It tolls for thee, eventually.
It tolls for thee, eventually.
They were showing Shine A Light in the park tonight on one of those big blow up screens, and, it turned out to be a fantastic sound system. Nothing better in the middle of a heatwave to see the Stones outside in somewhat cooler air.
I thought I’d seen the movie before but I was wrong. The nexus of Stones and Scorcese had someone how slipped past me.
Here’s the review. If you like the Stones, you will like this show. The songs are arranged a little differently, but the rearrangements are astute and advantage all the supporting players, so the front guys can play their rote parts, hit their marks with passion, and even if the ravages of age a little apparent, make us forget that this is 50 years later. It’s a great performance.
In the middle of the show Mick hands off to Keith for You’ve Got The Silver, which is a terrific tune that advantages Keith’s game but less than full voice. And then, surprisingly, the show move on to Connection, one of the oldest songs they played, one of my favorites from Between the Buttons. This is a pop hit that has a more insidious pop hook than the overt grabbers of Satisfaction or Get Off My Cloud or Paint It Black, and was never released as a single, so was never a hit.
But it lives on. Scorcese obviously understands the limits of a non-pop historical song from an audience perspective and uses that to glide into Keith interviews when he was young and when he was old. Good stuff, all, but it diverts our attention away from the performance, which is remarkably winning in spite of its limitations.
I particularly like that dynamic, so I wanted more of the performance, but what I can share is this Italian version of the song and intercuts. I hope it suffices. By that I mean, I think this is fun.
Note first, Bill Wyman wrote this.
He’s a rock critic, not the Rolling Stones bassist. But does that matter?
I immediately check out the end and find Good Morning in last place. Geez. I like that tune, not in a rock sense, but in a music and attitude sense, it’s pretty powerful. So, I disagree.
And then it gets worse and better and worse, and there’s not reason to think about the ranking. This is an internet click bait thing, Wyman is a pretty decent critic, and does a good job of navigating through the ranks.
Which are totally wrong. Discuss.
How I was reminded about the Cure.
I was out shopping in a thrift store with my daughter, who was looking for a prom dress, when this came on. It sounds really good out in the wild.
Clearly this strokes the same strings that the Only Ones do. Nothing wrong with that!
The career arcs of bands are not always controlled by the players. Or they spin out beyond local expectations.
The Cure became an international pop sensation, and in many ways deservedly so. I have no idea if that is what they aspired to, but they got it.
But all we ever listened to were their first two elpees, which are wonderfully clear and direct and poetic. Not unpopular, but pure art in a way.
If you’re at all studious about life in our modern world, you should read Albert Camus’s The Stranger, and listen to this song by the Cure. Obviously not the whole story, but a bit of perspective.
Part of the brilliance is you don’t need to know the book to love this song, and wonder about it.
This shows what Hank and the Hammerheads are doing, sort of. Two drum kits. A cheesey organ. The vocals here are more traditional hard core, but the band can percolate, and it is excellent fun watching the audience sift itself.
I’m halfway through this elpee on YouTube, listening at top volume while editing the biographical info of quarterbacks for the Fantasy Football Guide. Blame Hank and Co. for any errors.
There aren’t many modern punk bands that grab me, but this is clangorous driving rock n roll, a little garage-y, with some fun song ideas a la the first and second wave of bands with ugly album covers. These guys have that, too. But they don’t sound derivative so much as inspired to make their own noise. So they do!
I think this is their first album. The second one is called Stay Home, or it could be the other way around.
I’ve quoted Bob Lefsetz’s newsletter before. He’s a former music industry guy who, in his later years writes about a range of topics in an energetic and provocative way. Provocative mostly because he states his opinions directly. You can read and subscribe to his stuff here. In a post this week he wrote a history of the Allman Brothers and Gregg, and his first personal encounter with Gregg. I quote:
My favorite cut on the “I’m No Angel” album, there’s a moment, after the break, when Gregg Allman reaches down deep and at the top of his lungs screams…ANYTHING GOES! It’s at 3:20in the song if you wanna check it out, and it’s moments like these that are personal, that keep you going, putting one foot in front of the other, so when we were hanging out before the show…
Yes, I ain’t got no money, but I’m rich on personality, and that has allowed me to meet all my heroes, get e-mail from them, it thrills me, and about an hour before they took the stage at the Greek I was introduced to Gregg and I had to ask him, about that emotive explosion.
Now you’ve got to understand, they’re not like you and me.
First and foremost, he was wearing his boots, the original American rockers never got over the Beatles. And he’s towering above me, and he leans down to my ear, his long hair almost falling on my shoulder, and he starts whispering, telling a story, sotto voce, like we’re the only two people in the universe, like he’s gonna reveal a deep dark secret.
“I can’t hit that note every night. But there are certain evenings, when I’m sitting on the piano bench, and I reach over to hit a note and my left nut gets caught under my leg and I yell ANYTHING GOES!”
I swear to god, just like that, that’s about an exact quote.
And he backs off, stands straight, but gives me a poker face, and I’m not sure if he’s making fun of me, pulling my leg, putting me down, or initiating me into the ways of the road, making me an honorary insider, but one thing’s for sure, he was still COOL!
I don’t know. You be the judge. I remember this album, and it seemed Gregg modernized and wrapped in frou frou. Not terrible, his was a great voice, but this was not music from our roots.
But if Gregg explained this moment to Bob this way, it’s very swell, no matter if it is actually true. A fine ad lib. Check it out:
He’s been sick a while, and I suspect everyone who watched him in his 30s, is surprised he almost made 70. Still, it’s very sad. He left us this, along with a lot of other great music made with an amazing collection of musicians.