Jan 132010
 

Like the Mother Mary of “Let It Be,” who we meet “speaking words of wisdom,” have you ever found yourself either playing a “song of wisdom” for a friend in times of trouble – or in fact been that friend receiving such musical wisdom from another friend?

I know this topic may require you to dig into your emotions, a practice that may seen to contradict your participation in Rock Town Hall. Trust me, there are ways to handle this question that should allow for your wit and cynicism to shine, such as a “Thanks for nothing!” tale of an inappropriately offered song of wisdom.

This subject came to mind yesterday while listening to Talking Heads‘ “No Compassion.” It’s a song I’ll forever link to a college friend sophomore year in college, when I was as down as I’ve ever been. If memory serves, he sat me down and had me listen to this song with him, the musical equivalent of throwing his arm around me and telling me that everything was going to work out all right. Actually, I think he was telling me to grow a thicker skin and stop being such a pussy. Thanks, man.

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Jan 112010
 

So Electric Stevie Land is the Townspeople’s choice.

I will present this to the band as “my” pick and I’ll report back.

In the meantime, let’s have some fun with Guess the Cover Band’s Object of Affection by Their Name Game.

I have one example and one band (fictitious, of course) and then two to guess…I’m sure Townspeople can come up with better ones.

Space Monkey Mafia – Billy Joel Tribute Band (from “We Didn’t Start the Fire”)

Caviar Four Star Daydream – ?

Testimonial Pictures – ?

Can you identify the real bands being held in tribute? What real or fictional tribute band name have you got?

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Jan 112010
 

U can’t touch this!

In a recent thread on Richard Thompson, of all artists, Townsman dbuskirk questioned the Hall’s lack of interest in discussing The Cars:

Kinda shocked there aren’t more Cars defenders here. Roy Thomas Baker’s production stirred my soul when I first heard it. The debut is a wonderfully sequenced record….

The first thought that came to my mind was, Do The Cars need defenders? For me, the Untouchables status of The Cars, that is, the lack of critical debate over their output, requires no explanation or analysis. Unlike Peter Gabriel, whose untouchable status I found puzzling, The Cars never promised more than they delivered AND they had the good sense to get out of the game before they could no longer deliver within the narrow confines of what they did so well. I’m not suggesting that the second through fourth Cars albums are on par with the first one, but they worked within their system and maintained a high quotient of completely soul-less pop confections.

Did anyone who found that first Cars album the hookfest that it was bum out when the subsequent albums failed to reach that high a level? I don’t think so, but maybe Young Townsman dbuskirk suffered a serious letdown following the release of Shake It Up. More likely, I suspect we accepted the best songs from the next few albums for what they were, never thinking that the band had it in them to do any better. Better yet, they never opened themselves up to criticism by trying to be anything they weren’t. There was never a “serious” Cars album or a “back to the basics” Cars album or a foray into World Music or any other nonsense that The Police, for instance, would try. I believe The Cars should be complemented for this, whether it was intentional or not.

Does this make sense? Are there any other artists who got in and out of the game and delivered to the best of their humble abilities before letting any fan down?

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Jan 102010
 

It’s certainly time Mr. Mod gets over it regarding his long-held beef with Mitchell Froom. As Townsman Oats points out in the comments for that ongoing thread, Froom’s work has grown since the initial productions he did for Richard Thompson and Crowded House, productions for which Mod has never forgiven Froom. At least he acknowledges that Froom’s done better work with Los Lobos.

Last week I received an advance of a forthcoming Los Lobos record that they recorded with that pair. Here’s indisputable evidence of Froom’s growth as a producer.

Los Lobos, “Junkyard Funk”

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Jan 092010
 

Get over it!

I went shopping this morning for an interesting box set for a friend who turned 50 today. He’s a cool, smart guy and big Bob Dylan fan but not what you’d call a hardcore music nerd. His taste in the folkier side of ’60s and ’70s rock is pretty solid, though, and in recent years he’s begun to dig deeper into a couple of previously obscure artists, like Nick Drake. He’ll often ask me questions about new avenues he wants to take. About 2 years ago he wanted to check out The Who Sell Out, after reading the typical critics’ darling hype. Of course I told him to go for it. He did, and he still brings it up now and then. He generally likes it, but it’s taking him some work.

I saw a new Richard Thompson box set, Walking on a Wire: Richard Thompson (1968-2009), and I was reaching for it before I saw the parenthetical year span in the title. Dammit, I thought, I’m not supporting Thompson for all the crap he’s released since hitching up with Mitchell Froom! Some of you may recall I usually dislike Froom’s sparkling kitchen sink approach to production. It keeps me locked out from getting inside the music.
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Jan 082010
 


As I’m sure you know, today is probably the greatest double-shot in rock birthdays, the day Elvis Presley would have been 75 and the day David Bowie is 63.

Damn, Elvis wasn’t much younger than I am now when he died, and now I’m old enough that 75 doesn’t seem too old to be featured on documentaries and Rock ‘n Roll Hall of Fame extravaganzas as a “living legend!” The ’68 Comeback Special still resonates for me more than just about anything else The King ever did. I was just a boy when I saw that and first heard songs like “Suspicious Minds.” What a comeback that only set fans up for a major letdown!

You know I’ve struggled to get my head around Bowie’s fine body of work, but I’ve come a long way. Here’s a nice story I saw on a letter the young Bowie wrote to an early fan.

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