Feb 272010
 

When I was young I could reel off a list of working rock critics whose opinions I couldn’t wait to read. Most of the names wouldn’t shock you. Back then, if they weren’t publishing in a nationally distributed rock magazine or fanzine, be it Rolling Stone, Trouser Press, The Big Takeover, or Option, chances are I wouldn’t have been able to read them. By the early ’90s perhaps their work was collected in a book and I’d have a chance to catch up. There were no URLs to take me to any newspaper or blog imaginable.

Today, with a billion outlets to read rock reviews, I have difficulty naming a favorite working rock critic. In part this is because I’m old and petrifying. How could I judge a rock critic by his or her opinions on a new artist whose work I can’t imagine liking that much? In part it may be because I have too many options, and I can read reviews willy-nilly without ever having to pay attention to the byline. It’s a bit like my difficulty learning song titles in the age of digital downloads. It takes work to squint and comprehend the 3-pt type scrolling across my iPod.

I’m not asking this question to blow smoke up anyone’s ass. I’m curious to know who your favorite working rock critics are – and what makes them so appealing to you. If you can post a link to a favorite piece, that would be much appreciated.
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Feb 272010
 

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Have you heard an interview with Ozzy Osbourne over the last 10 years – and been able to make out half of what he’s saying? I have, and the man can’t get through an interview without gushing over his love for The Beatles and the influence they’ve always held over him. In one way this isn’t surprising because I figure what kid growing up in England in the ’60s wasn’t knocked out by The Beatles. On the other hand, a spin of the music of Black Sabbath or Ozzy’s solo records doesn’t make me think Beatles. Except for some recent single of his.

What is the least-expected influence you’ve heard an artist cite? Continue reading »

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Feb 272010
 

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I’ve never heard anyone who’s seen The Kinks live say they were a great live band. I’ve never seen them myself because dating back to my high school days, when they were at their suprising arena-rock height and I’d hear live concerts of them, they never sounded like they’d deliver anything near what I loved about them on record, in the privacy of my bedroom. Then, into the early ’80s, they started making albums that didn’t interest me in the least – and from concert recordings I’d hear from that period they had the nerve to stand behind those new songs and play them live.

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As video evidence of my favorite rock bands became more accessible in the ’80s, even early performances of The Kinks with all their British Invasion exhuberance were unwhelming. There are many reasons for why The Kinks have never been known as anything more than a mediocre live band, but from what I’ve seen the reasons start with Ray Davies. He’s too self-conscious. The humor of The Kinks is in the music; he doesn’t need to play it up with the goofy hand gestures (see the 40-second mark of the above clip, where Ray’s pointless holstering and gesturing first kick in) and “Banana Boat Song” call-and-response nonsense. That stuff almost always takes me out of the performance and undercuts the ambiguities inherent in their music. It doesn’t help that Ray seems incapable of smiling without smirking.

Meanwhile, the poignancy of The Kinks’ music often gets lost in their live performances. That 1977 clip that Townsman misterioso provided of The Kinks playing “Celluloid Heroes” on British television was surprisingly straightforward and appropriately reserved, but too often, from what I’ve seen and heard, Ray can’t step forward as a clear, confident lead singer on a sensitive song and the band can’t lay back and support things in a subtle, interesting way to make what I feel is the heart of the sound of The Kinks work in a live setting. Am I way off base here; does any of this ring true?

I should note that there is ample video evidence of The Kinks lip-synching to their greatest, most poignant songs, and they demonstrate great skill at this then-nascent rock ‘n roll act. I’m not kidding – and this may be saying something that will help answer the question for you at the end of this piece.
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Before we get into the question I have for you, here’s an interesting clip I’d never seen before today. Ray is sans guitar and energetically fronting a full-title boogie band version of The Kinks, from a 1972 television show, if I’m getting this right. The clip even comes with the magical timecode that, in my opinion, makes any video at least two degrees cooler.
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Feb 262010
 

I haven’t written one of these in a while, but Mick Green of the Pirates died last month, and it inspired me to take a look at the strain of pub rock that was about the ROCK. As we saw in earlier installments of this series, pub rock started out as a sort of weedy Americana, leaning towards the countryish and folky. But as the scene evolved, the British strain of maximum R&B came to the fore, and pub crowd came to prefer a rowdier night out. So pub rock was part of the awakening of sleepy early ’70s pop music, and it eventually came wide awake when it mutated into punk rock.

The roots of the Pirates go back to the early ’60s. As Johnny Kidd & the Pirates they were one of the first credible British rock groups. Their big hit was “Shakin’ All Over.” I can’t find a good YouTube of them playing it, so I’ll post this awesome clip of a version by another iconic early British rocker, Morrissey favorite Vince Taylor:
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Many people covered this song, notably the Who on Live At Leeds. It’s a great riff, but it’s not originally Mick Green’s. He joined the Pirates after it was recorded (in 1960 with Joe Moretti on lead) and left to join Billy J. Kramer & the Dakotas in 1964. Kidd died in a car accident in 1966.

As a side note, I’ll just copy this story from Wikipedia:

The original recording was not a hit outside of Europe. Instead, “Shakin’ All Over” gained fame in North America after Chad Allan and the Expressions covered it in 1965, where it was a #1 hit in Canada. Several months later, concerned that the effect of the British Invasion might eclipse the potential for success in the US by a Canadian act, the record label issued the song to radio stations in the States on a white label, with the artist listed as Guess Who? This became the first hit for the group in the states, reaching #22 and leading Chad Allen and the Expressions to change the group’s name to Guess Who.

Here’s the Guess Who’s version:
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Feb 262010
 

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Years ago a friend tried to turn me onto the underground psych-pop band, The United States of America. I could not get into them, but today I stumbled on this track, “I Won’t Leave My Wooden Wife for You, Sugar,” as well as some other cuts on YouTube, and I’m thinking I may have to reconsider this band. I can now appreciate the whimsy and subtle use of electronics like never before. Are there other prime cuts from their debut or other releases that I should revisit? Did the band members go on to do anything else of note? Thanks.

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Feb 252010
 

While reviewing that Kinks video from 1979, I got to thinking that Spinal Tap keyboard player Viv Savage could have fit in easily with that version of the band. But who is the actual inspiration for Viv? And who are the specific influeces for the Tap. Here’s what I’ve got so far:

Jeff Beck is the visual inspiration for Nigel.

Rick Parfitt from Status Quo is the model for David St. Hubbins.

The Stonehenge prop is apparently based on a Black Sabbath stage prop that was so big that it wouldn’t fit into some theaters that they were playing.

Obviously bowing the guitar with a violin is an homage to Jimmy Page.

And I’ve seen a Def Leppard video in which the band members are shaking their satin-clad asses in the camera exactly like the Tap does during the live performance of “Big Bottom.”

What else am I missing? The more specific the example, the better (eg, choking on vomit is too frequent an occurrence to be linked to one incident).

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