As anyone who has witnessed their pummeling onslaught live knows, this Brooklyn-based fireball of a duo pulls no punches. But the most recent release by Even Twice (vocalist/bassist Robert Hait; vocalist/drummer Pat O’Shea) makes it clear these gentleman are not just your run-of-the-mill loudmongers but also posses a gift for nuance they are none too shy about flaunting.
On the 7-song EP This Is Boomerang, the band’s trademark post-punk/prog is effortlessly blended with elements of psych and catchy melodies, resulting in an interesting hybrid that manages to cover much ground while retaining all the power and focus of the Even Twice experience. It’s also a treat to hear both of these distinct but similarly expressive vocalists exhibit their wares in this context, adding another layer to a sound that, taking into account the sonic limitations inherent in a duo format, could come across quite monochromatic in lesser hands.
CHRIS CORNELL “Wave Goodbye”
Dedicated to Jeff Buckley, this soulful tune is from Cornell’s debut album ‘Euphoria Morning’ [A&M-1999] and alludes to Buckley's demise with a clever pun as its title.
CPR “Morrison”
Oliver Stone’s 1993 movie about The Doors was the inspiration for the first song David Crosby wrote with his long lost son, keyboardist James Raymond, for the self-titled, debut CPR album, released in 1999. Key lyric: Croz puts aside the poetic imagery of the verses and sings bluntly about Stone's characterization of his friend in the song’s chorus, “I’ve seen that movie / and it wasn’t like that”. Yikes!
PAUL McCARTNEY “Here Today”
The John Lennon tributes are plentiful and include high profile ones by George Harrison and Elton John, but I’m most partial to this heartfelt track from his old writing partner.
THE REPLACEMENTS “Alex Chilton”
It’s the only one from this bunch that was written while its subject was still alive and the lone uptempo rocker here. If not their top song, one of the band’s very best. Oh, and the implied advice to "never travel far / without a little Big Star" is one I have always adhered to.
TEMPLE OF THE DOG “Say Hello 2 Heaven”
Wrapping up this quintet as it began with another song written by Cornell, this time a moving tribute to his old friend and roommate, the late Andrew Wood, frontman for the bands Malfunkshun and Mother Love Bone. In a career full of them, this is arguably, Cornell’s finest recorded vocal. (Btw, Alice in Chains' “Would?” is also about Wood.)
Honorable Mention: SONIC YOUTH "Teenage Riot"
It's not clear whether it's about an alternate reality where J Mascis is President of the United States (we’ll take it!!!) or president of the alternative dream but, regardless, it's a longtime fave that ALWAYS makes me smile.
Much-maligned by the band's titular siblings—despite the presence of their beloved dad, the late Jan Van Halen, playing clarinet on “Big Bad Bill (Is Sweet William Now)”—the existence of this album was not just a fluke but also another reminder of a time in which major labels exerted undue pressure on their artists, even the multi-platinum selling ones.
Coming off the Fair Warning tour, the band was in real need of a break but wanted to keep their fans engaged, so they released "(Oh) Pretty Woman" as a one-off single in early 1982. But when their cover of the Roy Orbison classic blew up the charts, Warner Bros. smelled blood in the water and forced the band back into the studio, mere weeks after returning from the road, to record a new album.
Misgivings aside, a sunnier and recently regained sophomoric disposition—evidenced in the album’s title, and the band dubbing its attendant concert schedule the “Hide Your Sheep” tour—was present this time out, perhaps due to Fair Warning bearing a bit of an overcast vibe and not having as strong sales figures as its predecessors.
This was ultimately the catalyst for 5 of this album’s eleven tracks being covers—including another stroll through the Ray Davies songbook with “Where Have All The Good Times Gone?”; the aforementioned “(Oh) Pretty Woman” and "Big Bad Bill (Is Sweet William Now)”; the awkwardly out of place Motown classic “Dancing In The Streets”; and a Roy Rogers tribute, closing track “Happy Trails”—a move prompted by their label.
The originals do stand up, thankfully, especially the vintage VH rockers “Hang ‘Em High” and “The Full Bug” along with the more pop-oriented singles “Secrets” and “Little Guitars”.
The end result was their most diverse album with DLR and one that, although not a classic, should be revisited with fresh ears when in the mood for some fun, ballsy rock and roll.
Music, as we've come to know it, immerse ourselves in it and love it, does not hold sway in the same manner with today's music fans: it's part of the package, not the be-all-end-all.
To them, an instrument is an archaic, inconvenient vehicle to express music; a song is a disposable means of conveying a temporary sentiment; a concert is not a place to commune and bask in the glow of performers making a joyous sound but a measure of exclusiveness, status and cool meant to be bragged about on social media.
So, the people who interact with that paradigm are, in so far as this subject is concerned, unlike us, and thus the music is not for us.
Concert ticket prices are going thru the roof and have been for sometime now. Promoters, scalpers, third party ticket vendors and even unscrupulous artists (ie. the ones who scalp their own tickets) are all part of the problem.
With few exceptions, like NiN, who make it very difficult to scalp choice tix for their shows, in order to give true fans a fair chance at landing them for a decent price (not to mention Trent Reznor blowing the whistle on artists scalping their own tix), all everyone cares about is making loot. Whoever gets screwed, too bad.
Aside from a friend getting ripped off, there's not much sympathy for the price gouging of concert goers 'round these parts, particularly since that time when Pearl Jam waged war on TicketMonster and NO ONE, not fellow artists, not fans, backed 'em up. Plus theft, um, file sharing.
Despite being based on a tell-all book that doesn’t skimp on the sordid details, The Dirt comes across as lacking in both story and character development in comparison, and feels quite rushed in how it depicts the band’s origin story, subsequent rise to fame, fall from grace and eventual resurrection, not to mention the changing music scene of the early ‘90s that pushed aside bands like the Crüe. (The life-size poster of Pearl Jam’s debut album Ten outside the Crüe’s rehearsal studio is, by its lonesome, supposed to clue us in on that latter development.)
Some folks have chastised Netflix for programming The Dirt in the midst of the #MeToo movement, which is ridiculous, considering the movie revolves around the true life and times of a rock and roll band prone to debauchery (depravity?) during the ‘80s, a decade mostly defined by a carefree attitude towards drugs, greed and hedonism.
However, those of us who’ve read the book, and/or know how it all went down, will find it hard to get past the movie feeling like a sort of a visual checklist and not a story. Whereas for those vaguely or plain unfamiliar with the Crüe, one can surmise them experiencing a rated-X Lifetime movie about an ‘80s hair band and little more.
Bottom line: The Dirt is entertaining and doesn’t suck but it fails to live up to its source material. Or even the hype, for that matter.
Something curious happened while we were not paying much attention: Rock, popular music's dominant global force for decades, has reached the age when the average person begins to contemplate retiring, feeling perhaps vital still, but not as when the brio of youth gave it its verve. (When was the last time a new rock band captured the attention of the masses?) So, taking this as a starting point, it might be a good opportunity to try to analyze where the record industry is in general and where it could be headed in the not too distant future.
Due to the many ways in which technology has impacted our lives, it's interesting to observe the various attempts to discern how we will consume music as the music industry undergoes more changes in its structure. It's important to point out that the music business operates in a slightly different realm than other areas of entertainment and popular culture: despite streaming, people still watch TV, go to the movies and even purchase movies and TV series in physical formats, while the consumption of music in physical form—which was the main form of distribution during the second part of the 20th century in particular—has diminished considerably, despite the recent (relative) boom of vinyl. (And notwithstanding the various options offered by technology, live concerts still remain the main revenue source for artists at all levels.)
There's talk of various subscription models (a la cable TV) as MP3 sales decrease continuously and compact discs are relegated to the stuff of memories. (Beginning a few years ago, computer manufacturers stopped adding the optical disc drives necessary to read CDs / DVDs, the first indication of a possible future physical obsolescence.) But if there is something that cannot be ignored it's that the factors that invariably determine how the masses consume music are price and convenience. Frequently, sound quality is brought up as driving the commercial behavior of consumers (and the audiophile community is a strong example), but the reality is that the other two factors mentioned above have prevailed more often than not when the public decides how to spend its money vis-a-vis music.
What is undeniable is that we are experiencing a historical moment, one in which there is more access than ever to all kinds of music, regardless of genre or style. However, despite appearances, it seems that no particular form of music will be dominant as we see specialized niches pop up like never before. This could open the door to all kinds of innovations in terms of both art and commerce. And if the last few years have taught us anything, it's that change might be right around the corner.
Will it be minor or all encompassing? The only thing we can dare predict is that the erroneously considered dead and buried major record labels, still in possession of billions of dollars at their disposal which they've been using to finance the likes of Spotify, as they manage to become profitable (along with the catalogs of thousands of popular artists), as well as the mighty Internet, will be involved in one way or another in how consumers enjoy pre-recorded music.
THE CLAYPOOL / LENNON DELIRIUM South of Reality
[Prawn Song/ATO – 2019]
On paper this doesn’t necessarily seem like the most auspicious of collaborations: Les Claypool is a proggy alt-rocker with a fondness for the weird and absurd, while Sean Lennon is a melodic singer/songwriter with a taste for psych. But these two talented gentlemen have made the most of their common ground, namely that sweet spot where Syd Barrett-era Pink Floyd meets John Lennon in “I Am The Walrus” mode with a dash of early ‘70s King Crimson, which they further explore to much fruition on this, their second album.
Despite the name recognition of the two principals involved it’s hard to imagine a wide audience for this kind of record in the current musical climate. But perhaps this is the album the masses need to experience in order to shake them free of the oppressiveness of the by-the-numbers pap they are bombarded with on a daily basis. Or maybe just give ‘em something to hate. Regardless, if a trippy, psychedelic vibe that grooves is your cup of tea, there is much here to warrant repeated refills. Drink up!
Highlights: First single “Blood and Rockets: Movement I / Saga of Jack Parsons / Movement II, Too The Moon”, “Boriska”, “Easily Charmed By Fools”, “Amethyst Realm” and the title track.
"We bullied Hootie and each Blowfish, and we liked how it felt, so we didn’t stop. We laughed them out of the game for no good reason, while we let Dave Matthews Band continue kicking around the same hacky sack for their next few albums. We shamed them in a way we never did Counting Crows, and to this day Adam Duritz walks the earth with a hairdo that answers the question: what if a fireworks display could be brown?"
- Dave Holmes, Esquire magazine, January 2019.
It always seemed like those who supported H&tB were the same ones to turn on them when it was deemed no longer cool to like 'em.
But here's the thing: they were never cool. Talented and hugely popular? Sure. But they were never cool.
Regardless, they were singled out for being bland and/or hokey when there were, as Holmes points out, plenty of other guilty parties out there who did not suffer the same fate. (Dishwalla?)
One could argue H&tB were a reflection of their followers: folks who were, as most young people are, preoccupied with notions of cool but, not knowing how to discern this elusive designation in the middle of the 1990s alternative nation, latched onto something they could readily identify with, only to later find out it was the uncoolest strain of them all and eventually bailed.
But time has a way of blurring memories, burying shame and enabling the embracing of nostalgia, as we've seen with the throes of middle aged women attending New Kids on the Block concerts in the 21st century. And judging by recent developments one assumes Holmes' mea culpa might be unnecessary: the Blowfish are touring this summer and playing venues like NYC's Madison Square Garden and the Hollywood Bowl, so this is not has-beens embarking on a low-key, low rent affair.
Again, Hootie and the Blowfish were never cool and will never be more than an outfit which put out bland, ably performed pop/rock. But now, as their fans have gotten older, they get to acknowledge that and still enjoy them just the same. Good for them.
Yes, it’s been
another 12 months, and with it comes another abridged and personalized version
of a yearly recap. Let’s get crackin’, shall we?
ALBUM OF THE YEAR
KAMASI WASHINGTON Heaven and Earth
[Young Turks]
If not this one,
then… Oh, if only
Donny Hathaway were alive to hear this.
FAVORITE ALBUM
Didn’t
really have one this year…
FAVORITE SINGLE
DOJA
CAT “Roll With Us” [Kemosabe/RCA]
The
first single off Amala, the debut
album by LA’s answer to Cardi B, is as shallow and expletive-laden as anything
comparable out there these days, but it’s the enticing guitar-led, dream trap with
atmospheric background vocals that make the song irresistible.
VIDEO OF THE YEAR CHILDISH
GAMBINO “This Is America”
One hell of an artistic statement, the video clip
for this engaging hip-hop/R&B hybrid, is a timely depiction of current US culture and pregnant with symbolism: people gleefully dancing and being all-out consumers
while engulfed by chaos; gun violence in which the weapons are treated with
more care than the victims; Death riding a pale white horse (from the biblical
book of Revelations); and spectators capturing it all on their cellphones. At a juncture in which so-called artists are
seemingly more preoccupied with shilling for their own clothing lines and
fragrances and making fools of themselves in all kinds of ways, Gambino
reminded us all what it is to be a talented, socially conscious artist and what
they can do in that regard when so inclined.
FAVORITE COVER/TRIBUTE BROWNOUT
Fear of a Brown Planet [Fat Beats]
The
Austin, TX latin funk soul brothers pay tribute to Public Enemy with a
collection of instrumental covers that must be heard to be believed. And
enjoyed, of course. (“Bring the Noise” is among the highlights.) You better
believe this hype.
MOST CONFUSING ALBUM
JEFF
TWEEDY Warm [dBm]
An
intimate confessional album, The Wilco leader’s official solo debut, were it
not for the mostlylo-key
production and being released under his name, could be the band’s most recent
record. Like the “solo” albums by the late Tom Petty, the point of making a
record identical to those you make with your still active band might be lost on
anyone not the titular artist, but the songs themselves are top-notch and it’s
a shame Wilco itself did not get to tackle them.
Runner
up:
ELVIS COSTELLO & THE IMPOSTERS Look
Now [Concord]
Declan,
if you were going to work on another collaboration with Burt Bacharach why pray
tell would you use the Imposters if you weren’t going to rock out? Talk about a
bait and switch…and who OKd that hideous album cover?
MOST DISAPPOINTING ALBUM
GRETA VAN FLEET Anthem of the Peaceful Army [Universal]
Anything that gets folks rocking out, especially
in these times of mainstream rock and roll’s diminishing returns, is a godsend. But pinning one’s hopes on musical
ventriloquists feels bittersweet, to say the least. Jeez.
MOST DISAPPOINTING SONG DAVE
GROHL “Play”
An almost half hour instrumental amalgam of
latter day Foo Fighters channeling Pink Floyd, Rush and Yes performed solely by
Grohl, “Play” is a decent and enjoyable composition but it’s the kind of song
you’ll watch on YouTube, marvel at the man’s prodigious talent and inevitably
forget not long after.
BEST
REISSUE JOHN COLTRANEBoth Directions at Once [Impulse]
Unreleased
studio gems from the titan of the tenor sax recorded in 1963.
Runner up (various):
THE BEATLES self-titled aka The White Album
[Apple] MILES DAVIS & JOHN COLTRANEThe Final Tour [Columbia/Legacy] ERIC DOLPHYMusical Prophet[Resonance] LIZ PHAIRGirly-Sound to Guyville [Matador]
PRINCEPiano and a Microphone: 1983 [Warner
Brothers/Rhino]
MOST DISAPPOINTING CONTINUING DEVELOPMENT Rock
music’s irrelevance in the mainstream
We’re
not ready to ask for the death certificate quite just yet but our beloved is
definitely on life support, as far as the masses are concerned. And what has
taken its place is largely abominable. (Thank God for indie rock.)
UNFORTUNATE MUSIC BUSINESS TREND
Artists woefully remunerated for streams of their recordings
The
streaming services allege they are paying out a substantial portion of their
revenue (as high as 70%, according to Spotify) but major label artists are
seeing miniscule fractions of that. Meanwhile, the labels—who are, um, “silent”
business partners with the streaming services—remain mum on the subject.
MOST APROPOS POP CULTURE REFERENCE GUIDE
Vulture publishes a ‘Who’s Who’ of C-Z list celebrities
Put together for those of you with a spouse,
children or otherwise good friends who routinely mention or, God forbid, follow
many of these famous-for-being-almost-famous, tabloid denizens, Kardashian
worshippers and wannabes, this past April the folks at Vulture put together something
they called “Welcome to the Who-niverse: A
guide to the many, many celebrities whose names make you say…"Who?",
a handy primer designed to help one tell these people apart. Good grief!
FAVORITE DEVELOPMENT TO LOOK FORWARD TO
IN 2019
The release of Dr. Dre’s Marvin Gaye biopic
Here’s hoping
the rapper/producer can succeed where others’ attempts failed (notably,Cameron
Crowe, F. Gary Gray, Lenny Kravitz and Scott Rudin) by virtue of being rebuffed by the estate
of the legendary Motown icon. Runner up: A new Guns N Roses album with Slash and Duff.
GOODBYE
Jefferson
Airplane/Starship vocalist Marty Balin; avant garde composer Glenn Branca; noted
drummer Leon “Ndugu” Chancler; the one
and only Roy Clark; Motorhead and Fastway guitarist “Fast” Eddie Clarke; Nokie Edwards,
guitarist for The Ventures; the Queen, Aretha Franklin; legendary Chilean
crooner Lucho Gatica; jazz/latin band leader, trumpeter, percussionist Jerry
Gonzalez; jazz trumpeter Roy Hargrove; former Fleetwood Mac guitarist Danny
Kirwan; noted trumpeter Hugh Masekela; blues guitarist Matt Murphy; Charles
Neville of The Neville Brothers; The Cranberries’ Dolores O’Riordan; bassist
Joe Osbourne of studio legends The Wrecking Crew; Pantera’s Vinnie Paul;
drummer for Cracker, The Plugz, Social Distortion and Izzy Stradlin, Charlie
Quintana; bluesman Otis Rush; Pete Shelley of The Buzzcocks; The Fall’s Mark E.
Smith; record store pioneer Russ Solomon; Agent Orange/Adolescents bassist Steve Soto; jazz legend Cecil Taylor; guitarist
Wah Wah Watson; the great Nancy Wilson.
