Jan 102008
 

UPDATED AGAIN WITH TOMORROW’S CONTRIBUTION (THANKS TO TOWNSMAN SATURNISMINE)
UPDATED BELOW THE FOLD WITH BOWIE’S CONTRIBUTION TO THE GENRE (THANKS TO TOWNSMAN SHAWNKILROY)

I LOVE Syd Barrett and even kinda like this song but I fear it may be the song that launched the Gnome Rock genre. Is Syd to blame? Tell me. I can take it. Is he responsible for…
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Direction

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Jan 102008
 

Townspeople,

I’m going to reach out to musicians of Rock Town Hall first, but I’ll leave the discussion open to non-musicians as well. Tonight I came across a personal Holy Grail video find on YouTube. It’s a 1980 live performance of “Dirty Blue Gene” by Captain Beefheart and the Magic Band. I’ve long searched for a live clip of this, my favorite Beefheart song, with a musical arrangement that works like a time-lapsed nature film. I share it with you following the the jump. But that’s not what I invite you to discuss.

Gary Lucas on Captain Beefheart

I also found this interview with former Beefheart guitarist Gary Lucas. He relates some experiences taking direction from his leader. I love hearing stories of how musicians collaborate and create. I’m banking on the suspicion that some of you do too.

Musicians, share your personal tales of a most memorable time taking or giving direction within a musical setting. Your experiences need not mirror those of Lucas; just offer them up for whatever they mean something to you. Non-musicians, feel free to add second-hand tales you’ve read or heard from musicians that have impressed you. Certainly I will not be the only Townsperson soaking in these tales.

Now onto the Beefheart performances from a 1980 French television broadcast!
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Jan 082008
 

Everybody’s happy nowadays

Over the last couple of weeks I’ve finally gotten around to doing a couple of 21st Century Things: I finally fiddled with the GarageBand program on the Mac Mini we bought about 8 months ago and I watched the movie 24 Hour Party People and marveled at both the director’s self-referential verité style and Steve Coogan‘s glib narration. The fact that I never paid much attention to the Madchester scene and rave culture did not hinder my postmodern faculties.

As the film moved from the early Factory bands, such as Joy Division and A Certain Ratio (ie, bands I owned albums by and liked) to the later bands I’d missed the boat on the first time around, such as Stone Roses and Happy Mondays, my interest in the film was challenged. The Tony Wilson character’s credibility was challenged too, and maybe it was no coincidence that he was being ravaged by Hacienda drug culture while extolling the virtues of the Happy Mondays frontman. But what do I know? That stuff was fantastically popular for a spell, especially in the UK, where the validity of popular musical tastes has been borne out by as many great and bad acts as our own nation’s hit parade.

I was curious to hear these bands again. It had been years since I heard a Happy Mondays song and watched those videos of vaguely ’60s-influenced guys in baggy, vaguely rap-inspired clothes dancing around like the “toaster” character in any ska band to some overly active snare and tambourine pattern. To my surprise, the first Happy Mondays video I checked out was fairly entertaining.

Then I checked out another video, one a bit darker but still fueled by a hyperactive, rest-free beat and repeating nuggets of rhythm guitar.
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Jan 062008
 

I’m not sure how far we’ll get with this one, but be creative. For the game’s sake, we’ll also allow the converse: cartoon or movie characters that sound like effects boxes – but if you go this route you’ll need to define the effect. I’ll kick it off with one of my favorites (andyr knows the other one I have in mind, for sure): Tube Screamer.

Your move.

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Jan 062008
 


The riff in The Rolling Stones’ “Bitch” promises so much, yet the song never really goes anywhere. It’s like Otis Redding’s “I Can’t Turn You Loose” minus the repeating crescendo and the supercharged finale (go to the 1:35 mark of the following clip, if you don’t know what I’m talking about).

After a while, “Bitch”, as great as that riff is, just sits there. The band tries to crank it up to a new level, but they’ve got no firm gimmick, like Otis’ repeating climb. “Bitch” just dies at the finish line. It’s not a bad song – don’t get me wrong – but it’s nohwere near as great as it initially promises. I think even our most ardent Stones fans will give me that much.

On the other hand, there are songs that don’t start out like much but then pick it up and become something special. The following song is one that comes to mind for me. Continue reading »

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Jan 062008
 

Hola, Hombres y Mujeres del Town!

I just got back from 10 days in a pretty cool little country called Uruguay. In addition to Uruguay being the land of my birth, this nation of farmer-aesthetes is also the land of The Mother Of All Flea Markets, held every Sunday over about 10 square blocks of the city. Needless to say, there are lots of dudes out there flogging vinyl, and I went to see what I could see.

At the end of the day, I walked out with about four or five choice-looking albums, about which I knew next-to or absolutely nothing. Finally, this morning, after a grueling 24-hour return trip home, I was able to cue things up and have a listen. Doing so yielded a couple of gems, and one disappointment.

To begin with, let’s get the disappointment out of the way. By far, the LP that held the most promise in terms of Look was the following:

A disappointment

I mean, come ON! These dudes are a) high-steppin’ and soul-clappin’ their way into your hearts; b) wearing matching uniforms of the coolest sort; c) playin’ some seriously twangy-lookin’ guitars, and… well, you get the idea. Sadly — very sadly — the music contained on the el-pee most certainly does not match the Look. Talk about mediocre! I suppose I should cut the Angels some slack — they were one of the earliest “beat groups” in Brazil, and they were learning by poorly copying what they heard, same as everybody else.

A lousy photo, perhaps — but this is all I got on Los Blue Caps, people

On a more positive note, I found a copy of the album Dejame Mirarte, by Los Blue Caps (no relation to any Gene Vincent act of any kind, I assure you). For the most part, the music produced by these Paraguay-by-way-of-Argentinians is standard pop treacle of the day. In fact, it’s even treaclier than *I* can handle, and I’ve been known to tap my toes to some pretty White music, indeed. I was about to write the album off, when — whoah! — buried on the last track of side 2, I found “Don’t Leave Me Alone”. The only song on the album sung in English, it is also very much the only tune that sounds anything like, well, this. I’m actually shocked it hasn’t found its way onto one of those obscure freakbeat comps that seem to be popping up like psychedelic mushrooms in cowflop these days. I hope you enjoy it; I doubt you’ll find it anywhere else.

Spot the unhappy bassist

Lastly, an anomaly from the band that brought you “Little Green Bag”, of Reservoir Dogs fame, The George Baker Selection. I picked up this album based on my hazy recollections of the “Little Green Bag” song and was deeply disappointed by everything I heard, until I got to this, the only song on the album not written by “George Baker” (actually Dutchman Jan Bouwens). The song, called “Suicide Daisy”, was instead penned by the co-author of “Little Green Bag”, band bassist Jan Visser. In my opinion, it’s a stone winner — especially compared to all the other totally shitty sngs the GBS foisted on a cheese-hungry world. I mean, George Baker was the guy who wrote this:

Imagine being Jan Visser in this band. I sure hope the drugs and groupies were good, ’cause he couldn’t have been happy in that band… could he?

Your pal 4ever,

HVB

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Jan 062008
 

For the health of underground rock, it’s vital that we find untapped resources to plunder. For those musicians reading with an interest in psych-pop, may I suggest the following Moody Blues deep cuts for your consideration and commentary. I ask you to focus on not only the music but the musicians’ presentation of their music, through Look and the video crew’s lighting and camera angles.

Let’s start with this track, “Om”. I’m a sucker for any ’60s band’s Eastern-style number, but the singers’ mix of moustaches and office-acceptable hair is was sets this clip apart from your standard post-“Within Without You” fare. The television crew’s production values also hold promise for today’s video-making bands. Check it out!

Next, another well-produced video clip, which kicks off with a nicely fetishized organ shot. Continue reading »

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