I guess I must have been playing my Sparks albums a lot at the time, given the pun-laden titles for the cassette sides. Oh the folly of innocent youth…
Tag Archives: David Bowie
Glam punk powerpop alert!
I’ll admit it – I love everything about glam powerpop. The fat guitar chords, the thrashing drums, the foot-stomping beat and the huge hooks are the antithesis of subtle, but there’s a time and place for everything. I love Loudon Wainwright III but I don’t bounce down the street blasting “Your Mother And I” out of the car stereo, windows down, rear-view mirror shaking from the pulse of the woofers. Nope, that’s what glam and powerpop is for.
I missed Smash Fashion’s 2003 release (and have since made up for it) and almost did the same thing with 2010’s Don’t Pet The Sweaty Things. (Thank god for late night “sounds like” tangents on Amazon and CD Baby!) I wasn’t sure what to expect from a group photo that had one guy thrusting a Flying V guitar neck at me while sporting an eyepatch, but at the risk of hearing an album full of Dr. Hook covers I dove in.
Video: “She Goes Down”
Like most powerpop bands, you can play spot the influence. For example:
- “Baby Dancer” and “Blonde Raccoon” are so reminiscent of Dwight Twilley I had to check the credits
- “Hard On Love” is as KISS-like as its title
- “Confessions of a Opium Eater” is the bastard child of “Auf Weidersehen“
- “Proper Way To Eat A Muffin” is T.Rex incarnate
- “Sad Sweet Sick and Beautiful” has Mick Ronson’s fingerprints all over it
- “All Systems Go” is like a mashup of Matthew Sweet and “If I Needed Someone“
- Mott The Hoople, The Sweet, Cheap Trick…and so on.
The title track is as close as you’ll get to a glitter ballad. There are also a couple of covers – the muscle pop rendition of Abba’s “Does Your Mother Know” is really good but “Benny And The Jets” was probably better left alone. Still, this impressive collection of glammy chestnuts is well worth getting and playing loud. These guys know exactly what they’re doing, and they sound like they’re having a blast in the process.
Life is short, stop taking it so seriously. Blast this mofo out a window.
Listen/buy at CD BABY.
While reading the Morgan Taylor interview the other day, I noticed that he’d opened a lot of shows for Wilco. That made me pull out Being There and Summerteeth; both those records sound perfect when Spring is trying to shake off the doldrums and give you a warm day or two. and despite my town setting its all time record for rain during the month of April, birds and buds and ants are telling me that little liar groundhog’s ruse is almost over.
In other words, my review of Summerteeth from 1999 in…
When asked about his plans for Wilco after Being There had caught people off guard, Jeff Tweedy hinted that the band would most likely take another unexpected turn and create “a twisted pop record“. Let it never be said that Tweedy is not a man of his word.
Once again self-produced by the band (Tweedy, Jay Bennett, John Stirratt and Ken Coomer), Summerteeth thrives on the juxtaposition of introspective, sometimes dense, lyrical wordplay fleshed out in a rainbow of musical style. There are several songs that will immediately strike the listener as upbeat, sing-along melodies, yet underneath lurk images of loneliness, confusion and unfulfilled dreams.
“Candyfloss” jumps out of the speakers with a bouncy, 60s pop calliope beat, yet Tweedy’s confessional says otherwise: “I’m the boy who looks excited/I’m the boy who’se gonna fall apart…I’m the boy who eats his heart out…” . Likewise, the opener, “Can’t Stand It” is a groove rocker but boasts a chorus that states “our dreams will never be answered again“.
“Via Chicago” is one of the few that matches sonic pulse with lyrical imagery. Slow and deliberate, the opening line is as disturbing as the distorted, feedback-laden guitar solo that cradles the fade-out: “Dreamed about killing you again last night / and it felt all right to me…”. Then – just as your heart and brain are splattered across the floor – “ELT (Every Little Thing)” rockets out of the speakers like the hit single it should be, a cousin to Bowie’s “Heroes” filtered through The Byrds. It’s another song of lost opportunity or maybe Fate’s warning, but which? Hopeful or hopeless? Tweedy’s deft pen leaves that open to your imagination, and depending upon your mood, it will be either.
Video: “ELT (Every Little Thing)”
The title track, like “Candyfloss” and “ELT“, will no doubt pump out of radios all summer long. No matter that the subject is denial about the rut that his life has become; the infectious refrain will have you singing along with the “ooh-ahh” background vocals (with lilting keyboards and chirping birds, no less) and have you daydreaming as well. “My Darling” and the stark “We’re Just Friends” echo Big Star circa Sister Lovers with a little Brian Wilson harmony thrown in, while “You Wake Up Feeling Old” is ironically finger-snapping pop.
The band must have gathered up every instrument in the studio and then some – bells, bird chirps, penny whistles, shakers, flutes, horns and tympani are sparingly but creatively used throughout the record. And as he promised, Tweedy has stripped down the band and reconstructed its direction, a move that will probably alienate some diehard Uncle Tupelo purists (assuming they aren’t already pissed off) but should thrill anyone with an open mind and a respect for the art of songwriting. Summerteeth is funky, soulful, rocking, heartbreaking, pensive and explosive – in short, a masterpiece.
As soon as I pulled one of the T.Rex collections off the shelf last week, I knew I’d be doing a TGIF with their songs. Hard to believe that Marc Bolan died at 29, but his music still pumps me up over thirty years later. How one can hear “Bang A Gong” and not get caught up in it, I’ll never know.
A fixture of the glam rock movement, his impact in America was short and sweet but he dominated the UK music scene during his career. Fragile yet headstrong, he dabbled in many arts and performed with many artists across the musical spectrum (never would have expected to see him credited on a Tina Turner track), and if the legacy is to die young and pretty…mission accomplished, mate.
So here are Ten T.Rex Tunes for this week’s TGIF. One and two and bobbidy bobbidy boo boo, yeah – let’s boogie!
(01) – “Children Of The Revolution”
(02) – “Metal Guru”
(03) – “The Slider”
(04) – “Dandy In The Underworld”
(05) – “Bang A Gong (Get It On)”
(06) – “Buick MacKane”
(07) – “Telegram Sam”
(08) – “Jeepster”
(09) – “Raw Ramp”
(10) – “20th Century Boy”
God damn, he was great.
Always been a Ronno fan; loved his tone on all the Bowie albums and thought his collaboration with Ian Hunter was the perfect dynamic for both men. And while his first two solo albums (Slaughter On Tenth Avenue and Play Don’t Worry) didn’t hit those heights, they were enjoyable nevertheless. In later years I marvelled at how his magic touch would lend a spark to artists as diverse as Ellen Foley, John Mellencamp and Morrissey. I have plenty of great Ronson memories but thought of this one the other day when I came across an old review.
When I moved in June of 1981 I didn’t know a soul in my new town, but found out that Ronno’s band The New York Yanquis was playing a beach club about an hour from my apartment. I swear I was the only one in that club who was aware of the magician on stage, despite his more conventional appearance. Everyone else seemed to be getting hammered and ignoring the legend on stage, who simply went about his business blowing my mind.
It was the first gig of that tour, and the band had just gotten a cease and desist order from the Yankees baseball team, but even that introductory story didn’t make a ripple in this crowd of Budweiser swilling drunks. So he just played a myriad of rock and reggae and soul, backed by Shane Fontayne (guitar), Frank Cambell (bass), Tommy Gun (keyboards), and Wells Kelly (drums), with Ann Langte and Dede Washburn on vocals. I even got to talk to him for a while that night; he was exhausted and probably a little depressed but seemed relieved to know that at least someone recognized him and was excited about the band. It was the last time I’d see him.
His death hit me hard in 1993, and I assumed that there would never be another album since the others never sold that well and glam was the furthest thing from the current grunge on the radio. How delighted I was to come across Showtime in 2000, let alone the wonderful collections that followed.
Here is my review from Amplifier Magazine in 2000…
The first officially released live collection dedicated to Mick Ronson’s solo work is yet another stunning testament to the late guitarist’s versatility and passion. Showtime culls tracks from a 1976 performance of The Mick Ronson Band alongside excerpts from the 1990 Hunter/Ronson band tour. Lesser known tracks like “Takin’ A Train” and “I’d Give Anything To See You” shine while the cover of “White Light, White Heat” explodes with energetic fretwork. Extended versions of the instrumentals “Slaughter On Tenth Avenue” and “FBI” are highlights, but “Sweet Dreamer”, as always, is the emotional showstopping performance that will leave you with heart in mouth.
Limited editions of this release include a bonus disc featuring four tracks recorded in Sweden in 1991, later versions of which appeared n the posthumous release Heaven and Hull. The label is reportedly assembling more Ronson releases including a CD spotlighting his instrumental work. Keep it coming folks, this is magic!
You’ve heard the phrase actions speak louder than words? Well, before I say any more I implore you to watch this video clip and tell me it isn’t the most ass-shaking, head-knocking rock and roll track of 2010…
Video: “High Horse”
The Jim Jones Revue can lay claim to being the fiercest rock’n’roll band on tha planet right now, and while that might not prove absolute, I guarantee you they’d be in the final rounds. Slam some Little Richard, Elvis Presley and Jerry Lee Lewis down your throat and follow it with a chaser of Ziggy-era David Bowie and The Stooges and you’re only scratching the surface.
Video: “Shoot First”
The band exploded (probably literally) on the English scene in 2008 and issued a hastily recorded self-titled album; last year a compilation of singles and b-sides called Here To Save Your Soul followed. Jones (formerly of Thee Hypnotics) fronts a powerhouse band featuring guitarist Rupert Orton, bassist Gavin Jay, drummer Nick Jones and keyboard player Elliot Mortimer. Everyone is great – obviously – but it’s piano man Mortimer whose raucous boogie-woogie attack gives the band its hybrid punk/rockabilly energy. It’s scary how good this band has gotten in less than two years; I cannot wait to see them live.
Video: Live at the Dirty Water Club
Burning Your House Down is not only one of 2010’s most aptly named albums, it’s one of the loudest records you will ever own.
And it is absolutely one of the best.
Melt your ears at Amazon
Jim Jones website
Jim Jones Revue on MySpace
I guess writing about the closing of Not Lame sent me to the record racks for consolation. Grabbing a Liquor Giants disc is never a bad thing to do. Meaning to select Every Other Day At A Time, I accidentally grabbed the next disc in the rack, Something Special For The Kids. An audio Freudian slip? The latter disc was originally a series of hidden bonus tracks on some editions of EODAAT and was not released on its own until later that year.
When I wrote the review for TransAction Magazine in 1998, I couldn’t focus on the bonus tracks; it wasn’t a sure thing that they’d see the light of day. But it’s okay now! Hell, I love tributes and cover tunes, and Something Special For The Kids is loaded with them. Jeff Beck, The Move, The Turtles, Connie Francis (!), Dusty Springfield, Jeff Lynne…I’m sure they did it for fun and I’m glad they did.
And Every Other Day At A Time is no slouch either.
It’s almost Christmas! Go grab both of them.
Ward Dotson and company are at it again with perhaps their strongest effort to date. Calling to mind The Byrds, The Plimsouls, Big Star, The Kinks and several other similar influences, their Replacements-like “sloppy but tight” sound worms its way into your heart very quickly.
Although “What’s The New Mofo” won’t get airplay (thanks to the well-enunciated long version of “mofo“), ringing guitars and heartfelt harmonies songs like “Dearest Darling” “Kentucky Lounge” and “Caroline” deserve serious air time. The promo copy includes eleven covers as bonus tracks (to be released as a separate disc later this year) and is capped by a tremendous cover of Bowie’s “Boys Keep Swinging”.