Fuck The Eagles. Don Henley and Glenn Frey were assholes. But Joe Walsh was always aces in my book. I saw him perform twice in New York. Once when the James Gang got back together, and once solo. Both shows were worth the admission. Granted he's a little older and a little harder to understand, but the show itself was proof that the man can still play. We stood the whole time, much to the dismay of the dinosaurs behind us. There was a bit of a nostalgic feeling my father said, watching these "old guys" try and relive the glory days, but it wasn't too much so as to interfere with the music itself. That was still fresh, and the show was still fun. Joe Walsh is truly a piece of work.
"The Bomber" is as raw as it gets. I remember it took me a little time before I really listened to this song. At first it was all Joe Walsh hits, like "Rocky Mountain Way," "In The City," and "Life's Been Good" type songs. Then when I started getting into James Gang stuff it was "Funk No. 49," "Ashes, The Rain, And I," and "Walk Away." That's when a friend of mine said to me, "What about The Bomber man? That's the James Gang's best song!" Well lets just say he was right. The Bomber is rock and roll at it's finest. At first, it's an unrelenting assault, but when it backs off and Joe Walsh lets the the guitar and music breath a bit, you can almost fall into a trance, depending on what you're doing. I'd advise against that if you're driving or working with any machinery. And you've absolutely got to love the "march" that follows the aforementioned spacial interlude, before it goes into a really pretty melodic section. Somehow they make it all work together, like a Jumbalaya of form and feeling. The one thing it never loses though, is that incredible guitar.
Tuesday, August 28, 2012
External Underpants
http://externalunderpants.blogspot.com/
This was a long time coming.
I don't read many blogs. In fact, I didn't read any blogs until External Underpants came along, to be perfectly honest. The blog is written by the frontman of The Frank Stalloners, true. But it has little to do with his rockstar alter ego, and much to do with other passions of his, namely comics and writing. Danny is an avid reader, and an even better writer. His ability to dissect the information that exists between the lines, and present it in a way that is digestible to the rest of us, is well...Uncanny. For those of you who may know Danny simply by his stage antics and humorous band leading persona, this blog will open your eyes. His writing affords us all new insight into the mind of a truly gifted analyst. I was never even that huge of a comic book purveyor, though I did read my fair share growing up. This fact only enhances his blog for me, as it's opened me up to a whole new world of literature.
In the relatively short time that Danny's blog has been operating now, it's changed the way I think about a lot of things related to social media. I am not a social media guy. I don't have Facebook or MySpace, Linked In or Twitter. I'm not prejudicial towards those who do, it's just not something I'm interested in. I like a degree of privacy, and likewise, I afford other people theirs. In short, and I mean this as inoffensively as possible, I don't care about other peoples day to day dealings outside of those whom I actually speak with. But that being said, it's becoming clear to me that this is not a passing fad, and that social media is, and is going to further become a staple of our societies communication landscape. I'd also be lying if I said I didn't enjoy reading and partaking in the blogosphere.
So, now I'm blogging. I've bought a ticket, and I'm taking the ride. It's still a very strange thing to me and I'm not sure I think of it in the same manner as other people. Then again, I don't really know because I haven't spoken to many people about it. When Kim set this whole thing up for me, I figured, what's the worst that happens, I have a forum to write everyday (which I do anyway), and save each entry by date. It's pretty much a journal. Personally, I struggle with the idea of putting things on display. I'm not good at that because I'm not comfortable with it, but I can acknowledge that it is my own issue. You see, I respect humbleness. I respect the guy who keeps his head down, works hard, and makes great things happen, all the while never asking for recognition, never feeling he deserves it. Granted, I haven't done anything great at this point in my life, but just publishing this stuff is asking for a certain degree of acknowledgement. Asking people to read your work, is a form a self-validation and at least a little egotistical. It assumes that your work is good enough to be read. Maybe mine is. Maybe it isn't.
I'm know not all of my posts have been worthy. I hope at least some have. It's a quick, train-of-thought type process for me. You don't proof and edit journal entries, you just lay your feelings out there, and let the chips fall where they may. That's essentially how I've treated the Junkyard Farmer process. When I go back and read some of my prior entries, I can't help but cringe. I find all the flaws, both grammatically and otherwise. That's just my nature. But I must say, on the whole, the process has been very positive for me (I don't know if that's the same for my readers!). Getting my thoughts down on subjects that either pop into my field of view, or have been important to me for a long time, has given me perspective on things I didn't even know I had. It also just feels good. So in that vein, I must say I recommend it or something like it, to everyone. You won't know, until you try it. And I'll tell you what, if you start your own, I'll sign up and read it as often as I possibly can. Because though I may not be a fan of social media, there are a lot of interesting people out there with something to say. Hell, I know many of them, and one of them is certainly posting under the moniker of External Underpants.
This was a long time coming.
I don't read many blogs. In fact, I didn't read any blogs until External Underpants came along, to be perfectly honest. The blog is written by the frontman of The Frank Stalloners, true. But it has little to do with his rockstar alter ego, and much to do with other passions of his, namely comics and writing. Danny is an avid reader, and an even better writer. His ability to dissect the information that exists between the lines, and present it in a way that is digestible to the rest of us, is well...Uncanny. For those of you who may know Danny simply by his stage antics and humorous band leading persona, this blog will open your eyes. His writing affords us all new insight into the mind of a truly gifted analyst. I was never even that huge of a comic book purveyor, though I did read my fair share growing up. This fact only enhances his blog for me, as it's opened me up to a whole new world of literature.
In the relatively short time that Danny's blog has been operating now, it's changed the way I think about a lot of things related to social media. I am not a social media guy. I don't have Facebook or MySpace, Linked In or Twitter. I'm not prejudicial towards those who do, it's just not something I'm interested in. I like a degree of privacy, and likewise, I afford other people theirs. In short, and I mean this as inoffensively as possible, I don't care about other peoples day to day dealings outside of those whom I actually speak with. But that being said, it's becoming clear to me that this is not a passing fad, and that social media is, and is going to further become a staple of our societies communication landscape. I'd also be lying if I said I didn't enjoy reading and partaking in the blogosphere.
So, now I'm blogging. I've bought a ticket, and I'm taking the ride. It's still a very strange thing to me and I'm not sure I think of it in the same manner as other people. Then again, I don't really know because I haven't spoken to many people about it. When Kim set this whole thing up for me, I figured, what's the worst that happens, I have a forum to write everyday (which I do anyway), and save each entry by date. It's pretty much a journal. Personally, I struggle with the idea of putting things on display. I'm not good at that because I'm not comfortable with it, but I can acknowledge that it is my own issue. You see, I respect humbleness. I respect the guy who keeps his head down, works hard, and makes great things happen, all the while never asking for recognition, never feeling he deserves it. Granted, I haven't done anything great at this point in my life, but just publishing this stuff is asking for a certain degree of acknowledgement. Asking people to read your work, is a form a self-validation and at least a little egotistical. It assumes that your work is good enough to be read. Maybe mine is. Maybe it isn't.
I'm know not all of my posts have been worthy. I hope at least some have. It's a quick, train-of-thought type process for me. You don't proof and edit journal entries, you just lay your feelings out there, and let the chips fall where they may. That's essentially how I've treated the Junkyard Farmer process. When I go back and read some of my prior entries, I can't help but cringe. I find all the flaws, both grammatically and otherwise. That's just my nature. But I must say, on the whole, the process has been very positive for me (I don't know if that's the same for my readers!). Getting my thoughts down on subjects that either pop into my field of view, or have been important to me for a long time, has given me perspective on things I didn't even know I had. It also just feels good. So in that vein, I must say I recommend it or something like it, to everyone. You won't know, until you try it. And I'll tell you what, if you start your own, I'll sign up and read it as often as I possibly can. Because though I may not be a fan of social media, there are a lot of interesting people out there with something to say. Hell, I know many of them, and one of them is certainly posting under the moniker of External Underpants.
Monday, August 27, 2012
SOD: The Frank Stalloners "Tijuana Shuffle"
Two weekends ago was the 5th annual Equifunk Music Festival. It was my third straight year attending the campground music venue, and it was just as insane as the years prior. All of us in the Stalloner camp look forward to this event each year, but this year was especially important because it marked the last performance by The Frank Stalloners for the foreseeable future. With one guitarist out west and the keyboardist following shortly, the group has found it's performances limited, so when the opportunity presents itself you can bet they're firing on all cylinders.
This year, The Stalloners shared a bill with such acts as Galactic, Dumpstaphunk, The Pimps of Joytime, Bustle in Your Hedgerow, and Sister Sparrow and the Dirty Birds (who are from Brooklyn incidentally). The music is always good, and every year I leave with a new band I'm interested in hearing more of. The first year I went, I learned who Anders Osborne was. Now, I don't think there's another artist I've listened to more in the past three years. This year, having already heard of Dumpstaphunk and Galactic, the new group for me was Sister Sparrow. From the little investigating I've done of the band thus far (Hey, I've been busy...), I've come to realize that these guys are meant to be seen and heard. In other words, I'm thinking they're a Live band, and the recordings just don't give you the full scope of their performance and ability. Nonetheless, I will absolutely be listening to more of their stuff for a better crafted assessment.
This year, The Frank Stalloners had one of their most energetic performances. The additions of Tom Cumming on guitar, and Dave Chillano-Villano (aka DCV, please forgive spelling), brought a whole new layer to the already thunderous sound they possess. And even though there wasn't much time or space to practice with the new additions before the show, the group was as tight as I've ever seen them. Classics, like the Derek and the Dominoes anti-ballad "Why Does Love Got To Be So Sad," and Steely Dan's epic "Kid Charlemagne," were as powerful as they were intricate. Tom's solo on the latter was eerily identical to the records. But as I've always said about these guys, the real meat, is in the originals.
"Rita," a Johnny Vla original, is a tune everyone loves. From Bar's to Barbecue's, I've never heard someone say, "I didn't like that one," or anything close to it. "Hookers and Coke," is basically the anthem that sealed the deal between The Stalloners and Equifunk. Everyone who's heard of these guys, requests it by name. "Selena Roberts" is the ambitious instrumental with the obscure title, it's also a Melichar tour de force on bass. But it's "Tijuana Shuffle" that best represents the band as I see them. This was one of the first originals I heard them play, a long time ago. It's gotten tighter, quicker, and better since those early days, but it's never really changed, just like the band. It's a staple, a well written piece that plays to the strengths of each member, and even had newcomers Tom and Dave riding that wave. It's a shit-kicker of a song, and though they could probably play it in their sleep, they bring the same energy to it every time. Matty's slide guitar is the perfect accoutrement to Danny's stone-smoked voice, and as they trade lines for licks through the verses to the chorus, you can almost tell they're related. Almost.
This year, The Shuffle was given a dose of steroids. Though Danny's lyrics and charisma are the basis for this song (and it obviously goes without saying the song doesn't exist without them), the instrumentals were exceptional. Tom Cumming's guitar solo is simply one of the singular best I've ever seen. The build between him and the band is perfectly explosive. And when it all shifts back into a lower gear again, Matty does some simple slide work, that slowly grows a second nature of its own. There's a nice balance there between him and the keys, the kind of subtle wit that you have to listen for. Once you hear it though, you won't be able to stop listening for it. It's a great indicator of how well they know each other both musically and otherwise. DCV and Mega hold down a gnarly beat, ABB style, to top it all off. In other instances, I might say it's easy to forget about those two stick jockeys behind their rigs, but with this group that never happens. If they're not tight, the bands not tight. Fortunately, that never happens.
It's a bit disturbing to think that it could be another year before I hear these guys as a full group again. But knowing them, I'm confident it will be sooner. They love it too much. We all love it too much for it to end. So I have no fear that it will, but a tinge of remorse that it's over for now. Let this show stand as an example of their wild antics, and pure talent. It's been a pleasure to be a part of.
Don't worry, more videos to come...
"Rita," a Johnny Vla original, is a tune everyone loves. From Bar's to Barbecue's, I've never heard someone say, "I didn't like that one," or anything close to it. "Hookers and Coke," is basically the anthem that sealed the deal between The Stalloners and Equifunk. Everyone who's heard of these guys, requests it by name. "Selena Roberts" is the ambitious instrumental with the obscure title, it's also a Melichar tour de force on bass. But it's "Tijuana Shuffle" that best represents the band as I see them. This was one of the first originals I heard them play, a long time ago. It's gotten tighter, quicker, and better since those early days, but it's never really changed, just like the band. It's a staple, a well written piece that plays to the strengths of each member, and even had newcomers Tom and Dave riding that wave. It's a shit-kicker of a song, and though they could probably play it in their sleep, they bring the same energy to it every time. Matty's slide guitar is the perfect accoutrement to Danny's stone-smoked voice, and as they trade lines for licks through the verses to the chorus, you can almost tell they're related. Almost.
This year, The Shuffle was given a dose of steroids. Though Danny's lyrics and charisma are the basis for this song (and it obviously goes without saying the song doesn't exist without them), the instrumentals were exceptional. Tom Cumming's guitar solo is simply one of the singular best I've ever seen. The build between him and the band is perfectly explosive. And when it all shifts back into a lower gear again, Matty does some simple slide work, that slowly grows a second nature of its own. There's a nice balance there between him and the keys, the kind of subtle wit that you have to listen for. Once you hear it though, you won't be able to stop listening for it. It's a great indicator of how well they know each other both musically and otherwise. DCV and Mega hold down a gnarly beat, ABB style, to top it all off. In other instances, I might say it's easy to forget about those two stick jockeys behind their rigs, but with this group that never happens. If they're not tight, the bands not tight. Fortunately, that never happens.
It's a bit disturbing to think that it could be another year before I hear these guys as a full group again. But knowing them, I'm confident it will be sooner. They love it too much. We all love it too much for it to end. So I have no fear that it will, but a tinge of remorse that it's over for now. Let this show stand as an example of their wild antics, and pure talent. It's been a pleasure to be a part of.
Don't worry, more videos to come...
Friday, August 24, 2012
SOD: Elton John "Razor Face"
Elton John's fourth studio album was Madman Across the Water (1971), from which this song hails. It's hard to choose a favorite Elton John album, at least for me. The album following Madman, was Honky Chateau (1972), and that is perennially ranked as one of the top albums of John. With tracks like "Honky Cat," "Mona Lisas and Mad Hatters," and "Rocket Man," providing hits around which to build, it's a solid cover to cover album. So is Tumbleweed Connection (1970), which if pressed, is usually my top choice (or the live album 11-17-71). But I think Madman can get overlooked. When it came out, it was John's lowest charting album in the UK, though it did reach #8 on the Billboard 200. As time passed though, it's become more popular and has since gone 2x platinum.
In my musical circles, I don't hear a lot of people talking about the album as a whole. I aim to rectify that. Maybe it's because Elton John has so many hits and popular songs, albums can get overlooked by those who are not of the die-hard fan contingent. I know Johnny V never overlooks an Elton album, and in that vein I was going through my collection today when I realized I had in fact neglected this piece of work for quite sometime. Once I played it through today, I made the conscientious decision never to do that again.
Sure, this album opens with quite arguably the most famous (i.e. Almost Famous) Elton John song (if there can even be only one) , but it never loses traction after that. Just look at this track list (click songs for Youtube links):
1. Tiny Dancer (6:15)
2. Levon (5:22)
3. Razor Face (4:44)
4. Madman Across the Water (5:56)
5. Indian Sunset (6:45)
6. Holiday Inn (4:17)
7. Rotten Peaches (4:56)
8. All the Nasties (5:08)
9. Goodbye (1:48)
Now I have to assume not everyone knows all these songs, but take it from me, there isn't a "rotten peach" in the batch. In fact "Rotten Peaches" is one hell of an ass kicking track itself. "Levon" is unquestionably one of the all time greats (Johnny Vla does a mean one-man cover), and it's title character gets his name from the people's hero and American in The Band, Levon Helm. If this song doesn't somehow make you nostalgic about Levon, or emotional in general, than you're on your way to becoming a full-fledged Vulcan. The piano and string arrangement are as powerful as it gets for Elton John. "Indian Summer," another epic John tune dealing with an American Indian warriors defeat at the hands of the white man, evokes similar feelings to "Sixty Years On" in me. The title track is a mean piece of rock n' roll, and if you've never heard it before, don't sell yourself short any longer. It's got a heavy grit under the high wails of Elton, that at times create a beautifully menacing sound. And the song wouldn't be half as good without the marvelous string arrangement provided by Paul Buckmaster (who did all the arranging on this album including the incredible "Tiny Dancer").
Though I almost chose "Holiday Inn" for it's incredible lyrics and all around uplifting feeling, the reason I chose Razor Face is simply because it's just a great everyday, anytime, upbeat song that I've loved for a long time. Truth be told though, I hadn't heard in quite some time before today. I used to play "Razor Face," and "Amoreena" back to back all the time. For some reason, I liked making them a package deal when I had to get a dose of Elton on a public playlist or mix. So when I heard them both this morning on the subway and walk to work, I instantly knew it would be an Elton John fueled day. Let me tell you, it's been working out so far. You oughta try it yourselves.
The personnel and production on this album is extensive. Every song has a different combination of musicians, and almost every track has a Paul Buckmaster arrangement. In short, it's a big album, with a big sound. Hope you enjoy it half as much as I am right now.
In my musical circles, I don't hear a lot of people talking about the album as a whole. I aim to rectify that. Maybe it's because Elton John has so many hits and popular songs, albums can get overlooked by those who are not of the die-hard fan contingent. I know Johnny V never overlooks an Elton album, and in that vein I was going through my collection today when I realized I had in fact neglected this piece of work for quite sometime. Once I played it through today, I made the conscientious decision never to do that again.
Sure, this album opens with quite arguably the most famous (i.e. Almost Famous) Elton John song (if there can even be only one) , but it never loses traction after that. Just look at this track list (click songs for Youtube links):
1. Tiny Dancer (6:15)
2. Levon (5:22)
3. Razor Face (4:44)
4. Madman Across the Water (5:56)
5. Indian Sunset (6:45)
6. Holiday Inn (4:17)
7. Rotten Peaches (4:56)
8. All the Nasties (5:08)
9. Goodbye (1:48)
Now I have to assume not everyone knows all these songs, but take it from me, there isn't a "rotten peach" in the batch. In fact "Rotten Peaches" is one hell of an ass kicking track itself. "Levon" is unquestionably one of the all time greats (Johnny Vla does a mean one-man cover), and it's title character gets his name from the people's hero and American in The Band, Levon Helm. If this song doesn't somehow make you nostalgic about Levon, or emotional in general, than you're on your way to becoming a full-fledged Vulcan. The piano and string arrangement are as powerful as it gets for Elton John. "Indian Summer," another epic John tune dealing with an American Indian warriors defeat at the hands of the white man, evokes similar feelings to "Sixty Years On" in me. The title track is a mean piece of rock n' roll, and if you've never heard it before, don't sell yourself short any longer. It's got a heavy grit under the high wails of Elton, that at times create a beautifully menacing sound. And the song wouldn't be half as good without the marvelous string arrangement provided by Paul Buckmaster (who did all the arranging on this album including the incredible "Tiny Dancer").
Though I almost chose "Holiday Inn" for it's incredible lyrics and all around uplifting feeling, the reason I chose Razor Face is simply because it's just a great everyday, anytime, upbeat song that I've loved for a long time. Truth be told though, I hadn't heard in quite some time before today. I used to play "Razor Face," and "Amoreena" back to back all the time. For some reason, I liked making them a package deal when I had to get a dose of Elton on a public playlist or mix. So when I heard them both this morning on the subway and walk to work, I instantly knew it would be an Elton John fueled day. Let me tell you, it's been working out so far. You oughta try it yourselves.
The personnel and production on this album is extensive. Every song has a different combination of musicians, and almost every track has a Paul Buckmaster arrangement. In short, it's a big album, with a big sound. Hope you enjoy it half as much as I am right now.
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