Aug 132007
 

Per Townsman Mwall’s suggestion, we’re moving the question from today’s Dugout Chatter on the Band That Brought the Most Shame to the Genre of Rock ‘n Roll to the Main Stage!

To review, I wrote:

Has any artist outright shamed the entire genre of rock ‘n roll as Meat Loaf did in his prime? I heard the intro to “Paradise by the Dashboard Light” the other day, and I felt like I was watching one of my own sons get a swirly in summer camp.

2000 Man suggested solo Mick Jagger. Mwall singles out Styx for the shameful way they treated the genre. All good suggestions, but I still say Meat Loaf gave rock a swirly, then rubbed his sweaty briefs in roll’s face!

Let’s be clear: we’re not talking “bad” bands – that’s shooting ducks in a barrel. Rather, we’re talking bands that made a mockery of or otherwise shamed the entire genre of rock ‘n roll.

A little description is in order with your nominations. I, for instance, find Meat Loaf’s appropriation of early rock ‘n roll bombast performed in a post-Rocky Horror Picture Show manner to be disrepectful to the founding fathers of rock. In one fell swoop, he drags in Broadway, Vampire Rock, and operatic ambitions. The mixing of pure rock ‘n roll with any one of these elements is dangerous enough. In Meat Loaf and Jim Steinman’s hands, music becomes an act of terror. Four measures into “Paradise by the Dashboard Light” and any good will engendered by the likes of glam rockers like the New York Dolls is shot to hell.

For shame, Meat Loaf, for shame!

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Aug 132007
 

In the coming weeks we will examine the stage stances of rock musicians by instrument. So often you hear the phrase that a great performer is “larger than life.” For rock musicians, that larger than life pose is literally grounded in the musician’s basic stance. Everything the musician does from that initial stance – be it swaying to the music, keeping time with his or her foot, placing a foot on the monitor, punching the air with a sweaty fist – flows from that initial stance.

There’s no “right” stance, although as we examine the rock stances of various musicians, we may argue that there are “wrong” stances. I wouldn’t put it past us. I had planned on beginning this series with the archetypal stances of guitar players, but then I feared that at least one key bass guitarist stance would be overshadowed. For this reason we’ll begin our survey with a discussion of the main stances of rock bassists. It is highly likely, throughout the course of this series, that we’ll overlook an important stance. Please don’t hesitate to add to this base of knowledge.

Dee Dee’s theorem

Over the last 30 years, Dee Dee Ramone‘s classic wide-legged punk rock stance has risen in prominence and respect among electric bassists and their fans, although it is not practiced as much as preached. According to Dee Dee’s theorem, the bassist’s legs should form an isosceles triangle with the stage, with the apex at a 70-degree angle. Although there is no “right” stance, Rock Town Hall highly recommends a wide-legged stance for all standing musicians, regardless of instrument.

Although Clash bassist Paul Simonon is most frequently associated with a near-isosceles triangle stance while smashing his bass on the cover of London Calling, Simonon’s signature stance was the Machine Gun Shimmy, as seen in the following video.

Continue reading »

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Aug 132007
 

Lou’s Italian audience is well aware of the fact that they’re hearing their man play his music exactly as he’d always heard it in his head!

This clip is sure to delight the legions of fans of this series: there’s the excited Lou bunny hop; the “Ooh, ain’t I a badass” contorted mouth and eye twitch; the painfully earnest “Look at me, Bob!” guitar solos; the comforting face off with Fernando; and the fans, Lou’s marvelous Italian fans. I don’t think I’m going out on a limb by suggesting that these fans are hearing his music the way it was intended to be heard. See if you can spot a favorite fan in the crowd. My favorite makes his appearance with 5:52 left in the YouTube countdown! I’m telling you, the fans in this clip may sway hard-hearted Lou haters like Townsman Hrrundi. Enjoy.

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Aug 132007
 

If you don’t know the drill by now, we’ll keep it simple: answer the questions from your gut!

What band doesn’t get much props yet, by flying under the radar, fails to get the criticism it deserves?

What’s your least favorite guitar solo, a real song wrecker? Broad answers like “Anything by ______” will not be accepted.

What’s the earliest album you remember buying that’s still in your collection?

Think back and tell us about the first musician(s) in your school who stood out from the meager pack. If applicable, it’s OK to talk about yourself.

Has any artist outright shamed the entire genre of rock ‘n roll as Meat Loaf did in his prime? I heard the intro to “Paradise by the Dashboard Light” the other day, and I felt like I was watching one of my own sons get a swirly in summer camp. MOVED TO THE MAIN STAGE!

Do The Doobie Brothers get a bad rap? Should they be considered as respectable as Steve Miller Band in terms of ’70s rock craftsmanship?

I look forward to your candid answers.

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Aug 112007
 


Man! I’d never heard of Barbara Lynn until catching a little bit of an American Routes episode that Townsmen Meanstom and BigSteve discussed a couple of weeks ago. BigSteve sent me a collection of her work, and rather than pretend I know anything about the artist in the week I’ve been digging her stuff, how about if I simply post a few tracks for you to savor?

“Sure Is Worth It”

“Why Can’t You Love Me”

“This Is the Thanks I Get”

“You’re Losing Me”

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Aug 102007
 


One of the Three Good Ones

Sorry for the hit-and-run, but I got shit to do today. I just want to go on record as saying that the ABBA revisionism of the last couple of decades — this notion that Bjorn and Benny (or whatever their names were) were flawless practitioners of high pop craftsmanship — is utter horseshit. Most of their stuff was aggravating, stupid, overproduced, and a blight on AM pop radio when it was released, and nothing has changed in the last 30 years as far as I can see. It still sucks!

Actually, I take that back. It doesn’t all suck. ABBA did in fact deliver two Great Pop Songs in “Waterloo” and “Dancing Queen”, and one pretty good one in “Does Your Mother Know”. But the rest of the catalog? Absolute crap. “Fernando”? CRAP. “Money, Money Money”? TOTAL CRAP. “Take a Chance On Me”? UNBELIEVABLE CRAP. “The Winner Takes It All”? GIVE ME A FUCKING BREAK — WHAT KIND OF RIGHT-THINKING ADULT STILL LISTENS TO THIS SHIT?!

Sheesh.

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