Obviously, there was a lot of fun to be had years ago (and it still holds up today!) with this early Descendents’ gem. It occurred to me this week that in perhaps the song’s most celebrated lyric, “Do you want Bill’s sperm with that?” that sperm would be produced by none other than Gene’s now friend and musical compadre, drummer Bill Stevenson.
This is something you should investigate further, Gene.
. . .cover one of my favorite Queens songs.
This is way more funny than good to me.
This can only be described as fantastically great.
Husker Du drummer Grant Hart died of cancer today at age 56. Zen Arcade was in my top 50 album list and the Huskers were true pioneers of the melodic dissonance sound copied a billion times over since their heydey in the 80’s. I was fortunate enough to see them live at some dump in Philly in their prime.
Of course, Husker Du is not in the Rock Hall. We need the space for rapper Tupac and seventh-rate copy punkers Green Day.
I know this is a song written by Grant and sung by him too. Adios, amigo.
My girlfriend’s taking me to see Seu Jorge 9/30 in Philly. Like everyone else on the planet, I was turned on to Seu Jorge via Life Aquatic.
I think a dog could bark Life On Mars and it would be beautiful, but this moves me. I think I like Jorge singing Bowie even better than I like Ferry singing Dylan (and that says a lot).
I’ve had a week with the new Queens of the Stone Age album Villians and it is truly a monster. It is the best album of 2017. There’s hardly a reason for anyone to release anything else. It should win every award.
Dense, lush, intense. Lots of melodies and harmonies and multi-layered interplay between guitars and bass and vocals and keys and synths (not a bad thing). Soaring and singing, melodic dissonance.
All the songs are good. Most are great. Most are long. This is an album to be taken seriously, to be consumed in its entirety. Over and over again.
Gene presented The Pillows a few weeks ago and asked, “if not this band, then who?” I will say, for me, it’s the Queens. They are leaps and bounds ahead of any other new music being made today. They would stand their ground in any era. Josh Homme is a musical genius.
This is my favorite song, for now at least. It’s a good sample of what makes the Queens so special, although most other songs on the album aren’t far behind. Pay particular attention to when the main riff sneaks back in (via synth), after the stoopid punk rock part kicks in.
Thank goodness there’s something that rises above the cesspool that is today’s music.
1) This is my favorite Buck Owens.
2) Kick-ass fuzz guitar.
3) Kick-ass harpsichord.
4) Kick-ass three-quarter time.
5) The singer from Workin’ Class (best country cover band in Chicago when I worked for STATS, Inc. in the 1990s) and I used to discuss whether this was just Buck’s nice way of saying, “who’s gonna kiss your ass?” What do you think?
6) There’s a really lame live Hee Haw version on youtube with an accompanying awful video which is the perfect example of the buffoonery Buck Owens was subject to in the 1960s. There’s also a pretty good cover version by the Derailers with an accompanying pretty cool video, but it’s not as good as the original, which I give you now:
There’s some band opening for them in Sweden on October 12th called The Hellacopters.
Remember Sheer Mag? They’re a more-than-just-punk band from Philly who have lots of folks excited. Up until now, they’ve only put out vinyl or download EPs. Since I’m the only CD man left on earth, I have nothing and am very much looking forward to getting their first full album (on CD, of course) this month. (Also new Queens this month and new Ruby The Hatchet this month – musical life is good.)
But here’s the “Editorial Review” from Amazon. Can you get further than two sentences in before quitting? Give me a break:
Vinyl LP pressing. A tear in the firmament. Beyond the noxious haze of our national nightmare – as structures of social justice and global progress topple in our midst – there lies a faint but undeniable glow in the distance. What is it? Like so many before us we are drawn to the beacon. But only by the bootstraps of our indignation do we go so boldly into the dark to find it. And so Sheer Mag has let the sparks fly since their outset, with an axe to grind against all that clouds the way. A caustic war cry, seething in solidarity with all those who suffer the brunt of ignorance and injustice in an imbalanced system. Both brazen and discrete, loud yet precise, familiar but never quite like this, Sheer Mag crept up from Philadelphia cloaked in bold insignia to channel our social and political moment with grit and groove. Cautious but full of purpose. What is it? By making a music both painfully urgent and spiritually timeworn, Sheer Mag speaks to a modern pain: to a people who too feel their flame on the verge of being extinguished, yet choose to burn a bit brighter in spite of that threat. With their debut LP, the cloak has been lifted. It is time to reclaim what has been taken from us. Here the band rolls up their sleeves, takes to the streets, and demands recompense for a tradition of inequity that’s poisoned our world. However, it is in our ability to love-our primal human right to give and receive love -that the damage of such toxicity is newly explored. Love is a choice we make. We ought not obscure, neglect, or deny that choice. Through the tumult and the pain, the camaraderie and the cause, the band continues to burn a path into that great beyond. But where are we headed? On Need To Feel Your Love, they make their first full-length declaration of light seen just beyond our darkness. Spoken plainly, without shame: it is love.
I’ll be keeping an eye on these youngsters. Seems like kids fake playing to a Zep tune you’ve never heard, but it’s not.