Pearl Jam - The Philadelphia Spectrum - October 30, 2009

From the time these shows were announced, I said that I would not chase Pearl Jam tickets. I have seen them many times. Often, I am only impressed with their musical ability. Since the early nineties, Pearl Jam's performances have been less energetic. As guys age, they just can't hang from balconies and dive into crowds.

So, when Fuzz called with the promise of a seat, I thought hard before saying I would attend. In the end, it was the opportunity to see history that forced my hand.

It didn't take long before I realized that The Spectrum has to go because you have to fight like a Viking warrior to get through the concourse to your seat. Once inside, I encountered my friends from Main Street Music. They were hand-chosen by Pearl Jam to sell Pearl Jam merchandise in the arena (good publicity for a great group of music-lovers).



I said hello and met Dan DeLuca from the Philadelphia Inquirer. We talked for a few minutes. He asked me what I will remember about The Spectrum and what it means to me.

"I saw my first concert here when I was 11," said Joe Ippolito, 39, of Norristown. "It was Van Halen. It was the first place I got turned on to live music."

Ippolito, a teacher at the Philadelphia High School for Creative and Performing Arts and former singer for the cover band Flip Like Wilson, acknowledged that time had run out on the Spectrum.

"Unfortunately, it's also really outdated," he said Friday, standing by the Main Street Music booth, where the Manayunk record store was selling merchandise at Pearl Jam's invitation. "I just almost got crushed walking around the concourse.

"But for a music fan, it's magic when the lights go out. It's like every kid's fantasy when you walk through those doors. I've seen everybody here. Jane's Addiction, U2, Bruce Springsteen, the Red Hot Chili Peppers, Kiss. I've seen Bobby Clarke and Mario Lemieux here, Dominique Wilkins and Eddie Vedder.

"And I'll tell why it's a shame that they're tearing it down: Can you tell me where the Target Center is? The Xcel Center?" (A Google search reveals both are in Minnesota.) "But the Spectrum? That's part of Philadelphia." *

I confess that I made a mistake when I said I saw Kiss at The Spectrum. In fact, I saw them at First Union Center, or whatever they called it that week. But, I did see every other band I mentioned at The Spectrum. I also saw Bryan Adams there. For the record, he was awesome. I also told Dan that there were so many people on that concourse, that I was sure a few of us would contract H1N1. I also said that somewhere along the way, I gained the ability to play banjo. That's when you know you are rubbing up against someone way too hard.



My seat for Pearl Jam was behind the stage. This time, I learned from the mistake I made at the Springsteen show. Apparently, nobody listens to the warning about bringing in cameras. I never bring in a camera and all I see around me are flashes popping. All the while, I attempt to take pictures with my cellphone. Mostly, because I am an idiot.

As the lights dimmed, two large screens began showing some of the greater moments in Spectrum history. Images of Darryl Dawkins, Julius Erving and The Broad Street Bullies were woven together with flashes of Bruce Springsteen and other great events the Spectrum hosted. As the crowd cheered, we all knew the show was about to start. Then, the lights went out and the theme from "Rocky" blasted the crowd from the PA system.

For the record, I never felt a building shake before. This time, I did. The roar of that crowd made the hair on my arms stand up. It was a very cool moment. As Pearl jam took the stage, I could tell that this show was going to be one of those special moments for any concert-goer lucky enough to be in attendance.



The band tore through a few songs from their new album, "Backspacer". From there, it was time for the band to start playing songs from its extensive back-catalogue. The only complaint I have is that as Pearl Jam attempted to live up to the promise of playing every song they ever recorded, I sat through many songs that I would rather not hear. That being said, all of the songs were played extremely well. There is no denying that Pearl Jam is one of the best American rock bands to emerge in the last twenty-five years. They were confident, well-rehearsed and tight.



From time to time, I would take a walk on the concourse and take pictures. In fact, I ventured up the stairs to take pictures from different angles. Early in the show, I saw a man on a stretcher being taken out of the arena by EMTs. Later, I was told that he fell out of one of the top levels into the lower section.

What's the story there? How does that happen?
Well, we all have our Spectrum memories. Now, he has one.

Settling comfortably in my seat, I watched the band and realized, "God, I remember when this band was brand new. I was in my early twenties. As I approach forty, I realize that I have become one of those people that can now say, 'I remember when...'

The first song I heard by the band was "Alive", from the classic album "Ten". I recall going to Europe in the summer of 1994 and listening to that cassette until I almost wore it out.

For me, that moment had real weight. They also played "Breath". For many years, that song was a rarity. Hearing them play it live was very special. The thing I will take away from the show is the devotion of Pearl Jam's true fans. They love this band and they know every word to every song. For most of the show, the entire crowd sang along and didn't miss a beat. They knew deep cuts and b-sides. It was impressive. It led me to the belief that Pearl Jam has become that unique band that has earned a populist following and the kind of following reserved for bands like The Grateful Dead and Phish. Their fans will travel long distances to see them and support them through every artistic turn. For real Pearl Jam fans, they are no obscure songs. Every song is as meaningful as the last.

In the end, it is the earnest approach of this band that wins me over every time. There are not many bands that perform like they mean it. There are even fewer bands that are this true to themselves. Pearl Jam is a band that plays well within its own space. They do not lend themselves to trends or compromise. Their vision is singular and focused. When they take the stage, Eddie, Jeff, Mike, Stone and Matt play like every show matters. They give it all to their fans, night after night.

As any Philadelphian will tell you, that is all that we ask for from our heroes. This town doesn't always walk away with the big prize. But, we do appreciate the competitor that keeps swinging until they turn the lights off.

As I left, I never turned around. I want to remember this moment.



Eddie turned to his bandmates and asked, "You wanna play some punk-rock?" All I could think was, "Hell, yes..." In a flash, I am that 21 year old discovering one of the best rock bands of my generation. In many ways, they are guys just like me. As the last chords of "Sonic Reducer" ring out, I remember why I love these guys - its all about going down with your hands in the air...until someone turns the lights off. Or, in this case, until someone turns the lights on.

As I leave, I can't resist.
I turn back one last time.



So many memories.

* http://www.philly.com/inquirer/local/20091101_History_lives_one_last_night_as_Pearl_Jam_closes_it_out.html

Memories of The Spectrum - Stu

"(I remember)...attending two Final Fours (1976 and 1981).
Indiana won both.


A Springsteen show, shortly after Elvis died in 1977. He sang a dirge about the senseless death of Elvis called “Goodbye, Johnny, Goodbye.” I’ve never heard the song since.

In that same era, I attended a Supertramp show there that was surprisingly good.

The Spectrum is being glorified beyond any reality. As a concert hall, it was an acoustic nightmare. Amazingly, the Wachovia Center is even worse. Spectrum history has been so distorted that today 99.9% of Philly believes it was built by Ed Snider and he brought the Flyers to Philly. It was Jerry Wolman, the owner of the Eagles at the time, who did this. Snider was just his accountant. When Wolman’s home- building business went bust, Snider jumped on the opportunity and bought the Flyers and the Spectrum at a deep discount. The Spectrum has never paid real estate tax to the City, which owns the property it sits on. In 1966, Wolman got a 50 year lease for the acreage, all rent-free and tax-free.

If you think I’ve been a little harsh on Chairman Snider, let me give you another tid-bit. He owns the Ticketmaster franchise in Philadelphia. All those obscene service fees—they go straight into his pocket. Remember when 11 kids were crushed to death at a Who concert in Cincinnati promoted by EFC? Snider’s Spectacor made half the profits on that show. It’s a fact.

The Fixer responded to Stu: "Stu...can I print this?"

Stu wrote back:

Hell yeah.

I think about as much of Chairman Ed as I do that other over-blown fraud, Donald Trump. Strictly a four-flusher. He’s taken billions out of this community, and given back nothing.



He hasn’t produced a hockey championship since the mid-70s, and everyone is convinced that he’s the greatest hockey executive in history. I don’t follow hockey, but even I could see that he threw his son, Jay, to the wolves, ruined the career and reputation of Eric Lindros, and eventually discarded Bobby Clarke in a shameful manner.

When have you ever heard a “journalist” question Snider’s ability?
Not on Comcast Sports, that’s for sure.

He owns it.

Stu

Bruce Springsteen & The E Street Band - The Philadelphia Spectrum - October 13, 2009

The first thing you have to remember when you settle in for a Springsteen show is that it is going to be an endurance contest.

He will outlast you.

As the Spectrum draws it's last beer-drenched breaths, Springsteen opened the night with a song he hasn't played live since 1973. From the opening chords of "Seaside Bar Song", it was clear that the evening was going to be something special.

The night was full of possibilities and Springsteen did not disappoint.

The second song, "Wrecking Ball", was meant to be an ode to the old barn with its shout-outs to Dr. J. and "cheese steaks as big as airplanes". Originally written for New Jersey's Giants Stadium, it was retrofitted with lyrics meant to bring the locals to their feet.

That's alright...the crowd loved it, anyway. We don't care if you love someone else, Bruce...just love us best.

Then, there is a promise in the dark as the man calls out, "The Spectrum will live forever!", making it very clear just how much this building means to the Springsteen mystique. After all, The Spectrum is the first arena-sized gig that he ever played, in October 1976.

"Out In The Street" is a revelation each time I hear it. Beneath the buoyancy of the song's beat and Springsteen's good-natured mugging, there is a swagger and toughness that stands out when he sings the words,

"When I'm out in the street
I walk the way I wanna walk
When I'm out in the street
I talk the way I wanna talk"

In a few short minutes, Springsteen has lifted us to the ceiling. At sixty, he conjures enough energy to shame men half his age. I am a little more than twenty years his junior and as I watch him I think, "I need to put on my sneakers and do some road-work."

"Outlaw Pete" sounded amazing, even if it was delivered with Springsteen in a cowboy hat...an image I could live without. After the sturdy "Working On A Dream", Springsteen leads the band through a rousing "Hungry Heart" and crowd-surfs from the middle of the Spectrum floor back to the stage.

Considering the guy is a 60-year-old AARP cover boy, the mere sight of this takes your breath away. The entire time, I am thinking, "Just don't drop him. Then, Philly will be the city that ended Springsteen's touring career. First Santa Claus...now...this..."

It's been more than thirty years since Springsteen became a household name by landing on the cover of Time and Newsweek. And last night, it was that defining moment that provided the dramatic centerpiece to an evening rife with emotion and supercharged by the memories that Springsteen made with many of these same audience members over the last three decades.

Before Springsteen performed "Born To Run" from start to finish, he told the audience, "This is a record that introduced a lot of us to each other. And it holds a special place in my heart."

With a slight tease, Springsteen raised a harmonica to his mouth and sounded out the opening notes of "Thunder Road", with all the conviction of a man who still who still walks around in the same destroyed Chuck Taylors of the twenty-something who wrote that song. It was epic and spine-chilling. The band ripped into the song trying to recapture the very feeling that gave birth to one of the most realized visions of sad-eyed Romanticism ever written.

It was a singular moment that Springsteen would put behind him with the release of "Darkness On The Edge Of Town", three years later. That album provided a glimpse into the soul of a man who begins to feel the pressure associated with achieving some measure of your dreams. If "Born To Run" is about a young man yearning to break free, "Darkness On The Edge Of Town" is the sound of that same man, about an hour outside of town...with no gas and no money.

Mission-sort-of-accompished?

Well, Springsteen has spent the better part of his storied career trying to reconcile all the moments before, after and in-between. But, last night was all about the grandeur of the moments that lead up to the realization that "something has to change".

"Tenth Avenue Freezeout" was given extra heft thanks to Clarence Clemons' saxophone and the guest performer Curt Ramm, whose trumpet gave "Meeting Across The River" the feel of a mini rock-opera.

As "Jungleland" called out the sweeping climax of "Born To Run", you could almost imagine the room where Springsteen first wrote about the giant Exxon sign that "brings this fair city light". My friend turned to me and said, "He must have performed that song hundreds of times and you can still feel the passion...(in his delivery)."

Springsteen lightened the mood with "Waitin' on a Sunny Day," before pounding his way through The Music Explosion's "Little Bit O'Soul". It wasn't perfection - but, it sure felt good. From there, Springsteen actually took signs from the crowd that had songs names on them and performed "The Fever" to the rapture of many fans who remember the song as an unreleased album-rock radio hit from 1974.

One of the show's more explosive moments came when Nils Lofgren hammered out a blazing guitar-solo on the Springsteen/Patti Smith collaboration "Because the Night". Because the set was front-loaded with the "Born To Run" material, "Bobby Jean" and "Rosalita" felt a bit anti-climactic.

But, you can hardly complain after spending three hours with Bruce Springsteen. The man gives you your money's worth and then some.

Next week, Bruce Springsteen & The E Street Band will perform "Born to Run" again on Monday and "Born in the U.S.A." the following night.

Pearl Jam - Backspacer

It's hard to believe that we first met this band in 1991-92.

Back then, our heroes were just another band from Seattle, out to make great rock music and have a good time doing it. For most of the band's career, even its most loyal fans have been looking for Pearl Jam to somehow recapture that spunky, live feel of "Ten" and "Vs." The band's musical direction has meandered at times, but it has always managed to hold fast to the sense of purpose that guided it through an infamous battle with Ticketmaster in the late 90's.

Even then, the band manged to seem like it was having a good time.

Most of the criticism of the band has been focused on the lack of urgency and passion on albums like "No Code" and the forgettable "Riot Act". At times, the band seemed to lose its edge.

Well, weep no more...

Backspacer is Pearl Jam's ninth studio album and the high-powered bookend to their eponymous 2006 release. Clocking in at 37 minutes, the band comes out swinging and reclaims its boyish, punky roots. The first three songs "Gonna See My Friend", "Got Some" and "The Fixer" seek to reclaim the ground the band surrendered after their frenzied ode to vinyl "Spin The Black Circle" on 1994's "Vitalogy".

The songs are catchy and the momentum is real.

Having Brendan O'Brien back in the control booth for the first time since 1998 has clearly helped the band's focus. The brilliant guitar attack of Mike McCready and Stone Gossard is in overdrive, grinding out healthy chunks of classic-rock and punk-inspired riffs that constantly propel the band forward. As always, Eddie Vedder is a house-of-fire, and his voice remains the beating-heart in the middle of all the joyous noise.

That's right...joyous.

There is a prevailing sense of optimism that guides "Backspacer". The band feels loose and frisky for the first time in a long time. Even the "yeah, yeah, yeah" chorus in the "The Fixer" conjures the image of a smile on Vedder's face. In fact, the song seems to pick up where the innocent vulnerability of "Wishlist" left off on "Yield". "If something's old, I wanna put a bit of shine on it," sounds like it comes from the same emotional place that harbors the sentiment, "I wish I was a messenger, and all the news was good". Vedder continues, "When something's gone, I wanna fight to get it back again", and I hear, "I wish I was the verb 'to trust', and never let you down."

Vedder also reprises the rustic charm he served up for the "Into the Wild" soundtrack with rugged ballads like "Just Breathe". There is also a lovely homage to the Beach Boys in "Speed of Sound" with its gentle castanets and soft organ drifting just below the melody. Even the barroom lament of "Speed Of Sound" ends by looking forward to the fresh start a new tomorrow will bring. Incidentally, both songs are arguably the most mature ballads the band has ever produced.

For the first time in a long time, Pearl Jam sounds like they are in a genuinely good mood. "Backspacer" is the sound of a band reclaiming the bounce in its step, after years of dragging its boots. For their fans, this renewed sense of optimism is long overdue. Vedder and his bandmates have crafted an album that is full of confident, mature rock songs. "Backspacer" summons the joy and energy of Pearl Jam's early releases without retreading old glories.

Onward and upward, boys.

The iPod - 8/7/09

That's right. It has been months and months since you've had your share.
So, without further delay, the iPod drops the truth.

The Script - The Man Who Can't Be Moved
I am pretty sure these guys are opening for Paul McCartney, at the moment. They remind me of One Republic. It's well-written pop-music. This tune will sink into your brain and swim around for days.

Muse - Uprising
There are many people in the states who don't really follow Muse. Most of the musicians I know are die-hard fans of this band. My guess is that if you picked up one of their CDs, you might become one of them. This is the new single from their forthcoming CD, "The Resistance".

Diane Birch - Nothing But A Miracle.
Amy Winehouse is not the only woman who can sing retro-soul confidently. Birch's voice, and the production around it, are warm and confident. This song sounds like something that you might have heard on the radio in the 70's. If promoted properly, she could be the breakout-artist of the fall. She has the goods.

Arctic Monkeys - Crying Lightning
At first, I didn't really like this song. But, I stuck with it and it really grew on me. I also caught them performing it on Late Night with Jimmy Fallon. The song is a strange, rambling freakout about a guy, a girl and the mindgames she likes to play with him. For their next CD, "Humbug", the Monkeys recorded a few tracks with Josh Homme at his Joshua Tree studio. Bob Ford also lent his hand to the production in Brooklyn, NY. "Humbug" will be released on 8/24.

Kings Of Leon - Notion
Could this be the next single from "Only By The Night"? Will this band come back to Philly before the end of the year? I hope so. Because, I am not traveling to see them. Either way, this is a really catchy rock tune.

Placebo - Running Up That Hill
I heard the cover of this Kate Bush tune being used in the trailer for "Daybreakers". It's a movie about a world populated by vampires, living politely in society, who are running out of their food source. So, they must race to find a cure for their vampirism or suffer a fate worse than extinction. The movie stars Ethan Hawke and Willem Dafoe. You can see the trailer below.*

U2 - No Line On The Horizon (2)
This alternate version is included in the iTunes deluxe edition of their latest album. If you want to hear it, you have to download the entire album. Of course, that is a total rip-off. So, I got my copy the sneaky-sneak.
Shhhhhhhhh......
But, hey...if you want a copy of it, let me know. This version is punchier and has a more immediate, "live" feel.

Radiohead - Harry Patch (In Memory Of)
This is basically Thom Yorke's voice over some really beautifully arranged strings. Harry Patch was buried on August 6th. He was the last survivor of the bloody Passchendaele assault. For 80 years, he refused to talk about his war experiences. In 1998, he agreed to talk with the BBC because he realized he was one of the last known links to the first world war. The final line comes from an interview given by a frail Patch to the Today program in 2005: "The next world war will be chemical, but they will never learn." Take note: All proceeds from the track will be donated to the Royal British Legion. So, if you don't want to participate...bypass.

The Postal Service - We Will Become Silhouettes
"Give Up" is one of those albums I come back to, over and over. I love Ben Gibbard's (Death Cab For Cutie) voice. The songs on this album have a really playful, retro charm about them. Think an indie version of Pet Shop Boys or New Order.

Paul McCartney - Great Day
Judd Apatow slipped this into one of the opening scenes of "Funny People". This tune is the last song on the woefully-underrated, criminally-overlooked album "Flaming Pie". Released in 1997, the album features guest performers like Jeff Lynne, Ringo Starr and Steve Miller. It's a largely acoustic set of songs. And, oh yeah...it's also one of his best albums since the mid 70's.

Alright, that's ten tunes for you. I could have done more, of course.
But, what would be left for next time?

Have a great weekend!

*http://www.apple.com/trailers/lions_gate/daybreakers/

Random Spills 8/4/09

So, its time again.

I am here to dump out some of the things that have been on mind recently. In a few days, I am going to try and assemble my thoughts about this idea of "Merit Based Pay" for teachers. I can tell you straight off that it is total bullshit. If you know a teacher, ask them. Anyone with half a brain knows that teachers in poor cities would be practically homeless if this becomes a reality. I'll get that post together, soon enough.

So, let's begin....


Happy Birthday, Mr. President. Barack Obama is 48 today. I hope he has a good one.

With that out of the way, let's dish it out....

Why have I been sucked into a culture that believes Lady Gaga is talented? I am not buying this idea that somehow she sucks so bad that she's sorta awesome. People are trying to pawn her off as this generation's Liza Minelli. When you think about it, that almost works. Gay people love them both...and they are both overrated and bombastic. Lady Gaga blows and she looks like some Bride of Frankenstein...crossed with...Dee Snider gone horribly wrong.



If you think she is hot, you need to get out more often. Or, you could just turn on your television. There are at least five women with cooking shows on television that are way hotter.

Recently, a man was caught on video tape robbing apartments wearing no clothing. The guy was totally naked when he was filmed stealing a laptop, girls underwear and some other clothing. It probably isn't a stretch to say that this guy is really fucking dangerous. The police in Abington Township want to catch this guy ASAP. It is obvious they are getting what one article called "the Buffalo Bill" (Silence of the Lambs) vibe because of the nature of his crimes.*



You laughed at that last story. Now, reconsider it. Seriously, catch this guy. If I see someone that basically acts like Buffalo Bill rolling around outside an apartment building, I am gonna shit my pants. Since I can't afford a new car...I'll be sending the Abington police the bill to clean my seats and dry-clean my clothes.*


I recently had a conversation about "American Idol" with someone and we agreed to disagree. I realize that there are two kinds of people in this world: People who get that show and people who don't. Besides, we have turned into a society that just wants to see pretty people doing mediocre things. Kelly Clarkson was wildly popular when she was thin.



Now, she stills moves records...just not as many. But, her appeal is limited because she is no longer considered "hot".



For me, this invalidates the standards the show claims to set for the performers. Talent should be the only thing that matters. But, we all know differently. It's all about tattoos, mohawks and ripped abs. Until true talent is recognized and nurtured, that show might be giving people what they want...but, it is perpetuating the dangers of all style and no substance. Leave that shit to politics. That is where we have come to expect it. Let's see some real musicians actually make it, for a change.

Today is "Megan Fox Media Blackout Day". Claiming she is overexposed, The Megan Fox media blackout is being undertaken by 12 websites at the moment. Included in the Megan Fox media blackout are Asylum.com, Ask Men, Just a Guy Thing, and Double Viking, which all specialize in male-oriented fare. Most of the web-sites have been quoted as saying that they still love Megan Fox, but that there is still the chance of having too much of a good thing. Apparently Megan Fox has been on the covers of way too many magazines recently as well, gracing the cover of Esquire, Entertainment Weekly, Maxim, Empire, GQ and Elle in this year alone. She was also seen all over the place promoting her new film, Transformers: Revenge of the Fallen.



It's odd...but, isn't this just keeping her in the media? I mean, all that is missing in their coverage is a picture. Why not just declare today "Megan Fox Day"? Her publicist must have jumped out of bed laughing. Even I was dumb enough to get taken in by this shit.

Damn....damn....stupid me.

But, she is overexposed. I know she is hot. But, who cares? She has no real talent that I can see. I am tired of hot girls getting attention just for being hot. Besides, the bar for hot has come way down in the last few years. Paris Hilton is not hot, even if that is the only word she knows how to say clearly. And, when everyone has seen your cooter getting in and out of cars - and watched you blow a dude through night-vision...it just goes sour. If what is hidden beneath your underwear was considered a stock, it would be trading pretty low, for some girls. Oversupply and low demand.

Now, go forth and have a nice day.

* My thanks to Lisa for sending this one from Florida.

Purple Rain - The 25th Anniversary

25 years ago, a sexed-up guitar-wizard road his purple motorcycle out of the midwest and began his journey on a path that would take him to the Rock And Roll Hall of Fame.

If it sounds unlikely, it probably would be...for most people.
But, Prince is not like most people.

Purple Rain will be remembered for many things.

The soundtrack to the film produced four Top 40 hits. To this day, it is considered a pop-rock masterpiece. The movie itself, released on July, 27, 1984, stands as a testament to Prince's steely determination. It was the ultimate gamble. Prince plays The Kid, a struggling musician who battles with his alcoholic father, slaps his girlfriend, and imposes his musical-will on his bandmates. However, the movie isn't just the folly of a musician who decided he needed a vanity-project. Purple Rain is a $7 million dollar spectacle that could have destroyed Prince's ascendant career.

Prince rarely talks. And, when he does...he doesn't talk to me, especially about Purple Rain. But, after many years, it might be safe to say that Purple Rain is about as close as we'll get to the truth.

The idea of doing a movie was always bubbling. Prince carried a notebook with him, and he would write down different scenarios that he felt would work in a movie. So, when it came time for Prince to re-up with his management team (Bob Cavallo & Steve Fargnoli), Prince responded that he would only resign, "...if he gets a major motion picture. It has to be with a studio - not with some drug-dealer or jeweler financing. And his name has to be above the title. Then he'd resign with us", remembers Cavallo. At that point, Prince wasn't a star. To put it bluntly, the demand was ballsy.

So, Cavallo began pitching the idea to potential investors like David Geffen and Richard Pryor. Once financing for the film was secured, the story began to take shape. The impetus for the film began on the "Triple Threat" tour. During that time, The Revolution and The Time "...had an epic food fight that went from a show to the hotel and back to the bus to the airport and never stopped for about three days", remembers Prince's drummer, Bobby Z. Although this did not make it into the movie, it is considered the event that spurred the whole Time-versus-Revolution myth.

"To me, it is one of the best albums of its time. Musically, it has some great songwriting and arrangements. One example is When Doves Cry. It is a simple, but strong melody with simple instrumentation. No bass at all. He was very different to other artists releasing songs at the time. And Purple Rain itself is a song I never get tired listening to."*****

"I can’t believe it has been 25 years." *****

Once financing was secured, writing a script became the next obstacle. How could Prince be introduced to the world in a film that captured an audience's attention without making the movie look like a vanity project?

If you can believe it, the idea for the opening of the film (directed by Albert Magnoli - a recent USC grad with only a docudrama to his credit) was taken from the last scene of The Godfather. Magnoli's idea was that, "Prince will be performing, but we'll introduce all the characters as we cut back and forth between Prince getting ready to go for the gig."

The day I saw the film, I remember my friend Randy and I purchased two tickets to "The Neverending Story" and snuck into the theater that was showing Purple Rain - because it had an "R" rating. The opening of the film was hypnotic. I remember watching Prince on that screen thinking, "Man, this is what I want to do with my life." He was amazing.

"On a humorous note, I went to the theatre to see the movie when it was released. When Prince first appears on the screen, two thirds of the audience (all girls, I am sure) stood up, screaming like at a concert, and starting taking flash photos of him on the screen! And did it a couple more times into the movie. I couldn’t stop laughing."****

"The music is what mattered. As I think back to how Prince managed to deal with personal issues and air out his own dirty laundry regarding life, love, and family, and yet put it in a pop format that is easily digestible by the masses, it reminds me of what Eminem has done with rap. The rest of the field is regurgitating the same weak rhymes about bitches and such, and Eminem comes along giving himself therapy about problems with his mom and his girlfriend, and finding a way to keep it palatable."*

Movie-goers/record-buyers agreed.

In its opening weekend, the movie grossed about $7 million dollars. At the time, this was good money. Because of this, Warner Brothers added the movie to 1,000 more screens in its second week. It went on to make $68 million dollars as it became the ninth-highest grossing film of 1984. But, the real triumph was the soundtrack album. "Purple Rain" topped the charts in September on the strength of "Let's Go Crazy" and remained at Number 1 for 24 weeks. Since its release, the album has gone on to sell 20 million copies worldwide.

"Purple Rain was the first album I ever owned, that I couldn't listen to with my parents. Even now it exudes a sexiness that doesn't seem tame by today's standards."**

Another musician (who asked me to keep his name out of this) told me, "I am one of the few people who have actually performed the album front to back with (the band he played with). We did it in the 80's when it was released and it is a brilliant piece of music to play or listen to..."***

I concur.

"Purple Rain" marked a pivotal moment in Prince's career and served notice that a major talent was no longer going to settle for being a "rising star". Prince had arrived like a comet crashing into a planet. The only thing that stood in Prince's way was the phenomenal success of Michael Jackson. Music fans who didn't need their entertainment sugary-sweet made the choice clear.

"For me, Thriller didn't have near the impact of Purple Rain, on any level. They were both great albums, with a alot of great pop singles. But, for me, Thriller begins and ends with pop. They are fun tunes with great beats, but lyrically empty. Even "Human Nature", when I sit down and read the lyrics, is a yawner. It can't hold a candle to "When Doves Cry".*

Purple Rain was everything Thriller was, from a pop standpoint, but lyrically deeper on so many levels. Plus, we're talking about a guy who wrote all his own lyrics AND all his own music AND was perfectly capable of sitting down and playing all the music on each and every instrument."*

"Purple Rain is a classic, musically and lyrically. There's still the times in my life when the album has what I need, and listening to it beginning to end gets me where I wanna go. Classic."*

So, spare yourself an hour and crank up this classic. If you are feeling really adventurous, invite some friends over and watch the movie. It is, admittedly, pretty cheesy. "The film was great, at the time, but I don't think the depths the music reached in me personally had anything to do with the film. It was a fun summer flick, filled with much coolness, from Prince's bike to everything Morris Day said to the eye-crossing hotness of Apollonia. But, beyond that, it was just a fun flick, not noteworthy or a classic in any way."*

It's true.

The movie doesn't really hold up, in many ways. But, the live-performance sequences are absolutely amazing. In those moments, Prince became a superstar and took his friends with him. The intense nature of his performances jumped from the screen and achieved a visceral quality I don't think I've seen since. The music, however, was never an issue. "Purple Rain" is a breakthrough moment in Prince's career and helped him transcend the R&B market. In a matter of months he was an amazing crossover success. Even today, "Purple Rain" can turn the speakers of my car inside-out and take me back to 1984. It is one of the few albums I can listen to from start to finish without losing my attention.

Twenty-five years on, "Purple Rain" stands the test of time and all the musical trends that have followed it. It's an absolute landmark album that helped define a generation for anyone who claims to love music.

Rediscover it.

(Many thanks to the contributors)
*Randy
**Spencer
***Name withheld
****Chris

Some info for this piece is taken from Brian Raftery's piece in Spin Magazine 246 - June 2009.

An Album You Should Own - 7/17/09

The Stone Roses - The Stone Roses

The Stone Roses were the first shot fired in the British Indie-rock movement that swept the U.K. in the late 80's and early 90's. Their eponymous debut became an English sensation, inspiring bands like Inspiral Carpets, Happy Mondays, the Charlatans U.K. - and later, Oasis.

To this day, I can put the album on and listen to it from start to finish without it sounding dated. It never loses my attention and it makes me wish I could rock it like Ian Brown and John Squire. Their music was a curious blend of neo-psychedelia that was still heady enough to pave the way for the future of British rock.



If they could have held it together, they would have been one of the biggest bands in the world. Their second album, "Second Coming", never achieved the popularity or success of their first. But, their legend was already solidified.

The intoxicating blend of catchy guitar hooks and churning rhythms (the section of Reni and Mani) struck the perfect blend for the burgeoning rave culture that some say their music inspired. Around them, a scene exploded.

Unfortunately, so did the band.

Talk of a reunion and subsequent tours have persisted for years. If they do come back, I will be there. I am sure I won't be alone, either.

After all, the second coming of The Stone Roses is "what the world is waiting for".



Further listening: "Second Coming"

(I chose to include these two clips from The Stone Roses' legendary appearance at Blackpool. Many people consider the show one of the greatest moments in the history of British rock.)

Michael Jackson - A Capella*

I just wanted to offer a few last posts about Michael Jackson. I chose these two videos (actually sound files) to illustrate the power of his voice. These are just vocal tracks that feature Jackson (around ten years old) with no musical accompaniment.

The power and control he had over his own voice at such an early age is truly amazing. The emotion is so pure, too. It's amazing to think that a pre-teen child could have so much feeling for this material.

My friend James offered these thoughts:

"The amazing thing is that these are the original vocal tracks that he did on the first take. He has perfect pitch…perfect tonality…amazing. You can't sing like this at his age without having an off the chart I.Q."

Check out this version of "Got To Be There".
His voice literally soars.



In this version of "Never Can Say Goodbye", you can hear the raw emotion behind every note. Remember, this is a young boy somewhere in the neighborhood of ten years old.



After listening to these files, I was thoroughly convinced that we may never see/hear another entertainer like him...ever.

*Some musical dictionaries indicate the Italian a cappella is preferred over the Latin a capella (one "p") yet both are technically correct.

http://www.singers.com/a-cappella.html

Wilco - Wilco (The Album)

There is a darkness that hovers over the songs on Wilco's seventh studio album. Beneath the earnest simplicity, the band seems ready to face the mirror. The title of the album tips its hand to the confessional nature of the proceedings.

One of the things that a band like Wilco learned is that you can't even please all of your fans all of the time. There were people who moaned about the experimental nature of "Yankee Hotel Foxtrot" and "A Ghost Is Born". There were fans who pined for the alt-country of "Being There". Then, you have the fans who think "Sky Blue Sky" was too straight-forward. So, for "Wilco (The Album)", Jeff Tweedy and company decided to produce the album themselves, with the help of engineer Jim Scott. Borrowing heavily from their own sonic palette, the songs came together very quickly after Wilco returned from Auckland, New Zealand where they participated in the Oxfam International benefit project.

"Wilco (The Song)" opens the album with a clatter as Tweedy whispers, "Do you dabble in depression? Is someone twisting a knife in your back? Wilco will love you, baby." For the next forty-two minutes, Wilco showers their people with the love by wearing their influences on their sleeves. The album has the feel of a band channeling their new music through their own record collection. You can hear Big Star, George Harrison, Motown and Talking Heads lovingly sprinkled throughout the beautiful hum of songs like "You Never Know" and "Sunny Feeling".

But, don't be fooled. All of this clarity feels like the moments when the hangover wears off, at times. "Bull Black Nova" is littered with images of violence and blood. "It's in my hair/It's on my clothes," sings Tweedy with all the dread of a man who wakes up in a hotel room next to a body. Finally, he realizes, "This can't be undone".

Feist shows up long enough to add sexual tension to the mix as her voice tangles with Tweedy's for the lovely "You and I". On "One Wing" Tweedy moans, "One wing will never ever fly, dear. Neither yours nor mine. I feel, we can only wave goodbye." Its a sobering realization and a stark reminder of how Tweedy can make heartbreak sound so beautiful. Even the gentle 60's flourish of "Deeper Down" sounds haunted and ominous as studio noise churns and hisses under Tweedy's measured and distressed delivery.

There are those that will tell you that this Wilco album is not as good as some of their earlier efforts. That would be a shame since Tweedy and his partners (the same men as the last album - a first for this band) have crafted a nuanced and haunting album that sounds like the sun going down on a beautiful summer day.

Finally, the album rounds out with "Everlasting Everything". It's a beautiful meditation on mortality and the endurance of love. Tweedy sings, "Everything alive must die. Every building built to the sky, will fall. Don't try to tell me my everlasting love is a lie." The sentiment and the song are breathtaking. But, no matter how beautiful the noise, "Wilco (The Album)" is full of clatter and an unflappable ease. Even when the songs break your heart, Wilco gives you a shoulder to cry on.

After all...Wilco loves you, baby.

Michael Jackson - 1958-2009

I can remember getting up at the crack of dawn to watch The Jackson 5 Cartoon Show, when I was very young. If I didn't see it, the day just didn't start right.

It was like missing breakfast.
You just started the day sour.



I loved their music.
I still love it, actually.

Michael Jackson seemed to embody the kind of wonder that is meant for dreams. Seeing him moonwalk across the stage on the Motown 25 Live special wasn't just a musical happening - it was an awakening. I can't imagine that it was any less important than Elvis Presley gyrating across the screen in black & white. For my generation, it had all the gusto of The Beatles on Ed Sullivan.

It was our moment.

This wasn't just a star appearing for the first time...it was a supernova.
It was like waking up in the morning and seeing a second sun in the sky.

In that moment, he claimed us.
Then, we claimed him.

So, instead of remembering the moment of his death, like so many of us do, I will instead recall one evening when I was in 7th grade.

It was a school night. I stayed up late to watch Motown's 25th Anniversary special. It was late and I was fading. Then, Michael Jackson appeared to perform "Billie Jean".

Watch the video.
I'll wait.



His performance was so breathtaking, you could almost hear the collective gasps of my classmates in the night sky. If we had cellphones, we would have been texting/calling each other. I am sure of it. Instead, we rushed into school the next morning and talked about it before classes started. Then, we broke our ankles for the next few weeks trying to moonwalk.

For the next ten years, Michael Jackson owned pop music. He was the world's biggest star. And, let's face it, he deserved it.

In a previous post on this blog, I tagged "Off The Wall" "as an album you should own"*. It's an amazing album that never disappoints me. It was Jackson's breakthrough as a solo artist and it is the purest expression of his talent. It was the moment when Jackson finally eclipsed the fame he achieved with his brothers. In fact, "She's Out Of My Life" was originally written for Frank Sinatra and he passed on it. Because Quincy Jones was working with Sinatra and Jackson, he decided to bring the song to Jackson. Jackson recorded the song and made it his own. Jones later commented that the emotional weight of Jackson's performance was what made him so special. It takes a special kind of performer to give that kind of reading to a song he didn't even write.

Then, there was "Thriller".

I don't know a single person who didn't own this album.
In fact, I have it in every format.

I bought it on vinyl and cassette.
Later, I grabbed the CD.

It seemed like MTV was created for Michael Jackson. When the network debuted, the videos were boring and one-dimensional.

Then, Michael Jackson appeared.

His videos were events. They were cinematic in their scope and Jackson was like a movie-star. On the strength of those videos, and almost every song on the album being released as a hit single, "Thriller" became the biggest selling album of all-time.

Billie Jean
Wanna Be Startin' Somethin'
The Girl Is Mine
Beat It
Thriller (it's amazing video)
Human Nature
P.Y.T.

Damn.

In recent years, Jackson's name has been tarnished by allegations of child molestation. Because of this, and the bizarre changes in his appearance, Jackson became the punchline of too many jokes. I have frequently said to the young people I teach, "When I was your age, this was not the Michael Jackson I knew. The stars you follow now (Chris Brown, Usher, etc.) wouldn't have been able to shine Michael Jackson's shoes. He was all of these guys rolled into one...a thousand fold."

In fact, I often say to people, "If I told you in 1982 that Michael Jackson was going to be accused of molesting children, his face was going to be marred by unsuccessful plastic surgery, and he was going to become the bizarre, reclusive punchline of late-night talk-show host's jokes", you wouldn't have believed me.

I can't even believe it and I watched it happen.

I followed his career until he fell out of favor. Then, he seemed to disappear from the public eye.

Ironically, Jackson was planning a comeback and had 50 sold-out shows booked at London's O2 Arena, this summer. This was to be his legacy. One last explosion...and then, back into the ether.

The other day, it dawned on me that Michael Jackson may not have ever been truly happy in his adult life. It seemed his entire life was consumed by his eccentricities and the drive to outdo himself and his past success. Now, his life is a cautionary tale of the dangers of excess and the trappings of stardom. He rose to fame in an age of information. It almost seemed like the paparazzi was invented to follow people like Jackson. Because of this, the public had more access to celebrities like him. As the press chased him, Jackson retreated into the prison fame built for him. This resulted in Jackson becoming the first real casualty of the digital age. Michael Jackson became the first real example of a celebrity losing his basic right to privacy.

Now, sensationalism is more important to people than an artist's achievements. If anyone cared to do it, they could trace this trend back to the paparazzi's hounding of Michael Jackson.

In the days that have passed, my friends and I have all remarked that Jackson's death is like our parents' generation losing Elvis.

Why?

Because, Jackson was the musical icon of our generation.

In the past few years, its been harder and harder to watch Jackson turn into the frail and bizarre looking man he has become. When I would see him on television, I would miss the guy I remember as a kid. In fact, when Jackson passed, I called a childhood friend of mine and we talked about the night was saw Jackson and his brothers on the Victory Tour at J.F.K. Stadium - in the prime of his life.

He was so bad-ass.

I miss that guy.

But, his contributions to the world of entertainment are going to be around for future generations to appreciate. When I am old, I will be able to tell my grandchildren I remember seeing the finest entertainer of my generation.

If Michael Jackson didn't exist, we would have had to invent him.

He was that good.

*http://fortyninepercenter.blogspot.com/2008/11/album-you-should-own-112108.html

Jeff Goldblum....reconsidered

I share a birthday with Jeff Goldblum.

Maybe, this is the reason I can make sense of this guy when he appears on talk-shows and begins acting like a more jovial version of Christopher Walken.

I love Jeff Goldlbum in spite of myself. When he talks, I can barely follow his train of thought. He appeared on Jimmy Fallon to talk about his latest role on Law & Order: Criminal Intent. So, Fallon starts talking to him about the Jeff Goldblum game (which is a loose approximation of the "Six Degrees of Kevin Bacon Game"), and Goldblum smiles at him - his lips almost always appear as if they are about to drool - and he says, "Yes, yes....I like games of all kinds", and he gets a huge laugh from the audience. Goldblum scans the crowd to make sure they are laughing with him...and everyone continues laughing. Then, it hits you...Goldblum is laughing at all of us.

Appearing on "The Colbert Report", Goldblum demands that Barack Obama apologize for the brutal murder of a fly. Goldblum went on to interview the fly's widow and paid loving homage to a life that only lasted hours. All the while, Goldlbum has a hard time keeping a straight face.*

Again, I am laughing.

I think my affection for the guy has to do with the fact that this guy gets away with this behavior and I don't. Goldblum is the guy I want to be, I think.

Oddball?

No.
Hilarious.

He's even funnier when he is trying to be serious.

A native of Pittsburgh (and eighteen years my senior...to the day), Jeff Goldblum is on Law & Order: Criminal Intent, every other Sunday.

Seriously...I want more Goldblum, not less.

I gotta fever...and that's the only prescription.

*http://www.colbertnation.com/the-colbert-report-videos/231216/june-18-2009/murder-in-the-white-house---jeff-goldblum

(video of Goldblum's appearance)

Sonic Youth - The Eternal

It's fitting that after almost thirty years, Sonic Youth are marking a literal return to indie-rock with their latest release "The Eternal". Their intentions are clear from the start, too. About twenty-seven seconds into "Sacred Trickster", Thurston Moore and Lee Renaldo let their dogs off the leash and Kim Gordon sneers, "Press up against the amp/Turn up the treble!" This is the kind of blistering, psychedelic-punk guitar workout that has become Sonic Youth's hallmark. Clearly, time has done nothing to mellow the trigger finger on Sonic Youth's heavy-artillery guitar attack.

"The Eternal" is a stark reminder that despite their tag as alternative/art-rockers, Sonic Youth can be louder than a construction site when the mood strikes them. With the addition of former Pavement bassist Mark Ibold, the band decided to change their songwriting approach. Instead of writing songs as an entire song cycle, the songs on "The Eternal" were written in quick bursts and recorded in a flurry of sessions.

"The Eternal" is self-referential enough that fans of every period in Sonic Youth's storied career will be more than satisfied. In fact, this is the heaviest Sonic Youth has sounded since 1987's "Sister". It's also notable that the band's debut set for indie-label Matador give a nod to the band's earlier days with SST. The most striking difference here is that the songs are tighter than usual. But, the band still hasn't lost the ability to stretch things out with muscle and confidence. In fact, "The Eternal" sounds very informed by the band's recent "Daydream Nation" shows.

Sonic Youth has always been built around the idea of fierce independence. Because of this, the band makes music that answers to no one. You can almost imagine that many A&R guys have thrown up their hands after repeating to the band, "I don't hear a single, guys". One also gets the feeling that a single was never really a big concern for Sonic Youth. For that reason, "The Eternal" reaffirms Sonic Youth's promise that their music will remain exciting, challenging and consistently satisfying.

Dead Weather - Horehound

Jack White suddenly realized that his voice had been pushed to the breaking point. In the last decade, he has released an album every year for the last eight years. There were six White Stripes records and two albums by The Raconteurs. He had also been in three movies and recorded a James Bond theme with Alicia Keys.

So, he invited The Kills' Alison Mosshart on stage to pull some vocal duties for The Raconteurs in his place. It turned out to be a stroke of genius. Mosshart's voice echoes White's to the point of being flat-out eerie. Assuming the drummer's chair, White isn't flashy behind the kit. But, the fury of his playing is like listening to a man who has been rendered mute trying to express himself through sound. Having said this, the music crackles and explodes with a tension on loan from some of the best film noir. Horehound is a sleazy, creeping blues ride that has White, Mosshart, Jack Lawrence and Dean Fertita riding straight out of the grave and breaking their whips on the horse's ass.

"60 Feet Tall" opens the album with minimalist bent-string blues and echoing rim shots as Mosshart intones, "You're so cold and dangerous, I can't leave you be". As the band lurches in, Mosshart invokes the spirit of PJ Harvey as she spits her lyrics at the microphone, making each syllable stick to your skin. Similarly, "Hang You From The Heavens" is a churning neo-garage wailer that has Mosshart's voice erupting as a bundle of hiss, cooing the molten promise, "I like to grab you by the hair, and drag you to the devil".

Lust?

Sure, if that is what you want to call it. But, at the end of this love scene, someone is either dead or waking up...chained to a chair...in a room with no windows.

"Treat Me Like Your Mother" is a warped Oedipal love-note that is spot-welded to a synthesizer riff dancing its way over a Zeppelin-esque shuffle. The affair gets even darker on "Bone House" when Mosshart admits "I put your heart in a vault, that's how I get what I want."

One of the more electrifying moments on Horehound is the duet between Mosshart and White on "Rocking Horse". The guitars shimmer as Mosshart and White moan and scream their way through lyrics like, "I wrote a nasty letter and I sent it to the Lord. I said, 'Don't you dare come and bother me no more." It's a sentiment that calls to mind some of the masters of the blues. Its the sound of two people who realize that no matter how far they run, the evil they have perpetrated will only catch up to them. Mosshart and White play their parts at the top of their lungs.

The album succeeds on many levels because the spirit of the proceedings is so "right-on". It's an album that sounds haunted, but never campy. The songs are dangerous, dark and achieve a certain masterful stroke of storytelling. It makes you hope that there will be a second album by Dead Weather.

Then you find yourself wondering, "What will Jack White do next?"
Is there anything he can't do?

But you will hit replay on Horehound quite a few times before an answer comes to you.

(This album is set for release on July 14, 2009)

An Album You Should Own - 3/27/09

Pink Floyd - The Piper at the Gates of Dawn

"Dark Side Of The Moon"
"The Wall"

They are legendary titles.

However, few people dip far enough back in the Floyd discography to consider the amazing work they did on their very first album. Released in 1967, "The Piper at the Gate of Dawn" is considered one of the finest psychedelic albums ever released - if not the best.

It is also the finest hour of the Floyd's work with the enigmatic Syd Barrett.

The album is full of memorable, melodic acid-tinged songs that stand as a stark contrast to the longer, more experimental freakouts. This album is the beginning of what many people began to call "space rock". It is also one of the earliest examples of rock music using space travel as a metaphor for hallucinogenic drug use.

"The Piper at the Gates of Dawn" is not an easy listen. The songs are a curious mix of bright sounding melodies set against dissonant soundscapes and random noises that seem to suggest chaos and disorder. When you listen, you can almost feel the highs and lows of drug experimentation. There is the soaring pleasure of trance-like states of mind - where all things are possible and beautiful. But, there is always the danger of the acid-induced meltdowns, mental disorder and lunacy.

Eventually, Barrett became a victim of his own excesses. Too many experiences with LSD left him a broken shell of a man who could barely perform or function. Sadly, Syd Barrett's career with Pink Floyd would end with the band just deciding not to pick him up on their way to a gig, one day. However, the band remained fiercely loyal to Barrett. They made sure he was well taken care of until the day he died.

Roger Waters and the rest of Pink Floyd had many differences in their storied years together. They have loved and, more often, hated each other since their break up. But, they put aside their differences to make sure that Barrett never missed a royalty check for the rest of his life.

And, when they spoke of Barrett, they always did so with reverence. In fact, the image of Barrett is carefully woven through the band's work as a mythic, lost figure. The album "Wish You Were Here" is a soaring outburst of grief and longing for him. The band was never able to shake the specter of Barrett and the influence he had on their work was immeasurable.

"The Piper at the Gates of Dawn" is Syd Barrett's finest work with Pink Floyd and it is an album you should own.

Further listening: "Meddle", "Wish You Were Here", "Dark Side Of The Moon", "The Wall"

Chris Cornell - Scream

I tried.

I really did, Chris.

The ill-fated collaboration between Chris Cornell and Timbaland is finally in stores. A few weeks ago, Main Street Music passed me a copy to review. As a fan of Cornell, I was eager to hear the album and give it a fair shot. I realize that it wasn't going to be a Soundgarden, Audioslave or traditional Cornell solo-effort. I knew this was going to be something totally different.

I was willing to give Cornell the benefit of the doubt. After all, I had downloaded a few of the songs from iTunes and I liked a few of them very much.

Now, when I first I heard Cornell was collaborating with Timbaland, I thought, "Well, if Timbaland can help Cornell take his traditional rock howl and give his some songs some shape, direction...we might have something." After all, Timbaland is a great producer and an honest-to-god hit-making machine. If he could have helped Cornell find the hook in his songs, he might have been able to bring out the best in Cornell - whose career was at a crossroads after a luke-warm reception to "Carry On".

See, that is what would have worked best.

For this to work, Cornell needed to convince his core audience that he didn't trade substance for style. If Timbaland came to the sessions and said to Cornell, "You have some good songs. We won't change your style or sound. Instead, I am going to make these songs 'pop'." Timbaland should have focused on surrounding Cornell's voice with the familiar and thrown the audience some curveballs to keep them on their toes.

This might have been an interesting, fresh approach.

Instead, you get Timbaland making Cornell into something he isn't. What's worse is, the listener is left asking himself, "What was Cornell thinking?" Even worse, "Was Cornell thinking at all?" I don't believe that Cornell has to do what is expected of him. But, this is more than just a radical departure. It just doesn't work, on many levels.

Hearing Cornell's herculean voice plod its way through synthesizers and sequencers takes most of the soul out of the songs. Cornell's voice begins to sound like a very insignificant part of each song. When his voice does cut through, the songs are just weak. The album begins to sound like the piped-in music that puts dance beats to rock songs at a health club.

There are certain moments where the production is stripped back enough that Cornell's voice helps to strike a more soulful balance. Songs like "Long Gone", Ground Zero", and the title track "Scream" achieve a certain emotional gravity that the rest of the album just doesn't muster. Even the appearance of Justin Timberlake on "Take Me Alive" doesn't take the song over the top. Instead, it just plods along and repeats the chorus after Cornell warbles something about...well, not being taken alive.

Interestingly enough, the cover of the album features Cornell smashing a guitar as a symbolic gesture. One would assume that he traded it for Timbaland's synthesizers. Well, you might want to patch that guitar back up again, Chris. You are going to need it to win back the legions of fans that jumped ship on you.

It's not that the musical direction you've chosen is a problem. Hell, I like anything as long as it moves me. And, there it is. That is the problem with this album in a nutshell. It's just that the songs do not sustain any momentum - and it doesn't matter who produced the album. Change is only effective if the finished product is a winner. In this case, change hurts worse because "Scream" just isn't very good.

Having said that, I am still a fan of Cornell's and I look forward to seeing where he goes from here. I wouldn't even mind if he worked with Timbaland again. But, "Scream" can't decide what it wants to be. Is it the album of a rock-singer changing his sound? Or, is it a dance/pop album that features a great rock singer? In the quest to make it a little of both, the album fails to achieve any momentum that would make it compelling to the listener.

Bruce Springsteen To Appear On The Daily Show with Jon Stewart

Bruce Springsteen will be a guest on Comedy Central's "The Daily Show with Jon Stewart", this Thursday, March 19th.

This should be interesting, to say the least.
I am hoping it doesn't go the way the Jim Cramer interview went.

Sheesh...

The Dead Weather

Jack White strikes like lightning.

It seems he has a new band aside from The White Stripes and The Raconteurs.

This time, its a band called The Dead Weather.

And, surprise...this time White is playing...drums?

The band debuted in Nashville at the downtown offices of Third Man Records.

The new band takes White from the front of the stage back behind the drum kit, while the Kills’ Alison Mosshart mostly handles singing duties. The two are joined by White’s fellow Raconteur Jack Lawrence on bass and former touring Raconteur/Queen of the Stone Age Dean Fertita on guitar.

White's new venture into the music production business promises to be very prolific.

White added, "The point is: There’s a new institution, there’s a studio, there’s a vinyl record label, there’s a pressing plant a few blocks away… Things can happen very quickly. Music will be in your hands quickly. And that’s the whole point of it.”

The Dead Weather's first album, "Horehound", will be released in June.

You can check out their new single "Hang You From The Heavens" exclusively on iTunes.

An Album You Should Own - 2/27/09

U2 - Achtung Baby

At the beginning of "The Joshua Tree", an organ slowly mounts a clarion call that woke a generation and inspired millions. With the words, "I wanna run", U2 had sounded the cry from what sounded like the great wide-open as the desert sun burned warm on their skin.

At the opening of "Achtung Baby", percussion rattles and the drums stammer and convulse. All the while, the guitar lashes out from the darkness. Larry Mullen, Jr. trades his signature military tap for a distorted industrial "thwack". Bono has never been more emotionally laid bare as he is on this album. The Edge's guitar pulses and stabs, while Adam Clayton's bass flutters and undulates underneath the music like a menacing tide. It was a clear signal to all concerned that U2 traded in their love of American music for something darker, postmodern and more European.

The band had crossed into the 90's sounding more vibrant and alive than they did when they broke through in the 80's. After the colossal success of "The Joshua Tree", U2 had positioned themselves as the most popular band in the world. They were so far out in front of everyone else, you didn't even think about second place.

There was U2...and everyone else.

"Achtung Baby" came on the heels of a period of intense reinvention. It also marked a period that almost caused its members to part company. Recorded at Hansa Studios in Germany, all accounts have the band struggling through tumultuous artistic and personal differences before agreeing to return to Dublin to finish the album.

From that period of struggle, U2 crafted an album of thundering dance beats and mammoth guitar lines that set loose the constraints of conventional song structure and allowed U2 the freedom to expose a palpable sense of emotional imbalance and tortured love. Because of this, U2 took leave of their political message and chose, instead, to deal with the personal-trials that accompany love, lust and betrayal. Unlike previous efforts, "Achtung Baby" abandoned production that made U2's songs sound as if they were recorded under endless skies of bright sun. Instead, the songs found on "Achtung Baby" capture the stale feeling of a self-imposed claustrophobia. The people that inhabit these songs walk through a neon-lit netherworld devoid of romance and idealism. These are replaced with desperate loneliness and feverish longing.

There are many highlights on this album, but the one that sticks out is "Until The End Of The World." The song could be about the most famous of betrayals - Judas Iscariot and Jesus Christ. Or, it could be about the break-up of The Edge's marrige. Either way, the lyrics are simple, personal and devastating. When Bono moans, "In the garden, I was playing the tart. I kissed your lips and broke your heart", the betrayal is crushing. When the song closes, the line "You...you said you'd wait until the end of the world", is washed away by the sound of the band exploding in full-force. Other songs are overloaded with sexual imagery that is equal parts disturbing and disquieting. "Love Is Blindness" ends the album with an emotional surrender as Bono whispers, "Take the money....honey....blindness."

At the core of "Achtung Baby" is the anthemic and powerful "One". Rumor has it that the song was the first one the band nurtured to completion during the recording sessions. The simplistic nature of the song allows it to be the album's quietest moment. It is also the the most powerful and direct song on the album. "We are one, but we're not the same", declares Bono. In an album full of songs about love, this is perhaps the most ambitious as the band sets about the task of writing a song dealing with the complexities of man's inability to reconcile the things that divide us from our fellow man. Love is the the only true law and U2 contends that it is imperative to our survival that we surrender to it unconditionally.

This album succeeds because the narrative of the songs and the story arc they create mesh seamlessly. The album also marks a transition that saw the band go from young men who were sure they could solve the world's problems to men who seemed doubtful and uneasy about solving their own personal issues.

"Achtung Baby" is one of the few albums I have ever heard that reveals something new about itself with each spin.

It is arguably U2's finest hour and it is definitely an album you should own.

U2 will release "No Line On The Horizon" on March 3, 2009.
They will also make television history by appearing on The Late Show With David Letterman from Monday 3/2/09 thru Friday 3/6/09.

Further listening: "Boy", "War", "The Unforgettable Fire", "The Joshua Tree", "All That You Can't Leave Behind", "How To Dismantle An Atomic Bomb"