Rock Town Hall • Rock Music Discussion

Justifiable Performances

Jul 202009

As maybe a corollary to our recent Rock Aldas and Grouchos thread, I’ve been thinking about a few instances of musical and other artistic performances and works that almost singlehandedly justified an entire genre that never previously appealed to me – and that may cause me some pause to this day.

One of my favorite Lenny Bruce bits from his Carnegie Hall Concert album begins with the self-confessed jazz afficianado talking about this relatively new genre of rock ‘n roll. He says that he doesn’t dig most of it, slipping in a mocking chorus of “Yackety Yack,” but that there’s one song out called “Spanish Harlem.” He asks his audience if they’ve ever heard it, quoting the opening verse. “It’s so pretty,” he says. This one rock ‘n roll song has clearly opened his mind to the fact that the genre may contain other gems. Dig?

Tonight, after the kids went to bed, my wife reminded that I could catch the end of the Vincente Minelli-Gene Kelly-Leslie Caron masterpiece, An American in Paris. I quickly turned it on just in time to catch the mindblowing, long fantasy sequence that ends the movie, a scene that chokes me up in recognition of its beauty just thinking about it. Sure enough the sequence got me for at least the 25th time. I’m not a big fan of dance and choreography by any means, but Gene Kelly is by far the one dancer I love seeing in action. He’s so athletic, not showy. I can appreciate him as an athlete more than an “entertainer.” Likewise, the fantasy ballet sequence that brings home An American in Paris strikes me as a work of art that fully expresses the emotional content of the film. It’s not some stitched-in talent show piece, as I find most dance sequences, even in the better musicals. The Gershwin music with the choreography and the choreographed camera work speak to me like no other dance sequence I’ve ever seen. Only Saturday Night Fever‘s big dance to “More Than a Woman” comes remotely close to speaking to me on any level.

Those of you who know me and know my complete lack of interest in dance and musicals may agree with my wife that my love for An American in Paris is the most surprising thing that I love.* I’m still shocked myself, but as I told her, that scene is so pretty and well done that, for me, it singlehandedly justifies the entire art of choreography. It’s the only thing that keeps my mind open even a sliver to the possibility that any other piece of choreography I’ll ever see might contain a shred of worthwhile storytelling and emotional content. I’m still a complete oaf when it comes to appreciating choreographed dance, but at least I’m willing to believe it has a place in the arts.
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Moon Rock!

Posted by Mr. Moderator

Jul 202009

What’s the best rock song about travel to the moon or other points in space? As Rock Town Hall marks the 40th anniversary of humankind’s first landing on the moon, I can’t help but think back to the night, as a 6-year-old boy, my family gathered around a little B&W tv at the apartment we were renting in Ocean City, New Jersey. I went to bed late that night, sleeping in the top bunk of the kids’ bedroom. I awoke on the floor the next morning, presumably having rolled out of bed, dropping 5 feet, and probably getting knocked unconscious before I had a chance to awake from my fall. The other thing I’ve been thinking about is David Bowie’s “Space Oddity.” That song always painted such a clear picture of space travel when I was a kid, and it still does today.

What’s your favorite Moon Rock song?

Bob Dylan: Admirable Two-Bit Troubadour or Yet Another Faded Legend Who Can’t Get Over the Fact That the Dream Is Over?

Posted by Mr. Moderator

Jul 192009

Today I spent another delightful evening with Townsman E. Pluribus Gergely and his family. We briefly discussed the Paul McCartney issue, raised after discussion of Paul’s recent appearance on Letterman. We agreed that Paul’s plastic surgery, Botox, and hair dye were relevant in any criticisms of his performance because he continues to try to sell us on the fact that he’s got something left in the tank when he’s had nothing for the last 25 or more years.

Then we had a little disagreement when I compared him to Bob Dylan, saying, “Dylan doesn’t resort to the Botox; he’s not trying to fool anyone.”

Plurbs said, “No, Dylan’s just as bad. He should go away too.”
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Rock Aldas and Grouchos

Posted by northvancoveman

Jul 182009

“I wouldn’t join any website that would have me as a member…”

When I was a kid, the first show I can remember watching with regularity was M.A.S.H. M.A.S.H was huge in the ’70s and the show’s biggest star was Alan Alda, as Hawkeye Pierce, a womanizing anti-establishment wiseacre who lived to deliver a stinging one liner.

In 1977 I didn’t know what a genius was. But if I did I would have been certain that Alan Alda qualified. A few years on I didn’t think Alan Alda was a genius any more, in fact I had my suspicions that Alda was even a good actor. The reason? Groucho Marx. I had caught a Marx Brothers movie late a night and….Holy Shit…Hawkeye Pierce…stole his whole act from Groucho Marx…Alan Alda isn’t a genius, he’s a fraud! Well a few more years went by and I realize this is kinda the way the world works sometimes.I have since made my peace with Alan Alda. He’s all right in my books. You know what they say about tragedy plus time, right?

Anyway, this got me thinking, have you ever been sold on a rock and roll Alan Alda, until you found the rock and roll Groucho Marx? Did you make peace with your rockin’ Alda or do you still hold it against him?

RTH Exclusive — Andrew Lloyd Weber Admits: I Wrote All That Dragonforce Shit

Posted by hrrundivbakshi

Jul 182009

July 17 — London, England — Longtime Broadway musical composer Sir Andrew Lloyd Weber admitted today that he was the “mastermind” behind numerous faux-metal hits purportedly written by melody-speed metal band Dragonforce. In interviews conducted at Weber’s Chelsea residence, the composer of numerous hit musicals confessed: “Maybe it’s the brandy talking, or maybe I’m just missing Elton like crazy, but… for goodness sake — couldn’t the music-listening world spot a late-20th-century ‘Lion King’ melody when they hear one? I mean, seriously… just listen to that song ‘Through the Fire and the Flames.’ It’s like ‘Cats’ or something.”

Weber went on to point out that though he had hired “pretty boys” to play the astonishingly fast guitar solos that undergird the band’s repertoire, “I want the whole world to know, those two really can play that fast. I truly think today’s youth could learn a thing or two about discipline, determination, and — yes — athleticism from those two youngsters.”

Perhaps the evening’s most telling moment unfolded when a representative of online music blog Rock Town Hall asked Weber why he had bothered writing music for the speed-metal band. After spilling his brandy alexander, Weber confessed that he “relished a challenge,” and added that he wanted to “do his part to finally and fully break down the conceptual walls between what is considered musical theatre and what is considered ‘heavy metal,'” adding, “I mean, really: that fine line between Judas Priest and ‘Les Miserables’ was just begging to be smudged, wasn’t it?” He then mumbled something that couldn’t be deciphered about the tastes of 15-year-old boys and the Broadway musical genre, and fell abruptly under the table.

Approximately 5 minutes later, the songwriter excused himself, saying he was overdue for a foot massage, and directed all follow-up questions to his personal chef, Jacques. Jacques immediately left the room, and the briefing was brought to a close.

E. Pluribus Gergley Gets It Right!

Posted by hrrundivbakshi

Jul 172009

I gotta thank you, E. Pluribus Gergley. I’d been meaning to post this video for months, and kept falling down on the job. Your recent comments (and those of Townsman Mockcarr), however, have finally spurred me into action.

I recently found a beat-up old single of the first of the two tunes featured in this clip, namely, “Ooh Poo Pah Do,” and it was pretty good. (Ike and Tina Turner, maybe? I forget.) But — MAN — there’s just something about seeing the schoolyard bully version of the Who belting it out in a sweaty nightclub somewhere in London town in 1964. I mean, shit — you can see just about everything that would make the Who such a great band, at least in terms of their superb Mach Schau factor… and they’re just pimply faced punks!

I just love this clip. Love, love, LOVE it. Hope you and Mockcarr do, too.

Your pal,

p.s.: send me an e-mail about this jazz collection. I have no interest myself, but if you need a favor, maybe we could work something out in terms of me picking them up for you. You got any cool old music gear you don’t want?

Who’s to Blame: Who Did the Most Damage to The Who – and When Did Things Turn for the Worse?

Posted by Mr. Moderator

Jul 172009

Excluding Keith Moon, who lost control of his life, let his drumming magic slip, and then died prematurely, although not necessarily before the band’s greatness was well on the decline, which member of The Who did the most to damage the band’s run of powerful music making? Furthermore, without getting into a “jump the shark”-style discussion, when did this band member’s harmful influence on the band’s direction first lead to a turn for the worse?

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