Author: Dr. Flucke (Page 6 of 7)

Man-About-Myspace: Johnny Lingo Band

I first met Johnny Lingo off a Craigslist ad. No, not that kind of Craigslist ad: I bought a great vintage Wurlitzer 200A (think Ray Charles’ “What’d I Say”) keyboard from him, which I picked up at a Providence, RI recording studio where he was hanging out.

Lingo took me around the studio and graciously demo’d all the wild and fantastic keyboards there (they had a goshdarned Mellotron!) and gave me an EP of his former band, the Lingo. They’d built some regional notoriety playing upbeat, harmonious pop–including a funny little tune about how Johnny likes your friends better than you.

johnny lingo

Now, the keyboardist’s struck out on his own, and released an album earlier this year. Driven by the same pop ethos, Lingo influences include 1970s disco (see “Step Outside”) and 1980s alterna-pop (“Fallen Angel”), but for the most part it’s a noveau mixing of a lot of stuff. Frenetic and melodious–and a good listen.

While we don’t ever like to make blanket statements that cast Billy Joel in a positive light, one thing he sang rings true: You can’t get the sound from a story in a magazine (or a blog) so don’t take our word for it: Sample four cuts on his MySpace, and if you like it, pony up the five bucks for a download.

Man-About-MySpace: St. John & the Revelations

Frere Medsker recommends St. John & the Revelations, this week’s MySpacer, and it makes complete sense: It’s a D-Med artist, all the way. If Catherine Wheel was Smiths 2.0, then these guys are the 3.0 version.

Guitarist-frontman St. John–a Canadian-born resident of Venice, Calif.–has a brooding, Depeche-Joy Division vocal drone of biblical proportions. The music has much more earthy texture and 2007 acoustic-techno style than his 1980s British counterparts, but he can brood on and on and on with the best of them.

chillin' in the crib
St. John chillin’ in the wickah

Best cut of the band’s MySpace buffet is “Parallax,” which has a tasty little organ feature at the beginning that features the Leslie (or equivalent digital effect box) spinning up to build some sonic drama. The organ line plays a prominent part in the track, giving it a more grounded vintage pop edge and taking off some of the technological chill prevalent in their other mixes.

Still, if you’re into the Emo, into vintage Jimmy Somerville and Depeche, give these Canadian popsters a spin. MySpace gives you a free taste, what’ve you go to lose?

Man-About-MySpace: Wiser Time

The new Springsteen record is out, and it’s underwhelming. While I wonder sometimes what’s wrong with me–a lot of my Bullz-Eye colleagues love this record–it sounds as if The Boss is more like The Middle Manager: 30 years ago, in songs like “Rosalita” and “Born To Run,” Springsteen and the band would gather steam like a double-tractor-trailer huffing through the Berkshires on I-90 up the mountain, cresting at the top with a cathartic pause, and just over the top, Rosie, the record company just gave me a big adva-a-a-ance! Ooooaahhhh! The highway’s jammed with broken heroes on a last-chance power drive!

Those songs rushed downhill after their orgasmic middles, barely holding the road banging through joyous, precarious musical curves at unsafe speeds. But Bruce and Clarence always got us home safely.

Nowadays, Springsteen’s music sounds nice, the chords are pleasant, the sax still wails, but he hasn’t slammed it into overdrive for a couple decades.

His new songs contain stories, still, but mundane as your next door neighbor couple’s arguments (“Think about the future, baby, none of this has happened yet”) and not life-altering, on the edge stuff like leaving your wife and kids in Baltimore, jack, or “Mister State Trooper,” that was intense.

Don’t get me wrong, this aging “Springsteen 2.0” is still better than anything John Cafferty, Bonnie Jovie, Southside Johnny or the Brooklyn-born Eddie Money ever put out, even in their heyday. He knows songcraft. And he knows his limitations and works within them to create good tuneage.

Maybe I’m just an old fart who’s living back in 1984, looking for an adrenaline shot that doesn’t exist. At any rate, it sent me on a MySpace Music hunt for a younger Jersey throwback, one that might be picking up the torch for us Springsteen fans who want a little more of the rough-and-tumble back.

It’s still elusive.

In the meanwhile, however, the search did turn up a freaking great band to check out called Wiser Time (pictured below).

These Black Crowes clones (they’re named after a Crowes song) pack some serious electric-slide punch into their original songs, and in the typical New Jersey rock style, do not aspire to bookish heights of rock intelligence. Amen, brother, we could all use a little less heavy thinking and a little more git-ar distortion. With a side order of slide.

Man-about-MySpace: Freebass

Peter Hook—or “Hooky” as he’s known by dear fans—ye olde ancient bassist for New Order (or as of late last spring, shall we say the “defunct New Order”) has been annoying old fans with a dispute over who gets to use the band name. Or more to the point, if his old mates can use the name after Hooky picked up his bass and decided to go play in another sandbox. Ho-hum.

Hooky’s a lot better off playing his bass and spearheading musical groups than he is with the social grace, apparently, because his new project, Freebass, is absolutely awesome. And where can you sneak a listen to the preview cut “I Envy Us?” His MySpace, natch, the same online outlet where he also threatened to sue the other New Order members if they continued on without him and kept the band name (yet also says at his MySpace that he’s “open to negotiation,” whatever that means).

hooky-doo

The shy boy? Or the coy boy?
We love you either way.

At any rate, the core members of Freebass comprise Hook, ex-Smiths bassist Andy Rourke and ex-Stone Roses/Primal Scream bassist Mani. Get the name? Freebass. Caution: If you think it’s cool, don’t even try copping the name, because one would guess his attorneys are watching for that sort of thing.

Lead vocalists allegedly in the running include Charlatans’ Tim Burgess and the Stone Roses’ Ian Brown, says Pitchfork. Add that to an awesome post-Madchester garage-pop Big Beat retro sound, and at least on paper it looks pretty freakin’ awesome.

Man-About-MySpace: Garage pop, punk, and psychedelia

Huh? Didn't the Sex Pistols invent punk in 1976????? C'mon now!!!!!!!

A back-channel email discussion among the B-E editors surrounding the new Love is the Song We Sing: San Francisco Nuggets 1965-70 box led us to this MySpace, administered by a like-minded 1960s garage-rock aficianado that understands the tangled web of musicology that leads punk and 1980s power-pop fans back to this more delicious, primordial musical ooze that sounds staticky and crappy.

Like, staticky and crappy for the right reasons, not because some 2007 studio whiz is trying to replicate 1960s garage-rock records because today’s recordings sound so sterile, perfect, and–dare I say it?–dead.

This is obscure Pop with a capital P. It’s the stuff that deejays of the era passed over because there wasn’t enough payola. It’s beautiful, undiscovered (by the mass market) music, and the Nuggets-Rubble-Pebbles CD compilation franchises rightfully restore to the great library of songs released to retail. But be warned, if you go down this path: If Nuggets is opium, the Pebbles and Rubble sets are heroin. Once you’re in it, there is no way out–as this architect of this MySpace is walking proof.

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