Rock & Roll Hall Of Fame - Class of 2009 Nominees: The Good, The Bad, & The Ugly

The Rock & Roll Hall Of Fame Foundation has released a list of nine possible inductees into the Hall that will be selected by a panel of 500 voters in January, 2009. The chief criteria for being selected is having released a recording 25 years ago or longer (1983). Out of the nine possible inductees, only five will be chosen. The list includes: Jeff Beck, Chic, Wanda Jackson, Little Anthony & The Imperials, Metallica, Run D.M.C., The Stooges, WAR, & Bobby Womack.

Not a bad list; not a great one either. If you're looking for those that were the foundation for a certain genre of music, you need look no further than Run D.M.C. (hip-hop) and The Stooges (punk). Run D.M.C. put NYC-bred, urban rap on the map (hey I'm ryhmin') in the early '80's...plain & simple. They were a household name even before they crossed over to team with Aerosmith for a remake of "Walk This Way" in 1986. The Stooges, led by maniacal Iggy Pop, burst onto the underground scene in 1969 from Ann Arbor, Michigan (we won't hold that against them) and along with the MC5 became the prototype for the punk scene that would follow half a decade later. The Stooges crowning achievements were their 1969 debut The Stooges (produced by John Cale) featuring "I Wanna Be Your Dog" and 1973 album Raw Power (produced by David Bowie).

OK - we've got two inductees, now we need three more. Although I've never been a huge fan, Jeff Beck probably will get in if I were a betting man. Beck is already in the Hall as a member of The Yardbirds, where he followed Eric Clapton & eventually shared lead guitar duties with Jimmy Page. Most of Beck's memorable work was with The Yardbirds, as well as his next creation The Jeff Beck Group that featured a young Rod Stewart on vocals & Ron Wood on bass. Beck would collaborate with countless other top-notch musicians over the years, and while always respected as a guitarist, never really made as big a mark as he did in the '60's & early '70's. Ho-hum...here's your lifetime achievement award Mr. Beck, now go away.

Two spots left, & in my mind three possible candidates. If you can't tell by now, my enthusiasm is waning...& you'll find out why shortly. Chic laid down the groove for the disco era of the late 1970's behind Nile Rogers & Bernard Edwards, who have since become great producers in their own right. Since Chic has been nominated for the RRHOF five times already, I think they're in.

Metallica vs. WAR: the battle for the final slot. WAR was quirky, yet terrific in the early 70's, giving us "Low Rider" & one of my favorite songs ever, "Spill The Wine" with the great Eric Burdon on vocals. Metallica has become a juggernaut-turned-enigma over the past 10 years. They blazed the way for the thrash metal scene to get international exposure, but something makes me want them to sit out for a year. OK, I'm really starting to get cranky now, & I'm about to bust. Metallica dudes, before you crucify me...until Motorhead is inducted Metallica has got to wait. Oh, by the way...what of Wanda Jackson, Bobby Womack & Little Anthony you ask? Sit on it, Potsie. I'm not in the mood.

Alrighty then...you want to know what is pissing me off so bad? Perhaps the greatest blues guitarist EVER (you listening Jeff Beck?) became eligible this year, even though he's not recorded in some 18 years. Whom you may ask? Well, if you had to ask you sure as hell don't know, because Stevie Ray Vaughan & Double Trouble was left of this year's list of inductees. You have got to be kidding me...no SRV even on the nomination list? And The Dave Clark Five was inducted last year? The legitimacy of the RRHOF just took a big shot to the gut this year with Vaughan's omission. All five of this year's eventual inductees must know that one of them has taken a spot from someone more deserving, and they will live with the curse of SRV until he takes his rightful place amongst the gods of rock & roll. By the way, the "sign of the horns" insignia on your website is wrong, RRHOF tool bags. Take us home, Stevie...

So Good to Feel Good Again - Steve Forbert in Granville - 9.26.08

The scene - a dingy, dirty, third floor room with a noisy bar at the back end. Drunk hard-core Forbert fans shouting at the drunk college kids to shut up and listen. Forbert on stage, alone, guitar in hand and harmonica around neck. In other words, the perfect night to hear the man critics once hailed as "the new Bob Dylan" do his thing.

Steve Forbert's 30-year career has been nothing if not consistent. From 1980's #11 "Romeo's Tune" right up to his latest work, Forbert has stayed true to his musical style. What style might that be, you ask? Well, therein lies the rub. His style has been described as folk, rock, blues, pop, even a tinge of country thrown in the mix. Bottom line, the cat can't be categorized. One thing is certain though, the guy can write with the best of them. Intelligent, witty, insightful, or sad, Forbert is a poet and an incredible song craftsman. As my friend Canon put it last night, Steve Forbert can put more soul into one verse than most modern songwriters can put into an entire album.

Last night's show was in beautiful downtown Granville, Ohio, on the aforementioned 3rd floor of Brew's Cafe, Restaurant & Bar (By the way, my pre-show Cuban Hoagie was fabulous), a small, classy, clean, intimate place that got less classy, less clean, and less intimate the higher you climbed the stairs. Anyway, Forbert played on a stage in the back, just him and his guitar and harmonica, and just the way I like it. He covered a ton of his stuff, from the mellow love songs to the bluesy rockers in a style that really has to be seen to understood. Seriously, ask any of the six of us that went and I'll wager they can't really describe what they were seeing. Forbert is that way, unique enough not to be pigeonholed or to be compared to anybody else. Among the songs he crammed into his set were "What Kinda Guy?", "It Isn't Gonna Be That Way", "If You're Waiting On Me (You're Backin' Up, Boy)", "So Good to Feel Good Again", "The American in Me", "It Is What It Is and That's All", and of course he closed with "Romeo's Tune."

It was just a great night in a perfect setting to see one of music's great, underappreciated, underrated singer-songwriters. Steve Forbert's music has meant a lot to me over the past 30-years, and at the end of the night I got the chance to shake his hand, look him in the eye, and tell him just that. He responded by saying, "Well, all you guys mean a lot to me too." Memorable evening.

If you're a true fan of music, do yourself a favor and delve into Steve Forbert's songbook. You won't regret it.

Grrrrrrrlllll Talk (Love Notes To My Favorite Female Artists, Albums, And Annoyances Post 1993 Era.)

"Cause it's a steady job, And it's the only thing that makes me money. And it gives me something to cry about, Cause my real life ain't f*****g funny"

You had a good run, Liz Phair. I'll even give you credit for putting me on to women in rock. It was 1994 when I first heard your debut, when it was blasting out of every girl's speaker through my sister's college dorm. I didn't understand until about 3 years later, but your mix of blunt lyrics, with really funny, poppy music is what I would be into for years to come. You came out of a Chicago music scene that takes no prisoners and released one of the best albums I've ever heard. And then, what happened, Liz? You let your own scene eat you alive. I get it, you don't want to be some indie rock wet dream, but at least stop somewhere between that and pop (dare I say it...) sellout. I'll always give you credit for owning it, though. Yeah, Whitechocolatespaceegg was an even worse album than Whip-Smart, but the track "S**tLoads Of Money"spelled out what you were after ("It's nice to be liked, but even better to be paid"), and you know what, you still top my list, because of that. You are one of few artists that can sell out and be brutally honest at the same time. I live in a world where only Exile In Guyville exists, and I'm ok with that. But, I'll still wait around for you to one day put some clothes back on and make a relevant album.

"In rock stardom there's an absolute economic upside to self-destruction."

Courtney, you went through a lot to prove to everyone that you went through hell and made it out alive. You'll always be known as simply Kurt Cobain's widow first, but that's because enough people don't listen to Live Through This. Yeah, Pretty On The Inside was a good enough record, but it wasn't open enough. No one felt it like they felt this one. And Live Through This? what a genius title, even you couldn't forsee that 2 days before the release date, your husband's body would be found, and 2 months later, your bassist would die of an overdose. You've earned it, Courtney. You've lived harder in 5 years than most people have in a lifetime. Whether Kurt helped on that album or not, it's still classic. It's still you, and everything you felt. And what of Celebrity Skin? you made the shift from angry, open grunge, to glam pop seamlessly, and the critics ate it up. Yeah, you get knocked by surrounding yourself with superior writers and musicians, to the point where it's said that no one knows how talented you, yourself are. But I don't buy that. I don't think that you're just some Corgan-Cobain coattail rider. You put out one solo album, America's Sweetheart, that was largely ignored, but that's ok, because I still loved it. And only one more month to go until Nobody's Daughter is released. I heard your cover of I'll Keep It With Mine, and it didn't do it for me, but I don't doubt that this album will rise to the top. Just like you always have. You're Patti Smith, Ella Fitzgerald, And Britney Spears all in one, and that's priceless.

"Love is a piano dropped from a fourth story window, and you were in the wrong place at the wrong time."

Ani, Ani, Ani. If you only knew how much loving your music has put on me. Every time I put in Little Plastic Castle, I have to remind all of my friends that yes, I do love your music, however, I am NOT a lesbian. But it's worth it...I love her, but you are the anti Liz Phair. You are what I wish Liz Phair would have become. You carried an emotional folk movement to the masses. Well, masses is a bit generous. But, you've got a cult following like no other. Take swipes if you will. Yeah, 99% of your fans are women. Possibly 50% of those are gay women, and critics will say that they are only into you because of your attractiveness. How unfair is that, Ani? Justin Timberlake doesn't get flak for the girls that latched on to him initially due to his looks, does he? You inspire. You're an icon. You've turned down countless major labels to continue recording on your righteous babe label. You let me down a little though, Ani, when I went to see you live in Columbus in 2002. I had never seen you before, and I was excited, and you seemed to spend the entire time spouting political views, and you only played 3 songs. It's not that I disagreed with you, but I wanted to see you perform all of my favorite songs. Maybe you just had a bad night, but I didn't listen to you for 2 years. Not until critics fell all over themselves for Knuckle Down, The album where you sang all of the vocals, played all of the instruments, and even acted as producer, and I gave in and swiped the album from my sister, and I fell in love with you all over again. You've got indie cred to spare. Steve Albini even loves you, and he doesn't love ANYONE (but himself)...especially not female artists. How did you do it, Ani? Staying true to what you believed? Releasing an album every single year for 15 years straight? Your lyrics cut through the fat of love, life, and war...even mixing all of them. Both Hands? That line, "I'm recording our history now on the bedroom wall/and when we leave, the landlord will come and paint over it all"? That line combines so many feelings in one, and I spent a lot of time when I was writing figuring out how to write like you, how to feel like you feel. One more week until your new record, Ani, and I'm marking the days on the calendar. You could be Alanis, Lisa, Liz, or Sheryl. But, you opted to just stay Ani. And you are it for me.

"If you’re here ’cause you want to be entertained....Go away, please go away"

Corin, I love you. Period. Am I still a little bitter that you selfishly broke up Sleater-Kinney? yeah, I little. I mean, you say you can't do it anymore? you can't be one of the most influential artists of this era anymore? I know, you wanted a family, and wanting a family often doesn't go hand in hand with being the self proclaimed Queen of rock n' roll. You never got the credit you deserved. People look at Sleater Kinney and show love to Carrie's ferocious attitude, and Johnny Thunders guitar, and Janet's drumming. They say your voice isn't accessible. That no one can listen to that shrill for an entire album. That you're a product of being in a great band, but that you don't stand well on your own. But your lyrics, your voice, your playing? how can anyone knock a band who made as many flawless albums as you contributed to? You're more Joe Strummer than Joan Jett, and I always saw your direction. I've got every S-K album ever made, and I'll be waiting until you get back together. Because I know you will. I know you can't stay away forever. You're going to be a mother, and you're going to have that fulfill you for a while, but then you'll want your throne back. Washington will push you back in, like it always did. Olympia needs it's heroes, and the Pacific Northwest has lost so many already. At least give me a side project. Cadallaca, or Excuse 17? You're leaving a void in music that can't be replaced. Yeah, I heard the solo track. Mary Gets Paid By The Hour? I just can't endorse it. I know, I'm being a tough unfair critic, but I want you back in your purest form. So, take your time. But hurry up.

"Sometimes I think that I'm bigger Than the sound "

Lastly, you, Karen. You have to get it together. You're the future. You're all of these women rolled up into one. You front a band with more tenacity than any woman in recent years. You've kicked in the door to the boy's club, and stood tall. And you toe lines. Sexy, but not too much, scary, but still inviting. I absolutely worshipped your first album with Yeah Yeah Yeah's. Fever To Tell changed my time. It was like Exile In Guyville for my college years. Blunt lyrics, loud guitars, it was all there. And Maps? yeah, I know everyone loves that song...but it's only because it's so good, it's impossible to NOT like. And now, you're in Limbo. Show Your Bones tanked, big time. It wasn't so much that it was bad, it just didn't live up to it's promise, especially because Gold Lion was the best single to date, and critics balked, rolled their eyes, and dismissed you as a Souixse Souix wannabe who was falling short. You vanished for a few years, but then came the Is Is EP, and I knew it. I knew you had it in you. Your new album isn't due out until next year, but I know you'll come back strong. You're carrying the torch now, and you can't let me down, because I've already had one Liz Phair crisis in my life, and you can't be the next.

I wish I had time to expand this to women of the 60's, 70's, or 80's. I'm not forgetting about you Emmylou, Patti, Joni, Cyndi, Susanna, Melissa, Janis, Carly, Carole, Dusty, Linda, Or Chrissie. Just another time.

Big Game Depression & Death Magnetic

As I sit here pounding the purple Kool-aide thanks to this past weekend's football debacles (by the way if by chance you didn't catch the Buckeyes or Bengals games just have someone close by kick you in the groin and you'll instantly understand), I decided to find something that will totally take my mind away from my gridiron woes. Where to turn in this my time of sorrow, anger and angst? Perfect time for some Metallica. While I desperately want to crank up some "Ain't My Bitch" or "Master of Puppets" and mosh into my OSU 2003 national champion banner wearing my Carson Palmer jersey (all while heavily doused in gasoline and smoking a filterless Winston), I have decided to take a more serene approach - listen to heavy metal until blood gushes out my ears and the pain goes away. And, since we are about to crown a heavy metal king here at RHT why not post my first ever album review? One of the last albums I have ever listened to start to finish and I mean no pausing, skipping or even stopping was Metallica's S&M in which they worked with the San Franciso symphany to cover some of their all-time greatest tunes. However, while that album left me in slack-jawed awe, the last album, St. Anger, left me wanting to picket the Hillsboro K-Mart until they reversed their "no-refund" policy on open CD's. Seriously, that St. Anger thing really shook me - Is this really what Metallica has come to? Was Jason Newsted that good? Is this music really cool and I'm just too old to recognize it? Is Metallica to old to realize this music isn't cool? Who made the call to not let James Hetfield play guitar on that album? wth? Whatever, with Friday's release of Death Magnetic, I have to admit I approached the album with extreme caution (even with Rick Rubin's stamp of approval).

Put it in, turn it up, and tear off the knob.

After headbanging until I nearly separated a C7 vertebrae, alas I, and Metallica have found redemption. I came on board with Metallica during the And Justice for All era; I remember the "One" video as vividly as my wedding night. While I like the earlier Metallica stuff, I have to admit I have my limits. After about 12 tracks of Master of Puppets or Ride the Lightning, I feel like I've tried to induce myself into a seizure. Nothing rocks harder or faster, but you have to get your head right to take on that much metal. I'm more of a fan of what "true" Metallica fans called the "sell-out" period. I loved Load and Reload. Those tunes really magnified the greatness of Hetfield's vocals and Kirk Hamett's guitar leads. Yeah, Lars rocked too but he is such a douche bag I'll not mention it. This latest album kinda combines both worlds. You still get the marathon metal 7 minute song, but there is also some masterful lyrics and singable lyrics. Unforgiven III is really great although I'm gonna need help figuring out what it has to do with Unforgiven I and II. The End of the Line will probably get some radio time, which is rare of late for the ol' Metallicats.

Let's leave it at this, I may be drunk with animosity and reeling from the football frenzy, but I say this album rocks. For example, "crushing metal, ripping skulls, tossing body, mannequin, spilling blood, bleeding, mangle flesh, snapping spine, shatter face, spitting glass, split apart, spit, spit it out" from My Apocalypse - yeah, that hits the spot. After hearing that screamed into my ears at max volume I want to finish it off with a celebratory iPod spike. At this rate I may be listening to Nazi Death Speed Metal by the season's halfway point.

What did you guys think of the album? For now, I'm just gonna keep hoping tomorrow brings back my Welcome to the Jungle and Hang On Sloopy. Fade to black . . . .

Sometimes, Things Are Better Left Unspoken

The rock instrumental - one of the most overlooked forms of rock & roll that should be kept alive. The bands of today cannot hold a candle to the titans of musicianship such as Dick Dale, Duane Eddy, Stevie Ray Vaughn & others from days gone by. You always wonder nowadays when you hear something cool by a new band, "did they really play that or was it constructed digitally in a studio?" I want to know if they can play it live - put up or shut up.

Several years ago I became engrossed in Quentin Tarrantino's Pulp Fiction - not only because it was a great movie but by the soundtrack he chose. He re-opened the Pandora's Box that was surf music - not the poppy ditties of the Beach Boys or Jan & Dean, but the real soundtrack of the surf. "Misirlou" by Dick Dale & His Del-Tones was the opening theme. "Surf Rider" by The Lively Ones " was used in the final sequence. "Bustin' Surfboards" by The Tornadoes was included. "Bullwinkle, Pt. 2" by The Centurions is synonymous now with the classic Bruce Willis line, "Zed's dead, baby. Zed's dead." When I hear the phrase "bring out the gimp" I automatically now think of The Revels' "Comanche." (There's a whole post hear just on Tarrantino's use of music in his films, but I'll respectfully defer to Supervesey on that)

Other great instrumentals from this period are the iconic "Wipe Out" by The Surfaris (who hasn't drummed that on your knee?), "Pipeline" by The Chantays (later covered by the great Dick Dale alongside Stevie Ray Vaughan), and "Walk, Don't Run" by The Ventures. Probably the grand-daddy of this whole genre, however, was Duane Eddy's "Rebel Rouser" from 1959. Eddy's twangy style of guitar playing can definitely be heard in the surf genre. Eddy became the King Of Instrumentalists, charting many more times, including with the theme to "Peter Gunn."

Other artists have made a name for themselves by performing instrumentals, which were mainly a staple of their live acts. Some call the "jams", some call them "solos" or "virtuosities," but listening to these you get a feel for just how good the musicians in a band really were. Booker T & The MG's stepped out from being the house band at Memphis' legendary Stax records to record "Green Onions" in 1962. Jimi Hendrix proved he wasn't all flash with the subtle, yet powerful "Little Wing" from 1967's Axis: Bold As Love. Santana burst on the scene at 1969's Woodstock Festival with "Soul Sacrifice," a percussion masterpiece. Led Zeppelin featured ace drummer Jon Bonham's "Moby Dick" on 1969's Led Zeppelin II, and it was later mixed together by Jimmy Page with "Bonzo's Montreux" for their box set in the early 90's. The Allman Brothers' "In Memory of Elizabeth Reed" & "Jessica" are perhaps their most iconic recordings from Live At Fillmore East in 1971, and placed them at the top of the heap for pure playing ability.

The 1970's brought the Progressive Rock era, with bands such as Pink Floyd and Roger Waters bringing the electric bass instrumental to the forefront with "One Of These Days" from 1971's Meddle. Edgar Winter proved he could play any instrument known to man on 1972's "Frankenstein", which was groundbreaking in it's use of synthesizers. Eddie Van Halen introduced himself to the world as a guitar god in 1978 with perhaps the greatest guitar solo ever, "Eruption." Rush's 1981 release, Moving Pictures, also featured one of the best instrumentals of all-time, "YYZ," that featured the great Neil Peart on drums.

Later years have produced efforts by guitar virtuosos such as Joe Satriani, Eric Johnson, Yngwie Malmsteen, & Steve Vai, but for my money the greatest guitar player of the past 25 years, and perhaps the best blues guitarist ever was Stevie Ray Vaughan. He could play anyone, including a cover of Hendrix's "Little Wing,"which is included on the post-humus The Sky Is Crying from 1990. Another hidden gem from this record is "Wham," a Lonnie Mack cover. Man, I wish SRV was still alive...be sure to check out all of the video links here on this post.

Cover Songs: The Good, the Bad and the God-Awful

Cover songs seem to strike some sort of maniacal chord in people, bringing out the worst type of venom directed at the artist in question. Everyone has their own list of their best and worst, and I’m no exception. As general rule, aren’t the originals just always better? I mean, especially if the original performers wrote the song? C’mon, it’s THEIR song after all, and the way they perform it should be the way it should be heard. Those are my feelings anyway. Still, over the years there have been some great covers, songs that really stood out to me. On the other hand, others were just a big bowl of wrong. Let’s start with the good ones:

Twist and Shout - The Beatles

“Twist and Shout” was originally recorded by the Topnotes and then covered by The Isley Brothers. But it was The Beatles who turned it into a thrilling crescendo that is still electric today. One of the first songs that got my head a-bobbin’.

Toys in the Attic - R.E.M.

Whoo boy, if you’ve never heard this early R.E.M. cover, download it now - you’re in for a treat. Michael Stipe’s screeching vocals and Peter Buck’s searing guitar make this one of the greatest covers ever.

Over the Rainbow - Eric Clapton

There are a million and one covers of this song, including the great version by Ray Charles, but none comes close to the slow, bluesy, 5:42 interpretation by Slowhand himself. Mesmerizingly beautiful.

Boyz-n-the-Hood - Dynamite Hack

Just a great, whimsical cover of the Eazy E tune. Originally written by Ice Cube, this version was a jarring departure from the original. Just quality, off-beat stuff.

Raspberry Beret - Hindu Love Gods

Never heard of HLG? Well, let me educate my young grasshoppers. They were a band that consisted of three R.E.M members - Peter Buck, Mike Mills, and Bill Berry. Stipe didn’t join in on this little side combo, but the boys recruited a pretty suitable replacement, a cat by the name of Warren Zevon. Their Prince cover is priceless.

Word Up - Korn

Much apologies, but I loved this song. Coming from Korn, this Cameo cover was so far out of left field that nobody saw it coming. It just whopped you upside the head and kept going.

Hurt - Johnny Cash

I know a few Nine Inch Nails fans who thought this was sacrilegious, but I found The Man in Black’s version to be hauntingly stunning.

Gloria - The Doors

Originally done by Them with Van Morrison on vocals, The Doors did a rather naughty cover that was recorded live at The Whiskey back in the day. The Lizard King does a little spoken word verse in the middle that will curl your toes, and by the time the group builds up the music into a crescendo at song’s end you’re plum tuckered out.

Ol’ 55 - The Eagles

From their “On the Border” album, I always loved this interpretation of the song by the great Tom Waits. Great vocals by Glen Frey.

A couple of my Honorable Mention picks would be Metallica’s “Turn the Page” (the Bob Seger redo that seemed to piss off a lot of people) and ELO’s “Roll Over Beethoven” (one of the first songs that made me say “What the hell? Beginning a rock song with Beethoven‘s 5th symphony will do that to a young guy). And oh, the Smashing Pumpkin’s did a bang-up cover of the great Cars tune, “You’re All I’ve Got Tonight.”

And now for the unpleasantness. For the love of God I don’t know why some of these people thought that recording these songs was a good idea. Some of the obvious are barely worthy of a mention, but I can’t write this without pointing out that Britney Spears’ version of “Satisfaction” and Celine Dion & Anastasia singing “You Shook Me (All Night Long)” were both absolute travesties and an affront to human dignity as we know it. But let’s get to the so-called “serious” artists that made the fateful decision that ultimately brought them to this blog:

Layla (MTV Unplugged Version) - Eric Clapton

Yeah, yeah, I know. It’s EC covering himself, he wrote the song, blah-freaking-blah. It’s still the worst damn remake of a song in recorded history. What happened to the soaring guitar, the inspiried vocals, the neverending ending? All gone, replaced by a tepid sound that made me want to slit my wrists. Worst of all, I once played the original for a young Clapton fan and they didn’t recognize it. Sigh . . .

Behind Blue Eyes - Limp Bizkit

I swear to you upon all that is holy, when I first heard this song I wanted to reach into my radio and punch Fred Durst in the neck. I’ve no idea what that tool was thinking when he thought he could cover a Roger Daltrey vocal. Absolute sewage.

Sweet Child O’ Mine - Sheryl Crow

Sheryl, honey, I love ya. I think Lance Armstrong’s an ass for dumping you. I think you’re an underrated singer/songwriter who can just play the hell out of that guitar. But you can’t cover G N’ R darlin’. You just can’t. They’re kind of a heavy rock outfit, ya know? Not your style at all. You’re a bit of a balladeer, a gorgeous songstress with a rock chick vibe. Don't give me that look. You’re not mad are ya? If so, I take it all back, really I do. I’m sorry babe. Sheryl? Come back sweetie! COME BACK! I DIDN'T MEAN IT!

Sweet Dreams (Are Made of This) - Marilyn Manson

Uh, the original by The Eurythmics was a bit of a moody, hypnotic, breezy, DREAMY sort of song if you will. Marilyn‘s take? Not so much. No thank you, sir.

Anything by Rod Stewart

You know, I’m old enough to recall when Rod Stewart was cool. The Small Faces were a rock band baby! Later on, Maggie May was a great early 70’s tune that promised a bright future for ol’ Rod. Sometime in the late 70’s he took a wrong turn into Discoland an the rest is history. Since then he’s become a hotel lounge singer, covering anything and everything in the Songbook of Saps. And badly I might add. He absolutely butchered Van Morrison’s “Have I Told You Lately” and now reminds me of Bill Murray’s lounge lizard character on the old SNL. So sad.

American Pie - Madonna

[Shoe weeping in corner]

There ya go. As soon as I publish this blog I’m sure 10-songs will pop into my head that I forgot about. Then again, it’s Friday and I’m heading to POETS Club (Piss On Everything, Tomorrow’s Saturday) at a local watering hole so that’s not likely. Enjoy your weekend my RHT brethren.

I’m out.

Music < Love. Or, The Soundtracks To My Greatest Dating Failures.

Yes, 2 Blogs in one day. I have tomorrow off, so I'm unpacking (still....) all of my random stuff. But not until I put off unpacking to finish this blog, that has been brewing in my head since about 5. What happened at 5? I got a call from a girl I used to date. This is actually not unusual for me, as I seem to live in the friend zone so much that even when you are no longer dating me, it's as though nothing ever happened. This girl loved, and introduced me to Tegan and Sara, a debt which I will never be able to pay. Upon first meeting her, we talked for hours, ending with her slipping me the album So Jealous, which I still have, and listen to at least monthly. Music, or mixtapes can be perfect icebreakers to relationships, but can also be the background for heartbreak. Since I am a romantic at heart, I set off on a journey covering the music that went right, and went wrong. All names of girls have been altered to save them from the fact that they would actually be known as having dated me.

"Jessica"

BBD- Poison

Janet Jackson- Control, and pretty much everything on the album of the same name.

Boyz II Men- End Of The Road

In middle school, it's free, and easy. I count Jessica as my first girlfriend, but if we're really being fair, 6th grade shouldn't even count. I mean, we didn't go out on any "real" dates, and looking back at it, I think we only dated because of convenience. She lived down the street from me, I had a crush on her 17 year old older sister, she had a crush on my older brother, so we called it even and settled for less. Jessica's older sister was into 90's r&b. I was, and still am...but I mean, she was REALLY into it. She thought she was Janet Jackson, so in turn, Jessica thought she was Janet Jackson. It's always funny to look back on how many times we listened to "The Pleasure Principle" without grasping the full Freudian concept of what it meant, but I know I was only like 11, so....anyway. Being that Janet Jackson was THE sex symbol of my pre-teen years, it would seem that dating a girl who thought she was JJ would be awesome. Well, when you're 11, you're not thinking about sex, nor things that symbolize sex. I became distant, and disinterested. Jessica broke up with me with Boyz II Men's "II" album playing in the background. We still speak to this day.

"Tracy"

Nirvana- Serve The Servants, Where Did You Sleep Last Night, Polly, About A Girl, Dumb

Jeff Buckley- Corpus Christi Carol

Liz Phair- Shatter, Gunshy

Lisa Loeb- Do You Sleep

Bush- Glycerine

Tracy had a twin sister (We'll call her "Stacy"), and was my first high school girlfriend. Not my first love, but my first real infatuation. I was in 9th grade, a little awkward, but good enough to make varsity soccer, and the freshman basketball team. She was a lot more awkward, but made the drill team. She didn't fit in though. She liked musicians that were dead, or at least musicians who had a dead career. We were in middle school together, and I remember when Cobain died, she came to school with a black armband. Back then, I just thought she was weird. One day I went to her house with some friends before soccer practice, and she put on In Utero. I had heard Nirvana before, of course...but this was the first time I listened to Nirvana. I mean REALLY listened. I was hooked from there. We started dating and I wrapped myself in her musical choices. I became a female alt rock junkie. Tracy is the one who taught me that when it comes to Liz Phair, you stick to Exile In Guyville, and that record ONLY (I still hold true to that...I tried to listen to Whip-Smart last year, and it was God awful.), and Lisa Loeb is fine...as long as it's pre-1998. Same for Alanis. The one "chick" rocker that she put on my plate (but I do have to give my sister credit for expanding my love for this artist...) was Ani DiFranco. I still listen to Ani to this day, and I still get people asking me why in the hell am I listening to Ani if I'm not a lesbian, and I think of Tracy and laugh. She went wrong when she started listening to Bush. I think it was just that she wanted something that sounded close enough to Nirvana, but our biggest fights were over Gavin Rossdale's blatant ripping off of Nirvana, which she was blind to. Tension ended our relationship...but I'll always blame that hack Gavin Rossdale. Marrying Gwen Stefani was the best thing he'll ever do. Tracy moved out of state, and again, we still speak. Last checked, she was a women's studies major, and she cried when Sleater-Kinney broke up. Which I expected. On both counts. Also, she hates Gavin Rossdale now.

"Erica"

Nas- Halftime, Nas Is Like

Beastie Boys- No Sleep Till Brooklyn, To All The Girls

De La Soul- A Roller Skating Jam Named Saturday

Slick Rick- I Own America (Part 1)

O.A.R.- Every Song O.A.R. Has Ever Made

Erica was the first girl that I dated that was truly...truly into hip-hop. We spent half of my senior year of high school hanging out after basketball practice debating our top 5 list of MCs. She couldn't see Ice Cube in anyone's top 5, and I ripped her for having Run (of Run D.M.C) in hers. But it was all in great fun. I don't think we spent much time in each other's presence where we weren't talking each other's ear off. She knew it all, she knew that Prince Paul was the mastermind producer of the 90's, she loved all Tribe Called Quest, but ONLY listened to Midnight Marauders, because it was just that good. This relationship was short though. I don't think there was any physical attraction. We just loved REAL hip-hop, and that was our bond. Late in the relationship, she wanted to "broaden her musical horizons", so she started listening to O.A.R. The readers of this blog know how I feel about O.A.R. I'm not saying that ended our relationship. But I sure as hell ain't saying that it didn't play a part. We don't talk anymore, and I wish we would. She would love Lupe Fiasco, probably roll her eyes at Kanye West, but enjoy him behind closed doors, and she would have been brokenhearted when Jay-Z stopped, but loved when he started again. If anyone sees her, say hello. Moving on....

"Jasmine"

Youth Asylum- Jasmin

Jane's Addiction- Then She Did...

The Clash- Lover's Rock, Clash City Rockers

New York Dolls- Don't Start Me Talkin', Trash

Aerosmith- Train Kept 'A Rollin

The Band- The Well, It Makes No Difference, Ophelia, Acadian Driftwood

Bruce Springsteen- Rosalita, Jungleland, Murder Incorporated

Talking Heads- Entire '77' Album

Kanye West- Through The Wire, Roses, Family Business, Never Let Me Down

Hootie/Blowfish- Let Her Cry

Jasmine (only name that was cleared to not be changed) was my first real heartbreak. We dated from the end of my senior year until midway through college. At the time, I was sure that I could marry the girl. We met at a pizza place, and I had always had a crush on her, so I picked a cheesy song on the jukebox, because it had her name in the title. She challenged me by then picking the Jane's Addiction song that spanned about 14 minutes and just felt like some kind of really odd trip. Before we had even said words to each other, we were challenging each other's musical tastes. But, my jukebox romance won me a date, and London Calling won me another. If I ever say that London Calling is the greatest album of all time, it was Jasmine's influence, although I really think it might be. She was as interesting as her musical tastes. She was a vegetarian that would sneak bites of my chicken and then giggle as if she had committed a grand crime. She couldn't play keyboard, but would always set it to the weirdest sound, and play it loud. She wore chuck taylors to weddings. She talked in her sleep, but made no noise when she laughed hard. Long story short, she was amazing. I remember early on when we were having one of our many music cred battles, and I played the New York Dolls card, showing off their first album, she fired back the next day by buying me a vinyl copy of their second album ("Too Much Too Soon"), with a note that simply stated 'You're welcome'. We shared more in common than music, but it helped. I remember the day we came across a rare recording of the song 'The Well' by the Band, and sat around listening to it over and over. She didn't like Elvis, but owned 3 45's of his. I turned her on to Jerry Lee Lewis, Rakim, and Bonnie Raitt. She turned me on to X, PiL, and My Morning Jacket. She declared "our song" to be Jungleland, because we both love(d) the line "The poets down here don't write nothin' at all"...it made us laugh, because we both fancied ourselves writers, but had no works completed to our name. We both saw, and loved the rise of Kanye West from 2002 to 2004 where he went from studio whiz kid to rap's savior. When his debut came out, I was in Texas, but she called me frantic, and excited. We broke up over a mixtape, and a note. She left me a note, and a tape which looped Let Her Cry, and some horrible Dave Matthews song in which there was like a flute solo or something. But, the last song was "Uh-Oh, Love Comes To Town" by Talking Heads. And of all things, that let me down easy. I won't go into why we broke up, but she is among the exes that I talk to now. She got married this summer. She didn't wear chucks to this wedding.

"Megan"

Fall Out Boy- G.I.N.A.S.F.S., Chicago Is So Two Years Ago, XO, Reinventing The Wheel To Run Myself Over

Cute Is What We Aim For- Curse Of Curves, The Fourth Drink Instinct

Cartel- Honestly

Nina Simone- Sinnerman

Stevie Wonder- Heaven Help Us All, Love's In Need Of Love Today

The Supremes- Any And All.

Hellogoodbye- Shimmy Shimmy Quarter Turn, Dear Jamie

Taking Back Sunday- Great Romances Of The 20th Century, One-Eighty By Summer, I'll Let You Live

Tegan And Sara- Clever Meals, Hype, I Bet It Stung, Wake Up Exhausted

Megan liked only 2 genres of music. Emo, and Soul. I found this odd, but mostly, she was interesting, and a good friend after a bad breakup. She prompted this blog, as she called earlier to tell me that Fall Out Boy's new album ("Folie à deux"...or "The Madness Of Two") is slated to come out on my birthday, and the new single ("I Don't Care") was released today. She refused to listen to anything but those two genres though, and it was only odd because they were so unlike each other. She is the reason that I consider Taking Back Sunday's first album a classic, and why I still cop to liking Fall Out Boy, openly, while others hid their love. She liked Panic At The Disco BEFORE the Beatlesesque crossover, and I respect that about her, because they truly were horrible then, but she saw the potential. I saw HelloGoodbye with her in 2006, and it was the most fun I've ever had at any concert ever. She introduced me to Paramore, and the force of nature that is Hayley Williams. When I couldn't find a good copy of the Fall Out Boy B-side G.I.N.A.S.F.S. last winter, she sent me one express mail. She's my age, 24, but her musical spirit is that of a 16 year old, and I admire that. She wasn't for me, and still lives in Arizona, and we, of course...are great friends.

So, there's an open, touching, and fun blog for you all. I'm not saying I pick relationships based off of music, but every one has a soundtrack.

Oh, and as for the new Fall Out Boy single...it'll have to grow on me. Aside from the chorus line of "I don't care what you think, as long as it's about me", the lyrics are a little bland. I'm off again, fellas.

That Dude That Was In That Awesome Band, But Then Made That Awesome Solo Album That No One Cared About.

As summer draws to a close, I feel the need to open a blog with the line "as summer draws to a close". So, I was watching The Last Waltz the other day, because I watch it at least 2 times a week. And, for me, the most moving and meaningful part in the film (For those who have seen it) has to be when Rick Danko and Scorsese are in the studio, and Danko puts on Sip The Wine for Marty. Something there moves me, and it's tragic to think of what became of Danko, but not before he put out a great, classic forgotten solo record. So, it got me thinking of some of my favorite solo projects from members of prominent bands. Starting with...

Rick Danko - Rick Danko (1977): Personally, I love Danko, he wasn't my favorite member of The Band, but that's like asking me to pick my favorite Ozzie Guillen meltdown. I just can't do it. I always leaned more towards Robbie Robertson, despite all of the negative everything around him. But Danko did it solo, where Robertson sure couldn't (Storyville? ewww....), and it made the claims of Robertson being an excellent craftsman for others but a poor one for himself seem true (Not to mention that The Band as a whole in general was just greater than it's parts, but...) here at least, Danko created a forgotten classic. People detract from this record because he had a lot of help. Every member of the Band played on at least one track. Also joining the fun were Eric Clapton, Ron Wood, and the horribly underrated Blondie Chaplin. But, with all of those guests, between them, they only played on about half of the songs. And the two finest songs (the aforementioned Sip The Wine, and What A Town) are all Danko. It's soulful, and pretty sad to listen to. You can hear that Danko was a guy who didn't have much to look forward to after the Band. He released a couple of live albums solo prior to his death.

Lindsey Buckingham - Go Insane (1984): I know. Just another excuse for me to praise Lindsey Buckingham in a blog, but I've got to say it...this has to be one of the greatest albums of the 80's. The only bad thing about this record is the outrageous album cover. I would probably consider this the greatest breakup album of all time...if I wasn't such a crusader for music that came out post 2000 (So, as it stands, Taking Back Sunday's "Tell All Your Friends" holds that crown, but this is a close second...) If you take all of Buckingham's tracks off of Tusk (pretty much the only good songs on that album...), these are pretty much an extension. The odd studio tricks are in effect, as the first song ("I Want You") wastes no time layering odd vocals, much like "The Ledge" on Tusk. It follows a heartbreaking song cycle, and I know that Buckingham has never been the best lyricist, but always a better musician...his lyrics are at their best here. Not to mention, every instrument on the album is played by the man himself. Buckingham's new solo project, Gift Of Screws, is slated to come out on September 16th. Then again, it has been 9 years in the making.

Little Steven And The Disciples Of Soul - Men Without Women (1982): Aside from the fact that it's named after, and inspired by a collection of Hemingway short stories, MWW is the only time an E Streeter struck out without help from The Boss to create something amazing (Springsteen does do some backing vocals on 'Till The Good Is Gone, but it's only like a minute.) I mean, Steven directed this album, and sang lead on most of the tracks, but it's tough to call it a solo project without facing a few things: Steven is, and always has been a better musical director than actual musician. There's a reason why Nils Lofgren is in the E Street Band now. Miami Steve is the show, Lofgren is the talent. Also, Steve can't really sing that well. I mean, let's face it. But, this album still works, thanks to the production, the songwriting, and yes, the help of almost every musician that Jersey has. Of the credited musicians, you'll see 3/4 of the E Street Band, Southside Johnny, Gary "U.S." Bonds, Felix Cavaliere, Dino Danelli, and La Bamba Rosenberg...just to name a few. If those names mean nothing to you, take a visit to New Jersey, and they'll mean a lot. Still, it's a soulful album that doesn't sound like Born To Run jr. Steve is at worst just a Jersey Shore bar musician who got by with a little help from his friends. Nothing wrong with that.

John Cale - Vintage Violence (1970) & Nico - The Marble Index (1969): Not knocking Nico, but these are both pretty much John Cale albums. The thing with Nico was that she was kind of like clay. She could take on whatever form that the group, producers, etc. wanted her to be molded into. With the velvets, she was this German femme fatal with street cred. On Marble, Cale made her dark, cold, and gothic. Even the album cover is all black. Not to discredit Nico, again, she was no slouch on this record. She wrote all of the lyrics, and they were pretty impressive. Dark, and sometimes scary, but impressive nonetheless. This makes for her best solo effort. John Cale's debut, to me gets less credit only because everything after it was less messy and more fine tuned (Paris 1919 is probably his most critically acclaimed work), but I like his kind of messy. It's something like an amateur trying to figure out the studio and just trying everything in sight. Obviously Cale was no amateur, but he played the role well. All of the Velvets had impressive solo albums. These two just stand out more.

Joe Strummer - Streetcore (2003): As big of a Clash fan as I am, I have to call this album on par with their finest work (probably not on par with London Calling, but Definitely on par with Sandinista)....completed and released after Strummers unfortunate and untimely death in 2002, this album was re-touched up by the genius of Rick Rubin, and due to Strummer's death, most of the vocal tracks on the album are first takes, which adds to it's appeal. Notable tracks are plentiful on this album. Whether it be "Long Shadow", a song that Strummer wrote for Johnny Cash, which Cash never got a chance to sing before he passed himself, or "Midnight Jam", a song in which Strummer and Mick Jones got to play on, but never got vocals laid down for, or the touching "Silver and Gold", the final song on the album that ends with Strummer telling the engineer "Ok, that's a take"...indeed it was. But what stands out the most is Strummer's rendition of "Redemption Song". Everyone does but not many do it like this (see link at bottom).

So, that ends my take on those fine solo efforts, and there's many more which I left out. Enjoy the final days of summer, folks.

http://www.youtube.com/watch?v=ukHt40-PiSE

Filo Beddoe & Fair Food

Local mega-band Filo Beddoe has just issued a surprise press release concerning a performance at the Highland County Fair. It reads: Filo Beddoe would like to reward the people of Highland County with a performance Wednesday evening at the Highland County Fair. Starting at 6:00 p.m. the southern Ohio supergroup will begin rocking the fairgrounds with their usual high energy rock and blues assault. "It's nice to have a chance to come back to our community and give something back to all of our fans who have followed us with such loyalty throughout our career" said FB frontman Michael Hutchinson. The group will be arriving via helicopter and rumors are circulating that they may even stay in town for a post-show party with Lindsay Lohan and Paris Hilton already scheduled to appear. Local band Blue Steel will follow (8:00) the Filo Beddoe performance. Don't pass up a rare chance to see a band of this caliber in your own backyard.