Jun 222011
 

A car commercial on TV recently perked up my ears for two reasons. First, the sound of the jangling guitar and bass moving beneath it, were suspiciously similar to the outro of “American Girl.” I mean, like rip-off similar, even though it was only a couple of bars of music. And it was not the original recording.

Second, it gave me déjà vu about another car commercial blatantly ripping off Tom Petty some years ago. I can’t find any reference to it, but I sort of recall Petty suing them about it; it seemed to me as if they probably wanted to use his song but he didn’t want to license it, so they just recorded a new sound-alike. I think it was a car cruising along a curvy two lane road among rolling hills of brown grass, to a tune that was a direct rip-off of the opening power chords of Petty’s “You Wreck Me,” not long after its 1994 release. (Ironic theme title for a car, if have that right!) Does anyone recall the details on that one, or am I imagining it?

What other accusations of gross musical theft come to mind? “My Sweet Lord”/”He’s So Fine” is the most famous case (court case, at least) that comes to mind for me. Maybe we should omit rap sampling of rock music because that list would be endless!

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Jun 222011
 

Mr. Brand New Cadillac himself, Vince Taylor, who took his second-rate ’50s rocker act from England to France, throws down the gauntlet in this vibrant Scopitone!

His challenger is hometown favorite Johnny Hallyday, France’s answer to early rock ‘n roll, thereby tainting the man’s work with a possibly unfair third-rate status. See if Johnny’s got what it takes to steal a victory in this Mach Schaudown…after the jump!

Continue reading »

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Jun 212011
 

I’m far from a Pat Travers fan, but I really dig his live version of “Boom Boom (Out Go the Lights).” It’s from Live! Go for What You Know. Real catchy title, right? It’s an average blues boogie that 1,000 other bands probably play, or there are 1,000 similar songs you could play instead. Their version is kind of sludgy and proggy, so there isn’t a lot going for it yet. Regardless, when this live version came out in 1979, I found it a huge FM radio treat. I really enjoy how well the audience holds up their end. I love how each time Pat hits the payoff line Boom Boom, he guides the crowd with a “right here,” “what is it?” and  the audience hits it mark perfectly with a clear and clean “Out go the lights!” Maybe they all got together beforehand to practice. I asked the audience if they had room for another member, but they never got back to me.

What other songs come to mind where the live version is far superior to the studio version? Any others where the crowd energy or participation gets a big part of the credit?

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Jun 202011
 
Mighty Awful or Mighty Underrated? You Make the Call!

Mighty Awful or Mighty Underrated? You Make the Call!

This year marks the 20th anniversary of EC’s Mighty Like a Rose. I haven’t listened to it in, oh, I don’t know, 10 years or more. Maybe Mod, with his new-found respect for Mitchell Froom, will find it a heretofore neglected masterpiece. Maybe it will have more than the one song I remember thinking was any good. (Couldn’t Call It Unexpected.)  Let us rethink Mighty Like a Rose, and revisit Bearded Elvis of the summer of 1991. (I saw him twice–twice!–on that tour, with the Replacements opening.)

How To Be Dumb?

What was it about this record? The dodgy production? The ugly cover? The beard? The overwrought arrangements? The unwelcome presence of Marc Ribot? The undercooked songwriting? I mean, for instance, did it really take Elvis Costello and Paul McCartney to come up with “So Like Candy”? Let the critical reassessment/feeding frenzy begin!

 

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Jun 202011
 

Look, I think we’d all agree that our beloved Moderator does an admirable job keeping this place thoughtful, and pleasant, and  positive, and — well, you get the idea. Here’s what I say: While Mr. Mod is half a world away, let’s take this opportunity to make Rock Town Hall as snarky, combative and generally unpleasant as possible!  Fuck yeah (fist pump)!

I’ll get the new, stomach-churning version of Rock Town Hall off to a nauseating start with this perormance by British one-hit wonders Our Kid.  Filmed on Top of the Pops in 1976, here they are with their UK hit “You Just Might See Me Cry.” Pretty good, huh?

Think you can top that level of awfulness? Now’s your chance to try. Mod unwisely left me with the key to the No-Prize closet, so I can reward as many people as I want for their tasteless contributions to the general badness I hope to promote. Let your churning stomach juices be your guide! Let no worm-eaten corpse go unturned,and no hopeless, hair-less reunion go unexamined. Let there be smarm! Let there be cheese! Let there be offense!

I look forward to your responses.

HVB

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Jun 202011
 

Happy birthday, Brian!

You know me when it comes to post-1966 Beach Boys: I’ve had it with any further examinations of Brian Wilson’s psyche, the possibilities left hanging in the unfinished SMiLE album, and the occasional decent tracks found on the albums following Pet Sounds. What I want to know is what exactly was going on in the band proper during the period captured for posterity in this 1969 Paris performance.

Has anyone ever sat down with one of the band members and asked them to look back specifically at this period? Not in broad terms of them hitting a commercial nadir, because that’s only a set-up for the triumphant return to the charts with Mike Love’s “concept album,” Endless Summer. Not even in terms of the band having reached its cultural nadir of irrelevance, because that would also be an easy set up for them to talk about how Endless Summer aided in healing a nation torn apart by Vietnam, Watergate, etc. No, what I want to know is if anyone simply asked Carl or Al what was going through their minds when they looked over at Mike. What discussions led to everyone wearing white while still allowing more than enough rope for a certain band member to hang himself in his own sense of personal style? What went through Carl’s mind the first time he caught a glimpse of his fat ass in those tight white slacks? What defined “success” for the band during that awkward stretch? I want thought bubbles atop these performances!

These performances of stomping hits from their past and stomping would-be hits of their then-present is pretty noble and poignant, if you ask me. Much more so than the detrius that’s more commonly put under the rock-nerd microscope and dipped into the critical wishing well of hidden riches. Maybe following my week in Paris and brushing up on my barely remembered French the narration accompanying the following 1970 Paris show will answer some of my questions…after the jump! Continue reading »

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