Author: David Medsker (Page 92 of 96)

Are you with me? Interview with Fred LeBlanc of Cowboy Mouth

February 17, 2006 / David Medsker

Someone at CAKE Magazine summed up Cowboy Mouth better than I ever could, and I know that because their quote in the band’s press sheet appeared three quotes ahead of what I wrote about the band (Let me tell you, nothing is more surreal than seeing your own words on a band’s press sheet). CAKE said, “…on a bad night, they’ll tear the roof off the joint, and on a good night, they’ll save your soul.” Truer words were never spoken.

When a guy repping the band asked me if I wanted to chat with a member of Cowboy Mouth, you can imagine the different number of ways I tried to say, “Hell to the yes.” Here’s a sample of the conversation, which covered subjects from former members of the band, to Morrissey, to what appeared to be the worst touring partner they ever dealt with.

BE: Is the subject of “Joe Strummer” based on a true story?

FL: Yeah, the chorus is based on a true story. I was dating a woman who was, ahem, significantly younger than me. And Joe Strummer had passed away – and I had met him about five or six months before – when we played in Vegas. And I called her up, and I’m like, “Oh, my God.” She’s like, “Honey, what’s wrong?” I said, “Joe Strummer died.” There was this long pause on the phone: “Who was that?” At that moment, it ran through my head, “Oh, man, you’ve gotta go.” But the rest of the song is pretty much made up. Paul (Sanchez, rhythm guitarist) came up with the melody for the verse, Mary helped with the lyrics, and Mitch (Allen), our producer, helped with lyrics. It was an all-inclusive thing. But I always wanted to write a song called “Joe Strummer,” it’s just such a fucking great name.

BE: It has a certain rhythm to it, too.

FL: Exactly.

BE: And that’s one of the reasons I asked the question, because I wondered if it was actually about Joe Strummer, or if it was someone whose name didn’t roll off the tongue, like Mark Mothersbaugh or something.

FL: (laughs hard, starts singing melody to “Joe Strummer”) “Mark Mothersbaugh…” Ah, what’s the bridge? “She started talking ‘bout being my wife, but why would I want to be with someone who doesn’t know that Devo saved my life?” That doesn’t work.

You can read the rest of the interview here.

Interviews, Rock

Deep Cuts: The Beatles

February 17, 2006 / David Medsker

Assembling a list of deep cuts from the Beatles is one of the grandest exercises in futility that we’ve ever attempted. Is there anyone who doesn’t know all of these songs? Consider the following:

• The Beatles had 47 Top 40 hits in a six-and-a-half year period. The Stones, by comparison, racked up 41 Top 40 singles, but needed 25 years to do it.

• Those 47 Top 40 hits do not include any of the following songs: “Norwegian Wood (This Bird Has Flown),” “In My Life,” “If I Fell,” “You’ve Got to Hide Your Love Away,” “Drive My Car,” “Taxman,” “Here, There and Everywhere,” “I Should Have Known Better,” “Michelle,” “You’re Going to Lose That Girl,” “Here Comes the Sun,” “I Am the Walrus,” or a single track from either Sgt. Pepper or the White Album (except “Revolution,” which was re-recorded and issued as the B-side to “Hey Jude”).

Add all of those tracks up, and that means there are just over 100 Beatles songs that are instantly stricken from the record. One hundred songs. Ye gods. Is there even anything left to assemble a decent list of deep cuts?

Yes. We’re going to cheat here and there, using lesser known Sgt. Pepper and White Album tracks, different versions of well known songs, and perhaps a B-side or two that charted back in the day. The key for us is that for a song to count as a Deep Cut, it could not have been on either the “Red” (1962-1966) or “Blue” (1967-1970) compilations, and even then, we ruled out certain songs – and even suites of songs, like “Golden Slumbers/Carry That Weight/The End” – because of their ubiquitous presence on the rock radio of our youths.

Beatles scholars will likely yawn at my suggestions – after all, for the really curious, there are scores of Beatles bootlegs out there that plumb far greater depths than this – but in the interest of saving the time and money of our dear readers, we’ll stick to the official Parlophone and Capitol-endorsed releases to assemble our list. Trust us; there are still scores of songs from which to choose.

Full disclosure: there will be a noticeable bias to this list, in that we have not included anything prior to A Hard Day’s Night. As wildly successful as the Beatles were in those early years, they were still a far cry from the band that they would become a mere two to three years later. A Hard Day’s Night is the first Beatles album with all original compositions, so it seemed like a good place to start.

“Tell Me Why” – A Hard Day’s Night
Simply put, it’s the Beatles paying tribute to Martha and the Vandellas. There’s a strong “Heat Wave” vibe to the intro, and you get the first sense of the complex harmonies the band would come up with time after time in the years to come. It’s very telling that this and “If I Fell” were started and completed on the same day.

“Baby’s in Black” – Beatles for Sale
As my colleague Will Harris observed, “Baby’s in Black” might be the first mope rock song ever written. When John sings, “She thinks of him, and so she dresses in black / And though he’ll never come back, she’s dressed in black,” suddenly songs like the Smiths’ “Unlovable” (“I wear black on the outside, ‘cause black is how I feel on the inside”) and Depeche Mode’s “Dressed in Black” make a lot more sense.

“I’ve Just Seen a Face” – Help!
Pearl Jam fans will know this one, as it’s been a set list staple of theirs for years now. This folk and bluegrass-based track may be Paul’s answer to John’s “You’ve Got to Hide Your Love Away,” a Dylan-esque track with a rapid fire vocal and a lie-lie-lie-lie-la-lie singalong that Simon & Garfunkel would steal a few years later for “The Boxer.” Interesting note: Paul recorded this song, the rockin’ B-side “I’m Down,” and “Yesterday,” the mother of all ballads, on the same day. Laugh at him all you want for “Ebony and Ivory,” but back in the day, Macca had mad, mad skills. And speaking of that rockin’ B-side…

See the rest of the list here.

Artists, Deep Cuts, Songs

Best of the ‘90s, a second look: The singles

February 16, 2006 / David Medsker

Before I had the awesome job of writing for ESDM, Premium Hollywood and Bullz-Eye, I ran Dizzy Heights, which was effectively an email list. A guy I know named Brian helped build a web site for me, but after a while I let it fall into complete disarray. I can’t even find my own site anymore. (Seriously, I tried finding it on Google, and it doesn’t come up.)

At the turn of the last decade/century, I decided to assemble lists – because that’s what I do, make lists – of my favorite albums and singles of the ‘90s. In order to spread the love around, I tried to limit certain albums to either the Singles list or the Albums list. There are exceptions to this, obviously, but I didn’t want both lists to be mirror images of each other.

In retrospect, this decision resulted in some highly questionable selections.

Top 20 Singles of the Decade
20) “We Let the Stars Go,” Prefab Sprout (1990).
Oh, dear. I still love Jordan: The Comeback, but there is just no excuse for this.
19) “Female of the Species,” Space (1997).
This still gets regular play Chez Chauffeur, but wait until you see the list of songs I left off the list to make room for this one. You’ll want to slap me.
18) “Water from a Vine Leaf,” William Orbit (1993).
Ugh. What in the hell…
17) “Creep,” Radiohead (1993).
At last, one that doesn’t totally embarrass me.
16) “April Fools,” Rufus Wainwright (1998).
I still love this song, but my obsession with Wainwright, I hate to say, is waning. Enough with the show tunes already. Get back to writing pop songs, you big girl.
15) “Been Caught Stealing,” Jane’s Addiction (1990).
One of the coolest things at my wedding was when we played this. “I’ve been caught stealing, once” – everyone holds up a finger – “when I was five” – everyone holds up five fingers. It’s the little things in life.
14) “Enjoy the Silence,” Depeche Mode (1990).
The dude from Linkin Park recently remixed this (and did a mighty fine job, I might add), and all I could think was, “If Linkin wrote songs this good, I might actually like them.” As it is, they don’t, so I don’t. Now if only Depeche Mode themselves could write songs this good anymore.
13) “Driving,” Everything but the Girl (1990)
I loves me my Tracey Thorn. The first half of the ‘90s was a rather emotionally turbulent one, meaning that Everything but the Girl was very much the soundtrack of my life. I don’t miss those days, though I miss Everything but the Girl. Come back, guys, please.
12) “Block Rockin’ Beats,” The Chemical Brothers (1997)
Boom shacka lacka lacka lacka. With the Chemicals, once again you know it’s on.
11) “Unfinished Sympathy,” Massive Attack (1991)
I love Mezzanine and all, but Massive Attack will never again make anything as good as this.
10) “Setting Sun,” The Chemical Brothers (1996).
When they talked about dance music being the new rock & roll, this is what they meant. Pity that whole “new rock” thing began and ended with this song.
9) “The Rockafeller Skank,” Fatboy Slim (1998).
Fuck. I’m an idiot.
8) “Paranoid Android,” Radiohead (1997).
I read that some people did a study by playing Radiohead songs to a group children and asking them to draw. Everything the kids made said “SAD SAD SAD.”
7) “On Her Majesty’s Secret Service,” Propellerheads (1997).
I really, really miss these guys.
6) “Song 2,” Blur (1997).
Come back, Graham. The band needs you more than they’ll ever admit.
5) “Connection,” Elastica (1995).
Why is it that only the good bands make two records and break up? Pssst, Linkin Park: here’s your chance. Go out while people still give a damn about you. Please?
4) “Common People,” Pulp (1995).
Good enough for William Shatner, good enough for you.
3) “White Lines,” Duran Duran (1995).
Should have put “Ordinary World” here, like I originally planned.
2) “Smells Like Teen Spirit,” Nirvana (1991).
15 years on, and I still crank the ever loving shit out of this song whenever it comes on.
1) “Cowboys and Angels,” George Michael (1990).
Betcha didn’t see that one coming, did you?

Back to that whole slapping-me-silly part. Here are the songs I left off the list to make room for Prefab Sprout, Space, and William freaking Orbit:

“Bitter Sweet Symphony,” The Verve
“There She Goes,” The La’s
“Getting Away With It,” Electronic
“Laid,” James
“Step On,” Happy Mondays
“Soon,” My Bloody Valentine
“Papua New Guinea,” Future Sound of London
“In Yer Face,” 808 State
“Linger,” The Cranberries
“Frozen,” Madonna
“Black Hole Sun,” Soundgarden
“Battersea,” Hooverphonic
“Me and My Big Ideas,” Tears for Fears
“Constant Craving,” kd lang
“The Emperor’s New Clothes,” Sinead O’Connor
“Geek Stink Breath,” Green Day
“Something’s Always Wrong,” Toad The Wet Sprocket
“Killing In The Name,” Rage Against The Machine

Like I said, I’m an idiot.

Coming soon: Albums of the ‘90s. Nowhere near as embarrassing as my Singles list, though I should be chained and tortured for my #2 album.

Lists, Rock

Blogging the Grammys: where is my suicide capsule?

February 9, 2006 / David Medsker

This is the first time I’ve watched the show in at least 10 years. Let’s see if it’s any different than I remember it.

8:06 PM: So I wouldn’t miss hearing the pizza guy, I had the TV off until it came (TV’s in the basement). When I turned it on, Madonna was singing “Hung Up” in what looks like an outfit Olivia Newton-John wore in “Xanadu.” When it ended, I took a long look at the roller disco diva, and thought, “Yeah, I’d still do her.”

8:10 PM: Alicia Keys and Stevie Wonder riff “Higher Ground” a cappella. Pretty cool, but if she says one more time what an honor it is to be standing next to Steve Wonder, I’m having Stevie Wonder killed, so his death hangs on Keys’ conscience for the rest of her life.

8:13 PM: Best Female Pop Vocal: Kelly Clarkson, “Since U Been Gone”
Clarkson’s acceptance speech sounded just like Giovanni Jones after Bugs Bunny sprayed some alum in his throat mister. Squeak squeakety squeak squeaker.

8:15 PM: Coldplay performs “Talk”
I dig Chris Martin’s shaggy ‘do. Maybe it can do the singing next time.

8:25 PM: John Legend performs “Ordinary People”
One of these days, this kid is going to win a Grammy.

8:29 PM: Sugarland performs… haven’t the foggiest idea.
What begins as a little feedback soon turns into behind-the-scenes conversations between the show’s producer and his crew. It was the military airbase scene in “This Is Spinal Tap” come to life.

8:32 PM Best Country Album: Alison Krauss & Union Station, Lonely Runs Both Ways
Her speech coach had to have been Joe Pesci. Shortest, speech, ever.

8:40 PM: U2 performs “Vertigo”
“We’re not a rock band. We’re a folk band,” Bono says in a pre-recorded interview. Which is funny, because when Pop came out, I distinctly remember a quote where Bono said that U2 was in fact a hip hop band.

8:42 PM: U2 performs “One” with Mary J Blige
You see that, Coldplay? U2 got two, count ‘em two songs on the Grammys. Forget that “biggest band in the world” talk. As long as U2 lives and breathes – and don’t kid yourself, they will bury each and every one of us – Coldplay will always be the biggest band at the kiddie table. After seeing Blige’s moving performance, Bono will tell reporters that U2 isn’t a rock band, but a soul band.

8:47 PM: Best Rap Album: Kanye West, Late Registration
West took time out from writing musical history to actually accept the award. And for five seconds, he earned my admiration by thanking Jon Brion just after God, even though doing so is redundant in my world. Then I looked up from my laptop and saw what he was wearing. Shirt open to his navel, Isaac Hayes-style gold chain, and black leather gloves. W, T, F?

8:55 PM: Ben Roethlisberger introduces Kelly Clarkson’s “Because of You”
How on God’s green earth did they let Big Ben onstage in that getup? Backwards cap, faded jeans, and what looks like a Jets jersey? Thank goodness Clarkson dressed up for the affair, and damn, can that girl sing. No squeaking this time, thankfully.

9:01 PM: Best Rock Album: U2, How to Dismantle an Atomic Bomb
When each nominee popped up on the screen, I shouted “No!” at each one of them. As soon as I saw U2’s name, I knew it was over.

9:09 PM: Paul McCartney performs “Fine Line”
Ellen Degeneres says, “Our next performer needs no introduction,” pauses, and walks offstage. Beautiful.

Wait, Macca’s sticking around, clearly refusing to be trumped by U2. I hear the drummer hitting his hi-hat at a certain speed, and I think, “Oh, sweet Jesus, no he ISN’T.” He did. “Helter” freaking “Skelter,” baby! The first moment so far that truly made me smile. Later, Bono will say that U2 isn’t a rock band, but a Beatles tribute band.

9:16 PM: Trustees Award: Chris Blackwell
About, fucking, time.

9:18 PM: Best Male R&B Vocal: John Legend, “Ordinary People”
At risk of sounding gay, John Legend is a mighty fine looking man. But then he blew it by thanking Kanye West, and the producers clearly heard me groan, because almost instantly the hurry-up music popped up.

9:27 PM: Mariah Carey performs “We Belong Together” and “Fly like a Bird”
Mariah Carey, she’s got some big ass titties… and the girl can still knock it out of the park.

All joking aside, when I saw her doing that hand thing, I nearly had a seizure, and I’m not even epileptic. Is there anything that Christina Aguilera didn’t steal from Mo Carey?

9:32 PM: Teri Hatcher takes the stage, clearly after taking makeup tips from a raccoon.

9:33 PM: Best Pop Vocal Album: Kelly Clarkson, Breakaway
Is this Kelly’s third outfit? Either way, she just beat Macca, Fiona Apple, Sheryl Crow and Gwen Stefani. Welcome to the big leagues, kiddo.

9:41 PM: Owen Bradley wins Trustees Award
Holy schnikes, Jenna Elfman is freaking hot.

9:42 PM: Faith Hill performs “Lucky One,” Keith Urban performs…something.
Has anyone checked to see if Hill is not in fact a Stepford wife? And is it just me, or does Keith Urban look like a country version of Jon Bon Jovi?

9:48 PM: Best Rap/Sung Collaboration: Linkin Park & Jay-Z, “Numb”
Fuck. Linkin Park are now Grammy winners. Okay, maybe they already are, but ignorance of that was bliss, let me tell you. I’ll chalk it up to the voters wanting to give Jigga one last nod.

9:56 PM: Tribute to Sly Stone
Featuring Joss Stone. Discuss own paternity conspiracy theories amongst yourselves.
– Ciara and Maya Rudolph: separated at birth? Nah, Maya’s legs aren’t anywhere near that long.
– Sly Stone has the best mohawk in history. He walks out, sings about three lines, and leaves, without once looking at the audience.

10:14 PM: Linkin Park and Jay-Z perform “Numb”
Kill me, now. Whew, that was over quickly. Wait…Oh, my, GOD. They’re doing a mash-up that uses “Yesterday,” and Macca joins them onstage. Macca shoots “Jay-Z” an odd look, when he realizes that all Jigga is going to contribute to the song is “Uh huh, uh huh, uh huh.”

10:23 PM: Tom Hanks introduces Bruce Springsteen
I sure as hell hope that weight he’s carrying was for his role in “The Da Vinci Code.”

10:25 PM: Bruce Springsteen performs “Devils and Dust”
Pay attention, Chris Martin. That’s how you sing live. Bring ‘em home indeed, Boss.

10:30 PM: Song of the Year: U2, “Sometimes You Can’t Make It on Your Own”
As U2 steps to the stage, Mariah Carey’s “We Belong Together,” one of the nominees, plays on the speakers. I stifle a laugh, since that was actually the song I hoped would win. Maybe Destiny’s Child, who announced the award, pulled a Jack Palance and read the wrong name.

10:40 PM: Kanye West and Jamie Foxx perform “Gold Digger”
What started as a college band-off turned into a bizarre series of skits involving girls in super-tight gold skivvies, the Broke Phi Broke fraternity, and a spectacular, but brief, finale where Kanye is wearing…white leather gloves. Dude, the only other guy known for wearing gloves is Michael Jackson. Perv.

10:45 PM: Record of the Year: “Boulevard of Broken Dreams,” Green Day
Another short, sweet speech. Can’t say I blame them, since the album’s been out for 17 freaking months. They’re probably counting the days until they never play the song again. Lord knows, as much as I love American Idiot, I can’t wait to never hear this song again.

10:55 PM: Herbie Hancock and Christina Aguilera perform…something I don’t know
I never thought I’d say these words: Xtina looks fantastic. Her vocal histrionics are still nails on a chalkboard – take a note from the Clarkson kid, woman, there are ways to rip off Mariah without looking like a Xerox copy of her – and I think even Celine Dion has patent pending on some of those hand gestures.

11:06 PM: Best New Artist: John Legend
For once, they got it right. Still, it’ll be a long time before they live down Milli Vanilli, A Taste of Honey, and Marc Cohn beating Seal.

11:10 PM: Album of the Year: U2, How to Dismantle an Atomic Bomb
Give me a fucking break. U2 loses when All That you Can’t Leave Behind is up for Album of the Year, but they win for this? Chalk it up to weaker competition, with a big asterisk; the New Pornographers and Franz Ferdinand both made better records than anything in the five finalists for this award.

I finish the evening feeling the exact same way I did the last time I watched the show: “Man, what a waste of time. I am never watching this again.”

Pop, Rap, Rock

Sock hop at the Giant Eagle: The sequel

February 5, 2006 / David Medsker

My next visit to Giant Eagle produced “In Between Days” from the Cure. When I told the checkout girl how much I enjoyed their music, she agreed, but also mentioned that they receive tons of complaints about it, too. Huh. I suppose I’ll be complaining too, when they’re subjecting me to Blessid Union of Souls, Lifehouse, and Marcy Playground.

Turns out I’m not the only one who feels this way about supermarket pop.

Pop, Rock, Songs