Everyone's heard it by now. Doesn't make it suck less. He was easily one of the best performers I've ever seen — prancing around in heels, taking his clothes off, deep-throating the mic, and threatening to bring the PA stacks down. I've never seen a major band give so much for such a small crowd as the first time I saw the Cramps. I really had hoped to see them again. Fuck...
Well, this sure is entertaining. Coldplay actually asked Kraftwerk for permission. But it still doesn't bode well for Chris Martin and co. in the Joe Satriani case, because if they can't manage to write a hook on their own, what does that say about them? It's all good and fine to go writing stupid letters to a respected guy like Ralf from Kraftwerk, but the perception of Joe Satriani to the mainstream would kind of dictate that it's easier to steal from him and pretend you don't listen to his music. No?
I tried the whole tumblr thing for a while, but it's just not quite enough. Let's see what Onsugar can do for me. There are comments, but I think you have to register. That's ok, if someone really wants to talk they will, but if a bunch of J. Mascis fans come by they won't necessarily have to say anything.
I am going to see them tomorrow. I don’t get excited for reunions because they suck and they’re usually cash grabs. Considering the first thing Amebix did upon reuniting was digitally re-release Monolith for free, I’m hoping it’s not the latter. I want this to rule. I’m going to shit my pants.
Go read any comments on any semi-modern Scott Walker video on YouTube. I understand, YouTube comments are always dumb. But Walker videos are even crazier.
Most experimental musicians don’t get this kind of flak. I guess there’s no one to compare Walker to — most pop musicians don’t make this kind of insane transition. But it seems to have created a crazy rift in his fan base.
But… go fucking go, Joe Satriani!
Ever since I walked into Ikea (I think it was) and thought I heard a muzak version of Kraftwerk’s “Computer World” that turned out to be some fucking Coldplay song, I’ve been waiting for someone to come out of the woodwork and take them down. It probably won’t happen because the accuser always looks like a bitter-ass has-been scraping for coin that he can’t manage to get otherwise. And Joe Satriani… doubly so.
The worst part for the Satch is probably what’s stopped any other potential Coldplay attackers: you have to admit that whatever you wrote was boring enough for Coldplay to rip off in the first place.
I have the second printing on gray vinyl, not the 99-copy Prescription version. It’s mis-labeled, and as I don’t really listen to the record that often, I always forget that and put on side B first. This causes it to peak really early with “I Don’t Want To Be The One.” To me most of the tracks on here sound like Elph outtakes. Not that spectacular. I do like the idea of an ode to Kate Bush, though.
Of course what it takes for most of the world to notice The Fireman is for Paul McCartney to start singing. I’ll give Mac and Youth this: it is more entertaining that way. There are a lot of genres represented, and the production is solid without having a lot of trickery. But in the end, is Paul any more interesting than he ever is?
The most paradoxical part of The Fireman is that Youth is quite persistent in changing McCartney into an album artist, but McCartney is ridiculously resistent to being anything other than a vapid collection of singles. It’s just his thing. “Sing The Changes” at least proves that he still has some good ones in him. I applaud him not only for writing a hook that lasts for an entire song (rather than grafting a verse/chorus/bridge structure onto it), but writing one good enough that it won’t make you crazy after hearing it through a whole song. It makes a good candidate for ambient music as hit single. He doesn’t sound as interesting aping Led Zep/Jeff Beck on the opening track (or was it “Helter Skelter” he’s aping? Ray Davies self-plagiarism, anyone?), or on any of the other tracks. But he does sound quite natural the whole time, even when he’s singing in someone else’s voice (like Leonard Cohen’s on “Travelling Light”).
The one song I could really do without is “Dance ‘til We’re High,” the tune that most reminds you that you’re listening to Sir Paul.
Bottom line — Apparently somewhere between aging Industrial Rock star and already-aged world’s greatest popstar, there’s a pretty solid album, and it’s good that the world is noticing. Paul has slid by on Sgt Pepper and Ram, or just his personality, for too long and it was about time he delivered something even passable again.
Sure, take one look and they’re obviously one step away from a tribute band, but their metallic sound manages to capture some of the campy menace that all the whoa-whoa-whoa bands left for dead in a sea of half-baked Ramones-isms. Hell, even the Ramones themselves are more bad-and-menacing (think “53rd and 3rd”) than most of these bands that are too pussed-out to be called power pop (even Cheap Trick had a psychotic streak).
If you only need to hear one song, it’s the fucking awesome title track. Take the three best hooks Glenn never wrote, expand them into a 6-minute thrash metal rumble-fest, and pump your fucking fist in the air.
If you’re into crossover stuff like Suicidal or DRI, and if you sometimes need to be reminded that the Misfits’ legacy to punk is more than just Michale Graves, seek this out and feast on the blood of the unbelievers.
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