up a video for the song:
Now I’m confused. First I had to suspend the image of doe-eyed, guitar-strumming folk singer whom I saw open for Stephen Malkmus a few years ago. Then came her next album, Actor, which included a couple of good songs but was ultimately too complicated for me to really embrace. And now in this video, young Annie appears to be getting in touch with her inner and outer PJ Harvey.
I don’t have a firm grasp on St. Vincent. Rewind even further and there she is in the identical choir robe worn by all the members of The Polyphonic Spree. Is she now making up for lost (wardrobe and makeup) time by adopting a series of Bowie-like personae? What’s your take on St. Vincent?
In a recent All-Star Jam, I submitted the idea that, in the pantheon of horrible follow up albums, Gary Wright‘s The Light of Smiles may be the winner.
Of course, Peter Frampton‘s I’m In You was immediately mentioned and Cheap Trick‘s Dream Police also got a nod.
However, those albums at least had hits — and songs you’ve heard. Following The Dreamweaver — which like it or not — was kind of a big deal, The Light of Smiles is a true stinker. If you ever had a copy (probably from the cut-outs), you couldn’t help notice the lavish cover art and glossy packaging. Unfortunately for Warner Bros., and Gary Wright fans, the songs inside were pretty bad.
Gary made three albums from 1974 through 1977 — one was with a reformed Spooky Tooth (featuring Foreigner’s Mick Jones) that had a bad song on it called “Fantasy Satisfier” . . . then his solo hit “Dreamweaver” . . . then on The Light of Smiles, another crappy song called “Phantom Writer.” On The Light of Smiles — he finally went overboard with the other-worldly deity stuff — and the album killed any career momentum from The Dreamweaver.
So, what’s your nominee for worst follow-up album ever?
Here are a few of mine. Please add your own, and we can compare notes during the broadcast.
I don’t own this song or the video; I just wanna share it with every one here at Rock Town Hall!
This bad boy really picks up a head of steam around the 2:50 mark! What’s getting you worked up these days?
