Dec 072010
 

As you may know, there’s no period of The Rolling Stones that I like better than what I call the “Brian Jones era.” I refer to it as such with full knowledge that Jones may not have contributed much, after helping Mick Jagger and Keith Richards to come together and study Da Blooz, beyond his ability to drive the band with his awesome Rhythm Look and an aptitude for coloring songs with his vast collection of “exotic” instruments. What’s never been clear to me, though, is whether Jones actually contributed anything special on the guitar. I, as much as Richard Lloyd, Martin Belmont, and anyone else who’s passed through these hallowed halls, frequently refer to the band’s legendary twin-guitar attack, but can we actually pinpoint what Jones did other than stay out of the way of Richards’ riffs?

A couple of weeks ago E. Pluribus Gergely called me with the following discovery, which he said was the first example he’s seen of Jones playing an audible, prominent rhythm guitar part. It’s the band playing “Oh Carol” on the Mike Douglas Show in 1964. I’ve watched this clip a few times and, although Jones’ part is easily discernable, I think my friend gave Jones a little too much credit. The execution is nothing special, is it?

I’d love to hold onto the belief that Richards-Jones set the template for all that I love about twin-guitar attacks in rock ‘n roll, but please help me find live video evidence of Jones doing anything worthwhile on guitar. Thanks.

By the way, Douglas and his old fart guests’ dismissive intro of the band and the segment at the end of the lip-synched performance of “Tell Me,” when a couple of giddy teenagers come up to meet the band, are priceless.

Finally, it goes without saying that I’m not allowing the following lip-synched performance as evidence, as much as I’d love to:

Continue reading »

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Nov 182010
 

Walking down 15th St in Center City Philadelphia the other day, I noticed the doorbell of a beat up rowhouse broken into cheap apartments for art students. It listed the occupant as “Boognish” and had this symbol over the keybox:

I’d think most of us could trace this character to the Philly-area jokester band, Ween. I don’t know too much about these guys but it occurred to me this is band with a lot of pretty well-reviewed releases (on Allmusic, at least) that has never been discussed on RTH. My search sees them named-dropped here twice in the last 3 years. They don’t have a Greatest Hits to start with, so my question to all of you: What’s the Deal with Ween?

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Nov 042010
 

Last night my 13-year-old son asked my wife and I if The Grateful Dead were any good. I quickly answered, “They’ve got some good songs, but generally they were really sloppy with lots of pointless improvisations and bad singing. We’ve got some friends who like them a lot.”

“I know you love ‘Bertha’!” said my wife, and that I do.

My wife, who’d been to 10 Dead and Dead-related shows in her college days, couldn’t give them a much better explanation. She objected, however, to my later characterization of them playing no more than 30 minutes of coherent music during a 3-hour set. “‘Drums and Space’ only took up 45 minutes of a set!”

“But what about songs like ‘St. Stephen,'” I replied, “which start out on fire for 20 seconds before veering off into a few minutes of Jerry’s mellow improvisations before returning to the main theme?”

“So they’re like Pink Floyd?” my son interjected, referring specifically to a short film of the Syd-led band playing “Interstellar Overdrive” at some famous Happening that was shown prior to the screening of that recent Doors’ documentary.

Obviously I’m not going to be of great help in setting up the Dead for a fair listen by my boy. I’ll play our son the half dozen songs I like a lot by The Dead as well as some of those long jams and terrible cover songs, but help me put into words what this musically attuned 13-year-old boy might expect. And please, don’t attempt to corrupt the kid. Thank you.

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Nov 022010
 

I was driving home from work last night and thinking about the election today. After a scan across the many news and political Sirius/XM stations that were all at commerical (on paid radio?)…so I flipped to music.

Station A, song #1: “Nookie,” by Limp Bizkit

Station B, song #2: “Lovin’ Every Minute Of It,” by Loverboy

This is my musical equivelent of the mid-term elections.

Is there a lesser of two evils?

Keep the personal politics out of this: If you had to decide between supporting one of these “candidates” which one would you pick, and why?

Hey, Maybe you really dig one of these songs. Maybe Mike Reno is your cousin and you support him unconditionally. Maybe you chose “Nookie” last time and feel burned.

VOTE for the lesser of two evils: Limp Bizkit's "Nookie" or Loverboy's "Lovin' Every Minute Of It."

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Oct 182010
 

Granted, there’s much that needs to be explained regarding Todd Rundgren, but can anyone explain Utopia? I’ve heard the occasional good song by that band (eg, “Feet Don’t Fail Me Now”), songs no different from and as enjoyable as the best Rundgren songs, but was the futuristic thing necessary?

This gets to a larger question: Excluding David Bowie‘s forays into space, which actually use space scenarios as a metaphor for the songs, has the futuristic thing ever been necessary or relevant? I’m not a sci-fi guy, so help me out. Has a rock band ever moved society forward by the powers of its space-rock-continuum concept album and/or offshoot band? Jefferson Starship was launched as one of these brilliant ideas, right? I feel like I’m missing some others. Although a totally different style of music, didn’t Sun Ra play the space card? Is it that much fun to wear sci-fi uniforms and play space-age instruments?

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Sep 272010
 


Sid and Marty Krofft couldn’t dream up this performance! We’ve got our share of Move and Roy Wood fans around here, myself included, but can anyone explain Wizzard? Must one be English to get what Wood was up to by this point? I don’t know if there’s any artist I love whose work past a certain point I love less than Roy Wood’s Wizzard recordings. Please explain. Show me the light, if even a faint glimmer.

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Sep 122010
 


I take it that Peter Gabriel covered this song on his recent album of cover songs, called I’ll Kiss Your Ass If You Kiss Mine, or something like that.

As one of the YouTube commentators said:

Please remember that Peter’s version would not EXIST without Lou’s vision and that Peter was INSPIRED by Lou to create his masterpiece.

However, that doesn’t mean you should disregard another commentator’s words:

This version sucks big time. I know he wrote it, so I give him credit. But seriously, this sounds horrible – like something William Shatner would sing. Peter Gabriel took it to a whole new level and Lou Reed’s version just sounds awful by comparison.

Whaddayaknow, here’s Peter performing the song live. Continue reading »

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