...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...

...go play outside...

...ahh, in the words of The Undertones, "Here Comes The Summer". As I type, it's after 8:30 pm, and the temperature is still over 30 degrees Celsius. All around the world, bands are preparing to load gear into clubs, set up, sound check (if there is time, and a sound person), and rawk out..more power to them, I say. However, anyone who has been in a band(s) for a while, will know/ think that being offered an afternoon "festival gig" is a sign of both acceptance and talent. Of course, there are loads of folk/ blues festivals, and large (US Festival, Rock in Rio) events that do not fit into this particular category--I am speaking on an entirely more municipal level--the country fair, "Arts" festival, Craft show, The Yam weekend, etc...

...Hopefully, I will never play one again, mostly because I dislike playing outdoors during the day. These two factors, above all else, make my forehead wrinkle. When I think of "playing" I think of a hot sweaty club at night, and nothing more. In my limited experience, this is what I have encountered/ learned in and about the great outdoors...

1. No Pay. Offers of "honorariums" have come and gone, and even a few beer tickets. Otherwise, nothing. The slips of paper I have heard discussed most are parking vouchers...
2. Exposure? In lieu of pay, I would certainly take this, but when directions to get to the panelling on milk carton stage you are playing on include "It's just next to the port-a-potties", don't expect a crowd to come thronging to hear your set.
3. A mixed audience. remember, this is OUTDOORS, in PUBLIC--everyone is allowed. Be on your best behaviour, there are children there! This can be a good thing, what with the state of all-ages gigs these days (very hard to come by, I find), and a chance for parents to see their offspring on stage without having to worry about someone throwing up on them.
4. Speaking of this, I learned the hard way not to eat anything, nor drink too much overpriced, under-rationed tyranno-beer that is a sponsor of whatever 'fest' one is playing. Naturally, with the hot sun beating down, there are bound to be food handling nightmares. If possible, I try to find a place somewhere nearby...
5. From a specifically Canadian viewpoint, there is a reason these outdoor concerts are held on the first of the month...those who know, know...
6. In reference to to the previous point, if you like people-watching, you will be in the right place--like Dante's Inferno with Cotton candy and removable tattoos...yahoo!
7. Outdoor sound is very unpredictable, as is the weather. It can be a clear, sun-dappled day, but a sudden thunderstorm can have one cowering under a tent, trying not to touch anything electrical. On this note, try to get the sound person's attention---he (most likely) is trying to chat up the girl from the frozen yogurt concession. The only time a sound man approached me during a gig, I was flattered...he held in his hand a piece of paper, which he handed to me when we finished a song. I thought it was some important memo related to our music, but instead, it was a notice for a missing child. The rest of the band were waiting for me to start the next song, when I went to the microphone to make my important, but very un-rock n' roll announcement...I had to explain later that I couldn't just NOT read the description, and risk looking like a cruel bastard in front of worried parents...
8. Beware of performers whose job it is to entertain the crowd in between bands. We once had a "performance artist" and "storyteller" who freaked out/ alienated anyone who may have been interested in listening to us...

...these may seem like complaints, but they're not. There will probably come a time when The Responsibles will be asked to play outdoors again, and I may be voted down (were are somewhat of a democracy). Please come to see us. We will be playing by the bogs at the same time the headliner takes the stage.

...stop me if you've seen this one before...

...here's a screen shot from Youtube of a video that has been making the rounds of my musician friends. Wayne of The Responsibles recommended it to me, and I watched it about five times in a row. I had to play it several times because I was laughing, and missed several lines...all classics. For those of you in bands, this is simply a catalogue of the ills of working with a paid 'promoter', not just someone who puts on gigs once and a while because they want to. A comment on the video pretty much encapsulates my thoughts..."..I've had this happen to me, but not all at once..". "Will we get paid?" "No, you will not be paid", and the 'band stacking'---"there are now eight bands on the bill, and the price has been raised to eight pounds"...on and on. I'm not going to even attempt to transcribe the entire thing, you can watch it for yourself, but some of the lines reminded me of other times...

.."all you will be offered is warm Carling"..ha ha..more than once, I have been asked how many were in the band, "Five", only to be handed four drink tickets that are not good for shots, mixed drinks, imported beers, anything on tap, or, in fact, anything the club serves at all. Only valid with the year old case of OV stored in the beer fridge that doesn't work properly. Or perhaps a jug of 'draft' that has a distinct greenish tint, either from St. Patrick's Day three months previous, or the 'slops' from the beer taps that are never cleaned, and would probably go to fish batter anyway...

"Will you be at the gig?"..usually promoters stay, but not always until the end...weigh-in time. A sleepy bartender will tell you to come back next weekend to the club (several hour's drive) to pick up your forty dollars (you don't know this amount, of course..)...

"I will not reply to your telephone calls, emails, etc"...hee hee.."but in several weeks I will ask you to play another gig, and pretend that we have never worked together.."...again, true, on some occasions. Like those caterpillars that turn to dust when squashed, many a promoter seems to be "physically ill" at the thought of dealing with a band, and depart into the vapour before your band leaves the stage, and, who can blame them...

...there is a 'response' video, called "Band vs Promoter (the real story)", which shows the flip side, and is equally as funny. Briefly, the band will show up late, lacking the required gear, act like divas, and moan about..erm..drink tickets as if they were doses of insulin...a friend of mine who works with a union in big arenas say the common term for "artists" is "fish". As in, they come in, flop around for a while, and then stink up the place...

...I have yet to try the website that these videos were made on, where "if you can type, you can make a movie", but there may be some other "match ups" that may be amusing..
"Musician vs Drunken Patron--the Skynrd Wars"
"Musician vs Drunken Muso--I should be up there, not you man! I've got NINE GUITARS!"
"Drunken Musician vs Sober Promoter--where's our 1. drink tickets 2. money 3. Avocado Dip?"

...all in all, Rock n' Roll's a hard life. If i were to tabulate all of the money that I am owed, it would probably be in the thousands, but hey, who's counting...? If I were in this for the money, I'd be in a boy band...

...I'd be the grumpy, stooped one that doesn't move...


NOTE:..of course, there ARE good promoters, and *ahem* Responsible musicians...

...strictly middle-shelf...

...magazines, that is. More specifically, music magazines. For casual reading, nothing for me beats a magazine. I probably spend too much money on them, but what the heck....

...I graduated from comic books to Guitar magazines years ago--big mistake. Not that publications like Guitar Player, etc aren't good or anything, they just never appealed to me. I'm not a gear head, and I find that's what most of the guitarists interviewed talk about. Let's face it, unless you have very wealthy, uber-supportive parents, you probably will never own an effects rack, super-tube combo stack amplifiers, top of the line , special reissue, custom, whatever it is you play at fifteen years old...at least I didn't. And reading articles about how other guitarists "shred" at this impressionable age didn't help me either. Plus, I really tried to get the "tabs" down, honest! It just seemed kind of shallow all by myself...a slow sinking feeling, that you will neither own, nor play as your guitar heroes do...

...on the other hand, I do enjoy reading about music--to an extent--biographies can be good, but not always. Borrow a friend's is my suggestion. But, this is about magazines. My favourite for the past ten years or so has been MOJO (check it out on the 'web'). Although it does tend to be kind of "old farty" at times (they had a real Beatles run for a while which almost turned me off completely), they seem to strike a good balance between past and present. Good reviews, snappy interviews, interesting features, etc. A good read, and well worth the 13-15 dollars it will cost you. Did I mention the free CD with every issue? Hit and miss, but mostly hit--good mixes based around a specific theme. Overall both the magazine and CD are good for when you want to think less, and you can drool over the gig listings in the back...

...recently, I picked up a few copies of NME, another British publication, this one weekly, since 1952! Years ago, I read a few issues, and found it completely unfamiliar, but this was before the information super highway. Back then, I didn't know ANY of the artists listed, as they were mostly up and coming. What a strange feeling...I felt like I had stepped out from a meditation retreat in a cave after 20 years! I have seen late 70's/ early '80s issues of NME as well--the writing is fantastic. I don't know much about "rock journalism"( an entirely different post!), but their staff at the time was very talented, and dynamic. They resisted the North American urge to intellectualize everything. Even the reviews were great-- "This is shit"--read one of them. It would be a good move, if the publishers have not already done so, to put the 'best ofs' for each year out in trade paperback...hmm....the new issues pass the bog-test, however...

..as for other music magazines, there are none that I read regularly. I used to read The Beat for all of my reggae needs, but it is now difficult to find (defunct?). Uncut from Britain also, has its moments, but generally, it is MOJO's poor cousin, with too much bad heavy metal. As far as North American publications, I avoid them. SPIN recently celebrated their 25th anniversary--oh, congratulations--the same goes for Rolling Stone, which seems these days to be more about politics. AP , from what I have seen, is well, crap. On the homegrown, Canadian side, erm...some of the weeklies are alright, if not a little insular...

...as an underlying theme of these posts, you can always check things out on the 'interweb' before you buy...

...oh, I forgot Creem, Punk, etc...good for their times, blew up/ folded before they got too silly. Haven't bought a copy of Maximumrocknroll in years, but I know it still exists--good on 'em. I have fond memories of picking up the newest two-month old issue at the Record Shoppe and getting my fingers inky with righteous angst...

...neat-o guitarists...

...this will be the first in a series of, erm.."neat-o" guitarists--not necessarily the ones who "shred" or who have "superior riffing abilities"--more of an examination of my appreciation--it's not always in fingers up and down a fretboard..well, actually it is...

...Number 1--Wilko Johnson--again, you can look him up on Wikipedia, find the acts he has been associated with, etc. It's his style that I find interesting. As he doesn't play with a pick (rumour has it he was tired of losing them--I can sympathize), he can play rhythm and lead, but more importantly, he actually hits/ attacks the strings, for some really neat percussive effects. Really choppy stuff, which is hard to transfer to writing..."..Ack Ack Ack Ack Ack A-Ack" is the best I can do. Good for funk, like his playing with Ian Dury and The Blockheads (Do It Yourself is the best example), and of course, the first four Dr. Feelgood albums, as well as the brilliantly live "Stupidity". Nothing terribly fancy, just a nice trebly sound, that actually compliments the drums, and fills in a lot of space, so that another guitarist is not needed (sorry to all of my present and former other guitarists)..

...Additionally, he looks, well...weird...in a kind of menacing way. In the early days of pub/ punk rock when people were either trying to emulate Jimmy Page poses, Wilko mostly stood there (see earlier post)..looking menacing. There is some video where he either stands stock-still and STARES as the audience, or walks around as if her were in a jail cell, pacing. Dressed all in black, with an admittedly crude haircut..

..he still tours with his own band, guests on albums, and joins reunions with the remainder of Dr. Feelgood at the Canvey Island Blues festival, among others...each month in the back of MOJO magazine, one can find Mr. Johnson playing somewhere....what a plugger....

..as I said, neat-o...

Rockschool rocks..!

...until about 1986, a TV programme, originally aired in the UK, was repackaged and presented by Herbie Hancock. It focused on different genres of pop music, and the techniques involved in playing different rock instruments, along with...ah, look it up on Wikipedia..

..also, the episodes are neatly (if not legally) packaged on Youtube, and other on-line video channels..

...I admit to finding this cheesy at the time, but did manage to learn a few things that I never could poring over a Mel Bay book with a hung over guitar teacher every week. As a beginner, I found that just noodling by myself was a waste of time..I never improved. To this day, if I don't practice with at least one other person, I don't bother at all. The show featured some interesting guests, and the hosts, unknown to me, were the top session players. The drummer had actually been in WINGS for quite a while (if you remember, he always recommended "Heavy sticks"), and the guitar instructor, Deirdre Cartwright was and still is an accomplished guitarist. As a guitarist, I picked up a few interesting tidbits, but only recently have I been going over the tapes, as they say. It's very good to see how they put things together as a band, simply, and effectively. Also of interest is the electronic music episodes--the brand new Yamaha DX-7!! Moogs, plug n' play synths, and dear old Deidre, with a Kee-tar!

...I'm still poking through them--the episodes, that is--there are some good tips for songwriting and arranging as well. Timely, in the fact that I can't write a full song, lyrics and all, to save my life...I'm sure the other fellows just let me have a song or two just to make it "fair"--please note every Police album, and the Andy Summers contributions, as an example...

...on a side not, speaking of The Police--check out the soundtrack, by Stewart Copeland, for the film "Rumble Fish"--effectively spooky...

..."Don't Box Me In"...