Dad Rock

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Aug 062010
 

Why does the term “Dad Rock” bother me so much? Malcolm McClaren is dead, Bill Wyman is his own grandpa. Rap has sustained for over 30 years, rock for over 60. The surviving original rebels have traded whiskey for tea and weed for Metamucil. They can’t play in this young man’s game, even if they invented it. Let’s face it: “Dad Rock” is code for, “you are old, uncool and your music is lame.” You don’t need to have kids to like “Dad Rock,” it just means that you are bland and safe… like a dad.

I think the first time I saw the phrase was in a review for Wilco‘s Sky Blue Sky and it struck me as a way of saying that the quality of the music wasn’t the issue, rather it was a lack of cutting edges that left it milquetoast, nothing that would upset daddy’s delicate old heart. Yesterday I saw the phrase attached to the new Arcade Fire album, and that felt like crossing a line. Sure, they were cool a few years ago, but now they are filling up the seats of Madison Square Garden. With dads. Playing, “City With No Children.”

A quick web search reveals sketchy opinions that “Dad Rock” is either music of the ’60s and ’70s that baby boomers listen to exclusively, or that it is bands such as Coldplay, U2 and Wilco, or even just selected songs. Or maybe it’s a few more notches down the ladder of hipness – Phil Collins, solo Sting, Steely Dan. To an extent, it’s not that different from “Yacht Rock,” but without the cocaine and soft-rock overtones. But these goalposts are moving too easily, and who decides where they go?

Of course, we’d like to think that wisdom comes with age. Those kids will regret those M.I.A. albums, just like I regret, well, I regret…. My best friend in high school was embarrassed by his father’s fanatical fandom of Leonard Cohen. Cohen toured, the whole family went, my friend missed a big party. When asked why our friend wasn’t at the party, and told why, another friend said, “I wish my dad were that cool!” and I experienced a shift in perspective.

If I have any goal at all with this post, it is to ask the simple question: What do you think “Dad Rock” is? Does it actually exist? If it does, what are its defining characteristics? Or is “Dad Rock” simply a bracket that moves through time, a continuous parade of young people having the label applied to them and their favorite bands, when the inevitable grey hairs sprout? Like an animal urinating to claim its turf, does a dad’s appreciation of any music automatically categorize it as “Dad Rock?” Does a dad’s enjoyment of music ruin it for everybody else? It almost seems absurd to ask these questions, but I think they should be asked.

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May 012010
 

In our recent thread examining things singers do during long solos and other instrumental breaks, we discussed the move known as The Anderson, named after Yes singer Jon Anderson‘s surprisingly effective, drama-free approach to commanding the stage during long stretches when he could have had nothing better to do than iron out the wrinkles in his dashiki. Someone wondered if the reference to the move’s lack of “drama” was a commentary on the brief period when the Drama-era Yes was led by Trevor Horn, then of The Buggles’ fame and soon to be better known as a producer of slick, fairly interesting ’80s (and beyond) pop. Although the reference to the Horn era was unintentional, this observation necessitated a full-blown examination of the contrasting instrumental break styles of Anderson and Horn.
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Apr 292010
 


It’s nothing dramatic, but check out Blood, Sweat & Tears‘ replacement singer (did you know someone replace the fantastically bad David Clayton Thomas, who was a replacement singer himself?) during the solos in this cover of Traffic‘s “Empty Pages.” The solo starts at 1:43, and you’ll catch the replacement singer doing the Half-Hearted Blinded by da Blooz move at the 2:06 mark. This pedestrian move is commonly employed by lead singers during instrumental breaks. It involves some pseudo-blind man head bobbing and swaying that quickly degenerates into the posture of a dude following a humorous conversation around a keg. If I were ever a lead singer without a guitar to holster, I fear I’d resort to some lame move like this one.

Typically the singer has at least three responsibilities to uphold during instrumental breaks: 1) direct the audience toward the soloist; 2) offer support and encouragement to the soloist, thereby actually cueing the audience to applaud the singer’s re-entry in the song; and 3) stay the hell out of the way of the musicians and their chords and effects boxes!

It’s fascinating to watch a singer who knows how to make something distinctive of those long instrumental breaks. David Thomas of Pere Ubu has been known to employ the age-old Hat Wave technique to cool off his soloing guitarist’s axe. A little touch of the singer’s showmanship goes a long way during a long instrumental break.

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When I saw Yes, tiny Jon Anderson had to fill long stretches doing nothing more than banging an inaudible tambourine and letting his dashiki flow to the music. His movements are extremely awkward but sincere, as you’ll see in the background of the instrumental break in “Roundabout” (beginning at the 5:27 mark). Devoid of drama, the Anderson, as I’ll call this move, projects confidence and keeps the singer front-and-center, commanding his band through challenging instrumental passages. It’s a subtly effective approach.

So what things that singers do during long solos impress you? For future discussions, is there a term that can be given to these moves? Beside the three I listed, what other responsibilities might a singer have during his musical breaks? What moves should a singer avoid during instrumental breaks?

I look forward to your thoughts.

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Dec 092009
 

Sorry, kitty…

We’ve all got our “Wait, wait…check it out!” musical moments, those special, super-cool points in a song that you want, no, you need your friend to hear. In all the years we’ve had rock videos in our lives, are there equivalent moments, which I will call drop-the-cat moments, as the sweaty, muscular factory worker in Madonna‘s “Express Yourself” video does when surprised to see the back of our tastefully naked, freshly milk-bathed Madge?

Despite my silly (yet sincere) example, a moment that follows in the video shortly after that cat lands on all fours, these drop-the-cat video moments need not be salacious. Whatever video moment puts you in that factory worker’s state of surprise and wonder will do. Links to your video with the time at which the drop-the-cat moment occurs for you are more than welcome!

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Oct 052009
 


I don’t know that we’ve ever put a name to the “big-boned” offspring of classic boogie and arena rock until now: Burly Rock. Did any band display the strengths and weaknesses of this genre better than Bachman-Turner Overdrive?

Of course the genre dates back to an early band featuring Randy Bachman, The Guess Who. Continue reading »

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Aug 072009
 

This thread won’t apply to everybody. For younger record nerds who have come of age in an era when downloads of just about any obscure album can be found for free on the web if you search long enough, there’s little risk in accumulating all the mp3s your heart desires. The anxieties that older rock nerds have experienced may not ring true. It must be nice.

Some of you have already walked down the endless path of the hardcore record collector. There’s no stopping you now, and if that’s the case, more power to you! A part of me wishes I hadn’t been scared off this path, but I was, by two once hard-to-find purchases I made when I was 18: a bootleg of the Sex Pistols‘ last show at San Francisco’s Winterland and Iggy Pop and The Stooges‘ semi-bootleg document of that band’s last show, Metallic K.O. As I said, today you could probably download these albums in the comfort of your home in less than 20 minutes. In 1981, a teenage boy without much cash to spare had to make a great investment of time and money to locate these albums and bring them home, with no opportunity to sample selected tracks for free on some blog. What if this bootleg I’m tempted to spend $20 on sucks? What if I hear more of the dude who illegally taped the show hooting and hollering for his favorite songs than I do the band?

Worse yet: What if the bootleg was a dreaded, DOA board mix, with little more than vocals and kick drum?
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