May 282010
 

Willie’s bob.

My wife was telling me about some lame NPR piece she heard that started with news of Willie Nelson cutting his trademark long, braided hair. The news turned into a piece, she said, by some “kid” on most significant celebrity haircuts, or something like that. My wife thought it could be a fun story, but she was quickly put off by the correspondent’s reference to “back in the ’90s” and a description of Jennifer Aniston cutting off her long hair into a “layered bob.” This term really bugged my wife. “A ‘layered bob?!?!'” she complained, hours later. “How did this woman not know what a shag is, and if she’s some culture correspondent why didn’t she refer back to someone like Carol Brady?” She went on to tell me that the woman thought every celebrity hairdo was some variation on a bob. Keri Russell‘s shocking pixie haircut, for instance, was described as a “short bob.” At least the correspondent, according to my wife, did more than talk out her ass on Russell’s haircut, telling the story of her old tv show’s massive ratings dip following the haircut.

It was clear what my wife was getting at: This was a topic that needed to be discussed by the discerning minds of Rock Town Hall! So let’s keep it in the music realm, which we know and love best, and let’s get back to the beginning, considering the significance of Willie Nelson’s newly shorn locks. What are the most significant mid-career haircuts in rock? How did these haircuts change an artist’s fortunes, for better or for worse? How did these haircuts, perhaps, change the course of rock ‘n roll? Feel free to riff. We might uncover some important stuff.

All haircuts up for discussion must have taken place after the artist had already established his or her career. In other words, The Beatles’ groundbreaking moptop ‘do does not qualify because it was not a mid-career change in coiffure.
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May 282010
 

It’s rare that a thread earns Friday Flashback status so soon after its initial posting, but a new Townsperson among us, beenreepin, had some Main Stage-worthy comments on how to best appreciate Motorhead. Click the link to pick up where you may have left off in December, right to his belated comments, or revisit this entire thread and original discussion.

This post initially appeared 12/3/09.


If you point a gun to my head I can hum out the 3 words that make up both the title and (most of?) the chorus of Motorhead‘s “Ace of Spaces.” Other than that I know I’ve heard a song called “Eat the Rich,” or something like that. If memory serves it sounds like the sound a motorcycle makes when a biker revs it up, right? In fact, I think every song I’ve ever heard by Motorhead sounds like a revved up motocycle engine. I know bikers and other motorheads dig the sound of revved up engines, but a lot of rock fans I know who say they dig Motorhead yet drive around in whole-grain, alternative-energy vehicles don’t seem to get a thrill out of listening to a real motorcylce engine. In fact, these well-educated, concerned citizens of rock scoff at real-life motorheads and the pin-dick compensatory measures they – no, we – like to believe those big engines represent. Yet they tell me they dig the band Motorhead. What gives?

These same, value-based proponents of “old-school” practices like leaf raking and loose-leaf tea steeping wouldn’t be caught within 50 yards of a real-life person who looked anything like that human, filthy boil Lemmy – unless they were dedicating a Saturday morning to volunteering in a soup line – yet they tell me how “fucking cool” Lemmy’s wart-encrusted Look is. What gives?
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May 282010
 

They had to go and make it longer, didn’t they? The Rolling Stones couldn’t leave the legacy of the sprawling Exile on Main Street alone. In this newly remastered, expanded edition rock’s most notorious tax exiles add 10 previously unreleased/unfinished tracks. Shotgun-worthy Don Was helped shepherd these outtakes into the 21st century, with Mick Jagger writing new lyrics and adding new vocal parts, in some cases. Considering that the Stones have been reviving leftover jams as new material for more than half their career (eg, “Start Me Up” had been sitting around for 6 years before being revised and released as the band’s modern-day theme song), why didn’t they just release these tracks as a new Stones album and do the necessary work of trimming Exile on Main Street down from a flabby double album to killer EP it essentially is? Lord knows this collection of 10 revived tracks, kicking off with the funky “Pass the Wine (Sophia Loren)” and the pleading “Plundered My Soul,” would have been the band’s “best album since Exile.”

OK, the newest “best Stones album since Exile” wouldn’t have been that easy to concoct – some of these outtakes are early versions of eventual songs from the album. I especially dig “Good Time Woman,” an early sketch of what would become the sublime “Tumbling Dice,” a song I could bring to my lab and never cease to find fascinating in the way each part contains the code for the whole of the song. Surely there would be dozens of sketches left on the floor of Compass Point Studios for them to fill out side two. Then the Stones could have really shaken up the rock world by taking a washcloth to the abundance of blackface greasepaint smeared across the two LPs of the original release.

Considering how much slack I’ve cut lesser bands over the years, it may be unfair to find fault the Stones for dragging down what could have been the greatest EP in the history of rock with a bunch of overblown gospel-blues jams and fun rave-ups, but we really need to spend any more time stoned and nodding along to Bobby Keys’ sax solo on “Casino Boogie?” Does making it through “Sweet Virginia” earn us a hole-punch on our Educated, White, Middle-Class Dude Who Really Digs American Traditional Music card? How many times does that card need to be punched before we’re awarded an actual album of American traditional music?
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May 282010
 

More than a couple of Townspeople have mentioned their discomfort with the “Tiny Dancer” sing-along scene in Almost Famous based on their personal discomfort with sing-alongs. Considering there are a number of musicians among us, including – I would imagine – at least a few chorus and theater members at one time or another – have any of you EVER enjoyed an informal sing-along? Do you ever willingly participate in informal sing-alongs, that is, sing-alongs that aren’t rehearsed and structured (eg, church or school chorus)?

I usually cringe at sing-alongs – or feel completely embarrassed and duck out of them. I was that way as a kid, too, from what I recall. I can’t stand when an artist tries to get me to sing-along by holding out the microphone or whatever, but I’m pretty sure I’ve sung along without prompting to favorite lines at Elvis Costello shows. That was just me singing along with Elvis, though, not singing with the entire crowd. The one regular sing-along I join in on is “Take Me Out to the Ballgame.” Going to baseball games is pretty much my form of going to church and the song is set for a standard time in each game, but I’m counting it as my example of regular, informal sing-along participation.

I just remembered one other time when I’ve sung along with an audience; in fact, I did so just a few weeks ago: the chorus of Baby Flamehead‘s “Amy” is worth singing along to – with everybody else!

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May 272010
 

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As some of you may recall, I can’t stand Cameron Crowe’s semi-autobiographical rock flick Almost Famous. Among the many scenes that didn’t work for me is the key tour bus party sing-along to Elton John’s “Tiny Dancer.” I have to think that even rock fans of that film found that an especially wimpy and unrealistic song over which the fictional hard rock band would unite.

Assuming you agree that a more appropriate song was needed, what song would you have chosen for this scene?
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May 262010
 

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I’ve been thinking about the musical choices that bands/musicians/record producers make when mixing a track, and realized that there is whole subgenre of music that could be defined by the complete unintelligibility of the lyrics. Whether the choice to distort or smear over the lyrics was made to heighten the caché of the music (possible examples = My Bloody Valentine, New Order) or to cover up really stupid writing (see My Bloody Valentine, New Order) it can grant an instant point of discussion and, my thesis, make the listening experience even more enjoyable. As someone whose enjoyment of REM is in inverse proportion to the intelligibility of their lyrics, I would tenderly propose that some songs are made better by the obfuscation of the words. Some examples for me include Cocteau Twins, Les Georges Leningrad, later Talk Talk, Liquid Liquid, some Deerhunter, and plenty on the 4AD label. And yours? Think of it as musical Mumblecore.

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