Mars just finished another week at Rock Academy here in Asheville. At the finale concert the kids tore the roof off with an eclectic mix eight cover songs. Mars recommended this Riptides cover from their instrumental record Mental Therapy. Very surf rock and I love it. Notice Mars’s attention to stage presence. He’s fun to watch, because he looks like he’s having fun.
The kids also did a great cover of Herbie Hancock’s “Chameleon.” Dig the laid back drum solo around the two minute mark. That kid rocks steady! Mars was not in this one. Read the rest of this entry »
All together under one (small) roof at the Orange Peel in Asheville…
"One Two (tickets) Oh My God!" We got in to see the Beastie Boys.
How ridiculously lucky can you get? This show was at a club that only holds a little over 900 people. It was announced only a day before tickets went on sale, and week before the show. I started loading the ticket page on a couple different computers right before 4 PM, along with a lot of other people. For the most part the site would not load at all after 4. Then, when it did I would get an error when I tried to buy tickets. About 10 minutes later it started saying “SOLD OUT.” I could not believe it. Took a minute to complain/tweet about it. Then, went back at it. Finally, I got through! And it was NOT sold out. Yes!
I wanted to go pretty bad, and my son Mars even more so. Mary said he got so nervous when I was trying to score tickets he couldn’t watch. He went to play his drums for a bit. That didn’t help my concentration.
I got the tickets. You want a shirt, bring money.
We got there over an hour in advance, and the line was already long. The cool thing is it appears the promoters and club did everything they could to keep it fair, and minimize ticket scalping. You could only buy two. Everybody’s tickets were “will call,” even if you got the few they had at the box office. You had to bring the card you used for the purchase and another picture ID. Once you got your tickets you had to go straight into the club. Despite all that I heard people in line with an extra ticket were getting offered crazy money.
I had no idea Biz Markie was going to be there. He DJ’d for about 20 minutes and it was awesome! He totally owned the crowd. His set went through a ton of old school hip hop from the ’80s and ’90s. And somewhat to my surprise the crowd was extra hip hop literate. The Biz kept fading the mix to let the crowd a capella through lines of Grandmaster Flash, LL Cool J, even some Bob Marley, and bunch of other stuff I can’t remember. Massively entertaining. “If you remember that one, I know you’ll remember this…”
Of course, he couldn’t finish without giving us a little from “Just a Friend.” Make SURE to watch this video again.
When the Beastie Boys finally came out it was to Biz Markie doing “The Biz vs. The Nuge” (Check Your Head). Perfect.
And I couldn’t believe they had Money Mark with them. Money Mark’s records get played as much as anything in my collection. He’s been a hero of mine for years. Later in the set Mike D asked Mark to come out from behind the keyboards to play “Mark on the Bus.” Brilliant. (Clip from a different show.)
And what about the Beastie Boys? Well, I don’t how it could have been any better. They were fun, funny and funky. They played everything from their earliest punk stuff to a couple brand new songs with something from just about every record, save for License to Ill. I loved every bit of it, but I was especially glad they did a bunch of their instrumentals like “Pow” and “Ricky’s Theme.”
Mix Master Mike put on an impressive show and really turned it out with a scratching solo to open the encore. They finished strong with “Sabotage” and it was time to go home.
A couple other highlights include AdRock giving the crowd dance lessons for the “Jerry Lewis” and the “Funky Penguin.” He’s got skills. And I’ll never forget Biz Markie joining the band to sing Elton John’s “Benny and the Jets.” The Biz took his shirt off and every person in the house pulled out their camera phone to capture the big man going natural.
Oh man was that a pathetically long period of non-posting. I’m pretty sure that’s a record, one that I hope will stand for a long time.
Back to our regularly scheduled program… Ramones, Road to Ruin (1978) was a big artistic leap forward for these guys. Some people like to think all their music is the same, but this record alone is proof against that. Overall it’s a more “melodic” album, with even a strummed pretty ditty called “Questioningly,” which is 100% power-chord-free. And oh yeah, there’s also a cover of the ’60s pop hit co-wrote by Sonny Bono, “Needles and Pins.” My favorite though is “Bad Brain.” That song eventually became the namesake of my all-time favorite band, Bad Brains. It’s true, they named themselves after a Ramones song.
One not-so-pleasant memory about Road to Ruin goes back to my teenage years. My friend John (last name removed to protect the guilty) and I went through a brief, and ultimately painful period of spray painting graffiti at places like our high school. John, being a huge Ramones fan at the time, chose to spray the words “Road to Ruin” on one of our outings.
To make a long story short, we were eventually ratted out, interrogated individually, we confessed, and then got suspended for a week I believe. To minimize the cost of removing the paint and just pay some dues, John and I spent some days over the winter break on our hand and knees with wire brushes and paint stripper trying to clean the bricks and concrete we had vandalized. It sucked. The whole thing sucked. I don’t even know why we did it. We were generally trouble-free kids. It’s one of the few things that I’m embarrassed about, and completely regret it. But there is this that makes me smile… John said that when he was getting grilled about it that the vice principal said in a deadpan way, “Looks like this was your road to ruin, John.” As John put it later, it was like something from a closing scene of Dragnet.
I’ve probably played the Ramones’ Leave Home (1977) 20 times in the last week, which isn’t that hard to do since all of the 14 songs are under three minutes and many are less than two minutes. And the sound is perfect! I’m sure that is due in large part to Ed Stasium‘s work as “engineer.” I didn’t realize he had anything to do with the Ramones until just now, but I did know he has worked on a long list of killer records.
There are many great tunes on here and I think my favorites are “Glad to See You Go” and brilliantly retro-sounding (even for ’77) “Sheena is a Punk Rocker.” It’s as if the Ramones were channeling the Beach Boys.
Ramones - Leave Home back cover
More greatness from genius graphic artist Arturo Vega. I’m sure his contributions have had a lot to do with the continued popularity of the Ramones. This Ramones “seal” is as much a rock and roll icon as the band itself. “Look Out Below.”
Ramones - Leave Home seal detail
(Due to dicog disorganization I originally posted the next picture with the first Ramones record; it belongs to Leave Home.)
Because they’re so good looking someone decided to add another punk rock portrait on the album liner. Nerds? Tough guys? Gang? I wonder what people thought back in the ’70s.
Ramones - Leave Home liner notes
This copy of Leave Home is apparently the third release, and included the song “Sheena is a Punk Rocker.”
Pretty cool picture. This image was from an issue of Punk magazine. I like the minimalist layout and typography, sort of a prototype for some of the album art that Sub-Pop records would have years later. And speaking of minimalist, and cool, 14 songs in less than 30 minutes, and a solid hook in every number? That’s the brilliant self-titled record Ramones (1976). I was never that deep into the band back then, despite buying all the records and seeing them a dozen times, but lately I can’t stop playing the early stuff.
More great, great minimalist art on the back. This one is from Arturo Vega. He eventually did a lot of the Ramones’ artwork. Recognize the eagle? This is perfect.
OK, that was a pathetically long lay off. Work gets in the way. We’re back with some more DC hardcore. Alive and Kicking is a six song, six artist 7 inch in cool milky clear vinyl. The bands are United Mutation, Gray Matter, Beefeater, Mission Impossible, Cereal Killer, and Marginal Man. I like pretty much all of it. Some of it is straight-up hardcore and some songs, like Beefeater’s “Wars in Space” with someone playing “out” on sax, are more art-edge punk.
And, no, this wasn’t put out by Dischord. It was released by WGNS Recordings and Metrozine. Mary thinks she got it at a show, but says she knew so many of the people in the bands that she may have bought it from one of the guys.
Acquired: 1987 – When I worked at Mother’s Records in Hampton, VA.
Keeper: Yes
I need to listen to this one again. “See How We Are” was never my favorite X record, but I really wasn’t getting into it after a couple listens today. I do like the songs “4th of July” and the title-track “See How We Are”, but the rest of the album just sounds flat. And that’s despite that there are a number of high-energy fast-tempo songs. Overall it just sounds like they’re bummed out. Maybe they were.
I got to see them live, touring for this record, at the Ritz in New York. They were the opening act for Warren Zevon. To me, at the time that was a bill that didn’t make sense. The whole show was kind of a poignant downer. Guitarist Billy Zoom wasn’t there, replaced by Tony Gilkyson in concert and on the album too, and John Doe and Exene had broken up. The latter point was really driven home by Exene being visibly pregnant with someone else’s child. On top of all that, the biggest let down and surprise was that the most of the crowd was actually there to see Warren Zevon. Maybe I was the last guy to know it was the end for X.
Here’s an article about that show from the New York Times archives. Guess who gets 90% of the ink.
Acquired: 1985 – Maybe Tracks Records in Norfolk, VA.
Keeper: Yes
When this record came out I remember that I really loved the first (only?) single and video, “Burning House of Love.” This wasn’t quite the end for X, but in hindsight it seems that they had peaked earlier. There’s something flat about the production, or maybe it’s an overuse of keyboards that kinda takes the teeth out of some of the songs. There are also a couple songs I think they could’ve cut. Nowadays, my favorite song on “Ain’t Love Grand” is probably “My Goodness.” It’s a slow and slinky number sung by Exene that’s sounds more like classic lounge than classic punk, or roots rock.
I should’ve kept up with the band and its members over the last decade plus. I’m probably missing out on something special. So much music. So many artists. It can be hard to maintain hundreds of “relationships.” Which is the main reason I’m going through the entire record collection, one disk at a time.
From another hotel room in Asheville, NC… I get my house inspected in the morning and today my brother Grayson put a contract on a house he and Kellie want only a couple miles away. I slept for about an hour last night. We left before 5 AM and have been on the move ever since. I’m so tired I feel nauseous, but I can’t sleep so here’s the next record, played, obviously, yesterday before we left home.
There aren’t many bands that can record an album as eclectic as “More Fun In The New World” and still have it hang together so well. I’m too beat to write anything really insightful. I will say I love X completely and this is probably the album of theirs that I’ve heard the most. In highschool my friends John Hurlock and Scott Belbin and I were always driving around with this one blasting from the tape deck. I wish saw, or at least talked to those guys more often.
The only thing better than X is more X. For some reason their second record “Wild Gift” is mysteriously missing from our collection, but we do have the CD. So, here’s their third release, “Under The Big Black Sun.”
I remember they had a pretty funny video for the lead track “Hungry Wolf” with fake bats zooming aound, conspicuously hung on strings. I suppose that one would be considered the “hit” for this record, but I like everything here. My favorites are the tear-jerker “Come Back To Me” (about Exene’s sister that died) and the album closer “The Have Nots.” “Dawn comes soon enough for the working class…”
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