Month In Review – February 2010

Not that it was planned or anything, but February turned out to be Oasis’ month. The month saw the review of “Definitely Maybe”, “(What’s The Story) Morning Glory?”, “Be Here Now”, “The Masterplan” and “Standing On The Shoulder Of Giants” almost consecutively. As I explain on the reviews (and on the general introduction) I had given up entirely on the Manchester band a long time ago, but I finally realized it was only fair to review those albums of theirs I had purchased. I listened to them incessantly when I was younger, and they gave me the resolve to push forwards more than once. And I also reviewed Lee Henshaw’s book on the band.

The other addition to the main category of artists was Tom Petty. I have already reviewed his classic 1979 record “Damn The Torpedoes”. Look for more very soon!

The startups I reviewed this month included DemoHero, Lyrics Training and Songbright.

A movie I was very keen on reviewing finally received that treatment: “August Rush”. In case you know nothing about it, it is the closest we have to a modern-day fairytale. Give the review a look, and see if it is something you would enjoy watching or not.    Continue reading

Erykah Badu Gets A Sample Clearance From Paul McCartney Using Twitter

This story makes it clear how much of a tool for instant communication and collaboration Twitter really is. It involves Erykah Badu (the Queen of Neo Soul) and Paul McCartney. The African-American musician was looking for last-minute clearance for a sample from the song “Arrow Through Me”, penned by the former Beatle and included on Wings’ final album “Back To The Egg” (1979).

In a bid to connect with Macca, she decided to tweet out and see if her luck was in, and if someone could connect her with Sir Paul McCartney. It turned out the tweet was picked up by Lenny Kravitz, who is friends with McCartney’s daughter Stella. She made the connection with Paul, who approved the usage of the sample on the spot.

Erykah Badu Gets A Sample Clearance From Paul McCartney Using Twitter

Erykah Badu Gets A Sample Clearance From Paul McCartney Using Twitter

Continue reading

Damn The Torpedoes (Tom Petty) – Album Review

"Damn The Torpedoes" Was Tom Petty & The Heartbreakers First Platinum Album. It Was Issued In 1979.

"Damn The Torpedoes" Was Tom Petty & The Heartbreakers First Platinum Album. It Was Issued In 1979.

“Damn The Torpedoes” was Petty’s third album, and the one that brought true recognition to him and the Heartbreakers (his classic backing band). It came out in 1979, and it signaled the first run-in that Tom had with the industry. Basically, Petty’s record company at the time (Shelter) was sold to MCA, a move Petty disapproved of. He tried to detach himself by all means, and he was to eventually end up bankrupt as a result. Hence the title of the record – Admiral David Farragut’s famous order at the Battle of Mobile Bay: “Damn the torpedoes, full speed ahead!”.

Getting down to the music, now, the disc is invariably good. It caught Tom and the boys at the peak of their explicit days as rockers, whereas the album closer “Louisiana Rain” evidenced a desire to innovate and move out of the constraints of the genre, even if only a little.

The singles included “Refugee” (a song that hit #15) and the top 10 hit “Don’t Do Me Like That”. “Here Comes My Girl” (which featured a spoken delivery by Tom) and “Even The Losers” were also to go down as Tom Petty classics. The latter in particular will always be an excellent example of Petty’s prototypical characters – people who are out of fortune but not out of luck, as I commented on the general introduction I wrote yesterday. Continue reading

Tom Petty – General Introduction

Tom Petty & The Heartbreakers

Tom Petty & The Heartbreakers

A rocker at heart. That is the way Tom Petty would go down in history. Sure, there were some diversions along a career that spans three decades and that still keeps going on strong. The first one came in 1985 with the concept album “Southern Accents”, and his first stint as a Traveling Wilbury showcased a very different side of him (the second album by the Wilburies found Petty back on more familiar territory). But these (and his solo albums like Wildflowers) can be deemed as mini-vacations after which he came energized like never before.

Born in Gainesville (Florida) in 1950, Petty’s interest in rock & roll music was instilled by two of the main icons of a whole generation, The Beatles and Elvis Presley (whom he was to met in person). After playing with a band called Mudcrutch that was to issue only a single back in the ‘70s (the band would reunite in 2008 to do a proper record), Petty launched a solo career with the assistance of two of his Mudcrutch bandmates, Mike Campbell (lead guitar) and Benmont Tench (keyboards). They were to be joined immediately by Ron Blair (bass) and Stan Lynch (drums), and that was the birth of Petty’s legendary backing unit, The Heartbreakers. Both Campbell and Tench are with Petty to this day, and Campbell in particular has had a big input on Mr. Integrity’s music both in terms of compositions (they often share writing credits) and production-wise.

Mr. Integrity. That is one of Tom Petty’s most recurrent nicknames, specially among punters. He has been known to stand against music industry abuses, and to side with fans time after time regarding decisions that would affect them like the marking up of albums. Tom’s first direct attack came with the title of his third record, “Damn The Torpedoes” (1979). It was Tom Petty & The Heartbreakers’ fist platinum album after the previous one (“You’re Gonna Get It”, 1978) had cracked the Top 40. It included the radio hits “Refugee”, “Don’t Do Me Like That” and “Here Comes My Girl”.
Continue reading

DemoHero – A Community Site Devoted To Demo Recordings

LODemoHero

Name: DemoHero
URL: http://www.demohero.com

There is nothing more thrilling for a fan than getting his hands on some demo recordings, although the actual substance of a demo changes from artist to artist. On the one hand, we have someone like Pete Townshend that used to assemble meticulous recordings where he insinuated the parts John Entwistle and Keith Moon would play. He was to release several collections when he went solo, and the public finally realized that what Keith Richards once said had more than an inkling of truth – “Peter Townshend made better Who music than The Who”.

On the other hand, demos are included unscrupulously as a bait to lure in collectors in compilation albums by certain artists. That kind of artist is the one described in the song “Box Set” by Barenaked Ladies, as the contents of the fictitious musician’s boxed set are enumerated disc by disc:

Disc Four
Never released before,
and you can tell why;
it’s just some demos
I recorded in my basement.

The fact remains that hardened fans don’t care where or when a demo was recorded. It could have been recorded by the singer while he was taking a shower. If it is a song that speaks to us, we are going to offer and arm and a leg in order to listen to it. Well, not any longer. Listening to these rough sketches has become very easy. This brand new site makes it a doodle. Continue reading

My Generation – The Very Best Of The Who

This Compilation Surfaced In 1996, And It Coincided With The Remastered Series

This Compilation Surfaced In 1996, And It Coincided With The Remastered Series

This was the single disc compilation that accompanied the remastered series that were issued in the ‘90s. The disc has 20 tracks, and many were the remastered versions that the forthcoming CDs were to include.

On the whole, the compilers did a very good job. All the early non-album singles minus “Call Me Lightning” and “Dogs” are included. From “Tommy“, we have “Pinball Wizard”. From “Who’s Next” we have “Baba O’Riley” and Won’t Get Fooled Again” (both unedited). Beside, two of the three Lifehouse leftovers that were issued as singles are here. They are “Let’s See Action” and “Join Together”. We are missing the final one, “The Relay”. It is a loss, but not a great one. The best thing about it is Moon’s funky drum track. But the other two singles were the real deal, and they proved it on the charts.

Quadrophenia” is represented by just the one track, “5.15” (also unabridged). Finally, we have the ineluctable “Squeeze Box” (it was a top ten hit after all), an edited “Who Are You” and the full length “You Better You Bet”. The song is unremixed. You can tell because the background vocals are not as crisp as on the reissued “Face Dances”.    Continue reading

The Iron Man (Pete Townshend) – Album Review (Part 2)

Don’t forget to read the introduction to this review.

Pete wrote 20 songs for this musical, 11 of which are included on this album. Some were released as B-sides, too. The singles from the CD were going to be “A Friend Is A Friend” (a song that does not sound like a Townshend composition at all – maybe that was the reason why it was a single) and the excellent set opener, “I Won’t Run Anymore”. Sung by Pete (as Hogarth) and Deborah Conway, the song details the protagonist’s initial encounter with the lumbering giant, and his determination to be as courageous as an adult would be and face the situation instead of fleeing.

The song is immediately followed by “Over The Top”, my personal favorite of the two songs in which John Lee Hooker takes the lead. The other is “I Eat Heavy Metal”, and I am certain most of you will actually like it best than “Over The Top” as it treads bluesier territory, hence Hooker is more at home. In any case, John Lee Hooker as the Iron Man was the best casting decision of the whole disc.

For its part, Simon Townshend tackles “Man Machines”, a brief passage that deals with the same theory that movies like “Terminator” have popularized – we come up with machines to fight our wars for us, and in the end they will nab us.

The song leads into the first Who tune, “Dig”. Roger fills in as Hogarth’s father (no doubt he got an added thrill for lecturing Pete on the song), and the song gave everybody renewed faith on the Who. But the band was not going to record any new tracks after a lackluster cover of Elton John’s “Saturday’s Night Alright For Fighting”. The next recordings would already take place after Entwistle had passed away. Continue reading

The Iron Man (Pete Townshend) – Album Review (Part 1)

"The Iron Man" (1989) Was A Musical That Ended Reuniting Pete Townshend With The Who

"The Iron Man" (1989) Was A Musical That Ended Reuniting Pete Townshend With The Who

When Tommy was being recorded, there was a big issue: whether or not to use outside musicians to fill in all the different roles. The Who finally decided not to, and it was the right choice – the whole opera would have escalated otherwise, and replicating it onstage would have been impossible without dazzling logistics. The legendary performances that we can listen to today in albums like Live At The Isle of Wight and the Woodstock soundtrack would never have been. And the sanitized performances that we have as part of boxed sets like Join Together just put a fine point on it all.

However, knowing that Tommy was once considered as a multitudinous project is vital, as it shows that big conceptual schemes in terms of participants had been lodged on Pete’s brain for a long time. He finally had a chance to let that come to fruition in 1989 with the musical “The Iron Man”.

The CD marked the first time Pete had adapted somebody else’s work, as the opera was based on the child’s tale by poet laureate Ted Hughes. Townshend invited musicians from all over the specter to lend their talents, and these ranged from blues legend John Lee Hooker and jazz stalwart Nina Simone to vocalists like Chyna and Australian rocker Deborah Conway. Likewise, he drafted his younger brother Simon and old-time associate Billy Nicholls to sing backup. But most importantly (and tellingly in the long run) was that the Who guested on two tracks, the excellent “Dig” and the ineffective cover of “Fire” by the Crazy World Of Arthur Brown (a song Pete had produced in the 60s and taken all the way to number one).

The reunion with the Who was most tellingly because Pete (who had resisted touring with his former compadres for so long) was to finally abdicate and agree to a massive tour of arenas backed by a large ensemble band including percussionists, vocalists and someone else playing electric guitar – Pete was to play mostly acoustic on the “quiet” side of the stage, shielded from the wall of sound. These performances were to result on the live “Join Together” boxed set, a much-reviled collection of live songs. In a certain sense, Pete and the guys had the right to try something different. They had never toured with such a band before, so they had a good excuse. Money also factored heavily at that time, but I already discussed that here. Continue reading

The Masterplan (Oasis) – Album Review

The Masterplan (1998) Collected B-sides That Rivalled And Even Surpassed Album Tracks And (In Some Cases Like "Acquiesce") Even Their Respective A-sides.

The Masterplan (1998) Collected B-sides That Rivalled And Often Surpassed Album Tracks And (In Some Cases Like "Acquiesce") Even Their Respective A-sides.

Funny enough, from having given up on Oasis a long time ago to the point I gave away most of their albums I have reached a point in which I reviewed all of their discs in two weeks. That was not deliberate or anything. Rather, it was a sort of rediscovery and a way of burying the hatchet with a band that was always there when I needed it. Maybe this reapproach was motivated by having listened to a lot of bands from Manchester recently (with The Stone Roses and Joy Division topping the list). I am not certain, but I am glad it happened. And now, I am reviewing the final album by them I haven’t reviewed up to this point: “The Masterplan”.

Chronologically, the album followed “Be Here Now”, and it was released when the band had announced they were to take a three-year break. A compilation of b-sides, it was only going to be issued in countries where you couldn’t buy the singles, but in the end it was released worldwide.

Now, the key to understanding why the album is so masterful is keeping in mind that Noel had stockpiled a large body of work, and that some of those songs were even better than albums tracks which did make the final cuts. It is easy to criticize the inclusion of about half the songs on “(What’s The Story) Morning Glory?” knowing that cuts like “Rocking Chair” and “Half The World Away” were available then, not to mention “Round Are Way” and “The Masterplan”. And I haven’t even mentioned “Acquiesce” yet, the defining song about the sibling rivalry between the two brothers in which they alternate vocals until singing together “because we need each other/we believe in one another/and I know we are going to uncover/what’s sleeping in our soul”. Continue reading

Lyrics Training – Learn Languages Using Your Favourite Music Videos

LyricsTraining
Name: Lyrics Training
URL: http://www.lyricstraining.com

Learning a language has got little to do with memorizing mere lists of words. It has to do with using them, and placing every single one in a meaningful setting. There is a common belief among language professionals: use a word three times and it will be yours forever.

And in addition to using words, the context in which they are used is vital for nailing them down in your mind. A word that a teacher gives to you out of the blue along with 10 more is hard to grab. Conversely, if you learn one (and only one) word from a song by your favorite artist, there is a radically different degree of involvement. To begin with, you like the artist and you care about his/her message. And if you learn what it means by looking it up on the dictionary yourself, you will place an even higher value on it, in the same way that we grow attached to something that results from a laborious process. Continue reading