"Take Control" is the first song on Heart Beatings, my first album with Midnight Crisis, which is my first album as a lead singer & songwriter, (along with LASE, of course)....and furthermore, it's the first complete-incomplete song idea I've every put together on my own (which LASE added to later).
So, there are a lot of firsts, there.
Oddly enough, that song came spontaneously, out of cluttered air, about four years ago. It was one of those rare nights (at the time) when I stayed in & chilled after at least a week of going out every night. I was sitting with my acoustic bass guitar, which I'd had for the better part of ten years, but had done nothing short of jack shit with...and I thought: let's try something this rhythmic riff idea that I got from the Sisters of Mercy's song "Ribbons" - really simple, but quite deliberate, and easy to put a melody and an attitude over. So I fucked around with it, rolled it, poled it, and marked it with an E...but then I had to go to the other part of this idea...which was to take the main riff to Janes Addiction's "Ain't No Right", and put THAT through the same battering process to change it JUST enough to sound like it might resemble something of its own. (I also wanted all of this this contextualized by some sort of Guns n' Roses "Rocket Queen" or Motley Crue "Too Young To Fall In Love" sort of feel and swagger, if you will). Then, somehow, I came up with the bridge part, too, just via trial and error.
It's not as if I was or am ANY kind of bass player, or guitar player, but I am able to teach myself how to play what I have on my head and show it to someone else...who can then take the main idea and add the punctuation - dot the Ts and cross the Is - make this bold, and italicize this, and add lots of colors & shades & cool shit to it, and make it a fucking SONG, ya know?
I digress...
Another really funny thing I did when I did the original demo of the song (which, like all of my song ideas, I made using GarageBand on my phone, and doing a LOT of swearing in the process) was....I banged out a sort of "machine-shop" percussion track on this metal stool of mine, kind-of like I'd imagine Cop Shoot Cop probably did once upon a time, and it gave it this really cool, unique special percussion effect. It's for the reason that I banged out a similar pattern on an iron skillet when we recorded the song for real, at LASE's house, and if you listen really closely, you can start hearing it, I think, after the chorus kicks in.
Lyrics? Hell, I don't know. I came up with the entire thing on the fly, lyric-wise, and kept 95% of it the way I wrote it that night. It was just something that took shape, in that spontaneous, stream-of-consciousness kind of way that songs (sometimes the best ones) often do. I after I'd gotten the musical skeleton down, I just listened to it, and, without thinking about it, started with, "Sometimes I think about you when I'm lost into the night...." (a little PJ Harvey and a little Only Ones - right in the first line, huh?). I mean, ANYONE from your girlfriend to your grandma wants to hear that, you know what I mean? But you have to say these things within the rhythmic context of the song, and hopefully wrap enough of a melody around it to make it palatable for anyone besides yourself, HAHAHAHAHA!!! It can be a bitch....but when it works, it works.
My favorite lyric? The last line in verse 1: "...every tear you cry paints a picture of my heartbreak."
The chorus? "Take control"...of what, exactly? Hell....I think I was just really singing about what the fuck I was doing, now that I think about it. I'd had a lot of song ideas in my head for years, some being better than others, and was frustrated that none of them were coming into fruition. So, without giving it a lot of thought, I finally grabbed myself by the breaches and got to work....and now, we finally have an album of it.
I digress....
Anyway, the lyrics took about 5 minutes to write, and I finished the demo around 6am or so, or in my world, bed time!
It's the coolest thing in the world for me to have made this a real, recorded song, with LASE's killer guitar madness, not to mention his top-fucking-notch production/engineering work, + Mike's brutal warrior drums whipping it mercilessly into shape.
Anyway, download a copy....or at LEAST stream it.
And thank you for listening.
Next song, next week.
Marty E.
"Nothin' matters but tonight and you and me..."
Stream/download "Take Control" on BandCamp
Download "Take Control" on CD Baby (or buy Heart Beatings CD)
Download "Take Control" on Apple iTunes
Download "Take Control" on Amazon
"Take Control" on Spotify
Showing posts with label guns n roses. Show all posts
Showing posts with label guns n roses. Show all posts
Sunday, October 22, 2017
Monday, July 25, 2011
The air I breathe and the wine in my glass, or 5 albums I couldn't imagine my life without (Part 1)
There are things that you see every day that could effect who you are, perhaps forever. A smile from a stranger, a new pair of boots, a new place to eat pasta....and a song! Everything in life, really, is interconnected, if you think about it, and that's what it's all about.
As usual, I'm obsessed with music, so....I'm starting an ongoing series on my blog about music that shaped who I am to the point where it goes without saying (but, if I didn't say it, nobody would know). I think that five at a time is enough to be substantive, but not so much as to bore people. Life's too short, from what I understand, so.....
1. Mother Love Bone (self-titled set, includes their Shine EP and only full-length album, Apple)
I discovered this band when I was still a pretty little kid, with designs on playing music, but still at the beginning of my formative stages, and very, VERY impressionable. I happened to find their Shine EP in the local music store, after school on a Friday night. I took a look at it, and there was definitely something different about it; the name, the image, the song titles ("Half Ass Monkey Boy", "Mindshaker Meltdown", "Chloe Dancer", etc.)....and, I only had 7 bucks anyway, so it was the only album I could afford at the time, so I picked it up. I've been hooked ever since.
What I liked about them from the get-go was the fact that they ROCKED, vaguely in the same way that Guns N' Roses did, with a tight, simple rhythm section, dynamic guitars (if not nearly as much so as Slash and Izzy's guitars), and a frontman with a HUGE, very unique personality. What was it that made Andrew Wood so unique? He had an explosive concoction of the cocksure egotist, the hilarious Rock N' Roll stand-up comedian, and the sensitive, nothing-too-sacred, bleeding-out balladeer. Who could ask for more? This is the guy who, on that first EP, sang, "I'm a Hollywood dreamboy, a pin-up in their eyes, I represent, Mama, All you despise" on one song, and, "This is my kinda' love, It's the kind that moves on, It's the kind that leaves me alone," on another. The dichotomy wasn't lost on me at all, and....despite the fact that I couldn't directly relate with his lyrics (being a little peckerhead at the time), I knew myself well enough to know that one day I certainly would. Another thing I've always loved about Wood was, simply, the charisma with which he would sing the simplest word, like, "Baby" (or "BAY-BAAAAY!!!!!") and sing it loaded with sex and longing and desperation and power and confidence. Yeah, for my ears, he was spot-on.
After I bought the Shine EP I waited for the much-anticipated debut, full-length album, Apple, to come out....and I waited, and waited, and waited....almost a year. This was before you could get your Rock N' Roll news at the click of a mouse. All I had was MTV and the Rock N' Roll ragazines, as I called them, which weren't forthcoming with any news, and I was getting really pissed off. Then, toward the end of that Summer, there was a review of Apple in Rip Magazine, saying that Andrew Wood had died that past March of a heroin overdose....the night before they were supposed to do a co-interview for the magazine with Kiss, or some kind of shit. The review also said that the album was fucking brilliant, essentially. My little heart was crushed that my Rock N' Roll hero was gone, but never more-so than when I finally picked up the album, and blasted it on my Mom's stereo in the living room without asking.
The album as a whole, probably didn't quite measure up to Gn'R's Appetite for Destruction (which is the "gold standard", probably, to this day) in terms of consistency (some of the harder-edged material could have been better), but....the gems on Apple (including all of the ballads, no less than FIVE) were nothing short of magical, and shimmered like candles in some underground cave. The songs, for the most part, were fucking real, and made me feel what I thought Wood must have felt like singing them. Whether he was singing of the love of the stage ("This is Shangrila" and "Stardog Champion") or the love of his girl ("Stargazer" & "Bone China"), I believed every word of what he sang, and the music only accentuated that.
I spent a lot of time singing along, and yes, drumming along, and this album has had a huge effect on me. If you give it a listen, perhaps it will effect you similarly. I will say this: despite the enormous success Stone Gossard and Jeff Ament had with Pearl Jam after Love Bone's demise....for my ears, this music stands the test of time in a much more poignant way.
2. Hanoi Rocks-Two Steps From the Move
Again, growing up, after listening to lots of Prince, Ozzy, Motley Crue, Ratt, Iron Maiden, etc, Guns N' Roses really rocked my little world. And it was Guns N' Roses who made me interested in a Finnish Glam Rock (not to be confused with "Hair Metal) band called Hanoi Rocks, who had broken up a couple of years before (we all know the story....if not, look it up).
Guns actually released all 5 of the Hanoi albums that hadn't been officially been released in the US, on their own Uzi Suicide label, via Geffen. So, of course, I went to check out all these albums. Unfortunately, I could afford only one, and the one that they HAD released over here was the one that caught my eye for some reason, so I grabbed that one, which happened to be Two Steps From the Move.
There are some great sleazy, Rock N' Roll songs on this album. "Underwater World" is a dark, down and dirty song that seems to be about the New York City subways....the New York Dolls or Alice Cooper would have been proud to have made such a song. "High School" is a glam-punk rave-up, with VERY, very well worked out, dueling guitar parts, despite its rather hokey lyrics, much like "Futurama" (although I think the lyrics are far better on that one). "Don't You Ever Leave Me" is a pure glam ballad, and actually, an updated version of a song from the band's first album, complete with vocal harmonies in the chorus that still remind me of the fucking Beach Boys! "I Can't Get It" is a frustrated, whoa-is-me song, that any of us can relate to sometimes ("I sit and count them, shot-by-shot-the little things that I never got!"). And of course, the singles, "Boulevard of Broken Dreams" and their cover of CCR's "Up Around the Bend" make me smile like that cat that at the canary at any party, and they often do! A lot of these songs were co-written by Ian Hunter of Mott the Hoople, presumably to give them an Arena-Rock facelift for America, and I think it worked!
Even at the time, I could understand why Gn'R had spoken so highly of Hanoi, and why they did them the service of getting their older albums. Listening via headphones, I could hear a similar Stones-on-steroids, two-guitar interplay between Andy McCoy and Nasty Suicide that Slash and Izzy had, with each guitar panned to a speaker, which I still love. Also, it wasn't lost on my that the term, "Welcome to the Jungle", is in the chorus of "Underwater World" (and I later heard the term "Rocket Queen" in the 3rd verse of the Hanoi song "Don't Follow Me", from their Oriental Beat album)....which has to be more than a mere coincidence. Their look, too, at least in the early days, certainly was reminiscent of Hanoi, w/ Axl Rose and Izzy Stadlin' in particular. But, of course, everybody lifts ideas from somewhere, whether consciously or not....at least Gn'R returned the favor, so to speak.
In any case, I sort-of consider this album to be at least somewhat of a prototype of what was to come via Gn'R's debut album, but these are two different bands, though and through. This album has more of a naivete and a sense of humor, to contrast with the all-out dark intensity that Gn'R gave us a few years later. It fits right in, though, on the same shelf as Aerosmith, Alice Cooper, the New York Dolls, and Guns N' Roses. If you're a fan of any of that music and haven't heard this, you'd be doing yourself a service by picking this up, as well as the rest of their catalog.
Sisters of Mercy-Vision Thing
This album, from the 3rd (or 4th, depending upon your perspective) incarnation of English "Goth Gods" the Sisters of Mercy, came out right on the advent of "Industrial Music", when bands like Ministry and Nine Inch Nails were seriously gaining world notoriety. And it fit right into the middle of that. The guitar riffs were very multi-layered, but extremely simple, and the music was as dark as you'd expect from the Sisters, but not as melodically sophisticated as anything they did before. The music is at the Sisters' most basic and primal, yet most intensely danceable (due in no small part to their ever-present drum machine-Doktor Avalanche) and, for lack of a better term, COOL!
That being said, this was by-far Andrew Eldritch's most ambitious, focused, and intelligently-written album, lyrically. The themes touching on greed/corruption (the title track, "More", and "Dr. Jeep") to the inevitably sadomasochistic and who's-screwing-whom nature of relationships ("Ribbons", "I Was Wrong" & "When You Don't See Me") to life's admitted uncertainties ("Something Fast") to putting the pedal to the floor in an El Dorado ("Detonation Blvd"). And, through it all, Eldritch sounds as arrogant as ever (which I like), but also, confident, and as if he might actually be having FUN (which I like even better). Eldritch is singing, whispering, and screaming on the entire album like Leonard Cohen on Amphetamines and appears to be enjoying every minute of it.
When I was a little kid, I got WAY into this album, because, while it fit in with what was becoming popular at the time (and I was listening to all of that before anyone else was anyway), THIS stuff was, perhaps, a little bit too far out-there for most of America to really understand, so....that probably got me into it THAT much more....and you might still catch me on the subway train singing along with my Ipod, "It's a small world and it smells funny, I'd buy another if it wasn't for the money, take back what I paid, FOR ANOTHER MOTHERFUCKER IN A MOTORCADE!!!"
4. The Jesus Lizard-Liar
The Jesus Lizard was probably my favorite band in the 90's. The music itself is difficult to describe; it isn't metal, but it's very intense and fucking heavy (but not particularly distorted). It's not Punk, but it's very-much against-the-grain. It's not Rock, but it's very primal, and, for my money, VERY Rock N' Roll.
There aren't a lot of vocal melodies, because the vocals aren't sung (by fellow Budweiser enthusiast David Yow) as much as they're...um....expressed....exclaimed....via screams, moans, grunts, and chants, I guess. That isn't to say they aren't (eventually) catchy, and actually, quite intelligent and informed....even though, most of the time, I never knew (or cared. particularly) what the fuck they were about. The guitar playing, courtesy of Duane Denison, is a mixture of Surf Rock, Spaghetti Western, and early Punk Rock, but delivered very cleanly, and with a precision that....well, wouldn't make a lot of sense to you the way I'm describing it (or does it?). The rhythm section is among my favorite of all time, via David Wm. Sims (bass) and Mac McNeilly (drums & one of my favorites, see one of my previous blogs), delivering and extremely intense, pile-driving foundation, that I can only compare to the sound of dropping concrete blocks on your head while building a house over it. And Steve Albini's production of this album ties it altogether and makes perfect sense out of it, for my ears anyway.
I guess it made sense to other people too. Nirvana (who did a split 7" single with them when this came out) used Steve Albini to produce their In Utero album, as Bush later did with their Razorblade Suitcase album. Both of them had very similar sounds to this very Jesus Lizard album, but obviously, the music was way different. But in many ways, these guys exemplified what was so cool about the 90's, and that was, that you could play music like this and still get a major record deal (which they did a few years later, starting with their Shot album). How fucking cool is that?
5. Afghan Whigs-Gentleman
This album could have been called "Relationship Hell"....but, never did perpetual heartbreak & emotional blackmail sound so goddamn good.
"What should I tell her? She's going to ask...." The opening lyrics of this album say it all, really. There's inner and outer conflict, deception vs. truth, betrayal vs. loyalty, and above all, uncertainty....what a hell of an introduction!
The entire album rolls that way, as a sort of concept album based on the anatomy of a bad break-up, with a whole lot of arrogance and self-loathing thrown in, smothered with drugs and alcohol, as well as a whole lot of sex (let's hope that the sex is good, but I think that's implied).
The title track states it all explicitly....consider for yourself, the second verse: "We dragged it out so long, this time, Started to make each other sick, But now I've got time for you....and me too!" How about the third verse?: "Let me in, I'm cold, all messed up but nowhere to go....Unlock the cabinet, I'll take whatever you got!" It's misery that's pathetic but not so much as to think it's the end of the world, and....give me a drink! I understand that!
"Be Sweet" has one of the most titillating lyrics I've ever heard: "I got a dick for a brain, And my brain is gonna sell my ass to you, Now I'm ok, but in time I find I'm stuck, 'Cause she wants love, And I still want to fuck..." Yup, it's anguished and it's terrible, and profoundly full of itself, all wrapped in a killer rhythmic cadence, dripping from a tearful guitar line (and Rick McCollum's guitar lead after the first verse is fucking irresistible).
The album is chock-full of gems along the same lines, from the first single, "Debonair" ("I'm not the man my actions would suggest....tonight I go to Hell for what I've done to you") to "What Jail is Like" ("If what you're shoveling is company, Then I'd rather be alone, Resentment always goes much further than it was supposed to go") to "My Curse"-sung by Marcy Mays from Scrawl ("Hurt me, Baby, I flinch so when you do, your kisses scourge me..."). This is all saturated with swirling, anguished guitars, and punctuated with impeccably slamming rhythms (drummer Steven Earle plays incredibly on the album, and I was disappointed when he left after the tour for this album).
Hell, if Ronnie Van Zandt christened himself a "Simple Man", Greg Dulli could have written an answer called, "Complicated Man", but instead, he gave us this entire album, which, since its release, I've basically lived, front-to-back, at least three times!
As usual, I'm obsessed with music, so....I'm starting an ongoing series on my blog about music that shaped who I am to the point where it goes without saying (but, if I didn't say it, nobody would know). I think that five at a time is enough to be substantive, but not so much as to bore people. Life's too short, from what I understand, so.....
1. Mother Love Bone (self-titled set, includes their Shine EP and only full-length album, Apple)
I discovered this band when I was still a pretty little kid, with designs on playing music, but still at the beginning of my formative stages, and very, VERY impressionable. I happened to find their Shine EP in the local music store, after school on a Friday night. I took a look at it, and there was definitely something different about it; the name, the image, the song titles ("Half Ass Monkey Boy", "Mindshaker Meltdown", "Chloe Dancer", etc.)....and, I only had 7 bucks anyway, so it was the only album I could afford at the time, so I picked it up. I've been hooked ever since.
What I liked about them from the get-go was the fact that they ROCKED, vaguely in the same way that Guns N' Roses did, with a tight, simple rhythm section, dynamic guitars (if not nearly as much so as Slash and Izzy's guitars), and a frontman with a HUGE, very unique personality. What was it that made Andrew Wood so unique? He had an explosive concoction of the cocksure egotist, the hilarious Rock N' Roll stand-up comedian, and the sensitive, nothing-too-sacred, bleeding-out balladeer. Who could ask for more? This is the guy who, on that first EP, sang, "I'm a Hollywood dreamboy, a pin-up in their eyes, I represent, Mama, All you despise" on one song, and, "This is my kinda' love, It's the kind that moves on, It's the kind that leaves me alone," on another. The dichotomy wasn't lost on me at all, and....despite the fact that I couldn't directly relate with his lyrics (being a little peckerhead at the time), I knew myself well enough to know that one day I certainly would. Another thing I've always loved about Wood was, simply, the charisma with which he would sing the simplest word, like, "Baby" (or "BAY-BAAAAY!!!!!") and sing it loaded with sex and longing and desperation and power and confidence. Yeah, for my ears, he was spot-on.
After I bought the Shine EP I waited for the much-anticipated debut, full-length album, Apple, to come out....and I waited, and waited, and waited....almost a year. This was before you could get your Rock N' Roll news at the click of a mouse. All I had was MTV and the Rock N' Roll ragazines, as I called them, which weren't forthcoming with any news, and I was getting really pissed off. Then, toward the end of that Summer, there was a review of Apple in Rip Magazine, saying that Andrew Wood had died that past March of a heroin overdose....the night before they were supposed to do a co-interview for the magazine with Kiss, or some kind of shit. The review also said that the album was fucking brilliant, essentially. My little heart was crushed that my Rock N' Roll hero was gone, but never more-so than when I finally picked up the album, and blasted it on my Mom's stereo in the living room without asking.
The album as a whole, probably didn't quite measure up to Gn'R's Appetite for Destruction (which is the "gold standard", probably, to this day) in terms of consistency (some of the harder-edged material could have been better), but....the gems on Apple (including all of the ballads, no less than FIVE) were nothing short of magical, and shimmered like candles in some underground cave. The songs, for the most part, were fucking real, and made me feel what I thought Wood must have felt like singing them. Whether he was singing of the love of the stage ("This is Shangrila" and "Stardog Champion") or the love of his girl ("Stargazer" & "Bone China"), I believed every word of what he sang, and the music only accentuated that.
I spent a lot of time singing along, and yes, drumming along, and this album has had a huge effect on me. If you give it a listen, perhaps it will effect you similarly. I will say this: despite the enormous success Stone Gossard and Jeff Ament had with Pearl Jam after Love Bone's demise....for my ears, this music stands the test of time in a much more poignant way.
2. Hanoi Rocks-Two Steps From the Move
Again, growing up, after listening to lots of Prince, Ozzy, Motley Crue, Ratt, Iron Maiden, etc, Guns N' Roses really rocked my little world. And it was Guns N' Roses who made me interested in a Finnish Glam Rock (not to be confused with "Hair Metal) band called Hanoi Rocks, who had broken up a couple of years before (we all know the story....if not, look it up).
Guns actually released all 5 of the Hanoi albums that hadn't been officially been released in the US, on their own Uzi Suicide label, via Geffen. So, of course, I went to check out all these albums. Unfortunately, I could afford only one, and the one that they HAD released over here was the one that caught my eye for some reason, so I grabbed that one, which happened to be Two Steps From the Move.
There are some great sleazy, Rock N' Roll songs on this album. "Underwater World" is a dark, down and dirty song that seems to be about the New York City subways....the New York Dolls or Alice Cooper would have been proud to have made such a song. "High School" is a glam-punk rave-up, with VERY, very well worked out, dueling guitar parts, despite its rather hokey lyrics, much like "Futurama" (although I think the lyrics are far better on that one). "Don't You Ever Leave Me" is a pure glam ballad, and actually, an updated version of a song from the band's first album, complete with vocal harmonies in the chorus that still remind me of the fucking Beach Boys! "I Can't Get It" is a frustrated, whoa-is-me song, that any of us can relate to sometimes ("I sit and count them, shot-by-shot-the little things that I never got!"). And of course, the singles, "Boulevard of Broken Dreams" and their cover of CCR's "Up Around the Bend" make me smile like that cat that at the canary at any party, and they often do! A lot of these songs were co-written by Ian Hunter of Mott the Hoople, presumably to give them an Arena-Rock facelift for America, and I think it worked!
Even at the time, I could understand why Gn'R had spoken so highly of Hanoi, and why they did them the service of getting their older albums. Listening via headphones, I could hear a similar Stones-on-steroids, two-guitar interplay between Andy McCoy and Nasty Suicide that Slash and Izzy had, with each guitar panned to a speaker, which I still love. Also, it wasn't lost on my that the term, "Welcome to the Jungle", is in the chorus of "Underwater World" (and I later heard the term "Rocket Queen" in the 3rd verse of the Hanoi song "Don't Follow Me", from their Oriental Beat album)....which has to be more than a mere coincidence. Their look, too, at least in the early days, certainly was reminiscent of Hanoi, w/ Axl Rose and Izzy Stadlin' in particular. But, of course, everybody lifts ideas from somewhere, whether consciously or not....at least Gn'R returned the favor, so to speak.
In any case, I sort-of consider this album to be at least somewhat of a prototype of what was to come via Gn'R's debut album, but these are two different bands, though and through. This album has more of a naivete and a sense of humor, to contrast with the all-out dark intensity that Gn'R gave us a few years later. It fits right in, though, on the same shelf as Aerosmith, Alice Cooper, the New York Dolls, and Guns N' Roses. If you're a fan of any of that music and haven't heard this, you'd be doing yourself a service by picking this up, as well as the rest of their catalog.
Sisters of Mercy-Vision Thing
This album, from the 3rd (or 4th, depending upon your perspective) incarnation of English "Goth Gods" the Sisters of Mercy, came out right on the advent of "Industrial Music", when bands like Ministry and Nine Inch Nails were seriously gaining world notoriety. And it fit right into the middle of that. The guitar riffs were very multi-layered, but extremely simple, and the music was as dark as you'd expect from the Sisters, but not as melodically sophisticated as anything they did before. The music is at the Sisters' most basic and primal, yet most intensely danceable (due in no small part to their ever-present drum machine-Doktor Avalanche) and, for lack of a better term, COOL!
That being said, this was by-far Andrew Eldritch's most ambitious, focused, and intelligently-written album, lyrically. The themes touching on greed/corruption (the title track, "More", and "Dr. Jeep") to the inevitably sadomasochistic and who's-screwing-whom nature of relationships ("Ribbons", "I Was Wrong" & "When You Don't See Me") to life's admitted uncertainties ("Something Fast") to putting the pedal to the floor in an El Dorado ("Detonation Blvd"). And, through it all, Eldritch sounds as arrogant as ever (which I like), but also, confident, and as if he might actually be having FUN (which I like even better). Eldritch is singing, whispering, and screaming on the entire album like Leonard Cohen on Amphetamines and appears to be enjoying every minute of it.
When I was a little kid, I got WAY into this album, because, while it fit in with what was becoming popular at the time (and I was listening to all of that before anyone else was anyway), THIS stuff was, perhaps, a little bit too far out-there for most of America to really understand, so....that probably got me into it THAT much more....and you might still catch me on the subway train singing along with my Ipod, "It's a small world and it smells funny, I'd buy another if it wasn't for the money, take back what I paid, FOR ANOTHER MOTHERFUCKER IN A MOTORCADE!!!"
4. The Jesus Lizard-Liar
The Jesus Lizard was probably my favorite band in the 90's. The music itself is difficult to describe; it isn't metal, but it's very intense and fucking heavy (but not particularly distorted). It's not Punk, but it's very-much against-the-grain. It's not Rock, but it's very primal, and, for my money, VERY Rock N' Roll.
There aren't a lot of vocal melodies, because the vocals aren't sung (by fellow Budweiser enthusiast David Yow) as much as they're...um....expressed....exclaimed....via screams, moans, grunts, and chants, I guess. That isn't to say they aren't (eventually) catchy, and actually, quite intelligent and informed....even though, most of the time, I never knew (or cared. particularly) what the fuck they were about. The guitar playing, courtesy of Duane Denison, is a mixture of Surf Rock, Spaghetti Western, and early Punk Rock, but delivered very cleanly, and with a precision that....well, wouldn't make a lot of sense to you the way I'm describing it (or does it?). The rhythm section is among my favorite of all time, via David Wm. Sims (bass) and Mac McNeilly (drums & one of my favorites, see one of my previous blogs), delivering and extremely intense, pile-driving foundation, that I can only compare to the sound of dropping concrete blocks on your head while building a house over it. And Steve Albini's production of this album ties it altogether and makes perfect sense out of it, for my ears anyway.
I guess it made sense to other people too. Nirvana (who did a split 7" single with them when this came out) used Steve Albini to produce their In Utero album, as Bush later did with their Razorblade Suitcase album. Both of them had very similar sounds to this very Jesus Lizard album, but obviously, the music was way different. But in many ways, these guys exemplified what was so cool about the 90's, and that was, that you could play music like this and still get a major record deal (which they did a few years later, starting with their Shot album). How fucking cool is that?
5. Afghan Whigs-Gentleman
This album could have been called "Relationship Hell"....but, never did perpetual heartbreak & emotional blackmail sound so goddamn good.
"What should I tell her? She's going to ask...." The opening lyrics of this album say it all, really. There's inner and outer conflict, deception vs. truth, betrayal vs. loyalty, and above all, uncertainty....what a hell of an introduction!
The entire album rolls that way, as a sort of concept album based on the anatomy of a bad break-up, with a whole lot of arrogance and self-loathing thrown in, smothered with drugs and alcohol, as well as a whole lot of sex (let's hope that the sex is good, but I think that's implied).
The title track states it all explicitly....consider for yourself, the second verse: "We dragged it out so long, this time, Started to make each other sick, But now I've got time for you....and me too!" How about the third verse?: "Let me in, I'm cold, all messed up but nowhere to go....Unlock the cabinet, I'll take whatever you got!" It's misery that's pathetic but not so much as to think it's the end of the world, and....give me a drink! I understand that!
"Be Sweet" has one of the most titillating lyrics I've ever heard: "I got a dick for a brain, And my brain is gonna sell my ass to you, Now I'm ok, but in time I find I'm stuck, 'Cause she wants love, And I still want to fuck..." Yup, it's anguished and it's terrible, and profoundly full of itself, all wrapped in a killer rhythmic cadence, dripping from a tearful guitar line (and Rick McCollum's guitar lead after the first verse is fucking irresistible).
The album is chock-full of gems along the same lines, from the first single, "Debonair" ("I'm not the man my actions would suggest....tonight I go to Hell for what I've done to you") to "What Jail is Like" ("If what you're shoveling is company, Then I'd rather be alone, Resentment always goes much further than it was supposed to go") to "My Curse"-sung by Marcy Mays from Scrawl ("Hurt me, Baby, I flinch so when you do, your kisses scourge me..."). This is all saturated with swirling, anguished guitars, and punctuated with impeccably slamming rhythms (drummer Steven Earle plays incredibly on the album, and I was disappointed when he left after the tour for this album).
Hell, if Ronnie Van Zandt christened himself a "Simple Man", Greg Dulli could have written an answer called, "Complicated Man", but instead, he gave us this entire album, which, since its release, I've basically lived, front-to-back, at least three times!
Monday, June 15, 2009
A Rock N' Roll version of "Pay It Forward", or "Working My Way Back to..."????
If you know anything about me, you know that music, especially Rock N' Roll music, is my passion, joy, and pain. From a very lean age, great Rock N' Roll has inspired me to seek out what inspired it, as much as it has to create my own.
I discovered this a LONG time ago, when Guns N' Roses released Appetite For Destruction. For a young lad such as I was at the time, there wasn't ANYTHING that sounded quite like it (especially since I was used to....well, shit like Motley Crue and Kiss, etc, which are fine and good in their own right...but comparatively dim in my view). The music was raw, real, honest, deep, and made no apologies, whether it was about Sex, Drugs, Love, Paranoia, Struggling, Starving, or whathaveyou. But, in hindsite what I REALLY liked about Gn'R was that they name-checked their influences in a LOT of their interviews, and insodoing, they not only did a service to those bands that influenced them by exposing and paying tribute to them, but they were also doing just as much of a service to pint-sized, impressionable fans like myself.
The first band that Gn'R were responsible for turning me onto (besides, perhaps, Aerosmith) were Hanoi Rocks. And the influence was evident right away, not only visually (Axl Rose and Izzy Stadlin', in the early days, certainly resembled Michael Monroe and Andy McCoy), but musically as well. Guns, surely by no coincidence, lifted the title, "Welcome to the Jungle" from a lyric in the chorus if Hanoi Rocks's "Underwater World". That being said, Guns made sure that the first 4 Hanoi Rocks studio albums (and later their live All Those Wasted Years album) got released in the US via Geffen on their Uzi Suicide imprint. You have to admit, that's pretty fucking classy.
The Guns N' Roses/Hanoi Rocks connection didn't end there by any means. First of all, it was then via Hanoi Rocks that I got into the New York Dolls (and of course various spin-off/solo projects rose from their ashes)....for which not enough has been written and there's just too much to write...but case in point, I loved/related to the Dolls pretty quickly and the older I get, the more I love them and what their music represents...which is close to what Gn'R represented, but it was much more controversial to dress up and live that level of decadence in the 70's, which proved, in a nutshell, to be the Dolls' undoing....and the Dolls were and are a New York institution, and as far as Rock N' Roll goes, probably the best and most definitive, for my ears.
Furthermore, it was via Hanoi that I really started to appreciate Punk Rock....sure, I was into the Sex Pistols and the Clash to a minimal degree (at the time), but I didn't quite "get it" yet. Then I read an interview w/ Sami Yaffa in a Hanoi fanzine about how The Damned were his biggest influence, or something along those lines (I've since been able to thank Sami in person, hahahahaha). THIS I understood. They were fun, didn't take themselves too seriously (until much later), wrote great songs, and played them well. And via the Damned, I was able to appreciate what the other Punk Rock bands of that era (especially) had to offer. And that has certainly done a service to me and the music I've played.
Of paramount importance, though, is the fact that the GnR/Hanoi Rocks/Aerosmith/Dolls/English Punk lineage led me, once and for all, to the Rolling Stones....who, like AC/DC and the afrementioned Punk bands, I didn't understand fully until I had been drinking for a little while, hahahaha. I can't really say a goddamn thing about the importance of the Rolling fuckin' Stones that hasn't already been said 75 Billion times, but....it was through those bands who took their style and spun it into their own who brought me to them......
Anyway, I could write a lot about all the directions this could go in, from Motown to Trip Hop to Death Metal (well...a little bit anyway), but who has the time?
My point is, that while listening to your idols is important, it's just as important to listen to your idols' idols...(and maybe a little Billy Idol, for that matter)....so then they become yours too. And furthermore, if you have an opportunity to tell people who are into what you to, you're doing a service not only to the bands in question, but to your listeners. My hope is that one day I find myself on a level at which I can make that matter to lots of people as much as my boyhood icons made it matter to me!
Thanks for reading!
Marty E.
I discovered this a LONG time ago, when Guns N' Roses released Appetite For Destruction. For a young lad such as I was at the time, there wasn't ANYTHING that sounded quite like it (especially since I was used to....well, shit like Motley Crue and Kiss, etc, which are fine and good in their own right...but comparatively dim in my view). The music was raw, real, honest, deep, and made no apologies, whether it was about Sex, Drugs, Love, Paranoia, Struggling, Starving, or whathaveyou. But, in hindsite what I REALLY liked about Gn'R was that they name-checked their influences in a LOT of their interviews, and insodoing, they not only did a service to those bands that influenced them by exposing and paying tribute to them, but they were also doing just as much of a service to pint-sized, impressionable fans like myself.
The first band that Gn'R were responsible for turning me onto (besides, perhaps, Aerosmith) were Hanoi Rocks. And the influence was evident right away, not only visually (Axl Rose and Izzy Stadlin', in the early days, certainly resembled Michael Monroe and Andy McCoy), but musically as well. Guns, surely by no coincidence, lifted the title, "Welcome to the Jungle" from a lyric in the chorus if Hanoi Rocks's "Underwater World". That being said, Guns made sure that the first 4 Hanoi Rocks studio albums (and later their live All Those Wasted Years album) got released in the US via Geffen on their Uzi Suicide imprint. You have to admit, that's pretty fucking classy.
The Guns N' Roses/Hanoi Rocks connection didn't end there by any means. First of all, it was then via Hanoi Rocks that I got into the New York Dolls (and of course various spin-off/solo projects rose from their ashes)....for which not enough has been written and there's just too much to write...but case in point, I loved/related to the Dolls pretty quickly and the older I get, the more I love them and what their music represents...which is close to what Gn'R represented, but it was much more controversial to dress up and live that level of decadence in the 70's, which proved, in a nutshell, to be the Dolls' undoing....and the Dolls were and are a New York institution, and as far as Rock N' Roll goes, probably the best and most definitive, for my ears.
Furthermore, it was via Hanoi that I really started to appreciate Punk Rock....sure, I was into the Sex Pistols and the Clash to a minimal degree (at the time), but I didn't quite "get it" yet. Then I read an interview w/ Sami Yaffa in a Hanoi fanzine about how The Damned were his biggest influence, or something along those lines (I've since been able to thank Sami in person, hahahahaha). THIS I understood. They were fun, didn't take themselves too seriously (until much later), wrote great songs, and played them well. And via the Damned, I was able to appreciate what the other Punk Rock bands of that era (especially) had to offer. And that has certainly done a service to me and the music I've played.
Of paramount importance, though, is the fact that the GnR/Hanoi Rocks/Aerosmith/Dolls/English Punk lineage led me, once and for all, to the Rolling Stones....who, like AC/DC and the afrementioned Punk bands, I didn't understand fully until I had been drinking for a little while, hahahaha. I can't really say a goddamn thing about the importance of the Rolling fuckin' Stones that hasn't already been said 75 Billion times, but....it was through those bands who took their style and spun it into their own who brought me to them......
Anyway, I could write a lot about all the directions this could go in, from Motown to Trip Hop to Death Metal (well...a little bit anyway), but who has the time?
My point is, that while listening to your idols is important, it's just as important to listen to your idols' idols...(and maybe a little Billy Idol, for that matter)....so then they become yours too. And furthermore, if you have an opportunity to tell people who are into what you to, you're doing a service not only to the bands in question, but to your listeners. My hope is that one day I find myself on a level at which I can make that matter to lots of people as much as my boyhood icons made it matter to me!
Thanks for reading!
Marty E.
Thursday, May 14, 2009
There's something strange about music these days or It's been a short time since I Rock N' Roll
I'll preface this entry by granting you that my tastes in music, and perhaps that of people whose paths I cross in New York City, are probably not necessarily typical of the rest of the country, or the world for that matter.
That being said, I dj around town here and there, at least once a week....and not always for the same "types" of people, but, for the most part, for typically younger bar crowds of varying #'s (not clubs - which for some reason seem to exclusively play hip hop and dance music) . But, as always, people will often request songs, which I usually don't mind, as long as people aren't too damn obnoxious about it.
One of the reasons why I like to hear out people's requests is that I'm curious as to what they want to hear....and if you HAVE what they want to hear, you might make a new friend. There's no shame in either of those things, is there? Now, the results I get range from the downright insulting ("NO, I won't play any Good fucking Charlotte, ok? But feel free to try again!") to....the extremely cool ("Sure, I think I might have a Kyuss song for you!").
But more often than not, no matter how old the requester is, and they're often very young (i.e., early- to mid-twenties), they want to hear what is what most consider to be "old school" Rock N' Roll. It boggles my mind how....whether it be a girl who's 21-years-old if she's a day, requesting A-HA's "Take On Me" (ok, that might not be very "Rock N' Roll" but you get my point) or an entire room full of them singing on the top of their lungs with their hands in the air to Bon Jovi's "Livin' On a Prayer"....or whatever. Granted, these were HUGE commercial hits in their time, but most of these people weren't even born yet when these songs were initially popular.
But what really boggles my mind, is that I get WAY more requests for Guns N' Roses and Led Zeppelin, etc, than I ever do for fucking Nickleback or Fall Out Boy, et al. Doesn't that strike you as being a bit strange.
I mean, when I was younger, I was into what was happening at the time and what had become old school. In my experiences, which, again, are limited to New York City in this case, the old school seems to be the rule. I mean, sure, you go out and hear She Wants Revenge and Black Rebel Motorcycle Club and Kings of Leon, but.....those bands (like my own) are far more reminiscent of....again, old school Rock N' Roll....which, the more time passes, covers a lot more ground and a lot more subgrenres. I think it's awfully interesting.
Is music (or, more accurately, the "music business") killing itself, and rendering itself obsolete? Are people's tastes actually just as good as they always were, and like many of us, do people just look for what they want out of music from the figurative history books? Is it true that there just isn't a standard of quality with music anymore, which causes people to turn a deaf ear to what's going on currently?
Who the hell knows?
What's great about it is this: no matter what's going on in music today, there's always going to be that singer or band that you never heard...whose song is going to cross paths with your ears, and make you say, "Holy SHIT, what the hell IS that? Well, FIND OUT!!!" Ahahahahaha. I mean, case in point, last Summer, I was in a minivan being hauled to the movie set, when I heard something BRILLIANT emitting from the speakers.....and I heard this GREAT guitar lead and I said, "Hey...will you please turn this up?" Then, after about 10 more seconds, I said, "WOW!!!! This is AWESOME!!!! What IS THIS?" Well, it was UFO's "Doctor Doctor" on some satellite radio station. I've loved the band ever since! Like Mick Jones from the Clash once said, "If doesn't matter when you get it, as long as you get it."
My point is that there's always going to be great music out there.....just keep listening for it. And if you find something awesome, let me know!
Take care,
Marty E.
PS-And I hope that somebody somewhere out there gets one of those moments I just described when they hear the Dirty Pearls, ahahahahahaha.....
That being said, I dj around town here and there, at least once a week....and not always for the same "types" of people, but, for the most part, for typically younger bar crowds of varying #'s (not clubs - which for some reason seem to exclusively play hip hop and dance music) . But, as always, people will often request songs, which I usually don't mind, as long as people aren't too damn obnoxious about it.
One of the reasons why I like to hear out people's requests is that I'm curious as to what they want to hear....and if you HAVE what they want to hear, you might make a new friend. There's no shame in either of those things, is there? Now, the results I get range from the downright insulting ("NO, I won't play any Good fucking Charlotte, ok? But feel free to try again!") to....the extremely cool ("Sure, I think I might have a Kyuss song for you!").
But more often than not, no matter how old the requester is, and they're often very young (i.e., early- to mid-twenties), they want to hear what is what most consider to be "old school" Rock N' Roll. It boggles my mind how....whether it be a girl who's 21-years-old if she's a day, requesting A-HA's "Take On Me" (ok, that might not be very "Rock N' Roll" but you get my point) or an entire room full of them singing on the top of their lungs with their hands in the air to Bon Jovi's "Livin' On a Prayer"....or whatever. Granted, these were HUGE commercial hits in their time, but most of these people weren't even born yet when these songs were initially popular.
But what really boggles my mind, is that I get WAY more requests for Guns N' Roses and Led Zeppelin, etc, than I ever do for fucking Nickleback or Fall Out Boy, et al. Doesn't that strike you as being a bit strange.
I mean, when I was younger, I was into what was happening at the time and what had become old school. In my experiences, which, again, are limited to New York City in this case, the old school seems to be the rule. I mean, sure, you go out and hear She Wants Revenge and Black Rebel Motorcycle Club and Kings of Leon, but.....those bands (like my own) are far more reminiscent of....again, old school Rock N' Roll....which, the more time passes, covers a lot more ground and a lot more subgrenres. I think it's awfully interesting.
Is music (or, more accurately, the "music business") killing itself, and rendering itself obsolete? Are people's tastes actually just as good as they always were, and like many of us, do people just look for what they want out of music from the figurative history books? Is it true that there just isn't a standard of quality with music anymore, which causes people to turn a deaf ear to what's going on currently?
Who the hell knows?
What's great about it is this: no matter what's going on in music today, there's always going to be that singer or band that you never heard...whose song is going to cross paths with your ears, and make you say, "Holy SHIT, what the hell IS that? Well, FIND OUT!!!" Ahahahahaha. I mean, case in point, last Summer, I was in a minivan being hauled to the movie set, when I heard something BRILLIANT emitting from the speakers.....and I heard this GREAT guitar lead and I said, "Hey...will you please turn this up?" Then, after about 10 more seconds, I said, "WOW!!!! This is AWESOME!!!! What IS THIS?" Well, it was UFO's "Doctor Doctor" on some satellite radio station. I've loved the band ever since! Like Mick Jones from the Clash once said, "If doesn't matter when you get it, as long as you get it."
My point is that there's always going to be great music out there.....just keep listening for it. And if you find something awesome, let me know!
Take care,
Marty E.
PS-And I hope that somebody somewhere out there gets one of those moments I just described when they hear the Dirty Pearls, ahahahahahaha.....
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