“Rooftop concert.”
That’s all any rock fan needs to hear to envision the bearded, ladies’-coated, windblown Beatles cranking out their final, abbreviated live performance from Let It Be. What other non-traditional concerts in non-traditional locations hold anywhere near as evocative associations?
Here are two instructional videos. Please do us the favor of sharing your thoughts on either one or both of them. I suspect, if you’re a fan of the thunderbroom, you’ll have much to say.
I look forward to your responses.
HVB
A drummer worth watching.
A few years ago we promised to examine the stage stances of rock musicians by instrument, beginning with a mostly likely eventually groundbreaking piece on bassists. I don’t think we ever took this series any further…until now.
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, or gesture. You might find it curious that we’re rebooting this series with an examination of the stance of drummers, since few drummers actually stand up in the first place. However, I encourage you to think of a drummer’s stance in broader terms, that is, as the drummer’s presence from behind his or her kit. A distinctive drummer “stance” can add a lot to one’s enjoyment of a band’s live performance.
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. 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. In fact, I am incapable of doing this survey justice alone.
John Doe displays his bass-fueled rock superpowers.
My close personal friend Townsman chickenfrank recalled a show in which one of his former bands played on a bill with John Doe. This was probably 1995, when Doe’s second solo album, Kissingsohard, came out. I bought his 1990 debut solo album, Meet John Doe, when it came out, but I couldn’t convince myself that I liked it. Nevertheless, we both loved X. I was sure his solo stuff would sound better live.
Doe took the stage that night playing guitar. He didn’t look right with a guitar in his hands. He didn’t have the same cool stage stance I was accustomed to when I saw him in X, playing bass. I even used my ears that night to assess that he did nothing special on guitar. It’s not like he’s an especially skilled bassist, but he drives the band from that instrument. Doe’s rock superpowers as a bassist were immense. He was a mere mortal on guitar.
John Doe in his guitar-wielding "Clark Kent" mode.
It goes without saying that probably any usually “hands-free” lead singer loses his or her rock superpowers when strapping on and, most likely, holstering a guitar.
Not all musicians, however, lose their rock superpowers when they switch to a secondary or even tertiary instrument. Paul McCartney, in fact, is a quadruple threat and then some. Brian Jones is another example. He retained his rock superpowers on even the daintiest of instruments.
Nick Lowe? It’s debatable. I would argue that his rock superpowers were sapped during his mid-’80s years on guitar owing to the malaise of His Cowboy Outfit more than his instrument. Since he’s mellowed and grown into his older age, he’s as cool as he ever was in his Rockpile days.
What musician possessing rock superpowers on his or her main instrument do you feel is sapped of those same powers when they switch instruments? And can you think of an artist who actually gains rock superpowers when he or she reaches for a secondary instrument?
In my ongoing trial on Rock Crimes for having turned down the opportunity to see The Rolling Stones live from the second row of Chicago’s big arena circa 1981, Townsperson hogdog suggested an excellent offshoot thread. Check out hogdog’s tale and cool thread suggestion:
In a semi similar situation I have to confess to attending a “Clash” show on their final tour in support of the “mush” album Cut The Crap. Had a great time, had no other Clash show to compare it to, and the show and energy itself was top notch for what it was.
So how about a thread for: Shows I almost did not go to but was glad I did!
I look forward to your tales of reluctantly acquired good fortune.
You don’t have to name names, if you don’t feel comfortable doing so, but if you’ve ever been backstage at a concert, in whatever capacity, do tell a memorable moment!
Here’s one: I was backstage visiting my close personal friend and bandmate chickenfrank one time, maybe 15 years ago, when he was playing with another band. His band finished its opening set, and booted Pogues singer Shane MacGowan and his new band of faux-Pogues were about to take the stage. As his bandmates waited in the wings, Shane quickly ducked into the backstage bathroom, where he vomited, wiped his vomit-covered lips on his sleeve, and walked onstage to begin singing. Gross.
It’s been said by old farts like yours truly that modern-day bands composed of people in their 20s and early 30s have a lot to learn. For instance, I see bands with bassists playing with their ankles close to each other. Not cool, man! But what happening band is going to listen to my advice on issues like proper bass player stance and soloing hair? Maybe it’s time the real kidz teach the so-called kidz a thing or two?
Check out the following video from Haunted by Heroes, “The World’s Youngest Rock Band.” What lessons might these musical mighty mites teach their parents, aunts, uncles, and older cousins—and the bands these adults dig?
Need more?
