Dec 132008
 


Among rock nerds Jim Croce seems to be a rare, successful singer-songwriter from the ’70s who’s hard to hate? Some of his contemporaries, like Jackson Browne, have achieved greater critical acclaim from the post-Me Decade crowd, yet there are those unwilling to forgive the heap of Psychic Oblivion he laid on that generation. Although Croce’s hit songs include the wedding dance with Dad staple “Time in a Bottle,” you never hear people like us cut on Croce, do you?

Among Croce’s soft-rock contemporaries, only James Taylor comes close in not having made enemies. In the case of both artists I think their avoidance of trends, their sense of decency and taste, and overall “class” contributed to their acceptance over time and regardless of mixed feelings any of us might have about their popular acceptance and airplay saturation. (The respect we have for Taylor’s soft rock also probably has something to do with the guy’s graceful acceptance of his baldness.) The other thing I think they had in common is that they were clearly fine musicians. It’s hard not to respect fine musicianship, especially when it’s presented in an unadorned fashion. Croce, especially, came off as a “musician’s musician.”


Apart from the psychic drama of the short life of Nick Drake, we also got the clear impression of fine musicianship, taste, decency, and class. I’ve never been the type to plunge into trying to learn the finger-picking styles in the music of either Drake or Croce, but it’s my understanding that each man’s music included a distinct, difficult, personal style that is both challenging and satisfying for those who try to learn it.

I don’t know that it’s happened yet, but with more personal problems and fewer record sales could Jim Croce have been America’s answer to Nick Drake?

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Dec 062008
 

In the early ’90s, in Vancouver, a friend dragged me to a show by a band from Chicago called Urge Overkill. Good show, good band, nothing earth shattering. Then a couple years later he sat me down and put on a record called Saturation. We played that thing into the ground. This was a record that was simply not of the times. Urge Overkill didn’t look or sound the same as anyone else. They were inspirational. And they rocked hard.

Now, if you remember Urge Overkill you may be one of those people who had a problem with their image: they rode around in a convertible wearing smoking jackets and drinking martinis. They lived in an old bank with their massive record collection. It rubbed some people the wrong way. But not me. I had seen enough flannel for one lifetime.

The most important thing is this: the songs stood up and they still do today. Pretty much everything on Saturation is a knockout. Supersonic Storybook before it was top notch. Their swan song, the dark, stripped down Exit the Dragon? We didn’t like it at the time, none of us. But guess what? I threw it on the other day and it had aged, to me, like fine wine. Check out “The Break” and “Jaywalking.” It’s time for an Urge revival.

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Nov 142008
 

Self-proclaimed “regular people,” Townsman Saturnismine and his “first lady,” as he referred to a friend visiting the Halls of Rock, claim they know only one Turtles song. Moreover, they claim this is “normal.” Rock Town Hall regulars acknowledge that they’re far from “normal” music fans, but we refuse to believe that this couple, whether cool or square, man, don’t know more Tutles songs than “Happy Together.” As a service to Saturnismine and his friend – and as a way to prove we know more about the guy than he thinks he knows about himself – we’ll run a few Turtles hits over the coming pages. Enjoy, and feel ashamed of yourself or slightly superior, as applicable.

You’ve gotta know this one, Saturnismine and ladyfriend!

“She’d Rather Be With Me”

I think you’re going to be surprised. The hits of The Turtles are written and performed in a way that is inherently ubiquitous. They’re a pastiche of so many AM pop trends of their era that you might think they’re by other artists – or that they’re nothing more than well-constructed jingles. Combine that songcraft with the fact that these guys are the dumpiest band that can sing and play in tune, and I’ve got a ready-made, unsung heroic band in my back pocket. Shall we try some more?

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Apr 072008
 

Pylon was that other band from Athens, GA – you know, the one that wasn’t the B-52’s or R.E.M. The ones that made a couple of singles and albums, got some love from hipsters, made no money, then disappeared into the mists of rock history. Now the ultra-cool DFA Records (of LCD Soundsystem fame) has re-released their first album, which has long been unavailable on CD. This is a perfect opportunity for a Critical Upgrade.

This isn’t a case where the band has had their critical stock price fall over the years. It’s more like they just kind of fell off of everybody’s radar. Though they came out of the same scene as their more famous Athens contemporaries, they don’t sound much like either one. They have a much more hard-edged post-punk sound, one that at the time was most often compared to the Gang of Four.

The Athens scene was very dance-centered, and this music definitely works on the body, but it’s doesn’t have the party atmosphere of the B-52’s. One reason is the lyrics. Vocalist Vanessa Briscoe wrote cryptic songs that remind me a lot of the early Talking Heads lyrics – topics like reading, driving, gravity, volume, work, all approached elliptically and sung about in a detached but intense style that’s hard to get a fix on. I find the approach mysterious and oddly alluring, but it was not one that drew in large numbers of listeners. The fact that they were on DB Records, not a major label like their peers, did not help their commercial prospects.

Instrumentally they were more direct. When I met them on their first tour, they said soundmen loved them because their set-up was so easy to mix – one trebly guitar, one deep bass, no background vocals, and drummer that hit hard enough that he hardly needed the PA. Neither of the gigs I saw back then was well-attended, and I believe that was sadly typical for them. After a couple of albums they were gone, and a so-so reunion album in 1990 (Chain) did nothing to revive their fortunes. I understand they’ve been playing a few gigs around this re-release but that they’re no longer a going concern.


So as not to compete with DFA, these tracks are vinyl transfers from my collection. You might want to boost the bass on them a bit. The mastering on the new CD is very nice, and the tracks sound even better on Gyrate Plus (so called because it includes their early single “Cool”). Here are a couple of album tracks (“Volume” and “Stop It”), the B-side of that single (the awesome “Dub” with its chant “we eat dub for breakfast”), and a follow-up single not included on the DFA re-issue (“Beep”). Enjoy.

Pylon, “Volume”

Pylon, “Stop It”

Pylon, “Dub”

Pylon, “Beep”

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Mar 282008
 

For those of you of a certain age, think of all the great songs from an earlier era in rock ‘n roll that you first heard through the hit cover versions by Linda Rondstadt. Take Betty Everett‘s “You’re No Good”. I know you, loyal Townsperson, are about as cool and knowledgeable as rock ‘n roll fans get, but if you’re of that certain age range, I doubt you’d ever heard of Betty Everett and her version of “You’re No Good” until years after you’d dug then completely denied the wonders of Linda Rondstadt’s string of ’70s hits. Excluding those of you younger than 38 years old, raise your hand if you honestly heard Everett’s excellent original before this major hit song. In fact, I’d bet that most of us didn’t know if was a cover until a good 5 years after the song’s release.

Linda’s version isn’t as cool as the original, but you’ve got to give her credit for looking good in a Plain Jane way.

Let’s pause for a second to reflect on just how cool the original version of “You’re No Good” is…and let’s give thanks to Linda for turning most of us onto this definitive version!

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Mar 182008
 

As some of you know, I’ve long been troubled by the critical acclaim The Byrds have received over the years relative to some of their contemporaries, some of whom I like better than The Byrds and others who have the sole advantage of not having included the annoying modern-day Roger McGuinn. It’s petty and pointless of me to harp on these feelings, but are not petty and pointless harping among the reasons we enter the Halls of Rock?

Isn’t it about time for The Hollies?

The Hollies, “Carrie Ann”

The band I have felt has been most slighted by The Byrds’ inflated legacy is The Hollies. If I want to hear jangly guitars, lots of harmonies, and songs about wanting to hold hands with girls the singer is too shy to even say “Hello” to I want to hear The Hollies. The teenage-geek longing in their songs is moving, their beats are driving, and the abundance of harmonies never strikes me as saccharine. They don’t hit me with a bunch of second-hand hippie philosophy. Like The Easybeats, another one of my favorite second-tier ’60s bands, they were a pop band fully focused on the task of making pop records.

So, after years of harping on this issue, I’m just about ready to let it go. I’ve finally figured out why The Hollies never match the critical acclaim heaped upon The Byrds, that frequently lauded ’60s band I most often find least satisfying compared with the hype…

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Mar 112008
 

Pinker and prouder

Some of you may be aware of my Overlooked Gems of My Lifetime blog, which has been inactive since – not coincidentally – the launch of this blog version of Rock Town Hall. It’s time I put a little work into that concept again – and make sure to celebrate some things I love wholeheartedly, with no intent to confuse and educate readers.

Recently I pulled out my lone album by The Prisoners, A Taste of Pink. It sounded as rockin’ and fun as ever, and the vinyl was still pink. It’s hard to find the space between songs when placing the needle on a particular song on a pink-vinyl album, but the tracks on this album make the effort worthwhile.

I never bothered to find out much about this ’80s garage-mod band from somewhere in England. A friend owned another album by them, but it was not as good as the one I happened to take a chance on. I never bothered hearing another note by these guys. One great album by any ’80s garage-mod band is enough. (God, as I type that sentence I sense myself looking in the mirror, holding an unopened box of my band’s second record!) Honestly, though, I can only take so much garage and mod rock, especially when the lyrics and fuzz-guitar solos are nothing special. This album, however, is together! Simply put, it works. The guitars are chunky. The organ player cooks up that Deep Purple “Hush”/Steppenwolf stew. The singers pull no punches. I have FUN while listening to it. It’s a good time to get my lab coat pressed.

Since this is a rare album I’ve never spent much time thinking about, I’m going to do nothing more but share some tracks with you. Send your lab coat to the cleaner and check out The Prisoners!

“Better in Black”

“Maybe I Was Wrong”

“Threw My Heart Away”

“Come to the Mushroom”

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