Author Archives: Jason Wendleton

2016 Rock And Roll Hall of Fame Nominees Depress Me

I’m not even sure why I’m bothering to even write about this. Let me state upfront that I think the Rock and Roll Hall of Fame is 100% complete and utter bullshit. The idea of a Hall of Fame is so un-rock and roll it’s not even funny. Then when you learn who is and isn’t in the Hall of Fame it becomes clear just how meaningless it all really is. Humans like lists and categories, which I totally get, but why does this thing need to exists? I mean, really?

So once for whatever reason I went on the Hall of Fame’s Official website…and boy did it bum me out. For the first time ever, the Hall is collecting fan votes that will be tallied alongside the regular votes to help determine who will be inducted this year. The list of nominees runs the gambit between no-brainers (The Cars, Cheap Trick, Deep Purple) and real headscratchers (Chic, The JB’s, Los Lobos). That Janet Jackson and Chicago are on this ballot just goes to show you how dumb this Hall of Fame really is. Look, I get that we can broaden the definition of “rock” and include N.W.A in the Hall…but should we really do that BEFORE iconic bands like Deep Purple and Cheap Trick are inducted into the Hall? That’s a rhetorical question.

I guess, if you feel so inclined, go to the Rock and Roll Hall of Fame’s website and cast your votes. Then check out the fan vote results so far, they’re super depressing!

I'm gonna need a stiff drink...

I’m gonna need a stiff drink…

Cheap Trick is #7! Who the hell is voting? It must be all the dude’s in Yes. Should Yes be in the Rock and Roll Hall of Fame? Hell no, they’re a prog-rock band that had a few hits back in the day. They do NOT deserve to be in the Hall before CHEAP TRICK or Deep Purple. Sure, Deep Purple may be considered a one-hit wonder too…but that one-hit is a song so iconic that even I can play it on guitar! And I can’t play guitar.

Happy Friday.

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The Darkness at The Summit Music Hall 10/16/2015

I still remember hearing The Darkness for the first time 12 years ago. Their first, and best known single, “I Believe In A Thing Called Love” was all over the radio and the music video was a big deal at the time, too. Actually, I think that was the last time I saw a really cool music video on MTV.  The Darkness belong to a bygone era of rock music, which is probably why I love them so much. An era of huge hooks and killer guitar riffs. I’ve been following the band’s career through lineup switches, break-ups, and changes in facial hair…and in 12 years they’ve never let me down. Maybe that’s why I wasn’t worried about the band delivering the goods live. I’d read online that the band was great live, but I was still unprepared for just how good The Darkness are live.

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I got to the Summit Music Hall early, like I usually do, and my first impression was “Jesus, this place is small.” I realize that America is no longer a bastion of rock fans, but even I was shocked at what a tiny venue the band was playing. Overseas, The Darkness headline big music festivals and are a bit of rock royalty…here in my home State of Colorado they were just thin dudes in funny clothes playing a club show. I’m grateful that I got to see this band up-close and personal, but if there were any justice in the world we’d have been at the enormous Pepsi Center across town. My friend Dylan, also a huge Darkness fan, shared this sentiment upon seeing the size of the room the band was playing.

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Something weird happened to the opening band and a local band In The Whale filled-in. In The Whale was a noisy two-piece that reminded me of Death From Above 1979 with a dash of rockabilly. As is usually the case with two-piece bands, the sound they made was mostly noise. They had a couple of songs that weren’t awful, but at no point were my friends and I compelled to leave the bar area. When The Darkness hit the stage Dylan and I were ready to rock, primed with beer and free Strongbow (a sickeningly sweet-variant of hard cider). The band opened with “Barbarian” off their latest album LAST OF OUR KIND (you can read my review of that here). Front man Justin Hawkins strutted out onto the stage in a weird stripy catsuit-thingy. Shirtless and covered in tattoos, Hawkins had a Jagger-ish quality to his stage presence which kinda surprised me because I always mentally compare him to Freddie Mercury (for obvious reasons). Justin’s brother, lead guitarist Dan Hawkins, was downright normal by comparison with his mane of rocker curls and tight Thin Lizzy t-shirt. Bassist Frankie Poullain won hands down for most-interesting/I-can’t-stop-staring-at-you with his massive puff of frizzy hair, New Wave-ish business suit, and Hell’s Angels facial hair. Meanwhile the band’s current drummer, Rufus Tiger Taylor, did an adequate job but didn’t really stand out.

Look at that hair, glorious!

Look at that hair, glorious!

The band barreled though a set list of tracks skewing heavily towards the band’s first album PERMISSION TO LAND with key tracks from the other three albums sprinkled throughout. At the mid-point of the show, Justin invited a slightly middle age looking couple onto the stage because they were getting married the next day. Or so they claimed, I’m always skeptical of these kind of people. Justina and Co. got them comfy and then proceeded to serenade them with “Get Your Hands Off My Woman.” This was an amusing choice because, in case you aren’t aware, the song is peppered generously throughout with “motherfuckers.” I’m sure that glorious moment will be retold for decades to come by this happy couple, perhaps to coca-sipping grandchildren.

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Pretty much any Darkness song you’d want to hear the band played (though they did not play the one song I yearned to hear “Keep Me Hanging On” off the third album). Songs like the super-appropriate “Friday Night,” “One Way Ticket,” and “Love Is Only A Feeling” were all played with propulsive precision. Sometimes seeing your favorite band play your favorite tracks live is a bit underwhelming, but The Darkness’ charm and musicianship were high and at no time did I find myself thinking this is cool and all, but it sounded much better on the album. A roadie was constantly shuffling on stage to bring Justin a Gibson guitar, only to return once his guitar bit of the song was over so he could bop across the stage unencumbered. The spastic lead singer actually sat down for two songs to play keyboard, which I wasn’t expecting.

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Yes, the band played “I Believe In A Thing Called Love” and they didn’t save it for the encore, like I was expecting. I’ve heard this song more times than I can count, and to be honest, I would have been 100% fine not hearing it live. But it was rad hearing it live and feeling the crowd’s energy during this classic number. Usually when I leave a really good concert, I find myself in love with a song that I wasn’t as big a fan of prior to hearing it live. To this day, I absolutely love “Tumbling Dice” by the Rolling Stones, a song I had no real feelings for prior to witnessing the band play live on The Bigger Bang tour a decade ago. Well that Darkness song is “Love On The Rocks With No Ice,” which popped up during the encore. I am still catching myself humming this tune two days later!

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Also worth mentioning: the band played one NEW song about 2/3’s of the way through the show. It was a great song, though I didn’t catch the name of it at the time (ringing ears and all). A quick check online reveals this song to be titled “Rack of Glam.” If this track is any indication of what might be on the next album, then I think we have another great album on the horizon. Though there wasn’t as much stage banter as I’d have thought, there were a couple of great moments (besides dragging the couple on stage). The audience was really into crowd surfing, and near the end of the show, Justin surfed out into the audience and climbed up onto the balcony. Watching Justin dive back into the crowd mere feet away was definitely my top rock moment of 2015.

Up close and slightly personal.

Up close and slightly personal.

Bottom line: I’d see them again, right now if I could. It’s rare these days to see a band that’s able to be both awesome sounding and off-the-wall fun live. The Darkness put on one hell of a show…truly they are the last of their kind.

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Dancing In The BLOODMOONlight with Van Morrison, King Harvest, and Thin Lizzy

I’m sure I’ve bragged about it before, but I have a near-supernatural ability to recall the names of songs. When driving together, I frequently drive my wife nuts playing the “what song is this?” game. She hates it. She never knows the name of the song. Unlike me, she didn’t fill her head with useless musical trivia and is unable to name both the song title and artist (and sometimes even the album) to every random classic rock castaway. I bring this up because recently, I was wrong. And though I come across like a smug professor, I actually really enjoy the (albeit rare) occasions where I do not recognize a song or artist. I sometimes feel like Alexander The Great, sitting alone with no more worlds to conquer. When a new/old song hits my radar I feel the thrill of discovery I’ve mostly lost while listening to classic rock radio**.

Which is why my world was recently turned upside down by Pandora recently with “Dancing in the Moonlight.” First of all, please don’t confuse this song with the fantastic Thin Lizzy song “Dancing In The Moonlight (It’s Caught Me In It’s Spotlight)” off their classic 1977 album BAD REPUTATION. No, I’m talking about the hit single from 1972 released by Van Morrison. At least, I always thought this was a Van Morrison song. But I was wrong. “Dancing In The Moonlight” does have a very ‘70s Van Morrison-ish vibe and would have fit nicely on Van Morrison’s classic album MOONDANCE (though it came out two years later). In fact, I attribute my own person confusion to “Moondance.” Sure, I guess it was weird to think that Van Morrison had two moon-themed songs during this time period, but I’ve always found the guy kinda strange. Anyway, I was wrong: “Dancing In The Moonlight” is actually a King Harvest song. What a silly mistake, right?

"Everything is serious and sad"

“Everything is serious and sad”

So who the hell was King Harvest? Well the reason why I’d never really heard of them (and you probably haven’t either) is that they were one-hit wonders. That one-hit being “Dancing In The Moonlight.” According to a quick Internet search, the band was formed in Paris, France by a group of Americans. The brother of the their drummer, a guy named Sherman Kelly, wrote the song in 1969. I think that’s a pretty cool story: guy writes song, gives it to his brother’s band, they have their one-hit. Everybody wins. Except for me, the guy who 43 years later is walking around thinking it’s a damn Van Morrison song.

Besides the obvious references to the moon, both songs share a similar jazzy feel. King Harvest’s lead singer, Dave Robinson, is a very fine vocalist and shares enough similarities to further compound the confusion. Though to be honest, a real Van Morrison fan would instantly spot the difference as I did when I listened to both songs back-to-back (800 times while writing this post). The production on the ’72 released “Dancing In The Moonlight” is scratchier and masks Robinson’s voice in a way that (at least to me) does make him sound like a younger Van Morrison. I’m assuming “Moondance” sounds better because a superstar recorded it with a superstar’s recording budget. Perhaps I could have avoided all this confusion had someone just spent a little more money. I’m looking at you, King Harvest.

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Listening to all three songs, I think that King Harvest’s song is more akin to Thin Lizzy’s “Dancing In The Moonlight” in that it’s a simple, joyous ode to hanging out late at night, dancing. Van Morrison’s song is more complex and has 100% more saxophone. Also, because it’s Van Morrison, the track is fun but in a really stuffy, intellectual way.

It better look JUST like this...

It better look JUST like this…

I’ve been meaning to write about this for a while now and tonight’s blood moon phenomenon got me thinking about this mix-up. I know I’m crazy, but am I crazy in regards to this mix-up? What songs have you wrongly attributed to other artists? I’m sure that this happens all the time to music fans. Please share you semi-embarrassing gaffs below in the comments (unless you’re gonna tell me about how you were confused by Steelers Wheel “Stuck In The Middle With You,” everybody thought that was Dylan).

 

**Sure, I like listening to a lot of new music, but classic rock 1959-1985 will always be my specialty.

 

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The Music Streaming Gods Giveth and Taketh Away…

Music streaming has been in the headlines this week in a big, big way. I’m sure you’re all aware that Apple threw their proverbial hat into the music streaming business this week with the launch of their new Apple Music service. Everything that I’ve heard about this service sounds a bit underwhelming. I’ve been with Spotify for so long now that Apple really needed something speculator to get my business. And despite what many pre-teens might think, Taylor Swift isn’t that spectacular thing. I get that Swift is the biggest thing in music right now (or whatever) and that she is one of the few acts still selling records, but her exclusivity on Apple’s Music service isn’t what I needed to sway me into changing.

I’m an Apple fan, but I don’t like how restrictive they are when it comes to the music  you buy from them. On top of that, I think the iTunes store is way overpriced, so I’m very reluctant to hop into bed with an Apple Music streaming service. I hope that Spotify can weather the storm and remain competitive. I’m glad that the music streaming field is widening, however I worry about splintering. The thought of many artists only being on one exclusive service is worrisome–how long will it be before fans will need several paid subscriptions just to have access to the bands they want?

I also worry about songs and/or bands vanishing overnight without notice. This has happened a few times with a couple of smaller bands that I like on Spotify, but this week there were two major cataclysms in the Spotify music library.  The Music Streaming Gods giveth and then taketh away! On Tuesday AC/DC showed up on Spotify! I love AC/DC and was luck enough to see them on their last tour a few years ago (when they were supporting BLACK ICE). Sadly, I’ve never really delved too far into their catalog–mostly because it was so hard to find electronically. I’ve been binge-listening to the older, Bon Scott-era albums that I’m not as familiar with as I should be (it’s all really great).

These minstrels will soothe my jangled nerves...

These minstrels will soothe my jangled nerves…

Of course, to maintain balance in the streaming universe, Prince decided to pull all of his music from every streaming service imaginable. This hit me much harder than you might expect. Last year, after he performed on Saturday Night Live, I fell head-over-heels in love with his latest album ART OFFICIAL AGE. Believe it or not, this was probably my most-played record from last year. It’s a big hit in my household, with even the musically fickle Mrs. Defending Axl Rose enjoying the hell out of the Purple One’s most recent album.

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I’d been toying with the idea of writing a review of ART OFFICIAL AGE for several months, but something always seemed to get in the way. I’ve purchased exactly one CD this year, The Darkness’ latest album THE LAST OF OUR KIND, but I‘m seriously considering heading down to my local record shop and picking up ART OFFICIAL AGE just because it bums me out that I no longer have access to it. Is that part of Prince’s plan? Tease us all with his music and then take it away so we all rush out to buy it? Maybe. Is he perhaps jealous of Taylor Swift, who’s decision to leave Spotify was (weirdly) a huge news-making event? I certainly hope he isn’t waiting for Apple to cut him a similar exclusive-deal. Prince has gone to war against the Internet in the past, last year he wiped all of his music from YouTube (a pretty impressive feat if you think about it). I hope these shenanigans are making Prince a shit-ton of money, because I think it may end up costing him most (all?) of his cultural relevance. By disappearing from the Internet, Prince could end up vanishing from history. Think about it, if kids today can’t watch his videos on YouTube or stream his music…does Prince exist for them? I don’t think he does.

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THE LAST OF OUR KIND by The Darkness

Let me get this out of the way: THE LAST OF OUR KIND is hands-down my favorite album to come out so far in 2015. Not that there’s been much really good rock music released this year. Still, even if there had a few more notable releases this year, I’m confident this album would still be a beacon of hope. The Darkness are back and better than they’ve ever been.If you like boisterous, 1970’s-style rock full of cocky-swagger that’s fun/catchy as hell…then The Darkness is your band. Many people, most people I’d wager, really only remember the band from their hit “I Believe In A Thing Called Love” from 2003’s PERMISSION TO LAND. To those people I say: get bigger record collections. Seriously. The band’s second album ONE WAY TICKET TO HELL…AND BACK was a staggeringly leap forward in my opinion. The songs were better, the hooks were way catchier than the first record, and lead singer Justin Hawkins amazing vocal prowess truly shined. The band then went through a period of darkness (pun intended) when Hawkins left the band and went into rehab.

This baby pilot has permission to land.

This baby pilot has permission to land.

But The Darkness returned in 2012 with their third album HOT CAKES. That record (you can read my review here) was another homerun for the band.  That they’ve never really let me down is both kind of amazing and little scary every time the band releases a new record. The turmoil surrounding them this go-round involved their drummer (I call this AC/DC Syndrome). First, long time drummer Ed Graham left the band in September 2014 and was replaced by Emily Dolan Davies (whom you can read about/ogle here). A lady drummer in The Darkness? How positively progressive! Alas, it wasn’t meant to be…and Emily left the band in April of this year citing a desire to work on “other projects.” So while Davies is on THE LAST OF OUR KIND, The Darkness have a new drummer in the form of Rufus Taylor. That’s right, the band that sound more than a little like Queen went out and got the son of Queen’s drummer to be in their band. So there was definitely some rock star shenanigans and/or drama surrounding the band while they were recording THE LAST OF OUR KIND. Does any of that make it onto the record? Nope, not in the slightest.

THE LAST OF OUR KIND opens with the sounds of the ocean and an old man reciting a poem about Vikings before the opening guitar riff of “Barbarian” hits. This is important because the album has a very strong Norse/Viking theme running throughout. Now while I wouldn’t go so far as to call THE LAST OF OUR KIND a concept album, there is a definite thread tying all the songs together. And that thread is kick-ass Norse warriors.“Barbarian” is pretty much The Darkness’ version of “The Immigrant Song.” Though whereas Led Zeppelin’s song is an ethereal chant, “Barbarian” is the rowing song of bloodthirsty men on their way to plunder foreign shores. While the first track conjures the spirit of the mighty Zep, the second track “Open Fire” definitely calls forth The Cult. It’s really just the guitar effect the band is using, but this has torpedoed many fans’ opinion of the song (which is the album’s second single). I’ll admit to being less-than-enthusiastic about the track the first few times I heard it, but it’s been growing on me (pun intended) the more I listen to it.

After this pic was snapped both the lady drummer AND the bird quit the band.

After this pic was snapped both the lady drummer AND the bird quit the band.

The album’s title track is probably the most Darkness-y track on the album. “The Last of Our Kind” is jam packed with Hawkin’s trademark faux-falsetto* and lyrical bravado. On the surface, the song is both a celebration and a lamentation about Norse warriors—but we all know that the song is also about The Darkness and their place in the modern rock scene. The track features some really great use of guitar harmonies that reminds me of Thin Lizzy. Not to let the ladies down, THE LAST OF OUR KIND also has a couple of really good love songs. For example,“Wheels of the Machine” which is a very cock-rock style love song featuring a lot of tough fire/burning imagery (tough love).  The song is notable for mentioning the object of Hawkins affections is named Sarah. This is important because the most kick-ass song on the entire record is “Sarah O’Sarah.” That song opens with some of the most propulsive guitar I’ve ever heard. I love big sloppy love songs and “Sarah O’Sarah” is pretty great. Lyrically it’s dopey (and again features lots of burning/fire references) but I like how vulnerable and straightforward the words are. Similarly, “Hammer & Tongs**” has a joyful we’re-back-together-and-that’s-how-it-should-be vibe that’s a refreshing change from most love songs in the arena rock genre/wheelhouse. Also, let me point out that this song again features really heavy usage of fire and burning imagery. Weird***.

Other tracks worth mentioning are the arena-ready anthem “Conquerors”  and “Mudslide.” The former closes out the album and features bass player Frankie Poullian on lead vocals.“Conquerors” surprised me and makes me wonder what great albums we’re missing out on from a Poullain-fronted band. Meanwhile, “Mudslide” which is the only track co-written by Emily Dolan Davies,  has a nice Bonham-esque quality (read: steady, thumping drums). Man, it’s a bummer that Davies ended up leaving the band.

THE LAST OF OUR KIND is definitely a throwback to a bygone era. Back when rock bands (and their album sales) were much, much bigger. Though they aren’t nearly as popular as they were at the height of PERMISSION TO LAND’s initial success, The Darkness continue to bravely churn out records that are top-to-bottom fantastic. I can’t remember the last time I actually purchased an album—after hearing THE LAST OF OUR KIND I immediately hopped online and bought a physical copy. I also can’t recall the last time a band put out a record that I could listen to multiple times without skipping a track. And that brings me to my only complaint/quibble about THE LAST OF OUR KIND: it’s way to short. With only ten songs and a total running time of 41 minutes, the album feels like it’s over too quickly. So while there’s no fat on the album and I praise it for not having any skip-able tracks, I do feel bummed every time the final song “Conquerors” comes to a close. I guess if I had to pick between a good album that’s long and great one that’s a bit on the short-side, I’d pick the short one every time. So, here I am in June with my pick for album of the year: THE LAST OF OUR KIND.

 

 

 

 

 

 
*The first draft of this review (yes, I know could you imagine how terrible these posts are BEFORE I edit them?) referred to Hawkins’ vocal style as a “falsetto.” This apparently isn’t true. Though I really don’t understand why it isn’t, here is a tweet from the man himself:

Feel free to explain this to me in the comments.

Feel free to explain this to me in the comments.

**Hammer & Tongs is a euphemism generally meaning “energetically, enthusiastically, or with great vehemence.” So there ya go, you learn something new every day.

***I really didn’t notice just how much fire/burning/flame imagery THE LAST OF OUR KIND had until I sat down to write this review. Seriously: “Open Fire,””Wheels of the Machine,” “Sarah O’Sarah,” and “Hammer & Tongs” all do this. It’s almost like a lyrical tic. 

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CALIFORNIA NIGHTS by Best Coast

Five years have passed since Best Coast’s debut album, CRAZY FOR YOU, came out and lead singer-songwriter Bethany Cosentino is still bummed out. While nowhere close to approaching a Morrissey-level of depression, Best Coast’s songs are all pretty much about doomed love, unrequited love, broken relationships, and self-doubt. So why the hell do I love Best Coast so much? While the songs are sad, they’re catchy and sung in such a way that they come across as genuine without being embarrassingly earnest. Cosentino exudes so much hutzpah that even though she sounds sad, you feel like she’ll get over it and become a stronger person.

Now, don’t for a moment think that Best Coast is break-up music, because that’s not it at all. The songs are usually wistful with a don’t look back in anger kind of mindset. Best Coast is tragic love music that sometimes drifts into upbeat moments in the sun. Though Best Coast wears their California love on their sleeves, this music is the audio equivalent of Seattle or Portland. Dark, gloomy, but also filled with a strange Pacific optimism.

I really dig this album cover, but where's Snacks the Cat?

I really dig this album cover, but where’s Snacks the Cat?

The band’s first album was a blend of early 1960’s girl groups and lo-fi shoegaze. Two years later, Best Coast released THE ONLY PLACE, the troubled second album that every band must struggle through. And while I wouldn’t call THE ONLY PLACE a disaster, I remember finding it a bit of a disappointment. There were a handful of standout songs like Beach Boys-esque title track and the solemn closing track “Up All Night.” But for the most part, THE ONLY PLACE was a bit of a step back for Best Coast. Indulgent and a bit too self-referential, there were songs on that second album that teetered dangerously close to parody (I’m looking at you “Why I Cry”).

When CALIFORNIA NIGHTS came out earlier this month, I was looking forward to listening to it but I was cautious about it’s quality. I really wanted CALIFORNIA NIGHTS to be great. I didn’t want CRAZY FOR YOU to be the band’s nadir, and luckily (for everyone) CALIFORNIA NIGHTS is the band’s best album. The band took a little more time recording their third album and it seems to have paid off. The songs are super-catchy like CRAZY FOR YOU but more polished/better produced like on THE ONLY PLACE.

There it is, the actual "best coast."

There it is, the actual “best coast.”

The songs are still sad, but they sound so fun. The best example of this is on the track “In My Eyes.” The track is bouncy and upbeat musically while being about the loss of a relationship. “In My Eyes” has a catchy, fun to sing along chorus…that’s absolutely devastating lyrically. I really like doubt-filled “Jealousy” with its classic girl group sha-la-la’s. I also dig the moody title track “California Nights” which continues in the group’s grand tradition of extolling the virtues of the Golden State.

The single “Heaven Sent” is the albums happy love song, something the band always tries to sneak onto each record. I’m grateful that its there. Special mention should be made for guitarist Bobb Bruno, who continues to provide interesting, lush guitar riffs for Cosentino’s beautiful grief. Though Cosentino gets the bulk of the praise for Best Coast’s music, Bruno is a key ingredient in what gives the band it’s wonderful happy/sad sound. CALIFORNIA NIGHTS is a great record and is going to be the perfect soundtrack to the summer. If you haven’t yet dipped your toes into Best Coast, CALIFORNIA NIGHTS is a good place to start. So next month, when you’re hosting your Lonely Hearts BBQ, throw on little CALIFORNIA NIGHTS. Don’t forget the sunscreen.

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Reflections On BB King: The Legend Is Gone

When I was in High School I got into Blues music thanks to one caring English teacher and a bunch of 1960’s blues rockers. I was listening to Cream, Led Zeppelin, The Yardbirds, and Eric Clapton pretty heavily my senior year. Near the end of my last semester, I was assigned a research paper by my honors English teacher.  She suggested I write about the blues after she found out I was really into Clapton. This was probably the first time I ever considered writing about music, which looking back on it was pretty big moment for me.  Anyway, I went to the library and checked out a couple of dusty tomes on the history of blues music and over the course of writing that paper (which earned me an “A”) I feel in love with the blues. I’ve been hooked ever since.

bb-king

That’s how I first got into BB King. I picked up a copy of his greatest hits and by the time I had successfully digested that, his album with Eric Clapton, RIDING WITH THE KING, came out. RIDING WITH THE KING is a fantastic record and a brilliant primer for someone just getting into the blues, which was perfect for me. In a few short weeks I knew RIDING WITH THE KING top to bottom, I must have played it a hundred times.

BB King, who was pretty much always touring, was scheduled to play in Kansas City (where I was living at the time) and I knew I had to go. My dad and my sisters came with me, and it was a concert I’ll never forget. It was a drizzly evening and unfortunately the show was outside. The seats were wet but it luckily didn’t rain on us too much while we waited for the show to begin. John Haitt opened for BB King, he was promoting his album THE TIKI BAR IS OPEN, and we were all impressed with him.  My sister Amber was particularly smitten with Haitt, which looking back on it is pretty amusing since she was into bands like Hanson and The Backstreet Boys up until that point.

Man, what a great show. Thanks for the memories, BB.

Man, what a great show. Thanks for the memories, BB.

I remember BB King sitting on a wooden stool during his performance. He balanced Lucille upon his knee, like a grandfather tenderly holding his grandchild. He was old, and clearly not in the best health, but his voice was still strong and his guitar playing was still exceptional. After playing for about an hour, he took a short break then came back and played a few more songs. And then he was done. There was no encore, which I thought was strange, but not unexpected considering BB’s age.  Everything about that concert felt historic and important, and I don’t think I’ll ever forget it.

I’d read a few weeks ago that BB King was very sick and that he was essentially broke. Initially I was upset to learn that such a respected, successfully musician had no money, but upon further reflection I realized that this cemented BB King’s place in the pantheon of great bluesmen. To die penniless is almost as important as song writing when it comes to the blues. BB King’s health had been poor since I was a child, so the fact that he lived (and played) as long as he did is kind of a miracle. I know that 89 years isn’t nearly long enough, but that’s what we got from BB King and I’m grateful.

bb-king-1950s

The topic of BB’s death came up today and someone asked me “why was that guy such a big deal?” I’m paraphrasing, but that was basically the question. I didn’t really have a very good answer at the time, mostly because I’m terrible at thinking, but after giving it some thought I think I know why BB King was so important. BB King was the most famous blues musician alive. He was an ambassador of an entire genre of music, how many other artists do you know that fit that description? BB King was a mentor to generations of artists and his influence is still felt today in the world of blues and rock music. He transcended age, race, socioeconomic status, everything. Today marks the end of an era, not just the music world but in the popular culture at large.

Rest in peace, BB King.

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Supermensch: The Legend of Shep Gordon

There’s a commonly held belief that successful people are all assholes. I’d be lying if I didn’t admit that I judge the guy sitting next to me in traffic in his fancy BMW: man, that guy must be jerk to have so much money. And while the world certainly has no short supply of Gordon Gecko-wannabes climbing the ladder of success by stabbing people in the back, it is possible to be a tremendous success without being a terrible person. Supermensch: The Legend of Shep Gordon is a documentary about a guy who made a lot of people rich and famous—but he did by being nice.

Now, I’m sure you  have two questions right now:

1. What is a “Supermensch”?

and

2. Who the hell is Shep Gordon?

Mensch is a Yiddish word that means “a person of integrity and honor.” A Supermensch is someone with an almost super-human level of goodness. Shep Gordon is a talent manager who rose to fame after moving to California in the late 1960’s and essentially helped break Alice Cooper into the popular consciousness. He also managed to create the celebrity chef, overthrow the unfair practice of not paying black music acts for live appearances/concerts, help start one of the first independent film companies (the first to be headed by a woman), and make friends with the Dalai Lama.

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The early days of Gordon’s career are probably the most fascinating parts of the documentary. He moves to California to be a parole officer in 1968. After promptly quitting (he was a “longhair” and didn’t fit in) he almost immediately meets Janis Joplin and Jimi Hendrix. It was Hendrix who suggests that Gordon become a manager (for no reason other than the fact that Shep’s Jewish). He becomes a drug dealer to the some of the 1960’s most famous musical acts before opting to leave the danger behind and manage Alice Cooper. The philosophy Gordon employed to make Alice Cooper a household name is both genius and a bit nuts. Gordon cultivated negative press for the band. Why would he do that? Well, Gordon knew that if he could make parents hate Alice Cooper the kids listening to rock music would love Alice Cooper. From rigging a mobile billboard to “breakdown” in the middle of London’s busiest intersection at rush hour, to tossing a live chicken on stage (RIP that chicken)—Gordon learned to become a master manipulator.  Soon parents were up in arms over Alice Cooper, and Gordon was laughing all the way to the bank.

Turns out the story behind the rise of Alice Cooper is full of really funny stories. I think the best early Alice Cooper story was the time a promoter wanted a female folk act and booked Alice Cooper. Ever the savvy businessman, Gordon went along with the mistake! I think I’d pay almost anything to see the look on those peaceful hippie faces when the freakish Alice Cooper took the stage at that concert. Once the Alice Cooper band took off, Gordon had to fight Frank Zappa (of all people) to get their first album out. All of this Alice Cooper stuff is really interesting, and I kinda wish the documentary was just about those early days.

Gordon with Alice Cooper.

Gordon with Alice Cooper.

Once Alice Cooper gains infamy and riches, Gordon tries his hand at managing other acts. Supermensch delves into Gordon’s relationship with R&B legend Teddy Pendergrass and how he helped the world’s best chefs become overnight millionaires by hawking spices and Tupperware. Gordon’s had an impressive run and it’s interesting to learn that the guy who helped invent Alice Cooper also “invented” Emeril Lagasse. He uses the same nice guy tactics to make everyone he touches into success.

What’s so menschy about Gordon? His business philosophy seems to be that everyone should walk away from the table a winner. He does whatever it takes to promote his artists, but always in an honorable way (unless you are a chicken). A good example is the motel rooms used by the fledgling Alice Cooper band. In the early days, the band was trying to relocate from LA to Detroit and on the way the band played concerts. Because they were unknowns, the band had no money for motels, so Gordon paid with bad checks. As soon as the band took off and made money, Gordon went back and re-paid all the motels they’d screwed over.

I was surprised to learn that Supermensch was directed by Mike Myers. Yes, that Mike Myers. The SNL alumni fell on hard times after his film The Love Guru tanked at the box office and in a deep depression, the comedian ended up spending two months at Gordon’s house in Hawaii. So while I think Shep Gordon is probably a genuinely nice guy…I do think the film veers a bit too far into hero worship. There’s some dark stuff in the film, but it’s largely glossed over. That’s a bit disappointing, but makes sense when you learn that the man behind the camera probably owes his sanity (maybe even his life) to the film’s subject.

Overall, Supermensch: The Legend of Shep Gordon is a fascinating glimpse into the behind-the-scenes of the entertainment industry and a great way to kill an hour and thirty minutes.  Supermensch is currently streaming on Netflix and is available on iTunes.

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Rock Heroes Wyldlife Return With “(It’s Called) Rock ‘n’ Roll”

New York bad boys Wyldlife make down and dirty rock ‘n roll, a commodity in short supply these days. Imagine the swagger of The Ramones smeared with the blood of Iggy Pop–that’s Wyldlife. The band has a primeval rock sound that I thought was dead until I stumbled upon their 2013 album THE TIME HAS COME TO ROCK & ROLL. I’ll never forget that first listen, I thought somebody had slipped something into my drink. Or that I’d died and gone to world where rock hadn’t died/gone underground. What impressed me the most about THE TIME HAS COME TO ROCK & ROLL was that it didn’t feel like just another nostalgic rehash. Wyldlife don’t reheat classic rock and try to pass it off as their own thing, instead the band is a real contributor to the modern rock scene. Their songs are well written and infectious, their singer possesses a brash confidence that charms and disarms…in short, they’re the real deal.

“I never had no religion, believed in nothing at all, till I found that one thing bigger than God…and it’s called Rock ‘n’ Roll!!!”

So you can imagine why I was super-stoked when I found out this week that the band has just released two brand-spanking new songs: “(It’s Called) Rock ‘n’ Roll” and “Rock Candy.” I sincerely hope that these songs are only the opening salvo of their next mind-blowing opus of awesomely sleazy rock. “(It’s Called) Rock ‘n’ Roll” is your classic tribute to good times and good tunes. The song is a musical manifesto extolling the virtues of rock music. It’s basically like The Ramones covering AC/DC. This is raise your lighter kind of music and I love it. “Rock Candy” is (shockingly) not about candy, but in fact a girl. This song has a super-sweet hook, this track straddles the line between rock and pop—again I love it. The quality of these songs is just as high as the bar the band set on their last album, which fills me with so much hope for the band’s next album. I highly recommend you check out both of these songs. Then go listen to the first two Wyldlife albums, because they are excellent.

Valid.

Valid.

About a month ago I posted an article about another really great New York garage band, The Star Spangles. If you enjoyed The Star Spangles you owe it to yourself to check out Wyldlife. While not as punk-influenced as The Star Spangles, Wyldlife possess the same in-your-face brashness and youthful spirit that many bands today are sorely lacking. Plus, they can write one helluva a song…but don’t take my word for it.

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Swayze-Crazy: POINT BREAK

Jason Wendleton's avatarTrope and Dagger

In September 2009, the world lost actor Patrick Swayze to cancer. Both an action star and a dancer, Swayze was able to play both romantic leads and tough guys—a feat very few have been able to pull off. Oozing with charisma, Swayze stared in some of the biggest films of the 1980’s and 1990’s. Maybe you first saw him in Ghost starring opposite Demi Moore playing a young lover murdered in cold blood. Or perhaps you know him best as Frances Houseman from the 1987 dance flick Dirty Dancing. Maybe you best remember him as Jed Eckert in the Cold War action-thriller Red Dawn. It was difficult to put Patrick Swayze into just one category, which was probably why he became such a big star and meant a lot to so many people. I grew up watching  Swayze’s movies but it wasn’t until I revisited his films after he died that…

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