Nov 102011
 

This week’s Mystery Date was submitted by a Townsperson in good standing.

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 at least one of you 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!

[audio:https://www.rocktownhall.com/blogs/wp-content/uploads/2011/11/Mystery-Date-111011.mp3|titles=Mystery Date 111011]
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Nov 092011
 

Somebody shared this video with me today, and I enjoyed it well enough. The tunes ride along on some serious riffage, Ozzy is entertaining in a frantic, brain-addled kind of way, and — I noticed this for the first time today — the lyrics are actually kind of clever.

Then I started thinking about all that must have seemed completely bizarro about this to mainstream rock audiences in 1970-1971: the stripped-down, sludgy, riff-centric sound, the unbeautiful Ozzy, and — I noticed this, too, for the first time today — the apeshit pounding on the drums, bashing away on open hi-hats and crash cymbals from start to finish, etc. That ain’t no “Across the Universe,” bub. It’s not even “Communication Breakdown!”

Then I stopped myself and wondered: hey, Hrrundi, you silver-tongued, sly, handsome devil — are you mythologizing the things about Black Sabbath that had the staying power to still be cool in the 21st century? Maybe these guys were totally ho-hum back in the day. You’re old — but you’re not old enough to remember how these guys were perceived by the rock music buying public when this stuff came out.

I answered: Hrrundi, you sexy motherfucker, you’re right. You don’t know shit! Which is why I’m asking BigSteve and any other ancient RTH denizens — those who didn’t take so many damn drugs that they can’t remember whether their pee went up or down in the ’60s and ’70s — to tell us their recollections. Think back — back through the fog of dope smoke, the sight of topless chicks wigging out in the third row and the stench of sweat-soaked buckskin — and tell us, if you will, what the world of 1970-1971 thought of…Black Sabbath.

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Nov 092011
 

The recent rifts over Billy Joel had me yearning for something that we all could agree on. I stumbled across this series of videos from an episode of Eight Days A Week, a British music talk show. Not only did it offer a well-spoken and coifed Green Gartside, a grey but tactful Nick Lowe, and rock critic/pseudo groupie Janice Long, but the discussion covered such a wide assortment of musicians circa 1984 that it seemed that we all could find something to love.

In part 1, we have the conundrum of a whether a member of Culture Club‘s solo attempt is any good. We move along to some footage of The Clash at Shea Stadium and discussion of the jettison of Mick Jones.

In part 2, we have fun the Liverpudlian way, with Echo and the Bunnymen.

And in part 3, we hear about Pogue Mahone and other pub bands of the time.

Along the way, we are also treated to references to Neil Diamond, Elvis Costello, The Moody Blues, and the latest band to jump the pond, REM.

Enjoy.

Parts 2 and 3 follow after the jump!

Continue reading »

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Nov 082011
 

Angry Old Man

Now the story can be told: “We DID start the fire,” admits Philadelphia Daily News music columnist Jonathan Takiff, recounting the city’s role in launching the career of Billy Joel.

Takiff’s admission follows in the wake of the super-deluxe reissue of Joel’s Piano Man, featuring a bonus legendary and oft-bootlegged 1972 WMMR live-in-studio broadcast. For many area listeners this historic broadcast gave first airing to songs from Piano Man about a year and a half prior to the album’s 1973 breakthrough release date. A former WMMR DJ, Takiff describes the rush of excitement that swept the Delaware Valley on the night of this broadcast and lasted long into the ’70s, when a Philadelphia teens like a young Mr. Moderator first heard a rebroadcast of Joel’s intimate performance. Takiff describes a “special song”:

That special song was “Captain Jack,” a pungent, pitiless appraisal of wasted suburban youth. As it had at the Point, the tune killed during the Sigma radio concert. “Captain Jack” dares to murmur the word “masturbate,” a sexy shocker I’d never heard uttered in a song before. And then there’s that rousing chorus, “Captain Jack will get you high tonight.”

By the early 1980s, hip Philadelphians would feel a growing sense of shame over their role in feuling the artist’s skyrocketing journey through MOR radio. “We clutched ever so tightly to our similar role in kick-starting the career of Springsteen,” says Joey Sweeney, local tastemaker and editor/founder of the popular, hip lifestyle blog Philebrity. “The Boss maintained a bit of cool cred, whether he was getting all serious with Nebraska, dancing in the dark, or even playing with that thick-thighed guitarist from Lone Justice.”

“I was down with Piano Man and even Streetlight Serenade,” says Philadelphia Mayor Michael Nutter, “but I couldn’t relate to ‘New York State of Mind,’ from Turnstiles. I mean, what kind of ‘Thank you’ was that to the city that first took him to her bosom?”

The Mayor promised to offer a formal apology from the City of Philadelphia for its role in Joel’s continuing pop music presence once today’s Election Day activities have settled down. “Listen,” Mayor Nutter continued, “I’m willing to let bygones be bygones, but I’d rather think of Philadelphia in the early ’70s as the town that first embraced politically minded artists like Bonnie Raitt and Jackson Browne.”

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Nov 082011
 

You know the drill: Dugout Chatter is Rock Town Hall’s rapid-fire thread that requires nothing more than your gut answers! Don’t think too long. Don’t think too hard. Perhaps you shouldn’t think at all. No one’s an expert on the topics that follow. Just answer the questions.

If you have to listen to one, do you choose “scary” music (eg, Vampire Rock) or “funny” music?

If you could add a dedicated second musician playing a particular instrument to the works of a 1-man band album (eg, some McCartney and Rundgren albums), which instrument would you have played by a second musician on which artist’s release? (Sorry, that may be the most convoluted question in Dugout Chatter history.)

Which musician should consider sticking to his or her secondary instrument (eg, as Phil Collins did after becoming a lead vocalist)?

With its frequent use in advertising campaigns it could be argued that The Faces‘ “Ooh La La” is not the band’s best-known song. This song was sung by the band’s tertiary vocalist, Ron Wood. Can you think of another band whose best-known song is sung by even a secondary vocalist?

If we were to design a Rock Town Hall app what would it do?

Speaking on behalf of Oats and bostonhistorian, I look forward to your answers.

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Nov 072011
 

The recent post about the critical downgrading of concept albums has been an interesting read, hasn’t it? One album that was proposed for a downward revision was The Who‘s Tommy. Now, stalwart RTHer machinery stated that record only has two (2) good cuts. I’m not about to go that far, but there is undeniably some filler. Perhaps it might be possible to cut Tommy down from a double album to a single. I’m personally somewhat skeptical about that since it would probably torpedo the storyline as well as leaving out some good music. However, some of you folks might have ideas on what should be trimmed to make Tommy a really strong single album, running somewhere in the 40- to 45-minute range. So get out your scissors and razor blades and have at it! What would you snip? The full track list follows…after the jump!

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Nov 062011
 

The challenge is rather simple. Which critically acclaimed album is overvalued and therefore in need of a rating downgrade? I ask for only 1 album per Townsperson. In this case it will be for late ’60s, early 70s “concept” albums. I use the term “concept” loosely here. A good starting point is somewhere around S.F. Sorrow or Freak Out!, all the way through to Ziggy Stardust give or take a couple years. Perhaps you may want to take on either Arthur, Ogden’s Nut Flake Gone, Forever Changes, or Sgt Pepper . For this exercise you are free to use AllMusic.com, any Rolling Stone Album Guide, or whatever resource material in your library as long as it rates albums.



No easy targets
. It would be too simple to pick on some band or artist that you don’t care for personally. The challenge is to pick an artist/band you actually tolerate.

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