Tuesday, August 19, 2014

The Balls Bros. Band
"Come on Over"

Used record stores are like a magnet to me. There are a handful in my area that I hit on a semi-regular basis, and there are certain stores with certain sections that I always check. One of those sections is for vintage (or is it historic?) local records. It's usually full of stuff that doesn't look particularly appealing and/or stuff I already have. Every once in a while, though, something snags my eye.

Sometime in the last year, this album jabbed me in the ocular socket and made me take a closer gander. I flipped it over and saw that it was from 1977, no one was actually named Balls, and both guitarists also played synthesizers. What the heck; here's my $4. Thank you; goodbye.

Musically, these guys were pretty much straight up rock, pop, and roll. They're not flashy musicians and the compositions aren't challenging or anything, but, after a few spins, I found the songs pleasantly popping into my head on a fairly regular basis. Lyrically, the songs are mostly about love and rock and roll, i.e. Rock and Roll Freedom, A Rockin Love Song, Lovin to the Rock and Roll, etc. Today's jukebox selection doesn't have either concept in the title, but it's still about lovin', of course. It's a snazzy little power pop gem that, in my opinion, could have been a hit.

The songs on the album were all either written or co-written by the dude on the left below, Rocky Valentine. I've tried researching these guys on the 'net, but have found precious little info other than they have at least two or three more albums out there, plus some singles, all on the Gramex Records imprint, which may or may not be their own label. If anyone would like to hip me to more info, I'd be much obliged, thanks.


Thursday, April 17, 2014

How Much of a Music Snob Are You?

Another annoying survey is making the rounds, so I thought I'd take a moment to rant about it. The premise of the survey is the higher you score on these 100 questions, the more of a snob you therefore are. The problem, though, is only 17 of the listed behaviors qualify as snobbish.

So, here it is. For easy reference, I have color coded the questions. I have also added notes to some of them. :-)

  • Actual snobbish behavior, in my opinion, in which I have not engaged, to the best of my recollection
  • Not at all snobbish things I have done
  • Snobbish behavior of which I am guilty


How Much Of A Music Snob Are You?
Please take a break from alphabetizing your vinyl collection and take this quiz.

Have you ever...

  1. Felt like ranking your favorite music of the year was a necessary thing to do?
    • It's fun!
  2. Skipped over someone on a dating site because they have bad taste in music?
  3. Shamed a younger person for not knowing a musical reference that was before their time?
    • That's just plain rude!
  4. Corrected someone for getting a minor fact about an artist wrong?
  5. Been annoyed when everyone starts liking something you liked a year ago?
    • Lame!
  6. Forced someone to listen to something obscure because you wanted to educate them?
  7. Been dismissive of someone buying a greatest hits album?
  8. Had elaborate rules for the sequencing of mix tapes and CDs?
  9. Been a DJ?
    • Nine years at my college radio station.
  10. Loaded your phone with new songs before a party, just in case?
  11. Been annoyed at someone DJing from an iPod?
  12. Complained about something being overproduced?
    • It's a completely valid criticism of plenty of recordings.
  13. Made a point of telling people that you preferred an artist's earlier work?
    • Some artists just peak early. Some get better with time. Some are consistently good (or terrible).
  14. Insisted that a demo version of a song was better than the finished studio version?
    • It happens.
  15. Insisted that a song (or an artist) is much better live?
    • Some are. Geez.
  16. Insisted that a remix was better than the original version?
  17. Believed that other people are too dumb to get the music you enjoy?
    • That is just rude, not to mention condescending.
  18. Coined a genre name – ___-core, ___-wave, etc?
    • I remember calling Rites of Spring REM-core before the term emo was coined.
  19. Said there's nothing good on the radio?
    • Only at a specific moment in time, not as a generality.
  20. Had your brain shut down upon being asked what kind of music do you like?
  21. Stopped liking an artist because you're embarrassed to be associated with their fans?
    • That is just plain asinine.
  22. Avoided going to see a band in a large venue?
    • Big shows have big prices, plus, I like to get up close.
  23. Left a show because you were annoyed with the crowd?
  24. Been to SXSW?
    • My band was invited to play back in 2006. It was fun, too.
  25. Been to Coachella?
  26. Been to Glastonbury?
    • Connecticut, yes. :-D
  27. Been to a DIY punk show?
  28. Been to an illegal warehouse rave?
  29. Bragged about seeing a band before anyone else knew them?
    • I was the only person in the audience when Dirty Projectors played where I live the first time. I'd never heard of them before, though, and was there for the headliner, who ended up turning in a really dull set.
  30. Worked at an independent record store?
    • A couple, yes.
  31. Worked at an independent record store and made someone feel bad about what they were buying?
    • Rude! I would never have done that.
  32. Had a college radio show?
    • See above Been a DJ?
  33. Had a free jazz phase?
    • I still like it, thank you.
  34. Had a dub phase?
  35. Had a black metal phase?
    • I still like it, thank you.
  36. Had a krautrock phase?
    • I still like it, thank you.
  37. Told someone that you think international pop music is better than American pop music?
  38. Acquired a copy of every single thing a band has ever released? (EVERTHING.)
    • If I really like a band, sure.
  39. Purchased a bootleg?
    • Very few.
  40. Bought an album on import?
    • I started buying imports when I was in middle school. Are we not supposed to buy music if it's not manufactured and distributed in our home country?
  41. Bought an import single?
    • Are we not supposed to buy singles if they're not manufactured and distributed in our home country?
  42. Bought every version of a CD single to get all the b-sides?
    • Begrudgingly, yes.
  43. Ordered from indie mail order catalogs?
    • Of course!
  44. Traveled out of your way to go to a record store?
    • Why not?
  45. Planned an entire vacation around record shopping?
    • Friends and I used to go to New York to go record shopping on Spring Break instead of going to the beach.
  46. Bought high-end headphones?
  47. Bought high-end speakers?
  48. Bought tube-amp speakers?
  49. Actually worried about the quality of your home stereo?
  50. Been anxious about the bitrate of audio files?
  51. Have you ever been mad at someone for ripping an mp3 under 320kbps?
  52. Insisted on listening to lossless audio files like FLAC?
  53. Purchased a FLAC file?
    • If that is the only way it's available, or if the MP3 and FLAC are the same price.
  54. Been actually ANGRY about the loudness war?
  55. Spent hours making sure your entire mp3 library had consistent metadata?
  56. Organized your mp3s by BPM?
    • Why would anyone do that?
  57. Spent hours alphabetizing CDs or LPs?
    • It makes finding stuff much easier when you have a large collection. Duh!
  58. Bought a turntable and vinyl records after 1990?
    • Yes and yes, and replacement styli when mine broke.
  59. Told people that vinyl just sounds better than CDs?
  60. Cared about how many grams a vinyl pressing weighs?
    • The quality of the pressing process matters much more than the weight of the vinyl.
  61. Bought a record you know you might not actually listen to?
  62. Bid on a rare record on eBay?
    • Of course!
  63. Spent more than $20 on a record?
    • Of course!
  64. Spent more than $50 on a record?
    • Very rarely
  65. Spent more than $100 on a record?
  66. Spent more than $500 on a record?
    • I am not made of money!
  67. Purchased a cassette-only indie release?
    • If that is the only format available.
  68. Purchased a limited-edition 7-inch single?
    • Plenty!
  69. Subscribed to multiple streaming services at once?
  70. Saved a hard drive because it had music on it?
  71. Laughed at someone for not being able to identify a sample in a song?
    • Rude!
  72. Accused an artist of selling out?
    • Sometimes, that is a valid criticism. For example, Pantera ditching the glam look when Metallica hit the big time dressed in jeans and t-shirts.
  73. Bristled at a pop song snuck into an otherwise niche DJ set?
  74. Contributed to a zine?
    • Two of them! Live Squid and . . . And Suddenly
  75. Heard of Lester Bangs?
  76. Heard of Gerard Cosloy?
  77. Heard of Nardwuar?
  78. Heard of Robert Christgau?
  79. Heard of John Peel?
    • I hardly see how knowing the name of the most famous radio disc jockey in history is snobbish.
  80. Heard of Ellen Willis?
  81. Been able to name 5 music journalists off the top of your head?
  82. Been able to name more than 10 music journalists off the top of your head?
  83. Bought an issue of The Wire magazine?
  84. Owned a 33 ⅓ book?
  85. Submitted a proposal to write a 33 ⅓ book?
  86. Regularly listened to a show on WFMU?
  87. Shopped at a record fair?
    • Yes, but not much since the dawn of the internet.
  88. Bluffed your way through a conversation about an obscure artist you actually didn't know much about?
  89. Bought a Soul Jazz Records compilation?
  90. Traveled more than five hours to see a show?
    • On a few occasions.
  91. Shamed someone for buying music at a chain store?
    • Why would I do that?
  92. Bought mixtapes on the street?
  93. Shamed someone for wearing a band's t-shirt at the band's concert?
  94. Bought a T-shirt at a show and wore it the next day?
    • Many times.
  95. Planned out the music played at your wedding even if you're totally single?
  96. Had a song or artist ruined for you because you associate it with an ex?
  97. Bought tickets to see a reunion show even though you kinda knew it'd be disappointing?
  98. Remembered parts of your own life based mainly on what you were listening to at the time?
  99. Been emotionally distraught after a favorite band has broken up?
    • Back when I was a couple of teenage girls, I killed myselves when Take That split up.
      I recovered, luckily.
  100. Mourned the death of a favorite musician as though they were someone you actually knew?

Monday, September 16, 2013

Stümper
"Mein Leben"

Stümper
Rasende Stümper
cassette
(Clarita Gomez Tapes, 1989? 1990?)

Jan and Kai Damkowski were a couple of really cool brothers from West Germany with whom I was pen pals in the late '80s/early '90s. Jan put a song from one of my old bands on a compilation tape he released and Kai took some pictures of my band that we ended up using on the back cover of one of our records. Kai also sent me tapes of a few bands in which he and/or his brother Jan played. One of those bands was Stümper, a loose-knit band composed of a bunch of energetic German teenagers.

Kai sent me a couple of Stümper tapes and they are a big mess of chaotic fun. I can't find the booklet he sent that went with this tape, so I have nothing at the moment but the song titles and a note in English that he stuck in the tape box. I don't throw stuff away, generally, so I'm sure I have the booklet somewhere, but I've been searching for days to no avail. Anyhow, per Kai's note:

We rotate on instruments. We use no distortion or effects mechanisms and no fuzzbox apart from one guitar on 'Gitarrenkampf'. . . . We never played a song twice and we are not planning to do it.

The song I've chosen for today is Mein Leben, and Kai had this to say about it in his note:

Translates as 'My Life' and has everything in it. Love, Pain, GG Allin, Highway-deaths, Oliver North, Freezer, Horst Hrubesch, money, sex, HSV, Genscher, Aussiedler, and more. A song about life that offers you absolutely everything. This is the ultimate tragedy.

Tragically, one of the founding members of Stümper, Flassoff, drowned in the Elbe River in the early '90s.

I stupidly lost contact with Kai and Jan ages ago, but I did some research this weekend and discovered that Kai was later in a band called Hrubesch Youth, named for the apparently famous footballer Horst Hrubesch. They released at least a few records and a CD, so I'm hoping I can find copies. Also, Kai is a published author!

Monday, September 9, 2013

The Screaming Gypsy Bandits
"Junior"

The Screaming Gypsy Bandits
In the Eye
LP
(BRBQ Records, Inc., 1973)

The world is full of unexpected connections. For instance, one would not be likely to think a link might exist between avant garde art punks MX-80 Sound, Top 40 popsters Looking Glass, mid-'70s metallers Starz, and contemporary jazzers like John Zorn, Tim Berne, and Satoko Fujii.

I'd like to introduce you to that link. Ladies and gentlemen, The Screaming Gypsy Bandits.

Their output during their lifetime was scant: this album and the compilation LP Bloomington 1, where I first heard them, released on the same label a couple of years later. Their members went on to stardom as the years wore on, however. Guitarist Bruce Anderson went on to fame, of a sort, with MX-80 Sound and its various offshoots. Guitarist Brendan Harkin joined Looking Glass, after their mega-hit Brandy (You're a Fine Girl) but in time to play on their final single, and stayed with them as they morphed into Fallen Angels then Starz. Bassist Mark Dresser (who left before this album was recorded) has played with the above jazz luminaries and scads more.

Three of the songs from this album were added as bonus tracks to the CD reissue of vocalist Caroline Peyton's 1972 album, Mock Up, so I've chosen one of the remaining six for today's post. It was written by Mark Bingham, who penned all the tracks on the album plus all of the songs on Mock Up. Junior is the longest track on the album and allows the members to really stretch out.

The liner notes for the Mock Up CD mention a Screaming Gypsy Bandits album that was never finished, Back to Doghead. In 2009, that album hit the shelves, finally, in compact disc form. Unlike In the Eye, it's a much more out there affair, with obvious inspiration from Captain Beefheart and The Mothers of Invention. I think it's pretty fabulous.

Monday, August 26, 2013

Crap Sandwich!

Yes, I've not posted in quite a while. My apologies! Unfortunately, it appears that the little Flash player that my blog uses to stream the songs in the individual posts no longer works. I thought perhaps I'd inadvertently screwed up my template, but it still didn't work after I loaded an older, saved template as a test.

Boogers!

I guess I'll need to get on updating the posts older than the most recent one to use HTML5 audio. Don't hold your breath, though, or you'll die.

Tuesday, June 11, 2013

Death Piggy
"Mangoes and Goats"

Holy crap! A POST! Alert the press! Slaughter the fatted calf! Drink some hot benzine!

OK, maybe don't hurt the poor, baby cow. I'm a vegetarian, after all.

So, I've not been posting for a number of reasons, all excellent. One of them is I've wanted to implement HTML5 Audio, for browsers that can use it, especially those that can't use Flash, like my newest phone (an otherwise kickass Motorola Atrix HD).

I wanted the HTML5 Audio stuff to be fancy-ish, and emulate the colors and whatnot of the rest of my blog, but I've just not had the time to sit down and learn Javascript well enough to do all that gunk . . . yet. Never say never, but, please, don't suggest that we sleep together.

Anyhow, I finally decided today, To heck with it, I'm tired of putting off posting, so here's a new (old) song!

Many, many years ago, my old punk band opened for Death Piggy in our hometown of Charlottesville, VA. We ended up becoming friendly with Death Piggy, who were from the distant environs of Richmond, VA, a full hour's drive away, and played a buncha shows together over the next few years.

Death Piggy released three kick butt little 7" EP records full of dadaist, chaotic punk rock before morphing into the band today known as GWAR, whose name may ring a bell. GWAR are great fun live, but I prefer the musical output of the original band. They followed their debut EP, and source of today's song, Love War, with Death Rides the Fairway . . ., then, finally, R45.

Those three records were all fairly limited press runs and went out of print rather quickly. A CD was released in 1999, SMILE or DIE !!!, with the entire contents of the three records, but it, too, was limited, and it's long gone, as well.


NOTA BENE: Death Piggy also had an exclusive song, Fear of Murder, on the Mutopia cassette compilation released by D.S.I. Records. I almost included it instead of Mangoes and Goats, but the sound is super muddy and it's just not as good a song. Still, completists be aware! Or should that be beware?

Saturday, April 20, 2013

UPDATED: An Open Letter of Apology for My Blog and to Those Who Have Been Hurt by It

A few days ago, a music blogger by the name of Kitty Vincent posted, on a music blog, a scathing blog post detailing how music blogs are ruining music.

Kitty made some very insightful points, especially regarding how the Seattle music scene of the early 1990s was so great, because it was, a small, tight-knit community of people who went to each other’s shows, played in each other’s bands and created a sound though collaboration. [emphasis mine] She contrasts this with the charge that today's young musicians are, so busy jumping on each other’s bandwagons, [that] nobody has bothered to notice their wagon train has been driving in a circle for roughly a decade now. [Again, emphasis mine]

Yes, that's right, kids, imitation is a positive and wonderful thing when it means there will be more cookie cutter bands, if the sound they produce is one that you find pleasing to the ear. However, imitation is a horrible, horrible thing that is responsible for killing music when it involves music you dislike.

Oh, no . . . wait . . . sorry! It's music blogs that are killing music, by supporting bands that sound alike. This is, of course, nothing like the early 1990s, when fanzines and magazines all over the US and Europe were dripping in jizz and excitement at all the SubPop (and other) bands that sounded remarkably similar. See, that was different, because, um, well, it wasn't blogs! It was print media, which is inherently above reproach, I guess? Even though the kids who did zines before the dawn of the 'net are the same sort of kids who now do music blogs.

Hey, whatever, man! Here's Kitty's post:

Hey Kids, Grow a Pair: How Music Blogs Neutered Indie Rock

For my birthday this past January, a friend bought me a book called Everybody Loves Our Town: An Oral History of Grunge by Mark Yarm. It’s a collection of stories told through interviews with the folks involved in the creation of the Seattle scene all those years ago. The stories come from band members, club owners, press members, booking agents, sound guys, and kids who just hung around the clubs. Mostly anecdotal stuff, stories about rock shows and getting high in the parking lot before hand.

Having entered adolescence in the early 90’s, the music of Seattle and Olympia played a huge role in the development of my musical tastes, so the book felt like a great chance for a stroll down memory lane. But as I got further into it, with its stories of how The U-Men once got shut down for setting fire to a lake in front of their stage at the Bumbershoot Festival or the time Mark Arm, singer of Green River, finished a set swinging from a fluorescent ceiling light over a crowd of sweaty kids, I began to get more and more pissed off.

I’ll explain. Around the same time I got the book, I’d been trolling the blogs for the ubiquitous end-of-year top 10 albums, and time after time the lists I found would have made dry toast seem fucking electrifying. Here’s an example from an actual blog that I won’t name to protect the utterly boring.

  • 01: Of Monsters and Men – My Head is an Anima
  • 02: The Lumineers – The Lumineers
  • 03: John Samson – Provincial
  • 04: Mumford and Sons – Babel
  • 05: Sufjan Stevens – Silver and Gold
  • 06: The Walkmen – Heaven
  • 07: Beach House – Bloom
  • 08: Matt & Kim – Lightning
  • 09: fun. – Some Nights
  • 10: Jack White – Blunderbuss

Seriously? This is the best 2012 had to offer? Beach House? Mumford and Sons? fun.? Number 5 on the list is a Christmas album for Christ’s sake. And this is from a reputable indie blog. (And yes, I know The Lumineers are a beloved Denver band made good, so don’t write me letters about it). But honestly, when did all the skinny jeaned, fedora clad 20 somethings of the world decide to get together and completely fucking neuter music? It’s like a whole movement of eunuchs out there walking around with synths and tambourines.

I’m so exhausted by this generation of watered-down, vaguely 60’s or vaguely folk, mid-tempo, non-offensive, cutesy indie music. When I was 16 or 22 I wanted to break shit. I was pissed off at an unjust world, at the indignities of high school, at my parents, at that ever-present dude who grabbed my ass at rock shows (I’m still pissed off at that dude, by the way). I don’t get it, these kids grew up in a post 911, Patriot Act world where they will likely never make as much money as their parents or pay off their student debt and yet all they want to do is grow a beard, play the banjo, and hold hands. What the fuck?

This can be blamed, to some degree, on the rise of the music blog. I realize the irony of writing that on a music blog, but it is the reality all the same. The Internet has created a space in which every journalism-major with an ironic t-shirt and a laptop has the power to shape popular culture. It doesn’t matter that he doesn’t know who Brian Jones is or that he’s never listened to a T-Rex album all the way through. It makes no difference that he can’t identify anything in the Talking Heads’ catalogue besides Burning Down the House. You can’t see this person, you’ve never met him, and you have no idea if he has any credibility whatsoever, and yet, you’re letting him dictate your musical tastes to you. For all you know this kid spent his high school years listening to Linkin Park while trolling the web for date-rape porn. He may have been a Juggalo until he was 18 when he discovered The Postal Service through some girl he had the hots for. You don’t know.

Blogs have created a structure in which the handful of kids writing for the elite establishment like Pitchfork or Stereogum choose whatever unoriginal crap they like that week and all the little blogs fall in line. They are all so busy jumping on each other’s bandwagons, nobody has bothered to notice their wagon train has been driving in a circle for roughly a decade now.

I say fuck the blogs. Stop reading them (except for this one). Lets go back to doing what we used to do. Hanging out at record stores, going to shows, talking to actual people about what they’re listening to. And stop buying singles from bands who put more energy into their hair cuts than they put into their songwriting, for fuck’s sake. (I’m looking at you fun.)

There is a reason why bands like Nirvana took over the world in 1991 and why the new generation hasn’t been able to recreate that energy. Nirvana came out of a small, tight-knit community of people who went to each other’s shows, played in each other’s bands and created a sound though collaboration and an authentic desire to make art that mattered to them. They did this for no one but themselves, with no hope of achieving fame in a city that didn’t even exist as far as the industry was concerned.

In 1992, when Donita Sparks of L7 pulled out her tampon and threw it at the crowd at the Reading Festival, she didn’t do it to create a YouTube sensation or to make a Pitchfork top 10 list. She did it in a moment of genuine defiance and frustration at a crowd flinging mud onstage. She knew what was between her legs and she wasn’t afraid to use it. And by that, I don’t mean a bloody tampon; I mean a serious pair of balls. She had more balls than the members of Fleet Foxes can ever hope to have. And that kids, is what rock and roll is all about.

Naturally, a lot of commenters criticized the post, me included. However, plenty thought what Kitty wrote was just the best thing ever! Here some of my favorite supportive responses (some are complete, others are merely excerpts):

  • Derek Traxler

    What is sad is that what you say is true. I have been deprived of anything new without searching really fucking hard.
    [I honestly am not sure what this person is trying to say, but, hey cussing!]

  • Grunge boy

    Neutered is a good word for today’s indie rock. It is a mirror image of the people who go to the shows. Girls dress like boys, boys dress like girls. Everyone is a gender neutral looking crowd. Nothing deep and angry. Highly intellectual. Nothing from the visceral gut. No slam dancing, just lame ass 3rd grade style dancing. No real deep passionite meaning in the music, at least from what I can see.
    [Yes, indie rock is bad because people don't properly conform to gender stereotypes. Plus, why is no one slam dancing to Mumford & Sons?]

  • convolutedmind

    I really enjoyed your post. I grew up in a era of where you had to actually seek out music. Where you went to live shows to find out who you liked. Where you spent your hard earned check on a band that you never heard before only to find out they sucked. But every now and again you would find a gem and be hooked on them for the rest of your life. We would make mix tapes for our friends to introduce them to cool music. We cared about what we listened to and we were pissed off at the world and didn’t just roll over and take it.
    [Just ignore that music blogging is merely a new take on making mix tapes.]

  • 1991rtk

    I was born in the 90s, and missed most of the 90s Alternative phenomenon. When I was more conscious of music, I had Linkin Park, Three Days Grace, My Chemical Romance, Rise Against, among others. Guess what? As I looked deeper, I found that the 90s were better than that stuff, because it felt real and not formulaic or made to ‘fit in’. I don’t mind early 2000s stuff, but look at what has happened to Muse, Linkin Park, among others: THEY ADAPTED AND BECAME TRENDY. They pulled away from their own ways to become part of a system which is not as profitable as it once was, they sold out. Music out today is both good and bad. A lot of it still feels like it is being made for the sake of money or the ‘casual’ music listener. Devoid of meaning and motivation, a lot of today’s music has become music for the sake of ‘something listening to’. There’s no more conviction…and therefore the content and quality takes a major hit.
    [Um, Linkin Park hit the ground trendy. Or was I mistaken when I thought most of the opening acts when I went to OzzFest in 2000 or 2001 all sounded the same? Other similar bands on the bill that day, that I remember: Crazytown, Papa Roach, Disturbed]

  • griggsy

    The thing about these so called music blogs is that they’re run by attention seeking dweebs who not only lack a passion for music, but are not even curious. They’re usually doing it for the free crap.
    [My empty bank account and house chock full of records, tapes, and CDs belies the claim that music bloggers lack passion for music. As for free crap, I ignore offers from bands to get free music in exchange for a blog post. Or I write them snarky responses, if it's obvious they've not really looked at my blog. Claiming they like the bands I interview is always a good clue in that regard. I've not interviewed a band since 1989 or '90, and never for this blog.]

  • Jim

    This is dead on. All the whining comments need to go jump. You’re obviously all very happy with the homogenized drone that is indie rock so ignore this post and go enjoy it. I’m turning 40 this year and every new record I hear bores me to death. I’m supposed to be scared of new music by this point. The author is exactly right. Indie rock has lost its teeth b/c it’s being made for faceless morons on the internet, not for actual people situated in a specific time and place dealing with specific circumstances. Anyone who feels like they need to pipe up and disagree with this article or take a jab at the author is an isolated, complacent, wussbag.
    [I'm turning 50 this year, and I constantly hear new music that excites me.]

  • independentmusicpromotions

    Some of the hecklers in the comments are doing so out of mere defensiveness. The fact is, this is a brilliant post. Why? Because, much like the music of the early 90′s Kitty is describing, the blogger CARES. They have passion. That’s clear whether you respect the opinion or not.
    [Yeah, I'm defensive. I also CARE about music. I also have no respect for an opinion that is merely gussied up ad hominem.]

  • AD (@ADsXe)

    youre fucking awesome.

    when i was teenager in a band on the warped tour confused about life who didnt know what tomorrow would bring i wanted to play music loud and ( to quote rollins) fuck on the floor and break shit…. now im a grown up with a bit more of an idea of what makes my world go around, a mortgage and a job ive been at for 7 years and … i want to play music loud fuck on the floor and break shit.

    while i love what it’s done for communication ( and porn ) , i hate what the internet has done to music. When I had a band.. all we had to do was come to a town, play an awesome show, and if we were on our game, when we came back again.. there would be more people there next time. no mailing list, no online panhandling for facebook likes and kickstarter dollars or youtube views, just a burning desire to start some shit , enough gas money to get to the next city, and the determination, sweat, and live show to make it happen.

    you rule. i wish everyone was like you
    [Ah, yes, the good ol' days, when one could be in a band on the corporate-sponsored, heavily-promoted-via-social-media Warped Tour. Back before the internet and corporate money ruined everything. Obliviousness, thy name is ADsXe.]

Sorry for ranting at length about this. I get defensive when something I enjoy doing (when I can) to share music I love is attacked by someone with a chip on (in this case) her shoulder as somehow being responsible for the death of independent music.


UPDATE: Ms. Vincent's band Le Divorce has a Facebook page. Under their interests, they list not making a myspace page. I guess the absurdity of slamming a social media site from within another social media site escaped them.

If you'd like to hear the music of Le Divorce, head to their music page on Facebook. In my opinion, they're not terrible, but they're also rather shamelessly imitative of '90s alt-rock of the sort that used to clog the airwaves 15 to 20 years ago. If you pine for the days of Better than Ezra or Marcy Playground, you'll probably love them. If you're expecting something with the visceral punch that Ms. Vincent claims is lacking in today's indie rock, you can be the judge for yourself whether or not she has the balls to back up her convictions with her guitar, or just with her spittle-flecked keyboard.

Sunday, January 27, 2013

100 (Allegedly) Influential Albums

There's a list of 100 Influential Albums making the rounds on Facebook. While it has a lot of great records, there are also a bunch of really weird inclusions, bizarre choices for the represented artists, and ridiculous oversights. For example, there are no Black Sabbath albums and no hardcore of any sort. Plus, there's a massive single jazz album; either list a few or list none!

Here's the entire list, in the order it is presented; the ones I own are highlighted.

  1. The Pretty Things S.F. Sorrow
  2. Ride Nowhere
  3. Wire Chairs Missing
  4. The Jesus and Mary Chain Psychocandy
  5. Jimi Hendrix Axis: Bold as Love
  6. New Order Technique
  7. Harry Nilsson Nilsson Schmilsson
  8. Mazzy Star So Tonight That I Might See
  9. Captain Beefheart Trout Mask Replica
  10. Elliott Smith Roman Candle
  11. Devo Q: Are We Not Men? A: We Are Devo!
  12. Tim Buckley Goodbye and Hello
  13. Big Star Third/Sister Lovers
  14. Incredible String Band The Hangman's Beautiful Daughter
  15. Public Enemy It Takes a Nation of Millions to Hold Us Back
  16. Van Morrison Astral Weeks
  17. Yes Close to the Edge
  18. Pink Floyd The Piper at the Gates of Dawn
  19. T·Rex Electric Warrior
  20. Talking Heads Remain in Light
  21. Bloc Party Silent Alarm
  22. The Flying Burrito Brothers The Gilded Palace of Sin
  23. The Fall Perverted by Language
  24. Blur Parklife
  25. The Stooges Fun House
  26. Love Forever Changes
  27. Cocteau Twins Heaven or Las Vegas
  28. Magazine Real Life
  29. Slint Spiderland
  30. XTC Drums and Wires
  31. Donovan A Gift from a Flower to a Garden
  32. The The Soul Mining
  33. Nirvana Nevermind
  34. Dexy's Midnight Runners Searching for the Young Soul Rebels
  35. Nick Drake Five Leaves Left
  36. Sonic Youth Daydream Nation
  37. Lou Reed Transformer
  38. The Stone Roses The Stone Roses
  39. AC/DC Back in Black
  40. Joy Division Closer
  41. Bert Jansch Bert Jansch
  42. The Go-Betweens Before Hollywood
  43. The Cure Disintegration
  44. Jeff Buckley Grace
  45. Pere Ubu The Modern Dance
  46. Bob Dylan Blonde on Blonde
  47. Belle and Sebastian If You're Feeling Sinister
  48. The Beach Boys Pet Sounds
  49. The Breeders Last Splash
  50. Stevie Wonder Innervisions
  51. David Bowie Hunky Dory
  52. Ramones Ramones
  53. Oasis (What's the Story) Morning Glory
  54. King Crimson In the Court of the Crimson King
  55. Johnny Cash The Man Comes Around
  56. Neil Young After the Gold Rush
  57. Sufjan Stevens Illinoise
  58. The Strokes Is This It?
  59. My Bloody Valentine Loveless
  60. Led Zeppelin Led Zeppelin IV
  61. Massive Attack Blue Lines
  62. Slowdive Souvlaki
  63. REM Automatic for the People
  64. Mercury Rev Deserter's Songs
  65. Sex Pistols Never Mind the Bollocks
  66. Patti Smith Horses
  67. Gerry Rafferty City to City
  68. The Chameleons Script of the Bridge
  69. Brian Eno Here Come the Warm Jets
  70. Roy Harper Stormcock
  71. John Cale Paris 1919
  72. The Velvet Underground The Velvet Underground
  73. Spritualized Ladies and Gentlemen We Are Floating in Space
  74. The White Stripes Elephant
  75. Leonard Cohen Songs of Leonard Cohen
  76. Clap Your Hands Say Yeah Clap Your Hands Say Yeah
  77. Felt The Strange Idols Pattern and Other Short Stories
  78. The Clash London Calling
  79. Arcade Fire Funeral
  80. Marvin Gaye What's Going On?
  81. John Martyn Solid Air
  82. The Delgados Peloton
  83. Bon Iver For Emma, Forever Ago
  84. Super Furry Animals Radiator
  85. Cream Disraeli Gears
  86. I Am Kloot Gods and Monsters
  87. Pixies Doolittle
  88. The Wedding Present George Best
  89. Dave Brubeck Quartet Time Out
  90. The Smiths The Queen Is Dead
  91. The Beatles Revolver
  92. The Kinks Face to Face
  93. Television Marquee Moon
  94. Can Tago Mago
  95. Radiohead OK Computer
  96. The Smashing Pumpkins Mellon Collie and the Infinite Sadness
  97. The Rolling Stones Exile on Main Street
  98. Joni Mitchell Hejira
  99. Kraftwerk Computer World
  100. Primal Scream Screamadelica

NOTA BENE: The Devo album actually belongs to my husband, but I probably listen to it more than he does.

Monday, January 14, 2013

Not dead!

Please, forgive the complete lack of posts for the past two-plus months! I'll be posting again sometime soon, I hope.

Thursday, November 1, 2012

Billy ThunderKloud and the Chieftones
"Indian Nation"

March 26, 1972: I was eight years old, and my Daddy took me to my very first rock concert. The headliners were the Jackson 5, but the opening act was Billy ThunderKloud and the Chieftones. That night was actually my second time to see Billy and his krew, as they'd performed at a variety show my Mommy had taken me to see at the state fair a day or two beforehand.

The only things I really remember about either show was the band's long-ish name, the fact that they wore Native American garb (though we called it Indian back then), and they played today's song. For many years after, in fact, I associated it with them rather than The Raiders, who'd originally written and recorded it in the early '70s (video below). While researching for this post, I discovered that Billy and the boys actually were full-blooded Native Americans from the Tsimshian Nation, heralding from what is now British Columbia, Canada. Sadly, the linked Wikipedia article does not consider Billy to be one of the notable Tsimshian people.

I had no idea Billy ThunderKloud and the Chieftones had released records until nearly a quarter-century later, when I stumbled upon a copy of their album All Through the Night, also released by Superior Records, at my favorite local store. Boy, oh, boy . . . it turned out to be fairly cheesy lounge-style versions of country and easy listening favorites.

Naturally, when I found a copy of Off the Reservation, I snapped that one up, too! Tragically, however, neither had their version of Indian Nation.

I finally discovered that Indian Nation was on their album Where Do I Begin to Tell a Story. I bought a copy off eBay recently and was crushed when it turned out to be in horrible condition. I mean, practically unlistenable. I ripped the song, though, and cleaned it up as best I could for your enjoyment. It still sounds pretty rough, though.

As always, liner notes from the '70s and earlier are often a treat. Check out these from the back cover. The writer seems astonished to have discovered that, whoa!, Native Americans are just like real people!

I had never had a close relationship with any full-fledged Indians until Billy Thundercloud and the Chieftones. I have, however, kept myself aware of the Indian's plight through the years. I must admit I expected that they would have deep hostilities in their music. As one of the musicians on the session I had to get my head together to portray this expected feeling. To my surprise it didn't happen that way.

At the recording session, these beautiful people put out nothing but good vibrations. Their music reflects their strong heritage, simply with its feeling, but the amazing thing is they use modern, popular material to reflect their attitudes. When you listen to Theme from Love Story, think about Billy Thundercloud not only speaking about a love for a woman, but his love for mankind. Where do I begin to tell the story, . . . this is actually what he thinks. Their lives have been twisted and confused since childhood because of their race, yet they have managed to overcome hate and hostility. They can still love.

This album is filled with that deep feeling of goodness, warmth, and compassion for their people and all people. Listen and feel the vibrations. Feel it like we felt it at the recording session. It is there.

My thanks to the Chieftones for allowing me to be a part of their music and their spirit.

MARK ELLERBEE

NOTA BENE: Where Do I Begin to Tell a Story was later reissued with a different, and much uglier, cover. It's the same photographs, but rearranged and with a huge, overly bright, cyan border added plus different, super-cheesy type fonts.

Addendum: I have never owned a Jackson 5 or Michael Jackson record in my life.


Sunday, October 28, 2012

Marlene Dietrich
"The Boys in the Back Room"

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Marlene Dietrich
Destry Rides Again
feature film
(Universal Pictures, 1939)

Marlene Dietrich is one of the sexiest human beings ever to walk the planet. She was also bisexual, and created quite a stir when she had the nerve to appear in men's clothing in the early 1930's.

After a successful movie career starring in several films directed by Josef von Sternberg in the early 1930s, Dietrich was declared box office poison, after appearing in some unsuccessful ones. Luckily, director Joe Pasternak talked her into appearing in the western he was getting ready to shoot, Destry Rides Again. She played the barmaid & chanteuse Frenchy, opposite a young, and already very charismatic, Jimmy Stewart as Tom Destry, Jr.

Destry Rides Again ended up being a smash hit, and Dietrich's career was back on track. It also, perhaps not coincidentally, is my favorite western. In addition to those distinctions, it features one of my two favorite movie fight scenes* of all time. According to legend, the fight was not choreographed. Dietrich and co-pugilist Una Merkel agreed to no closed fists, but that was it for rules. Luckily for them, they got the scene in one take!

There are scads of recordings of today's song (written by the wonderful Friedrich Hollaender) out there, but the one from the film itself is my favorite. None of the Dietrich CDs I own has that particular version, so this one was ripped from a YouTube clip of the performance from the film. The Buy MP3 button above will take you to the movie version of the song on Amazon MP3, from the collection Music and Songs from Classic Westerns. I checked all the iTunes clips, and could not find it, so no link from there. My apologies.


*My other favorite is the awesome fight scene between Rowdy Roddy Piper and Keith David in They Live.

Saturday, October 27, 2012

Mahjongg
"Hot Lava"

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Mahjongg opened for Pretty Girls Make Graves and the Constantines here several years ago. Despite only catching their final two songs, I was impressed enough to pick up their debut EP, Machinegong, that night. I saw 'em again (a full set, too) when their first album, RaYDONcoNG 2005, came out and they were even better. This track is from the album, and was one of the two that I really dug at that first show.

Since then, they've released a couple more excellent albums, Kontpab and The Long Shadow of the Paper Tiger, but their MySpace hasn't been updated in two years, so I'm not sure what their status is.

They switched it up on instruments, so I'm not sure which members are which, but the guy who played bass on this song (I think) was wearing a t-shirt with two, intersecting, pink triangles the first time I saw them. When I bought Machinegong at their merch table that night, I asked him if he was gay, based on the shirt, and he said he was.

Friday, October 26, 2012

The Plot to Blow Up the Eiffel Tower
"For Marcus"

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The Plot to Blow Up the Eiffel Tower opened for a popular underground band at a show here a number of years ago. I went on the advice of a friend, and because I'd been hearing for years about how great the headlining band were. I thought they were OK, but that's the nicest thing I can say. On the other hand, TPtBUtET, whom I'd never even heard of before, kicked my ass quite nicely. Sadly, a few years later they called it a day. I saw them here again on their farewell tour and got kissed (on the cheek! I am a common-law-married man!) by their handsome singer. Were I single, I'd've swooned.

The titular focus of today's jukebox track was a real boy: Marcus Wayman. From the CD booklet:

Marcus Wayman, 18, was in a parked car with a 17-year-old male when police questioned the two, found condoms while searching the car, and arrested them for under-age drinking. At the police station, officers lectured the two teens on about the Bible's condemnation of homosexuality and threatened to tell Wayman's grandfather that he was gay. After Wayman, a highschool football player, was released from custody, he committed suicide in his home.

Was Marcus gay? Does it even matter? The simple presumption of homosexuality is enough for bullies to attack other kids, whether or not said victims are LGBT. Clearly, the police were bullies in this case. Marcus's family pressed civil charges against the officers and the town. Despicably, the attorney for the police tried to argue that sexual orientation is not a private matter!

The family setup a website in 2002 during the trial. I'll let them take over from here, from the What's New page:

Marcus' Story

Minersville, PA, USA: Marcus Wayman and another friend were in an abandoned parking lot where they were turning around their vehicle, coming from a high school party. The teens were immediately followed into the lot by local police. Officers at once stopped and separated the teens.

After frisking the teens, police found that one of them were carrying condoms. Officer Scott Willinsky within minutes concluded the boys were obviously queers (police quote) and stopping to engage in sex. After questioning the teens about the condoms, Willinksy had his mind made up, regardless of their answers.

The small town police threatened to tell the teens' families, friends and community that they were homosexuals and quoted biblical passages while placing them under arrest for underage drinking.

Marcus, a high school football player, distraught and despaired, scared that he would be labeled and outed as gay by the police to the small community, his family and friends … six hours later … committed suicide.

He was 18 years old.

In a time of rampant HIV, STD infections and teenage pregnancy, we teach and preach to our youth to practice safe sex. Yet in Minersville, carrying condoms is translated from responsible teenage behavior to being queer faggots (police quote).

In 1998, Madonna Sterling, Marcus' mother, filed civil charges against Minersville police officers and the town; specifically, Police Chief Joseph Willinsky and son Scott Willinsky (who is still an officer in Minersville), claiming that the officers clearly violated Marcus' privacy rights.

Due to the vague nature of sexual orientation being covered under privacy laws, the attorney for the police argued that sexual orientation was not considered private and therefore, not protected under the Constitutional Amendments. As a result, the defense moved for a dismissal from all charges against the very same police who are sworn to protect and serve all citizens.

During pretrial arguments in November 2000, the 3rd U S Circuit Court of Appeals in Philadelphia ruled that a person's constitutional right to privacy not only includes one's sexual orientation but stated it is difficult to imagine a more private matter than ones sexuality and a less likely probability that the government would have a legitimate interest in its disclosure. Further, by threatening to disclose ones homosexuality would be tantamount to doing so, because the security of ones privacy has been compromised by the threat.

The defense for the police further justified the actions of the police by saying that in small towns like Minersville, the police are obligated to take on parental roles as well act as spiritual advisors to members of their community .Chief Willinsky offers that, as a small town police officer, his role has parental overtones, thus, reducing the citizens' expectation of privacy. We mention this only to note our disagreement with the concept that the breadth of ones constitutional rights can somehow be diminished by demographics, US Circuit Judge Carlos Los Mansmann wrote in the ground-breaking, landmark opinion.

This high court ruling allowed the case to move forward and the civil trial was held in Allentown, Pennsylvania on November two-thousand and one. After three days of testimony, a jury acquitted the police from any wrongdoing.

And no one is held accountable???

On June 17th, 2002, the honorable and respectable, Judge Arnold C. Rapoport granted a new trial for this case, tossing out the previous acquittal. Judge Rapoport saying that the evidence presented at trial was clearly not heard or understood by the jury, calling the verdict a miscarriage of justice.

The defense immediately appealed for a reconsideration of Rapaport's decision to overturn the verdict and further plead to allow the Appellate Court hear whether it was within Judge Rapaport's authority to toss the verdict.

In a terse statement issued on October 18, 2002, Judge Rapaport issued a decision that boldly and flatly denied the defense's plea on both counts … clearing the way for the police to face new charges of misconduct, again, in front of a new jury for the invasion of privacy that prompted Marcus' suicide.

Let us not forget that Marcus' death and this case has afforded all gay, lesbian and bisexual people the right to privacy under the 14th Amendent to our Constitution. Never before has this been argued in a High Court. However, as such a political and controversial issue, this story has yet to be truly exposed. Under our Constitutional right to privacy, this case hangs in balance of what the government deems private and not. A truly unprecedented case that has wide spread implications on all American rights.

Furthermore, how many more youth must perish, thinking that suicide is preferable that being labeled as gay?

Please also note that it is not our intention, in any way, to claim that all police are bad officers. Those who have a sworn oath and duty to protect and serve, we truly thank and honor. However, in this case, we are speaking of cops who obviously forgot about that very same sworn oath.

Thursday, October 25, 2012

Myles of Destruction
"Moth Curiosity"

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Years ago, there was a Yahoo! group called QueerMetal. I think. Hey, it's been a while, OK? I vaguely remember Myles Donovan posting there and talking a bit about his band, but it wasn't until a couple of years ago that I finally heard them, when I stumbled across a used copy of their split 7" EP with noisesters Abiku. Both sides of the record were pretty neat, so I sought out more by each.

Aquarius Records in San Francisco turned out to have a few Myles of Destruction CDRs listed on their site, so I ordered what they had. It happened that they were actually sold out of everything, but they contacted Myles and he found copies of today's jukebox parent and an earlier EP, Doom Town. All four songs on the latter were redone for Running Only Makes the Fire Worse., and, while they were already good, they were definitely improved.

It's not an easy task, sometimes, trying to genre-fy an artist, and guitarless trio Myles of Destruction are one of the tougher ones! The fuzz bass and drumming are rather aggressive, while the violin work brings to (my) mind, East European folk music. So, I've coined a new term: gyspy grind. Interestingly, the vocals remind me very strongly of the band Asa Nisi Masa, whom I featured here earlier this year, and who shared the same instrumental modus operandi: vocals, violin, bass, drums.

Tuesday, October 23, 2012

Mi Ami
"Ark of the Covenant"

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Ark of the Covenant - Ark of the Covenant - Single

Mi Ami
Ark of the Covenant
12" single
(Lovers Rock, 2008)

Mi Ami are another group I've featured previously on the jukebox, with the title track from their debut 12" EP, African Rhythms. I'd apologize, but . . . no, to heck with it . . . I shan't!

Today's tune is the A side of their second 12" record, Ark of the Covenant (the b-side is a trippy, dubby version). While it might be ever so slightly less frantic than African Rhythms, it's certainly not by much. They're in the spotlight this month as at least one, and possibly all, of them is/are openly gay. They're also just plain fierce.

Since this record was released, there have been some changes. Bassist Jacob Long left the group after the release of two full-length albums and three more 12" records, thereby slimming Mi Ami down to the duo of Damon Palermo and Daniel Martin-McCormick. They still kick up a great, dancey fuss, however, on their two releases since the slimmin': the limited-edition 12" EP Dolphins and their 2012 full-length Decade.

Sunday, October 21, 2012

Wayne County & The Electric Chairs
"Cry of Angels"

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Cry of Angels - Storm the Gates of Heaven

I have to admit knowing not a lot about Wayne County, other than he was an early fixture on the New York proto-punk/punk scene. All I'd heard until recently was a few fairly raunchy but musically bland songs on compilations. I knew he was originally from Georgia, where I now reside, and that he'd moved to New York at some point, obviously.

A few months ago, though, I came across a used copy of this LP from 1978 that I'd never seen before, and decided to give it a chance. It turned out to be a pretty darn good punk album, and today's song is my favorite from it.

When Storm the Gates of Heaven was recorded, Wayne performed in outrageous drag. At some point, though, Wayne transitioned and became Jayne County, the first (only?) trans woman punk rock star. She still performs and records to this day. In fact, a review of a recent show here in Atlanta was what prompted me to give this album a shot. Well, that and seeing interview clips over the years with Jayne that were usually pretty hilarious.

Thursday, October 18, 2012

Hans Werner Henze
„La Miracle de la Rose“
Imaginäres Theater II: Musik für einen Klarinettisten und 13 Spieler

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Hans Werner Henze has been featured on the jukebox before, but it's LGBT History Month, he's one of my favorite composers, and he's openly gay. This time 'round I'm gonna let the liner notes for this piece do the talking for me. I will say, though, that in addition to Henze, Jean Genet, the author of the book Miracle de la Rose, which Henze has here transformed into music, was also openly gay. Henze himself conducted this recording, which features Ensemble Modern joined by Hans Deinzer on clarinet.

Language becomes music – music becomes language

Hans Werner Henze has written two pieces with the subtitle ”Imaginary theatre“: ”El Rey de Harlem“ in 1979, after a text by Federico Garcia Lorca, and two years later ”Le Miracle de la Rose“, a musical evocation of the autobiography of the same name written by the French poet and playwright Jean Genet in prison in 1943. Both works take outsiders in society as their subject, characters who are both victims and wrongdoers at one and the same time. While the Lorca piece uses a voice to convey the content of the text, the piece entitled ”Imaginary theatre II“ (”Miracle“) goes one step further: the poetic content is transposed entirely into instrumental terms, with the solo clarinet being identified with the principal character, the sixteen-year-old twofold murderer Harcomone, who awaits execution. ”It is hardly surprising that the most wretched human life is described with especially beautiful words“ – this hypothesis of Genet's is adopted by Henze too, as he immerses himself in a private world precariously ruled by violence and the addiction to beauty. Henze is not interested in making philanthropic gestures of sympathy from the outside, nor in artistic indulgence in a macabre, surrealistic and almost exotic scenery of homosexuality and crime; what he aims to achieve is the deeper sympathy that goes hand-in-hand with the utmost humiliation and perversion. Beauty in a damaged life is a transcendental moment, a glimmer of hope and utopia – a sign of salvation from the hopelessly functionalistic world of normal people and conformists. It was in this sense that Jean-Paul Sartre regarded Genet – both the poet and the man – as a „saint“.

Henze's composition is divided into seven movements. It blends the model of the Baroque suite with the character of a virtuoso clarinet concerto. Many of the other thirteen instruments represent figures from the Genet book – the judge expresses himself through the trumpet, the priest is represented by the horn, the trombone stands for the lawyer, the poet himself is identified by the bass clarinet, while the heckelphone stands for the executioner. The introductory ”Entrée“ evokes a menacing mood which is dispelled time after time by the energy of Harcomone's daydreams (especially in the flights of fancy in the ”Air“). At the end of the Mediterranean hues of the ”Chansons provençales“, the screeching of the E flat clarinet depicts Harcomone's execution in dramatic colours. Like any programme music of true quality, ”Le Miracle de la Rose“ can also be listened to as absolute music. But the listener who also bears the close associations with Genet's book in mind will of course learn a great deal more about the composer Hans Werner Henze.

Pictures or language have often served as the inspiration for the compositions of Hans Werner Henze. Musical settings of texts account for a significant part of his work, but no less important are those works whose connection with the verse does not actually feature the sung presentation of the text. In these compositions, Henze is not content to merely reproduce the substance of a text atmospherically in terms of musical notes, nor does he simply illustrate it in 'programme music' fashion. Henze prefers to create structural musical convergences and equivalents. He follows the course of the words mimetically in note form, reconstructing the rhythm of the verse set and its structural subdivisions in the forms of his music. Henze, who takes a great interest in semiotics and wishes his music to possess symbolic value and precise linguistic character, refers deliberately to ”research“, when he is making a detailed study of poetry that he plans to transform into music. He first made this manner of working his own in 1953, when he composed his ”Ode to the West Wind“, the instrumental 'imagination' of a poem by Shelley, set for cello and orchestra. As a man of the theatre, he is also concerned to give his literary (or pictorial) subject something along the lines of a dramatic form by making a musical 'stage production' of it. In this way, apparently concertate works take on a dramatic aspect, too.

Hans-Klaus Jungheinrich
(translation: Clive Williams)

NOTA BENE: I know the punctuation and quotation marks above look odd. I have recreated it exactly as it appears in the booklet.

:-P

Wednesday, October 17, 2012

The Zulus
"Back"

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Human Sexual Response were fronted by openly gay lead vocalist & lyricist Larry Bangor, but I already featured them a couple of years ago.

After HSR split, Bangor, along with guitarist Rich Gilbert and drummer Malcolm Travis, went on to start The Zulus. I've not heard their first 12" EP, but I have their (lone?) album, Down on the Floor, and it rocks. Their sound was more hard rock than the new wave/post punk of Human Sexual Response, but bein' a rocker, I'm not complaining. I suppose one could call them proto-grunge, as the rise of grunge (I hate that genre name) came around 1990. They're still perhaps a bit too arty to be grunge, though.

Oh, whatever!

The future-openly-gay Bob Mould, past-openly-of Hüsker Dü, produced Down on the Floor, and Malcolm Travis went on to pound the skins in Mould's next ensemble de rock, Sugar.

I was just doing some research for this post, and discovered that Human Sexual Response are playing a reunion show at The House of Blues in their home of Boston on November 10! Man, I wish I could go. If you're in the area, or feel like travelling, tickets can be purchased on-line here.


Appropo of nothing, here's a picture of my foot at a Hüsker Dü show in 1983.