...cringing both for, and with, the band...

...years ago, I sniffed with derisive pleasure, both at known and "unknown" bands I felt weren't worthy of attention, until a good friend of mine, let's call him "Gordie", clued me in to a few things...
...first, and foremost, that if a band, ANY band, can get a record deal, and tour for several months, they must have at least some talent, even if their style isn't particularly to one's liking. Now, having been in bands for years, I tend to agree. Rock N' Roll's a Hard Life, as the song goes, and its true. I give full credit to those who willingly endure poverty, humiliation, and frustration to make a go of it, at least. Personally, I will never give up my day job, and that's why I clap for the band--any band. Gordie also reminded me what fortitude (natural or otherwise) it takes to get up onstage, not to mention do it for ten, twelve nights in a row--perhaps to the bar staff only, or groups of smug hipsters (guilty!) who do nothing but cross their arms and sneer into their ironic brand beer. It's a wonder why there aren't more stories about bands (perhaps like the one pictured above) who suddenly snap and "go postal" on an unsuspecting audience, before heading for the promoter...
..which is why I *always* pay cover. I put the "always" in stars because I don't believe in absolutes. Naturally, if I were ever offered free tickets to see a band I was interested in, I would *never* say no, but normally, I pony up at the door. In my experience, many times a group of local bands seem to have trouble getting the idea across that there is a cover, regardless of how small. Also, some bars are indeed regular haunts for people who have no real interest in paying for music, let alone listening to it. Mostly, they are left alone, for health and safety reasons. More than once I have been "waved in" at these places, but consider it a point of pride to pay cover--after all, buying, repairing, and hauling gear is not cheap, and neither is recording and pressing CDs, or printing T-Shirts for that matter. All told, I supposes I have a certain sympathy, having shared many of unfortunate experiences...
...which is why I sometimes feel an emphatic tug at my heartstrings when I see a band having problems on stage, in particular, fellow guitarists. A broken string, I can feel in my bones--even worse, when a screw comes out of a strap lock unexpectedly, and the neck crashes to the ground. Just typing that made me feel edgy. A shorting-out amplifier is also a no-win situation, making me wish that I carried one around for just such occasions. I like to be helpful when possible..Less tangible, but no less humiliating is an entire audience booing you, and calling for your removal from stage because the simply don't like you (on a mismatched bill--four thrash metal bands and a synth duo), or they want to get you "over with" so the headliner can come on. Again, it takes cojones to stand it front of that...and then to possibly be greeted with the classic "We were going to pay you, but you broke something of the club's on stage that happens to be of the exact same value..so, we're even", and then maybe a warm OV, before loading your gear into a decomposing van that has been stolen/ towed away..
..but, we still do it...grind on, fellow minstrels, grind on...I feel for you, and with you, brothers and sisters...and once again, thanks to Gordie for opening my mind and ears...who am I to be critical...?

...(figurative) skeletons in closet...

...just clearing that up before I receive any nasty visits.

In my younger years, any mention of a band/ artist that was not currently "cool" would be met with gales of laughter, reverberating thigh slaps, and general humiliation. After all "young" people take music seriously in their quest for identity, and especially so if you are an awkward high school student with the unholy trinity--glasses, braces, and acne..but no beard..

..which brings me to these two gentlemen on the right, known professionally as "Steely Dan". I don't know the ins and outs of their careers, nor do I own all of their recordings. However, I have listened to and enjoyed them for years. Normally, their brand of "jazz/ soul/ rock" would not appeal to me, but I believe they have/ had the most inventive take on the easy listening genre. Their records sound good--nice mixes with lots of extra percussion, and creative arrangements. I like the main singer's voice also. Quite odd when you think one of his contemporaries is Michael McDonald of the dubious Doobie Brothers! Additionally, I like all of the hits "Rikki Don't Lose That Number", "Hey Nineteen", etc. Usually, I look for the more esoteric releases of a band, but with The Steely Dan, the greatest hits are good enough. I say "The", due to the fact I have won over many a music snob with my knowledge of where the band got the name--look it up (actually, they should call themselves Steely Dan Mark II, as Mark I was destroyed by a bull dyke in the Upper Efendi..)..but, I digress...

..Nostalgia plays an important part in why I have chosen Becken and Fagen's "combo" As a child of the seventies, Steely Dan's smooth FM sounds kept me company on long car rides, and at night during vacations up North, where the air is clear, and reception is brilliant. Perhaps it's some sort of connection to an earlier, more innocent time in my life when everything was new and..erm......

I won't get THAT laid back. Now, slightly more mature, and less giving a cobblers about what people think of me, I proudly state the merits of Steely Dan--who knows, they may even become "hip", but I strongly doubt it...

...stay tuned for more skeletons ( as in, music I used to keep hidden if friends came around)...

...from the top...

...a quick recap of what's been covered so far (test next Tuesday, all True/ False)

1. I still think XTC are the bee's knees. Lots of hidden early gems on rarities compilations like "Rag N' Bone Buffet", "Explode Together--Dub Experiments", and even on Mr. Partridge's newer efforts, such as Moonstrance...

2. I'm still standing still...the picture to the right is a document of a rare sight--I'm moving! Thanks to Mister Steve Truesdell, who installed an electrified tin sheet beneath the stage, ala Hammy Hamster, in order for this to happen--a great photographer also, even made me look "cool" by blurring...

3. Haven't really had time to look at any old Rock School videos. Perhaps I'm just old, but all of the "School of Rock" and Gene Vincent's "Rock School" clips seem to get in the way, and I get cranky easily...

4. Wilko Johnson is still aces in my books. Upon further investigation, he claims that he got his sound/ style from 50's/ 60's rocker Johnny Kidd, of Johnny Kidd and the Pirates--needs looking into...

5. The last few issues of MOJO have come and gone, and, in all honesty, I don't remember what was in them. The Cds that come with the magazine have also been unremarkable, at least to me...

6. As I type this, it dawns upon me, with a familiar shiver, that we (The Responsibles) are playing next Friday night. The gig is not listed on the club's website, or anywhere else. The poster we made does not appear on any telephone pole near you. Additionally, we are to wait for further developments. Ah well, it's a gig at a cool club, with a regular clientele (very important, a built-in audience) and the promoter is a busy fellow...nobody's perfect...nothing worth making a satirical video over, anyway...perhaps in a couple of weeks there will be a "review" of sorts...

7. The summer has unofficially begun, and so far, no outdoor/ festival gigs--but, in this world, there are no such things as absolutes, and as I mentioned, it all comes down to a democratic vote...

8. Last week was somewhat of a Greg Ginn/ Black Flag overload--my ears hurt, and I cannot do one more push-up or "feel the burn"...Henry Rollins, I have let you down...

9. Does anybody read this blog...? Just asking, that's all. Perhaps it's my fault for not publicizing its existence enough...maybe I should be "spicier", and if so, which condiment...?

...neat-o guitarists number 2...Greg Ginn...

...not only punk rock, but annoying on a much deeper, sub-sonic level-- Would be my rock-writer assessment of the 'legend' that is Greg Ginn. Naturally, he is most associated with Black Flag, being the only constant from start to finish. A casual glance at his homepage will reveal that in fact, he still plays, records, and designs electronics. Admittedly, I have not been a keen follower of his post-Flag work, except for GONE, perhaps. Nowadays, he has kept up the jam-rock style of playing that characterized the later days of Black Flag (good Lord! I am sounding like a hack writer). Regardless, as a young punk-rocker and aspiring band member , Greg Ginn was inspiring in many ways, which will prove to be near impossible to put down in type...

...as someone who cannot play guitar solos, Mr. Ginn is an inspiration and prime example. Reading his Wikipedia page, there is discussion about "free form jazz" and "atonal phrasing"...what..? To me, it sounds like he doesn't know where he is, which is a good thing. I enjoy the off-putting effect that his playing has, especially all of the off/ missed notes. In my opinion, a good/ inventive guitarist can carry a band. Whenever Black Flag added a second guitarist, it was superfluous, as Ginn could carry rhythm and lead, much like Wilko Johnson (see neat-o guitarists #1). I find his playing to be very atmospheric--just now, I am listening to the classic live album "Who's Got the 10 and 1/2?"--'Slip It in' is a beautiful example of dynamics and pure feel--slimy and groovy, with that hook note grounding the ear-shattering lead line....blah blah blah...actually, it's more of the sound Ginn has..a sound that smells...

...unlike other punk rock guitarists, Greg Ginn does not rely solely on high end treble and distortion..his guitar is "wide open" (ha ha!)...everything, from bass to mids to treble is mixed together, in a lovely mess. I have tried to copy this myself, with limited success. I like to be able to hear everything coming from the guitar, especially in a live setting. Speaking of this, Greg Ginn's equipment consisted of a guitar and amp--nothing else--in fact, he often used a PA head, and turned everything up "to eleven"--completely naturally distortion which no amp, pedal, or sound man can recreate--weird harmonic overtones, etc. Other than that, he really beat the guitar (it would short out from 'fluids'-resulting in the installation of waterproof circuitry). As with Wilko Johnson, I really admire guitarists who use a very percussive technique when playing--again, something I have tried to copy, not to be cool, just for the sound---hopefully someone else notices!

...speaking about being noticed, Greg Ginn, when 'appearing' on stage, kind of stands there...focused on playing ( see "still standing still")...or, according to Henry Rollins, high as a kite...in the picture accompanying this post, he even looks a little like me, gawky and a little geeky...which, along with his playing, made him the perfect foil for Henry Rollins. As much as I like Henry Rollins, I think that Greg Ginn is the only player who complements Rollins' voice adequately. Perhaps in the years after Black Flag broke up, Rollins has been looking for another Greg Ginn, and vice-versa, but the former has refuted any rumours of a reunion ( at least with him). Black Flag did go on tour, with several former guitarists, but that ended in a few fainting spells and hospital visits, and besides, I wasn't interested...

...all I want for Xmas is a reunion....and an opening slot...and some beer tickets...