The band Tom Waits likened to “watching paint dry”

(Credits: Far Out / Press)

(via Far Out) by Tim Coffman

Tom Waits has never been known as someone who minced words about how he felt about music. Throughout his career in front of the microphone, there was no doubt that Waits would deliver something 100% authentic to the story he wanted to tell. Though his intuition may have led him to multiple classic records like Rain Dogs and Bone Machine, he wasn’t afraid to talk about songs that he thought were below average either.

When first cutting his teeth in the rock scene, Waits was a far more dynamic presence than what he would become known for. Although many may associate Waits’ cadence with its off-kilter demeanour, many knew him as the kind of lonely barfly on his first handful of albums, sitting behind a piano and delivering biting songs about loneliness.

Out of all the tracks he wrote during that period, ‘Ol 55’ remains a particular highlight from his early years. Taking the basic premise of the titular car, Waits paints a dark tale on top of it all, delivering the kind of gruff voice that only he could muster in those days. If there were anyone who knew a thing or two about both lonely songs and cars, though, it would be the Eagles.

As Waits was starting his career, Glenn Frey and Don Henley had already been two of the kings of the California rock scene. Having already made their living with songs like ‘Take it Easy’ and ‘Tequila Sunrise’, the band were looking to go beyond their country roots on the album On the Border...

Read more: https://faroutmagazine.co.uk/band-tom-waits-watching-paint-dry/

“He’s never done a band like us; he’s done a lot of heavy metal. But I thought the two could mix”: How AC/DC’s producer and synthesizers reinvented The Cars

© Mirrorpix via Getty Images

(via LouderSound)

“I always wanted our songs to pop and kick,” The Cars’ Ric Ocasek told me in 2005. And on the band’s fifth album, Heartbeat City, they did just that. 

You might think of the pop in Pop Art terms: bold colours, sleek lines; bang-vroom choruses, the kick of a lyrical subversion that sneaks up on you, hinting at fragile mental states, with elliptical drug references and some kinky S&M. 

Of that contrast in his songs, Ocasek said: “One kind of holds you down to earth, while the other takes you somewhere else.” 

After running the album-tour track annually from 1978-81, The Cars were looking to go somewhere else. The title of their fourth album, Shake It Up, hinted at just what they needed to do. 

The first major shake-up for Heartbeat City was bringing in producer Mutt Lange, best known for his high-gloss hit-making on AC/DC’s Back In Black and Def Leppard’s Pyromania. “I thought that the combination of the sound he gets and what we do would mingle pretty nicely,” Ocasek said in 1984. “Mutt’s never done a band like us; he’s done a lot of heavy metal. But I thought the two could mix.” 

Read more: https://www.msn.com/en-us/music/news/he-s-never-done-a-band-like-us-he-s-done-a-lot-of-heavy-metal-but-i-thought-the-two-could-mix-how-ac-dc-s-producer-and-synthesisers-reinvented-the-cars/ar-BB1l2Irj?ocid=msedgntp&pc=U531&cvid=99a38044cd604cd094c1e29851787288&ei=35

Video of the Week: Billy Joel – Live in Uniondale (December 29, 1982)

Quora: Does George Harrison even know how to play lead guitar compared to the likes of Eric Clapton?

(Answered by Rik Elswit)

Harrison had a rare ability that’s cherished in studio players like Louie Shelton, Brent Mason, and Larry Carlton. He could craft an unforgettable two bar phrase that becomes the signature to the song. Elliot Easton of the Cars and Keith Richards of the Stones, had this as well.

The classic example is Harrison’s intro to “Something”. Six notes with a released bend, all on one string. Anyone can do it. Even your little sister can do it. But he thought of it. This is a gift.

On a Lighter Note…

Video of the Week: Is THIS Karen Carpenter’s Voice Reincarnated?

Previous Older Entries Next Newer Entries