Take the Pop Music Quiz

Think you know your pop music? Want to learn a little music trivia? Enjoy cussing out your PC? Put your knowledge of pop to the test at popkwiz.com.

You can pick any specific decade, or just test your all-around knowledge. When I know you better I’ll tell you exactly how badly I did.

http://www.popkwiz.com/

Let me know how you did!

New Book Reveals John Lennon’s Bitterness Toward George Martin As Well as McCartney

New book The John Lennon Letters has some interesting revelations. Most surprising to me is that Lennon and George Martin disputed who deserved more “credit” for “Revolution 9”.

Read the article at Yahoo:

http://music.yahoo.com/blogs/stop-the-presses/john-lennon-letters-reveal-bitterness-toward-george-martin-192300104.html

Real Life Spinal Tap: Bands Reveal Their Most Tap-Like Moments

spinal tap

(Article reprinted from Guitar World. Orginally printed July 2005)

Ozzy Osbourne, Billy Gibbons, Angus Young and more share their most insane rock-and-roll stories ever!

OZZY OSBOURNE

After watching the “Stonehenge” scene in Spinal Tap, with the midgets, and seeing Alice Cooper incorporate a hanging act into his show, I thought, Why not fake the execution of a midget onstage? The one midget actor who could free himself for an eight-month tour turned out to be an alcoholic. He showed up late; he was drunk… It got to me after a while. So one night when he wanted to get on the tour bus, I threw him into the luggage compartment. Somebody grabbed me and said, “What you’re doing is not only illegal but inhumane!” I lost it. I yelled: “He’s my fuckin’ midget and I’ll fuckin’ do what I want with him!” There was a silence, and then a small voice emerged from the luggage compartment: “He’s right: I’m his midget and he can do what he wants with me.”

Black Sabbath guitarist Tony Iommi was a consummate practical joker, though not a very subtle one. One time, he shat in the dip sauce at some record company event. It was interesting standing there and watching the executives indulge.

In my wild years, my wife Sharon used to accompany me on tour to prevent me from committing adultery. Some nights, she waited up for me in our hotel room. One time, I was so drunk I’d forgotten all about her presence, and when a lovely Japanese girl chatted me up, I thought: Fuck me! Sex with a gorgeous Eastern girl is one of my big fantasies, so I’m not letting this one go! When we got into the hotel room, Sharon wasted no time: she decked the Japanese girl with one right hook. In the morning, I woke up alone in the bed, a bunch of Alcoholics Anonymous brochures beside me.

BILLY GIBBONS of ZZ Top

Somehow I got it in my head that it would be a good idea to get a huge stage set and “take Texas to the people.” We had a stage in the shape of the state of Texas, and a number of rattlesnakes, vultures and even a couple of buffalo onstage. It was authentic! It was disastrous. At first, everything went well: the rattlers behaved, the birds seemed to stand the noise and the buffalo grazed quietly—until one night one buffalo decided he’d had enough. He rammed two glass cages containing the snakes. Suddenly we had a dozen rattlers crawling around onstage. Our drummer suggested we play “something quiet, to soothe them”—a stupid idea, ’cause most snakes are deaf. We didn’t even attempt it. We just fled and left the roadies to minimize the damage.

ANGUS YOUNG of AC/DC

Many years ago, when Bon [Scott] was our singer, our manager had “a brilliant idea” to hire actors who would impersonate police officers and “arrest” us onstage. Unfortunately, this was carried out at a gig in Sydney [Australia], in front of hardcore AC/DC fans that started rioting as soon as “the police” came onstage. Minutes later, the real police force came in to control the riots. Unfortunately, we couldn’t distinguish the real cops from the fake ones. Bon thought he was hitting the fake cops, but he was messing with the real ones. One of the cops gave orders to his “colleagues,” who were, in reality, the actors! I just stood there laughing my head off, which the real cops didn’t appreciate. In short: total chaos ensued.

PETE TOWNSHEND of the Who

Our first drummer, Keith Moon, God rest his soul, was Spinal Tap incarnate. Most people know the story of how he drove his Rolls-Royce into a swimming pool. But on another occasion, Keith drove his car through the glass doors of a hotel and all the way up to the reception desk, got out and asked for the key to his room, all without blinking an eyelid. One time, on a plane, he poured the contents of a soup can into a paper bag, pretended to be sick in the bag and then to drink his own “vomit.” All of this in first class. The businessmen didn’t know what hit ’em.

RON WOOD of the Rolling Stones

I have fond memories of the night Mick Jagger and I went to see Marvin Gaye sing in New York. After the gig, we went to Marvin’s hotel suite, and Mick tried to impress him with his knowledge of soul music and the like. At least, that’s what Mick thought he was doing. After about an hour of this, our host said, “That’s great, but why don’t you tell that to Marvin? He’ll be here shortly.” Mick had been talking to Marvin’s brother, who wore the same kind of knitted wool cap Marvin wore.

Another fine moment was in the early Eighties. We were doing drugs in the dressing room when suddenly the tour manager stuck his head around the door and said, “The police are here!” Holy shit! We all panicked and threw our drugs in the toilet. And then Sting, Andy Summers and Stewart Copeland walked in.

TOMMY LEE of Mötley Crüe

Mötley Crüe got kicked out of several hotels for rowdy behavior. We usually deserved it, but there was one time I thought we were unjustifiably thrown out of a place. To get back at them, I put a turd on a room-service tray and placed it in a ventilator shaft, then turned the heat up. I imagine it took them a while before they’d discovered the source of that lingering smell.

KEITH RICHARDS of the Rolling Stones

When I recorded Talk Is Cheap [Richards’ 1988 solo debut], we shot a video in Los Angeles. The script called for a couple of tramps with dogs. The director felt a tramp should have a dog that was not only ugly or dirty but also weird or, at the very least, disfigured. His assistant suggested a lame dog. They called up some agency and the word came back: “We can get you a lame dog by noon. Which leg would you want missing?” These people were prepared to maim a dog for the sake of a fuckin’ video. I tell you, man, L.A. is one sick town.

 

spinal tap

Mumford & Sons “In a League With the Beatles”? Um, No.

Image of Mumford & Sons beatles

Fact: Mumford & Sons have six songs on Billboard’s Hot 100 singles chart this week.

Wild, misleading hyperbole, courtesy of Paste magazine:

Mumford & Sons Tie The Beatles for Most Hot 100 Hits in a Week

…The quartet is now in a league with The Beatles as the band with the most Hot 100 hits in a week. Lead single “I Will Wait” moves up to No. 57, and joining it are the debuts of five others including the title track (No. 60), “Lover’s Eyes” (No. 85), “Whispers in the Dark” (No. 86), “Holland Road” (No. 92) and “Ghosts That We Knew” (No. 94). (http://www.pastemagazine.com/articles/2012/10/mumford-sons-beat-the-beatles-for-most-hot-100-hit.html )

Reality check:

During the week of April 4, 1964 the Beatles not only occupied the top five slots on the Billboard Hot 100 chart (#1 “Can’t Buy Me Love”, #2 “Twist and Shout”, #3 “She Loves You”, #4 “I Want to Hold Your Hand” and #5 “Please Please Me”) but held twelve positions overall. Twelve. Twice as many as six.

Oh, and of the twelve songs the Beatles charted simultaneously, three topped the chart at some point. And others didn’t only because they were crowded out of the number one slot by other Beatles songs. (“Twist and Shout” and “Do You Want to Know a Secret” were #2’s and “Please Please Me” peaked at #3)

Oh, and that same week’s chart also included two singles that were tributes to the Beatles (“We Love You Beatles” by the Carefrees and “A Letter to the Beatles” by the Four Preps). Oh, and two more Beatle tribute songs charted just two weeks previous (“My Boyfriend Got a Beatle Haircut” by Donna Lynn and “The Boy With the Beatle Hair” by the Swans).

Oh, and the following week another Beatles number 1 , “Love Me Do” would debut on the American charts.

Also beginning the same month Billy J. Kramer and the Dakotas would chart three hits written and given to them by the Beatles, including top ten “Bad to Me”. Then starting in May a string of three Beatle-penned top twenty hits came from Peter & Gordon, including number 1 “A World Without Love”.

You see, the Beatles weren’t a flavor-of-the-month iTunes wonder–you know, like Kings of Leon, the last Next Big Thing? They were, and are, a cultural phenomenon. They owned not only the decade of the sixties but (let’s be honest) every decade since. In the less than seven years between their first chart hit and their breakup they established a record for most number 1 singles (20) that still stands. The great Rolling Stones, who made their chart debut within nine months of the Beatles and are still at it, remain at number fourteen on that list with 8.

The Beatles had 15 American million-selling records in 1964 alone. Their total worldwide record sales are in excess of 1 billion units.

Every conversation about the greatest rock and roll album of all time starts with one or another of their LPs.

The Beatles’ drummer has had seven more top ten singles as a solo artist than Mumford & Sons. In fact, Mumford & Sons have never had a top ten single. Or a top twenty single.

I could go on. The point is that calling a band like Mumford & Sons “in a league with the Beatles” is irresponsible hype. And saying they’ve tied them for the most chart hits in one week is factually incorrect. Correct your post, Paste. Post haste.

Oops! I Meant “They’re One of the Greatest Bands Ever”: Rolling Stone’s Original Review of Led Zep’s Debut

Led Zeppelin 1

You can find plenty to criticize about Rolling Stone magazine these days. What was once perhaps the foremost periodical devoted to Rock and Roll music and culture now regularly follows the careers of Justin Bieber and Taylor Swift as if they were Bob Dylan and Neil Young.

And the seemingly bi-weekly special issues built around the Top 100 this or the Top 500 that are kind of played out, no?

But hypocrisy is funny too. And it’s interesting to note that Swift not only merits a RS cover story but she also gets better reviews than Led Zeppelin once did. The magazine heaped flattery on her Speak Now album (see full review here: http://www.rollingstone.com/music/albumreviews/speak-now-20101026 )

…And for contrast I’ve reproduced John Mendelsohn’s review of Led Zeppelin’s 1969 debut. I consider it one of the bigger whiffs in the history of rock criticism (although I do give the magazine props for reproducing it in a 2011 issue). It’s not so much that I disagree with everything Mendelsohn said, it’s just amusing to note how quickly after this scud review the magazine set about elevating the band to status of rock immortals. Despite the cred Jimmy Page had earned as a member of the Jeff Beck Group, Mendelsohn makes them sound like mere mortals indeed, even hacks:

‘Led Zeppelin’: Blues Combo Dead on Arrival

Jimmy Page is, admittedly, an extraordinarily proficient blues guitarist and explorer of his instrument’s electronic capabilities. Unfortunately, he is also a very limited producer and a writer of weak, unimaginative songs. The most representative cut is “How Many More Times.” Here a jazzy introduction gives way to a driving guitar-dominated background for Robert Plant’s strained and unconvincing shouting. Zeppelin has produced an album sadly reminiscent of the Jeff Beck Group’s Truth. To fill the void created by the demise of Cream, they will have to find some material worthy of their collective attention.

I don’t know if Mendelsohn’s opinion of Plant changed once his “strained and unconvincing shouting” made him a rock god, or if  he still thought Page was a “writer of weak, unimaginative songs” post- “Stairway to Heaven”…but I think I know the official RS editorial position on the matter.

“Copying is not Theft”

Nina Paley, amusingly spreading word about QuestionCopyright.org, a nonprofit organization whose mission is to provide advocacy and practical education to help cultural producers embrace open distribution.

Their website states: Our projects highlight the restrictive effects of distribution monopolies, and help creators and their allies realize the potential of freedom-based distribution. We’re trying to change the terms of the debate, so that copyright reform efforts aren’t stuck always reacting to industry rhetoric that equates copying with theft, plagiarism, and the abuse or destruction of the original work.

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