May 092011
 

Please explain The Damned—not their music, so much, because that’s easy enough to digest. I’ve got some of their records and like them well enough. They’re often a little too RAWK for my tastes, but at their best they deliver like a poor man’s New York Dolls or, on their surprisingly ’60s-rooted album Strawberries, a melodically challenged version of The Undertones or some other poppy punk band more up my alley. What I really want to understand is how singer Dave Vanian fits into everything. Did fans of the band’s typically rockin’ music need to make allowances for that guy? Were his bandmates initially accepting of his Count Rockula Look? Was he a “gateway drug” to goth? Their music never sounds that goth despite being sung by a lead singer in a cape and dyed-black hair.

Then there’s the issue of the band’s Clown Prince, Captain Sensible, whose schtick I better understand but whose schtick I also find distracting. Is the fact that The Damned was formed so early in the history of punk rock the reason for their lack of stylistic cohesion? Is their lack of stylistic cohesion key to their Collective Rock Super Powers?

Rock historians frequently bring The Stranglers up on charges of lack of stylistic cohesion and bandwagon jumping in the punk era, but The Damned are portrayed as “cool.” What gives, beyond the usual tie-ins to a pre-fame Chrissie Hynde and the legendary London SS, a band that seemed to exist for 3 days while containing, for at least an hour or two, a dozen members of eventual real bands?

What makes The Damned tick? I don’t recall ever focusing on an interview with any of the band members. What makes fans of The Damned tick? Do you pick and choose the songs and band members that appeal to you, or is there a significant run of albums under which Damned fans can rally?

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May 072011
 

Sounds of the Hall in roughly 33 1/3 minutes!

In this week’s edition of Saturday Night Shut-In Mr. Moderator attempts to make sense of his “loose cannon” nature and redirect his passion toward a more-evolved state, known as the Quiet Rage. Old staples of doom and rage will be spun. The theological implications of Addison DeWitt will be explored. Healing is optional. Godspeed, Mr. Mod.

[audio:https://www.rocktownhall.com/blogs/wp-content/uploads/2011/05/RTH-Saturday-Night-Shut-In-27.mp3|titles=RTH Saturday Night Shut-In, episode 27]

[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.]

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May 062011
 

Copyright 2011 Rock Town Hall/sammymaudlin.

You thought we forgot, didn’t you? Rock ‘n roll never forgets. It’s the Seeg’s birthday today. He’s a year older than he was last year. He’s better than ever. On every level. Happy birthday, Bob! Following is a little treat from Wayne Cochran. Continue reading »

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May 062011
 

This thread will probably make the likes of down-to-earth garage-punkers like Townsman Bobby Bittman throw up. I apologize if you’re reading this, Bobby, shortly after eating. This topic is just a part of how I roll.

I love Stiff Little Fingers‘ “Suspect Device” even more than the band’s supercharged “Alternative Ulster.” The blistering, jumpy chord riffs and stop-start chorus are a needed sock in the gut. Jake Burns displays less vocal dynamics than one of those modern-day, overcompressed records our old friend homefrontradio used to complain about—in a good way! (And whatever became of the Hall’s Original Thunder Down Under, not to mention our more recent Aussie contributor, the delightful mikeydread? Be well and stay in touch, my friends.) It’s one of the most PUNK songs ever, and I know a lot of you think that should take a band off the hook for the pipe-tamping point of view I’m about to raise, but really, we’re talkin’ about music. Just because something’s “punk” doesn’t mean it can’t be improved another notch, does it? I would like to investigate ways in which “Suspect Device” could be improved, focusing on the drums, the one aspect of the song that I’ve always found lacking in excellence.

At last night’s Phillies game, seeing the supreme Roy Halladay live for the first time in 2011, I was reminded not only of his mojo-inducing pregame warm-up throw music, Led Zeppelin‘s “Moby Dick,” but his walk-up music, the opening line of Zep’s “Good Times, Bad Times.” Now that song is a balled-up fist of the highest magnitude, and think about how amazing drummer John Bonham‘s contributions are to the song’s rock ‘n roll phalanx. 

Let’s say you were in on the original arranging sessions of “Suspect Device.” The song is at the point of what was recorded and released. Are you satisfied with the choppy hi-hats and uninspired fills? Do you share my view that the hi-hats can’t keep up with the precision of the guitars? Doesn’t it sound like drummer Brian Faloon is simply having trouble keeping up with the song and doing anything of substance? Assuming the guy had it in him to do a little better, assuming he could have relied on a more economical approach to finding a groove within those machine-gun guitar rhythms, can we suggest some ideas for how this song could have been even better?

If you think I’m full of it and want to defend the drumming on this song, be my guest. I’m not a drummer, which is part of the reason I ask whether there is a drummer in the house.

(The live version posted at the top of this thread is fun, but in fairness the studio version follows so you can hear the song in its finished form.)

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