I Heard Them First! Deconstructing CMJ

To celebrate AM's safe and victorious return from Dixieland as well as the kickoff of the 2008 CMJ Music Marathon, I've put together a few bands I like, a few bands I've never heard of that I might like, and bands that I don't know and probably would never like. In no particular order, as subjective and random as the festival itself.

The mission of CMJ has always been 'New Music First', but I think the Marathon has morphed itself into a hipster popularity contest. I found the following diagram and it seems fittingly appropriate.











I'm just sayin'.

Broken Social Scene- Live @ KVRX 2003

Broken Social Scene- Fire Eye'd Boy



Deerhoof- The Perfect Me


Beach House - GILA


The Lovely Feathers- Frantic


Shiny Toy Guns- Le Disko

Ramblin' Man

As we prepare for our road trip down to Barber Motosports Park in ol' Alabamy, Actual Monkey brings you a few of the South's greatest hits. Not a huge fan of southern fried rock, but I do think there were some absolute gems from that period.

Included herein are several vids, one of which gives a good idea of what I'll be up to this weekend. Ding Dang! Enjoy y'all!








Heard It In A Love Song

Jessica

Trigger Happy

Purchased sight unseen in 1969, WIllie Nelson's trusty Martin N20, affectionately known as 'Trigger' has never missed a gig, performing with him in over 7000 shows.

As haggard as the Red Headed Stranger himself, Trigger has to be the most famous axe this side of Jimmy Page's double neck Gibson. It's recognizable patina is indistinguishable from Nelson's, both having been acquired from a life (mis) spent on the road.

A disciple of Django Reinhardt, Nelson's arpeggio style is partly responsible for the distinctive hole that has worn through the guitar's Brazilian Rosewood face over the past 40 years. He also identifies his use of a pick on the nylon-stringed classic as another culprit.

The foreseeable future holds little chance of either Nelson or Trigger slowing down. At 75, Willie maintains a vigorous touring schedule, equivalent to around 200 days a year. Still is still moving.

My guess is that one day Trigger will be buried with Willie, if not, his old friend should be put out to pasture. I'm sure they'll find some room for it in the Smithsonian.

I'm just sayin'.

Willie Nelson-Still Is Still Movin

Willie Nelson-Angel Flying Too Close To The Ground


Willie & Family Live 1

Willie & Family Live 2


Witness for yourself the slow, sweet decline of Trigger in the following vids, spanning 40 years of the Lone Star State's favorite son.









An homage to the master, Django Reinhardt

Drain You

Tearing a page from Yoko Ono's playbook on how to sustain a positive cash flow from your dead rock star husband, Courtney Love quietly negotiated several licensing deals, exploiting the Kurt Cobain 'brand' while simultaneously lining her pockets. After signing away all of Kurt's integrity, creativity and hard work in 2006, much of the resulting merchandise has now found its way to store shelves.

Currently, Cobain is the top earning dead celeb. Estimates put his estate around $50 million, handily out-grossing other dirt nappers like Elvis Presley, John Lennon and Bob Marley.

Not unlike her lipo-suctioned abdomen, Love has sought to drain every penny possible from Kurt's legacy, selling off a 25% stake in his catalog, allowing his music to appear in ads and on network television. Oh, the Guilt.

As for the swag? In addition to the typical fare of t-shirts, key chains, and lunch boxes, additional licensing was granted to companies like Converse. Now Kurt's soul and your sole can be as one. The following is a product description for the Chuck Taylor All Star Kurt Cobain:

"He haunted Seattle's music scene, withdrawing into its grit and grime. He thought some of it made sense, but most of it didn't. So he turned to the only thing he knew for sure: his own music. Soon it became clear; the inspired songwriter with scruffy hair and stormy eyes had taken the underground grunge movement mainstream. Distressed canvas upper with Kurt Cobain signature, available in widths to EEE $59.99."

Enough to make you wanna blow your brains out.

I'm just sayin'.

P.S. Here's a little something she won't be cashing in on:

You Know You're Right

Nirvana-The Complete BBC Sessions 1989-1991


Nirvana 'Drain You'- MTV Live and Loud 12.13.93

Killer Music

After seeing the Killer's killer performance on this season's premier of Saturday Night Live, it solidified two things I've known for years: 1. SNL sucks. 2. Most good new music is just repackaged old music. Not to discount any of these new bands, I really like a lot of the 'new' new wave current making playlists, albeit derivative of the classics. I guess it makes me feel like I'm still 'in touch' with the kids, but more times than not, it has me going back to my 'Living In Oblivion' collection and pining for the Reagan era tunes of my youth. So please join me in a little reminiscing. In with the old new and with the new old new.

First we have L.A's Sparks. Fronted by brothers Ron (Hitler Moustache) and Russell Mael, the group had a string of hits, most of which can be found on soundtracks to John Hughes films. By the time this duo peaked in 82', they had already been making music for 12 years (having launched their career on Todd Rundgren's Bearsville Records. After teaming with ex- Go-Go's guitarist/songwriter Jane Wiedlin on 1983's 'Cool Places', things cooled off for the band, and although they haven't charted since, they do still continue to record.

The second band, Classix Nouveaux was basically a one/two hit wonder band from England. Formed after the break up of the legendary punk outfit, X-Ray Specs, they charted as high as #11 with '"Is It A Dream'. I've included here, my fave, 'Guilty' from 1980.

Finally, we have the darlings of the recent post-punk revival, The Killers. These guys have done a good job maintaining/evolving a sound that started over 30 years ago. Lead singer Brandon Flowers alludes a certain je ne sais quoi, that to me, aligns him with the vulnerable, sensitive lead singer type that was a staple of almost every 80's electronic pop band. Kinda like a skinny Robert Smith without the big hair and all the makeup. Kind of wimpy, but it works.

One other thing. While electronic pop is currently enjoying a renaissance, SNL is not. The show is just awful. If not for the musical guests, it would be unwatchable. However, when the time comes for Lorne to mercifully pull the plug on Studio 8H, there will remain a rich musical legacy of some of the most outstanding performances in popular music history.

I'm just sayin'.


The Sparks 'Mickey Mouse' -SNL 5/15/1982

The Sparks 'I Predict' -SNL 5/15/1982



Classic Nouveaux- Guilty

The Killers 'Spaceman' -Highline Ballroom 7/29/08

Classix Nouveaux-Guilty.mp3

Sparks-Angst In My Pants.mp3

Killers-Spaceman.SNL.10.08.08.mp3

Peel and Stick

On this, the third annual John Peel Day, Actual Monkey venerates JP with a few tracks from some of his, and our favorite bands.

The Fall-Cruiser's Creek (Peel Sessions).mp3

ACR-Do The Du (John Peel 1979).mp3

Nirvana-Aneurism (Peel Sessions).mp3

Hey DJ (Original 12_Mix).mp3

Thanks to Mr.Walsh of Rockturtleneck for the additional contributions:

The Smiths- This Charming Man (Peel.09.23.83).mp3

White Stripes-Build A Home Memphis (Peel 08.11.01).mp3

Dhani Boy

The only thing darker than growing up in the shadows of fame and fortune as the progeny of a mega rock star is actually trying to step out of those shadows and make a go of it in the music biz yourself. Just ask Jakob Dylan or Julian and Sean Lennon.

Now although the jury might still be out on Dhani Harrison, it appears he's on his way. A spitting image of his father, his music also bears a striking resemblance.

His story is not all that interesting. After studying to be an aerodynamacist, he abandoned his ambition to assist in the completion of Brainwashed, George Harrison's final release shortly before his death in 2001. And after performing alongside a stage full of rock legends at the Concert for George, Dhani all but disappeared.

Fast forward to 2006. His new (and so far only) band, thenewno2 release their first EP, aptly titled EP0001. It received mixed reviews, but featured the sublime 'Lord Lord', a follow up of sorts to GH's 'My Sweet Lord'.

This past August, the band released their first full length LP, You Are Here. I like it. I think it sounds like George Harrison with a beatbox. Thankfully, it's free of cringe inducing slop like 'Too Late For Goodbyes'.

Interesting to note that the irony of Dhani's station in life is not lost on him. The band's name is a reference to 60's cult TV series 'The Prisoner'.


Things certainly have changed from his father's days in the music business. I am fascinated to see the various cross-sell and marketing tactics implemented on behalf of new artists these days. Included but not limited to: maintaining the obligatory MySpace/Facebook page, iTunes banners, webcasts, licensing deals for video games and even a recent fashion spread featuring Dhani, all dolled up, looking exactly like his father!. I guess you do what you have to do.

As for Dhani boy. I think he might have a better shot then some of the other Rock Star Kids. But it will always be a challenge to find the direct sunlight. I can only imagine how far that shadow is cast and how difficult it must be to get out from behind it.

I'm just sayin'.

P.S. In case he needs a little help finding the light, check out dear old Dad and Paul Simon from SNL, circa 1976.

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Thenewno2-Lord Lord.mp3

Happy 68th Winnie

Not my favorite Beatle ( I fancy myself a George man), but my favorite Lennon song. 'Whatever Gets You Thru The Night' was co-written with Elton John and appeared on 'Walls and Bridges'.

For me, it carries a lot of memories from that period of my childhood in the early 70's. Mom wore out her 45 and I remember hearing it on heavy rotation on WABC 770 AM. (Does anyone else remember Dan Ingram? )

The energy of this song tapped straight into the whole 70's 'me' vibe. A sort of 'do whatever' fallout from the peace and love 60's. Makes total sense that it was written during the 'lost weekend' period of Lennon's life.

Surprisingly, this was Lennon's only solo hit to top the charts while he was alive. (Billboard Hot 100 number one single, November 16, 1974).

Check the rare vid below, a glimpse of John strutting about in a deteriorating, Abe Beame era NYC circa 1974, sans Yoko.

I'm just sayin'.

John Lennon-Whatever Gets You Thru The Night.mp3

God is in the House

More sinister then a Dick Cheney staff meeting yet equally as uplifting as a Joel Osteen sermon, Nick Cave and Co. took the stage at (what is for now, still) the WaMu Theater at MSG on Saturday night, further proof that a Fu Manchu beats a receding hairline every time.

I was surprised at the variation in musicianship from song to song. They charged, noisily through some of their newer material and stumbled, clumsily through their older repertoire. Sticking with mostly fan faves in spite of new material from this year's post-everything offering 'Dig, Lazarus, Dig!!!', NC&TBS did an admirable job delivering such classics as 'Tuepelo', 'Papa Won't Leave You Henry', 'Mercy Seat' and 'Deanna'. However, I found it a little ironic, if not trite when Mr. Cave introduced 'Mercy Seat' with the quip "Here's one about a guy and an electric chair." Sounded like a set-up line from Uncle Ted.

At this point in his career, Mr.Cave has adopted the Lou Reed modus operandi of speaking the lyrics more so than singing them. That said, he did croon the softer stuff, namely, 'God is in the House', his paradoxical satire on Christianity. The same Christianity of which Mr.Cave is a true believer and has been the topic of dissertation on this very blog in the past.

From the cheap seats, there was a lack of intimacy that such a performer warrants. I was later mortified to learn (upon viewing countless youtube cell phone video's taken of the current tour) that Nick's on stage persona is not spontaneous and improvisational, yet rather contrived and repetitive. I guess at some point along the continuum all rock stars are the same.

All and all a good show. But honesty, he could have come out onstage and read Paul's letters to the Philippians with the accompaniment of an open C chord and the crowd would have thought it the coolest show ever.

I'm just sayin'.

For the uninitiated: NC&TBS, Wamu Theater, NYC 10.04.08

1. Hold On To Yourself
2. Dig, Lazarus, Dig!!!
3. Tupelo
4. Weeping Song
5. Red Right Hand
6. Midnight Man
7. Love Letter (Nick on piano)
8. God is in the House (Nick on piano)
9. Moonland
10. Mercy Seat
11. Deanna
12. Hard On For Love
13. We Call Upon The Author
14. Papa Won’t Leave You Henry

Encore:

15. The Lyre of Orpheus
16. Get Ready For Love
17. Stagger Lee

Extra Credit: In the following performance of 'There She Goes, My Beautiful World' (from Later w/ Jools Holland), the angelic, anthemic, name-dropping, muse inspiring opus that it is, NC espouses "Johnny Thunders was half alive when he wrote 'Chinese Rocks'". This lyric, while poetic, is not factually correct. Any good NY punker will tell you it was none other the Richard Hell and Dee Dee Ramone who penned that heroin classic. Nevertheless, a tremendous, hard-charger of a song.

Nick Cave & The Bad Seeds- There She Goes, My Beautiful World.mp3

A Producer, A lawyer, What A Concept

With a storied career that began by working the boards for the Fab Four, Alan Parsons boasts one of the most eclectic resumes in all of popular music.

After cutting his teeth alongside Sir George Martin on the Beatles' Abbey Road, Parsons produced Pink Floyd's seminal Dark Side of the Moon. His stellar studio acumen also made Pilot's 1975 'Magic' a bonafide #5 hit. Later that same year, Parson partnered with attorney, producer and songwriter Eric Woolfson to form the Alan Parsons Project.

The entire creation of the band and all it's subsequent releases were based on concepts. Parson believed his contributions as a producer went above and beyond the mechanical tasks of a studio engineer and directly contributed to the overall finished sound. He sought to take the focus off the musicians and place it squarely on the producer, comparing his efforts to that of a Hollywood director. The Stanley Kubrick of pop music.

Each LP focused on a different concept, some apparent, some obtuse. Commercially, the duo (and backing musicians) achieved modest success, peaking at #3, with 1982's Eye in the Sky, from the album of the same name.

Often confused with Prog Rock to the uninitiated, The Alan Parsons Project was indeed just that. A project, a unique reformulation of the components of pop music that resulted in some notable critical acclaim as well as a few radio friendly gems.

I'm sure the commercial success of APP left Emerson, Lake and Palmer scratching their collective heads.

I'm just sayin'.

Don't Answer Me

Time


Pilot- Magic


Alan Parsons Project-Don't Answer Me


Alan Parsons Project-Prime Time


Alan Parsons Project-Time


Kids Incorporated- Games People Play

Get Ready for Love

I left off, abruptly back in March while on the topic of Nick Cave. I covered his dark side, but left his tender side untouched. Due diligence follows.

Nick Cave, sinister ringmaster, near do well, bon vivant, aggrandizing and exploiting the depths of the human condition, the good and evil that exists in the pit of every man's soul. His raw, haunting tales are the marrow of his repertoire, but these alone do not comprise the full measure of the artist. The sinewy tendon and muscle attached to the bones of his music is the love song. In addition to providing a certain gravitas to his catalog, they display a maturity that distinguishes Cave as a truly well-rounded songwriter, a journeyman of the heart, traversing it's deepest chambers and excavating every drop of emotion from within.

The softer side of Nick, while always apparent to some extent in his earlier work, was fully realized on 1997's Boatman's Call. This period is marked by his relationship and subsequent breakup with singer Polly Jean Harvey. Cave's delicate arrangements are a striking departure from previous Bad Seeds material and this brevity only enhances the content of these songs. His ability to call upon efficient arrangements and marry then to the simplest of allusions and the most basic of premises, (a walk together, a breakup, a longing for unrequited love) are at the same time sparse and lush, and altogether mesmerizing.

When you hear a Bacharach love song, it's transparent. A product. A song written for the sole purpose of existing as a love song. Sung by another and meant for someone else entirely. An objective offering on the subject. Cave in turn reverses the polarity, turning the love song inside out. At once achingly personal and sincere, and still ambiguous enough to be offered to the listener, transcending into our assimilated collective experiences. His love songs are in essence, the very soul of Nick Cave, and yet, not his possession at all.

I'm just sayin'.

Into My Arms (live on Letterman)

Lime Tree Arbour (Live)

Nobody's Baby Now


Nick Cave & The Bad Seeds- Nobody's Baby Now


Henry Lee (w/ PJ Harvey)

Back to the Start

Huh? Where am I?
I awake from a coma,
I hear this.
I am back.
I'm just sayin'.