The Music Blog of the Infonistacrat!

I have another indispensable blog. Besides Dirty Harry's Place, Infonistacrat (whatever that means). He posts music that you can actually listen to, and/or skip songs you don't like. Lots of Alternative music, the kind that many people have a hard time finding examples of. Check it out. You can also get MP3s, but he reminds you this is only to introduce you to an artist, then you need to support the artist with your dollars.

Rip It Up and Start Again & Our Band Could Be Your Life Book Reviews

I’ve gotten back into music lately. It all started with this article. ALTERNATIVE ROCK. FORCED EXPOSURE IS GOOD FOR YOU: Overlooked and misunderstood, postpunk gets its due. By: Pasteur, Eric. Library Journal, 5/15/2008, Vol. 133 Issue 9, p38-42. This article prompted me to read Our Band Could be Your Life: Scenes from the American Indie Underground 1981-1991 by Michael Azerrad and Rip It Up and Start Again: Postpunk 1978-1984 by Simon Reynolds. I also got Rhino’s four CD set, Left of the Dial: Dispatches from the '80s Underground, and a series of three individual CDs called The Postpunk Chronicles, also from Rhino. It has also spurred me on to hook up my turntable to a computer to figure out how to burn my 300 or so albums to Compact Disc. I should do a post on that.

Both book’s titles appropriately come from song lyrics. Our Band Could Be Your Life looks at one band at a time. Rip it Up and Start Again organizes by regions (Manchester, Leeds, Ohio, New York) and music styles. Some of the bands I had never heard of, some I had heard of but never heard, and some I am a big fan of. I wish these kinds of books came with a CD so I could hear some of the music being discussed as it’s being discussed. What I did was look them up on YouTube. (An entire side discussion: why are these songs available as bandwidth-hogging videos, but not as just music? Some “videos” are nothing more than a photograph of the album cover to look at while the song plays.)

The one thing that bothered me about both these books is the “my music is the purest and best” syndrome. I remember reading once about Kurt Cobain getting all depressed seeing a heavy metal kid wearing a Nirvana t-shirt. Lots of people get all upset when they find out their favorite musician likes something not in his particular subset. Rip it Up tells of Johnny Rotten (John Lydon) DJing a music show while still in the Sex Pistols where he showed a wide range of tastes. Punks got up in arms about it, calling Rotten a traitor.

Personally, I don’t get that mindset. I’m a music omnivore.

I enjoy almost all types of music. My favorites include all variations of the blues, 1950s Rock & Roll, 1960s psychedelic and 1980s alternative with a healthy dose of classic rock.

I missed out on much of the early 1980s indie music that is discussed in these two books. I was into heavy metal (with a little new wave) until 1985. Then a friend introduced me to REM, and that sent me in a whole new direction. (thanks Gibson!)

Many of the bands I like aren’t included or talked about much: The Call, the Rainmakers, Hoodoo Gurus, the Smithereens, Lone Justice, R.E.M., The Choir, the Del Fuegos, Violent Femmes, etc. And there is very little discussion of others that were pretty popular by the standards of “college rock”: Camper Van Beethoven, the Pixies, the Smiths, They Might Be Giants, the Psychedelic Furs (best name ever), etc. Perhaps this is because both books tend to concentrate on late 1970s to early 1980s, while I was really into this music in the late 1980s. Also, both tend to be concerned with independent labels more than major labels, so R.E.M. gets ignored because they got popular too fast.

There may be some dividing line between “Alternative” and “New Wave,” but I’m not sure what it is. I’m sure there is some distinction in the mind of the purist listener Once again, some use independent label vs. major label as a standard. Some bands like Orchestral Manoeuvres in the Dark or New Order I always considered New Wave, but these books consider them Postpunk.

Our Band Could be Your Life gets a bit repetitive due to the format of covering each band individually. Every band goes on tour with a lousy van that breaks down. Each band has no money. They all have to decide if they want to go with a major label or stay indie. Azerrad focuses on hardcore.

For the most part, I don’t like the band as much after reading about them. Especially the Twin-Cities twin bands, The Replacements and Hüsker Dü.

Reynolds lets his politics get in the way about four times. Live Aid “fit all too neatly within the shared worldview of Thatcher and Reagan…who promoted private philanthropy over government intervention.” The horror! The very idea that you should decide on your own who to give to (or whether to give at all) instead of the infallible, omniscient, government taking your money and distributing it for you. And he blames Thatcher for unemployment. Really, where did all those “no future” punks come from?

The Left of the Dial CD set is fantastic. I don’t like every band (Throbbing Gristle, great name, lousy sound), but there are several great songs on here. In particular Lone Justice, the Smithereens, Concrete Blonde, the Church, Love and Rockets, Julian Cope, and the Hoodoo Gurus are all standouts. "Bela Lugosi's Dead" by Bauhaus is a fantastic song that I had never heard.

There are a few "religious" songs. Nick Cave and the Bad Seeds with "Mercy Seat" (Ultra Vivid Scene also had a song with that name). The Meat Puppets have "Lake of Fire" which was covered by Nirvana on MTV Unplugged. "Stigmata" by Ministry, and probably a few others I'm missing. And am I allowed to love a band called The Jesus and Mary Chain?

The Raincoats “Fairytale in a Supermarket” reminds me of the Clash “Lost in a Supermarket.” Speaking of the Clash, they aren’t included on any of these disks or books. Are they punk and not postpunk? I would say they are postpunk, but here’s the problem of drawing your lines to sharply.

I also find it interesting that most of my evaluations of a band have stood the test of time. I didn’t care for the Smiths or PiL in the 1980s, and listening to them again, I still don’t like them.

The Postpunk Chronicles series has some overlap with Left of the Dial (in fact one disk has that name), but many of the bands have different songs, which is good if you are looking for an education on this style of music. I hadn’t heard Mission of Burma, but hearing two of their songs, I’d say they’re pretty good.

Book Contents:

Our Band Could be Your Life: Black Flag -- The Minutemen -- Mission of Burma -- Minor Threat -- Hüsker Dü -- The Replacements -- Sonic Youth -- Butthole Surfers -- Big Black -- Dinosaur Jr -- Fugazi -- Mudhoney -- Beat Happening.

Rip It Up and Start Again: I: Postpunk -- Public image belongs to me: / John Lydon and PiL -- Autonomy in the U.K. : DIY and the British independent-label movement -- Tribal revival: the pop group and the Slits -- Militant entertainment: Gang of Four: the Mekons, and the Leeds Scene -- Uncontrollable urge: the Industrial Grotesquerie of Pere Ubu and Devo -- Living for the future: Cabaret Voltaire, the Human League, and the Sheffield Scene -- Just step sideways: The Fall, Joy Division, and the Manchester Scene -- Industrial devolution: throbbing Gristle's music from the Death Factory -- Contort yourself: No Wave New York -- Art attack: Talking Heads, Wire, and Mission of Burma -- Messthetics: The London Vanguard -- Freak scene: Cabaret Noir and Theater of cruelty in Postpunk San Francisco -- Careering: PiL and Postpunk's Peak and Fall -- II: New pop and new rock -- Ghost dance: 2-tone and the Ska Resurrection -- Sex gang children: Malcolm McLaren, the Pied Piper of Pantomime Pop -- Mutant Disco and Punk Funk: Crosstown Traffic in early eighties New York (and beyond) -- Fun 'n' frenzy: Postcard Records and the Sound of Young Scotland -- Electric dreams: Synthpop -- Play to win: the pioneers of new pop -- New gold dream 81-82-83-84: New Pop's Peak, the Second British Invasion of America, and the Rise of MTV -- Dark things and Glory Boys: the return of Rock with Goth and the New Psychedelia -- Raiding the twentieth century: ZTT, the Art of Noise, and Frankie goes to Hollywood.






Technorati Tags:
Book Review, Our Band Could Be Your Life, Rip It Up And Start Again, Left of the Dial: Dispatches from the 80s Underground, Postpunk Chronicles

Bo Diddley Remembered

Bo Diddley, one of the least known pioneers of rock 'n' roll, died Monday, June 2, 2008. He was respected by lots of musicians and was in a few movies. In fact, I just watched Trading Places on Saturday before he died. He was the pawn shop owner.

You may have seen him in a George Thorogood video shooting pool. Was it Bad to the Bone? I can't find the video.

Bo Diddley was easily recognized with his flat-brimmed, flat-top hat, square guitar and thick square glasses. He lived in near poverty for many years after his initial fame because the record companies basically stole the copyright to his songs (this is not unique to Black artists, John Fogerty wouldn't play any of his own Creedence Clearwater Revival songs for years since the record company has taken his copyright and hince his royalties).

Bo Diddley's hit songs (all of which you probably recognize even if you don't know it) include Bo Diddley, Who Do You Love, Can't Judge A Book By Looking At The Cover, and I'm A Man which also has a similar version by Muddy Waters called Mannish Boy.

Diddley was similar to John Lee Hooker in that they would do entire songs in one key. Just keep the driving rhythm the same throughout the song.

A few good write ups on Bo Diddley are at USA Today (which surprises me), and Wikipedia has a good article. Of course, the Rock and Roll Hall Of Fame inducted him many years ago.


Technorati Tags:
Bo Diddley

John Densmore of The Doors Won’t Sell Out

I just read an article called “Ex-Door Lighting Their Ire” by Geoff Boucher where he describes how drummer John Densmore, won’t allow Doors music to be sold to advertisers. The article was originally in the Los Angeles Times on October 5, 2005; I read it in the Da Capo Best Music Writing 2006 (Da Capo Best Music Writing). The other two surviving members of the band, Ray Manzarek and Robbie Krieger, are quite upset with him and wish he would sell out. After all, everyone else is doing it.

The arguments for licensing are “…people don’t frown on this anymore,” and it’s “not selling out; if it’s done right, it’s giving it new life.” What they mean by that last statement is that the only way for dinosaur bands to build a new audience is to have the song played for 15 to 30 seconds to shill high-dollar merchandise. That’s wrong. How many people ask, “Who was that in that commercial? I’ve got to run out and buy that.” If they like that style of music, they can hear it on classic rock stations. I’m betting there is at least one of those just about anywhere in the US that has radio stations. And it’s not like they don’t play The Doors.

According to Boucher, Cadillac approached the Doors before they got Led Zeppelin’s song “Rock ‘n’ Roll.” They offered 15 million dollars. Tempting offer. However, as Densmore says, “… On stage, when we played these songs, they felt mysterious and magic. That’s not for rent.”

Licensing a song for a movie is less intrusive. The Doors’ song “The End” was used to great effect in Apocalypse Now. Most people won’t hear the same song 20 times during a movie like they will during a televised football game. And several times a week if they watch that much TV. But few of us will watch any movie more than a couple times in our lifetime.

Selling your song to advertisers isn’t too bad for some groups. The Soup Dragons “Don’t be afraid of your freedom” for Visa is an example. They aren’t played on the radio all the time, and I bet many people have never even heard of them. But I can’t listen to Bob Seger’s “Like a Rock” anymore. Do radio stations still play that song? I’ve only heard it once on the radio since Chevrolet trucks started using it. Is Led Zeppelin’s “Rock ‘n’ Roll” going to be ruined the same way? Probably. Especially if it is used for many years. That’s too bad, cause a lot of us really love that song. I would especially hate to lose some Doors songs. I’m sure that advertisers swoon because whenever I hear “Like a Rock,” I think of Chevrolet pickups. But the down side is, I never hear that song. No one plays it. If it came on, I’d change the station.

So, as a fan, I would like to say to Mr. Densmore, “HOLD OUT! Don’t sell your songs, please.” I’ll end with the best quote of the article, “…hey, you have to respect that. How many of your principles would you reconsider when people start talking millions of dollars?” “None,” should be the correct answer.



Tags:
The Doors, Advertising

Hippie Music at Wolfgang's Vault

For those of you who love music from the late 1960s, through the mid 1970s, you have to check out Wolfgang's Vault. Wolfgang was more commonly known as Rock Concert Promoter Bill Graham (NOT Evangelist Billy Graham). At Wolfgang's Vault, if you have a high-speed connection, you can listen to concert music from some of your favorites from the days of the Fillmore West and Fillmore East.

Tags:
Bill Graham, Fillmore East, Fillmore West, Hippies, Concerts

American Music Association Awards Show Says 2005 Lousy Year for Music

My wife and I watched the AMA Awards and couldn't believe how bad it was. First, Mariah Carey came out without enough clothes on and sang a "Britney Spears type song," according to my wife. For most of the show the sound quality was muddled.

But what really sent the sign that 2005 was a bad year for music is that 4 old-timers were asked to play. (Mariah Carey may be an old-timer, but she has a new album out) Cyndi Lauper played with Sarah McLachlan, The Eurythmics, Carlos Santana with Los lonely Boys, and a satellite feed of the Rolling Stones. You know it's bad when my wife says the Rolling Stones were about the best sound of the evening. Not to forget, Lindsay Lohan did a rotten cover of Stevie Nicks. Now any one of these would be fine, they all did a good job on their songs (esp Eurythmics and Santana), but to have this many on one night says that they are hurting for talent. Another sign that they are hurting for talent is that both Lindsay Lohan and Hillary Duff got stage time.

Besides the 4 old-timers, the 3 teeny-boppers (including Mariah Carey) and 3 other acts (The All-American Rejects, Three Doors Down and Cheryl Crow) all the acts were County or Hip-Hop. I don't mind either category getting fair time at the show, but what about all the other categories? Alternative is still putting out some top-notch stuff, Rock surely has someone that can bring down the joint. Is top 40 radio that bad?

Johnny Cash is not new to me

I have long been a Johnny Cash fan. When I was 5 years old, I could identify Cash on the radio. My folks had several of his albums that I now have. Most people have contradictions, but Cash had more of them and had them more strongly than almost anyone in the last century. Fully redeemed, yet fully a sinner (I have a copy of his mug shot from some county jail somewhere).

I really admire his humility as well as his righteous anger. Johnny Cash was not just The Man in Black, but he was The Man. Christianity Today Movies has a good article on the movie coming out. INTERVIEW The Man in Black Joaquin Phoenix and Reese Witherspoon, who play Johnny and June Carter Cash in Walk the Line, join director James Mangold to discuss the legend's life—and faith. By Peter T. Chattaway. It's more than an interview really. The movie was planned with the permission of Johnny and June Cash. I can't wait to see it.

Bob Dylan

This last week PBS had a show on Bob Dylan. Now there is one interesting cat. The show stops at 1966, the year I was born. Martin Scorsese, the director, said that he would like to do the rest, as there is so much more, including religious issues. There is lots of speculation on that topic. I have a friend who believes that Dylan is still a Christian, just that he is quiet about it. He is not the only one.