Showing posts with label paul westerberg. Show all posts
Showing posts with label paul westerberg. Show all posts

Tuesday, April 28, 2015

Let's Duet



Let's Duet
  1. Joan Jett and Paul Westerberg, "Let's Do It"
  2. Shane MacGowan and Sinéad O'Connor, "Haunted"
  3. Kavinsky and Love Foxxx, "Nightcall"
  4. Ben Lee and Liz Phair, "Away with the Pixies"
  5. Ben Folds and Regina Spektor, "You Don't Know Me"
  6. Estelle and Kanye West, "American Boy"
  7. Marvin Gaye and Tammi Terrell, "You're All I Need to Get By"
  8. Peter Gabriel and Kate Bush, "Don't Give Up"
  9. Serge Gainsbourg and Brigitte Bardot, "Bonnie and Clyde"
  10. Johnny Cash and June Carter, "Jackson"
  11. Loretta Lynn and Conway Twitty, "You're the Reason Our Kids Are Ugly"
  12. R.E.M. and Patti Smith, "E-Bow the Letter"
  13. Miss Piggy and Ozzy Osbourne, "Born to be Wild"
  14. Q-Tip and Norah Jones, "Life is Better"
  15. Blind Willie Johnson and Anonymous, "John the Revelator"
  16. Nick Cave & the Bad Seeds and Kylie Minogue, "Where the Wild Roses Grow"
  17. Metallica and Marianne Faithfull, "The Memory Remains"
  18. Iggy Pop and Debbie Harry, "Well Did You Evah!"
  19. Stevie Nicks and Tom Petty, "Stop Draggin' My Heart Around"
  20. Bonnie Raitt and John Prine, "Angel from Montgomery"
  21. John C. Reilly and Angela Correa, "Let's Duet"
Mother's Day 2015

Wednesday, April 1, 2015

Soul Asylum, "April Fool"



Soul Asylum got the worst of both worlds. They had too many hits to still be aligned with their Minneapolis indie rock brethren (Hüsker Dü, the Replacements), yet not enough to be one of the great '90s mainstream rock bands. Thus, as of late they're playing the Summerland tour with Eve 6, Spacehog and Everclear.

That's too bad, because they had some great songs that people never listen to because they can't remember if "Runaway Train" was by Soul Asylum or Candlebox. Dave Pirner's lyrics aren't as profound as I thought they were in 1993, but he's got a knack for melody--think Bob Seger to Westerberg's Neil Young. Plus, unlike the alt-adult contemporary groups they get lumped in with, Soul Asylum can really rock, as "April Fool" proves, loaded with an undeniable riff and a chorus that's no joke.

Monday, April 14, 2014

Five Great Songs from the Say Anything... Soundtrack (that aren't "In Your Eyes" or "Joe Lies")

My sister once declared that Say Anything..., which turns 25 today, was a definitive chick flick that guys will watch (she phrased it more eruditely than that, but you get the idea). She's right--maybe it's Cameron Crowe's screenplay, or the way it captures the aches of the male crush, or its creation of a world where a guy who spends his Saturday nights at a Gas 'n' Sip could date a girl that looked like Ione Skye. There's something about Say Anything... that gets through to the lunkheaded heterosexual male, more than perhaps any other film in Netflix's Rom Com section.

As with every Crowe film, us music nerds get the bonus of a killer soundtrack, doused with everything from Aerosmith's "Back in the Saddle" to Mother Love Bone and Soundgarden two years before the grunge boom (which Crowe went on to capture in his next movie, Singles). Of course Say Anything... is best known for the Peter Gabriel song in its most famous scene, and Lili Taylor's odes to her callous ex are probably a distant second, but its soundtrack has a trove of less-famous gems worth celebrating today.

1. Living Colour, "Cult of Personality"

It's a classic today, though there was no way of knowing that in 1989, when Living Colour were a relatively new band under producer Mick Jagger's wing. They're still a ferocious live band, and Vernon Reid is universally acknowledged as one of the world's greatest guitar players, but this is deservedly their most enduring song.



2. Red Hot Chili Peppers, "Taste the Pain"

Another band on the cusp of megastardom when Crowe picked them for Lloyd Dobler's tape deck, the Chili Peppers were streamlining the disjointed funk rock of their earliest albums on "Taste the Pain," showing hints of the songmanship that was about to peak on Blood Sugar Sex Magik.



3. Depeche Mode, "Stripped"

Like Crowe himself, Depeche Mode were experts at taking the artsy underdog to the mainstream, being lonely enough for Cusack types and sexy enough for the rest of the world. Arguably the male musical equivalent of "a brain trapped in the body of a game-show hostess."



4. Fishbone, "Skankin' to the Beat"

Now that ska has been raided and exhausted beyond repair, "Skankin' to the Beat" should be as dated as Fishbone's cameo in Back to the Beach. Thankfully, its got enough of a new wave touch to earn its spot in the graduation party scene, and justify the Fishbone logo on Lloyd Dobler's shirt.



5. The Replacements, "Within in Your Reach"

Crowe dug this one out from the second half of the Replacements' messiest album, where it hid next to a drunken cover of "The Twist." Performed entirely by Paul Westerberg, "Within Your Reach" is the only song in Say Anything... that sounds like something Lloyd Dobler would actually write, though I'm glad Crowe made him a kickboxing instructor instead.

Sunday, March 23, 2014

Who wants to be the corporate rock bad guy?

I've been trying to find a clip from Color Me Obsessed, the sweet, fan-made documentary about the Replacements and their fans from 2011. The band doesn't appear in the movie at all, nor does a note of their music, but we get some great stories about the Replacements from artists, critics and music industry folks--favorite memories, life-changing songs and more from a select few who know what a special band they are.



Easily the biggest star in the movie is John Rzeznik, the famously hot lead singer and songwriter of adult contemporary pop-rockers the Goo Goo Dolls. It's a bit of a surprise to see him there between interviews with Steve Albini, Craig Finn and the Sound Opinions critics, even for those of us who know that the Goo Goo Dolls used to be on Metal Blade, back when they sounded more like the Replacements (and even wrote a song with one of them) than the neo-Bryan Adams band they are today. Like most of the other fans, Rzeznik has a heady and heartfelt love for the Replacements, but the scene that stuck with me the most was when he derided them.

"I bought Don't Tell a Soul the day it came out, and I remember taking it home and putting it on, and just a few songs in I took it out and I threw it away right there," says Rzeznik*. "I was so mad that the band I loved had gone commercial."

Since seeing the movie, I have told this story to two of my friends, and both of them laughed. Maybe you will too, if you have even a passing familiarity with the Replacements and the Goo Goo Dolls. The City of Angels soundtrack prom king is calling the beloved Left of the Dial underdogs commercial? Hasn't he heard "Bastards of Young?" Didn't he write "Slide?" Is he so unaware of his own awfulness that he thinks he can judge the Replacements? His eyelashes aren't even as great as all those girls think they are.

Maybe the filmmakers are laughing at him too, but I don't think they are. Rzeznik is completely serious, talking about a band that broke his heart as honestly as any of those metalheads who are still mad that Cryptopsy released The Unspoken King. Of course he likes the Replacements--who couldn't? There's nothing unreasonable about being disappointed by Don't Tell a Soul, especially on the heels of Pleased to Meet Me and with Matt Wallace's gloppy production. If it had been the hit it was intended to be, more of us Replacements fans would probably sympathize with Rzeznik.

The fact is that no popular songwriter, even the ones that sell millions of albums and have perfect cheekbones, is trying to be the big commercial bad guy. Famous, sure--even the Replacements signed to a major label. But nobody considers their own band to be corporate rock. John Rzeznik writes from the heart and has values about his music, just as Paul Westerberg does. Maybe one comes out sounding more produced and writes lyrics like "Could you whisper in my ear the things you wanna feel", but to Rzeznik and his fans it's no more polished and emotional than it should be. He didn't set out to be a cornball, but he just is, and he happened to connect with millions of middle schoolers and soccer moms. If it makes you feel more enlightened to enjoy a band that never had a gold record, go ahead, but don't forget that multi-platinum bands on Warner Brothers can be just as concerned about art and integrity. One fan's "Iris" is another fan's "I Will Dare."

*Quoted to the best of my memory.