Dennis Wilson‘s solo album, Pacific Ocean Blue, out of print since a crappy 1991 CD version, is being reissued on June 17 as a two-disc legacy edition with 24 unreleased bonus tracks (plus “All Alone” which was included on the Endless Harmony soundtrack). This is exciting news for Beach Boys fans and MOJO readers, as Pacific Ocean Blue is widely considered a lost classic and “the best solo album ever released by a Beach Boy.”
Taylor was in town, a fan of Dennis’s. He’s also a family friend and interestingly enough has the same gravely, whisky, smokers voice as Den. They sound very much alike. We were in the studio mixing the Holy Man track, Taylor comes down to the studio, we hammer out a lyric, Taylor sings it. Perfect! It was meant to be. Destiny.
Buddyhead adds that Hawkins is also “a bearded surfing drummer just like Dennis.” So there you have it.
Bands catch a lot of flack these days for making half-baked, inarticulate political statements. It’s always fun to poke fun at dopey rock stars, I guess, but I just read a great quote in MOJO by Brian Jones from January, 1967:
“Our real followers have moved on with us, and they are questioning some of the basic immoralities which are tolerated in present-day society — the War in Vietnam, the persecution of homosexuals, the illegality of abortion and drug taking. All these things are immoral. We are making our own statement. Others are making more intellectual ones.”
We shouldn’t expect musicians to make air-tight political arguments. Leave that to the activists and intellectuals. But it’s great that they make their own statements, whether overtly political or not. There are many ways to subvert the system.
Kind of funny (and by funny I mean extremely disappointing) that 40 years after Brian Jones said that, we’re still basically fighting against those exact same immoralities…
Those are all great, of course, but Bangs really kicked his prose into high gear after Jann Wenner fired him from the Stone for being “disrespectful to musicians.” He moved to Detroit Rock City and took over Creem. Since today marks the 26th anniversary of his death, we’re honoring his memory by providing links to a bunch of his classic pieces for Creem…
While many of us may not be all that fascinated with Moby—it is rather remarkable to consider that Play goes back to 1999, so time fades—it seems that Mr. Hall isn’t all that fascinated with his own music or that of his contemporaries. Indeed, to describe what is generally heard on iPods and from turntables as “trivial” is probably to give the music too much credit, vis-à-vis what he argues in a post on his blog.
Moby is completely smitten with George Gershwin’s 1924 composition Rhapsody in Blue. Unfortunately, that work’s power has undoubtedly been diminished for many people by its use in United Airlines commercials. Nothing like associating shitty airline service with one of the musical masterpieces of all time (and no, I believe that, I am not channeling Moby).
This raises an interesting point to speculate on: What music that has been made in the past several years truly has the sustaining power that Gershwin’s composition has? Certainly, there are more than a few Beatles’ songs (although Rhapsody in Blue is a composition for piano and orchestra and is considered to be a “classical composition,” we shouldn’t lose sight of the fact that Gershwin earned much of his daily bread by writing for Tin Pan Alley). But who else?
Josh Rogers, the drummer in my band and longtime reader and sometime contributor to GLONO, turned me on to a book a few months ago because the story seemed to mirror my own life as a budding indie rock fan growing up in conservative West Michigan. As I read the first few chapters of Perfect from Now On: How Indie Rock Saved My Life I realized that for a period in the early to mid-90s the author and I attended about 80% of the same shows. I am sure I bumped into him on more than one occasion at various St. Andrews shows featuring Madchester bands or local punk shows at the various underground clubs that all seemed to take residency in the same shitty warehouse on Oaks Street in Grand Rapids. But I don’t know John Sellers, not personally.
I am getting to know him through his fantastic blog, Angry John Sellers (coincidentally, and appropriately, I was tagged “Angry Vantrell” in my pseudo American Mod band). His latest entry is a case in point of why his book is so fantastic for indie fans who came of age in the 80s and 90s. We can’t help but hold great contempt for the idiots we once were, but there’s also a sense of sympathy for the little dopes. If only we, the grizzled and wise older version, could go back and guide the chubby, peach fuzzed nobs we may have gotten laid after prom.
A few years ago GLONO bashed the Motor City Music Conference pretty badly when my band Riviera was treated like a smelly uninvited guest at our showcase. Since so many GLONO founders and contributors hail from the Great Lakes State, we so wanted it to be a success, but the conference was a text book display of everything wrong with Detroit, and specifically its all too insular music scene.
But just because somebody else made a shit sandwich doesn’t mean others shouldn’t keep cooking! So it was with a bit of excitement and a tad of dread that I opened my email to find a press release announcing a NEW music festival coming to Detroit this summer. My initial trepidation has been put at ease by the fact that The Rock City Fest is being put on by Detour-Mag. Longtime readers know that Detour is now the home to GLONO co-founder and soul brother Johnny Loftus. If it has his stamp, then I am confident it’ll be a hell of a good time.
More than Johnny’s involvement, the announced line-up is sure to add to the prospect of success. Headliners include:
Matt & Kim
What’s more, they seem to have learned a thing or two from the MC2s failures and have limited the number of venues to three:
Detroit’s sprawl and lack of a comprehensive public transit system makes it difficult for hammered rock fans to navigate the sometimes shady streets and back alley of the country’s perennial Murder Capitol contender, so keeping this thing small is a GREAT idea and probably why the annual Hamtramck Blow Out works so well.
This might appear to be some kind of an “advertorial” but come on, it’s newsworthy! It’s practically a public service announcement… I’m not sure how they managed this, because Allen B. Klein is a notoriously power-hungry greedhead, but somehow eMusic is offering the entire The Rolling Stones ABKCO catalog. That’s everything from 1963 to 1970.
If you’re not familiar with eMusic, they sell high-quality, DRM-free, variable-bit-rate MP3 files. You have to sign up for a plan, the cheapest of which costs $9.99 per month and allows you to download 30 songs per month. You get an additional 25 free songs when you first sign up. There are no album discounts, so every song counts toward your limit, even those four-second snippets on the Olivia Tremor Control albums.
Back to the topic at hand, for $9.99 you can own 55 Rolling Stones songs. That is a good deal. These are MP3s, which means they don’t “expire” if you cancel your subscription, you can play them on all your devices, and you can make as many backup copies as you need.
That’s all the singles from 1963’s “Come On” through 1971’s “Wild Horses.” All the albums, including compilations, through Let It Bleed. They even have both the British and American versions of the early albums. Now is the time to fill in the holes in your Stones collection.
Full disclosure: Glorious Noise gets paid if you sign up for a new eMusic account via our links.
Alison Sudol, aka A Fine Frenzy, covers one of my favorite Death Cab For Cutie songs and applies the appropriate amount of puckishness (I don’t think that’s a real word) to this classic lovelorn ditty.
So these guys made this site called Muxtape, which the Internet may have told you about. It looks like Super Breakout, only on cassette. Don’t fear that last word. Muxtape is on the Internet; it only pretends to be on tape. That means you don’t need my special Marantz 5030 cassette deck/Macbook hybrid in order to make mixes. I wish I wouldn’t have spent all those years developing that thing. Who knew no one would need a Mac with two external cassette decks?
True story: Johnny once spontaneously deejayed a party in my basement using only my Hitachi dual cassette deck and the box of old tapes I had packed away on a shelf. He could only use the first songs on either side of the tape because that was the only way he could queue it up properly. It was awesome. I kept running over and shouting in his face: “I DO NOT OWN THIS ON TAPE!” But the audio evidence could not be denied. The fact that so many totally great songs lead off either Side A or Side B of a bunch mildewing garbage kind of blew my mind that night. My cassette collection was better than I knew.
Later that year, of course, I sold them all at a garage sale, three for a dollar.
Oh for fuck’s sake. Looks like the next trickle in Neil Young‘s ongoing Chinese Water Torture unleashing of his archives is something that absolutely no one, not even the most harcore Rustie, wants to hear: the unreleased outtakes of songs from 2000 that eventually made up the worst album in Young’s post-Geffen career, Are You Passionate. The following has appeared on the Neil Young Times:
To a man, if you asked Crazy Horse about these sessions, you would learn that it was a depressing atmosphere and things were not going well. The band recorded there for months and came up with very little. Nothing, other than one song, “Goin’ Home” was ever finished. But a lot was started. Several of the songs written at Toast showed up on the “Are You Passionate” album with Booker T. and the MGs. But that album met with mixed reaction.
Mixed reaction? Really? Wouldn’t “mixed” imply that there were at least a few positive reactions?