Margaret recently asked me for New Year's songs, and there are always two I can think of--young U2's still-thrilling "New Year's Day" and the Breeders' sleek "New Year." But for 2014 especially, I'll be blasting "14 Years."
Use Your Illusion I & II is the closest that metal comes to the White Album, a sprawling, double disc mess of ragers, ballads, studio experiments and enough curveballs to get more dizzying with every listen. But on "14 Years," GNR sounded more like rock music's other great classic double album, Exile on Main St. Perhaps that was a conscious move on Izzy Stradlin's part, letting the world know that he (and not Slash) was the band's Keith Richards, the indispensable songwriter who could drop a hook as well as the frontman. Axl steals the chorus, but it's Izzy's song, a perfect barrelhouse rocker that conjures up the Mick and Keith's chemistry, if not their ability to put aside their differences.
Showing posts with label keith richards. Show all posts
Showing posts with label keith richards. Show all posts
Tuesday, January 7, 2014
Monday, October 7, 2013
1000 Homo DJs, "Supernaut"
When Ministry's Al Jourgensen brought some early demos to Wax Trax! co-founder Jim Nash, Nash allegedly told him "No one's going buy this. It'll take one thousand homo DJs to play this for one person to buy it."
By1990, Ministry was riding on two of the best albums of the '80s (The Land of Rape and Honey and The Mind is a Terrible Thing to Taste) and laughing all the way back to the Wax Trax! execs, who were happy just to release Jourgensen's outtakes. The result was Supernaut, a four-song EP under the the nom de plume 1000 Homo DJs.
Three of the songs sound like a major talent's outtakes, with even the eight-minute loop of Jello Biafra singing "Hey Asshole" showcasing Jourgensen's deft production. But I'm writing about Supernaut today in honor of its title track, a cover of the underrated Sabbath tune. Other than arguably Faith No More's version of "War Pigs," no tribute to metal's most-covered band has ever come so close to topping the original.
As we've learned through Sabbath's lineup changes, every member of the original band was integral. But even with one of rock music's most iconic frontmen and heaviest rhythm sections, Sabbath was all about the riffs. The onomatopoeia "Supernaut" shifts and shakes until it sounds like it's going to break free from your listening device, especially when emphasized by Jourgensen's tone. The vocalist, uncredited on the album, is one Trent Reznor. For industrial fanatics, it's like hearing John Lennon sing with Keith Richards.
By1990, Ministry was riding on two of the best albums of the '80s (The Land of Rape and Honey and The Mind is a Terrible Thing to Taste) and laughing all the way back to the Wax Trax! execs, who were happy just to release Jourgensen's outtakes. The result was Supernaut, a four-song EP under the the nom de plume 1000 Homo DJs.
Three of the songs sound like a major talent's outtakes, with even the eight-minute loop of Jello Biafra singing "Hey Asshole" showcasing Jourgensen's deft production. But I'm writing about Supernaut today in honor of its title track, a cover of the underrated Sabbath tune. Other than arguably Faith No More's version of "War Pigs," no tribute to metal's most-covered band has ever come so close to topping the original.
As we've learned through Sabbath's lineup changes, every member of the original band was integral. But even with one of rock music's most iconic frontmen and heaviest rhythm sections, Sabbath was all about the riffs. The onomatopoeia "Supernaut" shifts and shakes until it sounds like it's going to break free from your listening device, especially when emphasized by Jourgensen's tone. The vocalist, uncredited on the album, is one Trent Reznor. For industrial fanatics, it's like hearing John Lennon sing with Keith Richards.
Sunday, April 28, 2013
Ten Metal Bands to See Before You Die: AC/DC
If AC/DC just sat there onstage while a tape played "Dirty Deeds Done Dirt Cheap," "T.N.T.," "You Shook Me All Night Long," "Back in Black" and "Highway to Hell," they'd still earn consideration for this list. But as anyone who has seen The Who this century can tell you, playing great songs does not make you a great live band.
40 years into one of the most incredible careers in audio history, AC/DC are still claiming metal's greatest dancer, swinging from the clappers of Hell's Bells, giving us a Whole Lotta Rosie and leaving everything in their wake Thunderstruck. Getting had, getting took and telling folks it's harder than it looks.
By working their way into the 200 Million Sold club without ever deviating from the harder-than-hard rock formula that made them famous, AC/DC makes success look as easy as "The Jack." Then again, nobody has ever played those three chords with the kind of gleeful punch that Angus gives them, not to mention the wildman blues-metal freakout solo that often takes over "Let There Be Rock." The most famous Keith Richards quote about his guitars ("Give me five minutes and I'll make 'em all sound the same") can be applied to Angus Young. But give his admirers four decades, and none of them will sound like him.
No great guitarist this side of Prince has made his instrument such an enthralling part of his performance, without taking away from the playing. Watching Angus Young with a Gibson is akin to watching James Brown with a microphone stand. "I'm a rotten guitar player if I'm standing still," Angus has said, and while I don't believe it, you can tell that he does.
AC/DC does not have many of peers, but even the ones who come closest are put to shame by AC/DC's show. They're not pretending to like each other (Aerosmith, Van Halen,) physically ravaged by their decades of drug abuse (Black Sabbath, Mötley Crüe) or dressing up their guitarist to look like the guy they kicked out (KISS, Guns N' Roses). AC/DC prefer to keep their drama beneath them, where it belongs. They continue to set examples for all younger artists, meaning nearly everyone, and meaning nobody who puts on a show like these guys do.
40 years into one of the most incredible careers in audio history, AC/DC are still claiming metal's greatest dancer, swinging from the clappers of Hell's Bells, giving us a Whole Lotta Rosie and leaving everything in their wake Thunderstruck. Getting had, getting took and telling folks it's harder than it looks.
By working their way into the 200 Million Sold club without ever deviating from the harder-than-hard rock formula that made them famous, AC/DC makes success look as easy as "The Jack." Then again, nobody has ever played those three chords with the kind of gleeful punch that Angus gives them, not to mention the wildman blues-metal freakout solo that often takes over "Let There Be Rock." The most famous Keith Richards quote about his guitars ("Give me five minutes and I'll make 'em all sound the same") can be applied to Angus Young. But give his admirers four decades, and none of them will sound like him.
No great guitarist this side of Prince has made his instrument such an enthralling part of his performance, without taking away from the playing. Watching Angus Young with a Gibson is akin to watching James Brown with a microphone stand. "I'm a rotten guitar player if I'm standing still," Angus has said, and while I don't believe it, you can tell that he does.
AC/DC does not have many of peers, but even the ones who come closest are put to shame by AC/DC's show. They're not pretending to like each other (Aerosmith, Van Halen,) physically ravaged by their decades of drug abuse (Black Sabbath, Mötley Crüe) or dressing up their guitarist to look like the guy they kicked out (KISS, Guns N' Roses). AC/DC prefer to keep their drama beneath them, where it belongs. They continue to set examples for all younger artists, meaning nearly everyone, and meaning nobody who puts on a show like these guys do.
Tuesday, April 23, 2013
Ten Metal Bands to See Before You Die: Motörhead
There has never,
never been a more badass band than Motörhead. The only rock stars who
can possibly compete, Jerry Lee Lewis and Keith Richards, relish their
wildman reputations, but Lemmy, Phil Campbell and Mikkey Dee barely seem
to care that it exists. Instead, they tour every year, keep putting out
albums and obliterate any room that they stand in.
One adjective that is rarely used to describe metal is "cool," but Motörhead practically defines it. They don't move much on stage, cutting stoic figures, but I've seen the music that erupts from their instruments throw venues from compact clubs to outdoor arenas into a frenzy. Their songs are so consistently singable and thrashable that you'll even be throwing horns to the ones that you don't know. Lemmy, who's practically lived on the road since the 1960s, never misses a step. The little banter he provides, you'll be quoting for the rest of your life.
Even when they're playing songs they've played at every show for the past 30 years, they seem like they're having a blast. Phil and Mikkey complete Motörhead's longest-enduring lineup, and knock out the band's early anthems with more punch than their predecessors gave them. Barely anyone ever copies Lemmy's signature "machine gun bass" move (see above) because nobody could possibly make it look nearly as cool. "We are the first and we just still might be the last/We are Motörhead, born to kick your ass," remarked Lemmy on 2000's We Are Motörhead. It's as close as anyone's come to summing up Motörhead's mighty career, but it still feels like an understatement.
One adjective that is rarely used to describe metal is "cool," but Motörhead practically defines it. They don't move much on stage, cutting stoic figures, but I've seen the music that erupts from their instruments throw venues from compact clubs to outdoor arenas into a frenzy. Their songs are so consistently singable and thrashable that you'll even be throwing horns to the ones that you don't know. Lemmy, who's practically lived on the road since the 1960s, never misses a step. The little banter he provides, you'll be quoting for the rest of your life.
Even when they're playing songs they've played at every show for the past 30 years, they seem like they're having a blast. Phil and Mikkey complete Motörhead's longest-enduring lineup, and knock out the band's early anthems with more punch than their predecessors gave them. Barely anyone ever copies Lemmy's signature "machine gun bass" move (see above) because nobody could possibly make it look nearly as cool. "We are the first and we just still might be the last/We are Motörhead, born to kick your ass," remarked Lemmy on 2000's We Are Motörhead. It's as close as anyone's come to summing up Motörhead's mighty career, but it still feels like an understatement.
Sunday, April 21, 2013
Ten Metal Bands to See Before You Die
NME's list of 50 artists to see before you die is problematic, as these lists always are, but it raises some good questions. Who are the artists that you need to see? Is it worth it to see Ozzy, who gives it his best shot but can barely keep up with the songs, just to tell your grandkids that you shared a room with the Godfather of Heavy Metal? Is it better to see a band like Gojira, whose songs you know, or GWAR, who puts on a real show? Should you go to shows to discover new bands or to enjoy the ones you already like? How much of either?
My belief is that you go to shows to experience them. The only time I ever saw the Rolling Stones, there were plenty of big shots (and at least one Fox News commentator) there who probably couldn't tell Keith Richards from Charlie Watts. They got to live-tweet the show and tell their friends that they saw the The World's Greatest Rock n' Roll Band. If I ever go to a show for either of those reasons, I will stop running a music blog.
Keep in mind that this is for the state of metal in 2013, when Slayer and is down to two original members and Mastodon aren't having fun. On some nights, I'm sure they're all great--mind-blowing, even. But for consistency, if you only see ten metal bands from hereon, make sure that it's these ten. I'll be counting them down over the next few days.
My belief is that you go to shows to experience them. The only time I ever saw the Rolling Stones, there were plenty of big shots (and at least one Fox News commentator) there who probably couldn't tell Keith Richards from Charlie Watts. They got to live-tweet the show and tell their friends that they saw the The World's Greatest Rock n' Roll Band. If I ever go to a show for either of those reasons, I will stop running a music blog.
Keep in mind that this is for the state of metal in 2013, when Slayer and is down to two original members and Mastodon aren't having fun. On some nights, I'm sure they're all great--mind-blowing, even. But for consistency, if you only see ten metal bands from hereon, make sure that it's these ten. I'll be counting them down over the next few days.
Wednesday, July 25, 2012
The Five Best Dancers in Metal
I am by no means a dance expert, but I also don't see why dancing is considered wussy in some male circles. Norman Mailer can talk all he wants, but I'd bet against him in a fight with Rahm Emanuel.
The fact is, any dude who wants to put on a good show needs to do more than just sing or play his instrument, and that requires being confident enough with your masculinity to not care about what other people think. Here are five admirable guys who aren't afraid to leave their friends behind.
5. David Lee Roth
The only one on this list who clearly took dance lessons, David Lee Roth can't do anything but entertain you. Those high-kicks, splits, vaudeville steps and irrepressible ad-libs helped make him the greatest hard rock frontman in the world during his first stint with Van Halen.
4. Rob Zombie
Rob's sense of rhythm must have come from a different planet. Other than Jarvis Cocker, I've never seen another musician who seemed to know what the audience was seeing as well as what he was doing. Clearly a future director at work. Watch how even in the cramped space of the Letterman Show studio, Zombie knows how to let himself fly.
3. Iggy Pop
Yes, it's amazing that Keith Richards and Ozzy Osbourne are still alive, but the most remarkable might be Iggy, who not only survived but also still puts on a more violently energetic show than any number of mortals. Here he is schooling the stars of Trainspotting in a promotional video for "Lust for Life."
2. Axl Rose
In the wisest available piece on Axl Rose, John Jeremiah Sullivan dubs him "the only indispensable white male rock dancer of his generation, the only one worth imitating in mockery." He cites a tender moment from the "Patience" video as evidence, but it's the abrupt yet rhythmic spasms of Axl's now-infamous snake dance that made the world take notice.
1. Angus Young
Can you imagine matching the performance intensity of everyone else on this list...while playing a guitar? How about if you're playing the foundation of hard rock and the best blues-metal solos in history? Angus' duck walks and spins remind most folks of Chuck Berry, but a more accurate comparison would be Prince, the only other artist who can pack intrinsic showmanship and picking virtuosity into a 5' 2" frame.
The fact is, any dude who wants to put on a good show needs to do more than just sing or play his instrument, and that requires being confident enough with your masculinity to not care about what other people think. Here are five admirable guys who aren't afraid to leave their friends behind.
5. David Lee Roth
The only one on this list who clearly took dance lessons, David Lee Roth can't do anything but entertain you. Those high-kicks, splits, vaudeville steps and irrepressible ad-libs helped make him the greatest hard rock frontman in the world during his first stint with Van Halen.
4. Rob Zombie
Rob's sense of rhythm must have come from a different planet. Other than Jarvis Cocker, I've never seen another musician who seemed to know what the audience was seeing as well as what he was doing. Clearly a future director at work. Watch how even in the cramped space of the Letterman Show studio, Zombie knows how to let himself fly.
3. Iggy Pop
Yes, it's amazing that Keith Richards and Ozzy Osbourne are still alive, but the most remarkable might be Iggy, who not only survived but also still puts on a more violently energetic show than any number of mortals. Here he is schooling the stars of Trainspotting in a promotional video for "Lust for Life."
2. Axl Rose
In the wisest available piece on Axl Rose, John Jeremiah Sullivan dubs him "the only indispensable white male rock dancer of his generation, the only one worth imitating in mockery." He cites a tender moment from the "Patience" video as evidence, but it's the abrupt yet rhythmic spasms of Axl's now-infamous snake dance that made the world take notice.
1. Angus Young
Can you imagine matching the performance intensity of everyone else on this list...while playing a guitar? How about if you're playing the foundation of hard rock and the best blues-metal solos in history? Angus' duck walks and spins remind most folks of Chuck Berry, but a more accurate comparison would be Prince, the only other artist who can pack intrinsic showmanship and picking virtuosity into a 5' 2" frame.
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