Author: David Medsker (Page 95 of 96)

Top 10 bands from the ‘80s that should be inducted into the Rock & Roll Hall of Fame

(Love to the Mayor of Simpleton, for giving me the idea)

The news hit the AP wire today, announcing that four acts from ‘70s and Miles Davis, who died in the early ‘90s at the age of 375, were inducted into the Rock ‘n Roll Hall of Fame. They’re technically the Class of 2006, but I call them the Class of ’81, since any band whose debut album was released in 1981 or earlier was eligible for inclusion. The very fact that only two of these bands were within sniffing distance of the ‘80s leads me to believe that a ton of also-ran ‘70s bands will get in before any of the truly worthy ‘80s bands will, and that, frankly, disturbs me.

And so, without further ado and in no particular order, I submit my top ten list of ‘80s bands that should be inducted into the Rock ‘n Roll Hall of Fame sooner rather than later. U2 is already in, so they’re obviously disqualified.

1) REM. Forget the Bill Berry-less train wreck that the band’s become of late, and remember when they and U2 ruled the rock world the way Darth Vader dreamed of ruling the galaxy with Luke Skywalker. Between 1987 and 1994, they were bulletproof, and there are thousands of bands and nerdy record store clerks who worshiped at their altar.
2) Madonna. If she doesn’t get inducted in the Class of 1983/2008, she will have Guy Ritchie and her children dropped off the Empire State Building. Which is really hard, because there are these tall metal bars on the rooftop deck with sharp points that curl inward. I’m guessing she uses a catapult.
3) The Smiths. Forever changed the face of modern rock, they did. Johnny’s done some good stuff with Electronic and The The, but he has to know that his best work rests within this band’s catalog, feuds with Steven Morrissey be damned.
4) New Order. Simply put, there is no electronic music scene without these guys. Kraftwerk may have gotten there first (something I’ll get to in a minute), but New Order was the band that fused a rock and roll sensibility into those machines, which in turn created a legion of knockoff bands by the late ‘80s. Even the Cure nicked half of their best licks from these guys. “In Between Days,” anyone?
5) Guns ‘n Roses. It may have ended in a haze of lawsuits and coke, but Goddamn, when Guns ‘n Roses was clicking, there wasn’t a band that could come within a thousand miles of them. And forget Appetite for Destruction: their best stuff was all over the Use Your Illusion albums, the greatest single album that never was.
6) Janet Jackson. Because you don’t make it to First Name Only status without earning it, bitches.
7) Public Enemy. Because their records from the ‘80s still scare white people.
8) Run DMC. The kings of rock. There is none higher.
9) Beastie Boys. It’s safe to say that not even Rick Rubin had any idea what kind of band the Beastie Boys would become. After all, find another band who went from the Juvenile But Massive Debut to Groundbreaking, Trendsetting Sophomore Album.
10) Motley Crüe. If only because they lived the life of rock and roll excess to a degree that would even make Bonzo and Keith Moon go, “Whoa, dudes, let’s not go nuts here.” Few bands embody the spirit of rock and roll more than Motley Crüe. Oh, and they also wrote some kickass tunes.

Bubbling Under: Bands and artists I would like to see inducted but will likely need some help
• Duran Duran
• Depeche Mode
• Stone Roses
• Talk Talk
• The The
• Ministry. The birth of industrial, people.
• English Beat/Madness/Specials. Someone from the ska era has to be represented, dammit.

I didn’t list Nirvana (whose first album Bleach came out in 1989 when none of us were looking) because they’re a no-brainer first ballot inductee. Ditto the Pixies (comment entered after Neil totally faced me on their omission).

Five holdovers from the ‘70s
1) Kraftwerk. Man, how on earth are these guys not in? They were and are light years ahead of their time. Hell, Coldplay’s stealing their songs and claiming them as their own, fer crissakes.
2) Van Halen. And so, a generation of shredders was born.
3) T. Rex. Yeah, okay, Bolan’s dead, so he’ll never know you didn’t induct him, but for crying out loud, bands are still ripping him off. That has to be worth something.
4) Cheap Trick. Few bands have meant so much to so many different genres of music. Cheap Trick is that band. Big Star gets all the love, but Cheap Trick was the better band, by a country mile.
5) Rush. Thrown under the progressive rock bus only because no one knew what to do with them. But they have amassed a body of work that today’s popular bands would be lucky to emulate.

Comments, suggestions, hate mail? Bring it, suckaz.

Post script: It just hit me that I left off the Red Hot Chili Peppers, whom I meant to include, so you Fleabies out there, quit hatin’ right now.

Wind-Up Records loses bet, forced to release Scott Stapp album

Okay, maybe that’s not exactly how it went down, but they released his album either way, and sweet Jesus, does it suck. It’s actually worse than his former band Creed, if you can imagine that. One song, “Justify,” tells the story of meeting a man with a “half suit and dark blue jeans” in New Orleans, who asks him, “Hey, boy, have you seen the other side?” Stapp then bellows:

“I do not have to justify, the way I live my life
I do not have to justify, the reason I’m alive.”

Maybe not, Scottie boy, but someone has to explain how this stuff continues to pollute the earth. The really funny part is that the artwork is even worse than the music itself; the shot of Stapp underneath the CD is him shirtless, his back facing forward, with his arms up in Christ pose. In fact, there is only one shot of him with a shirt on, and it’s a wife beater. Who knew that Scott Stapp had such a devoted gay fan base?

Final irony: Wind-Up Records is owned by Sony/BMG, and yet this album doesn’t contain any copy protection. Big mistake; they should have made this album as hard to share as possible, because once people hear it, they’re not going to buy it. Except maybe to burn it.

Bullz-Eye is caught by the fuzz

It’s funny how a lack of mainstream success can be a good thing. Supergrass was one of the titans of England’s Brit Pop scene in the mid ‘90s, but while their peers went on to varying degrees of stardom in the States (Oasis had the big album, Blur had the big single, Elastica had the big beer jingle), the closest Supergrass got to mainstream success in the US was the inclusion of “Alright” on the “Clueless” soundtrack.

Call it a happy accident, then. Where those other bands have either imploded or become a shell of their former selves, Supergrass are still going strong. Their newest album, Road to Rouen, is one of their best yet. Bullz-Eye had a chat by phone with ‘Grass drummer Danny Goffey, who was at his home in merry old England, making dinner for his kids.

Bullz-Eye: Well, let’s get right to it, and talk about the new record. This is the album that I expected you to make the last time around.

Danny Goffey: Uh huh.

BE: It just seemed like a more logical progression from the third album than the previous one.

DG: We weren’t really too sure what we were doing (when making Life on Other Planets, the band’s previous album). Maybe if we didn’t have a producer last time, we may have been more accustomed to making an album like this. Um, we just wanted to do another kind of pop album rather than a straight-ahead album.

BE: That’s interesting, the comment about the producer. Was he forcing you to do more I Should Coco kind of stuff?

DG: Not really. I think at that time, we were more up for playing some hectic songs, the faster kind of songs, you know. I don’t think he forced us to do anything, we were just in a certain frame of mind.

BE: The songwriting on this album seems a lot different to me. Your songs have always been really direct in the past, but the song structures on this album felt a little more exploratory. Was that a conscious decision on your part, or did it just kind of happen?

DG: It was a kind of conscious decision to make an album that didn’t have a three- minute single, something that had more of a mellow vibe about it. There have been those obscure tracks that have been on the album that no one probably had heard, because people just buy our singles or see just what’s on the charts or on the radio. So yeah, we wanted to make sure that that side of us come out of us a bit more, you know, and that we didn’t just pick some radio friendly song to release.

You can read the rest of the interview with Danny Goffey here.

All that glitters is porn

If those 54 counts of child pornography looked bad in 1999, it’s nothing compared to the trouble Gary Glitter is in now.

Dude was just arrested in Vietnam – ‘Nam, man! – for having sex with two underage girls, one of whom was 12 years old. He’s looking at up to 12 years in prison, and possibly the death penalty.

Glitter is 61 years old. And he’s having sex with 12- and 15-year-old girls. Hey, we’re grateful and all for “Rock & Roll Part II” and “Do You Wanna Touch” (which now seems even creepier than when he was busted simply for having pictures of 12-year-old girls) but, come on, man, 12-year-old girls?

On the plus side, it may create a rock and roll first: an artist sentenced to death, which is actually pretty punk rock when you think about it. Any tosser can OD, but to have a country line up a firing squad to take your ass out? You must be a badass. Or a pedophile, one of the two.

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