Jun 132008
 

Earlier this week, Mr. Moderator provided an overview of the developmental history of the Rock Face as used by Robbie Robertson. There, he noted Robertson’s occasional use of a Rock Face to stand in for notes not even being played in the song.


Above is The Firm in their 1985 video for Satisfaction Guaranteed. Please review the materials and provide your thoughts on the performance of Jimmy Page contained therein. Specifically, please share your thoughts on Page’s moves while performing in the video.

Some questions for discussion after the jump.
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Jun 132008
 

We’re Only in it for the Funny

Do artists even make these albums anymore? At least years ago, when I was more tuned into the major record label status of big artists, there were sure signs that an artist was nearing the end of a long-term contract. A hastily compiled album of lesser material, often packaged on the cheap, would be rushed to market with little fanfare. The Contractual Obligation Album (COA) might be loaded with cover songs or padded out with live tracks. I believe an entire live album was a pretty cheap way to fulfill a contract as well. The artist wouldn’t do much press for the album, or what interviews were granted centered on how excited they were for their next album.

I’m not sure if Greatest Hits and Best of collections could count toward an artist’s fulfilling a contractual obligation, but I believe to this day they still serve as the old label’s last shot at making a few bucks off the departing artist. Does anyone know the ins and outs of these deals? Too bad Links Linkerson keeps himself in the basement and can’t send us some Billboard links to fill in the details.

The Way Contractual Obligation Albums Were Meant to Sound!

Some contractual obligation albums were outright “F-U” affairs: F-U to the old label, F-U to the buyers, F-U to the coming Greatest Hits/Best of repackaging options. Lou Reed‘s Metal Machine Music is reported to have been one of those F-U COAs, maybe the most brazen of them all.

I wonder what artist has cranked out the most COAs? Do you have a favorite COA, one that works despite – or because of – its tossed-off nature?
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Jun 132008
 

The Blur Best of CD referred to in our recent Old Dude’s Guide to Blur originally was issued with a bonus live CD. This is a good thing, and I’m glad I have it. As the older Townspeople who constitute the Bad Attitude Club have been intensely sampling and studying the studio tracks and videos posted, more than a few of them have come back to me with a variation on the following question:

Thanks for sharing these studio tracks, Mod, but to accurately pass judgment on this band I ignored 15 years ago, I need to get a sense whether they could play live. We all know how any kid with a Mac these days can make a killer record, but only a real band can do it on stage.

So, as a service to our hard-working, dedicated, and open-minded members of the Bad Attitude Club, I’m posting some Blur tracks performed – not just live – but live at Wembley Stadium. That’s bigtime, for those of you who haven’t been watching reruns of early ’80s concerts on VH1 Classic. Listen to the roar of the crowd! Sing-along with the English masses, already! Enjoy – or better yet, analyze!

“Girls and Boys”

“End of a Century”

“Beetlebum”

“No Distance Left to Run”

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Jun 122008
 

Stop your sobbing!

For those of you who, like me, spent much of the ’90s bitching and licking wounds inflicted from musical battles fought throughout the ’80s – and who therefore missed most of the output of Blur when they appeared as part of that Britpop movement that I don’t think caught on much beyond stinking Oasis in the US – I’d like to kick off work toward an An Old Dude’s Guide to Blur. This is especially meant for the consideration of fellow crotchety, old Townspeople as well as further enlightenment from the younger generation, for whom the band that gave Fox Sports broadcasts the “whoo-hoo” soundbite may mean something more. If you’re so cool that you straddle this issue as an older dude who was tuned in enough during the ’90s to have appreciated Blur in their time, bear with us. You too may be of use in this discussion.

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Jun 112008
 

An exceedingly nerdy question to ask, yes, but a worthwhile one, nonetheless, I think. Let’s consider some nominations, shall we?

CHRIS THOMAS
Beginnings: Famously served as George Martin’s understudy during the White Album sessions.
Some Highlights: John Cale’s Paris 1919; Roxy Music’s second, third, and fifth albums; Mixed Dark Side of the Moon; Never Mind the Bollocks; First three Pretenders albums; INXS’ commercial juggernaut Kick; Pulp’s Different Class and This Is Hardcore.
WHAAA? Many interchangeable Elton John albums of the ’80s and ’90s.

JOHN LECKIE
Beginnings: Helped engineer Plastic Ono Band and All Things Must Pass. John Lennon nicknamed him “Licky,” supposedly.
Some Highlights: Be-Bop Deluxe (That’s for you, Mr. Mod.) Early XTC and Dukes of Stratosphere; Three Fall albums, which is more than most members of The Fall can manage (I’m kidding, Berlyant!); First Stone Roses album; Radiohead’s The Bends.
WHAA? Los Lobos’ Good Morning Aztlan

STEVE LILLYWHITE
Beginnings: Engineer somewhere. Does not appear to have learned at the feet of anyone Beatle-related.
Some Highlights: Peter Gabriel’s third album; XTC’s Drums and Wires and Black Sea; many U2 albums; Kirsty MacColl; The Pogues; the last Talking Heads album.
WHAA? Blamed for the big drum sound of the ’80s, but what’s really strange is his alliance with latter-day hippie jam types, particularly Dave Matthews Band.

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Jun 102008
 

Greetings, fellow seekers of the weird, the wonderful and the purportedly worthless! As RTH slogs its way through the merits of various over-produced girl groups from the ’80s, ’90s, and beyond, I thought I’d take a moment to showcase a couple of singles I found while scouring the bins at a local flea market.

First up: The Goodees, a girl group signed to Stax’s “Hip” sub-label as a result of winning a local talent contest in Memphis. Some of you might be familiar with their extremely modest hit “Condition Red” — but it was the B-side, “Didn’t Know Love Was So Good”, that really got me. That Isaac Hayes piano stab after the start of every verse — dang! Just goes to show you how one simple part can really make or break a tune.

Here’s my second thrifty find of the girlie variety: “Chu Sen Ling”, by oriental girl group The Bermudas. Or… wait. Not an oriental girl group. Turns out, the “Bermudas” — as well as The Majorettes, The Georgettes, Joanne & The Triangles, and Beverly & The Motorscooters — were all fake “bands” created by Los Angeles musical entrepreneur Rickie Page to showcase the talents of her immediate family. I’ll let Spectropop continue the story; it is a fascinating one:

This particular outfit comprised Rebecca (Becky) Page, her older sister Joanna, their mother Rickie and Susie Kuykendoll, Rickie’s sister. Rebecca shared lead vocals with Rickie, whose oldest daughter Sheilah sometimes took her place in photos of the group. In 1957 Rickie Page had begun a stream of recordings using her own name for every label under the California sun, not to mention some in Nashville. She also waxed as a member of the Jordanaires, the Spectors Three and Bobby ‘Boris’ Pickett’s Crypt-Kickers; factors which make her one of the unsung heroines of the early-1960s Los Angeles scene. Rickie is still active in the music business, composing songs from her base in Fresno, California.

Anyhow, for me, the point is: I love this song!

Folks, I’m busy these days, so it’s hard for me to wax philosophic on this kind of thing, but I do have one far-ranging, and hopefully revealing, question for all of you: in one sentence, what purpose do “girl groups” serve?

I look forward to your responses.

HVB

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