Gonna Need a Bigger Boat

Politics

2012-02-10T05:50:00.004-06:00

By request from Willis, I will address politics. I will just say that I agree with Newt. We should go to the moon and it could eventually be our 51st state. He had me at "moon," but when he then added the Imperialist tag there at the end...sold. I miss the Imperialist Age. But is it really Imperialism if there are no people to conquer? I'll say that I agree with his Celestial Territorial Expansion plan. Lunar Manifest Destiny.

OK, in all seriousness, I have thoroughly enjoyed the Republican political circus, so far. Better than the Michael Jackson Immortal show, or so I hear. I have been meaning to post about politics, but I just haven't had the energy to sit down and really think it all through. Posts about music are easier. But I will. Politics coming soon.

Meanwhile, the Moon will be ours!!

Dez Reviews "It Might Get Loud," 2008

2012-01-29T06:33:00.009-06:00

I had been wanting to see Davis Guggenheim's 2008 documentary "It Might Get Loud" since it came out, but I finally got around to seeing it last night. The premise is fantastic: gather three electric guitar legends, each from a different generation, and sit them down so they can talk guitars, roots, influences, innovations, perspectives. The three legends here make for an intriguing trio: Jimmy Page from Led Zeppelin, Edge from U2 and Jack White from White Stripes and The Raconteurs. There is no questioning the chops or resume of each of these gentlemen of the six string.

There are lengthy separate segments following the careers and styles and perspectives of each of them. And they are different enough, both stylistically and in their backgrounds, to make the contrasts interesting. Page grew up in England and became an uber-session man (I didn't know he played on the "Goldfinger" soundtrack!) before joining The Yardbirds and forming Led Zeppelin (really, from the ashes of the Yardbirds). Edge grew up in working class Dublin, and created his groundbreaking, effects-laden sound in part due to initial limitations in skill of all members of U2 (as he said, "when we started out, none of us could really play"). He had to create a new way of playing, in contrast to the session-man professionalism of Page. Speaking of limitations, Jack White seems to thrive on imposing them on himself. While he is the youngest of the three, he is also the most rooted in the past, especially blues music. While still innovative, he chooses to innovate by stripping away technology and struggling through those limitations.

ABOVE: A great scene where Page puts on a favorite record and plays air guitar. It is cool to know that even Jimmy Page can get excited about listening to music.

To me, one of the most interesting points of conflict should be between Edge and White. They could not be more different in their approaches and views, which is set up wonderfully. Edge with his massive effects cabinet and gear (he is always with his guitar tech, trying to work out new effects and sounds), makes the point that the progress had already been made through playing, he was not interested in playing 10 minute guitar solos, he wanted to take the sounds themselves in new directions and re-create the sonic landscape. White, in contrast, is shown making guitars out of driftwood and coke bottles, purposefully playing out of tune department store bought instruments, and wringing out naked, raw emotions uninhibited and undisguised by technology. Both are valid perspectives, and both are persuasively made by White and Edge.

So, I was ready for a clash. Some tension. I was waiting for the scene, once they got to the sit-down/jam session, for Edge to wheel out his effects cabinet and for White to go off on him, and then they could have a spirited debate over their approaches. Never happened. The sit-down was so cordial and deferential, there were few sparks. Where there should have been real tension between the Edge and White's viewpoints, instead there was an acoustic, campfire singalong of "The Weight." I did enjoy the scenes where each of them show the others how to play one of their classics. Kind of a guitar lesson by and for guitar legends.

ABOVE: Jack White rather self consciously makes a guitar from driftwood and a coke bottle

Also, each time the film started to really pull me into an issue, like Edge's effects, or Page talking about recording the fourth Zeppelin record, the film would then jump over to something else. I kind of wanted more on many of the topics they touched on. And I definitely wanted more of the three of them talking and playing. Most of the film followed the three separately, which was interesting, but I enjoyed it the most when they were together, asking each other questions, showing each other songs, etc.

Two of my favorite moments came when they were together. First was when Edge was showing the other two how to play "I Will Follow." Page, the only really professionally trained musician of the three, starts, albeit politely, questioning Edge on whether he really wants to go from a certain chord to another. As if this were a new song they were working through as opposed to one of U2's most beloved hits from three decades ago. I think that decision has already been made, Jimmy.

The other was purely visual. It was when Page was showing the others how to play the riff for "Whole Lotta Love." Generally, when one would demonstrate to the others a song, they were concentrating and working on learning it. But here, Edge and White's eyes get big, they stop playing their own guitars, and just stare. Edge has the same expression on his face that I would if Jimmy Page were suddenly standing in front of me showing me how to play Zeppelin songs. I mean, even Edge and Jack White have to be thinking "holy sh*t, this is Jimmy freakin' Page and he's playing "Whole Lotta Love" right in front of me." It was the only star-struck moment of the film, but I loved it.

ABOVE: Edge gives away some of his secrets

It was a good film, quite entertaining. But I also left thinking it was a lost opportunity to really explore different philosophies on how rock music should be approached. They are touched on separately, but I wanted more direct discussion and tension between the perspectives. Perhaps there was just not that much chemistry amongst the three involved.

*** out of *****

Dez Reviews The Mermen's In God We Trust, 2010

2012-01-28T06:18:00.003-06:00

It's kind of like a new release, since I just found out that it had been released. I've been preaching the Gospel of The Mermen for over a decade now. This remarkable instrumental trio from San Francisco has offered up their moody blend of neo-psychedelic noir surf music since the late 1980's. Equal parts Ennio Morricone, Dick Dale, Jimi Hendrix and Neil Young (of Arc/Weld period), The Mermen take all of these elements and create a cinematic soundscape. A friend of mine once commented that their music is so vivid and lyrical, that it sounds like little movies.

In God We Trust is the long awaited follow-up to their 2000 masterpiece The Amazing California Health and Happiness Road Show. And while it does not match the greatness of The Amazing California... (few records do, that one appeared on my All-Time Dez Greats list a few years back), it still reaches admirable peaks on its own terms.

Songswriter/guitarist/head-Merman Jim Thomas clearly wants to continue mining the the longform epic structure, as the first four tracks here clock in at over 10 minutes each. IGWT opens with the almost 14 minute multipart "One Hundred Foot Lemon," which is a longtime fan favorite that is released officially here for the first time. While it is good, the record really grabs you with the second track, the lilting and lyrical "Trapeze," which sounds like a beautiful Explosions in the Sky song, but with more direction. It then moves into the driving and pulsating "More Wood Less Head," where Thomas fully indulges his experiments with a full range of effects on his guitar. Things do lose some steam with the impressionistic "There Is a Door, It Opens, Then It Is Closed," though.

From there they deliver shorter, more traditionally-structured songs. It's a mixed bag. Noise experiment "Righteous Punishment" and "Costo Knowone" don't really go anywhere, but "Jesus in the Sky" may be the most beautiful song of the record, "Apo Calypso" is the hardest rocker and most accessible thing here and closer "Last Forever (Current Sea)" is a moving, melodic tune that sounds like a piece of film music waiting to be used.

I would recommend getting the version with the bonus tracks, because the live 17-minute bonus cut "Drivin' the Cow" is a tour de force jam that has surf energy, but Allman Brothers level groove.

If you are new to The Mermen, definitely start with The Amazing California Health and Happiness Road Show, but after that you can move on to this one (or, if you are a bit more daring, the now hard to find A Glorious Lethal Euphoria is an experimental stunner as well, where Thomas masters feedback to glorious effect).

***1/2 out of *****

RIP Maurice, 1998-2012

2012-01-21T09:51:00.008-06:00

Nobody really liked Maurice. He was hard to like. He probably had some sort of psychological illness. Perhaps he was just a moody cat. But he was the best pet that I ever had. Because he wasn't a whore with his affections like so many dogs are. Sure, my dog loves me and shows me affection, but he would also curl up in the lap of Charles Manson if Manson pet him or gave him a treat. Maurice would have scratched the sh*t out of Charles Manson. Or the returned Jesus Christ. Pretty much anyone on this planet but me. (And even me every once in awhile, but not too much). He was not friendly to anyone else, but he saved his love and affection for me. He loved to play when he was younger, but mainly he was happiest curled up in my lap or next to me (always close enough where his back or paw was touching me) and just relaxing. In front of the TV, while I was reading or working, he just liked to be with me. And I loved being with him, in part because he was so loving towards me, but even more so perhaps because he was not loving with anyone else.

I picked him up at the animal shelter here in San Antonio in 1998. He was a cute little furball of an animal. A tiny little kitten who had been found abandoned somewhere. Perhaps that was his issue, he was separated from his mother way too young. I already had in mind that I wanted a gray tabby cat. And he was it. A little furrier than I originally had in mind, but close enough. I should have known he was a fiery personality early on, due to the fit he threw when I got him home and gave him a bath. He was no larger than my hand, but he was putting up a fierce resistence.

ABOVE: Maurice as a kitten, climbing on my mountains of CDs

All his life he refused to wear a collar. I tried to make him wear one once. I had it on pretty tight so he couldn't remove it. Later in the day I saw him without it on. What the hell? I eventually found it hanging from the faucet in the bathtub. I surmised that he figured out how to hook part of the collar on the faucet and then somehow pulled his head out of it. There it was, hanging from the faucet, still in a loop, as if to say "f*ck you, I'm not wearing that." Fine, I never tried it again.

I counted up how many places Maurice lived with me over the years, and it was eight. From apartment to apartment, from San Antonio to Austin to Houston and back to SA again, he always came along with me. Most cats are notorious for not liking for their environment to change, but I think he kind of enjoyed it whenever we got a new place. The pattern was always the same. He would first hide for a few days, just to make sure the SS weren't going to burst through the door or something. Eventually he would get comfortable, and then he would spend days running around, exploring every corner, searching out safe and secure spots to take a snooze. This might be presumptuous of me, but his home was less his geographic location than it was wherever I was.

He went to law school with me, went through a trying time when I was close to vagrancy and out of work in Houston. He was with me over several career changes, an engagement and its disintegration, another engagement and eventual marriage, the arrival of my daughter. He has been there at every point and milestone in my life for the past 14 years. But it is less the milestones with him that stay with me. What I really treasure and love are those lazy days that were not milestones. Like the period when I was single and living in Houston and decided to watch a film from Netflix every night for a period of several months. After work, almost every night (unless I had a poker game with some friends), I would come home, grab some dinner and relax on the couch with Maurice and we would watch everything from Metropolis to Monty Python. I can still feel him leaning against me on the couch with that steady, deep, content purr.

He developed diabetes about two years ago, so I have been giving him daily shots of insulin since then. I remember when I first started, I was wondering how the hell I was going to get him to sit still for a shot every day. But he never even noticed it (I would deliver his food, and as he was eating I'd come up behind him and give him the shot in the back of the neck). About three weeks ago he stopped eating regularly and started to lose weight. My vet told me the end was near and I could bring him in to put him down any time I was ready. He seemed to rebound the last week and a half though, and I am glad that I waited. Knowing he was getting weaker, I spent a lot of time with him each evening for the past week or two. I'd bring a book or some papers to grade out where he was and we'd hang for sometimes hours. He was weak and tired, but not in pain. He would curl up in my lap in a tight ball and fall asleep and I would pet him and read or grade papers (I even brought the laptop out and watched a couple of movies with him, just like the old days). That was good. I felt like I was able to say my proper goodbyes this last week or so.

Still, last night was tough. Yesterday morning he seemed OK, but when I went out last night check on him and hang out I knew immediately he was dying. I took him to the 24-hour vet down the street, and they were so great. The vet let me stay in the room with him for over an hour before she did what had to be done. She talked through what was happening to him and gave me all the time I needed. I was in the room when they knocked him unconscious (he was almost there anyway), so appropriately the last thing he knew (if he was even aware at that point, he was completely immobile) was me stroking his head around the temples and behind the ears, which was always his favorite.

Anyway, I hope this is a proper tribute to my friend. RIP Maurice.

ABOVE: I always liked this one. He is being stealthy and thinks I can't see him as he is hiding at the top of the stairs.

ABOVE: I think this was on his first or second day home with me from the shelter in 1998

Dez Recommends Fairport Convention's Liege & Lief, 1969

2012-01-20T09:26:00.005-06:00

It is a rare record that can successfully fuse seemingly disparate styles of music together into something new and exciting, while giving equal justice to the original styles. Britain's most revered folk-rock band Fairport Convention's 4th record, Liege & Lief, does just that. Not well known stateside, Fairport Convention is much beloved in the UK. Don't just take my word for it. The record tops several British music polls as one of the best folk-rock records ever made. After listening to it quite a bit of late, I'd have to agree. For what it tries to accomplish, it could not have been done any better.

What works so well is that it really is an equal balance between traditional British folk and electric rock and roll. The song choices (six daring rearrangements of traditional folk songs and two originals that fit right in) hit just the right notes. This is also the most celebrated line-up of the long living Fairport Convention, featuring the guitar/songwriting deity (amongst music critics) Richard Thompson and the angelic vocals of Sandy Denny. While Thompson's guitar playing is stellar (especially on the longer workouts "Matty Groves" and "Tam Lin") alongside fellow soloist, Dave Swarbrick on violin, it is the stunning Sandy Denny that steals the show. Her hauntting vocals inhabit these folk songs completely, drawing out all of the magic, mystery and foreboding that they possess. (Her vocals mesh especially well with Thompson's moody guitar work on the dirge-like "Reynardine").

It is so rare at this stage of life as a music fan to come across a perfect record that can move me so, but I have. I am a fan of cohesive records that stand together as a whole, even more so in this day and age of digital music where individual songs are once again the focus, like the 1950's, over the album format. This is a record that is perfect from start to finish, there is not a single misstep, not a single wrong decision here. And ANCIANT, this rating is the real deal. No need to use your usual Dez handicap for my ratings!

***** out of *****

ABOVE: The rollicking opener "Come All Ye" is great. I could have picked any tune on the record, though, they are all fantastic.

ABOVE: "Crazy Man Michael" features the late, great Sandy Denny's gorgeous vocals.

Listening Back

2012-01-16T20:59:00.005-06:00

For Christmas I bought myself a new turntable system. The turntable and sound is only so-so, the real selling point is that it can burn LPs, 45s, 78s and casettes to CDs, converting them to digital formats. I finally set it up this weekend and it has been so great. I forgot that I had so much valuable (to me) material in these other formats that are not available elsewhere. Here is what I listened to/converted this weekend:

1. I have a set of boogie/jazz 78's that my father had when he was a kid in the 1940's. These were for him what my favorite records in the 80's were to me growing up.

2. There was a period in the mid to late 90's when I wrote quite a few songs. Many of them were working with my musical partner Dave, and others were either alone or working with other friends. In the mid-90's I bought a 4-track tape recording system so I could preserve my masterworks. I still look back on those days fondly, it was a time of fewer responsibilities, when I could hole up for days and nights at a time and do music 24 hours in a stretch. I pulled out all of those tapes and put them on disc today. What a trip back. ASWOBA, I've got you on vocals on a couple of tracks. Remember "Exchanges" and "When To Lose"? There are some songs there that I don't even remember, and some of them are pretty damn good! Dave and I were playing recently and were frustrated because we couldn't even remember some of our own arrangements. Now I've got them and we can figure it all out.

3. When growing up in Houston, some friends and I backed up a band called The Really Brothers in the summers. A couple of great guys who took some teenage musicians under their wing and let them play some laidback country every Sunday at their performances. I found their demo tape this weekend. I must have played those country tunes about 500 times. Larry is still one of my favorite guitarists.

4. While in college, I was able to host a blues show for a couple of hours every Thursday night on our college radio station that broadcasts in San Antonio. Fortunately, I taped a handful of my shows at the time. I transferred three of my favorites this weekend to CD. One in particular that really grabbed me was one that I co-hosted with an old friend, Brian. We have been estranged for many years for some complicated reasons, but listening to that tape last night reminded me how much fun we used to have. Listening to our Mardi Gras special that we did in February of '97, we had a great rapport on air and the show is a blast to listen to. I miss Brian.

5. FINALLY, I can have the holy grail of concerts for me on disc/iPod. I've told this story before, but my first concert was Dire Straits in Houston on their Brothers in Arms tour. That show was broadcast nationally on radio, and it has become a collector's item, acknowledged as one of their best available bootlegs. My brother in 1985 taped it off the radio, not knowing I was at the show. Later he gave me the casettes, and I have guarded them like I had the original Magna Carta for close to three decades. Now, at long last, I can listen to my first concert on my iPod. It still is such a kick ass show.

6. Then there's the stack of LPs, 45s and tapes that are not available on disc or iTunes that I am joyfully slogging through. From The Firm's second record (the long out of print and not very good Mean Business), to a stack of Bruce Springsteen mid-80's dance mixes, which he has wisely kept out of print, to Dire Straits's fun EP Twisting By the Pool (which they never released on CD), I've been having so much fun with this stuff.

ASWOBA, you aren't a bad singer, actually.

It's Hard to Be a Saint in the City (or, It's Hard To Be a Texans Fan in San Antonio)

2012-01-14T09:10:00.004-06:00

My friends over at ASWOBA and ANCIANT (see links to your right) have embarked on another month of posting daily on their blogs. As much as I would like to join in, I already know that I won't be able to keep that pace. But I do commit to picking it up around here, let's try for several times a week again for starters.

Anyway, Go Texans! I figured that would be easy to express here in my current city of residence of San Antonio ("home" is reserved for Houston). Afterall, SA does not have their own team, so it makes sense that people here would pick the closest geographic NFL team to support. Right? Right? Like the rest of Texas outside of the Houston metroplex, SA is diehard Cowboys country. Nevermind that their owner is an arrogant turd and the organization takes their fans for granted. Nevermind that Houston is a three hour drive from here while Dallas is between four and five.

To support the Texans's innaugural playoff run I decided that I needed to get a Texans T-shirt. I already have a hat, but I wanted a t-shirt. So I drove over to Sports Authority (a sporting goods boxstore, kind of like Academy). I went over to their clothing section, and saw lots of UT and A&M gear, and four racks of Cowboys stuff. Nothing for Houston. There must be some mistake. Perhaps they have the Houston gear in its own special section. I went to the counter and said "I see all of your Cowboys crap over there, where is your Houston stuff?" The poor young girl behind the counter smiled meekly and said "we don't have any." Really? I felt bad afterwards, but I proceeded to take out years of resentment over Houston football (Texans or Oilers) being overshadowed by America's alleged team. I explained to her that The Cowboys were finished with their season, yet Houston had just won the Wild Card game last weekend. I explained that she better get used to it, because Houston will be the dominant Texas NFL team for the next decade. I told her that the Cowboys will never win [another] championship as long as Jerry Jones owns them. I explained that Houston craftily named their team "Texans" to be universally, well, Texan. They can represent all of us, not just Houstonians. She nodded and smiled.

So I drove over to the Mega-HEB store. Ostensibly a grocery store, they actually sell everything you need for the rest of your life (and the afterlife). I went to their clothing section, and I counted six full racks of Cowboys sh*t. They even had two racks of Saints stuff. After digging through about 15 racks of random sports-related clothing, I found ONE Texans t-shirt. One. It was on clearance. I bought it for nine bucks. I am wearing it as I type this. Go Texans!

Dez Reviews the Book I Want My MTV by Craig Marks and Rob Tannenbaum, 2011

2011-12-28T06:07:00.016-06:00

I am the perfect age to remember and love the golden age of MTV (you know, the period when they played music videos and were about music). I remember coming home each day from elementary school, immediately running over to the TV and grabbing a healthy snack (bowl of ice cream, usually), and watching my MTV. Without fail, for about 5 months, they would play Spandau Ballet's "True" at the same time every day (approximately 3:30). Reading the 572 page oral history of MTV's golden years (1981-1992) was kind of like getting a backstage pass to my childhood entertainment, I got to see the inner workings of my many hours of viewing television during the 80's. It is an oral history, so aside from brief overview introductions to each chapter (which are very well done), the book consists of quotes from the actual players that are weaved together to tell the story. Executives, artists, video directors, bit players and main characters all are brutally honest in telling the sordid tales behind the cable channel that forever changed the music industry. Since it is divided into 53 digestible chapters that are clearly labeled topically, if you are not an obsessive like me you don't have to read cover to cover.

There is so much here. If you were fortunate enough to watch VH1 Classic over the summer, they aired the first hour of MTV to celebrate the 30th anniversary of MTV, you saw just how by the seat of their pants MTV was run in those early days. They had maybe 50 videos in their vaults, almost half of which were by Rod Stewart. Technical and editing problems galore, ad-libbing and ill-prepped VJs (of course, you cannot top those original five VJs, what kid in the 80's wasn't in love with Martha Quinn?)...it was a glorious disaster. (VH1, by the way, was created by MTV as a "fighting brand." It was created as a sacrificial lamb, to be a cheaper and dirtier vesion of MTV to run competitors out of business. Nobody expected it to last, in fact they were instructed not to be profitable).

ABOVE: Early ad trying to get cable companies to add MTV to their subscriptions. As this book reveals, the cable companies resisted mightily, so MTV ran these ads in markets where MTV was not yet available.

BELOW: Another of those great ads (featuring Mr. Bowie)...

MTV was funded and owned jointly by Warner Brothers and American Express, and neither company took their little channel seriously. That is why those early years were so glorious, they were completely ignored by meddling corporate hands. Budgets were shoestring, directors were creating a new artform with the music video that had no established rules yet, through some loopholes in the law the video shoots were not controlled by union rules so they could shoot for 48 hours straight and get it done in a couple of coke-fueled days...it was the wild west with no rules at all. Naturally, there are many tales of destruction, crazy behavior, sex, drugs and rock and roll (hell, even the purposefully annoying Pauly Shore got laid constantly, as per Pauly: "There were groupies, all the time. That was kind of my thing...In the back of the bus, which I called 'The Wood Den,' I had a basket of buttons that said GRINDAGE, and another basket that had condoms. I'd have sex with them with a condom, and they'd leave with a button. So it was win-win.")

ABOVE: MTV was so powerful that it even allowed the extremely irritating Pauly Shore to have prodigious amounts of sex

The book masterfully tells hundreds of humorous, sad, joyous or fascinating individual anecdotes, but it also tells an overarching story of a little start-up with a novel idea that was dismissed by an essentially conservative record industry, then that same channel came to change that very industry and call the shots on which artists would succeed and who would not. A television channel that changed the basic rules of the music industry, as video budgets grew from $10,000 in the early 80's to millions of dollars in the early 90's. A channel that had to eventually betray its own model and charter to survive in part due to a music industry that rebelled against the monster that MTV became (hello reality programming). The book is filled equally with interesting discussions of the business side of the network and rock and roll history during the 80's. While there are many great stories here, I'll mention two or three in particular that I enjoyed...

First is the chapter about what many consider to be the worst video ever made (chapter title: A Whopping, Steaming Turd). That would be Billy Squier's "Rock Me Tonite." Squier was a respectable rocker up to this point, but this one video killed his career. While much of this book focuses on how MTV made careers (Madonna, Duran Duran, even resurrecting ZZ Top), it also killed or diminished certain careers of artists who could not adapt or who made mistakes. Like the cringe-inducing "Rock Me Tonite" video. It is a hilarious and sad chapter, with Squier and others involved pointing fingers and blaming eachother for what occurred. Squier: "When I saw the video, my jaw dropped. It was diabolical. I looked at it and went, 'what the f*ck is this?' I remember a guy from the record company saying, 'don't worry about it, the record's a smash'...The video misrepresents who I am as an artist...The video had a deleterious effect on my career...[about director-choreographer Kenny Ortega] The guy crippled me." As another observer noted, "The lessons from 'Rock Me Tonite' are that fame can be oddly fleeting in show business - and that rock stars should always think carefully about wearing pink." Indeed. But as others point out in the chapter, maybe Billy should have thought about this while he was filming it, jumping on the feather bed in his pink muscle shirt. Enjoy "Rock Me Tonite" (as you watch it you can see a career dying over 5 minutes)...

ABOVE: The flipside to the Billy Squier tale. No band used MTV better or benefited more than Duran Duran. They would not have been nearly as big as they were without the iconic trilogy of videos from Rio: "Rio," "Hungry Like the Wolf" and "Save a Prayer" (above). It helped that they had pin-up good looks and that from the beginning they concentrated on mixing fashion and image with their music. These videos had a gorgeous style to them, and they were played incessantly. for the record, Duran Duran were/are also great musically, something often overlooked.

A story that is told throughout the book is MTV's complicated relationship with Michael Jackson. The racism issue is addressed in an entire chapter and it is a contentious issue amongst those involved (the popular wisdom is that Jackson's groundbreaking "Billie Jean" video broke the unspoken race barrier on MTV). Evidently MJ monitored MTV extremely closely, to see how often they played his videos and how they portrayed him. Jackson decided that he wanted to be called "King of Pop," so he threatened to withold his "Black or White" video from the channel unless they dubbed him King of Pop. It was all Jackson's idea. There was a memo that circulated around the MTV offices that stated, "I know this is a bizarre request, but..." and then outlined the rules that each VJ had to follow regarding Jacko's new title, calling Jackson "The King of Pop" twice per week on air, and "Please be sure to note which segments you do this in case we need to send dubs to the King of Pop himself." On a meeting with MJ for a video around the same period with MTV executives: "I met Michael at Sound Recorder Studios...The meeting was supposed to start at 6 p.m., but Michael - and Bubbles, his chimp - didn't arrive until eight. We started the meeting, and at 8:30 Michael suddenly says, 'Oh, we have to stop. The Simpsons is coming on.' We stopped the meeting and watched The Simpsons."

I would also recommend the great chapter about the Lost Weekend With Van Halen contest about how the band almost killed the contest winner with a debauched weekend of booze, drugs and strippers. I'll let the winner, Kurt Jefferis tell it: "They gave me a 'Lost Weekend' T-shirt and a hat. I met Valerie Bertinelli when I was backstage smoking a joint and drinking Jack Daniel's. They brought me onstage and smashed a cake in my face, then about a dozen people poured champagne on me, including two midgets. After the show, we went backstage and they brought a girl for me. She was a stripper in a short black leather skirt. David Lee Roth said, 'Kurt needs to meet Tammy.' They put on some music so she could dance and take her clothes off for me. David told her to take me into the shower. And I had Tammy in the shower." One of the MTV execs who was present added, "I could hear him howling from where I was sitting." Turns out the kid had a metal plate in his head and wasn't supposed to drink or do drugs. Exec Tom Freston: "They gave cocaine to the guy who won the contest. It turned out he had a plate in his head."

ABOVE: David Lee Roth loved MTV, and MTV loved David Lee Roth

If you love the 80's, if you are one of those people who look back angrily to the early 90's when MTV moved away from videos and music, if you want to know how the music industry was fundamentally altered in the 1980's, if you love tales of rock and roll excess and debauchery, then I Want My MTV is a must-read. Oh, and the fight between Axl Rose and Kurt Cobain is worth reading about too.

Basketball Draft

2011-12-21T05:20:00.003-06:00

Well, thank Tebow that we will have some NBA basketball afterall. Not least of all because A. my father-in-law gets his 4th row Spurs season package that I am frequently the beneficiary of, and B. I can play fantasy basketball again with my group that I have played with for about seven years now.

We had our draft over the weekend, and I got first pick! I've never had that before, in fact I have always been near the end of the draft (which is not a bad thing considering how the draft order goes). I got the #1 pick, but that also means, since we have 11 people, my next picks were #'s 22 and 23. I think it was basically a toss-up on whether to pick Jebron Lames or Kevin Durant, but since I can't stand Lames, I was happy to pick Durant. The rest of the first round went: Lames, Chris Paul, Derrick Rose, Kevin Love, Dwayne Wade, Pau Gasol, Dwight Howard, Stephen Curry, Dirk Nowitzki and Al Jefferson. First time in a long time that Kobe wasn't a first rounder. It is a roto scoring league, and the categories we use are: points, three pointers, shooting %, free throw %, assists, rebounds, blocks, steals and turnovers (as a negative, obviously).

My next two picks were Blake Griffin and John Wall. With Chris Paul now feeding Griffin the ball on the Clippers, that should be awesome. I also feel that Wall will blow up this year. He has his rookie year behind him and he was hurt a bit last year, so he is ready to be the stud everyone expects him to be.

The rest of my team rounds out with Joe Johnson (ready to redeem himself after the last two seasons, Crawford's departure from the Hawks helps), Marcin Gortat, DeAndre Jordan (who was outstanding in that preseason stomping of the Lakers, like with Griffin, with Chris Paul running the point he should benefit), Wesley Matthews, Aaron Aflalo, Jeff Teague (a sleeper who could blow up), Sam Dalembert (here's hoping he signs with Houston!), and with Omri Casspi, Jordan Crawford and Ramon Sessions sitting on my bench.

With that line-up, I think assists will be one of my main problems.

Like the team?

Dez Reviews the Book No Regrets by Ace Frehley, 2011

2011-12-14T23:30:00.015-06:00

Ace was always my favorite. First of all, he had the coolest make-up. Secondly, he was the lead guitarist for KISS, and the lead guitarists are always cool. I don't listen to KISS much anymore, but when I was wandering through the bookstore the other day and saw Ace Frehley's new autobiography/rock memoir on sale, I immediately grabbed it. As any KISS fan knows, Gene Simmons and Paul Stanley have systematically tried to rewrite, err, Kisstory over the last few decades, minimizing the contributions of Ace and original drummer Peter Criss. I was interested in Ace's side of the story.

One of the main things that I took away from Ace's engaging autobiography is that Gene Simmons is a monumental a**hole. Considering how much Simmons has dragged Ace's name through the dirt, Ace is somewhat justified in dishing on his former bandmate. But that is not the only thing that makes the book interesting.

Ace delivers an engaging life story of a young tough from the Bronx who found salvation in music and his guitar and who was determined to make it big. His is also a story of prodigious substance abuse, and finally earning a hard fought sobriety. Rightfully so, the bulk of the book covers the KISS glory years in the 70's, and there is no shortage of entertaining tales of excess and insanity that comes with the territory of being a member of one of the biggest rock bands on the planet.

But what keeps Ace grounded and relatable is his sense of humor and self-deprecation. While never apologizing for the marketing machine that was KISS in the 70's, he can laugh about it. He has fun trashing the disasterous TV movie they made, 'KISS Meets the Phantom of the Park,' taking great pleasure in Gene Simmons's dashed film aspirations. He rambles off well known stories such as the vial of blood taken from each member of the band that was mixed into the red ink for the KISS comic book series...always with a laugh and roll of the eyes. But he stands by the music, as he should. He is always serious when discussing the music, and makes a good argument that what they were doing, at least in the early days, was groundbreaking theatrical rock.

He seems honest about his prodigious drug use and alcohol issues (so much so that he clearly finds those years immensely entertaining, even as he claims to be embracing the sober life). He gives the requisite warnings about the dangers and how it almost killed him, yet reading a full chapter about partying with John Belushi in the late 70's or another chapter entitled 'Smokey and the Bandit' which details an incredible police chase where a coked-out Ace evades what sounds like the entire police force of New York in his Delorean...damned if that doesn't sound like he was having a blast in those years, however he may be embracing the 12 Steps these days.

ABOVE: Ace still kicks it onstage with his own band (sans make-up)

Other than his substance abuse issues, his complicated relationship with KISS is really the heart of the book. As much as Simmons and Stanley minimize it, KISS in the 70's really was four guys contributing equally, and Ace makes a strong case in reminding us of that. He paints an incredibly negative portrait of Simmons (while Stanley, oddly, is an important player yet Ace doesn't really give him much life). Simmons has proven Ace correct when Ace accuses him of having no sense of humor at all. Just watch that infamous Tom Snyder interview clip (which Ace addresses at length), and that tells it all. Ace and Peter are blitzed out of their minds, cracking jokes, laughing, making Snyder laugh. Gene is shooting daggers at Ace and clearly wants to kill him, trying to talk seriously while they are all in their ridiculous costumes. Paul is stuck in the middle, but seemingly sides with Gene, as he also looks at Ace with disdain on camera as well. There is that moment where Ace looks at Gene, holds up his hands and mouths "what?" (as in "relax, what's the problem?") Go find it on YouTube, it is worth a watch. That moment right there shows why Ace is still more beloved than Gene, and helps explains the power play that eventually forced Ace and Peter out of the band.

As with many great bands, the relationships in KISS were complex, and when Ace writes "I think they're just a bunch of dirty rotten whores," and then pages later writes "To this day I still consider them my brothers in rock 'n' roll and love them," he is being honest both times.

It's a good read, Ace writes in a down to earth tone and spares no one, especially himself. He admits at times that he was difficult to deal with at the height of his fame and substance abuse. But he was/is a singular talent, and by far the most interesting and likeable member of the original KISS. That comes through in this engaging autobiography.

Rock and Roll Hall of Fame Class of 2012

2011-12-07T23:15:00.002-06:00

First of all, I know it has been awhile since my last post. Sorry about that. I went to Wyoming last month. That was very cool. I should (will) post about that. Anyway, on to the very important business at hand.

The Class of 2012 for the Rock and Roll Hall of Fame was announced today. It was actually leaked yesterday, but the leak left out one inductee that we found out about today with the official announcement. The Class consists of...

Performer Category:
Beastie Boys, Donovan, Guns ‘n Roses, Laura Nyro, The Small Faces/The Faces, Red Hot Chili Peppers

Early Influence Category:
Freddie King

Ahmet Ertegun Award (kind of a lifetime achievement non-performer contributor to music):
Don Kirshner

Musical Excellence Award:
Cossimo Matassa, Tom Dowd

ABOVE: Will Axl and Slash bury the hatchet for one night and actually perform together?

This is the strongest class in years. Beastie Boys, Guns ‘n Roses and Red Hot Chili Peppers are newer (for Rockhall standards), exciting and worthy inductees. No question on any of those. I have been pushing for Donovan for a long time, and had begun to lose hope for him. So glad to see him there. His reputation has slowly and quietly improved over the years. When he was actually releasing his most celebrated material in the late 60’s and early 70’s, he was often dismissed as a Dylan-wannabe or a slight psychedelic waif. He was neither of those things. Donovan was a creative singer-songwriter who captured his time so completely that it is hard to take him out of that context. But what great music he made. Tunes like "Season of the Witch" and "Hurdy Gurdy Man" are creepy psychedelic classics, and his more traditional folky tunes are quite beautiful at times. I even dig "Atlantis."

ABOVE: Donovan is groovy

The Small Faces/The Faces is kind of a BS induction. It would be akin to inducting Joy Division and New Order as one band. Yes, one was born of the other, but they are two very different and distinct bands. Also, They are more on the margin of deserving enshrinement. The Small Faces were a talented British folkish/psychedelic band featuring the great Steve Marriott, while The Faces were a fantastic (but not really innovative) bar band featuring Rod Stewart and Ron Wood. I really dig The Faces music (not so much Small Faces), especially Ronnie Lane’s contributions. So, I think Small Faces/Faces is a marginal choice, but definitely not the worst in Rockhall history (that award goes to Percy Sledge). I find it interesting that Small Faces/Faces was the one inductee that did not leak ahead of time, and it brought the Performer total to six inductees instead of the usual five. Since the tallying process is far from transparent, did they decide to slip in The Faces? Did it have anything to do with Rod Stewart’s blatant campaigning and promise to reunite the Faces for a performance at the ceremony if inducted? Uh, probably.

ABOVE: Did Rod seduce the Rockhall elites into some voting fraud with his campaigning for a second Rockhall induction (this time as a Face) and his promise to reunite with his old band for the ceremony?

Laura Nyro should not be inducted as a performer. Put her in as a non-performer in one of these other categories for her songwriting. That is what she is really known for. Nyro is the only induction that I completely disagree with here, but someone on the Nominating Committee has had a hard-on for her, as this was her third year in a row to be nominated. That induction should have gone to Heart or The Cure.

I was shocked that Heart did not get in, I figured they would be a shoo-in. Right era, right demographics. The Cure is so deserving, as they greatly influenced/innovated within an entire genre of rock. I mean, bands like The Cure should be what the Hall is all about, clear innovation and influence. Hopefully they will be back on the ballot next year.

Freddie King got in through the backdoor, just as Wanda Jackson did a few years back. I’ve been pushing King for many years as well, so I am glad he got in, but it was not the best way to do it. He was nominated as a Performer, and obviously did not get the votes to be in the top 5 or 6, so the Powers-That-Be decided to induct him in the Early Influence category instead. Same deal happened with Jackson, and it was shady then too. King was hugely influential on a certain generation of guitarists, especially Eric Clapton and Stevie Ray Vaughan, so no question (to me) that he should be in.

Very glad to see Tom Dowd inducted as well.

For more analysis and Rockhall talk, as always, I suggest Future Rock Legends.

Thoughts?

RIP Col. Potter (Harry Morgan, 1915-2011)

2011-12-07T22:51:00.002-06:00

Happy Halloween!

2011-10-31T09:29:00.001-05:00

October Cuteness

2011-10-22T01:53:00.005-05:00

Who Had the Best Decade?

2011-10-22T01:26:00.003-05:00

Today in class, I engaged several of my students with this important question - who topped the 1970's, musically speaking? I gave them the following choices (a multiple choice quiz, of sorts): Elton John, Pink Floyd, Neil Young, David Bowie or Led Zeppelin? They could only consider the material released 1970-79. I considered The Who in there as well, but while their 70's was awesome, too many crucial records and singles were in the 60's. Several immediately went to Zeppelin (as I expected teenage boys would), but once I reminded them that both Led Zeppelin I and Led Zeppelin II could not be considered (both released in 1969), Zeppelin quickly fell out of the running. Although, one student held fast to IV and Houses of the Holy as evidence.

While Elton was initially scoffed at, I rattled off the following discography from the 70's:

Elton John (70)
Tumbleweed Connection (70)
17-11-70 (live) (71)
Madman Across the Water (71)
Honky Chateau (72)
Don't Shoot Me I'm the Piano Player (73)
Goodbye Yellow Brick Road (73)
Caribou (74)
Capt. Fantastic and the Brown Dirt Cowboy (75)
Rock of the Westies (75)
Blue Moves (76)
Here and There (live) (76)
A Single Man (78)
Victim of Love (79)

First, how freakin' prolific. '70-'75 is unassailable (well, except Caribou). But Rock of the Westies forward really weakens the argument for Elton, so I think he's out.

I imagine my friend ANCIANT, had he been there, would have picked Bowie. But Pin-Ups, the two live throwaways and Lodger weaken Bowie for me. Plus, Young Americans is mediocre overall once you get beyond the title track.

So that left Neil and Floyd. My students went overwhelmingly with Pink Floyd, and that is tough to argue against. While it is not a long discography, just look at it:

Atom Heart Mother (70)
Meddle (71)
Obscured By Clouds (72)
Dark Side of the Moon (73)
Wish You Were Here (75)
Animals (77)
The Wall (79)

OK, Atom Heart Mother sucks, and Obscured By Clouds was a soundtrack toss-off, but the rest of that is all classic. I mean, rock and roll canon stuff.

Neil Young was about as prolific as Elton in the 70's:

After the Goldrush
Déjà vu (CSNY)
Harvest
Journey Through the Past (soundtrack)
Four Way Street (CSNY) (live)
Time Fades Away (live)
On the Beach
Tonight's the Night
Zuma
Long May You Run (Stills-Young Band)
American Stars 'n Bars
Comes a Time
Rust Never Sleeps (live)
Live Rust (live)

Journey Through the Past sucks, Long May You Run is terrible and American Stars 'n Bars is spotty. But the rest is great to brilliant.

My students were firmly with Floyd, but I can't decide between Floyd and Neil. Each time I want to lean towards Neil, I think Meddle/DSOTM/WYWH/Animals/The Wall. Can you really top that?

Dez Reviews Peter Gabriel's New Blood, 2011

2011-10-12T13:32:00.006-05:00

It hasn't been easy being a Peter Gabriel fan for the last fifteen years or so. The failed OVO project, some inconsequential soundtrack contributions, the one proper album of new material was the murky Up, and then a glacial collection of symphonic covers. In fact, his best piece of recent work was his 2002 soundtrack to the film 'Rabbit-Proof Fence,' Long Walk Home. While on tour this last year for his orchestral covers record Scratch My Back with his orchestra, the first half of the show consisted of the SMB material, while the second half featured orchestral reworkings of his own material. Gabriel was so pleased with these new versions of his own tunes, he decided to release those on his latest album, New Blood. He continued working with arranger John Metcalfe on these tunes, the same arranger he worked with on SMB.

I guess Gabriel felt a bit more free and bold when tinkering with his own material, because New Blood is much more interesting and successful than Scratch My Back. This whole symphonic treatment thing is in vogue with older artists these days. Ray Davies played with his Kinks material through choral arrangements (it was OK). Sting did it with Symphonicities (which was terrible). I think Gabriel's symphonic versions are quite successful. It also helps that he is in fine voice here. He was so subdued on SMB, I was afraid that perhaps he had lost his range. Not so, as he shows here.

One of the keys is that he does not choose, for the most part, obvious or overly familiar songs. Yes, "In Your Eyes" and "Digging in the Dirt" are here (as is an obligatory "Solsbury Hill" tacked on at the end as a bonus track), but the bulk of the songs here dig pretty deep into his catalogue. And that works, the less familiar material is less tied down by expectations. The rules here are the same as on SMB, no electric instruments allowed. An occasional piano is the closest Gabriel gets to traditional rock instrumentation.

The most successful songs are the ones where he takes the most chances. The driving opener "The Rhythm of the Heat" is the perfect example. Gabriel tried to get the orchestra to replicate what he had done on the original with layers of percussion. The result, especially in the extended ending, reminds one of a bold Kronos Quartet piece, with the violins and cellos slashing and cutting sharply on top of one another into a thrilling crescendo. The orchestral setting fits some of his moodier songs quite well. The already creepy "Intruder" is made even creepier here with an ominous and brooding orchestral backdrop. The chestnut "In Your Eyes" is quite nice, and benefits from Gabriel's tinkering with the song for over 20 years, it features the extra verse that he often adds in concert and features nice dynamic shifts.

There are a couple of songs where these newer versions actually improve on the originals, such as "Mercy Street," "Wallflower" and "Darkness." The strongest song on the collection is a thrilling version of "Red Rain." While it won't make you want to toss out the original version from So (which is one of Gabriel's finest moments on record, afterall), it is an exciting and bold reinterpretation in its own right that at least matches the original's passion and conviction.

It is true, not everything works here. "Downside Up" is still a mediocre song, however you arrange it, and "Don't Give Up" (never a favorite of mine) is made even more irritating than the original, replacing the annoying Kate Bush from So with an even more annoying Ane Brun. "Digging in the Dirt" does not do anything interesting enough to warrant a new version, and the tacked on "Solsbury Hill" is too similar to its original version to be of much interest (in the liner notes, Gabriel himself admits he didn't want to do "Solsbury Hill," but due to popular demand at his shows, he did an arrangement. His lack of interest shows on that one, and is why it is tacked on merely as a bonus track). But the proper album's closer (before the bonus track), "The Nest That Sailed the Sky," is a lovely, almost ambient, instrumental version of a forgotten track buried on OVO. I would have preferred he end the album there and leave "Solsbury Hill" off altogether, because it is a really nice, moody closer. The jaunty version of "Solsbury Hill" wrecks the mood.

Overall, this record will not make you want to throw out your old Peter Gabriel albums in favor of these new versions, but the best of them can stand as interesting and often quite engaging reinterpretations. Now maybe he will finally finish I/O, which he has supposedly been working on for over ten years.

Rating: *** out of *****

Dez Reviews Lindsey Buckingham's Seeds We Sow, 2011

2011-10-09T23:01:00.006-05:00

Tonight my good friend Big Jim is attending a Lindsey Buckingham show in Houston as we speak. To rub it in, he sent me a photo of his tickets on my phone. Bastard. It reminded me that I meant to review his latest release, Seeds We Sow. Most of you probably know that Buckingham was/is the creative force behind Fleetwood Mac's most successful period. With all due respect to Stevie Nicks and Christine McVie fans, it was always Lindsay producing and arranging the songs, no matter who "wrote" them or sang on them.

Most of you probably have not followed his rather fascinating, under the radar solo career. His solo records are places where Lindsey indulges in what is necessarily somewhat restrained on the more commercial Fleetwood Mac records. Production genius? Lindsey makes overproduction an artform on his solo records (some may, and do, complain about his overproduction in his solo work, but that is almost silly. I mean, that is part of the point with Lindsey Buckingham). Neurotic and quirky songwriting? He saves his most bizarre tunes for his solo records. Great guitar? His best guitar playing is reserved for his solo records where he can really let loose. His last few solo records, including this one, are truly solo affairs. He records them at home, plays virtually every instrument, and really holes up and isolates himself from the world. These are insular records.

Seeds We Sow does not disappoint. In fact, it may be his most consistent solo effort, at least in league with the excellent Under the Skin and Gift of Screws. His outstanding acoustic fingerpicking style is all over this record, so there is plenty for guitar afficiados to enjoy here. But the songwriting is a step up from the usual here. "Rock Away Blind" and "End of Time" sound like they could easily fit on a blockbuster Fleetwood Mac release, while "One Take" rocks hard with real fire and anger. For me, "In Our Own Time" is really where the great (over)production, guitar playing, lyrics, vocals and quirky songwriting all come together best. If you are new to Buckingham's solo work, Live at the Bass Performance Hall is still the place to start, but Seeds We Sow stands alongside his best solo studio work.

ABOVE: Here's a live clip of him playing "In Our Own Time." Check out that guitar work. (Sorry for the ad you have to watch up front. It's worth it, though.)

***1/2 out of *****

2012 Rock and Roll Hall of Fame Nominees

2011-09-27T17:48:00.010-05:00

Well, I can say that although there remain egregious omissions from the Rock and Roll of Fame, this batch of 15 nominees is really, really solid. If the pattern of the past decade or so holds, five of these fifteen nominees will be inducted as Performers in the Class of 2012 in April. Let me say a little bit on each nominee, give you who I personally would vote for out of these, and then I will predict who I think will be in the Class of 2012. Here are the nominees…

Beastie Boys: This is their 3rd nomination, and they definitely will get in the Hall at some point, it is just a matter of when. Innovators not only in rap music, but also in mixing diverse musical elements in a rock and roll context. As innovators, this group is what the Rockhall is (or should be) all about.

The Cure: Yes! Yes!! Yes!!! Perhaps the door is opening on important 80’s music, and few bands are more important or influential (or as good) from that period than The Cure. I was worried that the NomCom’s anti-80’s stance (led by 80’s-hater Steve Van Zandt) would remain firm. There are still many egregious 80’s omissions, but The Cure’s nomination goes a ways in rectifying that. Now let’s hope they actually get inducted. They are also responsible for helping the lipstick and eyeliner industry turn a profit.

Donovan: I’m a Donovan fan, and I’m glad he’s getting another nomination. His hippy dippy folk tunes, and later psychedelic pop classics, stand as some of the better representatives of that era. I don’t think his chances are too high in this company, but I’d like to see him get in eventually.

Eric B. and Rakim: Rap pioneers who, if we agree that rap has a place in a Rock and Roll Hall of Fame, deserve to be there. No question.

Guns ‘n Roses: As great as they were in their classic line-up, it is interesting to consider what more they could have been had they been able to keep it together longer. Had they not had such implosive drug issues, had Axl Rose not been so insane…but then they wouldn’t have been G’nR without all of that, would they? They could have been a modern Rolling Stones. But as it stands, they were the best hard rock band of the 80’s or 90’s. For Appetite For Destruction alone they need to be inducted.

Heart: Finally a nomination for the great Heart. With the Rockhall’s focus this year on the Women in Rock Exhibit, perhaps it is no surprise that they nominated quite a few women this year. The Wilson sisters and their band were responsible for some killer 70’s hard rock, and were early role models for female rockers everywhere.

Joan Jett & the Blackhearts: Is any female rocker any cooler than Joan Jett? She was a total badass, and like Heart, served as a role model for rocker chicks worldwide.

Freddie King: Surprisingly, this is the late, great Freddie King’s first nomination. Surprising because the Rockhall has generally been very good about honoring blues greats/influences, and King was definitely influential on blues-rockers, especially Eric Clapton and Stevie Ray Vaughan. I doubt he makes it in this class, but I would love to see him get in eventually.

Laura Nyro: Respected singer-songwriter, I’m honestly not very familiar with her material, so I can’t really say much on her. Perhaps she should be inducted as a Non-Performer, since she is more famous as a songwriter who has provided hits for others more than as a Performer. I doubt she gets in this time around, though.

Red Hot Chili Peppers: What is great about the Chili Peppers is how they have evolved over time, while maintaining influence and quality throughout their various stages. They will definitely be inducted eventually.

Rufus with Chaka Khan: Talented R&B diva/group, not sure they are really Hall-worthy, though.

Small Faces / The Faces: Great nomination, and a surprise too. The Small Faces were quite creative and admired in the 1960’s, an innovative group who dabbled in folk and psychedelia. Then they evolved into a great, gritty bar band featuring Rod Stewart on vocals, Ron Wood on guitar and the underrated Ronnie Lane (who was in both incarnations). I’d love to see these guys get in. It is a bit dubious lumping them together in one nomination, though. They were really two separate bands with some overlap in personnel. It would be like inducting Joy Division and New Order together as one band.

The Spinners: Another area that the Rockhall has actually covered quite well is R&B and soul. The Spinners would be a nice addition to the soul roster of the Hall, and a nice representative of Philly soul.

Donna Summer: The NomCom has been pushing her for several years now. She was a disco icon, and being one of the most important artists in a genre qualifies you for induction in my book.

War: War was a gritty rock/soul outfit in the 70’s, notable for their work with Eric Burdon (of The Animals) and on their own. They were great, but I am not sure they are Hall of Fame-worthy.

So, there you have it. Overall, it is a strong group. That being said, I still have (as do all Hall watchers) a long list of ridiculous snubs. For some it is the fault of the Nominating Committee (Peter Gabriel, Yes, Rush, King Crimson, The Cars, Deep Purple, Chicago, Judas Priest, Joy Division, New Order, Motorhead, The Replacements, The Smiths, Sonic Youth, Stevie Ray Vaughan, Big Star…all yet to even be nominated), while others have been nominated but have yet to be inducted. But that aside, this has the potential to be a really solid class.

If I had a ballot, it would look like this…

The Cure
Heart
Guns ‘n Roses
Freddie King
Donovan

I think there are many deserving nominees this year. Beastie Boys, Eric B. & Rakim, Joan Jett, Faces, Spinners, Donna Summer and Red Hot Chili Peppers will all hopefully get in at some point.

My Predictions: who I think will be inducted…

Guns ‘n Roses
Beastie Boys
Heart
The Cure
This last one is tough, I’ll go with Joan Jett & the Blackhearts

Thoughts? Predictions?

RIP R.E.M., 1980-2011

2011-09-21T20:31:00.001-05:00

"To our Fans and Friends: As R.E.M., and as lifelong friends and co-conspirators, we have decided to call it a day as a band. We walk away with a great sense of gratitude, of finality, and of astonishment at all we have accomplished. To anyone who ever felt touched by our music, our deepest thanks for listening." - R.E.M.'s website today

Cute Stuff

2011-09-18T17:43:00.006-05:00

I realized that I had not posted cute pics of my daughter in awhile. She is growing up fast.

2012 Rockhall Nominee Predictions

2011-09-17T11:57:00.002-05:00

It is that very exciting time of year again. Yes indeed, folks, why most of you look forward to the month of September. The Rock and Roll Hall of Fame’s Nominating Committee met on the 12th to determine this year’s ballot, which should be made public by the end of this month. My fellow Rockhall obsessives have been making their predictions on their various blogs and websites, so I guess I should throw in my 2 cents. Go to Future Rock Legends for links and more discussion. Keep in mind that this is not necessarily who I want on the ballot (although quite a few are ones I would agree with), it is who I think the NomCom will actually put on the ballot. Predicting these is always a crapshoot, because we know little of the inner workings of this very secretive group of insiders. The ballot in recent years has been growing, so I will stick with 15 slots (with 5 eventually getting into the Hall for 2012). My thoughts:

As for the newly eligible artists this year (25 years after the release of their first single or album), I think that Guns ‘n Roses is the only sure thing. They will be nominated and inducted. The Rockhall would love the buzz surrounding “will they / won’t they” reunite and play for the induction ceremony (they won't).

I think that this is the year Stevie Ray Vaughan (and hopefully with Double Trouble) finally gets nominated. Whenever they do nominate him, he will be inducted that year. But I have been sure he would be nominated every year since he was first eligible, and it has not happened yet. Seems a no-brainer to me. But that does not mean much with the NomCom of the RRHoF.

They’ve been pushing several artists hard for the past several years, and they will continue to do so. Look for Beastie Boys, Chic and Donna Summer to appear yet again on the ballot. Perhaps they will give Donovan another shot as well.

Rumor has it that they are finally warming to the long neglected alternative 80’s scene, so it may finally be time for Sonic Youth to lead that charge. Their record on the 80's in general is just shameful.

I’ve got a feeling also that this may finally be the year they give up on their Rush ban and finally put them on the ballot as the prog representative. Hey, they finally relented on KISS, who may also get another shot.

Steven Van Zandt has to get his requisite 50’s or early 60’s pick on there. I’m thinking, along with many others, that it may be Johnny Burnette and His Rock and Roll Trio this time around. Which would be fine with me. Burnette rocked.

I think that they may throw a bone to the country crowd and give Gram Parsons another nomination.

For the last four slots, your guess is as good as mine. I’ll say Deep Purple, Kraftwerk, J.J. Cale and Roxy Music, just shooting in the dark there.

So, my predictions for the 2012 Rock and Roll Hall of Fame Ballot are:

Guns ‘n Roses
Stevie Ray Vaughan & Double Trouble
Beastie Boys
Chic
Donna Summer
Donovan
Sonic Youth
Rush
KISS
Johnny Burnette and His Rock and Roll Trio
Gram Parsons
Deep Purple
Kraftwerk
J.J. Cale
Roxy Music

Now, that looks like a decent ballot. We’ll see how correct I am by the end of the month, and then I will give you my predictions on who will make it into the Hall from the actual ballot.

Ten Years Ago Today

2011-09-11T09:06:00.002-05:00

I felt I should say something about the 10th anniversary of 9/11. This is the last thing that I cover in my U.S. History course that I teach, and my students are still old enough to remember the day (in several years they won't be, which will be strange). I do an excellent 9/11 lesson (about a week long) to cap off the year, and I was pleased when some current students told me that last year's group told them about it and how effective it was. Anyway, I digress.

Like most of the country, I experienced 9/11 through television. I was in law school in Austin at the time. My friend Brian called me up that morning to wake me up and tell me to turn on the TV. The first plane had already hit, I honestly can't remember if the second one had already. I do recall watching as the news of the Pentagon and United 93 broke. I recall watching both towers fall live. As shocked and horrified as I was, I could not imagine what people were going through who were actually at those locations. It was a strange sensation for part of the day when the media could not locate the president (he was in Air Force One for part of the day, as it was deemed safer to have him airborne). I walked to school and of course law students were glued to the TV's in the lounges. I have a vivid image of one girl I knew with tears streaming down her face. (One professor still insisted on holding class that day, though! If we don't learn about Commercial Paper, then the terrorists have won! He at least refrained from calling on anyone that day).

I have watched several of the documentaries they have been airing nonstop this weekend and they are still quite gripping. I especially love the story of Stanley and Brian, two workers in one of the towers who seem to share their story on every single documentary on 9/11 made (including the one that I show my students). Touching story of surival and a new friendship, though. Anyway, it's been ten years.

ABOVE: Here's Stanley recounting his story

OK, Fine. I'll Talk About It

2011-09-09T06:45:00.003-05:00

I’ve finally gotten interested in the 2012 election. There is a great website called ontheissues.org, which breaks down the positions of each of the candidates (both declared and potential). They also have a quiz that you take, where you respond to a series of policy questions, and then they categorize you on a graph with Liberal/Populist/Conservative/Libertarian at each corner, with the middle being labeled Moderate. Once you take the quiz, click the link at the bottom that says something like “analyze” or “explain” results for a fairly detailed self-report. It turns out that I am a “Moderate Libertarian Conservative.” Even better, based on your responses to the questions, they line you up by percentage with the candidates, from the one you agree with the most to the least. It turns out Jon Huntsman is my man. Well, sort of.

Now, the quiz isn’t perfect, as it just focuses on policy positions. It does not take into account the important intangibles, such as Bachmann’s shrill insanity or Perry’s deep, deep stupidity. Even with Huntsman, my positions lined up with his less than 50% of the time. So I don’t really have an ideal candidate for me out there running. Perry, thank God, was pretty low on my list.

I watched the Republican Debate the other night, and I thought it was quite good. It is clear that this is already really a two person race between Perry and Romney, from positioning them in the middle of the stage of 8 candidates to asking them the first set of questions. (Ron Paul is there for entertainment, it is fun to listen to Cain mangle the English language, I don’t know why Newt is still there other than to complain about the media pitting Republicans against each other (Newt, this is a debate), Bachmann tries mightily to keep her bumper sticker quips straight, my guy Huntsman makes sense but he is not Red enough for the primaries, and they hardly let Santorum even speak). Between those two serious candidates, I will strongly support Romney. The man is intelligent, and despite what he has to say in the primaries, I think that his record shows a reasonable leader willing consider good ideas, regardless of their origin.

Perry touts Texas job creation, which sounds great, but when most of the new Texas jobs amount to serving fries at the drive-through, it is not so impressive. Also, Perry does not believe in working too seriously to educate our next generation for better than minimum wage work, because Texas ranks dead last in the Union in graduating high schoolers. Perry’s solution was to slash budgets and fire teachers (as opposed to fixing a broken property tax system that will continue to deliver deficits every year until it is fixed). The only benefit to Perry’s winning the presidency is that at least he would be out of the Texas governor’s mansion.

ABOVE: Nightmare scenario

And what is Palin’s game? I know she craves the limelight like a third rate reality TV star, but I think it is more. I think she is gunning for a VP slot. She would be much more likely to be chosen by Perry than by Romney. Can you imagine a Perry/Palin ticket? One that would have a good chance of defeating Obama? Scary. Snooky could defeat Obama right now. I say this as one who actually voted for Obama in ’08 (because of Palin, but I actually really liked McCain). Obama has been beyond disappointing. Even worse than being wrong, he has been ineffectual. So the Republicans need to be careful about who they put on the ticket. That ticket will most likely occupy the White House after 2012.

Told You So

2011-08-26T23:02:00.005-05:00

This is cool. I was just flipping through the excellent Neil Young biography by Jimmy McDonough, Shakey, and came across a reference to the Houston show that I discussed in my write-up below for Neil. Recall how I said that it was the loudest show I had ever attended. Evidently I'm not the only one. McDonough quoted a friend of his who attended that same show in '89. From the book: "It was total mayhem, and McFarlin was in heaven. Glued in front of [Neil's] amp in Houston, he said it was the loudest show he's ever heard Young play. 'He split my brain open. His guitar was just deafening. You could actually see the sound waves.'" My memory of the show is similar. I recall leaving the show and looking at my friend Johannes, who had a somewhat dazed look on his face. It was like we had just been assaulted by Neil's rock and roll.

Dez's Top Rock/Pop Artists, #1: Neil Young

2011-08-19T00:08:00.006-05:00

NOTE: It is the nature of these lists that they are a bit fluid. If I had made the list on a different day, the upper 20’s might have looked a little different, with one or a few artists slipping outside the bubble and a few others making it on. Two were particularly close. Bob Dylan was referenced in probably 1/4th of the posts, and I am a big fan. If I could redo it, he probably would have been here. Crosby, Stills, Nash (& Young) were also close, but the members are well represented. Stephen Stills and Neil Young were in Buffalo Springfield, and Stills also got in solo. David Crosby is in with The Byrds.

And now for Neil Young…

**********
L.A. Freeway, 1966. Steve Stills and Richie Furay have just arrived in town and want to put together a band. Stuck in traffic, Stills looks over and notices a funky looking hearse a few lanes over. Steve says, “that’s gotta be Neil Young.” Stills and Young had crossed paths in Canada the previous year, and both had wanted to play together on a permanent basis. Young had already developed an eccentric reputation in musician circles, and he was known to drive around in a hearse because it was great for carrying and loading and unloading (with the sliding tray for coffins) his amps and guitars. The freeway is essentially a parking lot, so Stills jumps out of the car and flags Neil down. Neil had also recently relocated to L.A. after the break-up of his shortlived band with Rick James (!) called The Mynah Birds (no recordings of this mythical group exist). Buffalo Springfield is born.

**********
Neil Young thrives on limitations. His voice, like Dylan’s, is an acquired taste. While expressive, it is not always easy on the ears. Half of the songs that Neil wrote for Buffalo Springfield were sung by Richie Furay. He is a fine acoustic folk guitarist, but his electric skills could be called rudimentary. Neil Young is excellent for beginner guitarists to learn (his brilliant solo in “Cinnamon Girl” really is one note, played repeatedly). Yet, Neil regularly appears on Top Guitarists lists in various polls and magazines. He plays and sings and writes within his limitations, but opens the songs wide open for emotional exploration. In 1969, he was laid up in bed with a dangerously high fever. Delirious, he wrote “Cinnamon Girl,” “Down By the River” and “Cowgirl in the Sand” in one afternoon. They are three of his most beloved songs. He severely injured his back in ’72 and had to be seated most of the time with a brace for most of a year. This forced a laidback approach, so he recorded Harvest. Neil Young turns his limitations into opportunities.

**********
1989, my brother D takes me and my friend Johannes to see Neil Young in downtown Houston. Neil’s cache is at an all time low, as the 80’s were the strangest decade of his long career. He had released, in succession, records in the following styles: hard rock/country, rock, synth pop (where he sang half of the songs through a computer), rockabilly, country, modern rock and big band blues. He seemed so willfully resistant to success in the 80’s that his record company, Geffen, sued him for purposely making bad records. Anyway, this show is part of his Bluenotes tour. The article in the paper earlier that day warned fans not to expect any of the old faves, he was playing strictly obscure blues music on this tour. We show up, and he comes out and plays an acoustic set which includes the following songs: “Old Man,” “Heart of Gold” and “Needle and the Damage Done.” Not playing the old faves, huh? He takes a break, and then returns with a band that looks somewhat familiar. There is no horn section. This is not a blues show. This is Crazy Horse. He plays the loudest, most raucous set I have ever seen anyone play. He plays so many favorites and wonderful rarities, and a ton of new songs that are just awesome. These songs would soon appear on Freedom, his best record in over a decade. One image stays with me. Some youngish dude in a suit and tie in the front, rocking out harder than any hardcore-tatted up rocker, and Neil, appreciating the working stiff’s energy and abandon, reaches out and grabs his hand in rock and roll solidarity. Coolest moment: distortion ringing from the last note of “Cinnamon Girl” hangs in the air, Neil has a maniacal grin on his face, mutters “ah, that brings a tear to my eye” and then rips into the grittiest version of “Mr. Soul” you’ve ever heard. This is easily the loudest concert I have ever attended. My ears ring for days afterwards.

**********
Early 90’s, Todd and I are driving from San Antonio to the Woodlands to catch Neil Young being backed by Booker T. and the MGs. Driving down I-10, we come upon a drab, olive green bus with tinted windows and the top half of an old car attached to the roof. Faded paint on the back of the bus reads “Buffalo Springfield.” We have just come upon Neil’s tour bus, one that he still uses from the Springfield days. This is the coolest bus I have ever seen. Todd and I frantically try to get Neil’s attention, but we only get anxious glances from the bus driver. Later that night, the show is so great that we decide to get cheap seats for the next night in Austin and drive up there, meeting our buddy Johannes. Our seats in the Frank Erwin Center are in the very back row. We are leaning against the back concrete wall of the arena. It doesn’t matter. During “Rockin’ in the Free World” the three of us play air guitar in unison like fools. A large woman sitting next to us is laughing hysterically at us/with us.

**********
At the age of 65 (last year), he released one of the most bold records of his career.

ABOVE: An appropriate way to cap off my list. This is Jimmy Fallon doing a spot on Neil Young singing "Whip My Hair" by Willow. Very, very funny. Keep watching, as Fallon/Young is joined by a very special guest. And yes, that is actually him. Awesome.

What To Listen To:
Neil has got a lot of stuff. Everybody Knows This Is Nowhere was his first record with Crazy Horse, and it remains their best and most vital collaboration. After the Goldrush is probably his most balanced record between gentle folk and driving rock and roll. Harvest remains his most popular record, and it is a gorgeous So-Cal folk classic. On the Beach and Tonight’s the Night are two of the darkest records in rock, both are uncompromising and great. After a decade of dizzy changes of direction and some bad music, Neil rose from the ashes with the glorious Freedom in 1989, which stands shoulder to shoulder with his classic 70’s releases in quality. Ragged Glory was a much hyped return to form with Crazy Horse. I really like the closet cleaning record Silver and Gold. Neil’s latest, Le Noise, is a bold and intense collaboration with Daniel Lanois. Neil has released a slew of live records. Rust Never Sleeps is live, but it is also all new material, and was a brilliant capper to the 70’s. Live Rust is my favorite live record by anybody. Live at the Fillmore East is part of a prime Crazy Horse show from the early 70’s, and Live at Massey Hall is a wonderful solo acoustic show from 1971, featuring some very funny banter with the audience throughout. Neil is hard to anthologize, but Decade is one of those near perfect compilations, covering the crucial decade of 1965-75.

Dez's Top Rock/Pop Artists, #2: Bruce Springsteen

2011-08-16T21:32:00.004-05:00

Rock and Roll Savior

"I have seen the future of rock and roll, and his name is Bruce Springsteen." With that famous concert review, critic Jon Landau introduced the world to Bruce Springsteen (and got himself a new job as Springsteen's producer and manager). In the 1970's and early 80's, music fans viewed Bruce shows as near religious celebrations. The energy, passion and length of his shows were rock and roll personified, 3-4 hour rock and roll revivals.

What was it that set his shows apart? I think it was a matter of commitment and focus. In a well publicized interview from the time period, Springsteen stated that the only place where he felt alive was on the stage. If you watch the excellent recent documentary from HBO on the making of Darkness on the Edge of Town you can see firsthand his perfectionism and obsessive nature. It was all consuming, exhausting even for his like-minded bandmates. He never had a drug problem, had few romantic relationships until his first marriage in the mid-80's...it was all music all the time.

During his performing heyday in the 70's and early 80's, Bruce toured incessantly with his superb E Street Band. It was a family atmosphere onstage that was embraced by the fans as well. There was an uncommon bond between Springsteen and the E Streeters, and also between the band onstage and the appreciative audience. It was redemptive for both sides. Back in the day going to a Springsteen show was a rite of passage, and the key was that it meant at least as much to him as it did to us.

The first time that I saw Springsteen live was in '85 on his mammoth Born in the USA tour. It was not just a show, it was an event. What really struck me, even before The Boss and his band hit the stage, was the electric excitement in the crowd. It was a party, a celebration of true believers. I can still see several young men running around the stadium carrying a huge banner demanding "Rosalita, come out tonight!" (a request for his fan favorite tune from 1974. He didn't play it that night, though). I can see the huge beach balls being batted around the stadium, from section to section, as well as that favorite 80's stadium passtime, The Wave. Once Bruce actually came out to play, he turned that football stadium (it was Texas Stadium in Dallas) into a raucous, small club. I have never experienced anything like that. He was able to reach out and grab each crowd member by the lapels and draw them into the almost carnival atmosphere.

ABOVE: Great clip of Bruce in Phoenix in '78 peforming "Rosalita (Come Out Tonight)." Check out the sheer exuberance of the performance, and the rapport between Bruce and the dearly departed Clarence Clemons.

Of course he could not burn that intensely forever. His shows these days are still great concerts, but they are shadows (at worst, parodies) of what they once were. Rock and roll is essentially a young man's game (although my #1 seems to defy that rule). Bruce Springsteen also has a more balanced life. His shows are no longer a matter of life or death with him. He is married, has children, his legend is intact. He no longer has as much to fight for. He is probably a happier individual than he was back then, but in gaining happiness and balance, he lost a necessary edge.

What To Listen To:
My favorite Springsteen record is his second one, The Wild, The Innocent & the E Street Shuffle. It captures his looser, jazzier early sound wonderfully. Side 2 contains three of his all time great longer tunes that segue into a sidelong suite. Born To Run broke him into the mainstream, it is a declaration of freedom and expresses the desperate desire to bust out of a dead-end existence. It was with the angry Darkness on the Edge of Town where he first started to develop his blue collar hero persona. But it was a dark, dark ride. The acoustic Nebraska was meant to be a full band album, but Bruce felt that the demos sounded better, so he released it as is. A bold move for a major artist. Born in the USA was one of the biggest records of the 80's, with an impressive seven charting singles. He was finally able to blend his working class stories with irresistible rock and pop hooks. Tunnel of Love was a subdued follow-up, but has grown in critical esteem over the years. It is one of the more mature looks at matters of the heart to come out of rock and roll. As for his more recent releases, The Rising and Magic are the best of the lot. It is difficult to capture the live Springsteen experience on record, but Hammersmith Odeon, London '75 captures Bruce on his first ever stop in London at a crucial and exciting time in his career, when Born To Run was not the classic that it is today but simply a new album he was trying to promote. Box set Live 1975/1985 is a fabulous document chronicling live shows from that crucial decade. Essential Bruce Springsteen is the best of the compilations available.

Dez's Top Rock/Pop Artists, #3: peter gabriel

2011-08-15T23:31:00.003-05:00

Innovator or Imperialist?
“World music” instrumentation and influence is nothing new in rock. Pasty Brits and adventurous Americans have tried adding a bit of the exotic to their work ever since that unfortunate day that George Harrison discovered the sitar. How much is creatively incorporating these influences vs. co-opting third world cultural heritage for profit?

One of the more controversial situations arose with Paul Simon’s excellent 1986 blockbuster, Graceland. Simon used South African musicians for the record, exposing many Western ears to sounds they had never heard before. Later Simon was accused by some of the musicians of not paying them what was promised. (There is also the legal battle between Simon and Los Lobos over the songwriting credits on “All Around the World or the Myth of Fingerprints”). It is hard to feel too sorry for the musicians who played with Simon on the record and the subsequent tour. They gained exposure in the West that they never otherwise would have, and many of them capitalized on that. Of course, the Los Lobos controversy is a different matter.

Peter Gabriel has to be the most successful Western artist to use world music in his own songs. He started using world music on his stunning 1980 solo album, the third Peter Gabriel record (aka ‘melt’). Using African percussion on some of his songs, he broke new ground combining Western electronic-based music with African rhythms. The skeletal beauty “Biko” is the perfect marriage of these two worlds. From there, he experimented further on the moody Security. But it was So that hit paydirt, where he found the perfect balance between Western melody and electronics and world rhythms and textures. He managed to make pop music that could move listeners in any hemisphere (nowhere better than on the non-album b-side, “Don’t Break This Rhythm”).

While So was his commercial peak, his creative peak came soon after with Passion, his soundtrack album for Martin Scorsese’s controversial film ‘The Last Temptation of Christ.’ A mostly instrumental record, it again marries Western electronics with African and Middle Eastern percussion and instrumentation. But whereas before the Western music was primary, on Passion he reversed that equation. The Western melodies and electronic music took a backseat and he allowed the great African and Middle Eastern musicians to take center stage. It is a tour de force of world music in the true sense of the term.

Is Gabriel a cultural imperialist, profiting from the music of the third world? There is a better argument against Simon than Gabriel. Gabriel has definitely given back, from being the primary force behind the WOMAD festivals/movement to creating the Real World studios and record label where Gabriel records and promotes musicians from all over the world. Real World Records has brought artists such as Nusrat Fateh Ali Khan, Sheila Chandra and Geoffrey Oryema, among many others, to Western music stores. As great as his work with Genesis was, and as moving and experimental as his solo work has been, Peter Gabriel’s most important contribution may be WOMAD and Real World.

What To Listen To:
With the exception of Colin Hay, Peter Gabriel is my favorite vocalist. What makes a great rock vocalist is quite different than what makes a great traditional pop or opera singer. It is all about individuality, and Gabriel’s bold vocal quirks and raspy voice just grab me emotionally like nobody else. NOTE: His first several records were all eponymous (he said that he wanted them to be like different issues of a magazine), but they are generally differentiated by their cover art.

His debut as a solo artist, Peter Gabriel (aka ‘car’), is a thrilling declaration of independence from his former band, Genesis. He is bursting with ideas, most of which work wonderfully. The third Peter Gabriel (aka ‘melt’) is generally regarded as his best, and that is hard to argue against. He begins to bring in world music textures, innovates the gated drum sound, and delivers a set of his most compelling songs. So was his commercial breakthrough, and rightfully so. “In Your Eyes” is in the running for greatest love song ever. Passion, his soundtrack for ‘The Last Temptation of Christ,’ is the best example I have come across of seamlessly melding Western and African/Middle Eastern music. A gorgeous piece of work. Plays Live is an excellent live record that sums up his pre-So sound nicely. The two disc Hit is a decent compilation, but it is somewhat haphazardly programmed.

Dez's Top Rock/Pop Artists, #4: The Who

2011-08-12T06:43:00.007-05:00

The singer is an uncomfortable mix of golden rock god and London street thug. Tommy thrust him into the former role, but he more naturally fits the latter. He prances around the stage, dangerously swinging his heavily taped microphone like a lasso. Occasionally he will nail the drummer in the head with it. He’s got a powerful wail, and exudes confidence, but he is also at the mercy of the scrawny guitarist to his left, whom he has punched in the face many times. Yet, he still depends on him for a living.

The drummer is a complete lunatic. Flailing about madly at his drums, wild-eyed and free, he is a child in a man’s body. A child with a lot of money and a penchant for destroying hotel rooms, cross dressing and driving cars into swimming pools. Due to his antics, the band often has difficulty finding hotels that will accept them in certain cities, even though they are one of the biggest bands in the world. Sometimes he has difficulty keeping a simple beat, yet is also considered by many to be a genius on his instrument. He is. The bass player is often frustrated playing with him. He will be dead at 32.

The guitarist. The most prominent feature is his honker. He is often morose, yet plays with a rage that is true and beautiful. He accidently broke a guitar in frustration in the mid-60’s (he was swinging the guitar and it penetrated the low ceiling of the club, and he proceeded to smash it to bits in anger), and finding that the audience responded favorably, it became part of the act. An expensive part. In the early days he would steal guitars from music shops in order to have something to destroy later that evening. He is one of the most gifted songwriters of his generation and possesses an angelic voice. In fact, the band’s early manager wanted to dump the singer and have the guitarist sing all of the songs. He jumps, scissor kicks, makes ridiculous rock god poses, and swings his arm around like a windmill over his guitar strings, sometimes slashing his fingers and playing with blood dripping on to the stage. He turns his amps up so loud that his band held the record in the Guiness Book for “world’s loudest band.” He can also write beautiful acoustic ballads. He is an unapologetic sell out, hawking his band’s songs for any car or deodorant company who will pay. In fact, the band's brilliant 1967 concept album was called Sell Out and celebrates commercialism. He thinks the counterculture is the joke that it really is, calling one of his most famous songs "an anti-anti song" and notoriously booting activist Abbie Hoffman from the stage at Woodstock, snarling "get the f*ck off my stage." In his off time, he helps run a publishing house and works as a book editor.

The bass player stands completely still amidst the maelstrom. Completely still with a bemused look on his face, as if to say “what am I doing playing with these misfits?” He may be standing still, but his fingers are a blur of motion, dancing all over the neck of his bass. I would say that most classic rock music fans consider him to be the greatest rock bassist that there ever was. Listen to “The Real Me.” What makes many of his band’s songs so interesting is that while the guitarist often prefers to play driving, slashing rhythms, it is the bass player who solos like a guitarist. Almost constantly. Yet he also keeps the group’s rhythm grounded, because the lunatic drummer sure as hell doesn’t care. He seems a calm and dull bloke, especially when compared to his colleagues, but he actually has a hankering for booze, coke and groupies. The evening of his death, he will enjoy some blow in a swanky Vegas hotel room in the company of two strippers. This was when he was 58 years of age.

Who are they? Exactly.

ABOVE: The survivors

What To Listen To:
Debut The Who Sings My Generation is a powerhouse rock/R&B record. Maximum R&B, as their tour posters used to proclaim. Many dismiss the sophomore effort A Quick One (While He's Away), but I find it quirky and a lot of fun. The Who Sell Out is a brilliant concept album that was a dry run for the more ambitious ones to come. It is full of sparkling 60’s pop songs and designed to play like a pirate radio broadcast, full with fake radio jingles in between the songs. Of course Tommy is the most famous rock concept album ever made, and while the story is silly, the music is awesome. Who’s Next is considered by most (and me) to be their peak. It is a muscular classic rock monolith, but Peter Townshend breaks ground with his experimentation with synths and sequencers. The rare experimental blockbuster. Quadrophenia is even harder to follow than Tommy, but it is brilliant musically, featuring some of the best use of synthesizers in a hard rock setting that you will ever hear. The Who have released a boatload of live records, but Live At Leeds is the one to get. Ridiculously loud and bombastic, it is The Who at their most muscular. Get the expanded deluxe edition with the full performance of Tommy on it. According to Wikipedia, The Who has released 21 compilations, but I bet it is more. Meaty Beaty Big and Bouncy is great because it collects all of their 1960’s pop singles, some of which were not on their records. Odds & Sods is a must for fans, because it is not a hits collection, instead a collection of b-sides, rarities and outtakes, some of which are their best songs. As for actual hits collections, the two disc Ultimate Collection is the best one out there.

Dez's Top Rock/Pop Artists, #5: Men At Work

2011-08-11T12:47:00.008-05:00

Back in the Day
Obviously I do not think that Men at Work were the 5th greatest band in history, ahead of The Beatles, The Stones, Kinks and others. But seeing as this list is about who’s music has been most important to me, MAW needs to be up here. I have no argument for them being one of the greatest bands (because they were not), but I can argue that they were a great band. Singer/leader Colin Hay possesses my favorite set of pipes in the business. He’s got a quirky delivery and an impressive range, as he sings most of his songs with a wink and a smile. Greg Ham offered some interesting sonic textures with his prominent flute and sax parts, while guitarist Ron Strykert was quite underrated. John Rees and Jerry Speiser were a rock solid rhythm section.

Part of it is timing. If you want to go way back to the foggy beginnings of Dez’s musical development, you’d start with some soundtracks. After the children’s songs, the next thing that caught my attention as a little listener were the soundtracks to films. The soundtrack composed by John Williams for Star Wars was crucial, I wore that thing out. Now I know that he was fairly derivative of Holst and other composers, but at the time the Star Wars music was it for me. It was such visual music, I could put on those records and replay the film in my mind. I still think that was one of the greatest film scores ever.

The first rock band for me was KISS. Falling victim to their brilliant mid and late-70’s marketing campaign of KISS dolls, lunch boxes, cartoons and everything else, they got me. But in the process my parents also bought me some KISS records. God bless ‘em, buying a six year old a record with pictures like this on the cover…

I have a strong memory of sitting in my room listening to the song “Strutter.” My Dad came in to check up on me, and I asked him, “Dad, what’s a strutter?” He then attempted to demonstrate to me how to strut across the room. Now that was funny. While I did enjoy the music of KISS, at that age it was just as much about the image, toys and visuals. There are still photos circulating amongst my family of a seven year old Ace Frehley on Christmas morning. My parents had bought me a KISS make-up kit, and my sister made me up as my favorite KISS member just in time for the family gathering.

Fast forward a few years, the very first 45 record I owned was “Our House” by Madness. That is still a great song. After that was “Electric Avenue” by Eddie Grant. For perhaps my 9th or 10th birthday, my friend Benjamin gave me two records. After the soundtracks and KISS records, I count these as my first real rock/pop albums that I owned. One was Duran Duran’s debut, Duran Duran. The second was Men At Work’s Business As Usual. I really enjoyed all of my early music, but no record captured my attention like Business As Usual. I believe that was the first record (beyond the soundtrack music) that I really dove into wholeheartedly, listening to every note. I know that record backwards and forwards probably better than any other.

Business As Usual was huge at the time. Going multi-platinum, they won the Grammy for Best New Artist that year, with the record spawning two #1 hits (“Who Can It Be Now?” and, of course, the unofficial Australian anthem, “Down Under”). So, what is this vegemite sandwich? I did some research, and it appears to be a nasty looking vegetable spread that was popular down there. The line “He just smiled and gave me a vegemite sandwich” became such a catchphrase at the time that McDonald’s started offering the McVegemite Sandwich for a brief time. Really.

ABOVE: a vegemite sandwich

ABOVE: Colin Hay doing a great acoustic version of MAW's signature tune, "Down Under"

I got to see and meet Colin Hay around 2000 when he came through Austin touring as a solo acoustic act. Hay has forged a respectable, if low key, solo career that has gained momentum over the decades. He now has a respectable following in his own right. Anyway, this show was not promoted very well, and I arrived at this little club where there were maybe ten people in the audience. I am not kidding. But Colin gave a great show anyway, chatting between tunes and telling humorous anecdotes about his Men At Work days. He also played a devastating version of “Overkill,” MAW’s finest song. It was such a great experience meeting him afterwards. I got to shake the man’s hand and tell him that his music has been a huge part of my life since I was a little kid. He just smiled broadly, with one eye fixed on me and that lazy eye of his looking off in another direction, and said “awight, at’s great!” in that thick mix of a Scottish/Australian accent of his. He then signed some CD covers for me and was off.

What To Listen To:
Men At Work shown brightly, but they were a shortlived act. They only put out three studio records. Business As Usual is essential 80’s, one of the most charming pop records of the early part of the decade, with almost every song having substantial merit. It was huge and you can hear why. Follow-up Cargo was more uneven, but had some peaks at least as high as what was on Business As Usual, with “Overkill” and “It’s a Mistake” being two of their best tunes. There were also some throwaways, though, making it not quite as great as the debut. Colin Hay and flautist/sax player/keyboardist Greg Ham reunited in the 90’s as Men At Work for some touring with some crack session players and released a surprisingly strong live record, Brazil. There are quite a few budget compilations out there, and none of them hit the mark. I guess Contraband is the best of them. I would recommend Colin Hay’s solo work as well. I really enjoy the solo acoustic outings the best, Peaks and Valleys and Going Somewhere.

Dez's Top Rock/Pop Artists, #6: The Police

2011-08-09T12:38:00.003-05:00

Sting the Petulant Pansy
In 2007, I fulfilled one of my lifelong dreams. I have always loved The Police, but since they broke up in the mid-1980's, I had long given up on seeing them live. Then...The Reunion Tour! I paid an exorbitant amount of money for tickets (this was the fourth highest grossing tour in history), but I didn't care. This is the freakin' Police. The show did not disappoint. One of the best concerts I have ever seen. I own quite a bit of live Police material, and honestly, they weren't the greatest live band. But, musically speaking, they were better than ever on this 2007/08 tour. This is not just rosy memories here, the live album from the tour, Certifiable, confirms that they were spot on for this one off tour. It is a killer live record.

On his website, Stewart Copeland wrote a funny and self-deprecating review of the second show on the tour. It got a lot of attention, with the media speculating that Sting and Stew were feuding only two shows into the tour, but Stewart made clear later that it was largely tongue in cheek. Anyway, it is a fun read, here it is...

“Whenever you’re ready Mr. Copeland” says Charlie, the production manager, as two crew members hold aside the giant gong, creating just enough space for me to slither onto my percussion stage, which is still down in its pit. I leap on board but my foot catches something and I sprawl into the arena in a jumble as the little stage starts to rise into view. Never mind. The audience is screaming with anticipation as I collect myself in the dark and start to warm, up the gong with a few gentle taps. But I’m overdoing it. It’s resonating and reaching its crescendo before the stage has fully reached its position. Sort of like a premature ejaculation. There’s nothing for it so I take a big swing for the big hit. Problem is, I’m just fractionally too far away and the beater misses the sweet spot and the big pompous opening to the show is a damp squib. Never mind.

I stride manfully to my drums. Andy has started the opening guitar riff to MESSAGE IN A BOTTLE and the crowd is going nuts. Problem is, I missed hearing him start. Is he on the first time around or the second? I look over at Sting and he’s not much help, his cue is me – and I’m lost. Never mind. “Crack!” on the snare and I’m in, so Sting starts singing. Problem is, he heard my crack as two in the bar, but it was actually four – so we are half a bar out of sync with each other. Andy is in Idaho.

Well we are professionals so we soon get sorted, but the groove is eluding us. We crash through MESSAGE and then go strait into SYNCHRONICITY. But there is just something wrong. We just can’t get on the good foot. We shamble through the song and hit the big ending. Last night Sting did a big leap for the cut-off hit, and he makes the same move tonight, but he gets the footwork just a little bit wrong and doesn’t quite achieve lift-off. The mighty Sting momentarily looks like a petulant pansy instead of the god of rock. Never Mind. Next song is going to be great…

But it isn’t. We get to the end of the first verse and I snap into the chorus groove – and Sting doesn’t. He’s still in the verse. We’ll have to listen to the tapes tomorrow to see who screwed up, but we are so off kilter that Sting counts us in to begin the song again. This is ubeLIEVably lame. We are the mighty Police and we are totally at sea.

And so it goes, for song after song. All I can think about is how Dietmar is going to string us up. In rehearsal this afternoon we changed the keys of EVERY LITTLE THING and DON’T STAND SO CLOSE so needless to say Andy and Sting are now on-stage in front of twenty thousand fans playing avant-garde twelve-tone hodgepodges of both tunes. Lost, lost, lost. I also changed my part for DON’T STAND and it’s actually working quite well but there is a dissonant noise coming from my two colleagues. In WALKING/FOOTSTEPS, I worked out a cool rhythm change for the rock-a-billy guitar solo, but now I make a complete hash of it – by playing it in the wrong part of the song. It’s not sounding so cool.

It usually takes about four or five shows in a tour before you get to the disaster gig. But we’re The Police so we are a little ahead of schedule. It’s only the second show (not counting the fan gig – 4,000 people doesn’t count as a gig in the Police scale of things).

When we meet up back-stage for the first time after the set and before the encores, we fall into each other’s arms laughing hysterically. Above our heads, the crowd is making so much noise that we can’t talk. We just shake our heads ruefully and head back up the stairs to the stage. Funny thing is, we are enjoying ourselves anyway. Screw it, it’s only music. What are you gonna do? But maybe it’s time to get out of Vancouver…”

ABOVE: "Voices Inside My Head / When the World Is Running Down You Make the Best of What's Still Around" from the Reunion Tour. Check out Sting's bass work especially, he is going to town. Stewart is brilliant on the drums, as usual.

What To Listen To:
The Police only released five records in their relatively short tenure as greatest band on the planet. All five are worth having, and each has its own distinct character. Outlandos d'Amour is their hardest rocking record where they were trying to pass themselves off as part of the punk movement (nobody bought it, they were much too talented musicians to be real punks, and Sting was already showing himself to be a master pop songwriter). Reggatta de Blanc shows them getting a little more sophisticated and really experimenting with reggae influences. Stewart Copeland's drumming is so great on this record. Zenyatta Mondatta is The Police at their most stripped down and skeletal, but the songs really have space to breathe, especially on the first half. Ghost in the Machine has a thicker sound, where they expand their sonic palatte considerably, using synths, horns and even some steel drums. Synchronicity was their blockbuster, and deservedly so. "Synchronicity II"/"Every Breath You Take"/"King of Pain"/"Wrapped Around Your Finger" is a hell of a stretch on any record. As I said above, The Police actually were tighter and better live on this reunion tour than on any previous tours. Certifiable is an outstanding live document, but only available at Best Buy or iTunes. The Police is an outstanding two disc compilation.

Dez's Top Rock/Pop Artists, #7: U2

2011-08-08T11:07:00.011-05:00

The Art of Reinvention

Few things are more American than the comeback. In all walks of life, we love the rise, the fall and the rise again story arc. I think it fits in nicely with our historical character as a people, going all the way back to manifest destiny and the wide open possibilities for anyone with initiative and drive. At our birth as a people, it was only the driven and adventurous who made the trip over in the first place (or debt prisoners). Rock and roll is essentially an American art form, regardless of the nationality of its practitioners. And as Bono himself has said, the American Myth has always been something of a religion to the Irish.

So the comeback is something we love in all walks of life; politics, business, sports and our entertainment. But even better than the mere comeback is the successful reinvention, because not only do you rise again from the ashes of your past, but you do it with something new to say or do, not merely successfully reproducing what worked before. There are quite a few reinvention stories in rock music. Some are not artistically great, but at least are commercially successful (take Aerosmith, turning from washed up hard rock dinos into power ballad kings in the 90's).

Bands have several options once they have a huge hit record. They could pull a Dire Straits or Peter Gabriel and lay low for several years, allowing the dust and expectations to settle (as each did after Brothers in Arms and So, respectively). They could try to recapture the same vibe and magic, usually to diminishing returns (INXS after Kick). They could call it a day and go out on top of the world, avoiding the question of “what do we do next?” altogether (The Police after Synchronicity). Or, they could pull the most difficult trick of all, which is to realize that they cannot improve upon their current sound, and therefore go back to the drawing board and create a new sound. This is risky, because why leave the comfort of what got you there? Will your fans rebel?

After U2 released The Joshua Tree in 1987, they were the biggest band in the world. Years ago when I gave you my Favorite Records list, The Joshua Tree was (and still is) my favorite record of all time. It is near perfection. What the hell do you do after a Joshua Tree? They stalled with Rattle and Hum and its disaster of a documentary film that came close to turning U2 into a joke. Seeing the road ahead after Rattle and Hum, they almost broke up, then they decided to leave America, spiritually and musically, and return to Europe in their aesthetic. They went to Berlin (and back to Dublin) and tried to capture some of that Bowie/Eno Low vibe.

The result was the most impressive reinvention in rock history. From being on top of the world with The Joshua Tree, they were able to revamp their entire sound and remain on top with Achtung Baby. The fact that both The Joshua Tree and Achtung Baby are two of the greatest and most admired records of the past thirty years says volumes about the talent and resilience of Ireland’s greatest band. It is also a testament to what quite a bit of desperation can do. Achtung Baby was a rebirth, and such a creative burst is rare in a band that had already been around for a decade.

What To Listen To:
Boy was an auspicious debut, made most exciting by Edge’s already interesting approach to the guitar. War was the culmination of their first period, U2 at their most earnest, political and confrontational. Unforgettable Fire was a transitional record, but it is also one of my favorites. Producers Daniel Lanois and Brian Eno helped U2 create their most atmospheric music. The Joshua Tree, as I said above, is about as perfect as a record can be. Perfectly paced, produced, written, performed…I cannot suggest a single improvement. Achtung Baby shows U2 diving into European dance rhythms and industrial sounds with aplomb, while still retaining their way with a hook. Zooropa is viewed as a toss-off (because it kinda is), but while not as great as Actung Baby, I think that it actually captures their Euro ambitions even better. The live EP Under a Blood Red Sky is U2 in their early glory. I don’t think they’ve gotten it right yet as far as compilations go. Best of 1980-1990, Best of 1990-2000 and U218 Singles all have wonderful tracks, of course, but they are all haphazardly sequenced, are missing some essential songs, and make for a fragmented view of the most important band of the last 30 years. A solid, comprehensive box set is really in order for these guys. They have released each record of theirs through 1987 (so far) in deluxe editions with an extra disc containing b-sides, live cuts and remixes from the appropriate period. If you are a fan, they are all really worthwhile, as U2’s b-sides are often equal to what makes it on the albums.

Dez's Top Rock/Pop Artists, #8: The Kinks

2011-08-05T11:00:00.006-05:00

Concept Kings
The concept album. Few terms in rock and roll cause more divergence of opinion than this one. Depending on your view, the concept album can be the peak of creative expression within the album format or the height of bloated self-indulgence that is far removed from the “three chords and the truth in a garage” aesthetic that means real rock and roll to so many fans. The definition of “concept album” is not even agreed upon. Generally speaking, a concept album is an album whose songs or music is unified in some way. They are not merely a collection of tunes thrown together for 40 to 80 minutes, but the tunes are related. They can be loosely related thematically, or they can actually attempt to tell a coherent story, like a musical or opera, just in the rock music setting.

If you accept the loose definition, you can trace the roots of the concept album back to the 1950’s in jazz (Duke Ellington and Masterpieces by Ellington, for instance) or pop music (Frank Sinatra’s In the Wee Small Hours is often considered a loose concept album). The first rock concept records? I think you can go back to 1966, where Frank Zappa’s Freak Out! and Face to Face by the Kinks may vie for that title.

Face To Face is one of those mostly forgotten records (except by music critics) from the 1960’s that is an absolute gem. But that’s the story of the Kinks in general, isn’t it? Often overlooked, but a gem of a band. There are several reasons that they did not translate as well as their fellow British Invasion bands in the U.S. They had a prolonged battle with the musician’s union that prevented them from touring in the States throughout the late 1960’s. That was part of it. But also, Ray Davies is the most British of the British Invasion songwriters. Most American listeners might be a bit confused by (or indifferent towards) a concept album about day to day British middle class life, or one about the charms of life around the village green, or one attempting to chronicle the cultural impact of the decline of the British Empire (all were the subjects of three classic Kinks 60’s records).

Back to Face To Face. A collection of 14 pop gems that serve as snapshots of British middle class life, Face To Face is simply brilliant and a joy to listen to. I put it up against almost anything else as the great pop record of the 60’s. Ray Davies’s celebrated wit and observations have never been sharper or more concise, from the humorous portrait of a pasty Brit on vacation in “Holiday in Waikiki” to living beyond your means in “Most Exclusive Residence For Sale” to the youth desperately trying to impress in “Dandy,” it is all there. And Davies’s unusual (and conservative) point of view is also dramatically on display in “Rosie Won’t You Please Come Home.” Rock and roll is brimming with tunes of teenage rebellion and breaking free from the constraints of overbearing parents and society, but how many songs take the heartbreaking point of view of the parents left behind when their wild child has disappeared? Lesser known Kinks gems are all over this record, including the gorgeous and weary “Too Much On My Mind,” which may be Davies’s prettiest song. And it is capped off with the very funny tax fugitive/upper class malaise tale “Sunny Afternoon”:

“The tax man's taken all my dough
And left me in my stately home
Lazing on a sunny afternoon
And I can't sail my yacht
He's taken everything I've got
All I've got's this sunny afternoon
Save me, save me
Save me from this squeeze
I've got a big fat momma tryin' to break me
And I love to live so pleasantly
Live this life of luxury
Lazing on a sunny afternoon
In the summertime, in the summertime
In the summertime
My girlfriend's gone off with my car
And gone back to her ma and pa
Telling tales of drunkenness and cruelty
Now I'm sitting here
Sipping at my ice cold beer
Lazing on a sunny afternoon
Help me, help me, help me sail away
Well, give me two good reasons
Why I ought to stay
'Cause I love to live so pleasantly
Live this life of luxury
Lazing on a sunny afternoon
In Summertime, in summertime
In summertime”

Ray never bested Face To Face (in my view), but he did get more ambitious with subsequent concept albums. The beloved The Kinks Are the Village Green Preservation Society is an ode to a simpler British life that probably never really existed. Arthur, Or the Decline and Fall of the British Empire is an excellent look at the British middle class as the British Empire is in its twilight, and much more coherent than what many consider to be the ultimate concept record released in the same year, The Who’s Tommy. Lola vs. Powerman and the Moneygoround, Pt. 1 is one of the better broadsides at the music industry and the travails of fame. Muswell Hillbillies is another nostalgia session, while Everybody’s in Showbiz details the banality of life on the road. Davies did start to overreach in the mid-70’s with his “rock opera” phase (Preservation Pt. 1, Preservation Pt. 2, The Kinks Present A Soap Opera, Schoolboys in Disgrace), but nobody could accuse him of lacking in ambition.

The Kinks are so important for several reasons. I chose to look at their concept album legacy, but I could have written about how Ray and brother Dave Davies practically invented garage rock with their early singles. Or how they pulled off an unlikely comeback in the late 70’s and early 80’s by reinventing themselves convincingly as a muscular arena rock band (which is where I initially got on board). Or about how Ray Davies would be in the conversation as rock’s greatest songwriter (“rock and roll’s poet laureate,” in the words of Pete Townshend). Or how Ray’s great talent should not overshadow Dave Davies’s talents as a guitarist, singer and songwriter. Yet, at least in the United States, they may be the biggest cult band in history. God Save The Kinks.

What To Listen To:
The Kinks released a series of groundbreaking singles in their early days, even as on their initial records they were still finding their way. The now hard to find Greatest Hits expertly collects those singles and b-sides. You know I like to discuss great streaks, and The Kinks had one from about 1966 through the early 70’s. I discuss them above, but Face To Face, Something Else By The Kinks, The Kinks Are The Village Green Preservation Society, Arthur or the Decline and Fall of the British Empire and Lola vs. Powerman and the Moneygoround Pt. 1 are all essential Kinks. After that, the records are more spotty with brilliant individual songs. Kink Kronikles is a quirky compilation that is much beloved that covers this period, but it is not a straight hits collection, more an alternative history that is full of b-sides and hard to find gems. I am a huge fan of the Arista Records years (1977-84), which was their most successful period in the U.S., but those records are all mixed bags of great rock songs and filler. Here is something you can do, string together the following compilations: Greatest Hits (if you can find it) covers the early essential singles, then Kink Kronikles takes you through the late 60’s, Celluloid Heroes starts in the early 70’s and goes to 1976, then Come Dancing With The Kinks covers ’77-’84, and Lost and Found will finish up the 80’s for you. All are worthwhile, well, except for that last one. On a more serious note, the two disc Ultimate Collection is a decent (but far from perfect) overview covering all eras, while the six disc box set Picture Book is exhaustive but quite good.

Dez's Top Rock/Pop Artists, #9: The Rolling Stones

2011-08-04T10:42:00.005-05:00

In the Frankenstein Monster of Rock and Roll, the heart and soul would be The Beatles. The brain would be Bob Dylan, as he opened the door wide open for the subject matter of Rock and Roll. Dylan moved it beyond "Baby, Baby, I love you." Elvis would be the hips and the hair. Chuck Berry would be the hands, as he created the basic rock guitar language. The Rolling Stones? They are the balls. You can decide which body part you think is most essential to rock and roll.

What To Listen To:
As the longest running rock band in the music's history, The Stones have a pretty huge discography. Complicating matter further, up until 1967, they released quite different versions of their records in Britain vs. the U.S. Some of their early and mid-60's records are considered classics, but in my view, you can go song by song in this period vs. looking at whole albums, which were a mix of greatness and filler. But between 1968 and 1972, The Stones hit a streak that is unmatched. They could not miss. Beggar's Banquet, Let It Bleed, the live Get Yer Ya-Ya's Out, Sticky Fingers and Exile on Main Street are absolutely essential rock and roll. Essential, and the essence really. After that, we kind of return to great songs surrounded by some filler. It's Only Rock and Roll is a solid Stones record, and Some Girls surprised many critics and fans with its experimentation with newer sounds. A latterday Stones classic. Tattoo You was released as an album, but it was really a collection of leftovers, albeit top notch and it plays like one of their better latterday records. I wrote an entire post about the controversial Undercover record, I love it. Some hate it. But it was the last time they were really invested in creating interesting music vs. releasing mere product.

Not surprisingly, The Stones have lots of compilations out there. But due to legal complications and multiple labels, few of them attempt to be comprehensive. Hot Rocks is Stones 101, the place to start and in my opinion, the greatest compilation ever released. Not a bum track over two discs covering their music up to 1971. More Hot Rocks is a nice companion piece, going for some deeper cuts and rarities from the same period. For a more comprehensive look at the same period, box set Singles Collection - The London Years collects all of the singles and b-sides through 1971. The perfect addendum is the now out of print Rewind, a tight single record covering '71-'83 almost perfectly. It is really a shame that it is hard to find. There is one compilation that was able to overcome the legal issues and covers their entire career, Forty Licks. It is a bit haphazardly ordered, but it does have the most coverage, but necessarily only skims the surface.

ABOVE: Hot Rocks is the greatest compilation of them all

Dez's Top Rock/Pop Artists, #10: Dire Straits

2011-08-02T10:46:00.008-05:00

Southern Star

My previous entry may be the greatest rock guitarist alive, but Mark Knopfler is my favorite guitar player. I know I’ve used concert memories lately in several posts, but I’ve got a particularly strong one associated with Dire Straits, so I think I’ll go with that structure here as well.

One of the reasons that my live Dire Straits memory is so important is that it was my first concert experience. I would have been about 12 years old, and my older sister told me that I could come with her and her boyfriend to a concert. Already a dedicated music fan, I was thrilled. A good part of my musical fanaticism can be blamed on my siblings. Growing up I didn’t really have a choice. When I was very young, my sister would make me sit down and she would put those huge 70’s stereo headphones on my head and make me listen to God knows what. It was my sister who introduced me to Bruce Springsteen (well, not personally, but his music). My brother D. was quite important. He gave me a copy of Creedence Clearwater Revival’s Chronicle, Jimi Hendrix’s Essential, The Best of The Doors and Buffalo Springfield’s Retrospective all when I was quite young and impressionable. My now deceased brother R. was a Stones fan. I have memories of him sitting up in our playroom for hours on end spinning Hot Rocks, getting lost in his schizophrenic mind. That is how I got to know The Stones’s music intimately.

And my sister introduced me to Dire Straits. Her boyfriend at the time, I forget his name, was a nice dude and a huge DS fan. They were coming to the Southern Star Amphitheater at Astroworld on their Brothers In Arms tour, and he got my sis and me some tickets to go with him. She told me that I was going to a concert, and my head was spinning with the possibilities. Could it be Bruce? The Stones? Oh my God, maybe it was Huey Lewis & The News! (This was the mid-80’s, remember). “No, Dire Straits.” Dire who? I had this sinking, disappointed feeling. I quickly tried to familiarize myself with their tunes before the show, but I was still underwhelmed.

The Southern Star Amphitheater, like the rest of Astroworld, is now an open field across the highway from the similarly abandoned Astrodome in Houston, I think they are building some shopping centers and apartments there now. The Southern Star design is now a common set-up for outdoor concert venues, but it was a newer design in the early 80’s. Located at the back of Astroworld (behind the XLR8 rollercoaster), it was basically a grassy hill with a stage in front of it. But there was something a bit magical about the place. Perhaps it was the amusement park backdrop, but it was just the coolest venue for shows in the summer. I saw about 4 shows there in my youth, and each one turned out to be a memorable experience, for various reasons.

ABOVE: The show that I attended in Houston is one of the most bootlegged shows of Dire Straits, in part because it was broadcast live on the radio nationwide. Here is the "album cover" of one of the many bootlegs of the show out there.

We arrived, and we couldn’t find the proper entrance, so the three of us (along with a group of other likewise confused concertgoers) climbed a rather large chain link fence to get in. Concert security wasn’t what it is now. We staked out our spot on the hill, and I recall the people to the right, and the people to the left, and the people behind us all smoking weed. To a 12 year old, this was quite an interesting shock to the senses.

But then the show started and the music wiped out all other distractions (when they started their hit “Money For Nothing” and the crowd rose to their feet, my sister’s boyfriend lifted me up on his shoulders so I could see…cool thing to do). Dire Straits was such a powerful live band in their heyday. They did not play their hits note for note, often extending their songs to double the length that they were on the record. I have a vivid memory of one of those perfect concert moments: 18-minute version of “Tunnel of Love” (which may be my single favorite rock song of all time) with all of its amusement park imagery and dynamics, being played outdoors with a real amusement park as the backdrop. I mean, how great is that? I recall Knopfler commenting on that too.

Fortunately I can relive that moment. In one of those strange coincidences of life, my brother J., living in Colorado at the time and completely unaware that I was attending the show, decided to pop a tape in his stereo and record a live radio broadcast of Dire Straits, live from Houston. A year later, while browsing his tapes, I see a cassette labeled “Dire Straits, Houston” with the date of my show. Really? I made a copy and have it to this day. But wouldn’t listening to it mar the perfect memories? Things always sound better in your memories than they actually were, right? No. I am happy to report that that tape proves that it was not just hazy happy childhood memories. That show kicked serious ass. It features a transcendently great version of “Wild West End,” by the way. Here it is...

Listen to more Dire Straits at Wolfgang's Vault.
ABOVE: For those of you who love great live recordings, check out the website wolfgangsvault.com. It has a treasure trove of live recordings you can listen to (I saw quite a few Bowie shows there, ANCIANT). It also just so happens to have my Houston show in its entirety. Imagine sitting out on a grassy hill one summer night with the amusement park behind the stage. Great setting. The tune is mellow and pretty, but check out the muscular guitar solo at the end that kicks it wide open. That is why Dire Straits was so great live.

Thanks to my siblings, those who are still with me and the one who has passed on, for giving me the gift of my passion for great music.

What To Listen To:
Dire Straits’s debut, Dire Straits, stands apart from other releases from the late 70’s. There is no trace of disco, hard rock, punk, early New Wave…nothing that reflects the dominant musical movements of the day. This is a laid back, pub rock record more rooted in country, folk, beat and bluesy rock and roll. What does stand out is Mark Knopfler’s crisp, clean guitar playing that is most pure on the debut. The third record, Making Movies, is the one that true fans adore. It was one of those records that was moderately successful in the U.S., but it is much beloved in the UK. Side One is one of those perfect sides (sadly not relevant in the CD or digital age). Brothers In Arms was the breakthrough that became one of the most unlikely blockbusters of the 80’s, and while uneven, it definitely has some very high points. Alchemy is probably tied (with a live album from the artist who will be #1 on this list) for my favorite live album of all time. Released pre-Brothers in Arms, it showcases their dynamic live playing. Sultans of Swing: The Very Best of Dire Straits is a decent single disc intro.

Dez's Top Rock/Pop Artists, #11: Jeff Beck

2011-07-29T11:14:00.003-05:00

The Greatest

I’ve written of Jeff Beck’s greatness many times over the years here at GNABB. I have tried to explain in words why he is the greatest living rock guitarist. What else can I say that I haven’t already? Two snapshots…

1989.
Double bill Jeff Beck / Stevie Ray Vaughan show in Houston. I am at the show with a decidedly un-rock and roll group, my parents, older brother and one of my oldest friends. SRV had the opening slot, and was predictably great. Even casual music listeners could easily grasp that this guy was a special musician. He was also such a friendly and engaging performer, gracious and giving us the requisite between song banter. Then came Jeff Back and his group. I don’t think he ever said a word to the audience (SRV had an advantage there in that he was also a singer, whereas Beck has generally always been strictly a guitar player). I recall thinking at the end of the show that SRV had bested Beck in the duel of guitar pyrotechnics (at the time, I was a huge SRV fan and only a casual admirer of Beck). I also remember having this nagging feeling that SRV may have been the more obviously impressive, but Beck’s music was a lot more interesting.

2001.
A large club in downtown Austin that is actually just a warehouse (there are no seats, just a concrete floor for people to stand on.) I got a ticket to the Jeff Beck show, and I am stoked. I have grown into a Jeff Beck fanatic since that ’89 show. I got there early, so was able to stake out a spot front and center at the stage. (I remember some chick trying to edge her way in front of me during the show, and I planted my feet, not letting her by. She was pissed. Too bad, my spot.) Just like 12 years earlier, Beck did not say a word to the audience the entire show. In fact, there was not even a microphone on the stage for him to use if he had wanted to. But his manner was warm and fun, he had a permanent grin on his face, and seemed to be enjoying himself immensely, giving us exaggerated rock god poses that were clearly tongue in cheek (no wonder the Nigel Tufnel character from 'This Is Spinal Tap' was based primarily on Beck). This show was a revelation. After this show the possibilities of the guitar were forever expanded from what I previously understood. I left with the firm belief that this was the greatest guitarist that I had ever (or would ever) see. See my many previous posts as to why.

ABOVE: I may have posted this before, but it is a lovely rendition of The Beatles's "A Day In the Life." If you look closely, you can see Jimmy Page in the audience.

What To Listen To:
Beck's discography is spotty and has many gaps from when he decided to set his music career aside in exchange for his other passion, restoring old cars. His work with The Yardbirds is by far the most groundbreaking when compared to their Eric Clapton-era and Jimmy Page-era. The Yardbirds Ultimate! is a great two disc compilation covering all three eras. The first two Jeff Beck Group records, Truth and Beck-Ola, feature the most celebrated line-up (Rod Stewart on vocals, Nicky Hopkins on piano, Ron Wood on bass) and are rightfully considered landmark hard rock, blues-based records that were templates for countless 70’s rock bands to follow. Blow By Blow is a near perfect jazz/rock fusion record. Follow-up Wired is only slightly less great, but it has a harder edge to it. I have posted a full analysis of the confounding Jeff Beck’s Guitar Shop. I love it, but it takes some attention to appreciate its charms. Starting in 1999, Beck had a renaissance in creativity that is still going strong today. Who Else! and You Had It Coming are the best records from this latest phase. Live at Ronnie Scott’s give you the best taste of Beck live. He has some compilations, but they are not the best introductions, and none feature anything from his most recent resurgence.

Dez's Top Rock/Pop Artists, #12: The Doors

2011-07-27T11:32:00.006-05:00

The Other Three

I am going to write a bit about The Doors without focusing on Jim Morrison. I know that hasn’t been done very often, as Morrison has been the center of Doors history since his demise, even appearing on the cover of Rolling Stone Magazine in the late 1980’s (he died in 1971) in an article about his enduring popularity and sex appeal. The legion of Doors-haters out there also tends to focus on Morrison and his bad, acid-trip poetry.

But the other three guys are why I love The Doors’s music so much. When I listen to The Doors, sometimes I don't even hear Jim Morrison, because I am concentrating so closely on what they are playing behind him. The sound they created on their six studio records is quite unique in rock and roll, often imitated and very influential, but never duplicated. Ray Manzarek was the heart of their sound, playing that dizzy organ and piano that was so prominent in their best known songs, and doubling on keyboard bass duties for the first three of the six records (in the later days, they generally used session bassists). Manzarek’s musicianship is pretty remarkable (try playing the Doors keyboard parts on RockBand3!) In the studio on those first three albums and onstage throughout their career, he not only played the complex keyboard parts, but was simultaneously playing the bass parts, primarily with pedals. Robbie Krieger is a very underappreciated guitarist. Trained in flamenco and other non-rock styles, he was able to bring all of that influence into their music. Also, a killer bottleneck player as well, just listen to the bluesier material on their last couple of albums. John Densmore was trained as a jazz drummer, and his complex rhythms really open up their sound.

BELOW: I know I said I would focus on the other three, but Morrison aged pretty remarkably over five years of hard living, between their breakthough in '67 and his demise in '71...

The Doors’s music showed a remarkable progression over five years and six records. The first two records are really companion pieces, recorded within a year of each other and comprising of material that was written and perfected onstage during the same time period. They are the 60’s baroque Doors sound that most classic rock fans know. The middle two records show a period of transition where they try to grow and evolve, and are a mix of successes and embarrassing failures (especially their fourth record, the nadir of their discography, where they try to bring strings and horns into the mix). During my middle school and high school years, I focused on those first two records. But during the last year or two, I have really come to love the final two. The music and magic of the first two records could not be reproduced, and the experimentation on those middle two records led mostly to dead ends and failures. So The Doors turned themselves into an unlikely gritty, killer blues-rock band. This fit perfectly with Jim Morrison’s physical, mental and vocal state at the time. He was weary as hell and near the end of the road. This of course, was the perfect recipe for great blues-inspired rock music.

What To Listen To:
I still believe that The Doors’s debut, The Doors, is the most interesting debut record by any major rock artist. What a unique mood and sound, it is its own world. The follow-up, Strange Days, is almost as good, but it is made up of material left off of the first one. But tunes like the title track, “Love Me Two Times,” “Moonlight Drive,” “People Are Strange” and “You’re Lost Little Girl” are pretty awesome leftovers. I’ve probably listened to Morrison Hotel recently more than any other Doors record. After two albums of trying to find a new sound, they finally hit the jackpot with a gritty, no BS blues sound. This is their most hard hitting rock record. Swansong L.A. Woman is more weary and dreamy, but it is also a killer blues-based rock record. The Doors were not a great live band, so I can’t really recommend any of the plethora of live recordings that are available. It is mostly Morrison’s fault. His excesses were much more manageable in the studio. Also, for some reason, Manzarek’s keyboard sound always sounds so much fuller in the studio than live. There are more Doors compilations out there than real Doors albums (if Wikipedia is correct, I count 22 different Doors compilations that have been released). Legacy: The Absolute Best seems to be the best one out there, a full two disc set that covers most of the essential ground.

Dez's Top Rock/Pop Artists, #13: Pink Floyd

2011-07-26T14:06:00.009-05:00

Have You Got It Yet?

Syd Barrett is one of those shadowy cult heroes of rock and roll who burned brightly for a brief period before flaming out. In fact, he is probably the most famous rock and roll flameout. His legend looms large as the first leader of Pink Floyd, yet they only released a handful of singles and one record with Barrett before transforming into the Pink Floyd most classic rock radio listeners know.

In the late 1960’s Pink Floyd were on the vanguard of London’s psychedelic movement. Even then, they had a reputation for putting on a visually dazzling show to accompany their psychedelic experiments. Innovative back projection, lighting rigs (including using stretched condoms to shine stage lights through) and mirrors were all employed to enhance the musical trip.

Pink Floyd originally consisted of Roger Waters, Nick Mason, Richard Wright and Barrett, who was the lead singer, guitarist and primary songwriter. Early Pink Floyd was Syd Barrett’s band, his vision. But very early on Barrett started to lose his grip on reality. By all accounts he was a sweet, outgoing, almost childlike character who was easy to love. But many believe that he already had some sort of neurological problem, possibly schizophrenia? When combined with a prodigious use of LSD, it was a tragic combination. He lost his mind. But before Barrett went over the cliff, he led Floyd in creating what stands, in my view, as the pinnacle of psychedelic music.

While there are some additional b-sides and Barrett-era tracks that surfaced later, Syd Barrett’s Pink Floyd legacy is really two remarkable singles (“Arnold Layne” and “See Emily Play”) and their stunning debut record, Piper at the Gates of Dawn, which is hands down the greatest psychedelic album ever made. Their music was what it was due to the unique mental state of Barrett. The songs have an unmatched combination of childlike innocence and imagery with a dark musical undercurrent, sometimes barely avoiding devolving into chaos. Syd Barrett Pink Floyd captures the psychedelic era in all of its complexity. Mind opening and playful, yet the danger of madness is always there. Since that was Syd Barrett in a nutshell, Pink Floyd’s early music is an unparalleled allegory to the psychedelic era generally. It is even present in his remarkable (not as in technically impressive, but as in idiosyncratic) guitar playing. Fragmented, but bursting forth with creative expression, even if his technique was somewhat rudimentary.

ABOVE: The brief five man line-up of Pink Floyd, with Syd Barrett (second from left) typically off in his own world

Eventually Barrett became impossible to work with. During live performances, sometimes he would stand motionless on stage, just staring down at his guitar strings. He stopped cooperating in the studio, reportedly performing perfect rehearsals but then refusing to play when the tapes were rolling. In order to survive as a band, they had to get a 5th member to play the guitar parts live and basically step in for Barrett whenever necessary. Fortunately for them (and for us), that person was David Gilmour. For a brief period, Pink Floyd was officially a five-piece, but Syd Barrett was already out the door. For a time, they considered using him like the Beach Boys used the fragile but brilliant Brian Wilson for awhile, as a non-performing songwriter. But that didn’t work for long either. One of my favorite stories is of the song “Have You Got It Yet?” Perhaps a bit upset at his obvious sidelining, Barrett brought in a new tune he called “Have You Got It Yet?” He played it through to show the group, but every time the band tried to join in with their parts, he would completely change the structure of the song, so the band could never, well, get it, as Barrett sang the chorus “Have you got it yet?,” with the band being instructed to respond “no, no.” Once Waters realized what was happening, he put down his bass, walked out of the room, and never played alongside Syd Barrett again.

But to their credit, Pink Floyd always took care of Syd Barrett. He released some fractured but beloved solo records, before withdrawing from music and public life altogether. Even through the legendary bitter legal battles between Waters and Gilmour over the future of Pink Floyd that unfolded in the 80’s, the one thing they all did agree on was that Barrett would at least be financially taken care of. They always made sure that Barrett received his royalties (and then some), all the way to Barrett’s death in 2006.

The classic Pink Floyd record Wish You Were Here was in part inspired by Syd Barrett (the gorgeous title song and “Shine On You Crazy Diamond” were explicitly about him). The often told story goes that Barrett unexpectedly showed up to visit his former band in the studio as they were recording Wish You Were Here. He had put on weight and his head completely shaven, at first the band did not even recognize him. He was completely oblivious to the fact that they were in the midst of recording a classic record inspired by him.

What To Listen To:
Well, obviously, I recommend Piper at the Gates of Dawn as the best that psychedelic music has to offer. After Barrett’s departure, Pink Floyd had some rough years where they had to reinvent themselves and figure out their new identity. Some of those records are interesting, but have only a handful of actually good songs. Fortunately, Waters and Gilmour eventually found their footing as songwriters, and released a series of albums in the 70’s that stand as some of rock’s most enduring classics. Often forgotten in the wake of what came immediately after, I love Meddle. The epic “Echoes” encapsulates what was great about their most successful era. Dark Side of the Moon deserves its enormous success, selling 45 million copies and remaining on the charts from 1973 until 1988, the longest run for an album in history. Wish You Were Here is another wonderful concept record, while the underrated Animals continued the streak. The last great Pink Floyd record is The Wall, and while I think it a tad overrated, it is still essential. I really like the live version of The Wall available on Is Anybody Out There? over the studio version. While missing some essentials, the innovative compilation Echoes is worth having for novices and fans alike. It is a rare compilation which shows you the tunes in a new light, sequenced thematically, with songs edited so they fade into one another. It plays like its own album as opposed to just a collection of hits. And the edited version of “Echoes” actually makes the song stronger than its sprawling original version, and I like the edited together “Shine On You Crazy Diamond” (the song originally was split into two, bookending Wish You Were Here).

Dez's Top Rock/Pop Artists, #14: Van Morrison

2011-07-25T17:22:00.006-05:00

The Live Experience

Van Morrison has released four official live records so far (although he has appeared on more as a partner with some other artists), each one in a separate decade. 1974’s It’s Too Late To Stop Now is rightly regarded as one of the greatest live records ever released. 1984’s Live at the Grand Opera House Belfast, 1994’s A Night in San Francisco and 2009’s Astral Weeks Live at the Hollywood Bowl all followed. Coming at these different milestones in his long career, I think they are instructive as to his evolution as an artist.

Van’s peak as a performer and artist was approximately 1965 (starting with his brief stint leading the raucous R&B band Them) through to the beginning of his brief self-imposed hiatus in 1974. The great Them singles and the nine solo records that he released during that ten year period stand up against anyone’s body of work over the same amount of time. Van followed his unique vision of Celtic soul music, taking that majestic voice to places few artists dared to go. It’s Too Late To Stop Now is the culmination of that journey, and over the course of two records it explores all facets of his music up to that point. While a few of the blues and R&B covers are run of the mill (“I Just Want To Make Love To You,” for instance), the others are as great as the originals, if not better. That is a bold statement, considering that he covers Ray Charles, Sam Cooke and Sonny Boy Williamson. His version of “Bring It On Home To Me” is a brilliant slowburn soul number that brings new depth to the Cooke original. The real showstoppers are the extended explorations “Listen To the Lion” and “Cyprus Avenue.” It is remarkable how personal and brave these versions of these songs are, with Morrison going deeper into himself than I’ve heard any rock artist do on record. And this was in front of an arena full of people, not in some smoky, safe studio cocoon. It’s Too Late To Stop Now is one of our greatest artists at the peak of his powers. Not to be missed.

1980’s Van Morrison is challenging, no doubt. This was the height of his spiritual quest, and he went on that quest through his music, not really caring whether we (the fans) liked the music or not. It was actually during the 80’s that Van really got his reputation as a “difficult” artist. He felt outside the music that had made him famous, and gave a series of rather condescending interviews about his music being beyond rock and roll and something more. But he was kinda right. Live at the Grand Opera House Belfast is not the easiest record to get into. It does not grab you with its obvious brilliance like It’s Too Late To Stop Now does. He performs none of his hits (save the minor single “Full Force Gale”), instead focusing on his most recent three or four records. I have grown to really love this record, it is intimate and warm if you are willing to go with Van on his spiritual trip. Much of it is subtle and quiet, you have to be willing to give it its due attention, but it rewards if you do.

1994’s A Night In San Francisco gives us Van in full entertainer mode. It is probably his most joyous live record, a sprawling two disc set that unfolds like a R&B/soul revue, with many soul medleys and with Van generously giving his band space to shine. (He plays “Tupelo Honey,” but lets one of his band members sing it while he takes a breather!) Van has never sounded happier or more relaxed on record, hence this is by far his least consequential live album. He’s having fun, but he’s also going through the motions and putting on a show vs. taking his audience with him on a journey that is risky and revealing, as he had done on his previous two live records. I guess that feeds into the old cliché that happy and content people don’t often make great art.

Finally, 2009’s Astral Weeks Live at the Hollywood Bowl is in interesting ride. It is not quite like other live records, because it revisits just one of his albums. Music fans know that 1968’s Astral Weeks remains one of the most gorgeous, impenetrable and mysterious records ever released. So it is interesting to see how he chooses to revisit it 40 years later. Thank God he doesn’t view it as a holy relic not to be changed. Van plays with Astral Weeks here like a great jazz musician might revisit some of his own standards onstage. He explores and tinkers and it is wonderful. He reorders the track order, slows down the fast songs, speeds up the slow ones, and uses some songs for platforms for exciting improvisations (“Slim Slow Slider”). While this record cannot replace the brilliant original (it is not meant to), fans of the original have to appreciate and enjoy what Van does with Astral Weeks here.

Interesting note: my absolute favorite live Van Morrison song does not even appear on one of his own albums. Van’s joyous rendition of “Caravan” with The Band on The Last Waltz is Van at his live best. It is fun to watch too, with his purple, glitter leisure suit.

ABOVE: "Caravan" with The Band from The Last Waltz

What To Listen To:
Man, this is tough. Van Morrison has released 40 records (not including compilations) so far, and most of them have at least a few tunes that are great. Most of them also have some filler. Which is why Van Morrison, more than anyone I can think of, really deserves the deluxe boxed set treatment. It hasn’t happened yet. Anyway, 1965-74 is essential Van. Any Them compilation will include the essentials, such as garage classic “Gloria,” “Here Comes the Night,” “Mystic Eyes,” “Baby Please Don’t Go,” and their gorgeous take on Dylan’s “It’s All Over Now, Baby Blue.” Hard to get better than Morrison singing Dylan. Astral Weeks is discussed above and stands alone in rock music, Moondance is probably his most popular record and is a tour de force of prime Van. After that, His Band and Street Choir is probably his most joyous R&B-influenced album. St. Dominic’s Preview is a personal favorite of mine, quite eclectic but excellent from start to finish, with some moments of transcendence. The mostly acoustic Veedon Fleece is a favorite amongst the Morrison faithful, but it is often forgotten by the general public. It comes the closest to Astral Weeks in feel. Things get more spotty after 1974. Into the Music is a great, great later period Van Morrison album, by turns joyful and contemplative. From the 80’s, I think that Beautiful Vision best captures his spiritual quest, and also captures some of that Celtic soul. It is a quiet record, but quite beautiful in parts. None of the available compilations do Van justice, almost all of them are randomly sequenced. I guess the two disc Still on Top – The Greatest Hits does the best job, but it just scratches the surface, really. With Morrison, some of his most compelling moments are not found in the hits. Of the live records, obviously It’s Too Late To Stop Now is a must. I would recommend Live at the Grand Opera House Belfast if you are interested in what Van was about during the 1980’s, and Astral Weeks Live at the Hollywood Bowl is fun for fans of Astral Weeks.

Dez's Top Rock/Pop, #15: Led Zeppelin

2011-07-22T10:51:00.003-05:00

Thievery and Flattery

Many (if not most) of the important bands of the 1960’s and 70’s trace their musical roots back to blues music. Blues is the most direct ancestor of rock and roll, although rock and roll also has country, folk, R&B and jazz in its bloodstream. But blues is the root. Blues is the music that many of the 60’s and 70’s rock gods were listening to as impressionable teens. Many British musicians especially were drawn to American blues. Like de Toqueville analyzing our democracy, sometimes it takes a foreigner to really appreciate something that is supposed to be so American.

Led Zeppelin was one of the most important blues-based rock bands of the era. Throughout their recording career, Zeppelin included blues covers on their records and in their live sets. As with most great artists who are inspired by what came before, Zeppelin did not merely ape the blues masters, but made the blues their own. The first two Zeppelin records especially are primarily turbocharged blues. The problem is that Jimmy Page and Co. did not always acknowledge (as in credit, as in royalties) their influences. To be fair, blues music itself has a long tradition of “borrowing” and “developing” songs based on what came before. Most of the original blues masters were not too concerned with copyright laws either. But Zeppelin should have known better.

The problem is particularly acute on Led Zeppelin II. Starting off with the hard rocking, psychedelic Zeppelin standard “Whole Lotta Love.” While the music is wholly Zeppelin, Robert Plant evidently had a little writer’s block, and so he “borrowed” some verses from Willie Dixon’s “You Need Love.” "Whole Lotta Love" was listed as a Led Zeppelin composition on the record, and once Dixon sued, they settled out of court. Then on “The Lemon Song,” Zeppelin borrowed alternatively from Howlin’ Wolf (“Killing Floor”), Robert Johnson and Albert King. Again, the song is credited only to Zeppelin. The closer, “Bring It On Home,” is also loosely based on Sonny Boy Williamson’s song of the same name. From Led Zeppelin III, their innovative take on “Gallow’s Pole” was nonetheless based on the Leadbelly classic. “When the Levee Breaks”? Based on the 1929 song by Memphis Minnie. “Nobody’s Fault But Mine” from Presence? Based on Blind Willie Johnson’s original, yet credited to “Page/Plant” on the record.

Again, Led Zeppelin definitely takes these songs to new places and add their own music. (In fact, “When the Levee Breaks,” Zeppelin-style, has to be amongst the most ominous and scary blues ever laid down. John Bonham’s drumbeat could shift the earth’s plates. That drumbeat is also one of the most sampled beats in rap, by the way. That is a type of justice, considering how much Zeppelin borrowed from their own predecessors. Page and Plant have both pointed this fact out in defending themselves). But the credits should (and mostly do now on more recent pressings of the Zeppelin albums) be shared between Zeppelin and the original masters, where appropriate. The blues masters have been screwed enough by the industry and their record companies. They should at least be given credit (and royalties) by fellow artists. Kudos to Dixon and Howlin’ Wolf for taking Zeppelin to court on these matters.

The Evolution of a Song...
Here is a series of recordings of the traditional blues tune, "Gallow's Pole." First is one of the original recordings, by blues legend Leadbelly (his version was called "Gallis Pole.") Next is a version from the early 60's from folk artist Fred Gerlach. Jimmy Page has said that Led Zeppelin's version of "Gallow's Pole" was based on Gerlach's. If you listen to the progression, I think that you can appreciate how Zeppelin were able to take a simple blues song and really take it to a new place in complexity and mood.

Led Zeppelin is, of course, much more than just turbocharged blues. Part of what makes their music so compelling is that they put their heavy stamp upon several genres, including folk, hard rock and country. They were innovatively using world music elements before many others (“Kashmir”), experimenting with reggae (“D’yer M’ker”), and even starting to use synthesizers near the end (In Through the Out Door). So they may have leaned heavily on their influences, but they used them in the best way. They learned from them and then filtered them through their own sensibilities and talents, and then took the music to new and exciting places. But they still should have given credit where credit was due.

What To Listen To:
Their first five records are absolute essentials. The rest are good, but spotty. Led Zeppelin I laid the groundwork for taking blues-based rock to new places; Led Zeppelin II took it as far as it could logically go; Led Zeppelin III (maligned by fans and critics at the time for not sounding exactly like what came before, this record has earned a well deserved reappraisal over the decades and is now loved as much as anything else in their canon) started to dabble with acoustics and folk music; the fourth untitled record (aka 'Led Zeppelin IV', 'Four Symbols') is a Mecca for 70's hard rock fans; and Houses of the Holy is my personal favorite, lightening the mood in places, and stretching out and playing with several genres of music previously untouched by the band. The live album that they released during their tenure as a band is notoriously dull, but the live collection How the West Was Won does them justice. Get that one instead of The Song Remains the Same. There are some decent compilations out there, but Zeppelin created such a complete atmosphere with each record, you don’t get the full impact on a compilation.

Dez Top Rock/Pop, #16: The Beatles

2011-07-19T14:03:00.005-05:00

John vs. Macca

While all bands should be honored to appear on Dez’s list, regardless of their position, this is The Beatles, so #16 may appear a bit low. All I can say is that while I love and admire The Beatles a great deal, I have connected more directly with some other British Invasion bands, as you shall see.

So, let’s cut to the chase. Lennon or McCartney? I have a powerpoint that I use with my AP students in teaching them how to write a certain type of essay that they will encounter on the AP Exam. The scoring for this essay is done on a 0-9 scale, with 9 being the best. In my powerpoint, I divide the quality of essays that the readers get into five categories. On each slide, I explain what elements will give you a certain score. The 0-1 essay is on a slide that I call “The Pete Best Essay.” Best was the original drummer for the Beatles who was sacked in favor of Ringo. The 2-3 essay I call the “Ringo Starr Essay,” and 4-5 is the “George Harrison Essay.” I think you can see where I am going with all of this. Obviously I had to assign the 6-7 and 8-9 essays to Lennon and McCartney. I made my choice, and generally we get sidetracked from essay writing with a 5-10 minute class discussion on whether I should have given Lennon or McCartney the top essay. I always enjoy that discussion. It is much more fun than discussing AP scoring. Who do you think I chose?

Let’s look at the candidates.

Songwriting: While all Beatles compositions not written by Harrison or Starr are credited to “Lennon/McCartney,” on the vast majority of the songs it is clear which on of them was the primary writer. The easiest indicator is who is singing the lead vocal, although that is sometimes hard to tell on the early material where they used more harmony singing. Lennon and McCartney, during their Beatles years, were two of the most important and skilled rock songwriters in the history of the music. This is akin to arguing between Lincoln or Washington as our greatest president. It is hard to lose with either of them. But, we must choose. We must. I have to go with McCartney here. Lennon has the advantage in the lyric department, but in overall songwriting, Paul McCartney is the master of the craft. I turn to his contributions to Revolver as my strongest evidence. The melodies, structures, instrumentation choices on “Eleanor Rigby,” “Here, There and Everywhere,” “Good Day Sunshine,” “For No One” and “Got To Get You Into My Life” demonstrate the absolute peak of great pop music writing. Advantage: McCartney

Singing: Again, we are dealing with two of the most distinctive vocalists in rock, so both are at the top of the heap. I think McCartney shows more range and confidence (incredibly, Lennon was always self-conscious about his singing). But when Lennon goes full bore with his rock voice, especially, I don’t think there is a finer screamer in the music. That unique, nasally timbre just defines great rock singing. Advantage: Lennon

Musicianship: John Lennon was a good and expressive guitarist, but even within The Beatles he often deferred to Harrison to do the heavy lifting. Paul McCartney has to be one of the more influential bassists in rock history. He performs the duties of a bass player, but also bounces all over the bottom of the song, alternatively playful and innovative. While “Come Together” is considered a John Lennon classic, what is really distinctive about the song? It is McCartney’s bass line that makes it more than a standard blues. Add the fact that McCartney is a talented multi-instrumentalist (great guitarist, great pianist), and the answer is clear. Advantage: McCartney

Cultural Significance / Icon Status: The answer here is just as clear as above. Even without his martyrdom, John Lennon was a rock icon not only for music and culture and lifestyle, but also for political activism. While I think it is a bit overblown (and McCartney is a bit unfairly sidelined in this department), John Lennon is a rock icon only rivaled by Elvis and Dylan. Advantage: Lennon.

So it really depends on which of the aspects above are more important to you. As a fan, I generally look to musicianship and songwriting (and I often listen to the music before really focusing on the lyrics or vocals), so I gotta go with Macca. Most of my students, by the way, feel that I made the wrong choice and that I should have given Lennon the top essay.

What To Listen To:
This is really silly to do for The Beatles. Their entire discography is like the Koran and Bible to rock and roll orthodoxy. But I can pick out my three favorite records. I divide The Beatles music into roughly three periods, Early, Middle and Late. I feel that A Hard Day’s Night is the perfection of that early pop period. Revolver towers over the Middle transitional (and possibly best) period. The Beatles (White Album) is my favorite late period record, as it really shows their fracturing and demonstrates four distinct individual approaches. It is the most interesting listen for me, and full of some killer songs. Even the filler is interesting. The famous Red Album (1962-66) and Blue Album (1967-70) were important compilations/introductions to The Beatles for me (and millions of other listeners) before I dove into the actual albums.

Dez's Top Rock/Pop, #17: The Tragically Hip

2011-07-17T23:31:00.004-05:00

But They’re Big in Swaziland
There’s no accounting for taste. I’ve always found it interesting how some bands are huge in one part of the world, but are an obscurity or unheard of elsewhere. Rock and pop history is littered with examples. Take a-ha. “Take On Me,” right? One hit wonder from the 80’s with the singer with the impossibly high range and the innovative cartoon/live action music video. While a-ha’s moment Stateside was relatively shortlived and you may consider them an 80’s trivia answer, they have been releasing music for almost three decades internationally and regularly sell out arenas throughout Europe. They have an excellent and fairly deep catalogue. (If you are interested, I would recommend 2000’s Minor Earth Major Sky. So good.) Stone Roses is another example. Their life as a band was short, but they were huge in Britain, inspiring a musical revolution of sorts. Didn’t make much of a dent here. (It is funny to note that Jimi Hendrix had to go to England and break there first, and then he returned to the U.S. and we finally took notice, after he was already a sensation in England). I recall in the mid-1990’s when Men At Work reunited briefly for a tour. The dates in the U.S. were at casino lounges and small clubs. They released a live album from the tour (Brazil), that was recorded at a football (or should I say, futbol) stadium in Rio.

Which brings me around to The Tragically Hip, which has to be one of the greatest band names ever. Well, they’re huge in Canada! In fact, The Hip is one of the biggest and most successful Canadian bands of the last two decades, having won 14 Juno Awards (the Canadian version of a Grammy), and releasing an impressive 46 (and counting) singles on the Canadian charts. They have already been inducted into the Canadian Music Hall of Fame (I know, insert joke here). Point is, The Hip are an institution in the Great White North, but not very well known at all here. Which says something about Canadian tastes. If we could be so lucky to have a band so, well, hip as one of our biggest acts. And they certainly don’t hide their Canadianess (?) With a song titled “The Dark Canuck” and songs referencing Canadian sports legend Bobby Orr, these guys know their roots.

ABOVE: Famous musical Canadians. You probably recognize the one on the right (Neil Young). You should also know the one on the left.

I could be mistaken, and if so, I apologize. But back when the Hip were threatening to break in the U.S. (they never really did) after the release of their second U.S. (third Canadian) album, Road Apples, my group of friends were all Hip fans. As far as I can tell, they fell off the radar of most of my compadres (except my friend Bryan G., I recently found out). That is really too bad. Because over the course of their 12 studio albums and one live record, they have remained a compelling band. The five man line-up has remained intact throughout their career, and while the band is great, the focus is frontman Gordon Downie. With his quivering vocals and often poetic lyrics (for good and sometimes for bad), he gyrates and free associates onstage, making Hip shows always intriguing, as he leads the band down musical alleyways (and sometimes rabbit holes), rarely leaving a song the same as it was before. That is about as close to real artistic exploration as you will get with rock and roll music.

What To Listen To:
This is tough with The Hip. They have released a lot of records. Every one of them has worthwhile tunes on them, but almost every one of them also has some filler. They have trouble making a killer record from start to finish, but you can cherry pick killer songs on every one of those 12 records. Up To Here and Road Apples really lay the foundation, and they are probably their two strongest records from start to finish. Amongst Hip fanatics, Road Apples is generally considered their finest release. From there, I really like the experimental (for them) Day For Night and the more recent Phantom Power. Fans and band complain about the production on Fully Completely, but many of those songs are fan favorites. Their two disc compilation, the aptly titled Yer Favourites, has great songs on it, but it is a scattered listen. They conducted an online poll and allowed their fans to choose the tracks (kind of cool), but it is haphazardly sequenced so it doesn’t present the band’s development as it should. It is almost as if they pressed “random” on an iPod for the sequencing. Plus, it is already out of date, because they have released some very good records since it came out.

Dez Top Rock/Pop, #18: Stevie Ray Vaughan

2011-07-15T12:29:00.006-05:00

Blues Savior

It is rare to come across an artist who can almost singlehandedly revitalize an entire genre of music. Stevie Ray Vaughan saved blues music in the 1980’s. Blues was considered all but dead by the time the thin ties and synth bleeps of the 80’s rolled around. Most of the original masters were dead, dying, retiring or toiling in obscurity. Rock artists played blues or bluesy music, many quite well (Allman Brothers Band, ZZ Top). But they approached blues from the rock perspective.

Then out of the clubs of Austin came this blues whirlwind of a guitar player. Unlike the rock artists who played some blues, SRV was a blues player who occasionally played some rock. He lived and breathed blues history, but crucially he was not weighed down by it (vs. Eric Clapton). Vaughan’s playing is a museum of blues guitar playing. You can hear all of the great guitar players in his playing, but instead of merely aping the masters (again, see Clapton), Vaughan threw all of these influences into the blender, revved it all up for a rock audience, turned it up to 11 and blazed a new blues trail while remaining rooted in the rich blues past. He inspired an entire generation of blues-based rock guitarists, and created a wonderful but too brief body of work. Vaughan (and to be fair, Robert Cray also) brought blues out of the cutout bins and back to the mainstream, proving that you could say and play new things in this classic American musical genre.

ABOVE: SRV is always fun to watch play. Here is one of his great blues shuffles on speed, "Rude Mood."

He had his own mini-Dylan at Newport moment when he appeared at the Montreux Blues Festival in 1982. This was a festival for blues traditionalists, and Vaughan came out blazing with his speed and volume, playing the guitar behind his back and with his teeth. You can hear the audience get angry and boo as he storms through his set. But important people were listening. In the audience that night were Jackson Browne (who offered Stevie and his band free time in his studio to record their debut) and David Bowie (who snagged him for lead guitar duties on his upcoming Let’s Dance album. SRV was due to tour with Bowie, but dropped out when Bowie refused him and his band, Double Trouble, an opening slot on the tour).

His demise is one of the real tragedies of rock and blues. After overcoming serious addictions, he was living a clean life, felt revitalized and renewed, and was riding high on his breakthrough record In Step. He perished in a helicopter crash after playing a gig with Clapton, Cray, Buddy Guy and brother Jimmie Vaughan. It would have been exciting to see where he would have gone after the near perfect blues/rock hybrid of In Step.

You know, I don’t really even listen to SRV all that often anymore, but he was one of my musical heroes growing up. In compiling this list, I tried to take the long view over my entire life as a music fan. I was fortune enough to catch him live five times, and they are some of my more memorable concert experiences. Standing outside in 100 degree weather in the Astrodome parking lot, being hosed down by the HFD, as SRV tore through a set at the Miller Lite Festival (didn’t ANCIANT collapse from the heat? I seem to remember that, or perhaps the story has grown more dramatic over the years). Later that night, Stevie opened for The Who in the Dome. A double bill with Jeff Beck (talk about guitar heaven). And a month before his death, I caught him on a double bill with Joe Cocker. Great memories. Great shows. Great man.

What To Listen To:
It is difficult to overstate the importance of SRV’s debut, Texas Flood. A rare record that created seismic shifts in a musical genre. It is his most pure blues record. I love the sophomore effort, Couldn’t Stand the Weather. I think that it contains his most successful crossover material, the humorous “Cold Shot,” the great title track, and the furious instrumental workout, “Scuttle Buttin’”. In Step was his mainstream breakthrough, his most accessible and commercial effort. But honestly, all of his records have some filler. Compilations serve SRV (and blues music in general) very well, and Essential Stevie Ray Vaughan & Double Trouble is the best compilation of many out there.

Dez's Top Rock/Pop, #19: Creedence Clearwater Revival

2011-07-13T14:08:00.004-05:00

Fogerty’s Revenge

John Fogerty is an a**hole. No question. However bitter you may be with your former bandmates, it takes a special kind of mean to get inducted into the Rock and Roll Hall of Fame, and then go perform your band’s hits at the ceremony with the house band as your former bandmates stand on the wings and look on. You figure you could mend fences at least for one night in order to honor your collective accomplishments. Nope.

Of course, rock and roll history is littered with bitter band break-ups or epic internal battles. The Band, The Kinks, Oasis, Beatles, Rolling Stones…you name the important band and they at the very least had periods of intense and bitter infighting. But John Fogerty’s disputes with his former bandmates in Creedence Clearwater Revival (and former record label) are really something special. Once older brother Tom Fogerty finally left the band in disgust in 1971, he remarked to an interviewer that CCR would never find a replacement because nobody existed who “could endure being in Creedence.”

John Fogerty’s word was law. You can see things somewhat from Fogerty’s perspective, though. CCR was one of the most successful rock bands of the late 1960’s. Their formula worked. John Fogerty wrote all of their original material, sang lead on everything, and played lead guitar. You cannot argue that CCR was John Fogerty’s band. But you also cannot dispute that the entire band had a certain unique chemistry, the rhythm section of Stu Cool on bass and Doug Clifford on drums had one of the deepest pockets in rock. It was that rhythm section, with Tom on rhythm guitar, that created that swampy world inhabited by John Fogerty’s cross-tie walkers and lodi musicians.

Tom, Stu and Doug had been demanding more say in CCR’s musical and business decisions for years. So in 1972, as the now trio prepared what was to be their final studio album, John Fogerty suddenly granted Stu and Doug their wish. Be careful what you wish for. Fogerty stunned his bandmates by telling them that CCR would now be a true democracy. Each member would contribute an equal number of songs, each member would sing on their own songs, and Fogerty would only play rhythm guitar, not lead, on his bandmates’s songs. Stu and Doug protested that this was not exactly what they were asking for, but Fogerty told them CCR would function in this way or he would quit. Hence, we have the notorious Mardi Gras (aka “Fogerty’s Revenge”) as CCR’s swansong. This is a pretty horrible album, which was exactly John Fogerty’s intent. A very public “f*ck you” to his bandmates. John’s contributions are pretty great (as expected), but his bandmates struggle mightily, and to John’s delight, fail.

But take Mardi Gras out of the equation, and CCR had a remarkable run in their four year existence as a popular band (they had been together since high school, but their seven records were recorded and released incredibly only over a four year period). As the Rock and Roll Hall of Fame entry for them states, they were “both progressive and anachronistic at the same time.” Their swampy rock and roll evoked such authentic images of a mysterious and haunted South, even though they were actually from San Francisco. John Fogerty was writing a remarkable string of tight, concise AM radio hits that sounded modern yet also clearly referenced an older and purer rock and roll during a time when most of the “important” bands were considerably more FM in their approach. No psychedelia, no flower power, no excess (other than the occasional jam that went on a little too long). I truly believe, and many artists such as Bruce Springsteen will back me up on this, that John Fogerty is one of the great American songwriters. While CCR was not cool amongst their peers in the late 60’s, their music has aged and stood the test of time much better. So Fogerty has the last laugh there too. And while you can throw aside most war protest tunes as relics of the era, CCR’s “Fortunate Son” still rings true and is as savage a protest today as it was in 1969.

What To Listen To:
What CCR accomplished in a four year period is simply incredible. Within the year 1969 alone, they released three (!) albums, one that is great, and two that are stone cold classics. The fact is that John Fogerty wrote very few bad (or even mediocre) songs. All of their records (save Mardi Gras) are worth having, but if you want the best of the best, go with the middle three. Those are the classics. Green River, Willy and Poor Boys and Cosmo’s Factory are all three brilliant rock records brimming with swampy, Southern Americana. If you want to go to the next step down from there, Bayou Country has some of their best songs but also some filler, and Pendulum is their most experimental record, and the experiments are hit and miss (but more hit). CCR is well represented on a good compilation, and they have many. But you need go no further than Chronicle and its companion, Chronicle, vol. 2. Chronicle is one of the greatest compilations ever released by anybody. 20 of CCR’s biggest radio hits. If some Martian landed on earth and wanted to learn about great American rock and roll, I would hand him a copy of Chronicle. Chronicle, vol. 2 presents 20 deeper album cuts that prove as strong as the hits, and is flawed only because it omits “Bootleg.” A note for CCR fans: if you are like me and bought the CDs many years ago, they have since been remastered. While many remaster projects can be skipped, CCR’s remastering job is astounding. You will discover so much more in these remasters. And they are available for download on iTunes for about 6 bucks a piece, so there is no excuse.

Dez's Top Rock/Pop, #20: The Cars

2011-07-12T10:15:00.006-05:00

ABOVE: The glorious Phoebe Cates emerges from the pool in 'Fast Times At Ridgemont High' to the seductive sounds of The Cars's "Moving In Stereo"

Sophomore Slump?

The sophomore slump is a phenomenon that can occur in many walks of life. The second year of college when students relax a little too much. Film sequels that do not live up to the original. And, of course, music is littered with disappointing follow-up records. Disappointing either in the sense of quality or sales, or perhaps both, when compared to what came before (Meatloaf's Dead Ringer, Asia's Alpha, Stone Roses's Second Coming, Terence Trent D'Arby's Neither Fish Nor Flesh...take your pick). The reason for the Slump is quite obvious. When an artist puts together their first record, they have a lifetime of material to choose from. Songs they may have been developing and perfecting for years before they got their break. But if their debut is huge, then the pressure is on to follow it up and quickly. You could have six years to work on your debut, but six months to work on the second one.

Sometimes the second record is actually quite good, but it just can't live up to the quality or sales of the first. A case of expectations that are impossible to fulfill. I'm an admirer of Thomas Dolby (don't worry, he won't appear on this list), and while his hit debut The Golden Age of Wireless (where the fun throwaway tune "She Blinded Me With Science" unfairly relegated him to novelty status here in the States) was quite good, his follow-up The Flat Earth was much better. But it did not deliver a big hit, and therefore it can be considered a "sophomore slump" that effectively ended his run in the United States, even though it is in fact a superior record to its successful predecessor.

Which brings me to the sophomore effort from The Cars, Candy-O. Their debut, The Cars, was justifiably huge. I firmly believe that The Cars is the best New Wave record ever released, and I will argue with anyone who feels otherwise. I'll take on Talking Heads, Blondie, Devo...I don't give a sh*t. Nobody released a more perfect New Wave album. Even Ric Ocasek once joked that they should have titled the debut "Greatest Hits." While it is generally well regarded, many critics will comment that Candy-O sounds like leftovers that didn't quite make the cut for The Cars. BS.

I'm not going to try and tell you that Candy-O is superior to The Cars, because it isn't. But it is damn good. In fact, it is great. To be honest, I probably spin Candy-O more often than I do The Cars (in part perhaps due to oversaturation of The Cars). Ric Ocasek's writing is just as sharp and witty, the band is just as tight, and the songs are even quirkier than the debut. "Nightspots" is a deep album cut that never gets any airplay, but for my money The Cars have never sounded better or tighter than on that tune (in fact, that may be my favorite Cars tune. It just captures their whole sound and strengths better than anything else in their repertoire. Why wasn't that a hit?) "Dangerous Type" has a great T.Rex groove to it, while "Double Life" builds seductively (I'm always a fan of clever dynamic change in songs), "Let's Go" may be their most jubilant single ("I like the night life, baby!"), and the title track is a perfect little rocker that packs such a a punch.

ABOVE: While debut The Cars rightfully gets much love, don't forget their outstanding second effort, Candy-O. By the way, The Cars have some of the best album covers in the business, for obvious reasons.

ABOVE: Here's "Nightspots." Give a close listen, it is such a well constructed New Wave rock song. And it is perfect Cars, from the jittery synth line to the layered, tight guitar riffs to Ric Ocasek's wonderfully tightly wound vocals and yelps to his cynical lyrics. Crank it up. Did New Wave (or the early 80's) ever sound so good?

What To Listen To:

Obviously I am going to recommend their first two records. The Cars is a must, the greatest New Wave record ever made. One of those rare records where they could have pushed every song as a single (the ones they did push, "Good Times Roll," "Just What I Needed," "My Best Friend's Girl," "Moving In Stereo," are all still radio staples). As I argue above, Candy-O should not be overlooked. I have come to appreciate Shake It Up this last year, that is probably their most synth-laden record. Heartbeat City can sound dated in spots and definitely contained some filler, but the singles were awesome and it was their biggest selling album. Being such a killer singles band, The Cars can be well served by a good compilation. Unfortunately, out of the five Cars compilations currently available, none of them get the tracks quite right. I guess Complete Greatest Hits is the best of the lot, but it leaves off some great cuts in favor of some more questionable choices.

Dez's Top Rock/Pop, #21: Uncle Tupelo

2011-07-09T16:56:00.003-05:00

United We Stand, Divided We Are Mediocre

It is a rare thing to find a musical partner with whom you have a connection. I have played and written music with many people off and on over the years. But there has only been one person who I really had a special musical connection with, someone who’s musical strengths complemented my own, and together we created a body of work of which I am still proud. There is nothing like having that bond with someone. You can have a musical idea, a riff, a chord progression, a verse of lyrics, or whatever, and bring it to that person and they can help you make it a full song. I view songwriting as naturally a solitary exercise, but if you find that bond with someone who can instinctively complete your musical thoughts, it is beyond description.

Look at some of the great songwriting and musical teams in rock. Lennon/McCartney, Jagger/Richards, Bell/Chilton (from my last entry), Evans/Long. From what I have read, John Lennon / Paul McCartney and Mick Jagger / Keith Richards worked in much the same way that I worked with my friend Dave. One person would have the root of the song or even a substantial part of it, but the songwriting partner would often be able to finish it, to make it more than it would have been had just the one writer completed it.

There is something about those two together vs. when they are apart. My favorite Big Star record is #1 Record, the one where Chris Bell was a full collaborative partner with Alex Chilton. Just look at Lennon and McCartney’s solo careers vs. The Beatles. There was obviously something special when they worked together, they were often competing with each other and pushing each other to excellence, that was lacking when they were solely in charge of their own music.

This is how I feel about Jay Farrar and Jeff Tweedy. Both have gone on to, arguably, greater acclaim after they parted ways in the bitter break-up of Uncle Tupelo. Farrar is a respected solo artist and leader of Son Volt, while Tweedy has gone on to lead critic darling Wilco. While I enjoy both Son Volt and Wilco, they don’t have the power or diversity of Uncle Tupelo. Tupelo was Farrar’s band, even Tweedy admits that. But Tweedy was crucial in his input to the songs. In fact, it was Tweedy’s burgeoning talent that caused the rift, as Tweedy started to demand more equality and Farrar simply refused to cede it to him.

Uncle Tupelo only lasted about four years and for four records before their break-up, but those records have been very influential in certain musical circles. They weren’t the first to bring together elements of punk and rock and mix them with folk and country sounds and themes, but they were a crucial link between what the Byrds, Buffalo Springfield and the Flying Burrito Brothers were doing in the late 60’s and modern alt-country. In fact, a genre magazine and musical movement was named after Tupelo’s debut record, No Depression. I can’t help but wonder about the great music that could have been made had they stuck it out for a couple more albums.

What To Listen To:

Uncle Tupelo only released four records, but I love them all. They each have their own character and sound. Debut No Depression is the most uncompromising, pure distillation of their punk/country ethos. Still Feel Gone is generally considered their weakest, but it has always been a favorite of mine. It is the transitional bridge between the raw energy of the debut and the more polished and sophisticated sound of later Tupelo. March 16-20, 1992 is a gorgeous, stone cold folk record, with Farrar and Tweedy setting the electric guitars aside and making acoustic music. Swansong Anodyne is their most polished and was recorded with mainstream breakthrough in mind, with the former trio expanding to a five piece to add more musical textures. 89/93: An Anthology is a good intro to the band and features some great b-sides and rarities as well, but I’d stick with the actual records.

The Nuge on the Rock and Roll Hall of Fame

2011-07-08T21:06:00.004-05:00

Readers here know that I am somewhat obsessed with the workings of the Rock and Roll Hall of Fame. Here's a great two minute rant from Ted Nugent on why he'll never be inducted into the Rock and Roll Hall of Fame, and who he thinks should be un-inducted. I especially enjoy the vitriol directed towards Jann Wenner. The interviewer looks genuinely uncomfortable at times. Oh, and Nuge, Chuck Berry is still alive.

Dez's Top Rock/Pop, #22: Big Star

2011-07-06T12:07:00.005-05:00

The Best Band You've Never Heard Of

Cult followings in pop culture are interesting phenomena. In general terms, a “cult following” for a band, movie, artistic movement, etc. means a small but extremely dedicated group of fans who are devoted to the subject, but the general masses are either ignorant of or indifferent towards it. Sometimes critics can be part the cult following. Many devout fans are proud of the obscurity of their object of affection, viewing it as validation for their own superior taste over the masses. (Of course, there are some cult followings that revel in the badness of whatever they follow. Fans of Ed Wood’s movies come to mind. So bad that it is good.)

The line between cult and mainstream can be hazy at times. Even casual rock fans have at least heard of Velvet Underground (“wasn’t that Lou Reed’s first band?”), yet casual listeners are not really familiar with VU’s work. That’s an example of a band with a cult following, but the masses have at least heard of the band and vaguely know that they are important for some reason. The film Rocky Horror Picture Show is a good example of this line straddling in the film arena.

Big Star is one of the greatest bands that you probably have never heard of. One of my favorite books, The Rock Snob’s Dictionary (by David Kamp and Steven Daly), starts their Big Star entry with this definition: “Anglophilic early-seventies American combo whose first two albums…have Koran-like status in Power-Pop circles…” I would amend that entry to say first three albums.

I know that I promised these essays would not be straightforward band histories, but Big Star's is an interesting one. Big Star is a story of bad decisions, egos clashing, bad timing, record company indifference and just plain bad luck. From the start, Big Star had big plans. Just look at the name they chose for the band, and the ambitious title of their debut, #1 Record. How ironic that title became. Formed by friends and Memphis music scenesters Alex Chilton and Chris Bell (along with bassist Andy Hummel and drummer Jody Stephens), they had the talent to back up their claims. Chilton had already had substantial success as the teen singing sensation for The Box Tops. While most musicians out of Memphis rooted their sound in the rich blues and soul of the region (afterall, both Sun and Stax studios were out of Memphis), Chilton and Bell leaned more on their British Invasion heroes Beatles, Stones, Who and Kinks, while throwing in a healthy dose of Byrds for good measure.

Viewing themselves as the next Lennon-McCartney, Chilton-Bell wrote a set of brilliant, chiming power-pop tunes for their debut record that reverberated heavily through the decades ahead in the music of REM, The Replacements and many others. They had recorded a record that lived up to its ambitious title and deserved to be a massive hit (from “Thirteen”: “Tell your Dad to get off my back / Tell him what we said about ‘Paint It Black’”…one of my favorite lyrics ever). But Stax, primarily a soul label, had no idea how to effectively market a power-pop record. Frustrated by the commercial failure, the already fragile Chris Bell quit in frustration. Chilton soldiered on, leading Big Star as a trio, and recorded their second masterpiece, the harder edged Radio City. Columbia had taken over much of the Stax catalogue, and Radio City got lost in the shuffle and Columbia basically ignored it. Exit Hummel. In frustration and bitterness, Chilton and Stephens entered the studio to record Big Star’s third record, one which Chilton knew would receive similar treatment as the first two, no matter how good. It is a dark, shambling, “who gives a f*ck” record that wasn’t even released until years later. Many consider this to be yet another Big Star masterpiece, Third/Sister Lovers. Chilton went on to have one of the most strange, willfully uncommercial solo careers ever.

But a funny thing happened. Long after they disbanded, Big Star’s music started to get noticed, mainly by other musicians. A cult following soon gained momentum, and these days Big Star is held up as one of the great cult bands of all time. Chilton and Stephens reformed in the 90’s with Big Star acolytes Jon Auer and Ken Stringfellow from The Posies, and toured occasionally to ecstatic crowds. They even released a decent record with this new line-up in 2005, In Space. It is nice to see that, however belatedly, Big Star has gotten the respect they always deserved, even though Bell, Chilton and Hummel are now all deceased. As Big Star fanatic and fellow cult star Paul Westerberg sang in the Replacements song “Alex Chilton" (which Chilton himself played on), “I never travel far without a little Big Star.”

What To Listen To:
Big Star has a relatively small discography, but all three of their seventies records are essential. #1 Record and Radio City are Power Pop masterpieces, and Third/Sister Lovers is a weary but brilliant mess. Alex Chilton’s solo work is a challenge, and honestly it is hard to recommend any of it, but many devoted fans swear by it. I can recommend the one Chris Bell solo record that was released posthumously from some unfinished studio sessions, I Am the Cosmos (Bell was killed in a car accident in the late 70’s). Alex Chilton gets most of the accolades, but Chris Bell was also a huge talent taken way too soon. Some of these tracks on I Am the Cosmos are clearly still in the working stage, but transcendently great single “I Am the Cosmos / You And Your Sister” is here (with Alex Chilton playing and singing back-up on both), as is the great rocker “I Got Kinda Lost” and one of the prettiest songs I’ve ever come across, “Speed of Sound.” If you want to splurge, box set Keep an Eye on the Sky is quite good, although it cannot be considered complete because it does not touch on Chilton's solo work and does not include anything from their 2005 release.

Dez's Top Rock/Pop, #23: The Band

2011-06-30T08:12:00.007-05:00

The Long Fade Away

The Band is really only important because of their first two records. They are what their reputation is built upon. Yes, there are a handful of great (truly great) songs on subsequent albums, but it is Music From Big Pink (1968) and The Band (1969) that stand apart from the rest of rock and roll at the time. Those two records stand apart from The Band itself. They just appeared through divine intervention in a moonlit Southern field about a century earlier, and happened to be discovered in the late 60's by archeologists.

Neil Young famously sang “it is better to burn out than to fade away.” The entirety of the 1970’s was The Band fading away. Why did so many people (mainly critics and fellow musicians, because let’s face it, The Band was always most beloved amongst critics and musicians vs. the masses) hang on for so long? It wasn’t just the cache of being Dylan’s “Band” on his seismic first electric tour of ’66. Those first two records are so great, so deep, so covered in Southern soil (nevermind that four of the five members were Canadian) that they stand as documents from centuries gone by. Take “The Night They Drove Old Dixie Down” from The Band. In about four minutes, Robbie Robertson captured the battered Confederate psyche more completely than 10 hours of Ken Burns documentaries. Just look at the cover of The Band. This was 1969. Flower power in full bloom. The year of Woodstock. But this photo looks like a group of guys circa 1860’s, not the 1960’s. They were the ultimate organic musical group. All multi-instrumentalists, three lead singers, several songwriters (in the beginning at least, before the others gave up writing or Robbie forced them aside, depending on who you believe), these guys worked and lived together as family. The rhythm section of Rick Danko on bass and Levon Helm on drums is the funkiest white rhythm section of the era. “Up On Cripple Creek,” Exhibit A.

ABOVE: The Band's The Band

Music From Big Pink is so mysterious. Where the hell did “Chest Fever” come from? There is nothing else like it in their discography. Has an organ ever been recorded so fully on a rock record as Garth Hudson's on this tune? I think that part of what gives MFBP its mystery is that Robbie Robertson was sharing space with other songwriters on that record. Here, Richard Manuel is as important as Robbie. Yes, Robbie wrote “Chest Fever” and, of course, “The Weight.” But it is Richard who gives us the opaque “In a Station,” “We Can Talk,” and co-writing “Tears of Rage” with Dylan. And The Band is so timeless and perfect in every way, although even by this point Robbie had taken over. Were the others in decline and Robbie stepped in as a stabilizing force (Robbie’s version, which also includes his claim that he desperately tried to coax Richard to write more material) or did Robbie take over like a ruthless dictator (Levon’s version)?

The rest of The Band’s discography is rather pedestrian with flashes of greatness. Why is that? I think it is because they had ceased to work as a cohesive musical unit with input from several talented members and became, well, a band under Robbie’s guidance. As great as each member was, their soul was Richard Manuel. And after the second album he began to fade. He lost his writing touch, he lost his inspiration and he spiraled into a haze of alcoholism which culminated in his tragic suicide in a motel bathroom in Florida in the early 80's. His emotional voice remained intact, though, and Robbie continued to feed him sometimes inspired material like the sadly prophetic “The Shape I’m In” (from Stagefright).

All star farewell / kiss-off The Last Waltz is wonderful musically, but watch the fascinating Martin Scorsese film (Robbie and Marty were coke buddies in the late 70’s, living and working together). The Last Waltz was all Robbie’s idea, and watch the uncomfortable scenes with Robbie and Levon as they pretend to happily recall the old days. But the key to the non-musical parts of The Last Waltz film is the wreck that Richard Manuel is in by that time. His incoherent retelling of their early lean days is sad, sweet and hard to watch. Incredibly, as incoherent and rambling as it is, you can tell Scorsese edited it heavily to try to make sense of it. But God is the music still great. I don’t think the Band have ever been better than on “The Night They Drove Old Dixie Down,” with Allan Toussaint’s wonderful horn arrangement and Levon Helm singing the song with all that he has, as if he knew that this was indeed the last time he would ever sing this song with the original Band and with all his anger at Robbie for unilaterally ending the party.

ABOVE: "The Night They Drove Old Dixie Down" from the film The Last Waltz

What To Listen To:
As stated above, Music From Big Pink and The Band are absolutely essential listening. Start there. The third album, Stagefright, is good, while not on the level of what came before. After that, it gets spotty, but there are fantastic songs here and there. I can’t recommend The Last Waltz enough, it is a killer live set with fantastic musical guests, including Bob Dylan, Neil Young, Eric Clapton, Dr. John, Van Morrison, Joni Mitchell, Muddy Waters, Paul Butterfield…even Neil Diamond shows up. The Band tear through many of their own classics, backed by wonderful horn arrangements from Allen Toussaint, and then ably back up their guests on their tunes. See the Martin Scorsese-directed film as well. If you want to spend some dough and really dive into The Band, then their box set, A Musical History, is superb and full of worthwhile rarities alongside all of the essentials.

Dez's Top Rock/Pop, #24: Duran Duran

2011-06-28T19:18:00.010-05:00

Occasional Perfection
What makes the perfect James Bond theme song? It’s got to have some sex in it, for sure. It needs an air of sophistication about it (taking about half of the actual Bond themes out of the running). Modern, yet a hint of old school as well. A bonus if you can reference the original Bond theme somehow. A Bond theme should stand on its own as a great tune, but it should also evoke and become an essential facet of the film, it needs to evoke the Bond character in all of his complexity. Many fans would pick Shirley Bassey’s brassy, bombastic “Goldfinger.” 70’s fans will, I’m sure, go to Paul McCartney’s great “Live and Let Die.” But I maintain that the perfect Bond song is Duran Duran’s “A View To a Kill.” It was also the only #1 charting song for the band, and the highest charting Bond song out of 22 movies so far. We can set aside the fact that the actual film was the absolute nadir of the series. (Fun fact for ANCIANT: the Christopher Walken role almost went to David Bowie).

Back to the song. In a brief 3:40, Duran Duran delivers a punchy, seductive, sophisticated, groovy tune full of action and sex that sounds modern (for its time, the mid-1980’s) yet gives a sly nod to older influences (bonus points for creatively throwing in the original Bond theme). At their very best, that is Duran Duran. Seductive, sophisticated and full of punchy pop grooves that can fill a dance floor. The flip side to that is that they are often not at their best, but they hit that peak enough to qualify them as a great band. In fact, they are one of the greatest pop bands of the last thirty years. Often lost in the mascara, feathered hair and screaming teenage girls is the fact that they are excellent musicians. John Taylor is such a great bassist, playing buoyant, funk-inflected bass lines, while Nick Rhodes creates massive synth soundscapes as underrated, estranged guitarist Andy Taylor weaves in lithe and crisp riffs and rhythms.

Returning to my theme of perfection, Duran Duran created the perfect 80’s specimen with 1982’s Rio. I am sure that my readers recall my Favorite 100 Albums List from a couple of years back, where Rio made its appearance at #15. Here is what I wrote then about Rio:

“[Rio] defines a certain period of the 80’s…glitzy, superficial, dangerous, fun, excessive. But as with much of Duran Duran’s material, what on the surface may seem slight synthesizer pop, there is an interesting undercurrent of unease and melancholy. These guys were much better musicians than their detractors give them credit for (especially bassist John Taylor and guitarist Andy Taylor), and Rio is their seminal release. It remains as glitzy and as listenable today as it was when it was released. The title track and “Hungry Like the Wolf” are both classic 80’s glam singles, accompanied by iconic music videos. But the album tracks are just as interesting, such as the brooding Roxy Music-ish “The Chauffeur” and “Lonely In Your Nightmare.” The highlight is “Save a Prayer,” which captures what is great about Duran Duran and also the essence of 80’s excess culture, it is both glamorous and wistful, and full of sweet regret. It is easy to make glamorous pop singles about the wild night on the town, but harder to write them about the morning after. DD simultaneously captures the seductive hedonism of 80’s excess and the consequences only fully understood on the day after. Even further, the song is ambiguous enough to where the listener is not sure whether Simon le Bon, even knowing the consequences, would have done anything differently.”

ABOVE: Even the Nagel-designed album cover for Rio is perfect 80's

What To Listen To:

Debut Duran Duran is a landmark recording of the New Romantic movement, and features some wonderful mood pieces in the second half that would make Brian Eno proud. As discussed above, Rio is their peak. Seven and the Ragged Tiger rounds out the “classic” period, and while not as great as the first two records, it still has many worthwhile tracks. Duran Duran, phase 2 started out promisingly with the Nile Rodgers-produced, dance-oriented Notorious. Duran Duran (aka The Wedding Album) was a surprising comeback in the early 90’s, featuring more adult-oriented pop, highlighted by the gorgeous pair of singles, “Ordinary World” and “Come Undone.” Some of their side projects are worth searching out. John Taylor and Andy Taylor joined forces with Robert Palmer for a couple of albums under the name The Power Station. The debut is good. At the same time, Nick Rhodes, Simon le Bon and Duran drummer Roger Taylor recorded their one-off side project record under the name Arcadia, and the record is called So Red the Rose. That is really worth finding, it is moody and excellent. Since they were the consummate pop band, Duran is well represented on a good compilation. Greatest is the greatest of them. Also, it is well worth it to download the debut, Rio and Seven and the Ragged Tiger from iTunes, because for a great price they have the expanded, super-duper, deluxe, remastered editions, featuring their often outstanding b-sides and remixes as bonus tracks. In my view, Duran had the best remixes of any band of the 80’s, beating out even Depeche Mode or New Order. Look for the “Night Versions,” those are the best remixes of their early songs.

Dez's Top Rock/Pop, #25: Genesis

2011-06-27T11:33:00.008-05:00

In Defense of Phil Collins
Let’s be clear, Genesis would not be here without the Peter Gabriel years. It is funny that many casual music fans would respond with “Peter Gabriel was in Genesis?” Yes, he was. Peter Gabriel was the lead singer for Genesis in the early to mid-1970’s, when they were one of the most respected progressive rock bands on the planet. But their records didn’t sell worth a sh*t. He sang with them for six studio and one live album before abruptly leaving for his solo career. With Gabriel at the helm, they released what many consider (including myself) to be at least three of the greatest prog rock records ever recorded: Foxtrot, Selling England By the Pound and The Lamb Lies Down on Broadway. Brilliant stuff.

When Gabriel left, the band auditioned many possible replacements, and drummer Phil Collins would help show the contestants the tunes (Phil had sung back-up vocals on many songs, and had taken lead on a handful during the Gabriel years). Finally, not really clicking with any of the candidates, the band realized that their answer was already within their ranks. So rather by accident and out of necessity, Phil Collins became the singer for Genesis. His solo career also started by accident. The band was on hiatus, Phil’s wife had just run off with the home decorator at their house (when performing "In the Air Tonight" on British television, Phil cheekily had a paint can and brush sitting prominently on his piano), and so to pass the time, alone and depressed, he recorded demos at his home. He sent them off to the record company just to see what they thought of them. They became his solo debut album, Face Value. The angry “In the Air Tonight” was a bigger hit than anything Genesis had released up to that point.

Phil’s reputation has not faired so well over the years. Old school Genesis fans blame him for making the band “go commercial.” ("Yes, I am the guy who ruined Genesis," he has said). He was one of the biggest selling acts of the 80’s, but he doesn’t get the same respect as Michael Jackson, Prince or Springsteen, although his record sales compare with that elite company. There was a fascinating and rather depressing article about Phil Collins last year in Rolling Stone Magazine. He suffered a serious back injury several years ago, which has essentially ended his career as a drummer (“I was going to quit anyway…I don’t miss it”). He recently released a covers album of Motown tunes, but has not written or released any original material in a decade. He claims he has no interest in creating any new music, lives in a house in Switzerland to be near his children from his third divorce, admits to having suicidal thoughts, seems genuinely hurt by how he is viewed by many in the industry, and spends most of his time collecting Alamo memorabilia. That’s right, Phil Collins is actually one of the leading collectors of Alamo memorabilia in the world. He is supposedly an expert on the subject, and even attends and speaks at Alamo historical conventions. I seem to recall the writer of the article commenting that it was hard to get Phil to stay on the topic of music at all, he wanted to discuss the Texas Revolution and disappear from the public eye ("I sometimes think I'm going to write this Phil Collins character out of the story...Phil Collins will just disappear or be murdered in some hotel bedroom").

ABOVE: a rather disturbing photo from the Rolling Stone article of Phil Collins holding one of his vintage guns

But let’s take a closer look at Phil’s accomplishments. First and foremost, he is an influential and superb drummer. I honestly think that had Peter Gabriel never left Genesis, Collins would have been content continuing as “just the drummer,” as he referred to himself at last year’s long overdue Rock and Roll Hall of Fame induction of Genesis. Playing in a prog rock band generally requires superior musical chops, and Phil’s got them. The drumming on Genesis’s material is never less than professional, and it is often quite inspired and creative. Phil also has produced and drummed for a host of others, especially in the 80’s, from Eric Clapton to old friend Peter Gabriel (Phil drums on much of Gabriel’s landmark third solo record).

He didn’t usurp Gabriel’s leadership in Genesis. Gabriel abandoned the group by the roadside, and Phil took over out of necessity and did a fine job. I cannot argue with the fact that the best Genesis music came during Gabriel’s tenure, but you can’t completely dismiss the Collins years. In prog rock circles, commercial success is viewed with great suspicion, but Collins and Co. made this old prog rock relic from the 70’s into an absolute pop hit machine in the 80’s. Genesis became one of the most unlikely stadium-filling groups of the 80’s. In fact, one of the few acts to surpass Genesis in popularity in the 80’s was Phil Collins as a solo artist. And he made his way undeniably with his music. Obviously MJ, Bruce and Prince are hugely talented individuals, but they were also aided by ungodly dancing, good looks/charisma, and a sexy mystery, respectively. Phil Collins was a short, balding, pasty Englishman. A most unlikely superstar for a decade that paid much attention to the presentation. His popularity did not lay with the visuals or with his riveting stage persona. He had to depend on the music, which included an impressive nine #1 singles as a solo artist in the U.S. or UK.

And about that music. The Genesis side of things tried to traverse that prog credibility / mainstream success line for awhile, often awkwardly, during what I call the Genesis middle period (from A Trick of the Tail through Three Sides Live). When they finally did put the prog in the closet and just concentrated on catchy pop hits, few bands were better at it. As for the solo material, I stand by his first three solo records. Face Value was a largely self-recorded home studio project that was an unlikely smash (also, Phil’s episode on Face Value in that great VH1 series 'Classic Albums' is really interesting. Better than most of the other episodes because Collins is quite intelligent, witty and articulate as he deconstructs the record). The mostly forgotten Hello, I Must Be Going is actually my favorite of his solo records, while the megahit No Jacket Required deserved to sell the gazllion copies that it sold (it was the 6th highest selling album of the 80’s). After that, I admit, there is a sharp decline in quality.

ABOVE: Collins speaks at an Alamo historical convention

Collins deserves better. He deserves to be more than a retired pop star who feels despised, as he clearly does if you read that RS article. Phil Collins is an important drummer (he and Gabriel pioneered the much used “gated” drum sound on Gabriel’s third solo record, when Collins showed up to the sessions Gabriel's orders were "no metal," so if you listen to that record, there are no cymbals on the entire album). He was a pop music machine in his heyday, and impressively led one of the biggest bands of the decade while simultaneously having one of the most successful solo careers of the 1980’s. Maybe it was too much success? Too much Phil? As Entertainment Weekly stated in reviewing a later release, “even Phil Collins must know that we grew weary of Phil Collins.”

What To Listen To:
As stated before, I consider Foxtrot, Selling England By the Pound and The Lamb Lies Down on Broadway to be in the very elite of Prog Rock albums. All are essential, brilliant, and there is much to explore in them. As for the Collins era, Abacab is actually quite good, a bridge between the Prog years and the pop music of the latter years. I personally love Genesis, “That’s All” is such a great pop song, one of the best of the decade. As for collections, it is hard to anthologize a band like Genesis, with such lengthy compositions from the early days and then such a shift in style. But the three disc Platinum Collection does an admirable job, dedicating one disc to the Gabriel years, one disc to the middle Collins transition period, and one disc to the mega-80’s.

Dez's Top Rock/Pop, #26: The Buffalo Springfield

2011-06-23T13:48:00.004-05:00

You Can't Always Get What You Want

An interesting phenomenon in rock fandom is the “lost (masterpiece) record.” This is a record that falls within one of several categories: a. a band started recording the record but it was aborted, yet tapes exist; b. the band actually finished the record but never released it for some reason; or c. it was released at one time but has long been out of print, making it a collector’s item. Fans who obsess over certain bands need something further to obsess over, so what could be better than a mythical record that you can’t listen to but rumor states that the music is the greatest thing since Mozart. If only the suits at the record company had understood! The record was 20 years ahead of its time! The music was so great that if you touched the master tapes you would explode, therefore it was never finished. Whatever the story, music fans love to speculate and discuss and trade treasured bootlegs of these (sometimes) great lost records.

The most famous is probably The Beach Boys’s Smile, which was to be their bold follow-up to their beloved Pet Sounds. But mastermind Brian Wilson lost his marbles, and so it was never finished (Wilson recorded and released a reconstructed Smile earlier this decade). But there are many others. There is The Great Lost Kinks Album (creative title), and I have a bootleg of that and it really is quite great. There is Pink Floyd’s Household Objects, where they tried to make an entire record using only household items like pots and pans and cardboard boxes (David Gilmour: “in the end, after you’ve spent weeks trying to make cardboard boxes sound like bass drums and snare drums, you think, ‘well, why don’t I use a bass drum and snare drum?’”) There’s Neil Young’s Homegrown, which he deemed too depressing and personal, so instead he released Tonight’s the Night! There is also Neil’s Time Fades Away, which was released but has been long out of print. I’ve got a copy and love it. Prince’s notorious Black Album, Springsteen’s Electric Nebraska (the E Street Band recorded a full electric version of Nebraska before Bruce decided that he liked the acoustic demos better. This is a Holy Grail of sorts for Boss fans, since the Darkness on the Edge of Town-era material has been released on The Promise)…and many others. Each has its story.

Some have seen the light of day after a long delay. Chris Bell’s I Am the Cosmos (solo effort from the less famous partner in the Alex Chilton/Chris Bell collaboration that was early Big Star). Excellent. Big Star’s third album. A masterpiece. The stripped version of the Beatles’s Let It Be. Very good. The Who’s Lifehouse (Townshend’s intended follow-up to Tommy that became Who’s Next). Mixed bag. The Velvet Underground’s “VU”. Great. Dylan’s ’66 live material. Awesome. Dylan and the Band’s Basement Tapes. Fun, but not essential. Tragic Beach Boy Dennis Wilson’s solo album Pacific Ocean Blue. Overrated.

What does this have to do with the Buffalo Springfield? Not much. I told you that I would use these selections as jumping off points for different types of essays. But The Buffalo Springfield also have a much-discussed Lost Album. After their debut, they almost completed a follow-up called Stampede. It was so far along that they even had cover art prepared for it…

ABOVE: The proposed album cover for the aborted Stampede. Dewey Martin down front has the cowboy hat over his face because that is not really Dewey Martin. It is a stand-in. Dewey was serving a short stint in jail for dope.

But the band was already ripping apart due to internal strife, and for still unknown reasons, the album was scrapped and they released their greatest accomplishment, Again, instead. I’ve done some research, and by collecting tracks from the Buffalo Springfield Box Set (a four disc set for a band that only released three records!) and from Neil Young’s Archives, vol. 1, I have reconstructed a fairly accurate version of Stampede, and it is really quite good. Equal to the debut, better than the third, but not as great as Again (so I guess they made the right decision at the time).

In case you are not familiar with the Springfield, they were a shortlived but very influential band from the late 60’s who were pioneers in mixing folk/country/rock. Kind of a less celebrated Byrds. Also significant because it was the first important band for three extremely talented musicians, Neil Young, Stephen Stills and Richie Furay. This was really Stills’s band (their one huge hit, “For What It’s Worth,” and their greatest song, “Bluebird,” were both his), but Neil’s always unpredictable presence made the group interesting. I think the group is significant also because although shortlived, Neil wrote some of his most experimental and interesting songs with the Springfield, and Stills’s best song of his career is “Bluebird.” Many people refer to The Buffalo Springfield as one of those “what could have been” bands, one of lost opportunity. There is definitely that element to their story (Neil Young and Stephen Stills both have to be in charge in any group they are in, so it was destined to implode), but we should not forget the small but substantial legacy that they actually left us.

What To Listen To:
They only put out three records. Debut Buffalo Springfield is tentative in spots, but has some great moments. They band had already broken up by the time the third, Last Time Around, was released, but it also has some high points. The one truly great record is the middle one, Again, featuring Stills’s greatest song “Bluebird,” Stills’s greatest pop/folk song “Rock and Roll Woman” (the best Byrds-like song not by the Byrds, although David Crosby sings on it, so there is at least one Byrd actually there), the prettiest song Neil Young ever recorded, the lush “Expecting To Fly,” one of his best rockers, “Mr. Soul,” and Neil at his most experimental in the multi-part “Broken Arrow.” All of those songs are essential. But honestly, the Springfield can probably be best appreciated on their concise but great compilation, Retrospective.

Dez's Top Rock/Pop, #27: TIE - The Grateful Dead, The Byrds and The Allman Brothers Band

2011-06-21T09:55:00.004-05:00

JMW says that it is kosher to have ties, so here is my last tie of the list, and it is a threeway. From here on out, there will only be single entries, I promise. Alright, some mini-essays for each of these picks…

The Grateful Dead: Summer, early 1990’s

Driving from Houston to Aspen, Colorado with my friend Eric. Eric has somehow just gotten his gum all over the road map, and in trying to clean it off he has now gotten the gum all over the map and the front dash of my car. We finish arguing over the gum just as we cross the New Mexico and then Colorado border and all is well again. After hours of the flat, boring hell that is the Texas panhandle, once you enter the brief bit of New Mexico and then Colorado it becomes one of the most beautiful parts of the country. The mountains are visible in the distance, the air immediately feels fresher and cooler. Eric pulls out a cassette of The Grateful Dead’s American Beauty from his backpack. I’ve had happier days (my wedding day, birth of my daughter), but I don’t think I’ve ever felt so content and relaxed as on that day. Beginning of summer, with one of your best friends at your side, driving into the Colorado mountains, a clear blue sky, and the smooth groove of “Box of Rain” coming out of the speakers. I think we played through that tape about 5 or 6 times, all the way to Aspen. Nothing fits the carefree freedom of summer like the Dead. At the end of the trip, Eric gave me the tape as a gift to commemorate our adventure. Sure I’ve got American Beauty on CD and vinyl, but they don’t quite sound like that old cassette tape.

What To Listen To: Man, this is tough with the Dead. There is studio Dead and live Dead. Very different creatures. On the studio side you need to head straight for 1970. In that same year they released their two best records, Workingman’s Dead and American Beauty. Both are acoustic-heavy Americana that is as good as any out there. Two great records that are live but are also used to introduce important new (at the time) songs into the Dead canon are The Grateful Dead (1971) (aka “Skull and Roses”) and Europe ’72. As for getting a real taste for legendary live Dead jams, there are over 100 live recordings available, and they are daunting to sift through. Out of the ten or so that I own, I would recommend 1969’s Live/Dead for the trippiest, boldest, most psychedelic improvisation. For more down to earth but very good live shows, I like The Closing of Winterland and Dick’s Picks, vol. 14.

The Byrds: Individuality

The genius of The Byrds is that leader Roger McGuinn realized that he was surrounded, throughout the shifting line-ups, with very distinct talents. He loosened the reigns enough to allow each of these talents to contribute to the magical sound of The Byrds. David Crosby, Gene Clark, Chris Hillman, Gram Parsons, Clarence White and Skip Batten were all given the opportunity to contribute songs, take lead vocals (or guitar in the case of White), and even shape the direction of the band. Crosby’s wacked-out but always sonically complex musings, Gene Clark’s ethereal and hypnotic songs and vocals (Clark was the primary songwriter on the first two records), Hillman’s burgeoning prowess on multiple instruments and deep roots in traditional American music, Gram Parson’s country/rock pioneering, White’s stunning and fluid guitar work and Batten’s simple but engaging country compositions were all given full flight alongside McGuinn’s own great compositions and groungbreaking 12-string jingle-jangle chime.

ABOVE: "Eight Miles High." The greatest psychedelic song ever? You decide. Listen to those tight vocal harmonies!

As many great songwriters that they had going through their ranks, they were also masters of covering songs while making them their own. There is really no point in a cover unless you transform it in some way. Of course, Jimi Hendrix’s cover of Bob Dylan’s “All Along the Watchtower” remains the greatest and most transformative cover, but The Byrds’s debut single of Dylan’s “Mr. Tambourine Man” remains the most significant cover in rock. It created the folk-rock movement, opened the door for more serious songwriting in the rock realm, and was a catalyst in encouraging Dylan himself to go electric. What is it about Dylan’s songs that make them so ripe for great covers? The songwriting is so solid, yet the musical structures so basic (like a rock solid blues song) that it gives the artist much room to go in many directions with it. (Another brilliant Dylan cover: Van Morrison and Them doing “It’s All Over Now, Baby Blue”). Finally, forget about the Beach Boys, CSN or The Beatles. The Byrds had the most gorgeous vocal harmonies.

What To Listen To: Much of their early repertoire is essential. Debut Mr. Tambourine Man is stunning. The three records they released during their first transitional period (Gene Clark and David Crosby’s exits) are all brilliant: Fifth Dimension, Younger Than Yesterday and the gorgeous and mysterious The Notorious Byrd Brothers. Gram Parson’s sole record as a Byrd, Sweetheart of the Rodeo, is considered by many to be the greatest hybrid of country and rock, although I’ve never really warmed to it for some reason. For a compilation, there are many out there. I quibble with a few omissions, but the 2 disc Essential Byrds is a good intro.

Allman Brothers Band: Improvisation

The Fillmore Concerts. That is where you need to go. The Grateful Dead may be the most celebrated jam band, but the Allmans were the best. Duane Allman was a visionary guitarist, one of the few who had both the chops and the creativity to make 20 minute jams interesting. It is telling that Duane cited John Coltrane as one of his biggest influences. The Allman’s were one of the few bands whose jams and improvisation workouts were of the quality of great jazz music. And they did it using basic building blocks, tunes that were simple yet solid and open enough to explore freely. Some of their greatest improvisations were based on simple blues or folk compositions, the best example being “Mountain Jam,” a 33-minute rocker based on the simple, three minute Donovan confection “There Is a Moutain.” Some were more complex, such as Dicky Betts’s “In Memory of Elizabeth Reed” (their version on the Fillmore Concerts features my favorite Duane Allman solo at the climax of the song). The Fillmore Concerts is most famous for its 22-minute tour de force version of “Whipping Post,” a fascinating exploration of one of their signature songs. Yes, it spawned many less talented jam bands who made the long jam a cliché of overindulgent noodling, but you can’t blame the Allmans for that. Chops + creativity. So rare to find both in the same artist. Duane had some stellar help, of course. Dickey Betts was a brilliant second guitar foil, the rhythm section of Berry Oakley on bass and the double drums were a complex rhythmic cauldron, and the greatest white blues singer ever in brother Gregg Allman definitely helped fulfill Duane’s vision.

ABOVE: The Allman Brothers Band The Fillmore Concerts

What To Listen To: Everything from their original line-up before the deaths of Duane Allman and Berry Oakley is essential. Debut The Allman Brothers Band and sophomore effort Idlewild South both laid the foundation, the greatest live album ever in The Fillmore Concerts (an expanded version of the original Live at the Fillmore East) is essential, celebration/wake for Duane Allman Eat a Peach was a surprising triumph, as was celebration/wake for Berry Oakley Brothers and Sisters, which allowed Dickey Betts to step out in front…get them all. After that, it gets spotty, but there is worthwhile stuff out there. As for compilations, Gold covers the 60’s and 70’s exceedingly well, while Mycology is an excellent overview of their surprising and inspiring resurgence in the 1990’s.

RIP Clarence Clemons, 1942-2011

2011-06-18T22:21:00.014-05:00

No joke, just yesterday I was thinking to myself that I had not interred anyone lately in the GNABB Cemetary. But the Big Man? He can't die! He's supernatural! Take a good look at that picture above (the gatefold album cover photo for Born to Run), and that says it all right there. Clarence Clemons may not have been the most crucial musician in Bruce Springsteen's E Street Band, but he was the heart and soul. He was the mystique. It was the relationship between Bruce and Clarence that created that whole band of brothers camraderie that made the E Street Band so unique. For decades, Bruce leaned on Clarence as they rocked the world on world tour after world tour. And one thing that he did add musically was a link to rock's past and a link to soul and R&B. The E Street Band is a traditionalist band in many respects, and that sax component is crucial. It made Bruce's E Street Band more than merely a guitar-heavy rock band, from the 70's through to today. It gave Springsteen's music an extra swing (especially in the early to mid-70's) and old school swagger. Here is Clarence's version of the oft-told tale as to how he joined the band...

"One night we were playing in Asbury Park. I'd heard The Bruce Springsteen Band was nearby at a club called The Student Prince and on a break between sets I walked over there. On-stage, Bruce used to tell different versions of this story but I'm a Baptist, remember, so this is the truth. A rainy, windy night it was, and when I opened the door the whole thing flew off its hinges and blew away down the street. The band were on-stage, but staring at me framed in the doorway. And maybe that did make Bruce a little nervous because I just said, "I want to play with your band," and he said, "Sure, you do anything you want." The first song we did was an early version of "Spirit In The Night". Bruce and I looked at each other and didn't say anything, we just knew. We knew we were the missing links in each other's lives."

ABOVE: Here's Bruce and the E Street Band in 1978, playing "The Promised Land." Clarence comes in with his sax solo at about 2:50. The affection between Bruce and Clarence is clear in this clip and was so crucial to the E Street Band shows, just watch their interplay

Clemons was one of the charter members of the E Street Band, joining up with Springsteen in 1972. He was not the most technical of sax players, but he had a monstrous sound that was a force of nature. His sax solos were key parts of many Springsteen classics. "Spirit in the Night," "New York City Serenade," "Thunder Road," "Jungleland," "The Promised Land," "Bobby Jean"...all would have been very different songs without Clarence's solos and parts. Clemons also released several solo records, and was a prolific guest musician playing on music for many others, including Jackson Browne, Aretha Franklin, Joe Cocker, Luther Vandross, Roy Orbison, Zucchero and even Lady Gaga earlier this year.

Clarence was a good musician who added a distinct sound to Springsteen's music and whoever else he was playing for. But what will be irreplaceable is that stage presence and charisma. The E Street Band will continue without the Big Man, just as it did with the loss of Danny Federici several years ago. But it will never be the same. A era has passed.

RIP The Big Man, Clarence Clemons

Dez's Top Rock/Pop Artists, #28: TIE, Stephen Stills and David Bowie

2011-06-17T13:56:00.005-05:00

Ties are always kind of cheesy in these lists. But this is one of only two ties on this one, so I don’t do it too often.

Stephen Stills: So Little to Show For It

The majority of Stephen Stills’s work seriously sucks. It is uninspired, clichéd, lazy work. His voice has been shot for at least the last 20 years. At this point, it is little more than an incomprehensible grumble. Much more often than not, he phones it in. Yet his ego is monstrous, an ailment he shares with comrades Crosby and Nash. They only released two records of real significance, yet consider themselves amongst the elites of rock and roll. Stills has released entire albums that are embarrassments, ever listened to Illegal Stills? Thoroughfare Gap? Or the worst of all, Right By You? So…why is he here? For a brief span of time, the late 60’s into the early 70’s, he was as good as anybody. When he does hit the right stride, there is nobody who can get me more excited about what they are doing musically. Along with Lindsey Buckingham, Stills is the most exciting and talented acoustic rock guitar player I’ve ever come across. When his voice was right, it was one of the most expressive and earthy voices in rock. Stills is the poster child of my “80 Minute Test.” Give me one 80 minute CD, and I could fill it with 80 minutes from Stephen Stills’s career that would stand up against 80 minutes from anybody else. Stephen’s problem is what comes after those 80 minutes.

ABOVE: I may have posted this before, but it is worth repeating. Just listen and watch that f'ing guitar playing.

What to Listen To: Crosby, Stills & Nash’s reputation far exceeds their actual output. But debut Crosby, Stills & Nash deserves its status as a classic of the era, and Stills was primarily responsible for its construction and production. Follow-up effort Déjà vu (with Neil Young coming aboard) is also a must own. As far as his spotty solo career, it started off strong. Stephen Stills and Stephen Stills 2 both have some great tunes on them, and his double album with the shortlived band Manassas entitled Manassas is Stills at the peak of his powers, successfully diving into many genres, including rock, latin, country, bluegrass, folk and blues. While flawed, Live from 1975 features some stunning moments, especially on the solo acoustic side.

David Bowie: Dance the Blues

My friend ANCIANT is the real Bowie expert, but I count myself as a serious fan (obviously, if he graces my Top 30). Much has been written regarding his stellar 70’s output, and since I want these essays to address the less obvious, I’d like to talk about my favorite Bowie album, 1983’s Let’s Dance. (I recognized that it is far from his best record, but it is my personal favorite). It is an often dismissed record in his discography, but it was a huge hit when it came out. First and foremost, Bowie made a great dance record, fitting comfortably in the New Wave early 80’s but also with some shadings of his Young Americans blue-eyed soul persona. Even if you discard the three crappy tracks (“Without You,” “Ricochet” and “Shake It”), there is so much to love in the remaining five. “Modern Love,” “China Girl” (co-written with Iggy Pop, Bowie’s version blows away Iggy’s 1977 version…”I’m feeling tragic like I’m Marlon Brando” may be my single favorite rock lyric of all time) and the title track were all big hits at the time, and all are distinctive and memorable. His up tempo reworking of “Cat People” bests his original version from a year before, and the silky smooth cover of Metro’s “Criminal World” is also excellent.

But what makes the record so interesting to me is the collaboration with Nile Rodgers (of Chic) producing and playing rhythm guitar and Stevie Ray Vaughan playing lead guitar. Bowie had been impressed with SRV while watching him at what was a minor version of Dylan’s Newport gig, at least for the blues world. So he grabbed him for the record. SRV was a supercharged blues virtuoso, but didn’t really play much else outside of his comfort zone. Which is why his playing is so interesting here, because this is most definitely not a blues record (despite Bowie’s command to “put on your red shoes and dance the blues” in the title track.) Vaughan, usually so sure of himself in his own element, struggles to fit his playing into these songs. And that struggle is fascinating to hear. Then you throw in Rodgers’s funky rhythm playing under that. It is a rather disjointed but interesting guitar sound throughout the record.

What To Listen To: Again, ANCIANT will take issue with some of my claims here I’m sure, but I would recommend most of his 70’s output. Bowie boldly jumped genre to genre in the 70’s, and really mastered all of them. You can’t go wrong with Hunky Dory, The Rise and Fall of Ziggy Stardust and the Spiders From Mars, Station To Station and ‘Heroes’ especially. For some reason, I am a huge fan of the coked-out Diamond Dogs. ANICIANT will tell you that Bowie’s collaboration with Brian Eno, Low, is the greatest record ever recorded. It is pretty awesome. Obviously from my essay, I love Let’s Dance. The two disc Best of Bowie does a great job collecting his most famous songs.

Some Cuteness

2011-06-15T10:48:00.003-05:00

I haven't posted some cuteness for awhile, so here is some.

ABOVE: Finding the ever elusive Easter eggs

Dez's Top Rock/Pop Artists: #29 - Jimi Hendrix

2011-06-14T10:18:00.009-05:00

What Could Have Been...
I don’t really need to explain Jimi Hendrix’s greatness. Do I? It has been proclaimed for decades, the fact that he was only on the scene for four short years, only releasing three studio, one live and one compilation album during his lifetime. His work with The Experience stands as a Rock & Roll monolith, with Are You Experienced?, Axis: Bold as Love and Electric Ladyland each a masterpiece and landmark record. The live, post-Experience excursion of Band of Gypsys was released as a transitional toss-off at the time, but since it was comprised of all new material and hinted at Jimi’s new direction, it is also essential (even though nothing on it is as transcendently great as his first three records, save the slowburn of “Machine Gun”). Fortunately for us, Jimi was a prolific studio hound, and he recorded miles of tape. To this day we still get a steady stream of previously unheard material released, some of it remarkably good, as deep as we have now delved into the vaults.

That is what I want to focus on here. Jimi’s posthumous recording life, especially the record that he was preparing at the time of his death. First, a little background. Many artists of Jimi’s generation were not too business savvy. They were desperate to make it, and often signed predatory recording and management deals just for a shot at the big time. It's not like they had the money to hire lawyers to review the deals. But even by the industry’s and time period’s standards, Jimi was more careless than most. He would sign conflicting contracts with multiple studios and companies, with little regard to the effects on his career. In fact, that is the only reason Band of Gypsys was ever released, he had signed some forgotten contract years prior, and with his fame cresting the holder of the contract came out of the woodwork to collect. So Jimi agreed to release a live record of some new material he was tinkering with in order to fulfill the contract. Little did he know that it would be his sole live record (out of many now on the market) that he would ever get to personally authorize. And it was one that he was less than enthused about, releasing it mainly to avoid a lawsuit.

After his death, the legal labyrinth that he had inflicted upon himself wrecked havoc for over a decade on his recorded legacy. The Cry of Love, War Heroes, Rainbow Bridge, Crash Landing, Midnight Lightning, Voodoo Soup…these are just the most infamous posthumous releases that took his work-in-progress recordings and various unreleased tracks, doctored them up and “finished” them with studio musicians who had never even met the man, and were released in the 70’s and 80’s. Fortunately, Hendrix’s family eventually stepped in and bought out the rights to all of his remaining recordings, pulled all of these faux records from the shelves, and attempted to bring some much needed order to his posthumous releases.

I have to say they have done a great job. South Saturn Delta, Valleys of Neptune, West Coast Seattle Boy, Jimi Blues, The BBC Sessions and various live recordings are all worthwhile for the Hendrix collector. But by far the most significant is First Rays of the New Rising Sun. This record is as close as we will ever get to what was going to be Hendrix’s next record. Jimi was incredibly ambitious about his next step in his evolution, making his death that much more of a tragic loss. With the Experience disbanded and behind him, he was prepping a double record that would boldly emphasize R&B, soul, blues and jazz roots featuring Experience drummer Mitch Mitchell and U.S. Army buddy / Band of Gypsys bassist Billy Cox as the core of his new band; yet supercharging them with his unique brand of psychedelic rock. Recall that Hendrix started his career as a session and road musician backing the likes of Little Richard and King Curtis, so he had deep roots in R&B and soul music.

ABOVE: First Rays of the New Rising Sun is the best guess we have of what Hendrix's next record would have sounded like

Hendrix had many tunes that were in-progress at the time of his demise. Some (“EZ Rider,” “Freedom,” “Angel,” “In From the Storm”) sound near completion and are probably very close to what he would have eventually released, while others were still clearly in their working phase. Nobody knows, of course, what Hendrix’s next record would have been. While working on this stuff, he was allegedly also in serious discussions with Miles Davis regarding a collaboration. (Listen to Miles’s stuff from the period (In a Silent Way, Jack Johnson, Bitches Brew, etc.) and you can definitely imagine how a Hendrix-Miles record would have worked and possibly blown our collective minds.) But much of the material on FROTRS is what he was most seriously prepping for the next record. What you’ve got are tunes with deeper grooves than before rooted in soul music with Hendrix’s ever inventive jamming on top, as he worked out the lyrics and song structures. I think that Hendrix would have taken this rock/soul/R&B hybrid to a new place, forever changing the genres. Some of this material matches his Experience material in quality, and remember that these were still works in progress.

Rock has many “what if’s,” but this is one of the more tantalizing ones. We throw around the word “genius” way too loosely, but Jimi Hendrix was one of our true musical pioneers/geniuses who fundamentally changed the landscape. What would have Hendrix done to the music we call rock had he been able to produce thirty years of work vs. just four?

ABOVE: Here is "Freedom," one of his more finished songs for the record he was recording at the time of his death. It still features his superlative guitar work, of course, but what is different is the deeper groove rooted in soul and R&B

ABOVE: Then there is something like "Angel," which is beautiful new cosmic soul music

What to Listen To:
Obviously, his three Experience records are foundations for any rock collection. Are You Experienced?, Axis: Bold As Love and Electric Ladyland are must haves. First Rays of the New Rising Sun is the best of the posthumous collections, and the best approximation of his new direction at the time of his death. If you are weak sauce and want a hits compilation, the once flooded market of Hendrix compilations has now been narrowed to essentially two, since the others have been pulled from shelves by the Hendrix family: Smash Hits (the concise hits collection issued during Hendrix’s lifetime) and Experience Hendrix. Of those two, go with Experience Hendrix because it has broader coverage. As far as live material, there is so much out there. Over ten live albums are readily available. I like Live at Monterrey (probaby his most significant live performance, career-wise) and Live at Winterland. The BBC Sessions has many revelations and is loads of fun.

I Was Wrong (Thank God)

2011-06-13T07:00:00.003-05:00

"But this Mavs team is different." Year after year, if you Dallas fans say that enough times, then the law of averages states that you are bound to be right sometime. I guess this year's Dallas Mavericks was, in fact, different. I am no Mavs fan, but I hate the Miami Heat, so I was rooting for Dallas. As distasteful as that is for me to do. LeBron's Decision, the assertion that by assembling two or three supermen you can win the championship (vs. assembling a real team), the Championship celebration they held before the pre-season even started, whiny Bosh...all of those things pushed me into Dallas's camp. I am pleased to see some veterans who have toiled for years get their day in the sun. Dirk obviously, but also Kidd and Marion. (Not happy for Terry, though, he's a douche.) So, congratulations Mavs Nation. You have staved off the Evil Empire for all of us who appreciate team basketball at least for one more year.

ABOVE: I guess this pre-season celebration was for the Eastern Conference title, and not the NBA one? Because that is as far as you got, a-holes.

Dez's Rock/Pop List: #30 - The Cure

2011-06-12T06:52:00.013-05:00

Fall, 1992.
I had always bought into the caricature of Cure audiences as wimpy, goth, black-eyelinered, pasty kids on the perpetual verge of suicide. Perhaps there is some truth to that. So I was a bit hesitant when my friend Willis, whose taste in music I always respect, suggested that we go to a Cure concert up at the Woodlands Pavillion, just outside of Houston. This was senior year in high school, and I was all about testosterone-fueled classic rock at that point. Willis was a Cure fan (and not goth, did not wear eye-liner, and was not suicidal). He knew that his best play was to present the suggestion in the guise of a joke. "Let's go and make fun of the pasty and morose fans." It worked.

An odd group assembled for the evening. Willis and I were joined by Eric and Johannes. I cannot remember whose idea it was, but somebody thought it prudent that we all put on eyeliner and do our our hair a la Cure leader, Robert Smith, here...

I do remember Willis arguing convincingly that if we did not do this, then we would really stand out. My girlfriend at the time came over and assisted with our make-up and hair. We arrived at the venue, and of course, nobody looked like us. This was 1992, so most people were wandering around in flannel shirts. Eric was fairly oblivious, Johannes and I did not really care and thought it quite amusing and tried to play up our goth roles, but Willis, who takes great care with his appearance and general presentation, was horrified. And of course, the worst happened (for him). We ran into some other people from our school, and Willis desperately tried to explain that we were being ironic and making fun of the entire Cure ethos.

ABOVE: Photographic evidence. Dez and his amigos prepare to attend The Cure show

But that is all secondary. The real point here is that I started the evening considering this band and show a joke, and left the concert loving Robert Smith's teetering melancholy to joy musical mood swings. Under the substantial amounts of eyeliner, distorion (this was the Wish tour, afterall) and gothic posturing lay a band with unbeatable pop and melodic sense. Robert Smith is one of the great underrated pop songwriters. Yes, he has made entire albums of brilliant gothic gloom (Faith, Pornography, Disentegration), but to get a sense of his true gift, head for the singles. There is where you will find some of the greatest pop music of the last 30 years. Glorious stuff of masterful construction, incessant hooks and brimming with emotion.

What To Listen To:
As stated above, the neophyte needs to head straight for the two singles collections, Staring at the Sea covers the late 70's to mid-80's, while Galore covers the rest of the 80's to the mid-90's (by the way, their material since the mid-90's is quite good as well). If you want to explore further, Disentegration is their towering, gothic masterpiece. The Head on the Door is an earlier milestone.

This Summer's List

2011-06-10T06:25:00.003-05:00

Another summer, another definitive, completely objective list from Dez. Longtime GNABB readers know that I like to throw up a list of some sort each summer. There have been mini-lists at other times, but the big guns tend to come out over the summer. So far I've given you Dez's: Top 100 Albums, Top 50 Movies and Presidential Rankings.

Rolling Stone Magazine recently published their updated 100 Greatest Artists of All Time list. If you read the intro in the issue, it explains more precisely that it is their 100 Greatest Artists of the Rock and Roll Era, which better explains some of their omissions. The list was compiled by polling a panel of "experts," a mixture of artists, producers, critics, and other music insiders. They first published their list in 2004, and then updated it in 2011. My friends over at Future Rock Legends have conveniently posted both lists side by side if you want to see the results, here.

Of course, that got me thinking, who would make my list? So I present you with Dez's Favorite Rock and Roll Artists. More details about the list:

1. This will be more interesting than just standard bios and discographies. I have wanted to stretch my writing skills, so I will try and focus on an interesting aspect of the artist, controversy, particular era or album, memory associated with them or something else specific. I want to try and write interesting essays inspired by or associated with the artists vs. giving you a Wikipedia-like entry. Two of my regular readers and good friends, JMW and ANCIANT, are writers by trade. I am not. But I figure that since I am most comfortable writing about music, that was the best place to try to stretch myself a little bit.

2. All joking aside, this list is purely subjective. I am giving you the artists that have given me the most enjoyment and challenged me or inspired me so far in my nearly 40 years of existence.

3. I've listened to them for awhile. I will not have newer discoveries here, they have to have been with me for awhile to be able to view them in perspective.

4. I chose Rock/Pop because as I was ranking them, I was having difficulty really comparing Mozart or Miles Davis to my #1 pick, Wham. (OK, not really. Wham! is not on my list). But it was just easier and more fair to set other genres like jazz, blues, soul and classical (all of which I also really love, but do not have that direct connection with) aside and just focus on Rock and Roll. So this is not just "Rock and Roll Era," this is Rock and Pop.

5. I am limiting it to 30 artists. I could easily give you 100 and still leave off artists that I love, but you don't want to read 100 essays. I figured 30 was a good number, enough to be somewhat representative, but not overkill. Please understand that I am leaving off artists who still mean a great deal to me, who at different times I have obsessively listened to. I considered just doing 11 of them, because as I was ranking I found that #'s 1-11 immediately and easily fell into place, but I struggled more with ranking #'s 12-30. But thirty works.

I will post about other things as well, as I know not everyone obsesses over music as I do, and this blog is supposed to be about a variety of topics. Alright, first entry coming soon.

Fun For Toddlers and Potheads Alike

2011-06-03T17:08:00.005-05:00

As a relatively new parent, I am still discovering all that there is to offer in children's entertainment. In meeting with several other new mothers, my wife noticed that many of them raved about this TV show called Yo Gabba Gabba on the Nick, Jr. network. We pulled up a few episodes On Demand, and my daughter went wild. Loved it. Immediately started dancing around the living room to the catchy music. Honestly, I could not tell who was enjoying the show more, my daughter or my wife.

It is nothing new to create children's entetainment that also has appeal for adults (go back to the Muppets in the 70's), But YGG takes it to a new level. It plays like a very pleasant acid trip, with strange but endearing characters...

ABOVE: Some of you non-parents may recognize these characters from a recent great car commercial.

In conducting a little research, I found that YGG is quite popular on college campuses as well. Not surprising. With the funky visuals, great modern sounding music, strange but child-friendly and instructive scenarios, and hip special guests (Jack Black, The Shins, Andy Samberg, Tony Hawk, The Roots, Mark Mothersbaugh of Devo, etc.), I can see the appeal. The show was co-created by lead singer Christian Jacobs of the band Aquabats, which explains a lot.

ABOVE: Here's "Party In My Tummy"

Last weekend we went to visit and stay with some friends in Houston (who don't have any kids), and once we started to tell them about YGG, they told us that they watch it all the time (usually while enjoying an adult substance). I guess that is the sign of a great kids show, adults and toddlers both get into it.

Yes I Can

2011-06-02T18:16:00.005-05:00

I have found my latest musical obsession, and it is the experimental, Krautrock band Can. They were one of those bands that had minimal mainstream success, but who greatly influenced a ton of people. Artists who have claimed to have been influenced by Can include David Bowie, Radiohead, Talking Heads, The Fall, Joy Division, Public Image Ltd. and Brian Eno, to name just a few. How to describe Can's music? Wikipedia lists the following genres in their entry: "Krautrock, Experimental Rock, Progressive Rock, Psychedelic Rock, Ambient, Avant-Garde, Electronic Music." That's about right. And if you listen to their first couple of albums, you could also add punk to that genre list.

I have heard of Can for years, but only recently actually tried listening to them. For about a week now, I have not wanted to hear anything else. It is Can all the time. I was playing it in class this last week of school, and I was pleased that at least five different students (all male, all musicians) approached me and asked me what we were listening to, and wanted to learn more. Can lecture followed.

ABOVE: 1973's Future Days is a landmark ambient album, but never boring like so much ambient music can be

They formed in the late 60's with their core of West German musicians who were influenced by the avant-garde art movement in New York (Warhol and Velvet Underground especially). Their first couple of records were good and very interesting, but their flat out brilliant releases came between 1971-74. They recorded throughout the 70's and reunited briefly in the late 80's, but the early 70's is the peak with four groundbreaking albums: Tago Mago (1971), Ege Bamyasi (1972), Future Days (1973) and Soon Over Babaluma (1974). It is these four records that I have been listening to incessantly for almost a week now. My daughter is starting to dig them as well, especially Future Days. While all of those genres previously mentioned are present in some fashion, I would most directly compare this stuff to what Miles Davis was doing around the same time, but more rhythmic and melodic and less jarring that Miles's most challenging fusion stuff.

Can worked in what they called "spontaneous composition," which is slightly different than straight improvisation. They would improvise and collectively compose on the spot just by playing together a lot. Sometimes an improvisation would go on for hours at a time, and then later they would strip away elements and edit the improvisations in the mixing room to make the "songs" for their albums (which is exactly how Miles Davis worked during the same period. Davis and his bands would play for hours at a time, and then producer Teo Maceo would take the results and edit them for albums). One legendary Can concert in Berlin featured improvisations that went on for over 6 hours. Now that, my friends, is getting your money's worth! It was so intense working in Can that original vocalist Malcolm Mooney left, supposedly, in part because his therapist told him that working with Can was driving him insane.

ABOVE: Tago Mago features bold, epic, experimental jams

While guitarist Michael Karoli is outstanding and quite versatile, and while vocalists Mooney and later Damo Suzuki broke ground vocally (Suzuki never wrote down his lyrics, treating the vocals as another improvising instrument and making them up on the spot. Suzuki would sometimes sing in English, sometimes Japanese, and sometimes in pure jibberish. Check him out especially on Future Days, where his spare vocals are mixed deep in the sound and fade in and out without pattern. It is brilliant stuff), and founder/keyboardist Irmin Schmidt should be considered a founding father of experimental electronic music...what makes Can so great to me are bassist/effects engineer Holger Czukay and drummer Jaki Liebeziet. The percussion can be minimalist at times, yet quite subtle and intricate at other times. It is the interplay between Czukay and Liebeziet that makes 20 minute tunes like "Halleluwah" (from Tago Mago) so mesmerizing and even hypnotic.

Tago Mago is long, intense and often grooves madly. Ege Bamyasi is shorter, but no less intense, and may even groove deeper. Future Days is simply gorgeous and a landmark in ambient music, and clearly influenced Bowie and Eno in their Berlin Trilogy. Soon Over Babaluma steps up the electronic experiments, yet also maintains the ever important groove.

For something a little different, open up some Can.

Prediction and Coming Attractions

2011-05-31T20:00:00.003-05:00

I'm back. Sorry about the days of quiet once my 30 Posts in 30 Days project ended in triumph. The summer is now upon us, and you know what that means, right? Another list!! I'm working on one. I've posted a movies list, albums list and presidents list in previous summers. This summer's list will start soon.

I just got Sergio Leone's Once Upon a Time in the West on Blu-ray. Came out today. That will be glorious in Hi-Def on our huge-ass TV. Can't wait to throw that in.

ABOVE: Henry Fonda's piercing baby blues in Once Upon a Time in the West. Oh, and any excuse to post a pic of Claudia Cardinale...

Prediction for the NBA Finals as the first game kicks off tonight. The Dallas Mavericks have been a great underdog story so far, with Dirk playing the best ball of his career and a deep team behind him. This is a better team than the one he had with him in their 2006 Finals appearance (also against Miami). But this is also a better Miami team than the one that beat Dirk in 2006. Miami wins in 6. I hope I am wrong. I dislike the Mavs. But I despise the Heat, especially LeBron and Bosh. Wade is alright. Miami will dominate for several years to come, and it starts this year. I'll say it again: The Mavericks will never win a championship with A. Dirk as their #1 option and/or 2. as long as Mark Cuban is the owner.

Dez Reviews Bela Fleck & the Flecktones's Rocket Science, 2011

2011-05-18T18:04:00.005-05:00

Back in the early and mid-1990's, some of my friends and I were avid Flecktone fans. It started with a show at a small club in Houston in the summer of 1992. It was one of those magical shows that I can still see (and hear) vividly, and one that we will never forget. Goosebump stuff. This was the original line-up of the Flecktones, featuring banjo wunderkind Bela Fleck, bass virtuoso Victor Wooten, harmonica/piano master Howard Levy and Futureman on the drumitar (basically, an overhyped electric drum kit). Futureman aside, this was a band featuring musicians without peers on their respective instruments, and they had an incredible rapport. Everything just went together right. In those days when we had few responsibilities, it was not uncommon for us to drive across state lines just to catch the closest Flecktones show. They were that good. Kyle and I even slept on the floor of the DFW airport one night in relation to a Flecktones pilgrimage. This line-up recorded three records in the 1990's (two outstanding, one mediocre), and then Levy left for undisclosed reasons. The Flecktones continued on, but something was lost. They were a trio for awhile playing with various special guests, then saxophonist Jeff Coffin joined as a permanent member for a series of mediocre albums (not Coffin's fault, but he just didn't really add all that much, honestly). The playing was still superlative, but something was missing.

Well, Howard Levy has returned (supposedly for good) to the line-up, and a new, 4th Flecktones record featuring the original members has been released. I have not been enthusiastic about Fleck and his cohorts for some time, so my expectations for this release were, shall we say, cautious optimism. My first full listen through the record did not sweep me off my feet. But after repeated listenings, I hear some definite moments of greatness. This is complex stuff that requires closer attention.

ABOVE: The new/old Flecktones. Howard, where is your goofy mustache?

First, Howard's harp is all over this record, as he takes the bulk of the solos. His skills are still intact, just check out his jawdropping solo in the opener, "Gravity Lane." This is an old school Flecktones record. Gone are the gimmicks of recent years, the world music flavorings, the experimentation for experimentation's sake. In tone, it is closest to their debut. This is, more than anything else, a jazz record. Not many funk jams or melodic songs, it is mostly jazz improvisation and bold, complex playing. Many fans listen to these guys primarily for Victor Wooten's bass playing, he has probably become the most popular member of this band in the music community, even more than Fleck himself. Wooten doesn't have any showcases here, but if you listen closely to the bass, he will stun you throughout, but it is not as in your face as it often is. (Check out his out of this world playing near the end of "Sweet Pomegranates," and you can get your Wooten fix).

ABOVE: Longtime fans will appreciate the album cover for Rocket Science. All of the Howard-era album covers feature cartoon drawings like this one, and each one references the previous records. As you can see here, if you look closely in the background, there is the jumping horse of the debut, the cosmic hippo of their sophomore effort, and the UFO TOFU sign of the third record. Also, this features the horse in the rocket that was in the background of the debut's cover. A sign of starting over, perhaps?

If I have a complaint, it is that several of these songs are hard to distinguish from each other (honestly, I feel the same about their debut record, as great as it is). They can occasionally veer into the realm of either jazz noodling (albeit of the highest order) or in a few instances, get close to mellow, smooth jazz territory ("Joyful Spring," "Storm Warning"). Oddly enough, the best songs are backloaded on the second half. The eight minute tour de force "Falani" shows why this original line-up is so good, with multiple sections, shifting tempos, parts for each member to step out and impress while playing off each other instinctively. Fleck's solo near the end is especially powerful. Howard Levy's Eastern-tinged composition "Sweet Pomegranates" is the highlight of the record, a thrilling, dizzy tune with an off kilter melody and outstanding playing from all members. The quiet "Like Water" is also wonderful. It is one of the simplest songs here, but it also has a lovely melody to it and does not veer into mere noodling. The closer "Bottle Rocket" has a funky groove, and features some of Wooten's funkiest playing of the record.

Fans of the original quartet have reason to celebrate with this return. The group is rejuvenated, has a serious focus again, and they are playing some challenging music. It has its flaws (but even their best records are not without flaws). Where does this fall within the Howard-era discography? It is definitely better than UFO TOFU, it is close to equal to Bela Fleck & the Flecktones, but does not quite match Flight of the Cosmic Hippo, which still remains their greatest studio effort. But their records, in many respects, are beside the point. Keep your eye out for a tour, because Bela Fleck & the Flecktones have become, once again, a must see live band with Howard Levy back in the fold. Welcome back, Howard.

***1/2 out of *****

Conference Finals

2011-05-16T20:03:00.004-05:00

This has been an unpredictable NBA Playoffs so far. The #1 and #2 seeds are out by the time the Conference Finals roll around in the West? Dallas doesn't choke and the Lakers finally can't flip their legendary switch? What's going on here? Maybe the world really is ending on May 21st. My predictions on this round...

The East: Chicago Bulls vs. Miami Heat
I know I'm a little late (since one game has already been played). And I know Chicago won Game 1 convincingly. And I know Chicago has had Miami's number all season. But still. I think Miami has a lot to prove, and I think that Chicago is still a year or two away from being real champion contenders. Derek Rose has astounded, but Miami features possibly the two best players in the League (and basketball, more than any other major team sport, can turn on individual greatness). I hope I'm wrong. I do not want Lebron to ever win a title.
Dez says: Miami in 7

The West: Oklahoma City Thunder vs. Dallas Mavericks
This could be a great series. Durant and Westbrook are playing out of this world for OKC. But I think that Dallas has the depth and desire to make their last push. Like Chicago in the East, I think that the Thunder are still a season or two away from contending for the title. The question is: has Dallas finally gotten over the choke factor? For this series, yes. But they still won't win a title.
Dez says: Dallas in 7

Therefore, the Finals will be a rematch of Dallas and Miami, and Miami will dash the Metroplex's hopes once again.

Dez Reviews Move Like This by The Cars, 2011

2011-05-10T20:50:00.004-05:00

Ever since I heard that The Cars were in the studio again after 24 years on hiatus (Ric Ocasek in 2007: "it will never happen, mark my words"), I've greatly anticipated this record. The Cars were (are?), in my view, the greatest New Wave band. From the late 70's through the mid-80's, they were all over the radio and MTV. Featuring the potent combination of impossibly catchy tunes and Ric Ocasek's oblique and cynical lyrics, they were part of the best that the 80's had to offer. Part of the soundtrack of my most impressionable musical years.

Ocasek had a new batch of tunes that he was preparing for a new solo album, and had the wisdom to admit that what he actually had was a killer set of Cars tunes. He just needed The Cars. So he contacted the other members who were only too happy to give it another shot. Four of the five original members are here, missing only bassist/vocalist Benjamin Orr, who passed away in 2000 from pancreatic cancer. But from dedicating the album to him to using one of his old bass guitars to play the bass parts on the album (handled by keyboardist Greg Hawkes), Orr's spirit was definitely present during these sessions. Ocasek also admitted in a recent interview that half of these songs would sound better with Orr's smooth vocals (on most Cars records, the vocal duties are split about 50/50 between Orr and the quirkier, jerkier Ocasek. I've always preferred Ocasek because his vocals are more idiosyncratic, but Orr had a killer rock voice, no doubt.)

The previous six Cars albums can be divided roughly into three groups. The classics (The Cars, Candy-O), the very good (Shake It Up, Heartbeat City) and the mediocre to bad (Panorama, Door To Door). This new one fits firmly in the middle category. Fortunately, it does not sound like an old band trying to recapture the past. Move Like This sounds as if it were recorded contemporaneously with their other material, yet feels alive and relevant on its own terms today. The band is tight, Ocasek's voice has not aged at all, and his writing, on the whole, is still quite sharp.

It is definitely stronger in the first half, starting with the instant Cars classic "Blue Tip," which should send any Cars fan into a frenzy of nostalgia and joy. The ballad "Soon" is quite beautiful, and while Ocasek does an admirable job singing it, you can just imagine Ben Orr's smoother voice all over this modern "Drive." "Too Late" is full of strong hooks and the rocker "Keep On Knocking" is strong as well, while single "Sad Song" (not sad or slow at all, by the way), is a direct link to their debut (think "My Best Friend's Girl," musically speaking, complete with crisp guitar lines and hand claps). "Free" also has killer hooks. From that midpoint the record sort of loses its steam and freshness, but nothing is bad. It does finish on a high note with the catchy rocker "Hits Me." (Also, if you buy it at Best Buy, their exclusive deluxe edition features some bonus Ocasek demo tracks of some very strong tunes that did not make the album proper, I would recommend them).

Move Like This is a fine addition to The Cars impressive legacy, and I certainly hope that this is a new beginning for them instead of a one-off reunion. With the exception of Ben Orr's absence, it sounds like they never left.

***1/2 out of *****

ABOVE: I know I posted this once before, but here is the video for "Blue Tip" once again

Day 30: Mission Accomplished

2011-05-06T04:19:00.003-05:00

Thirty days ago I took up the challenge from my friend ANCIANT to revive my blog by posting 30 posts in 30 days. It has been a fantastic exercise for me, I don't know how much you have enjoyed it. It is a challenge to come up with something interesting to say each day. All that I have discussed in the last 30 days was of interest to me, I hope that at least some of it was of interest to my multitude of readers. Looking forward, I will not be posting daily, but my goal for the near future is to keep up a respectable clip of several posts per week. So please continue to stop by and read and comment. NOTE: ANCIANT, I responded to your Day 28 questions below. Sorry for the delay.

Day 29: Civil Rights leaders Penn & Teller

2011-05-05T05:46:00.011-05:00

I found it rather irritating the other day when on Facebook, many people started throwing a purported MLK quote around, chastizing Americans for celebrating the death of mass murderer / most wanted man in history Osama Bin Laden. The quote started with this strangely appropriate line: "I mourn the loss of thousands of precious lives, but I will not rejoice in the death of one, not even an enemy." Sounds right on. Well, it is actually the words of civil rights leader / philosopher / Vegas magician Penn Jillette of Penn & Teller fame (the rest of the quote after that line was actually MLK). He claims it was an honest mistake. Read here. In the same spirit, I would like to quote Canadian conservative philosopher / political leader / washed up pop star Celine Dion, when she says "near, far, wherever you are / we will hunt you down and kill you."

ABOVE: Many people were inspired by the words of civil rights leader Penn Jillette after the killing of Bin Laden

Day 28: Beyond Categorization

2011-05-04T05:58:00.004-05:00

I'm sorry that this post is a little late. Recall awhile back I polled my loyal readers regarding which book I should read? I have gone with The Hawk and the Dove, which is fascinating so far, and The Happiest Toddler on the Block because my daughter is starting to push me to create some sort of coherent discipline regime. I continue to be interested in the exchanges amongst my Facebook universe between the hawks (happy that Osama met his maker) and the doves (throwing that same MLK quote around about never rejoicing in the death of others). Put me in the hawk category. I missed Hitler's demise, so this is the next best thing. God Save the Kinks. I have not played my PS3 in a long time. As I have been reviewing my students for the upcoming AP Exam (Friday) in U.S. History, I've been interested in how influential George Washington's Farewell Address (no foreign entanglements) was for the next 100 years or so on our foreign policy (isolationism). In fact, that is usually the only Washington question on the AP Exam. My 7th period pissed me off yesterday. They shall suffer the consequences today. I am preparing my own personal Greatest Artists list to counter Rolling Stone. Yesterday at Day Care, my daughter was battling with two other kids for the same toy. A three-way battle that set off a chain reaction of biting. She got bit by one kid, and she turned around and instead of biting back, she bit the 3rd child. The Day Care lady told me that she was acting like "a diva" yesterday. Probably not a compliment? I must read that book. I have not been to a movie theater in over a year. The new Stevie Nicks album is quite good. Review soon. I will post some good toddler photos soon too. Dammit, I think Miami might win the title. I am enjoying this season of Survivor. Outer Space is cool.

There, I have written a post using every one of my categories. But I was just informed the combined length of all labels for a single post must be 200 characters or less. So, I will list the labels here within the post: Apologies; Books; Cultural Observations; Dez Hall of Fame; Games; GNABB Cemetary; Great Speeches From American History; History; Kids These Days; Lists; Love and Marriage; Movies; Music; Photos; Politics; Polls; Space and Science; Sports; TV.

Day 27: We Got Him

2011-05-03T01:40:00.004-05:00

I've been quite interested in all of the Osama Bin Laden coverage. First of all, that was a bad ass SEAL operation. Hats off to our military. Secondly, I know that our relationship with Pakistan has always been "complicated," but come on. Osama living in a huge house down the street from their West Point in an urban area about 50 miles from the capital? Not exactly caves in hard to reach mountainous regions, is it? There is a reason that we did not inform Pakistani officials until after the operation was already complete. If we had told them before, Osama would have been conveniently out at the movies at the time of the assault.

Also been interested in the reaction both abroad and here. I can't say that I was dancing in the street, but I did feel a deep sense of satisfaction. And I think that it was more than a merely symbolic act to finally get Bin Laden. I'm not the only one to say this today, but I liken it to Adolf Hitler and the Nazis. Yes, the Nazi movement existed before Hitler, and some remnants in some form existed on the fringes after his death. But the Nazi Party was so wrapped up in Hitler's own cult of personality, that it was Hitler who gave it so much strength and vitality. Bin Laden was similar. Al Quada will go on, and there are many other terrorist groups, but it will not be the same without Bin Laden in this world. He was one of those unique personalities who gave it life. And, though I don't often agree with Hillary, I like her message that this proves that it may take us some time, but we will eventually get you. No matter how long you run.

I'm also impressed with how we handled his remains. Dumping him in the ocean was smart. No place to make a shrine or pilgrimage site to galvanize his followers. It was also good that we prepared the body in the Muslim tradition.

As we discussed it in my classes today, one student asked a great question: "so what does this mean?" I think it means that in the short run we are more at risk due to angry reprisals. But in the long run, we are better off and have struck a blow to world terrorism. Like it or not, he was a galvanizing and unique individual. He cannot be replaced, and as long as he roamed this earth, he was a powerful symbol of evil and hatred. Glad we shot the bastard through the eye socket.

Someone got ahold of an MLK quote on Facebook and I've seen it about four times now. The gist is that I will not rejoice in another's death, even if it is an enemy. Hate begets hate, etc. Nice sentiment. But I think we can rejoice in the sense that justice long denied has finally been satisfied.

I recall when Gandhi (MLK's inspiration and philosophical forefather, along with Thoreau) was questioned about how we ought to react to Hitler. Still use nonviolence? He did not have an adequate response. Nonviolence worked in India against the British and worked here in the 1960's civil rights movement partly because it was used against rational people who were capable of being shamed. Osama Bin Laden and his followers are on an entirely different plane of thinking (as was Hitler). Shame does not work because you are not even working within the same set of definitions of words. We could have made Osama happy and have him stop his violence against us if we had done everything he wanted and withdrawn completely from the Middle East. Can't do that. Hitler would have not had a problem with other powers, if we had simply agreed to hand him all of continental Europe on a platter. Not going to happen. You cannot have a reasonable negotiation with Osama or Hitler. Not simply because they are evil. But because their mindset is not on the same level as the rest of the world. It would be like trying to talk in two languages but leaving the translators at home.

Day 26: Next Round Predictions

2011-05-01T06:48:00.004-05:00

I know I've had a lot of NBA posts lately, but this is probably the last one during the 30 Posts in 30 Days. How did I do in the first round? I got 6 of the 8 winners correct, and two of the series I predicted the exact number of games. Nobody would have predicted the Spurs loss before that series got started. But it was clear which way that series was going after Game 1. Anyway, onward to the Second Round...

EAST

Chicago Bulls vs. Atlanta Hawks
This could be a tough series for Chicago, as Indiana gave them more trouble than expected in the first round. Maybe they are over their playoff jitters by now? Top seed expectations a little tough to deal with perhaps?

Dez Says: Hawks will make it interesting, but Bulls in 6.

Boston Celtics vs. Miami Heat

This is the series to watch. These teams do not like each other. I still recall the greatest tweet in the history of tweets, after Boston's regular season victory in Miami, from Paul Pierce: "I enjoyed bringing my talents to South Beach, now it's on to Memphis." Yes! It is Miami's raw talent vs. Boston's grit and experience (not that Wade and LeBron are newbies to this).
Dez Says: Perhaps there is also some hope in this prediction, but Boston in 7.

WEST

Oklahoma City Thunder vs. Memphis Grizzlies

Memphis showed incredible drive and poise in knocking off the #1 seed Spurs in Round 1 (only the fourth time that has happened in NBA history). But I have to say that OKC is a possible juggernaut in these playoffs. Two genuine stars in Durant and Westbrook, fiercesome presence down low with Perkins and Ibaka, and some great role players. Memphis will give a good fight, but OKC does not have the Spurs weakness up front.
Dez Says: OKC in 6

L.A. Lakers vs. Dallas Mavericks

This is about the time that the Lakers wake up, stretch, roll out of bed, have breakfast and start to take the playoffs seriously. In past years, they have been able to flip that switch at will. Will they this year? Will the Mavs continue to choke in the playoffs? My answer to both questions is yes. While the Mavs could push it to 7...
Dez Says: Lakers in 6

Day 25: Reason #43 that I Hate the Heat

2011-05-01T06:46:00.003-05:00

Usually you win the championhsip first, then throw the party. Or as Stan Van Gundy said, "they were celebrating their championship before they had their first practice."

Day 24: RIP the Tim Duncan Era

2011-04-29T23:18:00.002-05:00

I am a Houston Rockets fan first and foremost. But they have not been a serious contender for awhile, so I can be a fan of my adopted home, San Antonio. Here is Adrian Wojnarowski’s summary of the San Antonio Spurs during the Tim Duncan era:

“The Spurs haven’t been the team that David Stern wants to promote because they never drew national television ratings. They don’t do drama and soap operas. Popovich never kissed the commissioner’s ass and it cost him the Olympic coaching job. The Spurs have been the team that the high school coaches watch with notebooks and pens, and tell their kids to watch over Blake Griffin. They’re the champions of the purists. They stand for something – substance over style, subtlety over gaudiness.”

“Champions of the purists.” Absolutely. If you are a serious student of basketball, a serious fan who is not distracted by flashy plays and Hollywood personalities, then you cannot dislike the Spurs. If you do dislike them, then I would posit that you do not really understand great basketball. Since the Tim Duncan era started in 1997, The Spurs have won four championships (1999, 2003, 2005, 2007). They have done it with relentless work ethic, a tenacious defensive personality (something they lacked this season), and free from scandal or drama. Coach Gregg Popovich does not court the media like a Phil Jackson. Stars Duncan, Manu Ginobili and Tony Parker (save this year’s tabloid divorce from Eva Longoria) are not often in the headlines for activities off the court. They have just won. A lot.

The key to the Spurs is that Popovich and Spurs management have been able to surround their stars with great role players, be they Bruce Bowen and his nasty defense, Steve Kerr’s three point magic or Robert Horry’s playoff miracles. It also has to do with the character of the players that have been here in the last decade and a half. David Robinson was the man when Duncan came along. Robinson was mature and smart enough to cede the spotlight and become the #2 guy upon Tim's arrival. It paid off. Robinson got his championship before he rode off into the sunset because of his willingness to do that. Likewise, especially this season, Duncan has realized that Ginobili and Parker need to be the go-to guys, and he let that happen. Duncan has shown leadership on this team by taking criticism. Popovich is one of the few coaches in the NBA today who is the boss of his team. And that all starts with Duncan. Duncan is a star, but has allowed Popovich to coach him, even to yell at him from time to time. It trickles down. The other players on the team also have to listen to Popovich if the man at the top of the pecking order does. If they don’t fall in line, they aren’t a Spur for very long.

Many in this city felt that maybe they had one more championship in them. Afterall, they have held the first seed nearly the entire season. San Antonio has a special relationship with the Spurs in part because it is the only major league team here. To be honest, the Rockets run a long third in the hearts of Houstonians (why, I can never understand. They are the only major league team to bring that city a championship). But in SA, The Spurs are woven deep into the fabric of the city.

But this series with the Memphis Grizzlies has shown that that one more River Parade was all wishful thinking. The Spurs are old. Tim Duncan is probably on the verge of retirement. Ginobili and Parker are both old as well (in NBA years). With a lockout looming for next year, this may be the last time we have seen these three together on the court. Hats off to the scrappy, young, brash, hungry Grizzlies. (Reward: they will be destroyed by the OKC Thunder in the next round). They deserve this win, they were clearly the better team this series, regardless of seed. But let’s take a moment to honor Tim Duncan and the Spurs of the last 14 years for winning four championships with class, a team-first mentality, and hard work.

Day 23: "Get Your Ass to Maaazz"

2011-04-28T01:11:00.003-05:00

Here's 10 minutes of one of the greatest actors of our time (or any time)...

Day 22: Live to Fight Another Day

2011-04-28T00:01:00.005-05:00

Well, it certainly has been an entertaining 1st Round of the NBA Playoffs. I hope that you saw the Spurs-Memphis game tonight. One of the most hard fought, exciting games I've ever seen. Memphis (the 8th seed) was up 3-1 in the series, so if the Spurs lose this game they are done. The Spurs are down by three with 1.2 seconds left in the game. Watch what happens...

That is a rookie who made that shot, Gary Neal. For one of the more thrilling shots in recent memory, and a shot with everything on the line (literally, the entire season), the commentator for that clip seems surprisingly calm. Anyway, game goes to overtime and the Spurs win.

What a game. Friday will be interesting. It is also cool that within an hour or two, that clip is already up on YouTube.

Day 21: Catching Up

2011-04-27T05:17:00.005-05:00

I seem to keep getting one day behind. So, this is yesterday. I've got a good post in the pipeline, but something must happen first before I can post it for it to be timely. I am certain this thing will happen, perhaps tonight. Then I can post it and be caught up.

I watched Tron: Legacy this weekend. I have fond memories of the original, but mainly as a visual experience. The story was muddled and acting was cheesy. Guess what. The sequel looks beautiful (especially on Blu-Ray on a nice TV), but the story is muddled and acting cheesy. Although, I love the references to the original, to the 80's (Journey playing on the jukebox when Son of Flynn goes to his Dad's old arcade, perfectly preserved under a blanket of dust). Even better, in the flashback scenes when Son of Flynn is a kid and Jeff Bridges (said Flynn) is reading him a bedtime story, the kid has a Black Hole poster in the background on his wall. Nice, I had a chuckle there. Another Disney sci-fi flick that flopped in its time, but since has developed a cult following, albeit one smaller than Tron. By the way, I have always loved The Black Hole. Generally, I cannot stand this trend of remaking everything under the sun, but I have always thought The Black Hole, if done right, could be a killer remake/update. Rumour has it that it is in fact being done. We'll see.

ABOVE: Dez is intrigued by a possible remake of The Black Hole. It was one of the campiest sci-fi flicks ever, yet also had an interesting and dark story to it and featured arresting visuals. Plus the acid trip of an ending still astounds. "You're not planning on going into the black hole..." "In...through...and BEYOND!"

My students start their TAKs testing this week. (Recall, TAKS is Texas's standardized testing regime). I have bathroom duty. I have to sit in a desk facing the restrooms, and make sure only one person is in there at a time. They could discuss the test at the urinals if I let more than one in, you see. It is difficult work.

More later.

Day 20: On the Bedside Table

2011-04-26T05:43:00.003-05:00

This is yesterday's post. Really. Got to make this one short but it is important. I have a stack of books that I want to read, and I need to know which one to start with. Here are the choices, give your suggestions in the comments section.

1. Back to Our Future (David Sirota): How the 1980's explain our world today

2. The Hawk and the Dove (Nicholas Thompson): A look at the Cold War years through the lives of two of its architects, Paul Nitze and George Kennan

3. The Castro Obsession (Don Boening): Our many plots against and confrontations with Fidel

4. The Fifties (David Halberstam): What many consider to be the definitive look at that decade

6. The Real History of the Cold War (Alan Axelrod): A detailed look at the period

7. Alexander Hamilton, American (Richard Brookhiser): a relatively succinct biography

8. Strong Fathers, Strong Daughters (Meg Meeker): Advice for men raising daughters

9. The Happiest Toddler on the Block (Harvey Karp): A discipline strategy for raising a toddler

OK, so which one?

Day 19: Happy Easter

2011-04-24T07:41:00.005-05:00

Here's a quick post for Easter. By the way, don't miss Day 18's further discussion of the Rolling Stone list below, I just posted that one about 2 minutes ago. OK, now I am caught up.