Nov 272010
 

Crabby Appleton

You may recall a recent Mystery Date featuring a proto-power pop song that Townspeople correctly identified as being from 1970 while puzzingly and incorrectly guessing was recorded by an obscure Dutch band. Our Mystery Date turned out to be an American band, Crabby Appleton, led by Michael Fennelly, who’d previously come to underground pop acclaim as a member of “sunshine pop” commercial flop and cult favorite The Millennium.

I first discovered The Millennium when Begin was reissued on CD, probably around 1990. My friends and I had started a Rutles-like offshoot band that we envisioned as one of the “second-tier” pop-psych bands we loved, including The Turtles, The Hollies, Grass Roots, and The Pretty Things. This new old band we’d discovered, The Millennium, was just the sort of band we’d envisioned. “It’s You” is one of the great songs from that era; I still get chills everytime I hear it. Little could I have imagined that, 20 years later, I’d piece together a long, vague personal history with the music of one of the writers of that song and get the chance to talk to him.

As mentioned in the Mystery Date thread on Crabby Appleton, when I first came across their album at my college radio station, in 1981, my late-night DJ shift friend and I didn’t get it. The band name and the hard rock elements threw us off. Revisiting the album with nearly 20 years of time to catch up on early 1970s’ hard rock I actually dug it! I played “Go Back” for my old college friend too, and he did too. One of the reasons we enter the Halls of Rock is to revisit stuff we didn’t get at earlier points in our lives. The good day of discovering that Crabby Appleton’s debut album was actually a solid, slightly ahead-of-its time piece of work that tied back to an earlier band I loved continues with our chat with Michael Fennelly.

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Nov 262010
 

Reconsider me?

Here’s a weird thought. See if you can stick with me…

While watching the PBS American Masters piece on John Lennon last night I was constantly reminded how deeply I’ve always related to this public figure. I don’t mean to compare myself to Lennon or anything like that, but—this is embarrassing to admit—I feel about him the way Christians are probably meant to feel about Jesus. (And I don’t mean to compare myself to Jesus, for that matter, so cool your jets.) For a public figure I never met he was a true role model and hero in a world that I’ve always found a little short on both counts. In my imagination and heart Lennon represented just about all that humans can be: creative, intelligent, idiotic, outspoken, witty, angry, tender, cruel, plainspoken, puzzling…. He capped off his abbreviated life by growing the hell up and, on his second try, becoming the father his own father couldn’t have been for him. As a teenager trying to manage growing up without a half-decent father myself that was an especially meaningful final act that I continue to hold onto well into my future.

Among modern-day artists it seems that Bruce Springsteen resonates on almost as deeply a personal level with his fans. Is it anything like the feelings I know Lennon fans feel for their hero? It seems to be, and I hope we don’t have to see The Boss come to a tragic end to gauge just how deeply his fans feel about him. Do you relate to Springsteen on anywhere near as deep a level? What does he represent for you? Continue reading »

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Nov 252010
 

Let’s say we’re celebrating Thanksgiving in the Halls of Rock with each Townsperson bringing a regional delight from his or her hometown or current place of residence. One song per Townsperson, please. What are you bringing?

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Nov 242010
 

This offlist note just in from a Townsperson who must not be named!

You may remember 2 years ago, at the first RTH gathering I attended, that I brought up a potential RTH topic that I thought was too tasteless to ever actually bring up on the board or start as a post: What would be the “Hitler’s Desk” of rock memorabilia? That is, the most gruesome/tasteless/bad karma infamous rock item that only a truly depraved collector would dare own.

My choice at the time, which I was sure no one could ever top if the topic ever came up—which it wouldn’t, and I would never own up to thinking of even if it did, of course—was the copy of Double Fantasy that Mark David Chapman had when he killed Lennon.

It turns out that the real world has caught up: http://www.guardian.co.uk/music/2010/nov/24/album-john-lennon-signed-auction. The auctioneer even agrees: this is so terrible a thing to own that the person selling it must do so in secret, for fear of his/her own life and/or standing on rock message boards around the world.

Yes, Unnamed Townsperson, I remember this discussion and contine to get a good laugh out of that topic. This reality, however, is sick!

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Nov 222010
 

Which songwriter’s live or demo version of a song given away to another artist to record as a hit single do you like best (in live or demo form by original songwriter, that is)? The given-away hit single could not previously have been released in studio form by the songwriter.

Songs that come to mind that fit these criteria include “Because the Night” and “Fire,” by The Boss; “All the Young Dudes,” by David Bowie, and “Come and Get It,” the demo of which Paul McCartney told Badfinger to follow note for note to ensure the gold!

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Nov 222010
 

Have you seen any worthwhile rock on the tube of late? I’m really looking forward to the Lennon thing on PBS tonight, so much so that I’ll probably forget to watch it and/or DVR it. Feel free to send me a note reminding me of it later tonight, OK?

I’m sure I wasn’t the only person to see The Boss last week on Late Night with Jimmy Fallon, right? I thought He was pleasantly charming, from His appearance as His younger self in a duet with Fallon as Neil Young through His time chatting with Fallon and then playing with The Roots, Little Steven, and Roy Bittan. His version of “Because the Night” made me appreciate, as always, His generosity in giving that song to Patti Smith, who made it something special.

This weekend Florence + The Machine appeared on Saturday Night Live. She/they were incredibly annoying, like Annie Lennox done by the tone-deaf Cher.  Not that I ever expect to, but I don’t get it. At least Lennox could carry a tune. The band’s use of a plus sign rather than an ampersand makes me wonder if there’s ever been a good band that used a plus sign.

Other than that I caught a Jimi Hendrix doc on Ovation centered around his Monterrey performance that never fails to amaze me, an interesting history of Da Blooz on the same cable network, and some episodes of the always-entertaining That Metal Show. What a genius format for presenting a genre of music that otherwise doesn’t interest me in the least!

Surely I’ve missed something else worthwhile. Do tell.

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