Showing posts with label Smiths. Show all posts
Showing posts with label Smiths. Show all posts

Tuesday, July 1, 2014

The Smiths - The Smiths


Here's the album in which I first discovered The Smiths, but not in the way in which you think.

It was from a review in Rolling Stone magazine-back when things like print music magazines mattered, and when reviews could expose a band to a wider audience. As much as I hate to admit it, Rolling Stone magazine prompted me to explore new music unseen, and the results were rather mixed, even though the intentions were good.

I didn't buy The Smiths debut from that review.


And none of the words had any impact on that decision.

In fact, I can't even remember if the review was positive or negative, but I'd venture a guess that the folks at Rolling Stone have re-written their own history enough times to call the Mancunians' debut a "landmark" and to heap plenty of 20/20 praise on its arrival, even if their first glance was indifferent.

What struck me was the artwork-this was during a period when Rolling Stone's reviews all featured the record artwork-and  how it was different that any other album cover at the time. It was clear that this band paid careful consideration to their image, or at least the sleeve in which it came in. It looked edgy, mysterious and somewhat iconic. Even the font looked clean.

It also looked gay. And to a young man growing up in the Midwest, "looking" gay was something that young boys were instructed-either directly  or indirectly-not to  appear. These were the instructions of the same dude who also advised against wearing pink or getting only your left ear pierced, because an earring in the right ear meant you were gay.

Both ears? You were bi.

All of this hopefully sounds ridiculous to anyone now, but ask any Midwestern man over 40 and I'm positive that you will hear similar nonsense.

I would like to think that The Smiths are somehow responsible for the cultural shift that made it possible for young men to not have to worry about such things, because to not purchase a record simply because the cover might suggest that you were somehow a homosexual is entirely the wrong reason for not buying it.

At the same time, had I actually been brave enough to purchase The Smiths, there is a distinct possibility that I would not have re-examined the band until much later than I actually did. That's because The Smiths' debut is not the infectious and Earth shattering record I needed to hear in order to begin to not give a shit what other people thought about the fucking cover.

But having the luxury to look back upon the band's debut after the fact provides its glaring deficiency: the horribly dated mix. The band could be a tightly wound monster, but The Smiths sounds like it was merely pieced together by a few dedicated musicians, a meticulously-inclined producer and an unlimited amount of studio time to make it all stick.

The drums sound thin and Morrissey hasn't quite found his fey swagger, coming across as the bummed out bastard who just happened to land the gig of vocalist because he was the only dude that brought lyrics to rehearsal. Guitarist Johnny Marr and bassist Andy Rourke give spirited performances, but when a pair of tunes feature Paul Carrack, you tend to wonder what other musicians the producer might have been able to call up after a full evening of studio tracking.

The sequencing is a complete downer too, even by Smiths standards. Nearly every song could be the soundtrack to a child abuse nightmare, and even though the band is somewhat famous for being morose, it can be a fairly grim process getting though The Smiths without wanting some sunlight or a mindless cartoon after a complete listen.

The American issue squeezed in the delightful "This Charming Man" single at the end of side one to brighten things up, but its placement on the debut is made redundant with the much-better Hatful Of Hollow compilation, and is apparently becoming phased out of future issues of The Smiths.

True fans are going to (like me) get here eventually and I must acknowledge that some of the themes and arrangements within The Smiths will probably be close to the hearts of the fans that began here. There is no doubting this record's ultimate influence, but for me the debut sounds like a band developing not only its footing, but also their own authority. They surely must have known that they sounded much better than what producer John Porter presented on this record, as every record the band self-produced afterwards reflects some superior musicianship and real prowess compare to the tracks found here.

What works best is the lyrics, a point that Morrissey no doubt realizes and can use as an example whenever he attempts to diminish the roles of his other bandmates. The irony of The Smiths failure is how it doesn't represent the entire band's strengths, and probably would have rendered them an eccentric cult curio if they hadn't pressed on to do much greater things in an unbelieveably short amount of time.

It's not the record that you should start with, but by discovering the band through other albums, you'll soon end up here anyway.

Sunday, February 3, 2013

Don't Kill The Messenger: Johnny Marr Comes With His First Solo Album While Moz Cancels First Iowa Appearance (Again)

For the second time, Morrissey has postponed his intimate date at the Surf Ballroom in Clear Lake, Iowa, in what would be the former Smiths' frontman first appearance on Iowa soil.

The first postponement last October came after the Mancunian's mother fell ill. The most recent announcement after the singer's own health took a turn for the worse after a bleeding ulcer caused him to back out of a number of dates, including the strange booking at the legendary venue, nearly 54 years after Buddy Holly, Richie Valens and the Big Bopper played their last performance just prior to perishing in a plane crash shortly afterwards.

I'll admit, the entire date seemed a bit surreal, but now the godz of rock have intervened and said "No. This performance will not take place now and a rescheduling will be in order."

Meanwhile, former Smiths guitarist Johnny Marr says "Hey! How the fuck do you do?!" with a first ever solo release called The Messenger.

Photo Credit: Carl Lyttle
Of course, you have to wonder if Marr is better suited for a band contributor role rather than out front- I mean, it's been decades now, so why are we just now getting around to a solo record? One has to wonder about the entire need of it.

But here's some of the inbox press stuff that came with the announcement, along with the obligatory teaser video, which is automatically going to be nowhere near as good as the video to "How Soon Is Now."

The mesmerizing return of Johnny Marr continues, as the new video for his forthcoming single "Upstarts" is unveiled today at NME.com. The single is the first from Marr's highly-anticipated solo debut The Messenger due out February 26 (Sire/ADA) and available to preorder now via iTunes. Early acclaim comes from The Guardian who states "The Messenger sees him returning to the big tunes and unmistakable, cascading guitar arpeggios that made him the guitarist of his generation." Stereogum agrees, declaring The Messenger "excellent...it's an album that - in both sound and style - hearkens back to Marr's early days." Marr will set out on a solo tour of the U.K. in March. Stay tuned for additional dates to be announced in the U.S. and beyond.

The release of The Messenger marks a significant milestone in Marr's distinguished career. First known for his work alongside Morrissey as the creative force behind The Smiths, Marr has spent the last two decades collaborating with a diverse array of acclaimed bands, including Talking Heads, Pet Shop Boys, The The, Electronic and more. One of the most celebrated and influential guitarists in the history of contemporary music, Marr was a member of the Modest Mouse line-up for 2007's We Were Dead Before The Ship Even Sank, which debuted at #1 on the Billboard Top 200. Similarly, Marr joined The Cribs when they hit the UK Top 10 with their 2009 release Ignore The Ignorant. Throughout this time, Marr earned recognition as one of the greatest guitar players of all time from such outlets as Rolling Stone and SPIN. With The Messenger, Marr continues to evolve as he steps into the spotlight for the first true solo album of his career.

The 12-song collection captures Marr's musical vision exactly as he imagined, featuring his signature guitar and vocals front-and-center on a sound which mixes elements of angular art rock, indie and rock n' roll. The Messenger was written and produced by Marr himself. Based in Portland, Oregon since 2005, Marr returned to the U.K. in early 2012 to commence work on the album. Recorded in Manchester and Berlin, it was mastered at Abbey Road by Frank Artwright who recently collaborated with Marr on the re-mastering work for The Smiths' box set Complete.


Sunday, August 19, 2012

The The - Mind Bomb


Before you play a note, there’s a good possibility that you’ll hate The The merely on the merits of their ridiculously pretentious name, and even more so if you consider that the The is in fact, one person commanding that moniker.

If all of this points to a possibility that you’ve developed an opinion of Matt Johnson’s The The, then your first listen of his 1989’s Mind Bomb may even add to those that bark “holier than thou” as the record is chocked full of end of days imagery and various samples that beat the notion of religious Armageddon to death. All one has to do is look at the back cover for proof; it features a white dove, bloody and impaled, cruelly suggesting that the quest for world peace is nothing more than folly for the naïve.

Mind Bomb is over twenty-years old now, and what may save Johnson from that cynical notion is how amazingly accurate his clarion call was, particularly in light of our post 9/11 condition. But it would be disingenuous of me not to admit that even then, Mind Bomb sure sounded like a major piece of work
.
“Islam is rising/The Christians mobilizing” he advises on “Armageddon Days Are Here (Again),” an acidic observation on how messengers of hope and everlasting life have “forgotten the message and worship(s) the creeds.” One need only look at the “God Hates Fags” signs or any act of religious aggression so commonplace in today’s headlines to consider that Johnson may have been clearly on the mark.

On “The Beat(en) Generation” he declares how we’re all “reared on a diet of prejudice and misinformation,” encouraging us to “open your imaginations” and consider the possibility that our religious and  government leaders don’t always work in our best interest after exploiting  the presumption that they’re always…always…supposed to.

With the introduction of Johnny Marr, The The’s sound benefits greatly from the inclusion of the former-Smith’s chord progression and plaintive harmonica while the band’s hosts of session players give Johnson’s creative outlet the proper detail. Mind Bomb’s big themes are given big production values, but they don’t become as cluttered as other similarly themed releases who feel the need for huge orchestrations or layers of pointless instrumentation. And nowhere on Mind Bomb is the attention to far from Johnson’s philosophical musings, his colorful voice is placed firmly in charge and up front in the mix.

The only downfall to Mind Bomb-if there is one-is that the concept is so big, it would be nearly impossible to follow up. The big themes explored on this record came as a surprise to everyone, particularly considering The The’s previous work which featured Matt Johnson’s big mouth in an incredibly sterile and claustrophobic mix.

Mind Bomb opens up the windows, allowing you the opportunity to not only contemplate what’s being said, but to consider what’s really important in life. And if change does indeed start with one person, Matt Johnson can take solace that Mind Bomb remains a fine example of someone willing to take that first step towards enlightenment.

Monday, July 30, 2012

The RAGBRAI Story: 25th Anniversary Edition


It’s been twenty-five years, so maybe the story can finally be told.

Last Thursday, my city hosted RAGBRAI, a yearly bike event where people gather and ride their bikes across the state of Iowa, from the Missouri river to the Mississippi. Thousands of bikers, both novices and serious riders, gather each year around the same time when Iowa’s temperatures reach their peak for a non-competitive, weeklong ride.

A quarter-century ago-try saying that fast ten times…you’ll still never understand how old it sounds-I participated in RAGBRAI and lived to tell about it.

The lessons I learned from that ride are with me to this day, with memories that continue to be shared with others while some remain unspoken.

The places where I stayed are the foggiest. Was it Storm Lake, or was it just a bad thunderstorm during that first night? Hartford or New Hartford, which one? There isn’t an airport in Guttenberg, is there? So how did I fly back across the state after RAGBRAI was all over?

You have to understand that RAGBRAI would literally just take over these small towns when they’d stroll in, usually mid-to-late afternoon, depending on how hard you rode from the previous town that day.

Once you arrived at your destination, a quick clean up (more on that later) and then head over to the local watering hole to get ripped.

You’ll get defenders claiming that RAGBRAI is a family oriented environment, fueled on wholesome American spirit and Midwestern values. There is a section of the massive bike camp where this is true; it’s the same section of the camp where local bike clubs or corporate participants submit their requests to the RAGBRAI organizers, paying their entry fees and having a legitimate pass to get into the event.

Then there’s the rest of the riders, teams made up of old drinking buddies or groups of adults that view the week as a chance to get lit and relive their college days, blissfully right next to a bunch of college bros that also see the ride as a chance to unwind.

I would have been part of the latter camp, securing the RAGBRAI idea from a friend across state who encouraged me to come up to his place and tag along for the event. He provided me with some vague details on who we’d be riding with, and how we would participate even without proper tickets or documentation. Then there was the fact that I didn’t even own a bike at the time.

I worked at the municipal pool during the summer, securing the necessary time off as a “vacation” and using a friend’s mountain bike for “training.” The local bluffs around the Mississippi river where I grew up provided a brutal training area.

So I decided not to train.

By the time we made it to the starting town on the Iowa border to Nebraska, my friend and I had already consumed a fair amount of hallucinogens around the Iowa Great Lakes area on the days leading up to our launch.

I learned two very important things on that first day, a seventy-five mile distance from  point A to point B. The first was that even if you haven’t properly trained, a young, resilient body would adapt. You will eventually reach a point where you break through the soreness and fatigue, finally conquering the notion that your body won’t be able to survive the entire ride.

I don't think it's the same case for a 45 year old man, and I'm not willing to find out.

We're on the road to nowhere. Literally.
The second thing that I learned is that bicycle shorts are a critical accessory to any bicyclist with testicles, particularly ones faced with daily rides of anywhere from 70 to 100 miles. The pain in my balls was so intense that on the first stop of the second day, I bought a pair of Cannondale bicycling shorts with a chamois gooch cushion at a ridiculously high price just so I could get to the next town without having to pedal the entire way standing up. Those bicycle shorts remained in close proximity with my junk for the entire trip, and I still own them to this day.

One thing that didn’t make it all the way was my Smiths Meat Is Murder concert-T that had become so encrusted with pit stains after years of continuous wear that I made the tattered remains into wife-beater jersey that complimented my dirty-blonde locks that had finally grown past my shoulders.

Wherever we ended up for the first night, it was very dark. As a storm approached the camp area, I became totally focused on the number of people sporting earrings made out of small plastic see-through containers of that glow-in-the-dark liquid they use in bracelets.

Someone gave me one of these earrings, and in my altered state I convinced myself that I needed to pierce my ear and wear my new earring so that I could be illuminated too.

You’ll notice that I said “ear” as in one ear, not the pair. You see, back in the 80’s scientists discovered that straight males did not wear earrings in both ears. After months of research and testing, these scientists noted irrefutable evidence that males that pierced only their right ear were homosexual, while straight men pierced only their left ear. I convinced one of my travel companions that he should help me with the process. He had a single earring in his left ear, so I gathered that he was somewhat familiar with the ear piercing protocol and that he wasn’t gay.

With dirty fingernails that smelled of spilled Miller Lite, he grabbed the post end of my glow-in-the-dark earring and pressed it through my fleshy earlobe. There was hardly any blood, but the popping sound that I distinctly heard as the post finally made its way through the other side of my earlobe made a massive popping noise.

Everybody else swore they never heard a popping sound, but maybe they just didn’t take enough LSD to hear it.

If the idea that some of the time during RAGBRAI was spent under the influence of hallucinogenic drugs seems weird to you, it really shouldn’t. No, the truly bizarre thing is how we ran out of acid the night before we hit Fort Dodge, Iowa and were able to secure more of it in a parking lot of this central Iowa town of 25,000 people.

Some of the towns in the stops along the way go all out in welcoming you and making you feel that you’re more than just another revenue source. As I entered one small town stop, I immediately began to scope out the community, looking first for our group’s camper, but then trying to locate shower sources, meal specials, and other points of interest, like which parking lots have the greatest potential for scoring LSD.

For this particular town, they had opened up the showers to the middle school for bikers to clean up a bit. The hot water was used up hours before, but with the heat of the July sun still a recent memory, the cool water was not much of a complaint.

And a cold shower in the local middle school was nothing to some of the other cleaning areas I saw in other towns. Like the town that let bikers use the outside faucets in the stalls of a local fairgrounds that were normally used to clean livestock. I felt uncomfortable with the obvious comparison to our farm animal brethren, and the fear that the muddy grounds directly outside of  the stalls would instantly defeat any notion of actually getting clean.

I didn’t feel like a cold shower in the local Middle school that day.

I wanted a real, warm shower.

I convinced my friend and another rider, that all we needed to do was to walk down one of the oak-lined streets in this God-fearing Iowa town and look for lawn ornaments.

There’s a certain age-bracket for anyone who considers lawn ornaments, and I reasoned that the age bracket would skew older. The idea was that an older couple would be more receptive than younger residents to let in random strangers into their home to take a shower.

All of this seems completely insane now-I mean, who would actually agree to letting strangers into their houses? But a quarter-century ago, there were towns in Iowa that would let acid-soaked bicyclists into the most private of areas of their homes, allowing them to dampen their towels and snoop around their medicine cabinets.

I say this with all certainty because the first home we saw with lawn ornaments let us use their shower for some nice, hot relief.

It was an older woman who opened the door, looking a bit surprised at my request, but sheepishly allowing us in to partake her indoor plumbing.

If anything, she seemed a little worried that her overnight guests may have used up all of her hot water. I noticed a couple of cyclists had camped out in her backyard, apparently part of the community’s hosting program which paired up cyclists with spare backyards, bedrooms, whatever kind of accommodations they could donate for one night of RAGBRAI. She must have surmised that someone from the city sent my group to her door, pleading for a chance to clean up before invading her community’s taverns.

If that event was the most redeeming story of humankind, then allow me to continue with what happened next in that same community.

The owners/renters/caretakers of the camper we were tagging with, were starting to get a bit intolerant of my friend and me for constantly retreating to the top of the camper. The concern was that our weight would cause damage to the roof of the camper, thereby ruining it and spoiling the thing for future fun.

They didn’t have so much of an issue of it when it was just the two of us sleeping up there, but we had a tendency to invite any and every passerby to join us on the roof of the camper. Particularly girls. 

Occasionally, a few more people would find their way up the ladder to the roof, admiring our stoned perspective from above, safe from the myriad of personalities that walked passed our parked campsite.

If you’re wondering why we didn’t just get inside the camper, it’s because it was a sausage fest in there. If we were going to roughneck it, we would do so outside in the elements, fearless of any unpredictable weather pattern.

That’s when another thunderstorm rolled in, waking us with the tentative rain drops that gave us fair warning for the heavier stuff that was about to hit.

My friend scrambled for the camper door, leaving me with the only open space, the passenger seat. There was no way that a passenger seat would provide me with the required rest that I needed for an 80-mile bike ride the following morning.

I spotted a dark porch across the street with no signs of awake life from inside the house. More importantly, I saw a porch swing hanging from the ceiling. I immediately recalled several times I’d fallen asleep on the porch swing just off my parent’s master bedroom back home. I scooted over to the porch across from our camper and determined that I could easily wake up before anyone inside the house noticed me the next morning.

It worked. I tip-toed off the porch just as soon as I noticed a kitchen light come on, visible from the big window that separated the porch from the living room inside. I scurried back across the street to more friendly territory where members of my group were starting to roll out of the camper.

Shortly before taking off, I noticed that someone had stolen my bicycle seat. Let me rephrase that: I noticed that someone had stolen the bicycle seat of my friend’s bicycle, the nice man who entrusted its well-being and safety explicitly to me for this week.

One of the guys in the camper decided that he was too hungover to ride that day, so he let me use his seat, making my all black mountain bike look silly with his all white seat.

We rolled into the next town where another round of LSD was passed out. Under this state, I suddenly reminded myself that I probably wouldn’t be able to borrow the seat again. We had finally arrived at the last stop of the night and nobody wants to enter the last town via a sag wagon. The roads approaching would be tough too, as RAGBRAI snaked its way through the bluffs of the Mississippi river until you reached the end of the line at the river itself.

Under the influence of a mind-altering substance, I decided I would simply steal someone else’s bike seat when the rider’s campsite had calmed down for the evening.

I didn’t account for two things: 1.) That people usually stay up very late on their last night of RAGBRAI and 2.) That it is impossible to determine the correct distance of people’s voices while tripping on LSD.

I walked past a group of bikes lying unsecured next to a camper. I quickly got in front of the camper and-swear to god-crawled underneath the camper to get back to the bicycles. I thought I was being clandestine in my efforts, even though I could clearly hear people’s conversations to what sounded to be right next to me.

I crawled out from under my victim’s camper and made my way over to the cluster of bikes. I grabbed the seat off the first quick-release bike I could find and walked back the quarter-mile or so from my own campsite.

After a bit of self-congratulations for my efforts, I could see nobody was nearly impressed with my efforts as I was, mainly because it was getting close to daylight at this point and they were all trying to sleep.

I would have, if I'd stolen the right kind of seat.
I fell asleep in my sleeping bag that I positioned on a grassy hill and got in at least a few hours of sleep before heading out on the road again, the voices of imaginary people gently whispering me to sleep.

That morning, I learned two things: 1.) Pink Floyd’s Ummagumma is the best album ever made when you’re under the influence of LSD and 2.) There are these things called “stems” in which bicycle seats are attached to and these “stems” come in different sizes.

I learned these things because we listened to Ummagumma practically every night of RAGBRAI and because the bicycle seat that I had stolen while tripping my balls off just hours prior would not fit into the frame of the bicycle I was riding.

I admitted defeat and rode in the camper during the last day of RAGBRAI.

Karma really had its way with me as we rolled into a primitive little town on the Mississippi called Guttenberg. My friend had secured a small twin propeller airplane for us through a friend of his father. While getting my gear ready, I noticed that I had lost my wallet. To make matters worse, the owners of the camper were in a rush to leave, so I gave them my address in case they found it while cleaning it out when they got home.

Our plane landed in Guttenberg’s airport, a small airfield with a grass runway that looked like there was no distance between start to finish. And at the finish was an old barn, that still looked sturdy enough that it could do some damage to a twin-propeller airplane with four occupants.

As the plane rose, I drifted off to sleep, dreaming that this would be my last RAGBRAI adventure ever.

Quick epilogue: I did get my wallet back when one of the camper dudes mailed it to the address I’d left with him.

I also got arrested the first day I got back home, evidently the result of some investigation on me while I was away on my bike trip. It was the first time I ever used the phrase “I’d like to speak to my lawyer” and, let me tell you, it’s something that I’d recommend to any of those yackers you see on Cops.

What I was arrested for is anther story, as this one has gone on for too long. I’ve never been on RAGBRAI since that time, but the funny thing is that I haven’t missed it, at least not until our city hosted the event this year and more and more people began talking about the impact to the city.

Cedar Rapids spent $250,000 on getting Counting Crows to come here, a concert that featured most riders staying away entirely, presumably because half of RAGBRAI’s participants didn’t know who Counting Crows were and the other half did, but they weren’t willing to fork over the $25 they were asking for as ticket prices.

It would have been $30 for a civilian like me.

No only that, but they put the concert a ways away from the campgrounds, leaving people with not much incentive to hop on their bikes after an already long day, just to pedal to our downtown district to hear “Round Here” or “Mr. Jones.”

Pink Floyd's got a bike...you can ride it if you'd like.
The riders complained that Cedar Rapids seemed to think that the riders were nothing but open pocketbooks, to which I’d suggest, “Absolutely!”

You see, we haven’t got too many visitors here since 2008 because of the floods, so any market that we can corner, we’ll try to get as much money from them as possible. They’re refurbishing our concrete arena for more Slipknot and Stone Sour shows and the ornate Paramount Theater that was covered in river water is not scheduled to reopen until November, when none other than Harry Connick Jr. is slated to appear for the grand re-opening festivities. Don’t laugh, I’ve heard numerous women at work who’ve already declared that they’ll be the first in line to get tickets.

I don’t question my town’s motivation for trying to swindle a buck or two, and I’d say it’s entirely up to the riders themselves if they want to pay for such offerings. I probably wouldn’t have spent $25 bucks on a ticket for a rock show either, choosing instead to spend my money on cheap domestic beer, weed and LSD.

And with those kinds of elements, the only other entertainment you need is a well-worn cassette copy of Pink Floyd’s Ummagumma.

Monday, February 19, 2007

We're Getting The Band Back Together: 2007 Reunion Tours

2007 seems to be the year of reuniting, since it feels so good, and with it comes the obligatory discussion concerning the merits of said reformation.

The awful truth about reunions is that they're often the result of greed and ego: a quick lift in the player's bank accounts and self-worth. There are examples of bands coming together again for the sake of unfinished business (Celtic Frost, Dinosaur Jr., and a few others come to mind) but Father-time typically doesn't prove to be on the side of aging rockers.

Van Halen-As discussed here.

The Stooges-Look, as much as I'm excited about this, I'm also a realist. Thirty-three fucking years have past since Raw Power and none of the surviving members are spring chickens. Hell, they're not even Popeye's Fried Chicken. But this is The Stooges we're talking about; a band so mired in destruction that we're blessed that Iggy and the Ashtons are even alive. And at the end of the day, don't we owe it to them to pay tribute for being able to wake up in the morning? The Live In Detroit dvd is riddled with equal parts tear-inducing nostalgia and ear-hurting embarassment. And "My Idea Of Fun" from their upcoming The Weirdness is a decent Iggy track but nowhere near the brilliance of The Stooges past glories. We'll see if the rest of the album is better, but time and reality are certainly against them.

The Police-This will be the moneymaker of the year….And with ticket prices ranging from $60-$225 (“packages” are even higher) this tour has got me considering a financial boycott. I’m not sure of the financial status of Stewart or Andy, but I know Sting isn’t hurting for cash, even though his last few solo efforts have stiffed. Regardless, explain to me why I’m required to get fucked up the ass so that Sting doesn’t slip into obscurity? The Police have never really qualified as a “punk” band, but it would have been very punk if they’d leveraged their reunion tour with reasonable financial restraint.
I’m secretly hoping this tour absolutely fails and the blame is placed solely on the outrageous ticket prices. Serves ‘em right. I’m also secretly hoping that a pair of tickets magically appear on my doorstep because (losing credibility here perhaps) I’d really like to see this one.

Smashing Pumpkins-Note to Billy Corgan: nobody gives a shit. If the Pumpkins were your “dreams” then why did you form Zwan? I doubt that anyone would have noticed James or D’Arcy missing from the Pumpkins line-up if you chose to carry on the moniker. In Totale’s world, you released two great albums (Gish and Siamese Dream) before succumbing to a pattern of elitism and pretentiousness. Keep your ego in check, Corgan: you may sell out a few theatres but don’t expect a lot of hero worship to upgrade your reunion to the arenas.

Rage Against The Machine-Not a fan, so no real excitement here. I will say that we really could’ve used a ton more lefty-leaning rock outfits during the Bush II Evil Empire (get it?) instead of fucking Audioslave.

Genesis-My dick might get a little hard if Gabriel were in the line-up, but no, it’s Phil Fucking Collins Genesis, to which I’m reminded of some truly horrible shit from the 80’s and into the 90’s. To be honest, by 1988 I couldn’t tell what was Phil Collins solo and a Genesis track, so I’m not the dude to ask if these fuckers could fill a state fair stadium. The last Genesis album I bought was Duke and I remember liking Abacab and a few tracks from their ’83 eponymous album. None of those albums mean that I would be caught dead at a Genesis concert.

Dinosaur Jr.-I’d totally see this one. When I missed them in the original line-up tours, I heard that they were loud as fuck and very inconsistent. I’d like to believe that getting older would help out in the latter department, but would hate to see a reduction in the volume. After all, that’s part of the thing that made You’re Living All Over Me and Bug so enjoyable: Mascis’ amplifier meltings were a thing of beauty. From reviews I’ve read about the reunion so far (which includes an album), they haven’t lost much.

Sebadoh-Really? I didn’t even know they broke up. I’m willing to bet that other people didn’t know this either.

Did I get ‘em all?

Now for the list of dream reunions. These are the bands that I would definitely consider seeing if they ever decided to reunite.

Spacemen 3-I’m sure that Jason Pierce is the only thing that’s holding this one up. And I’m sure that he’s making enough from Spiritualized to not even consider re-teaming with Sonic Boom again. But if he did, and even if they only played one chord together for 45 minutes, I’d want to be at the foot of the stage paying homage to these dudes. Check it:

The Smiths-Rumor has it that they were offered millions for a one-off that was systematically rejected. Hell, I’d even salivate if Morrissey/Marr teamed up under a different moniker. A full-fledged reunion seems unlikely since bassist Andy Rourke really hosed them in court for back royalties.

Husker Du-Saw ‘em in ’87 when they were on the downward spiral, and the show was so intense that I’d gladly see ‘em again. From what I understand, Grant Hart and Bob Mould dislike each other so much that the idea of a reunion would never get off the ground. I also don’t think the band has enough notable legacy to pay them what they’re deserved. And what they deserve is a hundred times more than what fucking Genesis will make from their reunion shenanigans.

The Stone Roses-Betcha these guys could absolutely kill in their heyday. Like that quote from the movie "Shaun Of The Dead" says: Second Coming wasn’t that bad of an album. I think they only substantially toured the states in support of that album (which I missed) and time has made me miss them immensely. I guess I’m not the only one since there are two Stone Roses tribute bands currently cashing in around England: The Complete Stone Roses and The Clone Roses.

Pink Floyd-It’s cheesy, I know, but I’d totally be psyched for a reunited Waters/Gilmour thing. I saw the Floyd Water-less and it was painfully apparent that he was gone. Live 8 fueled the fire that they were on better terms, but I don’t see this happening. First of all, Waters is completely book for a solo tour throughout this summer and none of the members really need the cash. Gilmour has hinted that working with Waters is like pulling teeth and that Gilmour already has more money than a hundred dentists. Which is funny, especially if you’ve ever seen pictures of Rodger Waters’ teeth circa ’73.

Feel free to comment on what bands you’d like to see reunite.

Thursday, February 15, 2007

Live Review - The Smiths

The Smiths
Irvine Meadows Amphitheater
06/29/1985

When I graduated from high school in 1985, my parents gave me a round trip plane ticket to California so that I could visit a friend who had moved there. I noticed that The Smiths, a band that I had grown enthralled with during my high school tenure, would be playing there during the time I was visiting. My friend, who was also a fan, picked up a pair of tickets to see them.
Irvine Meadows Amphitheater was located in the suburbs of Orange County. Typically reserved for heavy metal acts that had no trouble filling the outdoor venue, it was reserved on this night for a British band that only had two records available domestically. It seemed like too big of a venue to be for our heroes.
Indeed, Irvine Meadows was probably only half full this night, whereas today it wouldn’t be able to hold all of The Smiths’ fans that would want to see them live. Funny how twenty years of influence, particularly addled by a too-short an existence, can change things.
Our seats weren’t particularly good, but when you’re young, you tend to look for ways to improve your situation even if it means doing so through extraordinary attempts.
The first goal was to get to the lower level. To do this, we located some fellow fans already lucky enough to have tickets in better seating. We explained our plan and exchanged tickets, using theirs to get by security and into the better section. After exchanging tickets, we repeated this formula until we were about 15 rows away from the stage. Not wanting to press our luck, we camped out at some unused seats, moving to other rows when they were claimed by their proper owners.
It was summertime in California, which meant that dusk was just starting when the sounds of livestock omitted from the speakers. The Smiths took the stage and began their set with the title track from their latest album, Meat Is Murder.
It was, admittedly, not my favorite track on the album (what song about not eating meat is?) and probably not the best song to begin a show with.
Thankfully, things got into high gear with the rest of the set which included several of their more upbeat numbers and plenty of their most popular cuts. The band was note perfect throughout and Johnny Marr’s guitar playing was stunningly precise. “What She Said” seemed even faster than the album version and “That Joke Isn’t Funny” paired with “Stretch Out And Wait” was incredible.
Throughout the performance, Morrissey teased the audience causing a few to throw up flowers which he promptly spreads throughout the stage. Soon the floor is covered with petals with Moz galloping through them, carefully paying attention to both sides of the stage.
The set ended with their most popular song at the time, “How Soon Is Now.” The entire crowd stood and danced along to Marr’s pulsating Bo Diddley beat; it felt good to finally be in the presence of a crowd that appreciated what many back in the Midwest considered to be “weird.”
The Smiths gave us not one, not two, but three encores. The first ended with the wonderful “Reel Around The Fountain,” and I was sure that this would be a perfect way to exit. They came back to play two of my favorites, ”William, It Was Really Nothing” and “This Charming Man” along with another one before leaving the stage once again.
The crowd of about 4,000 people began cheering just as loud as you would hear at any other typical rock concert (which struck me as being strange) and the band was obligated to return for a final song.
“Barbarism Begins At Home,” one of the band’s funkier numbers, began and they performed it as an extended number. While the band was jamming, a member of the crowd found a hole in security and climbed up on stage. A couple of members of the event staff went to intercept him, but he managed to reach Morrissey and give him a hug. As security began pulling him off, Morrissey stopped them. He then went to the edge of the stage and requested more of the crowd to join them. While the rest of the band continued playing, the crowd surged forward as the stage grew with audience members. Morrissey danced, occasionally being interrupted by the hug of a fan, weaving in an out of the makeshift discotheque. A well-endowed blonde female audience member draped her arms around Morrissey and gave him a hug. When he moved to attend to another fan, she turned to the crowd and lifted her shirt to expose her breasts. Morrissey didn’t notice it, but bassist Andy Rourke did and he smile in approval. This was probably the most “out of place” moment in the entire evening; while an exposure like this is to be expected at a metal concert, I never imagined that it would happen at a Smiths concert. At least it gave me a story to relay back to the Iowa folks who would give me a puzzled look when I explained to them that I saw a band called The Smiths during my visit to Cali.
After a 15 minute “Barbarism,” the band left the stage for the final time. Prior to this show, my live concert experience consisted entirely of hard rock and metal shows. A lot of this was do to the nature of who toured in the Midwest, but the reality was that I never paid close enough attention to look for alternative shows around my area.
Seeing The Smiths changed this, and in the process of discovering music beyond the mainstream I got a chance to see a band that remains on one of my "best live shows ever" list.
Here’s a video clip from the same tour immediately followed with the setlist for the Irvine Meadows show.

Setlist:

Meat Is Murder
Hand In Glove
I Want The One I Can't Have
Nowhere Fast
Shakespeare's Sister
That Joke Isn't Funny Anymore
Stretch Out And Wait
Heaven Knows I'm Miserable Now
What She Said
Still Ill
How Soon Is Now?

encore

Jeane
The Headmaster Ritual
Reel Around The Fountain

encore #2

William It Was Really Nothing
This Charming Man
Miserable Lie

encore #3

Barbarism Begins At Home