Like most human beings with functioning souls, I was sad to hear that Prince died. More because he was too young to die and seemed to be having a bit of a renaissance, putting out albums, touring, and writing a memoir. His current output may not have set the world on fire, but he had such an amazing run in the 80s-mid 90s that he could have never released anything else and it would have been enough.
I loved 1999 and Purple Rain, and I owned both cassettes. Well, I owned 1999 and my sister owned Purple Rain. I have yet to go to a wedding where "Kiss" isn't played. He was incredible. More than that, he challenged a lot of stereotypes. He was a black man who rocked out AND got funky. He had gay women in his band, and he championed female artists. He was hyper sexual and yet wore heels and frills and sang in a falsetto. He was a powerful role model to have in the conservative, homophobic, and racist 80s. He showed a lot of kids a different view of masculinity. And like the Beatles, EVERYONE likes at least one Prince song.
Saturday, April 23, 2016
New Music by Old People
I've been listening to two recent albums by musicians who have been around a while.
First is Bob Mould's newest album Patch the Sky. This is the third album he's made since his return to loud guitars, working with two-thirds of Superchunk. I didn't love the first two albums, but this one is resonating with me. My issue with Mould's music is that he can get kind of cheesy, but he's tampering that down here. A lot of this album has to do with his relationship ending and his father dying, and there are some great songs. My favorite so far is "The End of Things," about a break up with the great line "A graduation/Or a gradual decay." It's exciting to hear someone using their skills as a musician to tackle more grown up emotions.
I also got PJ Harvey's new album, The Hope Six Demolition Project, about a redevelopment project in Washington DC. The lyrics to some of the songs are a little clumsy (see all the "justs" in the opener), but I'm into it.
.
As an aside, when I was looking up videos of PJ Harvey, I came across this clip of her playing "Dress" live ten years ago. Just her looking amazing and rocking out with only a drummer.
First is Bob Mould's newest album Patch the Sky. This is the third album he's made since his return to loud guitars, working with two-thirds of Superchunk. I didn't love the first two albums, but this one is resonating with me. My issue with Mould's music is that he can get kind of cheesy, but he's tampering that down here. A lot of this album has to do with his relationship ending and his father dying, and there are some great songs. My favorite so far is "The End of Things," about a break up with the great line "A graduation/Or a gradual decay." It's exciting to hear someone using their skills as a musician to tackle more grown up emotions.
I also got PJ Harvey's new album, The Hope Six Demolition Project, about a redevelopment project in Washington DC. The lyrics to some of the songs are a little clumsy (see all the "justs" in the opener), but I'm into it.
.
As an aside, when I was looking up videos of PJ Harvey, I came across this clip of her playing "Dress" live ten years ago. Just her looking amazing and rocking out with only a drummer.
The Replacements
I saw the documentary "Color Me Obsessed" this week, about the Minneapolis legends The Replacements. What was interesting about the doc was how much their mythology sort of capsized the band. The thing everyone remembers about the Replacements is what drunken fuck ups they were. They were frequently wasted on stage, often to the point of being unable to play. An aura of chaos followed the band, the kind of chaos you usually associate with hardcore junkie artists like Iggy Pop or G.G. Allin, although it seems like the 'Mats were mostly into caseloads of beer rather than drugs. The documentary mentioned that, but also mentioned how sad and frustrating it was to see a band with so much potential consistently squander it. Bob Stinson, the drunkenest, most fucked upenest member, was booted in '86 for being too much of a fuck up, and managed to drink and drug himself to death by 35.
The Replacements are also the ultimate cautionary tale for any punk band trying to grow up. Their genius lay in straddling the line between clever and stupid, and when they went for a grown-up sound on their later albums, they lost much of the smart-ass charm that had made them great in the first place. Not unlike Husker Du, they went from being a scrappy punk band to being another boring modern rock act.
I was never into the Replacements during their existence from 1979-1991. They were a little too rock for my tastes as a younger listener, and their later modern rock incarnation didn't appeal to me either. It's only as I've gotten older than I've come to appreciate them, although I don't own any of their album. I briefly owned 1987's "Pleased to Meet Me," but have since sold it. However, I've been revisiting them a lot lately. They appeal much more to me now.
Their performance of "Bastards of Young" on SNL in 1985 shows a lot of their appeal, and a lot of their problem. It's great in part because it is a shambolic, drunken mess, but it is also a drunken, shambolic mess that got them banned from the show.
What a mess by mmr421
One of my favorite songs by them is "Can't Hardly Wait." , only not the neutered version that appears on "Pleased to Meet Me." It's much better live, or in the "Tim" outtake, which maintains a rawness that got lost in the studio recording. The lyrics are also different. In the official studio version, there are some key lines changed, and the song seems to be about the weariness of touring. The "Tim" version makes it seem like it is about suicide. My favorite line is "I'll be sad in heaven/If I can't find a hole in the gate/Stand on the top of this scummy water tower/Screaming I can't hardly wait/'Til it's over."
The Replacements are also the ultimate cautionary tale for any punk band trying to grow up. Their genius lay in straddling the line between clever and stupid, and when they went for a grown-up sound on their later albums, they lost much of the smart-ass charm that had made them great in the first place. Not unlike Husker Du, they went from being a scrappy punk band to being another boring modern rock act.
I was never into the Replacements during their existence from 1979-1991. They were a little too rock for my tastes as a younger listener, and their later modern rock incarnation didn't appeal to me either. It's only as I've gotten older than I've come to appreciate them, although I don't own any of their album. I briefly owned 1987's "Pleased to Meet Me," but have since sold it. However, I've been revisiting them a lot lately. They appeal much more to me now.
Their performance of "Bastards of Young" on SNL in 1985 shows a lot of their appeal, and a lot of their problem. It's great in part because it is a shambolic, drunken mess, but it is also a drunken, shambolic mess that got them banned from the show.
What a mess by mmr421
One of my favorite songs by them is "Can't Hardly Wait." , only not the neutered version that appears on "Pleased to Meet Me." It's much better live, or in the "Tim" outtake, which maintains a rawness that got lost in the studio recording. The lyrics are also different. In the official studio version, there are some key lines changed, and the song seems to be about the weariness of touring. The "Tim" version makes it seem like it is about suicide. My favorite line is "I'll be sad in heaven/If I can't find a hole in the gate/Stand on the top of this scummy water tower/Screaming I can't hardly wait/'Til it's over."
Friday, April 01, 2016
How to Ruin A Record Label
I just read Larry Livermore's How to Ru(i)n A Record Label, which details his experience starting, leaving, and watching the demise of Lookout Records.
I came to the Bay Area in 1993, and got into local punk that year. I saw Green Day at Slim's in San Francisco right after Dookie hit but before they blew up. I was an exciting time for music and the scene, even if I was a good three years too late. Lookout was the epicenter of it. They had Green Day, Operation Ivy, Tiger Trap, Crimpshrine, and a host of other local punk bands. Plus, their shabby aesthetic and low prices made it seem like a label run by and for the kids.
Both Green Day and Op Ivy became huge sellers for them. I think they were used to selling thousands of copies, and those bands were selling hundreds of thousands of copies. It infused the label with a lot of money, and they struggled to find a path forward. What struck me reading the book was how short-lived this all was. The label started in 1987, and was effectively done by 2005, although the writing was on the wall sooner, and they officially closed much later.
I've read Chris Applegren's description of how he ran the label into the ground after Larry Livermore bailed in the late 90s. Applegren basically thought that since Green Day went on to become bajillionaires with some serious promotion, any other band should be able to become bajillionaires with the same level of promotion. What they missed was that Green Day was lightning in a bottle, ie not the kind of thing that is likely to come along again. Also, most of the commercially successful punk bands sounded nothing like the shabby pop-punk Lookout! was putting out. The Epitaph sound was much more prevalent as the 90s closed - think Blink 182 or Sum 41. The band used royalty payments to pay bills, thus stiffing bands, thus losing their catalogue as Green Day and Op Ivy took their records to other labels.
I felt a sense of loss when the label closed, but looking back it seems kind of inevitable. The Lookout! sound was very specific to a time and place. They put out East Bay pop punk records, or East Coast bands that sounded like East Bay pop punk. Their few excursions into weirder punk (Neurosis, Filth) were anomalies. Their attempts to branch out into bands like the Donnas and the Pattern weren't successful. By 1999 pop punk was done and so the label. I have a lot of respect and admiration for what they did, and I love some of those records, but I'm not surprised that it folded. I know Molly Neuman is still in the industry. I'm not sure what the rest of them are up to.
I came to the Bay Area in 1993, and got into local punk that year. I saw Green Day at Slim's in San Francisco right after Dookie hit but before they blew up. I was an exciting time for music and the scene, even if I was a good three years too late. Lookout was the epicenter of it. They had Green Day, Operation Ivy, Tiger Trap, Crimpshrine, and a host of other local punk bands. Plus, their shabby aesthetic and low prices made it seem like a label run by and for the kids.
Both Green Day and Op Ivy became huge sellers for them. I think they were used to selling thousands of copies, and those bands were selling hundreds of thousands of copies. It infused the label with a lot of money, and they struggled to find a path forward. What struck me reading the book was how short-lived this all was. The label started in 1987, and was effectively done by 2005, although the writing was on the wall sooner, and they officially closed much later.
I've read Chris Applegren's description of how he ran the label into the ground after Larry Livermore bailed in the late 90s. Applegren basically thought that since Green Day went on to become bajillionaires with some serious promotion, any other band should be able to become bajillionaires with the same level of promotion. What they missed was that Green Day was lightning in a bottle, ie not the kind of thing that is likely to come along again. Also, most of the commercially successful punk bands sounded nothing like the shabby pop-punk Lookout! was putting out. The Epitaph sound was much more prevalent as the 90s closed - think Blink 182 or Sum 41. The band used royalty payments to pay bills, thus stiffing bands, thus losing their catalogue as Green Day and Op Ivy took their records to other labels.
I felt a sense of loss when the label closed, but looking back it seems kind of inevitable. The Lookout! sound was very specific to a time and place. They put out East Bay pop punk records, or East Coast bands that sounded like East Bay pop punk. Their few excursions into weirder punk (Neurosis, Filth) were anomalies. Their attempts to branch out into bands like the Donnas and the Pattern weren't successful. By 1999 pop punk was done and so the label. I have a lot of respect and admiration for what they did, and I love some of those records, but I'm not surprised that it folded. I know Molly Neuman is still in the industry. I'm not sure what the rest of them are up to.
Subscribe to:
Posts (Atom)
