Job

 Posted by
Jun 162015
 
Get a job!

Get a job!

I have a friend—a friend of the Hall, actually—and he’s got a problem.

About 10 years ago, after getting laid off, he spent a month or so writing and recording a series of demos for an unfinished album—called simply Job—about his work experience. Now, 10 years later, he’s rediscovered this lost album, and wants to share it with anybody who might care. The unfortunate thing is, it’s a pretty frank examination of just how soul-crushing it can be to, you know, work for a living—which means if he ever wants to get hired again, he can’t attach his name to the thing, which means there’s no real point to finishing it. It’s an interesting existential dilemma, really: is there a point to releasing music unless it’s under your own name? Don’t we do all this creative stuff for essentially ego-driven reasons? And so forth. Anyhow, his need for anonymity is important, because, as it happens, he’s in between jobs again.

I told him: not to worry—the weirdos at Rock Town Hall will understand your need to remain nameless, but will also furnish you with the feedback you’re looking for. He said that would be great, and sent me the tracks to post here. I’ll get one up every few days, so as not to overwhelm.

Oh, and one other thing: this guy (we’ll call him “BD”) tells me that there are a number of tracks on the album that were written in collaboration with a few Town Hallers. He instructed me not to “out” them unless they specifically give the okay—because, again, some of the material on Job is pretty career-hostile.

Make sense? You guys okay with this? If so, here’s the first track, with BD’s impromptu liner notes, explaining what we’re listening to here:

Track number one is called “Energize Me,” and—I dunno, I think it’s pretty self-explanatory. It sets the stage for the rest of the operetta, insofar as it’s spiteful and depressing. Note that I ripped off—sorry, paid tribute to—the almighty riff that starts off Nixon’s Head’s “They Can’t Touch Us.” God, that is such a great song. Please note that this track, like all the others you’ll be hearing, is a demo. So it’s got some rough production edges. Anyhow, “enjoy”—and thanks for listening.

Energize Me

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Jun 112015
 


Has anyone listened to the new FFS album? FFS stands for Franz Ferdinand and Sparks. Sparks is a band I had not thought about in years, until I heard about this new release. I didn’t even think they were a going concern, but I see they’ve cranked out a bunch of music in recent years.

From what little I’ve listened to them, the song above is consistent with what I recall about the band — offbeat lyrics, choppy start/stop beats, and quasi-operatic singing.

A buddy in college thought these guys were the greatest thing going — and I owned Big Boy and Sparks in Outer Space at one point, but I never understood them.

Can you enlighten me on the merits of Sparks? I look forward to your responses.

Previously

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Jun 112015
 


I just saw that Ornette Coleman has died. I’m not a jazzbo by any means, but he’s one of 3 jazz artists (mid-’60s John Coltrane and Bitches Brew-era Miles Davis) who first opened my thick head to the genre. I still think there’s something special about him, a floating, open quality to his music that goes down easy for me, that doesn’t raise my suspicions over the motives of those jazz chord–playing cats who’d previously failed to move me.

“I don’t want them to follow me,” he explained. “I want them to follow themselves, but to be with me.”

I will likely never understand the theory behind jazz music and Coleman’s harmelodics concept, but it felt like he and his bandmates were playing bits and pieces of nursery songs, devoid of the context of chords. Too much about life is surrounded by context, surrounded by chords. I still find it exciting to hear he and his mates blurt out their little sing-songy melodies. Sometimes they’re in unison, sometimes not. When the music of Ornette really works for me, it just sounds like kids playing on a schoolyard. “Ramblin’,” for instance, is like the sound of kids jumping rope or playing hopscotch.

It wasn’t always jump rope and hopscotch for Coleman. Another favorite is “Sadness,” from the stark Town Hall, 1962 album.

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Jun 102015
 

UPDATED: I’m bringing this post back to The Main Stage to celebrate the following blockbuster piece from The A.V. Club. Do the math!

http://www.avclub.com/article/four-columbia-house-insiders-explain-shady-math-be-219964

Filmmaker Chris Wilcha captured what it was like working at Columbia House during this boom time in a low-key, first-person documentary called The Target Shoots First. Wilcha—who started off in the marketing department as an assistant product manager and was soon promoted to product manager—took a camcorder to work and captured the absurdity and mundanity of the company at that moment in time. He filmed scenes not just in the company’s New York offices, but also at the massive Terre Haute, Indiana, manufacturing, customer service, and distribution center (which employed 3,300 people in 1996) as well as an amusing Aerosmith in-store appearance and a trade-show rendezvous with David Hasselhoff.

Previously…

Can remember the first 12 records (or cassettes or 8-tracks) you received from Columbia House for just 1¢? If you’re from a younger generation, can you recall your introductory BMG order? If you’re from a younger generation yet and have no idea what I’m talking about, think of those first free downloads you received from eMusic, but without your parents getting mad at you for forgetting to send back the following month’s default “featured” lp and now owing money for the latest Barbara Streisand album, which you don’t want to be caught dead with owning.

Speaking of those default selections that would get sent to your house each month, what’s the biggest turd you ever got stuck owning?

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Jun 092015
 


What nerve of Paul Westerberg to announce that The Replacements are breaking up again! Really? That money grab of a “reunion” tour with 2 actual members of the band’s once-active recording career was fine for what it was. I hope they made some money. They added something to ’80s rock culture that ’80s rock consumers didn’t give back to them. I hope fans of the band enjoyed hearing those songs performed live again. I hope a bit of their youth was rekindled as they watched Paul and Tommy Stinson shamble about like they were a little too cool to care. However, ceasing to carry on as a greatest hits act is not the same as breaking up. Is it?

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Jun 082015
 

photo_sandinista_lp_uk_inner1

Digital music. Streaming services. All that newfangled jazz. I keep a toe in the digital waters. There are benefits to the medium, but I don’t think I’ll ever be swayed by the new technologies, like my man Andyr. I still like to touch my music, or at least the packaging of it. Until we come up with a better delivery device than the 12-inch vinyl album (and it’s kid brother, the 7-inch single, as well as its distant cousin from England, the 10-inch EP), I’m keeping the faith.

The other day my close, personal friend E. Pluribus Gergely and I were talking about records by favorite artists that lost us. “Did you buy Combat Rock when it came out?” he asked me.

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