Tag Archives: Rush

T.G.I.F. – Ten Radio Records

Happy Radio Day!

Well, that’s if you believe that Popov invented the concept instead of Marconi or Tesla. (And if everyone believed that, would we have had a band named Popov instead of these guys? Would Marconi not have played the mamba?

Celebrate the day anyway – it is Friday, after all – and blast some music out your car window. You might also want to celebrate by seeing films like American Hot Wax and The Boat That Rocked, a/k/a Pirate Radio.

Here are ten radio-related songs to get you started…

Joe Jackson:  “On The Radio”   Not the best song on I’m A Man, but that’s how strong the early Joe Jackson albums were (and how tight the band is).

Bruce Springsteen:  “Radio Nowhere”  I like Bruce’s social conscience, and I can appreciate the whole Woody Guthrie thing and his passion for the roots of music. But sometimes I just like a great Bruce single, and this is one.

Rush:  “Spirit of the Radio”  I was never a big Rush fan, mostly because Geddy Lee’s voice is like chalk on a blackboard to me. But when he shuts up and the band jams…wow.

Warren Zevon:  “Mohammed’s Radio”   Great live version (with Jackson Browne). God, I miss this man.

The Doors:  “WASP (Texas Radio and the Big Beat)”  I know a lot of people hate The Doors and think Jim Morrison was an overrated ponce, but I think L.A. Woman was a phenomenal album; an indication of what might have been.

Everclear:  “AM Radio”  One can argue that many of Art’s songs sound like they’re built on the same rhythm and chord progression, but you can’t knock his ability to combine humor and pathos. Great video, too.

Hedwig and the Angry Inch:  “Midnight Radio”   If you have not seen this film, you need to run to the store and get the DVD. John Cameron Mitchell’s performance is amazing, and thanks to Steven Trask, this is arguably the best rock and roll soundtrack ever. That’s right…ever. The original cast recording from the play is as good or better than the film soundtrack, but get both.

R.E.M.:  “Radio Free Europe”   The song that started it all for them, and one listen brings back that era in a flash, when these guys sounded so different from everybody else.

John Hiatt:  “Radio Girl”  The video sadly cuts off at the end, but I’m thankful even this much exists. John doesn’t play songs from Slug Line and Two Bit Monsters anymore, and that’s our loss.

Elvis Costello:  “Radio Radio”   Elvis Costello hit the ground with an astounding one-two-three punch of albums, and I wish I had a good rip of his initial SNL appearance when he played this song. But this nod and wink to that event with the Beastie Boys is pretty damned cool.

And your bonus trackJonathan Richman’sRoad Runner“. Priceless!

Got my radio ON!

Tim Russert would have been sixty today. RIP, buddy.

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Filed under Features and Interviews, Music

Stand Up Wit…Matt Weinhold

 

"Who gets a fourteen hour show these days that ends in nudity?"

"Who gets a fourteen hour show these days...that ends in nudity?"

The longest track on DEAD FUNNY is the opener, and for a couple of minutes I was wondering if Matt Weinhold was going to get the crowd at Cobb’s off the ground. Seemed like the drug jokes weren’t working as planned, but then he adeptly turned the tepid reaction into his favor by steering into bits on listening to Rush on acid and joining the Kiss Army, and from that point forward, he was rolling. (The Geddy Lee impression was priceless.) By the time he got around to the…uhh…special bicycle seat, all bets were off.

There are thirty-six tracks on the album, although several are just logical segues that could have been lumped together (e.g. “Bald Race”/”Last Haircut”). Weinhold is not a monologist; he’s in and out of topics quickly – a quick one or two jabs to set up the punch line, then a couple of great reaction lines to drive it home (often using sound effects and a myriad of voices to add color). I haven’t seen him in person, but based on the voices and timing I would bet he’s physically expressive as well. Not Brian Regan expressive, but very visual.

Yet despite the seeming smorgasbord of topics, there’s a great flow to the set, and like the San Francisco crowd at Cobb’s I was laughing throughout.  And Weinhold has balls – he’s unafraid of offending anyone. If several gay, Nazi, serial killer and pedophile jokes were over the line, he absolutely hurdledit with “Pudding”, yet he was able to pull even the dumbfounded audience members back in and get out alive. But compared to those pokes at the disabled, he’s soon far rougher on himself as a geeky, lazy, balding sci-fi freak who resorts to pleasuring himself in the kitchen rather than summon the initiative to do the dishes. Matt might have wanted the audience to leave the show with the word “assfigure” as their new vocabulary entry, but it’s the one he coined in “Masturbation” that will haunt me for a while.

Besides the above, my other favorite pieces were “Pepe Le Pew”/”Yosemite Sam” (with excellent imitations), “Amateur Porn”, “Action Figures” (take that, conventioneers!) and the closing bits on sad, tired and bizarre relationships. (I think I dated that girl in “Living Together”, although Matt’s nightmare woman sounds more like Kevin Meaney on a Red Bull jag…)

DEAD FUNNYis a solid effort, as Weinhold hits the target often. Plus anyone who’s into BUBBA HO-TEP is alright with me.

Tons of information at Matt’s website.

You can also buy DEAD FUNNY at CD Baby.

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Filed under Comedy, Reviews