Saturday Night Rock Show

Playboy used to have a television show on the networks. Hugh Hefner's Playboy After Dark was a kind of upper-middle class hedonists version of a variety show. In 1969, they invited the Grateful Dead to perform. The Dead, puckish pranksters that they were, agreed. As you watch what follows, please remember that the Dead and their crew managed to dose everyone there - cast, crew, guests, and of course themselves - with LSD. The exception was Bob Weir whom, after a brief time of use, found he could use the experiences he already had, and that any future use would merely be redundant. Ah, the '60's, when everyone could be tripping, and no one could be the wiser.

Music Monday

Back in the 1990's, the so-called "alternative music" scene contained a disparate array of bands and performers, and at its media-induced height, 1994's Woodstock reunion, much was made of the fact that classic folk-rock group Crosby, Stills, and Nash would be following industrial band Nine Inch Nails. I thought The Downward Spiral was a brilliant album, and I do not think Reznor has done anything as brilliant - not even close - since. Here's "March of the Pigs":

One of Reznor's protege's was the Florida-based Marilyn Manson. I thought Anti-Christ Superstar was a brilliantly conceived album - how can you not smile when the first song on the CD was titled "Irresponsible Hate Anthem"? - but developments disappointed. First, I learned that most of the "live shows" were in fact mimed - the band was either too wasted or simply unable to play. Also, Manson himself started taking himself much too seriously. Too bad. Here's the title track from the aforementioned recording (I will warn those of a sensitive nature there are some comments Manson makes that might offend some):

In contrast to the earnest, and self-defeating, self-seriousness of Marilyn Manson is the tongue-in-cheeky approach of Rob Zombie. Much more firmly rooted in the Alice Cooper shock-rock approach precisely because his approach is so over the top, Zombie also produces some fine music that makes your ears bleed, and is also quite danceable, should one so choose. Zombie is also a fine movie director. His first film, House of 1000 Corpses was panned because it was what it was - an over-the-top homage to the slasher/low-budget horror movies of the 1970's and 1980's. The Devil's Rejects, the sequel, was received with more enthusiasm. Should you be interested, get the Director's Cut, which includes an unedited scene with 1980's porn queen Ginger Lynne Allen that will make you laugh and cringe at the same time. Here's Rob on Letterman with "American Witch":

Music Monday

From R & B to funk to hip-hop, African-American music rules the world, shapes the way we think of pop music, and gives us all a chance to dance, make love, and party. The world is a better place because Americans of African descent have offered their songs and stories to the world.

I am an unabashed Motown fan. I refuse to get in to discussions over the relative merits of Motown versus Atlantic versus Stax/Volt. Each is important, each made major contributions to American music, and each had its own controlling ethos. At another time, I will discuss the other labels, but Berry Gordy's desire to sell African-American pop to the whole country as "The Sound of Young America" did as much to break down racial barriers as any March on Washington. The Miracles' "Ooh, Baby, Baby", as I understand it, began its life as the background to some between-song patter Smokey Robinson was giving an audience at the Apollo. Audience response to what the Miracles were vamping was so overwhelming, Smokey wrote an entire song centered around it - it moves through the whole song, even when it isn't sung, the unseen guest at this party. It is a beautiful love song.

George Clinton began as a hanger-on at Motown, doing some gigs as a studio musician. He went on, using the inspiration of acid and cannabis, to create the huge sound of P-Funk, with the best bassist in the history of music, Bootsie Collins, providing the groove that made anyone want to get up and dance. I can't get enough of P-Funk; they just make me smile and want to party. This is "Tear The Roof Off This Sucka":

There are few contemporary songs that are guaranteed to get people dancing more than the next one. While not a huge hip-hop fan, one can hardly argue with the success Usher has had combing rap and R&B. His clear high tenor voice, combined with the insistent beat and unabashed sexuality make "Yeah" a crown pleaser from the get-go. Plus, it's just got such a great hook.

Some Music for the Weekend

I'll be away this weekend on a mix of business and pleasure, so I thought I'd offer a bellyful of long songs for your entertainment. Or not. Maybe I'm just being pretentious.

First up is the title track from Dream Theater's Octavarium. Loved it live in Chicago in March of '06; look forward to seeing them this August as they tour in support of their forthcoming CD on Rhino.

Next up, in multiple parts in order (one hopes) is "Supper's Ready", an interesting interpretation of the Book of the Revelation to St. John by Genesis.



Finally, we have, again in multiple parts, VanDerGraaf Generator's "A Plague of Lighthouse Keepers" (dedicated to Cristina at Contra Capa).

Music Monday

Sometimes when I hear something, I instantly like it, and want more. Sometimes, when i hear something, I can't imagine wanting to ever listen to it, or anything remotely similar, again. Occasionally, though, there are bands that I like despite my initial resistance, or bands I come to loath despite initially thinking they had some kind of promise. Then there are bands I want to like, but just can't get around some aspect or other to say, "Yeah, they're pretty good."

First up is a band that, when I first heard the, I thought, "Ugh!" Over time, though, they have grown on me, despite the self-indulgent self-pitying of the lyrics. This is the song that really made me sit up and take notice of Korn, "Freak on a Leash":

Next up is a band that thought had a lot of promise the first time I heard them, reached what I thought was a good first plateau for them, only for me to realize that this was their peak, and that would sink slowly downhill from there. Godsmack started out as an Alice in Chains cover band, which seems odd, since Sully's throaty baritone growl is far-removed from Layne Stanley's nasal tenor. I think they had a lot of potential, but never progressed beyond this song, their best, in my not-so-humble-at-all opinion, "Awake":

Finally, I think I have a mental block when it comes to the band Slipknot. On the one hand, I think they produce some of the finest hardcore around. On the other hand, while I recognize unintelligible screaming and grunting is part of the charm of hardcore for its fans, I just can't get beyond the fact that the songs would actually be better if they were sung rather than just incoherently screamed. Love them or hate them, they give one a different view of farm country when we realize this is kind of a Des Moines, IA supergroup (the best musicians from various Des Moines hardcore groups). By the way, I think the masks are unnecessary, but again, are part of their charm. This is called "The Nameless":