Well, the "new" year is already more than halfway done, and I've slowly been starting to listen to some of this year's offerings.
First off, it's been nice to see that many of Long Island's local artists have been weighing in with their own contributions to the 2016 music banquet. The list of local acts who have come out with new CDs in 2016 includes Roger Silverberg, Rorie Kelly, Toby Walker, The Hitman Blues Band, Amanda Jayne, Jack's Waterfall, Miles to Dayton, Dream Theater and Nine Days. And national acts Taking Back Sunday and Bayside both have albums coming out within the next few months.
I'm slowly getting over my apathy from earlier in the year and starting to enjoy some of this year's music. I've been particularly impressed with the new Joy Formidable CD. This is a band whose previous two albums left me mostly underwhelmed. Much like Florence + The Machine, they've always had a few good cuts on each album, enough to keep me coming back, but not enough to move their CDs anywhere near my Top 10. This time, though, I think that's going to change. The CD is called Hitch, and I'm finding several of its tunes stuck in my head.
I'm also enjoying the new Gwen Stefani CD This Is What the Truth Feels Like. I'll be the first to admit it's sheer pop and musical empty calories, but what can I say? I like it.
Another album that's been blowing me away was really released in 2015, but I'm counting it as a 2016 release. I'm talking about the CD Endless Forms Most Beautiful by Finnish epic metal band Nightwish. What happened is I saw it on a list of upcoming releases for 2016, bought it, started enjoying it, then discovered that the original version of the album was released last year and the version I've been listening to was only listed as new because they added an all-instrumental version of the original disc to the package. But too bad, it's on my list of 2016 releases and I'm keeping it there.
Finally, for metal lovers, I'd also like to mention that both Anthrax and Megadeth have pretty strong new albums out for 2016.
In the meantime, I still haven't been out for any live music lately. Denise and I have some tickets for a few shows later in the year, but I never did find any summer shows that interested me enough to attend, at least none in venues I'm comfortable in.
Instead, I've continued scratching the live music itch as best I can by catching up on concert DVDs, mostly of my favorite bands of the '70s, '80s and '90s.
I've also seen a few classic concert videos I'd never caught before, including The Band's The Last Waltz, The Rolling Stones' Ladies and Gentlemen: The Rolling Stones and Led Zeppelin's The Song Remains the Same. Of these three, I liked the Zeppelin DVD the best. Led Zeppelin has never been one of my top favorite bands, but the concert, taken from their Houses of the Holy tour, reminded me of the things I do like about them.
I few DVDs I particularly liked were U2's Under a Blood Red Sky and Procol Harum's Live at the Union Chapel. The U2 video was shot at an amazing concert venue, Red Rocks in Colorado, where the amphitheater is literally carved out of a mountainside, and it was filmed during a period of time where I think the band was at their strongest, in between my two favorite U2 albums, War and The Unforgettable Fire. The Procol Harum DVD was also shot in a unique venue, London's Union Chapel.
The best DVD I've watched recently, though, had to be Fleetwood Mac's The Dance. It catches the classic Fleetwood Mac lineup of Stevie Nicks, Lindsey Buckingham, Christine McVie, John McVie and Mick Fleetwood in top form from their 1997 reunion tour. This is pop rock at its finest.
For all of these classic concert videos, though, I admit I'm starting to get hungry again for some actual live music. Stay tuned.
Sunday, July 17, 2016
Thursday, June 23, 2016
Jerry Hughes, R.I.P.
My Dad passed away today. It wasn't totally unexpected -- he's been having severe breathing problems for the past few years, and lately, except for doctor's appointments, he's been pretty much housebound.
He's been living these few years in Florida, so I haven't actually seen him in 2 years, although we spoke on the phone almost every week. In some ways it's for the best, because he's been really sad and frustrated with the limitations this condition imposed on him. But our family will all miss him, and I feel particularly bad for my stepmom -- the two of them have been inseparable for the last 40 years or more.
I'm posting this on my music blog because I need to vent somewhere, but also because I was thinking earlier tonight how much my Dad contributed to my love of music. I always knew I came from a line of police officers -- my grandfather was a cop, my father was a cop, and eventually my sister became one too. (And my teenage son says he'd like to become one, although I'm kind of hoping he settles into a safer, and more appreciated, career). But it was only a few years ago when I was working on my lineage on ancestry.com that my Dad mentioned to me that his Dad had also been a piano player, and before he joined the police force, he supported my grandmother and himself by playing at resorts, etc. (My grandfather died before I was born, so I never knew this about him).
I did know about my Dad's love of music. Growing up, he always had record albums (ask your parents, kids) of various saloon singers, including a bunch by his favorite, Jimmy Roselli. He liked to sing along with them sometimes, and he actually had quite a good voice. And one of his claims to fame, if you can believe it, is that my Dad once came in second in a talent concert to a then-unknown novelty singer who later became known as Tiny Tim.
After he retired from the force, my Dad made his living as a bartender, and for several years, he lived one of his dreams by working as a singing bartender -- he'd tend bar during the day, but on weekend nights, he and a guitarist friend entertained the regulars with hours worth of saloon songs.
Unfortunately, because my father grew up in the '40s and '50s while I grew up in the '60s and '70s, there was always a huge schism in our musical taste. I think there was a more abrupt change between these two eras regarding what music was popular than there has been between any two generations since. Rock changed everything, and a lot of people from my father's generation could never hear it as anything but noise. (Mind you, my children both profess to hate the music I like, but I think if they did like it, they'd never admit it -- I think they'd lose their union membership or something).
I did used to enjoy watching my Dad sing, though. One of the things I always regretted is I didn't feel able to have him sing at our wedding. My mother's and his relationship was always bitter after the break-up, and Denise's Mom and Dad had a similar situation. So we had a wedding where each of the four in-laws had their own corner of the room. Denise's stepmother wasn't invited to the wedding, although we'd have liked to have had her there, because the split between her Dad and Mom was too recent, and the feelings were still too raw. But her father, who sang regularly with his church and had a beautiful operatic voice, got to sing a few songs at the reception. Although my Mom wasn't thrilled about the idea, my stepmom was invited, as my parents' divorce had been 20 years earlier, but it felt like it would have been rubbing it in on her if we asked my Dad to sing. So sadly, we didn't. I really wish we could have, but all things considered, I guess the compromises we had to make mostly worked for everyone.
Anyway, I'm thinking I've inherited my love of music largely from my Dad (although my Mom had her own record collection, so she certainly didn't discourage it any). So Dad, thank you for that -- it's been one of the greatest blessings in my life. And although our taste in music is totally different, I've always tried to encourage that love in my own kids.
Rest in peace, Dad. I love you, and I'll always treasure that you were my Dad, and remember how your love of music made my life better.
He's been living these few years in Florida, so I haven't actually seen him in 2 years, although we spoke on the phone almost every week. In some ways it's for the best, because he's been really sad and frustrated with the limitations this condition imposed on him. But our family will all miss him, and I feel particularly bad for my stepmom -- the two of them have been inseparable for the last 40 years or more.
I'm posting this on my music blog because I need to vent somewhere, but also because I was thinking earlier tonight how much my Dad contributed to my love of music. I always knew I came from a line of police officers -- my grandfather was a cop, my father was a cop, and eventually my sister became one too. (And my teenage son says he'd like to become one, although I'm kind of hoping he settles into a safer, and more appreciated, career). But it was only a few years ago when I was working on my lineage on ancestry.com that my Dad mentioned to me that his Dad had also been a piano player, and before he joined the police force, he supported my grandmother and himself by playing at resorts, etc. (My grandfather died before I was born, so I never knew this about him).
I did know about my Dad's love of music. Growing up, he always had record albums (ask your parents, kids) of various saloon singers, including a bunch by his favorite, Jimmy Roselli. He liked to sing along with them sometimes, and he actually had quite a good voice. And one of his claims to fame, if you can believe it, is that my Dad once came in second in a talent concert to a then-unknown novelty singer who later became known as Tiny Tim.
After he retired from the force, my Dad made his living as a bartender, and for several years, he lived one of his dreams by working as a singing bartender -- he'd tend bar during the day, but on weekend nights, he and a guitarist friend entertained the regulars with hours worth of saloon songs.
Unfortunately, because my father grew up in the '40s and '50s while I grew up in the '60s and '70s, there was always a huge schism in our musical taste. I think there was a more abrupt change between these two eras regarding what music was popular than there has been between any two generations since. Rock changed everything, and a lot of people from my father's generation could never hear it as anything but noise. (Mind you, my children both profess to hate the music I like, but I think if they did like it, they'd never admit it -- I think they'd lose their union membership or something).
I did used to enjoy watching my Dad sing, though. One of the things I always regretted is I didn't feel able to have him sing at our wedding. My mother's and his relationship was always bitter after the break-up, and Denise's Mom and Dad had a similar situation. So we had a wedding where each of the four in-laws had their own corner of the room. Denise's stepmother wasn't invited to the wedding, although we'd have liked to have had her there, because the split between her Dad and Mom was too recent, and the feelings were still too raw. But her father, who sang regularly with his church and had a beautiful operatic voice, got to sing a few songs at the reception. Although my Mom wasn't thrilled about the idea, my stepmom was invited, as my parents' divorce had been 20 years earlier, but it felt like it would have been rubbing it in on her if we asked my Dad to sing. So sadly, we didn't. I really wish we could have, but all things considered, I guess the compromises we had to make mostly worked for everyone.
Anyway, I'm thinking I've inherited my love of music largely from my Dad (although my Mom had her own record collection, so she certainly didn't discourage it any). So Dad, thank you for that -- it's been one of the greatest blessings in my life. And although our taste in music is totally different, I've always tried to encourage that love in my own kids.
Rest in peace, Dad. I love you, and I'll always treasure that you were my Dad, and remember how your love of music made my life better.
Thursday, May 26, 2016
Spring Blahs
So I haven't posted in more than a month. Some of it is because I've been working a lot (which I guess is a good thing). But mostly, I've just been uncharacteristically lethargic about music lately. It's not like I'm bored in general -- I've been enjoying movies (especially the new Captain America film, and even the much-maligned Batman/Superman film). I just haven't found any music lately to get me excited.
I've started listening to some stuff from 2016, but while I've heard some OK stuff, nothing is really lighting my fire. I was looking forward to the Gumption CD from the young woman who bills herself as Your Friend. But it turns out her music sounds like Beach House on ludes, meaning if she were any more laid back, she'd be dead. (I love Beach House, but they're about as low key as I can take it.)
I've really been jonesing for some good live music, but the upcoming music schedule just isn't getting it done. I wouldn't have minded seeing Strawbs a few weeks ago at the Boulton Center. But I couldn't find anyone to go with me (they're not Denise's taste), and I wound up working late that night anyway.
I was eyeing a Yes show at the Westbury Music Fair (I refuse to call it by any other name). Originally, their North American tour was going to focus around two albums, Drama, which I've always loved, and their most recent studio album, Heaven & Earth, which almost no one has heard of, but it's just a beautiful CD. And it has the advantage that the band who recorded it is still their current lineup (except, of course, for the late lamented Chris Squire), so it's exciting for them to play-- it's their own music. But I guess they weren't selling enough tickets to the tour, 'cause somewhere along the way, they switched the concert content to all of the Drama album, plus two sides of their rambling 1973 double album Tales of Topographic Oceans.
Sorry boys, but that's a deal breaker for me. I know there are Yes fans who live for that album, but it's always been my least favorite album from the classic Yes lineup.
In the meantime, Yes has split in two again like they did in '80s, with Steve Howe and Alan White staying in the band that owns the name of Yes, but Jon Anderson, Trevor Rabin and Rick Wakeman forming their own supergroup, Anderson, Rabin and Wakeman. The new band will be playing The Paramount in October, but while I'll definitely check out their new CD when they put it out later this year, I was never a big fan of Yes's Rabin days. If I like the new album, maybe I'll check them out, but for now I'm going to pass on the show.
One of the problems is when I do find something that's a little interesting, the ticket prices these days are ridiculous. While most of the Jones Beach schedule this year leaves me cold, I'd happily get tickets for Sting and Peter Gabriel if I wouldn't have to take out a second mortgage to do it. Denise and I have seen Sting a number of times (and she'd dump me for him in a minute if he asked her too), but neither of us have ever seen Peter Gabriel. And at those prices, I guess we never will.
I checked out the Westhampton Beach Performing Arts Center schedule for this summer. They're doing a Year of the Woman kind if thing this summer. I noticed one of their shows featured Sarah McLachlan. Denise and I saw here a couple of times in her early years, and although I don't think her music has been half as good since she put together The Lilith Fair, but for the right price, I might have gone for it. Forget it. The cheap seats are $200 bucks a pop.
So for right now, we've got some tickets to see Squeeze at The Paramount in October. I didn't love their most recent album, but last time we saw them, they put on a great show. And I'm toying with the idea of getting tickets for the Mets-Padres game on August 13, and hanging for the Styx concert afterwards. I know, they're basically a Styx tribute band these days, but what the hell. I've never actually seen Styx live, which is a plus. And they're one classic rock band my kids might enjoy. They'll be horrified by the ballads like "Lady" and "Babe", but they're familiar with "Come Sail Away" (at least with the Eric Cartman version), and they actually like "Mr. Roboto".
As for more current bands, I'd love to take my daughter to see the Warped Tour this year (or any year, really). Tonight Alive and Against the Current are playing, and there are some other interesting looking bands, plus my daughter is a big fan of Falling in Reverse. But the shape I'm in these days, the only way I could do it and live would be to rent a wheelchair for the day, and have my daughter wheel me around all day. And I'm still a little too proud to do that (although I've used a wheelchair, by necessity, on the rare occasions when I use an airport). Who knows, maybe I'll change my mind.
So mostly, I've been living on concert DVDs these days. The best ones I've seen recently were The Rolling Stones Rock and Roll Circus, which, in addition to having some excellent performances, is a nice little slice of rock history; and Remember That Night, a David Gilmour concert DVD featuring Gilmour doing some of his best solo stuff, plus a bunch of great classic Floyd stuff. David Crosby and Graham Nash back him up on many of the vocals, and there's a special surprise appearance near the end of the show by David Bowie, who joins Gilmour in singing "Comfortably Numb".
Anyway, that's what I've been up to musically. Knowing me, there will probably be some new music to come along sometime soon that will get me excited again. Until then, I'll keep treading water, and find my musical pleasure where I can.
I've started listening to some stuff from 2016, but while I've heard some OK stuff, nothing is really lighting my fire. I was looking forward to the Gumption CD from the young woman who bills herself as Your Friend. But it turns out her music sounds like Beach House on ludes, meaning if she were any more laid back, she'd be dead. (I love Beach House, but they're about as low key as I can take it.)
I've really been jonesing for some good live music, but the upcoming music schedule just isn't getting it done. I wouldn't have minded seeing Strawbs a few weeks ago at the Boulton Center. But I couldn't find anyone to go with me (they're not Denise's taste), and I wound up working late that night anyway.
I was eyeing a Yes show at the Westbury Music Fair (I refuse to call it by any other name). Originally, their North American tour was going to focus around two albums, Drama, which I've always loved, and their most recent studio album, Heaven & Earth, which almost no one has heard of, but it's just a beautiful CD. And it has the advantage that the band who recorded it is still their current lineup (except, of course, for the late lamented Chris Squire), so it's exciting for them to play-- it's their own music. But I guess they weren't selling enough tickets to the tour, 'cause somewhere along the way, they switched the concert content to all of the Drama album, plus two sides of their rambling 1973 double album Tales of Topographic Oceans.
Sorry boys, but that's a deal breaker for me. I know there are Yes fans who live for that album, but it's always been my least favorite album from the classic Yes lineup.
In the meantime, Yes has split in two again like they did in '80s, with Steve Howe and Alan White staying in the band that owns the name of Yes, but Jon Anderson, Trevor Rabin and Rick Wakeman forming their own supergroup, Anderson, Rabin and Wakeman. The new band will be playing The Paramount in October, but while I'll definitely check out their new CD when they put it out later this year, I was never a big fan of Yes's Rabin days. If I like the new album, maybe I'll check them out, but for now I'm going to pass on the show.
One of the problems is when I do find something that's a little interesting, the ticket prices these days are ridiculous. While most of the Jones Beach schedule this year leaves me cold, I'd happily get tickets for Sting and Peter Gabriel if I wouldn't have to take out a second mortgage to do it. Denise and I have seen Sting a number of times (and she'd dump me for him in a minute if he asked her too), but neither of us have ever seen Peter Gabriel. And at those prices, I guess we never will.
I checked out the Westhampton Beach Performing Arts Center schedule for this summer. They're doing a Year of the Woman kind if thing this summer. I noticed one of their shows featured Sarah McLachlan. Denise and I saw here a couple of times in her early years, and although I don't think her music has been half as good since she put together The Lilith Fair, but for the right price, I might have gone for it. Forget it. The cheap seats are $200 bucks a pop.
So for right now, we've got some tickets to see Squeeze at The Paramount in October. I didn't love their most recent album, but last time we saw them, they put on a great show. And I'm toying with the idea of getting tickets for the Mets-Padres game on August 13, and hanging for the Styx concert afterwards. I know, they're basically a Styx tribute band these days, but what the hell. I've never actually seen Styx live, which is a plus. And they're one classic rock band my kids might enjoy. They'll be horrified by the ballads like "Lady" and "Babe", but they're familiar with "Come Sail Away" (at least with the Eric Cartman version), and they actually like "Mr. Roboto".
As for more current bands, I'd love to take my daughter to see the Warped Tour this year (or any year, really). Tonight Alive and Against the Current are playing, and there are some other interesting looking bands, plus my daughter is a big fan of Falling in Reverse. But the shape I'm in these days, the only way I could do it and live would be to rent a wheelchair for the day, and have my daughter wheel me around all day. And I'm still a little too proud to do that (although I've used a wheelchair, by necessity, on the rare occasions when I use an airport). Who knows, maybe I'll change my mind.
So mostly, I've been living on concert DVDs these days. The best ones I've seen recently were The Rolling Stones Rock and Roll Circus, which, in addition to having some excellent performances, is a nice little slice of rock history; and Remember That Night, a David Gilmour concert DVD featuring Gilmour doing some of his best solo stuff, plus a bunch of great classic Floyd stuff. David Crosby and Graham Nash back him up on many of the vocals, and there's a special surprise appearance near the end of the show by David Bowie, who joins Gilmour in singing "Comfortably Numb".
Anyway, that's what I've been up to musically. Knowing me, there will probably be some new music to come along sometime soon that will get me excited again. Until then, I'll keep treading water, and find my musical pleasure where I can.
Sunday, April 24, 2016
Prince Died
So Prince died a couple of days ago. Meh.
Back in January, I wrote a post about the deaths of David Bowie, Glenn Frey and Paul Kantner. I was a little upset that some twit who writes for the New York Daily News used the occasion of Frey's death to write an unflattering article about The Eagles. (As an aside, my Uncle John worked his entire working life for the Daily News. He wrote a column called "The Inquiring Photographer". If he were alive today, he'd be horrified at what a rag the Daily News has become.)
But anyway, here it is 3 months later, and Prince is dead. And I find myself uncomfortably with a more sympathetic feeling for the Daily News twit.
Here's the thing. As I've said previously, music is the most important thing in my life, other than my family. And Prince's entire career basically ran through the prime of my life. And never once was I moved to purchase even one Prince album. That might sound like a small thing, but I literally own thousands of CDs. There aren't a whole lot of major artists I've totally snubbed.
Now Denise likes Prince. And that was enough for me to sit through the entire film Purple Rain at least once, and to sit through parts of it a few more times. (Forget about Under the Cherry Moon, though. I could never handle more than about 10 minutes of that).
Our friend Chip Sciacca, of the late great local band This Island Earth, used to do sound for Prince at some of his live shows. And Chip always spoke of him in a complimentary way.
But I just never got what people saw (and heard) in Prince. He had a few songs I though were decent, most notably "When Doves Cry".
I think part of it was because it seemed like the guy took himself so seriously, but he was so unrelentingly goofy. A few examples: 1) When she was getting started, he tried to talk Vanity into using the stage name "Vegeena". Vageena? really?; 2) Remember when he changed his name to Squiggle (or whatever the hell that stupid symbol was supposed to be)?; and 3) "Oooo, Vicky Vale!". He always just seemed like a guy who a living, breathing caricature of a pretentious pop star. 'Nuff said.
Anyway, if you're one of the many to whom Prince and his music meant something, my apologies to you, and my condolences for your loss. I really feel bad about being the kind of butthole who has to piss on someone's memory of an artist they loved. With so many fans who loved his music, I accept there must have been something there.
I was just never able to hear it.
Back in January, I wrote a post about the deaths of David Bowie, Glenn Frey and Paul Kantner. I was a little upset that some twit who writes for the New York Daily News used the occasion of Frey's death to write an unflattering article about The Eagles. (As an aside, my Uncle John worked his entire working life for the Daily News. He wrote a column called "The Inquiring Photographer". If he were alive today, he'd be horrified at what a rag the Daily News has become.)
But anyway, here it is 3 months later, and Prince is dead. And I find myself uncomfortably with a more sympathetic feeling for the Daily News twit.
Here's the thing. As I've said previously, music is the most important thing in my life, other than my family. And Prince's entire career basically ran through the prime of my life. And never once was I moved to purchase even one Prince album. That might sound like a small thing, but I literally own thousands of CDs. There aren't a whole lot of major artists I've totally snubbed.
Now Denise likes Prince. And that was enough for me to sit through the entire film Purple Rain at least once, and to sit through parts of it a few more times. (Forget about Under the Cherry Moon, though. I could never handle more than about 10 minutes of that).
Our friend Chip Sciacca, of the late great local band This Island Earth, used to do sound for Prince at some of his live shows. And Chip always spoke of him in a complimentary way.
But I just never got what people saw (and heard) in Prince. He had a few songs I though were decent, most notably "When Doves Cry".
I think part of it was because it seemed like the guy took himself so seriously, but he was so unrelentingly goofy. A few examples: 1) When she was getting started, he tried to talk Vanity into using the stage name "Vegeena". Vageena? really?; 2) Remember when he changed his name to Squiggle (or whatever the hell that stupid symbol was supposed to be)?; and 3) "Oooo, Vicky Vale!". He always just seemed like a guy who a living, breathing caricature of a pretentious pop star. 'Nuff said.
Anyway, if you're one of the many to whom Prince and his music meant something, my apologies to you, and my condolences for your loss. I really feel bad about being the kind of butthole who has to piss on someone's memory of an artist they loved. With so many fans who loved his music, I accept there must have been something there.
I was just never able to hear it.
Wednesday, April 20, 2016
The Rock and Roll Hall of Fame
The Rock and Roll Hall of Fame sucks.
I could probably end my post right there and you'd have the gist of what I want to say. But I guess I should explain.
First of all, it's in Cleveland. Really. Cleveland.
But that's not the worst of it. The worst is that it's perfectly willing to induct rap artists, blues artists, artists from various genres that have little to nothing to do with rock, but they deliberately snub artists from one of the more important rock sub-genres, progressive rock.
How many progressive rock artists have been inducted into the Hall? Well there's Genesis. Certainly the Peter Gabriel lineup was a progressive rock band. Not sure if they would have been inducted if it weren't for the poppier Phil Collins version of the band, but whatever. We'll give them that one.
Then there's Pink Floyd. That's a legitimate entry. 'Nuff said.
Wikipedia lists both Queen and Rush as progressive rock bands. I'm not totally sure about this categorization of Rush, and it took years and a lot of arm-twisting from their fans to get them in there, but OK.
I'm not sure if most people would consider The Who a progressive rock band, but with the rock operas, sometimes use of synthesizers, etc., they certainly had progressive rock elements.
And that's about it.
No Jethro Tull. No Yes. No Moody Blues or Emerson, Lake & Palmer, or even King Crimson. Don't even think about bands like Strawbs, Renaissance, Procol Harum or Gentle Giant. We have N.W.A. though. Boy, do we have N.W.A.
The problem is that the induction process is controlled by a closed little club of people who obviously let their personal tastes and prejudices rule supreme over any kind of logic or fairness. Jann Wehner and his little cabal rule the process with an iron hand, and they keep the process of who gets selected and how as secret as they can. I'm pretty sure there is some human sacrifice involved, some upside-down crucifixes. Definitely some Satan's penis kissing. It's the only thing that makes sense.
I love music. It's one of the most important things in my life. But if I gave you a list of my favorite 20 bands/artists of all time (which I won't, at least not today. After the last couple of posts, I'm all listed out for awhile), only nine of the 20 are currently R&RHoF inductees. Two of them aren't eligible yet, so there's a valid reason there. One of them, Rush, had to practically break down the doors. And I appreciate that a band like The Good Rats were never that well known nationally, although I think they should have been. But what about the others? The answer -- most are progressive rock bands, the sub-genre that dare not speak its name. (At least not in Cleveland).
So until Jethro Tull and Yes, at least, are inducted, I will never visit The Rock and Roll Hall of Fame, and I'll always maintain that Jann Wehner sucks. Because he does.
I could probably end my post right there and you'd have the gist of what I want to say. But I guess I should explain.
First of all, it's in Cleveland. Really. Cleveland.
But that's not the worst of it. The worst is that it's perfectly willing to induct rap artists, blues artists, artists from various genres that have little to nothing to do with rock, but they deliberately snub artists from one of the more important rock sub-genres, progressive rock.
How many progressive rock artists have been inducted into the Hall? Well there's Genesis. Certainly the Peter Gabriel lineup was a progressive rock band. Not sure if they would have been inducted if it weren't for the poppier Phil Collins version of the band, but whatever. We'll give them that one.
Then there's Pink Floyd. That's a legitimate entry. 'Nuff said.
Wikipedia lists both Queen and Rush as progressive rock bands. I'm not totally sure about this categorization of Rush, and it took years and a lot of arm-twisting from their fans to get them in there, but OK.
I'm not sure if most people would consider The Who a progressive rock band, but with the rock operas, sometimes use of synthesizers, etc., they certainly had progressive rock elements.
And that's about it.
No Jethro Tull. No Yes. No Moody Blues or Emerson, Lake & Palmer, or even King Crimson. Don't even think about bands like Strawbs, Renaissance, Procol Harum or Gentle Giant. We have N.W.A. though. Boy, do we have N.W.A.
The problem is that the induction process is controlled by a closed little club of people who obviously let their personal tastes and prejudices rule supreme over any kind of logic or fairness. Jann Wehner and his little cabal rule the process with an iron hand, and they keep the process of who gets selected and how as secret as they can. I'm pretty sure there is some human sacrifice involved, some upside-down crucifixes. Definitely some Satan's penis kissing. It's the only thing that makes sense.
I love music. It's one of the most important things in my life. But if I gave you a list of my favorite 20 bands/artists of all time (which I won't, at least not today. After the last couple of posts, I'm all listed out for awhile), only nine of the 20 are currently R&RHoF inductees. Two of them aren't eligible yet, so there's a valid reason there. One of them, Rush, had to practically break down the doors. And I appreciate that a band like The Good Rats were never that well known nationally, although I think they should have been. But what about the others? The answer -- most are progressive rock bands, the sub-genre that dare not speak its name. (At least not in Cleveland).
So until Jethro Tull and Yes, at least, are inducted, I will never visit The Rock and Roll Hall of Fame, and I'll always maintain that Jann Wehner sucks. Because he does.
Saturday, April 2, 2016
Top 20 Songs of 2015: Part 2
I can't believe it's taken me until April 1 to post this. Work hours and health issues have just been kicking my ass, but better late than never, I guess.
10. Pvris -- "Smoke"
This is a band from Lowell, MA who hit it big last year with their White Noise album. They got a lot of coverage from magazines like Alternative Press and playing last year's Vans Warped Tour. This is a slow song with a lot of sexual heat. What's with spelling "Pvris" with a "v", though? For some reason, my iPod just can't cope with it, and I have to look them up by the album name instead of the band name. It's annoying. Anyway, lead singer Lyndsey Gunnulfsen has been getting more love in the press than any alt rock female singer since Hayley Williams.
9. Meg Myers -- "Desire"
This is another slow song sung by a female singer with a lot of sexual heat in the mix. Meg Myers is a Los Angeles resident (by way of Nashville, TN). Her debut CD Sorry made my Top 10 this year, not bad for a new artist. The album charted on the Billboard 200, and the song peaked at #17 on their Alternative Songs chart. She sings with some definite attitude. She claims to have been heavily into grunge, but her interest is in mixing it in with some nice pop hooks. I think she's done a decent job of that here.
8. Lord Huron -- "Meet Me in the Woods"
I expected the Strange Trails CD that this came from to be a heavy rock album, probably because I was mixed up and thought the band had named itself after Lord Humongous from The Road Warrior film. Instead, it turns out Lord Huron is an indie folk band from Los Angeles. Nevertheless, there's a kind of darkness to this album, and particularly to this song, which hints of unspeakable acts going on in the woods ("There ain't language for the things I've seen/The truth is stranger than my own worse dreams"). And there's nothing I like better than a nice dark song.
7. Tang -- "The 11th Hour"
Tang's Blood & Sand was my Number One album for 2015, and this song is a good example of why. It's kind of medium-paced, with both melodic and screamo vocals, and the lyrics are full of images of armageddon. The song has some great dynamics, with soft breaks that contrast nicely with the points where all hell breaks loose. And although the song holds up just fine by itself, there's a great moody intro track called "Ashes" that leads into it. Blood & Sand was my Number One album of the year from the first time I heard it, and this track is one of the reasons why.
6. Elle King -- "America's Sweetheart"
This is what they used to call "shitkicker" music, with some driving banjo and a country-sounding vocal. To listen to her, you'd probably think Elle King was a Nashville gal, but she was born in Los Angeles and currently lives in Brooklyn (and frighteningly enough, apparently she's the daughter of Rob Schneider, the comedian). The song is about drinking, picking up guys and then dumping them, and otherwise trying her hardest to not be a role model. ("What do you want from me/I'm not America's sweetheart"). It's not usually my style of music, but she does it really well.
5. Death Cab for Cutie -- "Little Wanderer"
As Death Cab is wont to do, this is a stark number, kind of quiet and sad. It's about a long distance relationship and what it's like to be the person that stays at home while the other one indulges in wanderlust ("But someone's gotta be the lighthouse/And that someone's gotta be me"). The song is bittersweet, and the music fits the theme.
4. The Juliana Hatfield Three -- "If I Could"
Weird coincidence, but this is the second song in a row on this list where the theme is long-distance relationships sung by the partner who stays behind. As compared to the previous song, this one is faster-paced, and the chorus has a really strong hook. The album is called Whatever My Love, and although Hatfield has been active as a solo act over the last 20 years, this is the first time The Juliana Hatfield Three has been back together since 1993's Become What You Are album. "If I Could" is a little less sad than "Little Wanderer", but no less worthy a single.
3. Jeremy Gilchrist -- "Letter from the 21st"
Jeremy Gilchrist is a singer-songwriter who currently resides in Vermont. This song is one of his strongest ever. It's basically a musical love letter to a future generation and an apology for the world our generation has left for them. The song is slow and a little sad, but there's also a sense of optimism that the future can be better, even if the present is less than ideal ("Sorry you can't drink money/It suited us just fine"). Though the lyrics are sarcastic and at times filled with mild despair, there's a sweetness in the hope that maybe future generations will learn from our mistakes. Nice job by a former Long Islander.
2. The Decemberists -- "Make You Better"
For most of the year, I thought this song was going to be my Number 1. It's certainly worthy. It's slow and fairly sparse, and has a strong vocal by Colin Meloy. I'll be honest -- I have no idea what some of the lyrics mean, beyond the fact that they're about a relationship that's obviously gone south ("I want you thin fingers, I wanted you, thin fingernails"). But the words are kind of poetic, and the song definitely evokes a wistful feeling. There's also a cool video for it, featuring the band playing on a German television talk show while the clueless host fantasizes about hitting on his beleaguered production assistant.
1. Antigone Rising -- "My Town"
Antigone Rising has released two EPs in the last two years, Whiskey & Wine Vols. 1 and 2, and if they'd have released them as one full-length LP, it would have scored high in my Top 10 Albums list. Lead singer Nini Camps has always had an exquisite voice, and this is one of her strongest numbers. The song has a rural or small town feel to it, and while it might be an idealized vision, I really want to live in this town ("There's something here for saints/And for sinners like me"), where they "give second chances" because "We're hopeless romantics like that". This band has always managed to make a career for itself, but in a fairer world, they'd be huge.
So that wraps up my musings on 2015. I'm just starting to listen to some stuff from this year, so hopefully next post, I'll have something a little more up to date.
10. Pvris -- "Smoke"
This is a band from Lowell, MA who hit it big last year with their White Noise album. They got a lot of coverage from magazines like Alternative Press and playing last year's Vans Warped Tour. This is a slow song with a lot of sexual heat. What's with spelling "Pvris" with a "v", though? For some reason, my iPod just can't cope with it, and I have to look them up by the album name instead of the band name. It's annoying. Anyway, lead singer Lyndsey Gunnulfsen has been getting more love in the press than any alt rock female singer since Hayley Williams.
9. Meg Myers -- "Desire"
This is another slow song sung by a female singer with a lot of sexual heat in the mix. Meg Myers is a Los Angeles resident (by way of Nashville, TN). Her debut CD Sorry made my Top 10 this year, not bad for a new artist. The album charted on the Billboard 200, and the song peaked at #17 on their Alternative Songs chart. She sings with some definite attitude. She claims to have been heavily into grunge, but her interest is in mixing it in with some nice pop hooks. I think she's done a decent job of that here.
8. Lord Huron -- "Meet Me in the Woods"
I expected the Strange Trails CD that this came from to be a heavy rock album, probably because I was mixed up and thought the band had named itself after Lord Humongous from The Road Warrior film. Instead, it turns out Lord Huron is an indie folk band from Los Angeles. Nevertheless, there's a kind of darkness to this album, and particularly to this song, which hints of unspeakable acts going on in the woods ("There ain't language for the things I've seen/The truth is stranger than my own worse dreams"). And there's nothing I like better than a nice dark song.
7. Tang -- "The 11th Hour"
Tang's Blood & Sand was my Number One album for 2015, and this song is a good example of why. It's kind of medium-paced, with both melodic and screamo vocals, and the lyrics are full of images of armageddon. The song has some great dynamics, with soft breaks that contrast nicely with the points where all hell breaks loose. And although the song holds up just fine by itself, there's a great moody intro track called "Ashes" that leads into it. Blood & Sand was my Number One album of the year from the first time I heard it, and this track is one of the reasons why.
6. Elle King -- "America's Sweetheart"
This is what they used to call "shitkicker" music, with some driving banjo and a country-sounding vocal. To listen to her, you'd probably think Elle King was a Nashville gal, but she was born in Los Angeles and currently lives in Brooklyn (and frighteningly enough, apparently she's the daughter of Rob Schneider, the comedian). The song is about drinking, picking up guys and then dumping them, and otherwise trying her hardest to not be a role model. ("What do you want from me/I'm not America's sweetheart"). It's not usually my style of music, but she does it really well.
5. Death Cab for Cutie -- "Little Wanderer"
As Death Cab is wont to do, this is a stark number, kind of quiet and sad. It's about a long distance relationship and what it's like to be the person that stays at home while the other one indulges in wanderlust ("But someone's gotta be the lighthouse/And that someone's gotta be me"). The song is bittersweet, and the music fits the theme.
4. The Juliana Hatfield Three -- "If I Could"
Weird coincidence, but this is the second song in a row on this list where the theme is long-distance relationships sung by the partner who stays behind. As compared to the previous song, this one is faster-paced, and the chorus has a really strong hook. The album is called Whatever My Love, and although Hatfield has been active as a solo act over the last 20 years, this is the first time The Juliana Hatfield Three has been back together since 1993's Become What You Are album. "If I Could" is a little less sad than "Little Wanderer", but no less worthy a single.
3. Jeremy Gilchrist -- "Letter from the 21st"
Jeremy Gilchrist is a singer-songwriter who currently resides in Vermont. This song is one of his strongest ever. It's basically a musical love letter to a future generation and an apology for the world our generation has left for them. The song is slow and a little sad, but there's also a sense of optimism that the future can be better, even if the present is less than ideal ("Sorry you can't drink money/It suited us just fine"). Though the lyrics are sarcastic and at times filled with mild despair, there's a sweetness in the hope that maybe future generations will learn from our mistakes. Nice job by a former Long Islander.
2. The Decemberists -- "Make You Better"
For most of the year, I thought this song was going to be my Number 1. It's certainly worthy. It's slow and fairly sparse, and has a strong vocal by Colin Meloy. I'll be honest -- I have no idea what some of the lyrics mean, beyond the fact that they're about a relationship that's obviously gone south ("I want you thin fingers, I wanted you, thin fingernails"). But the words are kind of poetic, and the song definitely evokes a wistful feeling. There's also a cool video for it, featuring the band playing on a German television talk show while the clueless host fantasizes about hitting on his beleaguered production assistant.
1. Antigone Rising -- "My Town"
Antigone Rising has released two EPs in the last two years, Whiskey & Wine Vols. 1 and 2, and if they'd have released them as one full-length LP, it would have scored high in my Top 10 Albums list. Lead singer Nini Camps has always had an exquisite voice, and this is one of her strongest numbers. The song has a rural or small town feel to it, and while it might be an idealized vision, I really want to live in this town ("There's something here for saints/And for sinners like me"), where they "give second chances" because "We're hopeless romantics like that". This band has always managed to make a career for itself, but in a fairer world, they'd be huge.
So that wraps up my musings on 2015. I'm just starting to listen to some stuff from this year, so hopefully next post, I'll have something a little more up to date.
Sunday, March 20, 2016
Top 20 Songs of 2015: Part 1
Finally, I get to publish my Top 20 Songs of 2015. I put a lot of thought and listening hours into this list. It's not perfect, but it's mine.
20. Three Days Grace -- "I Am Machine"
This Canadian band reminds me of Bad Religion for some reason. I love the vocals on this song -- their power matches the power of the theme. It makes me think about the character of Murphy in Robocop, but you could go with Data in Star Trek: The Next Generation, The Vision in The Avengers, or pretty much any A.I. character who wishes he or she was human. Of course, I think the writers wanted it to be about how all of us are losing our humanity, and that's fine too.
19. The Decemberists -- "Till the Water's All Long Gone"
This is the first of two songs from The Decemberist's What a Terrible World, What a Beautiful World to make this list, which is kind of weird because I felt kind of meh about the album as a whole. This song is beautiful, though, slow and haunting. It's sung by a character whose time has passed him by -- his beloved daughter is long dead, some distant ancestors have come down from the mountains, but he's protecting his water even if he can't quite remember who he's protecting it for. The song has nothing to do with this, but for some reason, it makes me think of the Bikura episode in Dan Simmons' Hyperion novel. I think it's because both the singer and the people coming down from the mountains remind me of the Bikura in their dimness.
18. Florence + The Machine -- "Ship to Wreck"
Florence + The Machine is a weird band for me. On each of their albums, including this one, I find I'm not impressed with most of the songs, but there are always one or two that I really like a lot. This song is the band at their best. It has a strong hook, the lyrics have strong imagery, and it all goes perfectly with one of Florence Welch's best vocals. Sometimes (too often, actually) this band gets into a bluesy thing that I don't care for, but this number is straight-ahead driving rock.
17. Melanie Martinez -- "Pacify Her"
Cry Baby, the LP on which this song appears, is a concept album. The CD is done up as a kind of demented children's book. This particular song is pretty laid back -- slow, and a little dreamy. It's not the first song I noticed when I heard the CD, but it's the one that grew on me the most. Thematically, it's the reverse of Paramore's "Misery Business" -- this time, we're getting the point of view of the manstealer. "Tired, blue boy walks my way/Holding a girl's hand/That basic bitch leaves finally/Now I can steal her man." There's a wicked sense of humor here, and no repentance whatsoever, which makes it even funnier.
16. Coldplay -- "Everglow"
This is a slow, kind of sad ballad. It features a soulful vocal by Chris Martin, and some really exquisite Bruce-Hornsbylike piano work. It might be a little schmaltzy, but I can deal with that because it's so damned beautiful. And apparently Martin's ex, Gwyneth Paltrow, does an uncredited guest vocal. What's in the box, Chris?! Oh, what's in the f!-@ing box?!!!
15. Coin -- "Run"
Coin is a poppy alternative band from Nashville. This song is from their eponymous debut CD. The song is a delightful, upbeat indiepop number. It's a little like this -- imagine you took Curtis Mayfield's "Move on Up", sped it up, and added jangly guitars, some synth on the transitions, and some clean alt-rock vocals. That's what it's like. A little. Sort of.
14. Holly Miranda -- "Desert Call"
Holly Miranda is a singer-songwriter from Detroit. "Desert Call" is from her self-titled debut album. This is another slow, dreamy number, with vocals that are alternately breathy and belty. (I'm pretty sure I just made that word up.) There's some stark guitar in the beginning, and later on some gentle sax to carry the song home. And since she grew up singing in a church, there are some easy "halleljuhs" at the end that I'm pretty sure have more to do with world of the flesh stuff than with ecstasies of the spirit.
13. Virgin Steele -- "Hymns to Damnation"
Although Virgin Steele is a metal band, and there's plenty of fast-paced rock on the two-disc album from which this song comes, "Hymns to Damnation" is a ballad. It's a psychotic ballad, but it's a ballad. And you've never heard such a loving tribute to death, deceit and damnation, lovingly growled by lead singer David DeFeis. ("Child heart with bestial eyes/Like tears in spider webs, a perfect disguise ...") Demons rock!
12. Night Riots -- "Break"
Night Riots is a California band that has been compared to The Killers. This track is from their Howl EP. The song is a strong alt-rock single, although strangely it wasn't released as a single. Go figure. It's a medium-paced song with a positive message "They will try, but they will never break what you are/There is us, we are one/As the whole world falls apart." It's catchy. You'll like it. (Actually, I have no idea if you'll like it, but I like it, so that's why it's here.)
11. Hey Violet - "You Don't Love Me Like You Should"
Hey Violet is a mostly-grrl pop punk band from Los Angeles in the tradition of The Go-Gos. Apparently they used to be an all-grrl band called Cherri Bomb, but stuff happens. The music is fast-paced and fun, even when the lyrics are about sad stuff (like when your significant other doesn't love you like they should). They've got a full-length CD coming out later this year, but this song is from last year's I Can Feel It EP. I've never seen them live, but I bet they're a pisser.
Next Post: Top 20 Songs of 2015: Part 2
20. Three Days Grace -- "I Am Machine"
This Canadian band reminds me of Bad Religion for some reason. I love the vocals on this song -- their power matches the power of the theme. It makes me think about the character of Murphy in Robocop, but you could go with Data in Star Trek: The Next Generation, The Vision in The Avengers, or pretty much any A.I. character who wishes he or she was human. Of course, I think the writers wanted it to be about how all of us are losing our humanity, and that's fine too.
19. The Decemberists -- "Till the Water's All Long Gone"
This is the first of two songs from The Decemberist's What a Terrible World, What a Beautiful World to make this list, which is kind of weird because I felt kind of meh about the album as a whole. This song is beautiful, though, slow and haunting. It's sung by a character whose time has passed him by -- his beloved daughter is long dead, some distant ancestors have come down from the mountains, but he's protecting his water even if he can't quite remember who he's protecting it for. The song has nothing to do with this, but for some reason, it makes me think of the Bikura episode in Dan Simmons' Hyperion novel. I think it's because both the singer and the people coming down from the mountains remind me of the Bikura in their dimness.
18. Florence + The Machine -- "Ship to Wreck"
Florence + The Machine is a weird band for me. On each of their albums, including this one, I find I'm not impressed with most of the songs, but there are always one or two that I really like a lot. This song is the band at their best. It has a strong hook, the lyrics have strong imagery, and it all goes perfectly with one of Florence Welch's best vocals. Sometimes (too often, actually) this band gets into a bluesy thing that I don't care for, but this number is straight-ahead driving rock.
17. Melanie Martinez -- "Pacify Her"
Cry Baby, the LP on which this song appears, is a concept album. The CD is done up as a kind of demented children's book. This particular song is pretty laid back -- slow, and a little dreamy. It's not the first song I noticed when I heard the CD, but it's the one that grew on me the most. Thematically, it's the reverse of Paramore's "Misery Business" -- this time, we're getting the point of view of the manstealer. "Tired, blue boy walks my way/Holding a girl's hand/That basic bitch leaves finally/Now I can steal her man." There's a wicked sense of humor here, and no repentance whatsoever, which makes it even funnier.
16. Coldplay -- "Everglow"
This is a slow, kind of sad ballad. It features a soulful vocal by Chris Martin, and some really exquisite Bruce-Hornsbylike piano work. It might be a little schmaltzy, but I can deal with that because it's so damned beautiful. And apparently Martin's ex, Gwyneth Paltrow, does an uncredited guest vocal. What's in the box, Chris?! Oh, what's in the f!-@ing box?!!!
15. Coin -- "Run"
Coin is a poppy alternative band from Nashville. This song is from their eponymous debut CD. The song is a delightful, upbeat indiepop number. It's a little like this -- imagine you took Curtis Mayfield's "Move on Up", sped it up, and added jangly guitars, some synth on the transitions, and some clean alt-rock vocals. That's what it's like. A little. Sort of.
14. Holly Miranda -- "Desert Call"
Holly Miranda is a singer-songwriter from Detroit. "Desert Call" is from her self-titled debut album. This is another slow, dreamy number, with vocals that are alternately breathy and belty. (I'm pretty sure I just made that word up.) There's some stark guitar in the beginning, and later on some gentle sax to carry the song home. And since she grew up singing in a church, there are some easy "halleljuhs" at the end that I'm pretty sure have more to do with world of the flesh stuff than with ecstasies of the spirit.
13. Virgin Steele -- "Hymns to Damnation"
Although Virgin Steele is a metal band, and there's plenty of fast-paced rock on the two-disc album from which this song comes, "Hymns to Damnation" is a ballad. It's a psychotic ballad, but it's a ballad. And you've never heard such a loving tribute to death, deceit and damnation, lovingly growled by lead singer David DeFeis. ("Child heart with bestial eyes/Like tears in spider webs, a perfect disguise ...") Demons rock!
12. Night Riots -- "Break"
Night Riots is a California band that has been compared to The Killers. This track is from their Howl EP. The song is a strong alt-rock single, although strangely it wasn't released as a single. Go figure. It's a medium-paced song with a positive message "They will try, but they will never break what you are/There is us, we are one/As the whole world falls apart." It's catchy. You'll like it. (Actually, I have no idea if you'll like it, but I like it, so that's why it's here.)
11. Hey Violet - "You Don't Love Me Like You Should"
Hey Violet is a mostly-grrl pop punk band from Los Angeles in the tradition of The Go-Gos. Apparently they used to be an all-grrl band called Cherri Bomb, but stuff happens. The music is fast-paced and fun, even when the lyrics are about sad stuff (like when your significant other doesn't love you like they should). They've got a full-length CD coming out later this year, but this song is from last year's I Can Feel It EP. I've never seen them live, but I bet they're a pisser.
Next Post: Top 20 Songs of 2015: Part 2
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