Let’s get deep today. I’ll tell you what, Dugout Chatter usually requires your gut responses, but for today and today only we’ll accept more considered replies.
Who’s the rightful heir to John Lennon, artistically – I’m not talking about his sons?
Who’s your favorite songwriter who’s words are of little interest to you?
Has the backstory of a song or album ever hurt your enjoyment of said song or album?
At what point in the action of the new Stones-Scorcese flick, Shine a Light, do you imagine Marty will cue the intro to “Gimme Shelter”?
Is there any “neo-” version of an older style of music that you prefer to the original (eg, punk-era Two-Tone ska over the original ’60s ska)?
Is there any hope for k.d. lang ever being relevant again? Does it matter?
Do you ever feel like you might “recognize” a favorite artist by the way he or she projects in song, you know, the way so many fans of Lennon or Joe Strummer felt like they “knew” or could “identify” with him? Well, is there an artist whose music you love yet on whom you get no handle, cannot imagine what it might be like to hang out with over a beer, or whatever?
Have you ever liked an artist’s significant change of direction album, whether temporary or not, better than the previously established body of work (eg, Neil Young’s Trans was the first album by him that you embraced)?
As a listener and/or a player, of late, what aspect of music have you been trying to pay more attention to (eg, “I’ve been trying to pay more attention to the kick drum.”)?
I look forward to your responses.
Who’s the rightful heir to John Lennon, artistically – I’m not talking about his sons?
– Honestly, it could have been Cobain but that guy didn’t wait around for Chapman.
You have to wonder how these guys pick their wives.
Who’s your favorite songwriter who’s words are of little interest to you?
-Buddy Holly
Has the backstory of a song or album ever hurt your enjoyment of said song or album?
-Yes. It becomes something you have to forget if you don’t agree. However, my own interpretation doesn’t have to agree with the artist’s. Until he flogged it to death, Layla was a good song, but let’s face it, Eric Clapton is trying to steal George Harrison’s wife. A GOOD friend’s girl. Extremely uncool in the highest factor. I mean, I’ve never met George, but this event only makes him seem like an even COOLER fellow.
At what point in the action of the new Stones-Scorcese flick, Shine a Light, do you imagine Marty will cue the intro to “Gimme Shelter”?
-When the rain falls on the rich folks and security staff. The glint of knife may be visible. No, sorry, that will be a cell phone held up allowing the corporate whores to rub it in their snobby asshole friends faces that they are that close to Mick’s frightening booty.
Is there any “neo-” version of an older style of music that you prefer to the original (eg, punk-era Two-Tone ska over the original ’60s ska)?
– I definitely like the neo-70s guitar rock of bands like Sloan and Shazam better than the influences they cite like Cheap Trick, Kiss, and the like.
Is there any hope for k.d. lang ever being relevant again? Does it matter?
Prolly, she’s still got a good voice. Nope.
Do you ever feel like you might “recognize” a favorite artist by the way he or she projects in song, you know, the way so many fans of Lennon or Joe Strummer felt like they “knew” or could “identify” with him? Well, is there an artist whose music you love yet on whom you get no handle, cannot imagine what it might be like to hang out with over a beer, or whatever?
I can’t imagine how confusing it would be to have a pint with Pete Townshend.
Have you ever liked an artist’s significant change of direction album, whether temporary or not, better than the previously established body of work (eg, Neil Young’s Trans was the first album by him that you embraced)?
I like Paul McCartney’s 50s covers album Run Devil Run than the post-Wings solo albums in his usual “style”.
As a listener and/or a player, of late, what aspect of music have you been trying to pay more attention to (eg, “I’ve been trying to pay more attention to the kick drum.”)?
Can’t think of anything new there. I try to hear the words more carefully on the second and subsequent listenings.
Mockcarr, I’m so glad that for this one time I’ve lifted the whole “gut responses” criteria. Your thoughtful responses to this emotionally challenging Dugout Chatter are truly inspiring. Let’s get some chatter going, Townspeople!
*Who’s the rightful heir to John Lennon, artistically – I’m not talking about his sons?
Steve Earle? Billy Bragg? Just throwing them out there.
*Who’s your favorite songwriter who’s words are of little interest to you?
Whoever wrote the songs in Ride, probably.
*Has the backstory of a song or album ever hurt your enjoyment of said song or album?
I’m always disappointed when lyrics about “opening your mind” turn out to be euphemisms for doing drugs. I have no problem with songs that explicitly advocate using drugs, mind you; I just don’t think the two are synonymous.
*At what point in the action of the new Stones-Scorcese flick, Shine a Light, do you imagine Marty will cue the intro to “Gimme Shelter”?
I am disqualified by virtue of having actually seen the film. Don’t let me spoil the party, though.
*Is there any “neo-” version of an older style of music that you prefer to the original (eg, punk-era Two-Tone ska over the original ’60s ska)?
Does ’70s soul vs. ’60s soul count? Otherwise, probably not.
*Is there any hope for k.d. lang ever being relevant again? Does it matter?
She still has a great voice. All she needs is some label/publicist to decide that her “comeback” should be a big deal.
*Do you ever feel like you might “recognize” a favorite artist by the way he or she projects in song, you know, the way so many fans of Lennon or Joe Strummer felt like they “knew” or could “identify” with him? Well, is there an artist whose music you love yet on whom you get no handle, cannot imagine what it might be like to hang out with over a beer, or whatever?
I go with mockcarr: I have no idea what Pete Townshend could possibly be like.
*Have you ever liked an artist’s significant change of direction album, whether temporary or not, better than the previously established body of work (eg, Neil Young’s Trans was the first album by him that you embraced)?
Nothing’s occurring to me so far.
*As a listener and/or a player, of late, what aspect of music have you been trying to pay more attention to (eg, “I’ve been trying to pay more attention to the kick drum.”)?
As a still relatively new guitar player, I pay more attention to guitar solos than ever.
An hour and ten into the movie. Mick stands in the shadows of a doorway across the street from the club owned by his rival in the criminal underworld (Charlie Watts) and he is rocked when he sees Keith exit. In this moment, as “Gimme Shelter” begins to play, Mick’s face briefly betrays his emotional pain. He now has confirmation of the truth that the man he trusted most, the man who promised to be at his side as they took control of the city’s illegal gambling operations, has sold him out. His moment of weakness passes, his face now shows only steel resolve. As the song kicks into high gear, we cut to an exterior shot of Keith’s pool hall as it explodes, and the montage that follows shows us that it’s all-out war in the streets between Mick and Keith.
Wait, is this a concert film? I dunno, then.
1. Elliott Smith is the only one I can think of, though he lacks Lennon’s rocker side.
2. Fela.
3. I’m on the point of finishing Robert Greenfield’s book Exile on Main St.: A Season in Hell with the Rolling Stones. What a bunch of fiends and losers! It remains to be seen whether lifting the veil will affect my appreciation for the album. I hope not.
4. The part where the gangsters are driving around in a state of heightened paranoia … wait, wrong movie.
5. My interest in electronic music has lately led me into some things that I guess would be called neo-disco, which my 70s/80s self would be horrified by.
6. Wasn’t she only ever “relevant” to about 5% of the population? This reminds me of the Linda Ronstadt discussion from last week. Too bad Lang decided she should write songs. It’s hard to make a career in pop music today when “all” you have is a great set of pipes.
7. I would say Randy Newman for the first question. Or maybe Joe Henry, whose latest album Civilians I was really digging yesterday. For the second, Bob Dylan most definitely. On the other hand I always thought Townshend would be someone I *could* actually have a nice chat with.
8. I don’t know that I like Paul Simon’s work from Graceland onward *better* than his earlier work, but it’s certainly as good in a very different style.
9. I finally got the Talking Heads ‘cube,’ the re-release of all their albums, and I’m stuck on the first few. The way they use that choked guitar sound just kills me.
Mockcarr,
Have you heard The Breakup Society’s tune “Song For George”?
http://www.thebreakupsociety.com/audio/A%20Song%20For%20George-The_Breakup_Society.mp3
It seems to share a common feeling about Layla.
Let me think a bit about the other questions and I will respond later.
Have you heard The Breakup Society’s tune “Song For George”?
http://www.thebreakupsociety.com/audio/A%20Song%20For%20George-The_Breakup_Society.mp3
It seems to share a common feeling about Layla.
That about says it. Blame it on smack, but for all that blather, after he got her, he divorced her.
Who’s the rightful heir to John Lennon, artistically – I’m not talking about his sons?
I think it was Joe Strummer. I don’t know who Joe’s heir is.
Who’s your favorite songwriter who’s words are of little interest to you?
Jagger/Richards. Sometimes the lyrics are great, sometimes they’re utterly sophomoric. I like that the guitars are what’s important and they usually keep it that way.
Has the backstory of a song or album ever hurt your enjoyment of said song or album?
No. But backstory can make me lose interest in a band entirely. I was thinking I should give Lynyrd Skynyrd another chance, because I like so many bands obviously influenced by them, but then I caught an interview with the current group and I can’t buy any of their stuff knowing those guys will get some of my money.
At what point in the action of the new Stones-Scorcese flick, Shine a Light, do you imagine Marty will cue the intro to “Gimme Shelter”?
He doesn’t. I haven’t seen the movie yet, but the soundtrack has him talking at the beginning. It sounds to me like he’s caught off guard. “Uh..it’s the first song!” and then it goes into Jumpin’ Jack Flash, where Mick promptly proclaims he was “born in a crossfire huh whoa came.”
Is there any “neo-” version of an older style of music that you prefer to the original (eg, punk-era Two-Tone ska over the original ’60s ska)?
I usually like the second version of just about everything. In this case though, I’ll say I like how rock bands interpret the blues much more than the original blues.
Is there any hope for k.d. lang ever being relevant again? Does it matter?
Of course. She hasn’t even capitalized her name yet. Just wait!
Do you ever feel like you might “recognize” a favorite artist by the way he or she projects in song, you know, the way so many fans of Lennon or Joe Strummer felt like they “knew” or could “identify” with him? Well, is there an artist whose music you love yet on whom you get no handle, cannot imagine what it might be like to hang out with over a beer, or whatever?
Walter Becker and Donald Fagen. I love their music, but I hardly ever know what or whom they’re talking about in interviews. I’d love to meet them, though. They seem approachable, but then they also seem totally unapproachable. I’d like to meet that beard, too.
Have you ever liked an artist’s significant change of direction album, whether temporary or not, better than the previously established body of work (eg, Neil Young’s Trans was the first album by him that you embraced)?
Sure, I like bands that change. Eventually they’ll change out of my wheelhouse, but I’ll still like the other stuff.
As a listener and/or a player, of late, what aspect of music have you been trying to pay more attention to (eg, “I’ve been trying to pay more attention to the kick drum.”)?
I’ve been trying to pay enough attention to the sound to tell if it’s recorded in a real studio or someplace with more of a unique sound. I like the way Ladyhawk’s new album sounds. It was recorded in an old house and it sounds like it.
BigSteve, Greenfield’s Exile book is despised in the Stones fanboy community. I thought that was amazing since everyone loves his 72 tour book. I think the Exile book I’ve enjoyed the most is Bill Janovitz’ (from Buffalo Tom) in that 33 1/3 series. It’s real cheap and quick and easy to read. Not so much how they did it, but why it’s so great. How are you liking Greenfield’s book? Is it better than Tony Sanchez?
Well, I’m glad I read it. He’s a good writer. But no one comes off very well in it, and he doesn’t really get you any closer to how they did it. It’s mostly about the shenanigans surrounding the music. In a way it seems like the album is even more of a miracle than I’d thought, because I don’t see how anything of value could have been produced given the scene Greenfield details. It’s like it was a gift, but why give such a gift to such an awful group of people? It’s sort of like a Flannery O’Connor novel, full of grotesque people who somehow experience the grace of God for reasons none of them understand.
I’ll play now.
I’m glad 2K nailed it: Strummer. He was the rebel, the roots rocker, the primitive experimentalist, the hippie, the punk, the large-hearted rocker of his time. Like 2K says, I don’t know that anyone has yet claimed Strummer’s estate. Maybe I’m too old to know who it might be.
I was wondering if anyone would go with an instrumental composer, like General Slocum suggesting Bartok, but BigSteve went with the foreign-language artist. Good move. I’ll go with one of my favorite artists whose lyrics, provided they don’t get too far up their own asshole and distract me, often mean little to me: Elvis Costello. There are some exceptions when I love his lyrics, but typically, I don’t identify with the sharp-tongued wordplay of his first few albums. Just gimme some truth!
None really comes to mind, although backstory has helped me appreciate songs I previously hated, such as REM’s “Losing My Religion”. I still don’t like that song, but hearing Stipe talk about what it meant to him in an interview at least made me respect it.
When Bill Wyman and his big trad-jazz band make their way through the backstage entrace en route to storming the stage with a gangland slaughter of his former bandmates.
I don’t know if this counts, but I much prefer Elvis Costello’s original country songs to the real thing, and I often prefer reggae as done by British punk bands to real reggae, The Clash being the best example, but even The Police’s more reggae numbers went down easier for me.
I guess it doesn’t matter, because she’s probably able to sell out mid-sized theaters to a loyal audience for all time, but her voice was really good. I love that album she did with the country producer (the guy who also produced the Beau Brummels’ Bradley’s Barn – my apology to the likes of Paul S and BigSteve for my ignorance), Shadowland or something like that? Then, like someone said previously, she had to go back to doing original music. In the “good old days,” she would have continued to have an ace producer shoving great material down her throat and keeping the hits coming.
Of the artists I most love, I think I’d be intimidated to hang with Ray Davies. The attention to detail he puts into his miniature everyday scenes in his songs gives me the willies when I think about what he must be like as a “real person.” He strikes me as a pretty negative guy, and not in the satisfying way of an extroverted asshole like Lou Reed. Davies has no “hippie” in him, no traces of a large spirit. I think he’d be a bit of a drag to hang with. Worse yet, it would be clear to me that it’s more of a drag for him to hang with me.
I was stuck on this fine question until BigSteve brought up Paul Simon. As I’ll say at any given moment, I like solo Simon better than S&G, and I like his Rhythm of the Saints album, the Brazillian-influenced follow up to the big South African one, way bettter than anything else he’s done.
As I listen to records now, I try to pay better attention to the way the tones of the individual instruments fit together. When doing our own recordings, I’m very slowly realizing how much of what we hear is how much we’re able to hear when everything’s in context.