A Dear Friend Eulogizes a Dear Friend

such Andy Williams fans in this camp. What a performer etc. We were actually lucky enough to meet him when we were kids at one of his Christmas bonanza concerts in Wilkesboro NC.  -- On a side note, with his passing, we now pledge full support to Tom Fleming of Wild Beasts.

A friend’s thoughts on the passing of Andy Williams:

Andy Williams is gone and who out there under 65 gives a scratch. Well for some unknown reason to me, I do. He was everything that is nauseating about music. The clothes, the covers of whatever was the big song of the day, the whole Branson, Missouri thing that I’m pretty sure he created. But I can’t help myself every time I hear the guy sing but to stop and listen. I could never help myself every time I saw one if his records lying in the dollar bin. Now as a result I have 30 or so Andy Williams records and an embarrassing knowledge of what’s on them. And finally, truth be told, if I had to choose my favorite song I’ve ever heard, after not going a day since I was 5 without sitting by a stereo for at least an hour, I’d choose A Time for Us. Thanks Andy. I’d say see you in hell but you just spent the last 30 years doing 2 shows a night in Branson.

“A Time For Us”: http://www.youtube.com/watch?v=s1aPEL__96U&feature=youtube_gdata_player

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In my opinion you have nothing to apologize for or be embarrassed about. I think it’s a good sign when someone hangs on to the music of their youth, or the music of their father, or the music of times past that they never even lived in. And who can say today’s music is superior to that of the besweatered Christmas Special-Having Crooner? It’s complicated. And if I revealed some of the stuff I have a soft spot for, the potential for embarrassment would be huge. But I know you’d say, “It’s all good”, or words to that effect. Because it is. Music is all good for something. Complicated human beings have many moods and emotions that must be paired up with it at different times.

Hope you get down this way soon pal, cause there’ll be a bed and a beer with your name on it. And I happen to have a double-disc Andy Williams compilation to pass a couple of hours to.

p.s. I’ll need you to be there for me when Engelbert Humperdinck goes…

Jazz Legend Jaco Pastorius Gives a 90 Minute Bass Lesson

Of the above video—an hour and a half long bass lesson and interview with the late, great jazz bassist Jaco Pastorius—one youtube commenter writes, “this isn’t a bass lesson… this is a bass humiliation!” It’s an apt description—for the aspiring player of any instrument, watching Pastorius at work is a humbling experience. Even Jerry Jemmott, no slouch on the instrument, seems a little overwhelmed as he interviews Jaco. But the articulate—and personally troubled—bassist was a humble guy, more than willing to share his skills and knowledge. As a player, composer, and producer, Pastorius towered over other progressive jazz players in the 70s and 80s, accompanying names like Pat Metheny and Wayne Shorter. He was also a member of fusion powerhouse Weather Report, a solo artist, and one of the most in-demand session players and producers of his time.

While bass players get too little recognition in rock, in jazz, the instrument has always commanded a degree of respect. But Pastorius took electric jazz bass to a place that belongs entirely to him, playing bass and melody parts at once on the instrument and incorporating mind-blowingly nimble solos and high runs into original compositions and standards alike. I came to Pastorius late in my musical education thanks to his influence on English bassist and electronic producer Squarepusher (Tom Jenkinson), who, since the mid-nineties, has fused his own frenetic Pastorius-like bass licks with the stutter and clatter of drum-and-bass. In 2009, Squarepusher had the effrontery to release a live solo album consisting only of electric bass compositions, a move that would have been impossible without Pastorius’ precedent-setting solo work. Pastorius turned the electric bass into a lead instrument. His first solo album, the self-titled Jaco Pastorius (1976), broke ground with original compositions for bass guitar and bass transcriptions of songs like Charlie Parker’s “Donna Lee.” At that time, no one had heard anything like it.

Pastorius, who suffered from bipolar disorder, died of wounds sustained in a bar fight on September 21st, 1987.

(by Josh Jones. Reprinted from Open Culture)

Video

Memo to Madonna: Shut Up and Sing

(Reprinted from Rolling Stone)

Madonna Calls Obama a ‘Black Muslim’

Maybe it was a slip of the tongue or maybe it was misguided sarcasm, but Madonna called President Obama a “black Muslim” last night at a tour stop in Washington D.C. in what otherwise resembled a message of support. After praising Abraham Lincoln and Martin Luther King Jr., Madonna turned her attention to Obama, saying, “It is so amazing and incredible to think that we have an African-American in the White House!” But the pop star didn’t stop there. “So y’all better vote for fucking Obama, OK? For better or for worse, all right, we have a black Muslim in the White House, OK? Now that is some shit. That’s some amazing shit,” she said. “It means there is hope in this country. And Obama is fighting for gay rights, OK? So support the man, goddammit!”

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No matter what your politics, this is embarrassing. Can’t she stick to flashing skin and offending religions? I believe I could devote an entire blog to Madge alone.

Video

Excerpts From D.C. Madonna Concert Review

The following are a few lowlights of a review of a recent Madonna concert at Verizon Center in Washington, D.C. reprinted from the Washington Post online:

Madonna came to the stage at 10:30 p.m., 21/2 hours after the posted showtime. The delay disrupted more than babysitting arrangements; arena management was forced to strike a deal with Metro to extend the usual midnight service deadline. Madonna, however, surely benefited financially from the stalling, because some portion of the audience, made up of fans who’d paid from $59 to $390 per ticket, killed time by visiting merchandise booths, at which they could spend an additional $45 on licensed “I’m a Sinner” T-shirts or Madonna-endorsed “Addicted to Sweat” workout DVDs (featuring routines called “Get Wet” and “Dripping Wet”).

Her entrance: With the stage full of buff guys in monk outfits and contortionists on pedestals putting their feet behind their necks, and as a massive smoking golden thurible-shaped object swung to and fro in front of a giant cathedral-like structure while some sort of dense Gregorian chant-sounding noise blared over the public address system, Madonna dropped from the ceiling wearing a black jumpsuit and wielding an assault rifle. The medieval music was then replaced by Madonna moaning, “Oh, my God!” over and over before kicking into her recent techno single, “Girl Gone Wild,” which she shrieked while rubbing pretty much all of her own and her dancers’ body parts as humongous video screens showed what looked like the end of the world. Madonna survived this mini-Armageddon with enough energy to pick up the assault rifle and strafe the crowd one more time before song’s end.

During her rendering of “Gang Bang,” the stage became a seedy motel room in which she chugged whiskey and used more firearms to gun down two generic bad guys. She mounted their carcasses for a theatrical but confusing pelvic thrust routine, yelling “Die b—-!” a whole lot, though it wasn’t clear whether all the lyrics were being sung live. Meanwhile, the video screens showed enough splattered blood to make Quentin Tarantino nauseated.

She put on a majorette’s outfit for “Express Yourself,” and, while a large drum corps swung overhead, twirled a baton, perhaps re-creating moves she used during her days as a high school cheerleader. Alas, before the song was over, Madonna lifted her skirt and dirty danced with the baton. The fans ate it up, just as they ate up her yelling, “Do the bump with your neighbor!” amid all sorts of crotch-grabbing during “Holiday”; her donning a painful-looking metal bra and sashaying down a long runway while reprising “Vogue”; and her pulling down her pants to flash her buns of steel during “Human Nature.”

And from the comments forum:

Regrettably, the Madonna concert was terrible.  The concert started at 10:30 PM… 2 1/2 hours late.  The sound was so bad where we were, you couldn’t understand a single word she said.  Many times I wasn’t sure what song she was playing.  One of the opening scenes showed Madonna having sex with someone while she blew the guy’s brains out with a gun.  She dest’d Lady Gaga by playing “Born This Way” to marching band music.  She mooned the audience with an Obama tattoo on her lower back.  Unprofessional and tasteless are words that come to mind.  But disappointment doesn’t even describe it, more like anger.  What a waste of $500. 

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Seriously, you’re spending 500 bucks on someone who seems to have a love/hate relationship with her audience (she loves your money; she hates you) and refuses to play her old hits? I paid less than half that to see Paul McCartney, who played nearly three hours of hits and well-chosen album tracks, showed affection for his fans, and was the epitome of class throughout. Madonna’s bad taste is topped only by that shown by fans who still spend their money on her.

Billie Joe Armstrong Freaks Out at the I Heart Radio Music Festival

Video

The Sad Irony of Green Day’s On-Stage Tantrum

(reprinted from The Atlantic)

green day rage 615.jpg

Billie Joe Armstrong’s righteous rock-star routine looked more like a faded pop star’s existential crisis.

iHeartRadio is a website and app that streams more than 1,500 radio stations nationwide, owned by the consolidated-media behemoth Clear Channel Broadcasting. iHeartRadio was also, this weekend, the host of a music festival in Las Vegas where Green Day’s Billie Joe Armstrong threw an on-stage fit that looked like what you’d choreograph for a B-grade rock biopic about a performer terrified by his own irrelevance.

The video of Armstrong meltdown is below. The gist: Green Day’s concert, initially planned to be 40 minutes, had been halved because Usher’s performance had gone long. (The source for this version of events, as far as I can tell, is the YouTube user who uploaded the video). Armstrong, upon realizing he has one minute left to play, says “fuck” a bunch of times, touts the fact that his band’s been around since 1988, and sort of inexplicably points out that he’s not “fucking Justin Bieber.”

Yep, Armstrong isn’t Bieber, and that’s the point. There was a time when Green Day and bands like them would be the most-important act at a purely mainstream festival like iHeartRadio (where set times are already notoriously short), but that time has passed. Rock is no longer the default genre for kids to listen to, and Green Day’s forthcoming trio of albums may not change that. Their new single, “Oh Love,” is the No. 2 rock song in the country, but it peaked on the Billboard Hot 100 at No. 97. They’re still a popular band that  sells out arenas, but that’s almost entirely because of their decades-old back catalogue. Of course, Armstrong and his fans have a right to be annoyed at being cut off. But why should they expect priority treatment at a festival devoted to showcasing music that moves units, especially when pitted against the likes of enduring hit-a-minute artists like Rihanna and Usher?

And it’s sad to see Armstrong claim credibility on the back of longevity and the fact that he’s “not fucking Justin Bieber”—in other words, a rock star, not a pop star. Of course, for a band like Green Day—pop-punks, right?—there’s not much difference. This is a corporate rock band, and I don’t mean that pejoratively but rather as a point of fact: They’ve allied with and profited from the commercial forces that lead, among other things, to independent and alternative radio stations being killed and local DJs being replaced with automated playlists. That’s fine. It’s allowed a lot of their very-good music to find a very-big audience. But in Vegas, he made a spectacle of acting like he’s been playing a different game than that.

Of course, Armstrong knows all this. He’s a self-aware master of staging: American Idiot, after all, is now a Broadway production. He may have even scripted this whole meltdown before singing a word. Quietly submitting to a quick set sandwiched between dance-pop superstars might not have played well with the Green Day diehards tuning in. Those diehards almost certainly made up a minority of the audience paying attention to the festival, but for them, a couple “Fuck this shit”s and a smashed guitar may help keep some myth of punk nobility alive. For most anyone else, it’s just kind of embarrassing to watch.

by Spencer Kornhaber

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