Promo clip for Captain Beefheart album of the same name. Dig it, kids.
Category: External Music (Page 35 of 50)
Title: Gone!
Date of Creation: Sometime around May 1992, I’d have to guess, since it would appear to be the first tape I made after graduating from Averett College. (Accordingly, the last tape I made before graduating was entitled Going, Going…)
Side 1:
“Main Title,” James Horner (Star Trek II: The Wrath Of Khan: Original Motion Picture Soundtrack)
Over the years, I’ve gotten less and less apologetic about declaring “Star Trek II: The Wrath of Khan” to be my favorite film of all time; accordingly, I barely cringed at all when I recognized the initial strains of James Horner’s score for the film’s main title sequence. Not that I didn’t enjoy hearing it; I just immediately thought, “Oh, God, I’ve got to explain why I put it on here.” But then I realized that, no, actually, I don’t have to explain a goddamned thing. I love this score. Somehow, however, this disc managed to get purged from my CD collection, but hearing this track again makes me want to buy it back.
“That’s The Way It Stays,” Little America (Little America)
I know this was released on Geffen Records, but I always got the impression that the band’s success was rather regional. I don’t know that I ever heard their songs on the radio or saw videos for them; I just know that one of my oldest friends, Jeff Castelloe, forced their music down my throat while I was working music retail, which is how I came to hear them and learn to love them. And what’s not to love, really? It’s just good, catchy pop-rock with a bit of jangle. (And, yes, that IS a scan of the cassette rather than the CD; ever since they reissued the band’s two albums as a 2-fer, you can’t find a decent .jpg of the self-titled debut by itself.)
“Never Will Forget You,” The Candy Skins (Space I’m In)
These guys just couldn’t make a wrong move, as far as I was concerned…I’ve got every album they put out, and I enjoy them all…but it was this debut that sold me on them. It’s really one of those records where every song had the potential to be a hit single, if only the right people had been listening. Unfortunately, they weren’t. But at least the cool people were. And that’s why we covered them in our list of The Best Albums You’ve Never, Ever Heard (Well, Probably Not, Anyway).
Late last year, after the annual Bullz-Eye holiday party, a couple members of the music staff did what they do best: they bellied up to the bar and drank some more. We began talking about bands we wish we had seen while we had the chance, which led to a conversation about which bands we’d like to see get back together. Along with some obscure favorites (we will not sleep until Sugarbomb makes another record), the three bands that we all wanted to see get back together were the Police, Squeeze, and Crowded House.
It is now six months later, and guess who’s coming to a shed, pub, or coliseum near you? Yep, the Police, Squeeze, and Crowded House.
What this means, of course, is that we have magical powers, and that by merely wishing something to be, it soon is. It also means that it was only a matter of time before we were wholly corrupted by our newfound abilities, and what began as a good-natured chat about bands that left too soon became a diatribe about which bands just need to freaking stop already. It was therefore decided: for every band that we reunite, another band must be torn asunder. Below is an example of each.
Band that should break up: U2
Listen to the Irish pre-grunge rockers’ grungy early-’80s anthems – such as “Sunday Bloody Sunday” and “New Year’s Day” – and you hear passion. Fire. Something to live for, and possibly, to die for. The Joshua Tree was the creative and sales apex for the band, and it’s been downhill for the two decades since.
After the live Rattle & Hum album, U2 reinvented itself as an upscale dance-rock band, a pretty cool parlor trick. But their problem was, there was no substance behind the beats, and the band’s relevance eroded. By the time the band rolled into 1997, it had become a parody of itself, promoting its “Pop” tour at K-Marts and hemorrhaging money when no one came to the shows.
It’s 2007, folks. No one’s denying U2’s recaptured its politically astute fan base, but it took terrorism on a massive scale – and the band’s touching, reverent salute to the victims at the following Super Bowl halftime – to get them back. They’re off again, doing poppy, say-little-if-anything tunes, trying to speak to the iPod generation on TV commercials. It’s time for Bono to become the mature, full-time political ambassador we know he can be, and reap the humanitarian good his name and reputation can accomplish. It’s time for The Edge to validate his quirky technique by launching a guitar school. As for the other two guys, they’ll make fine A&R men for record labels. But please, break up the band. There’s nothing left for them to say.– Mojo Flucke, Ph.D.
Band that should reunite: Elastica
Elastica was a band out of time not once, but twice. On their 1995 debut, when they were ripping off Blondie, the Stranglers and Wire – literally, in some cases – their Brit Pop peers were writing love letters to Paul Weller, John Lennon, Scott Walker and Ray Davies. When they finally got around to releasing their second (and last) album The Menace in 2000, the British music scene was mining the mellow gold of Travis and Coldplay, while Radiohead had finally succumbed to the robots. Elastica, meanwhile, were considered hangers-on to a defunct scene that they never belonged to in the first place. Deciding that the band was more trouble than it was worth, lead singer Justine Frischmann threw in the towel in 2001.
If she only knew what the future held. Dance rockers Franz Ferdinand are one of the biggest bands in the world, and the Arctic Monkeys, who reinvented both ‘quirky’ and ‘angular,’ are bigger than Jesus in England. The Futureheads and Shiny Toy Guns? They’re practically Elastica spinoff groups, a la General Public and Fine Young Cannibals forming from the ashes of the English Beat. You know how labels used to re-release the same song a decade after it first charted (Hello, Benny Mardones’ “Into the Night”)? “Your Arse, My Place” would be a Top 10 hit on modern rock radio right now, if given the chance.
Your moment has finally arrived, Justine. Give Donna and Annie a ring and get together for a drink or two. Dust off the gear, plug in, and take these drooling synthesizer dorks to school. –David Medsker
To see the rest of the bands that should break up and bands that should reunite, click here.
They doth call him the Pope of Mope, and it’s a title he’s earned a hundred times over…and then some. Whilst fronting the Smiths in the mid-1980s, Morrissey quickly became known as the poster child for all those lonely teenagers who craved love and acceptance but were finding it hard to come by, and when the Manchester four-piece broke up in 1987, the majority of those morose music fans followed Mozzer to his solo career, where he further trumpeted his woe-is-me mentality. (C’mon, now: it’s such a hallmark of his work that even he makes fun of it sometimes!) Morrissey’s recording career has spanned almost 25 years, and although he’s been a staple of the UK charts – and of US college radio – for the majority of that time, there are plenty of his songs, both solo and with the Smiths, that can be readily classified as Deep Cuts.
A few samples…
“Work is a Four Letter Word,” The Smiths – Just Say Yes: Sire’s Winter CD Music Sampler
Does anyone else remember these great compilations that Sire Records used to release? They were awesome, particularly this first volume, which is as good a one-stop lesson on modern rock circa 1987 as you’re likely to find. In addition to tracks by Depeche Mode, Echo & the Bunnymen, the Ramones, and the Replacements, you’ll find the Smiths covering Cilla Black. Johnny Marr declared the recording of the song to be “the last straw” — and given that it was recorded during what would prove to be the Smiths’ final session, that’s apparently exactly what it was.
“Get Off the Stage,” Morrissey – Piccadilly Palare single
While it’s not exactly the albatross about Morrissey’s neck that the line “hope I die before I get old” is for the Who, you can understand why this goofy but fun diatribe aimed at aging rockers with limited musical palates isn’t pulled out more often. It’s a little risky for a man which such a recognizable sound to be crooning, “And the song that you just sang / It sounds exactly like the last one / And the next one / I bet you it will sound / Like this one.”
“Sorrow Will Come in the End,” Morrissey – Maladjusted
Yikes, dude! Bitter much? Essentially a spoken word piece, with Mozzer launching into a tirade against the results of a royalties battle with his former Smiths bandmate, Mike Joyce. “A man who slits throats has time on his hands,” sneers Moz, “and I’m gonna get you!” It’s so over the top that it’s a laugh — but not as funny as Joyce’s scoffing response to the lyrical threatening: “If Lemmy had written it, I might be concerned.” Ouch!
Check out the whole piece here, then stop back by and offer your opinions and / or alternate suggestions for the list!
No one asked for it, but here it is, anyway: a new feature on ESDMusic which, hopefully, will become a regular reason for you to visit the site…provided, of course, that we can come up with enough material to maintain it. But, frankly, when you hear the premise, I think you’ll agree that with all of the music geeks we’ve got around here, that shouldn’t be an issue…
Borrowing on the same general concept as Bullz-Eye’s Mix Disc Monday, Flashback Friday will allow our writers to venture into the depths of their possibly-embarrassing personal histories by pulling out old mix tapes and writing about them. In theory, this should reveal a lot about where we were musically at the time we made the tapes; in reality, however, it may just indicate how limited our budget was at the time…or, at least, that’s what this tape of mine shows.
That’s right, as the person who came up with this idea, it’s only fair that I get the ball rolling, and lemme tell ya: I was attending Averett College in Danville, VA (go, Cougars!), and it was a real rarity for me to buy anything that wasn’t on its second or third markdown in the cut-out bin…and, believe me, you can tell.
Title: Greetings from Averett, Vol. 2
Date of creation: late March 1991 (approximate)
Side 1:
“Main Title / Rebel Blockade Runner,” John Williams and the London Symphony Orchestra (Star Wars: The Original Motion Picture Soundtrack)
I’ve always been of the mind that every mix needs to start off with something witty, clever, funny, or just, y’know, something memorable. Given that this was 1991 and we were on what would turn out to be a 16-year drought between new “Star Wars” films, beginning the tape with the familiar main titles from the original flick – now known as “Star Wars: A New Hope” – certainly qualified. Unfortunately, the title theme segues directly into another track, ”Rebel Blockade Runner,” and as a result, the whole thing ends up going on longer than most normal people would ever maintain interest. I mean, I love that soundtrack, and even *I* started to get bored. By the way, while I’ve attributed this to the actual “Star Wars” soundtrack, given my budget, I have to believe that this was much more likely taken from an el-cheapo recording done by, say, the Generic Philharmonic Orchestra…which means it’s almost certainly not John Williams conducting but, probably, his non-union Mexican equivalent. (Juan Williams?)
“Losing My Religion,” R.E.M. (Out of Time)
This is the track on Side 1 which most definitively dates the tape for me. As noted, I was a man with limited funds, and most of my purchases were CDs and cassettes that I’d rescued from the cut-out bin at the record chain in the local mall, but I sucked it up and bought Out of Time on its first day of release. I still remember writing a review for the Averett College newspaper, The Chanticleer, and declaring that this song’s lyrics sounded like a parody of the band’s style. (“I think I thought I saw you try” is the one that leaps immediately to mind.) I must’ve made this tape within a day or two of the album’s release and only known this song; otherwise, I almost certainly would’ve put “Texarkana,” “Near Wild Heaven,” or “Shiny Happy People” on here instead.
“This Is the World Calling,” Bob Geldof (Deep in the Heart of Nowhere)
Wow, did this album get reamed when it was first released. I’m sure Bob didn’t expect much else, though; after you’ve been held up as the pop star who fed the world, you ought to know that the press is going to tear your next LP a new center hole. Yeah, that’s right, Geldof’s fallible. So what? And, anyway, Deep in the Heart of Nowhere wasn’t nearly as bad as everyone said; it just wasn’t as good as, say, your average Boomtown Rats album. I still say the first half of the album is pretty damned good, and this song, which leads off the record, is definitely a highlight.
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