See if this sounds like enough of a novelty for you: a bunch of drummers in a bunch of Ohio bands (one of which is the Black Keys) get together and form their own band, called (naturally) Drummer. With the attention they might get because their bass player is Patrick Carney, Drummer could be dismissed or otherwise judged differently as some sort of side-project or musical lark. In fact, you might almost expect Drummer’s Feel Good Together to stumble in the same ways the Monsters of Folk album stumbles (more on that later): you might expect it to be astoundingly (or even offensively) less than the sum of its parts.

But albums, regardless of personnel, sink or swim on the music and it turns out that these Ohio drummers have put together a refreshingly solid, musically muscular rock album, one of the better ones I’ve heard this year. I approached Drummer with a lot of trepidation, vowing to listen to  the album at least twice before I rendered a verdict (standard Bollocks! disclaimer: I listen to every album I review a minimum of three times before I write anything about it. Most albums, unless they’re unbearable, make it to 8 or more listens), thinking that it might be a pretty hard slog. But Feel Good Together is stuffed to the gills with stellar musicianship and it is almost shockingly good. So good, in fact, that it makes me want to check out the other bands in which the drummers in Drummer drum. Drummer’s drummer, Greg Boyd, is from Ghostman & Sandman; as previously stated, Black Key Carney plays bass; the awesome lead guitar work on Feel Good Together comes from Jamie Stillman who comes from Teeth of the Hydra; there are keyboards by Steve Clements of Six Parts Seven; and Drummer’s singer is Jon Finley, who sounds like a cross between M. Ward and the Cult’s Ian Astbury and comes from a band awesomely named Beaten Awake. Of all these bands, I’ve only listened to the Black Keys (though I’m pretty sure I’ve heard of Six Parts Seven) and there’s nothing on this album that sounds even remotely like a Black Keys song. I could suggest, therefore, that Drummer sounds like bits of all those other bands but – and here’s something I love – I will have to listen to them all to find out. So it’s like Drummer has given me five new bands to listen to instead of one. And I still loves me some Black Keys. Maybe even enough to check out their rap-rock project, Blak Roc. Maybe.

Feel Good Together is a brief listen at ten tracks, and those tracks are almost gleefully schizophrenic, often burying the vocals deep in the mix (which I don’t always like, mind you, but Finley is able to growl out some catchy melodic hooks here and there and Drummer has some facility for harmony, especially on standout tracks like “Connect to Lounge.”) and cranking the guitars to eleven. The album opens with a keyboard riff straight out of Ozzy Osbourne’s “Mr. Crowley” before tearing off on its own little rock adventure. Later songs will remind astute listeners of Franz Ferdinand, Broadcast, and other danceable indie, but you can’t really say that Drummer is ripping off those artists either. Feel Good Together, as its artworks suggests, is its own half-melted sundae of pop and rock. Parts of this album, as I make my nth trip through it, even remind me of Hum. Remember Hum? You’d Prefer An Astronaut? “She’s out back counting stars?” No? That’s too bad. They were awesome. (If you do remember Hum and miss them, you can hear their only hit, “Stars”, on the soundtrack for Saints Row 2, where you can drive around killing people and pretending it’s because they didn’t buy Hum’s albums when they had the chance.)

Anyway, there’s not much to discuss regarding Drummer as a lyrical entity because (have I mentioned this?) I have no clue what Jon Finley is singing about. There’s part of one song where he sings, “Are we happy?/ I have no clue.” His vocals are barely intelligible when they’re not buried under every instrument on the album and I am genuinely perplexed as to why this doesn’t annoy the piss out of me. I suppose it could be that Feel Good Together is benefitting from my exceedingly low expectations. The reviews that I read before I heard the album prepared me for, at best, a somewhat interesting mishmash of musical styles that provide a bunch of drummers (well, except for one) a chance to step out from behind their kits. But the album manages to be pretty engaging throughout and though the songs wander a bit, they all fit neatly under five minutes.

Another thing I like about Drummer is that they’re basically an anti-supergroup. In this age of Them Crooked Vultures (I’m still trying to decide if I will listen to that album or not), The Dead Weather, Monsters of Folk, and whatever group the drummer from Cheap Trick and the Fountains of Wayne guy were in, it’s nice to see a band of bandmembers where the most famous dude is one half of a garage blues band from Ohio that is still fairly below the radar for most of America. Drummer, then, is the musical equivalent of the “No-Name Defense” of the 1972 Miami Dolphins; they’re not big stars, but they’re out there every week, kicking ass and taking names. At least, I assume that’s true of the guys in Drummer. And I’d love to believe that the members of the ‘72 Dolphins starting D are just running around the country tackling dudes at random. How cool would that be?

Over a year ago, I embarked on a mission doomed to failure. I attempted to form my own favorite 100 songs of all time and then count them down, writing about each on my blog. The hard part was not choosing which songs would be in contention. The hard part was ranking them, which led to also having to cut most of the songs from the 400-500 song list. So, I’m ditching many aspects of the original idea so I can end up writing about more songs and not be faced with the daunting task of ranking them.

Therefore, I give you the first in what I plan on being a long series of posts involving the songs I love. The songs will be selected at random, there is no specific order in which they will be written about. (That’s what “random” means, in case you didn’t know.) I call it “Island iPod” because these are the songs I would fit into a small mp3 player if I had to live on some deserted island. It’s my only form of entertainment or technology on the island, as this island is not filled with giant smoke-monsters or a heavy-breathing Matthew Fox running around looking bewildered all the time.

I didn’t choose “All I Want Is You” for the first post for any specific reason. (I just told you, it’s random, you need to start paying attention.) The album, Rattle and Hum, from which it originates is one of the most interesting and controversial in U2’s catalog. This is the album that proceeds The Joshua Tree, not only U2’s best album, but widely considered one of the greatest albums of all time. I have a feeling no matter what they released after such an achievement, it was going to be trounced on. And it was.

The original concept for the album was U2’s love of American music. They wanted to create something to be a tribute to their heroes in the form of roots rock, blues, folk and country. However, many critics misinterpreted their efforts to be placing themselves among those rock pioneers, instead of honoring them. Personally, I’m a big fan of the album. It’s a change in direction, but the band has become known for their wide berth when it comes to their musical evolution. Now, when you listen to “All I Want Is You,” the final track on the album, it doesn’t sound anything like the genres of music previously mentioned. It sounds like an outtake from Joshua Tree. It could be argued that it begins rather folksy, but it gradually emerges into something bigger, grander and “more U2.”

At first listen, it sounds like an extremely simple, conventional, black and white love song but I think there is something much deeper and grayer going on here. Instead of being an extremely optimistic song you might find Lloyd Dobler blaring on a boom box held high outside Diane Court’s window, it’s actually a song about the idealism of love versus the reality of love. That’s not utter devotion you here in Bono’s voice, it’s frustration. It’s the angst that comes with loving someone so much that because of that love, all the real-life trappings of relationship, hard work, and selflessness must be done right.

Bono understands that the reality and the logic of the world around he and his love will always be beating down the door of their ideological love. It’s often hard to work through these every day problems with the same logic of the world when love is a factor. You often wonder why can’t it all just be enough that “all I want is you?” The closing minute and a half of the song, finds an orchestra playing the song out. Within that small orchestral piece, you can almost feel Bono (despite not being heard) settling with the fact that he will always have to struggle between these two realities he knows and perhaps he even finds some solace in this acceptance.

U2 tends to encapsulate these kinds of ideas in their music. They expertly walk a line between ideology and reality. At once, they can be composing a euphoric song about love and then switch over to a critique or a plea for help based on what they see going on within the human race. Maybe it’s why U2 has become “all things to all people,” as they seek to make very big statements supported by strong ideology, but grounded in the real world we all live and love in.

*NOTE: Below is a link to the music video for “All I Want Is You.” I’ve never had any clue what’s going on with the little person or who it is that dies at the end or even why for that matter. I do know that, for the time period, it’s a beautifully shot video. It’s very “Fellini-esque.”

On this day in 1988 – The U2 concert movie “Rattle And Hum” opened.

Question of the Day:

Why do you love or hate U2 (or are indifferent)?

Love rescue me
Come forth and speak to me
Raise me up and don’t let me fall
No man is my enemy
My own hands imprison me
Love rescue me

Many strangers have I met
On the road to my regret
Many lost who seek to find themselves in me
They ask me to reveal
The very thoughts they would conceal
Love rescue me

And the sun in the sky
Makes a shadow of you and I
Stretching out as the sun sinks in the sea
I’m here without a name
In the palace of my shame
I said, love rescue me

In the cold mirror of a glass
I see my reflection pass
See the dark shades of what I used to be
See the purple of her eyes
The scarlet of my lies
Love rescue me

Yea, though I walk
In the valley of the shadow
Yea, I will fear no evil
I have cursed thy rod and staff
They no longer comfort me
Love rescue me

Sha la la sha la la…
I said love
Love rescue me

I said love
Climb up the mountains, said love
I said love, oh my love
On the hill of the son
I’m on the eve of a storm
And my word you must believe in, oh
I said love, rescue me
Oh yeah, oh yeah, oh yeah

Yeah, I’m here without a name
In the palace of my shame
I said, love rescue me

I’ve conquered my past
The future is here at last
I stand at the entrance
To a new world I can see
The ruins to the right of me
Will soon have lost sight of me
Love rescue me

From U2’s 1988 Rattle & Hum, co-written by Bob Dylan, U2 recorded this at Sun Studios in Memphis during their 1987 US tour.

U2 should be my favorite band. But unlike Springsteen, Wilco, Dylan or even Radiohead, I’ve never been able to fully embrace them. When I took in their recent live show outside Washington, DC (in a circle of Hell known as FedEx field-More on that in a later post) I wondered if that finally might change.

I used to tell myself that I first noticed U2 when they performed at the first Live Aid. But I know now it had to have been sooner. In the year previous, the band had its first US hit with “Pride (In the Name of Love).” and Bono had appeared on the Band Aid song to benefit Ethiopian famine,  “Do They Know It’s Christmas?”.

From the start U2 has made little secret of their ambition. Early on, the band was known as The Hype. Their two lead members, quite pretentiously, are known by their single, self-appointed names. The collection of four very earnest Dubliners really seemed to think that rock and roll could change the world and thought they were just the group to do it. And in pursuit of this goal they would, undoubtedly,  become the world’s biggest rock band. What’s never really been clear is whether they preferred to save the world or rock it into perfect harmony. Thirty years after the band’s formation that’s still an open question.

In their infancy, U2 concerned itself with more parochial matters such as their Irish upbringing. Undoubtedly, this was one of the things that drew me to the band as I’m half-Irish, which really means that I care about all things Eire but not enough that I can call it the home country. I’ve only been there for a total of two days, one of which was spent in an old pub in Dublin whose name I’ve long since forgotten. I drank pint after pint and asked the locals about ancient traditions and James Joyce. I don’t remember what they said. 

These days most Americans have a fairly Romantic view of Ireland, fostered in no small part by notable authors and travel agents. But, when U2 took the stage that July day in 1985, before 80,000 fans at Wembley Stadium (and millions more on TV-back when MTV was in the music business) for many  people, Ireland was looked at as a country perpetually torn apart by war, poverty and religious strife. U2 seemed like messengers from a Third World country. Bono’s songs chronicled personal and political tumult, and his booming voice was backed by soaring, percussive guitar chords and pounding drumbeats that suggested an imminent escape and a verdant optimism that something better was just around the corner.

In other words there was nothing small about U2. They were never too interested in telling stories, writing rueful love songs  or chirping about the good old days. Instead, they wrote universal songs that were both beautiful and inspiring with alarming ease. Their songs were inherently political while—and this is U2’s true gift—still being anthemic and stadium-ready.  In retrospect, their performance from Live Aid has an air of inevitability. They were ideally suited for the venue, the occasion and the cause. I suspect a lot of other people besides me also became U2 fans that day.

They had been together for eight years by the time of Live Aid, but having been properly introduced to the world they set their sights on the United States, which is a requisite for any band considering world domination. From early in their career America was a source of wonder. They wrote songs about Elvis and not one but two songs about Martin Luther King that were inspirational if not necessarily factual.  Their best album of the 80s, was named after a rather unremarkable tree native to the desert Southwest. It was hard to tell whether the obsession with all things American was genuine. They toured extensively in support of “The Joshua Tree” and released a live album and a documentary, both called “Rattle and Hum“, that was meant to pay tribute to musical ancestors like B.B. King and Billie Holiday. Rising out of the British post-punk movement, their connection to such artists, American artists, was tenuous at best. The fact that they were roundly criticized as being disingenuous or opportunistic by critics did nothing to deter their popularity.

They returned with “Achtung Baby!” an album filled with songs of existential sadness and loss. At the end of the subsequent tour in 1993 it could be fairly argued that U2 was, in fact, the best rock and roll band on the planet. At a minimum, they were a major force in popular music.

But, the band faltered in the rest of the 90s, struggling to find a message while singing about the trappings of fame, the media landscape and coping with pre-millennial madness. Their experiments with electronica, glam rock and club music were failures. They rarely include songs from this era in their live shows, which is a pretty solid indicator of the band’s own feelings about the “Pop” and “Zooropa” albums. But they still sold millions of records and performed sold-out shows. Perhaps, they felt, with peace in Ireland and prosperity in much of the industrialized world they had nothing worthy of their angst. Then again, other bands rocked better, or had a cooler message, or both. 

Chastened, (well, chastened as much as a band whose lead singer regularly wears tinted sunglasses can be) U2 released “All That You Can’t Leave Behind” in 2000. The fact that the band had endured critical, if not commercial, failure had humbled them and Bono admitted as much in interviews.  The record combined the rollicking anthems of their earlier work with solemn, reflective ballads.  I would argue that it is the band’s most complete album from start to finish. Its best songs might not hold up to earlier classics but it is a cohesive, cogent piece of work.  Whatever confidence that the band lost had been regained in spades. When U2 released “How to Dismantle an Atomic Bomb” to wide praise in 2004 Bono and the boys were further emboldened. Indeed, Bono became even more voluble for causes near to his and the band’s heart. His platform was no longer limited to stadiums or concert venues. He wrote editorials in newspapers, met with high-ranking officials, spoke at the UN. All unchartered ground for a rock star.

Their newest album, “No Line on the Horizon” has garnered mostly positive reviews and yielded a pair of catchy singles, but it has neither the sustained quality of the last two albums nor the urgency of their finer songs. Receiving far more attention than their music was their massive tour. 

———————————————————————————————————–

The last time I saw U2 in concert was on the remarkable Elevation Tour which followed “All That You Can’t Leave Behind.” It’s one of the five best concerts I’ve ever attended.  Upon hearing a song with deep personal resonance I wept unashamedly.  It was only about six weeks after the terrorist attacks and emotions were particularly high and, to their credit, the band understood this. I was comforted by my companion but also by complete strangers who were undoubtedly still grieving about more recent loss. We sang and bounced along, drank Guinness, waved the Irish flag, and tried to smile a little. Somehow, Bono connected with over 20,000 people on a personal level. Just watch.

I could tell the moment I walked into FedEx Field that that feeling would not be replicated. I saw very few Irish flags. Although there were 90,000 or so on hand, it felt more like 20,000 groups of four or five. There was no sense of community. I thought everything, including the band, would be overshadowed by the Orwellian claw that was the stage and video screens. There would be no personal connection with the audience.

And it is precisely this type of overkill that has kept me from fully committing to U2. As a person deeply concerned with preserving and conserving the natural environment attending the concert of a band that will lug 200 trucks worth of equipment around for the next two years presents more than a little bit of a conflict. Then there’s the fact that while Bono is talking about eradicating poverty and debt forgiveness he’s leading a tour that is more than a little ostentatious.  Furthermore, tickets were not cheap; some were as high as $250. Adding to the hypocrisy dilemma, is that this is standard operating procedure for the band. This level of extravagance is only marginally bigger than the last tour. What’s next, a performance in a rocket above the earth’s atmosphere that’s beamed to neighboring galaxies?

As enamored as U2 appears to be with the excesses of fame and fortune there are no tales of philandering, drunken rages, destroyed hotel rooms or drug abuse. Quite the opposite actually. Bono has been married for over 25 years. Larry Mullen, Jr. is similarly committed. The Edge is deeply religious and once thought of forming a Christian band.

So, U2 came out and for about two hours played several songs from the new album and many of their most popular hits. They should not be criticized for this because this is what established bands do; to play all of their favorites would require a concert of marathon proportions.

As always, politics was on the tip of Bono’s tongue. He made sure to acknowledge the presence (in a luxury box, no doubt) of the Speaker of the House, a Senator, a Bishop and a former Chief of Staff.  In contrast, on the Elevation Tour he made a point of calling out Dee Dee Ramone, whose bandmate Joey had recently passed away. On the video screens that created a huge silver beehive of multi-media, the crowd was implored by the Bishop Desmond Tutu and urged to support the emerging democratic movement in Iran. In the least subtle (and most obviously staged) sequence of the evening, Bono pulled a Sikh, who just happened to be sitting in the front row, and just happened to be waving a US flag, onto the stage to join him in song. Even if it was spontaneous and the man was the biggest U2 fan in the building, it seemed a bit much. It’s these sorts of demonstrations that make me and other people cringe.

The knee-jerk reaction is to tell Bono and his mates to just shut up and play. Indeed, there are times when watching U2 feels like you’re attending one of those 1/2 credit continuing education courses mandated by your employer. But, it’s not as though U2 are staking out particularly controversial positions. Who is against democracy? Or against Desmond Tutu? Really, who is against the poor? Ok, besides crazy right-wingers who are opposed to universal health care. Nobody. And Bono did, in fact, bring attention to a rather obscure issue like debt forgiveness for African nations. This is not a front page issue. Perhaps I should be grateful that Bono is so engaged with the world when so many other musicians are not. Try to imagine say, John Mayer, talking about say, the importance of providing healthy school lunches. Yeah. That ain’t happening.

Maybe Bono would be better served if he actually went to Tehran and marched in the streets. Or maybe if he had stood with the protestors in Bali to demand action on climate change. But he hasn’t. Maybe we should be thankful. He could turn into Ted Nugent.

It’s entirely possible that the Starbucks-drinking, Barnes and Noble book-clubbing, overwhelmingly white, upper middle class people that were in attendance in Washington cared only about seeing a good show. They, even in a recession, would gladly right out a check or two for their favorite progressive causes anyway, so why not allow Bono to give them a nudge? That’s all the vast majority of people can do because, really, there’s only so much time in a day. They have jobs and families.  And, yes, I too have fallen prey to this thinking on several occasions. It is a lot easier to just write the check than doing the day by day dirty work that is necessary to affect some sort of change. But I still feel guilty about it.

And yet, you know what? U2 delivered an energetic, often magical show. Just as they always do. The huge stage and giant video screens were awesome and trying to ignore them was a pointless exercise. They actually enhanced the experience rather than obscuring it as I initially feared. The songs were soul-stirring;  you don’t need to be Irish to get a chill hearing “Sunday Bloody Sunday” live. It strikes at something very basic to the human existence. And yet. And yet the experience left me feeling remote.

When they first arrived on the scene, nobody sounded like U2, now a lot of bands do. Because of their powerful music U2 is able to pull off stuff that no other band would even attempt. They know how to use the media and shape their image for a 24-hour news cycle. The quintessential 21st Century band, U2 gives us exactly what we want and deserve. Even their name is perfect for our shorthand, text-messaging culture. 

There’s something preposterous about thousands of people showing up at a particular place at a particular time to listen to a band play music and maybe, sing along. Most bands deal with this absurdity by being loud, ironic or eccentric. U2 approaches it with complete honesty. They want to be the greatest band in the world so they can spread their message of peace and love. Or is it the other way around? That’s the thing with U2, it’s never just about the music.

It Might Get Loud

YOU HAVE TO SEE THIS MOVIE. If you like rock and roll and worship at the strings of Jimmy Page, The Edge and Jack White like I do, this is a must see. I got into Led Zeppelin when I was in Jr. High School in the mid-80s along with The Who and The Rolling Stones and all the other masters of the genre but Led Zep always spoke to me on a level that The Beatles did. They formed my opinions of what I liked and how hard I liked it. I can’t imagine growing up without the genius of Jimmy Page. Music was my church and sanity and these were the gods I looked to. I remember in High School U2 really hit it but I was off in metal land listening to bootlegs of Metallica. There was this girl Elana who was totally obsessed with U2 and even though I wasn’t into them, I thought her musical devotion cool as hell and never forgot it. Now The Joshua Tree and Rattle and Hum are permanently on my desert island disc list as they completely blow me away.

As for The White Stripes, Get Behind Me Satan is a cd that I can listen to on repeat and love each listen. Jack White is all of my influences wrapped together in his own genius. I remember when I first heard Leadbelly and my search of the roots of rock and roll began.

This is a movie that puts you in the room of the three of them and it’s an honor just to watch it. When Jimmy Page first riffs into “Whole Lotta Love” the jaw-dropping look on Jack White and The Edge’s face is exactly those of us in the audience. Pure awe and worship. My only complaint is that this film isn’t ten hours long. I want to be there. I want to live in that room and hear every thought in their mind. I went with a friend of mine and she thought it was fantastic too!

It’s a joy to see the masters explore their loves and the story of how they grew into who they are. Jimmy Page turns into an air-guitar playing little boy at the listen of Link Wray’s “Rumble”. Hearing him deconstruct its attitude reawakened my love for the song. He describes his album and 45 collection as old friends to visit with and I love that I have the same feeling. When it comes down to it, Jimmy Page is as much of a fanbooy as the rest of us. Watching him play “The Battle of Evermore” on mandolin in front of his castle made me think that his gift is one of thousands of years. 

As a technophile, I have a new appreciation for The Edge. He embraces and plays with every conceivable sound you can possibly get from a guitar. It’s his voice and he is a master at getting his point across. It takes you through the beginning stages of “I Will Follow” which I think is one of the greatest rock songs of my generation. It’s one of those songs that you wish there really was an 11 on volume. It also takes you though his creative process in the writing of “Sunday Bloody Sunday” which got all of us to watch the news and take a look at the world around us. We also get to see Jack White write an entire song from start to finish in the movie. I noticed that he writes in pencil with no eraser. I think that takes more balls thank ink.

Toward the end of the film, the three of them jam to “In My Time of Dying” and the entire audience applauded and cheered. The grand finale was “The Weight” (also one of my all time favorite songs) was fantastic because it brought all of their different styles and methods to the song. Once the movie ended, the entire audience clapped and most of us stayed until the last credit rolled up the screen.

Now it’s time to do a well done rock doc with drummers!!

Here’s a tidbit I found on YouTube:

Um clássico ao vivo do album Rattle And Hum, para mim um dos melhores albuns/video ao vivo que foi produzido na década de 80.

U2 é uma das minhas bandas de cabeceira.

ENJOY!

E hoje, mais uma festa LOVE 80 no Aldeia.

Mais infos aqui.

Bjs e Abraços

Around once a year I get nostalgic for 80’s era U2 and pull out Rattle and Hum.  The fairly bizarre account of U2′s Joshua Tree Tour is always a fascinating watch.  Among the more intriguing parts is BB King’s assertion that “I’m awful at chords.”  That one of the most legendary blues guitarists of all time would be so open about this is surprising.  I know that King is best known for his powerful vocals and lead guitar work, but don’t we expect a little more out of our professional musicians? Perhaps not.  I don’t mean to belittle King’s body of work, which is astonishing.  It is odd, however, that he wasn’t concerned about appearing on film in this light.  Certainly it didn’t affect his career or his status as a Hall of Fame musician, but it did lead to a lot of jokes around my circle of friends (and likely others).

As for the film, which I have now seen about 30 times.  If you like older U2 music, it is highly enjoyable.  Some critics took issue with U2’s apparent desire to place themselves among the legends of American music.  Considering what they have become in the last 30 years, they weren’t far off the mark.  There is just somethign about watching a 27 year old Bono (incidentally the age I’m at) strutting around as a rock star on top of the world.  No one could reach a higher point of bravado and self confidence.

Ok, here for you consideration and then acceptance are the 10 greatest CDs (albums for you old foggies) of all-time, at least that I’ve heard, in reverse order. If you asked me tomorrow, I’d probably rearrange it or trade in a few others, here’s what I’ve got today. In my opinion Greatest Hits compilations don’t count because that’s cheating, cramming all your best songs together into one CD.

10. Welcome Interstate Managers – Fountains of Wayne: Excellent song-writing throughout. Pop-rock at its finest. A variety of memorable gems and great for singing along to.

9. Nothing’s Shocking – Jane’s Addiction: This CD hit me like a punch in the face. A punch I deserved. A punch I savored. Fury crossed with powerful, crunchy guitars overlaid with Perry Ferrell’s semi-crazy, evil/childlike banshee cries.

8. Moving Pictures – Rush: While Rush has almost become a punchline, there’s no denying the sonic power and precision of this CD. While the band is well known for Geddy Lee’s shrill soaring voice and Neil Peart’s flashy rhythms, Alex Lifeson truly shines on this CD with brilliant guitar work, especially on “Spirit of Radio.” I’m embarrassed to say the crescendo of that song still gives me goosebumps.

7. Document – R.E.M.- Thoroughly creative, fun, thoughtful and varied CD of a great band in its prime.

6. Purple Rain – Prince and the Revolution: Prince is a weird dude, and I haven’t liked much he’s done since this, but this is one of the most creative and yet catchy pop CDs ever made. And the little guy jammed on the guitar too.

5.Across the Borderline – Willie Nelson: Most underrated Willie CD because it came far after his supposed glory years. Fact is, Willie continues to crank out greatness, including the bewitching Teatro. But this collection of collaborations and remakes is my favorite of numerous Willie classics.

4. Synchronicity – The Police: The final CD of a unique, smart and extremely talented band. Apparently their varied musical passions pulled the band apart. But with this CD they perfectly melded their eclectic and eccentric sound into haunting, unforgettable rock.

3. X&Y – Coldplay: I used to hate Coldplay, or at least the idea of it. You could say this CD changed my mind. (Vida La Vida, by the way, almost made me reconsider.)

2. The Song Remains the Same – Led Zeppelin: Jimmy Page spills out his genius over two CDs of mind-blowing riffs, while Robert Plant summons the gods. Greatest live performance ever by anyone.

1. The Joshua Tree-U2: Not debatable. The greatest of many masterpieces from the greatest band ever. Majestic, rustic, organic, beautiful, primitive.

Honorable Mentions: Sheryl Crow-Sheryl Crow, numerous other u2 CDs like (Unforgettable Fire, Acthung Baby, Rattle and Hum and All That You Count Leave Behind), Loretta Lynn-Van Lear Rose, Pink Floyd-Wish You Were Here, Moby-Play, Junior Brown-Semi Crazy, The Sugarcubes-Life’s Too Good, Led Zeppelin-Houses of the Holy, and many others I’m sure I’ll think of later!

Bono: A Poet and he didn't even realize it

My friend John Johnny sent me a news tidbit about Radio 4’s upcoming  broadcast of a poem that Bono wrote about Elvis back in 1995. If you’ve ever suffered through a viewing of U2 hagiography Rattle And Hum, you may remember that Bono is a huge Presley fan. In a scene filmed at Graceland, Bono smarms an uncomfortable and embarrassed-looking tour guide into letting Larry Mullen sit on Elvis’ motorcycle. 

What I found particularly amusing about U2 at Graceland was how it evoked the scene in This is Spinal Tap, where Spinal Tap also visit Graceland. Keep in mind, This is Spinal Tap predates Rattle and Hum by about 5 years. 

I find it hard to believe that U2 hadn’t seen Spinal Tap before filming Rattle and Hum and even harder to believe that they had but chose to ignore the obvious and hilarious parallels between their and Spinal Tap’s visits to Graceland.

Anyhow, here’s the poem that Bono wrote. It’s called Elvis: American David and is apparently 850 words long. I didn’t read the whole thing because it’s frankly pretty crap. I did, however, read enough to inspire me to write my own crap poem about Bono called Bono: An Irish Douchelord and I’d like to share it with you. Like Bono’s poem, mine contains no capital letters in a misguided attempt to promote a false image of literary authenticity.

Bono: An Irish Douchelord

bono born on the bayou

bono son of sam

bono murdered rock n’ roll in a parked car across 110th street

bono anagram for boon and noob

bono shit-talker for the ages

bono flew his hat first class on british  airways to pavarotti’s birthday party

bono entertains celebutards on his yacht in cannes while wearing $800 sunglasses

bono is a champion of the poor

 bono flogs shit sandwiches to the masses

 bono is a tawdry ass-wiggler 

All right, you’re probably at least as sick of reading the Bono poem as I am of writing it, so I’ll spare both of us the 850 word count. If only Bono had made such a magnanimous humanitarian gesture and spared an already beleaguered and downtrodden world his poem.

Yesterday on a whim / on a walk home from a lame job interview, I decided to pick up Arcade Fire’s “Mirror Noir” and Leonard Cohen’s “Live in London”. I got to thinking about how awesome some music DVDs are, and how amazing it is when a film-maker is able to capture the experience of a concert in film.

So this morning I decided to compile a short run-down of some good music DVDs I’ve come across in recent years. To be fair I have tried to cover a broad spectrum of music DVDs, everything from classic rock to folk to metalcore-for-kids-who-wear-tight-pants.

A word on this, and many of my other entries: Please do not feel obligated to read these posts, or check out all the mentioned music, all at once. You can come back to this as a resource whenever you need music to listen to/watch. Think of this as a book with no paper, or a library without awkward people. Cheers.

1) Firstly, Leonard Cohen’s, Live in London-  Leonard Cohen is one of the most prolific songwriters of our time. Cohen took an unexplained hiatus from touring 15 years ago, using some of the time to do some profound soul-searching (Prior to recording “Ten New Songs” Cohen spent 5 years in a Zen monastery in California). Even after a long hiatus from performing, Cohen has still managed to produce a live-show filled with the depth and wisdom of a life-long artist. His voice is still deep and poetic, and his backing band comprises some of the best musicians I’ve seen in a while. I like it.

2) Mirror Noir, The Arcade Fire- This is Arcade Fire’s new DVD, filmed by Vincent Moon (the man behind a number of “La Blogotheque” videos, which I’ll discuss later). This DVD was filmed throughout the recording process of Neon Bible, and snapshots of the tours that followed. The mood and atmosphere of the film matches the feel of “Neon Bible”, and it gives some insight as to the reasoning Arcade Fire had in the recording process- why they used elaborate organ sounds, orchestras, and choirs. Definitely worth your time.

3) Rattle and Hum- This is u2’s travel documentary, recorded soon after The Joshua Tree. For this film u2 travels from Ireland to the US to discover the cultural/spiritual roots of American music. The best parts of the film are 1) A recording of “I Still Haven’t Found What I’m Looking For” in a church with a gospel choir and 2) A performance of “When Love Came To Town” with blues-legend BB King. This one is definitely a must own.

4) The Supernatural Experience- At the height of their career DC Talk recorded “The Supernatural Experience”, which centered on their last studio album, and tour, as a band. This DVD shows a some-what over-publicized band at their best moments. “Supernatural” was the definition of DC Talk’s years of seeking identity, before Michael Tait, Kevin Max, and Toby Mac felt the urge to pursue solo projects. Say what you will, underneath all the hype and baggage associated with DC Talk/Christian bands in general, they were pretty talented and creative artists.

5) Heima, Sigur Ros- Ah, Sigur Ros. This film captures a tour Sigur Ros did in small towns in Iceland. As they tour the band finds every atmospheric locale they can find to put an exclamation point on their already beautifully orchestrated music. The sounds used in this film range from high-technology, to rocks gathered on a hill that make different tones, to a large ice-field that cracks and groans (for lack of a better word) with it’s slow movements. This movie is poetry.

6) Where the Light Is, John Mayer- I haven’t seen this one yet, but I’ve been told it’s good. From what I’ve heard this is a more stripped down John Mayer set, reminiscent of his focused guitar-and-vocals performances before he got gigantically huge with Heavier Things and Continuum.

7) No Direction Home- A documentary about the early days of Bob Dylan’s career, directed by Martin Scorsese. This shows Bob Dylan both at his defining career points (such as challenging the entire idea of folk music by playing electric at a Newport Folk Festival) and his fun-loving character. It also shows Dylan’s reluctance to be heralded as the spokesperson for protest movements. I don’t want to say too much, because there are many conversations to be had with this DVD. Come over some time and we’ll talk.

8 ) Shine a light, The Rolling Stones- A documentary on the career of The Rolling Stones (a band that has been famous for a long time, and no-one can really say why) also directed by Martin Scorsese. I actually haven’t seen this one yet either… does someone own it? Was it any good?

9) Live From Chicago, u2- I don’t think any-one really expected “How To Dismantle An Atomic Bomb” to be a great album, but leave it to u2 to keep reinventing themselves every couple years, never finding themselves in a creative rut. This concert was performed during the Vertigo Tour, which I didn’t get to see because I was still a skeptic when this tour came through Vancouver. My best friend went to the show and came back with 97 reasons for me to feel jealous. This concert shines a light on their past career, as well as highlighting the personal nature of “How To Dismantle An Atomic Bomb”. U2 is one of those bands that you can’t afford to miss in concert… ever. They’re coming to Vancouver again in the fall, but I can’t find a ticket! I really should learn my lesson.

10) Any concert DVD by Led Zeppelin- I think Nick Andopolis said it best: “I believe in God. I’ve seen him, I’ve felt his power! He plays drums for Led Zeppelin and his name is John Bonham baby!” Some friends of mine were watching a classic Led Zeppelin concert one time, and seeing the legendary drum solo by the late John Bonham was worth some attention. That man must have prayed a lot in his younger days to have been blessed with such a talent.

11) The Best of Radiohead- Radiohead is another one of those bands you have to see in concert! I saw them last year at Thunderbird Stadium, and it was raining most of the time which made it a pretty surreal experience. I’m not sure if they’ve released a decent concert DVD yet, but they did release “The Best of”- a collection of all their best music videos.

12) A Hard Day’s Night- This is the defining rock-movie of our time. The Beatles filmed this one at the height of their popularity, and it shows the band in their young prime- before transitioning into, arguably, the most influential music career in our lifetimes. It’s a glimpse into that point in a band’s career where they realize: “Ah! I’m famous! Now what???”

13) Danielson : A Family Movie – Danielson represents the influence of a humble, sincere approach to music (a common theme in artists like My Brightest Diamond, The Welcome Wagon, Rosie Thomas, Denison Witmer and a host of others). This documentary follows the development of Daniel Smith and his family- a group of his brothers and sisters who played with tooth and nail for awhile, gained a following over the years, then eventually started their own label (a very short synopsis). The result is a hopeful film that makes you feel at home, part of the family. It’s strange comparing Daniel Smith’s sincerity with his weird vocal style, and also comparing Sufjan’s shy quietness with his wildly famous and confident “Illinois“. I can’t say enough good about this movie. Download/Borrow/Buy it today!

14) I am trying to break your heart, Wilco- I still haven’t seen this one (how embarrassing). Is it any good? From what I’ve heard, Wilco is every independent band’s favorite band. They are a band that has maintained a loyal following over the years, but has never become highly successful (becoming the band that every person and their mom talks about). I could see this film centering a lot around the political side of being a smaller band who doesn’t always have the luxury of a major record company putting every aspect of their career in cruise control, so to speak. I will find this movie soon, then rethink my synopsis. Yes.

15) Tupac Ressurection- Tupac was an enigma in the music scene in his short life, leaving behind a wake of controversy and influence. This film strays away from the overtly negative aspects of Tupac’s life, focusing instead on his personal/artistic character. I think “Changes” alone is reason to revisit Tupac’s life and career.

16) La Blogotheque – La Blogotheque is a film company of sorts that films impromptu concerts with independent artists, most of them taking place in the streets of Paris. The best part about La Blogotheque is that you can watch all their movies online for free! The music is good too. (My favorites include: Fleet Foxes, Tallest Man On Earth, Bon Iver, Sufjan Stevens). Spend a day or two with these videos, or subscribe to the podcast and carry them around on your IPOD or your zune (Do not carry them around on your zune! in fact, throw your zune away. I am not a fan).

17) This is Who We Are, As I Lay Dying- As I Lay Dying, from what I can tell, is an artist who is committed to working on the art itself and reaching a diverse audience, not limiting themselves to a Christians-only audience (similar bands are Haste the Day, The Chariot, Thrice, and Norma Jean). As well they come across as an intelligent group. I put them in this list because it would suck to write off all hard-music as bad. I think it’s a pretty legitimate art form, and there’s a lot of truth to be found in any genre of music.

18) Finally, This is Spinal Tap- The rockumentary of the ages. This is Spinal Tap is a mock-film that gives insight into the world of 80’s hair/metal bands. If you haven’t seen this one yet make it a priority. Cancel your kid’s soccer game and settle in for an evening of quality family time, or something.

Thus concludes my short list. Do you know of any other music DVDs I really should watch? If so… comment comment comment!

(Man I want some comments. What a horrible addiction. This is why I like using Tumblr).

Here an interesting clip from U2’s 1988 film Rattle and Hum, featuring their song “When Loves Comes to Town” performed with B. B. King.

When love comes to town I’m gonna jump that train
When love comes to town I’m gonna catch that flame
Maybe I was wrong to ever let you down
But I did what I did before love came to town

And you were dead in the trespasses and sins in which you once walked, following the course of this world, following the prince of the power of the air, the spirit that is now at work in the sons of disobedience–among whom we all once lived in the passions of our flesh, carrying out the desires of the body and the mind, and were by nature children of wrath, like the rest of mankind. But God, being rich in mercy, because of the great love with which he loved us, even when we were dead in our trespasses, made us alive together with Christ–by grace you have been saved–and raised us up with him and seated us with him in the heavenly places in Christ Jesus, so that in the coming ages he might show the immeasurable riches of his grace in kindness toward us in Christ Jesus. For by grace you have been saved through faith. And this is not your own doing; it is the gift of God, not a result of works, so that no one may boast. For we are his workmanship, created in Christ Jesus for good works, which God prepared beforehand, that we should walk in them. (Ephesians 2.1-10, ESV)

Our lives are fundamentally changed by the grace of God. We are made new because of his mercy and love. I’m so thankful that “love came to town.”

Amazing grace, how sweet the sound
That saved a wretch like me
I once was lost, but now am found,
Was blind but now I see

Originally published at antiMusic – U2 Month – Rattle and Hum.

U2 – Rattle and Hum
3.5 stars

The hottest band in the land was set to ride the momentum of The Joshua Tree into a live album and video. Most bands can do a live album and concert video in their sleep. U2 took the project a step further, for good and bad. Rattle and Hum is an inspired effort, but it also added plenty of fuel to the flames of critics who had tired of the band.

The album fares better than the movie. Critics complained the movie was too self-reverential. I would argue that there are more than a few bands who would want to record in Sun Studios. The tourist snapshots with U2 at Graceland or in Harlem are not a problem either. The problem is Bono.

The band did not want to relinquish too much of their private lives for the film, so the viewer only sees a mere snapshot of each individual. Being in a band never looked like so much hard work. Not to mention the entire film is humorless. This was U2’s first taste of celebrity not just rock stardom. Hollywood calls celebrities to task much faster than a simple rock star – especially when they are boring.

The Edge and Adam Clayton offer a few comments each, and come across as decent enough fellows. Larry Mullen gets quite a bit of screen time, but it is dangerous ground when the drummer starts to steal the spotlight. To explain my Bono is the problem comment, Bono never shied away from having a message beyond just singing the songs. Rattle and Hum takes him at his most vitriolic, and in some cases embarrassing, and throws him up on the silver screen.

“This is a song Charles Manson stole from the Beatles, we’re stealing it back.” What does that even mean? Five seconds into the movie and eyes are already rolling. Thankfully, the soundtrack album cut the fat. It also includes songs not featured in the film.

There is an odd disparity between the songs. Half of the songs sound like warmed over leftovers from The Joshua Tree, while others sound like covers of other artist’s songs. Even though it is regarded as a U2 failure – anything would have been a failure after the success of The Joshua Tree – there are several outstanding songs. Many of the songs are still set list staples 20 years later, including “Desire” and “Angel of Harlem.” Another album highlights, “When Love Comes to Town” left town with B.B. King. As it should. Who else could add that signature voice and guitar. Once King put his stamp on the song, it was his.

Edge singing “Van Diemen’s Land” and the road trip in a song, “Heartland,” are memorable but the one song that salvages the entire album is “All I Want is You.” The song runs across the film’s end credits and sits as the last track on the album. “All I Want is You” is the U2 statement to end the decade, as well as a sign of what was to come in the new decade. Maybe not sonically but definitely thematically.

You say you’ll give me Eyes in a moon of blindness A river in a time of dryness A harbor in the tempest But all the promises we make From the cradle to the grave When all I want is you

An unabashed love song, without the gooey sentimentality that often ruins unabashed love songs.

Similar to October, the story of Rattle and Hum often focuses on the behind the scenes elements of why the project failed to lift off as expected. For an emotionally powerful band, U2 is very self analytical as well.

By December 31, 1989, U2 rose to the top of the music industry through tireless touring and recording. At the dawn of the new decade, Bono stood at a New Year’s show in Dublin and famously said U2 had to go and dream it all up again. When they needed it most U2 set about to construct one of the greatest reinventions in rock and roll. They would land a long way from the shores of the Mississippi River.

U2 – Great

Rattle & Hum – Awesome

When Love Comes to Town w/B.B. King – Awesomer

Friday – Priceless

I was flipping through the channels the other day in a rare moment of aimless channel-surfing when I stumbled upon U2: Rattle and Hum playing on Palladia, MTV’s high definition music channel.  I haven’t seen that film since around the time of its release, so I decided to cut out the flipping and check it out.  I was happy to find that the music, overall, was really great.  The Edge’s guitar rang and chimed like only it can, and Bono’s unmistakeable voice provided the now obligatory rock star pomposity and bombast that at the time made him one of the most exciting figures in rock.  There were some snags, though, such as Bono’s anti-apartheid (pronounced by the singer with an overly sincere and now laughable snarl) rant during “Silver And Gold,” that took focus away from the music and painted the band as incredibly pretentious.  “Am I buggin’ ya?” Bono asks at the end of the aforementioned rant.  Well… yeah, Bono, you are.  Shut up and sing!  It’s moments like these that made the film largely reviled upon its release, but captured within the film are still other moments that show how U2 was at one time one of the most important and best bands in the world.

Like U2, Glasgow, Scotland band Glasvegas have penchant for songs with a social conscience, though Glasvegas are more provincial in their concerns, focusing more on local British working class societal problems (knife violence, divorce, philandering, bullying, racism, etc.) than Bono’s global political scope.  And, like Bono, lead singer James Allan can at times take himself just a bit too seriously.  On album closer “Ice Cream Van,” Allan abandons any illusion of subtlety, heavy-handedly accusing the “powers that be” of “destroying the ground where gruesome lays/Sectarianism and the hurtful racist ways.”  It’s a bit much to stomach from a pop band.  However, Allan’s proclivity for grandiose emotional statements serves him much better when it is more sharply focused.  He gets points for “Geraldine,” which initially appears to be a standard I-will-lift-you-up-when-you-are-down love song (“When you’re standing on the window ledge/I’ll take you back, back from the edge”), but reveals itself to actually be a tribute to the strength and guidance of social workers(!).  Also immensely effective is “Daddy’s Gone,” a simple and devastating message from a boy to the father that abandoned him (“I wont be the lonely one sitting on my own and sad/a fifty year old reminiscing what I had”).  Allan delivers his vocals impeccably, and his refusal to disguise his strong Glaswegian accent lends credence to his working class message.

A large selling point of Glasvegas is the music.  Borrowing heavily from many influences, the band has created a huge sound that matches the arena-filling power of other major pop bands, such as Cold Play or Oasis.  The lead guitar lines ring out like U2, and a heavy background fuzz reminiscent of the Jesus and Mary Chain, or more recently Interpol and Serena Maneesh, permeates every song on the album.  Simple, driving drum and bass propel the songs along, and everything is polished up with a bright sheen.  At times, there is an element of glossy overproduction that makes several songs sound too much alike, and the influences prominently on display lend a strange feel of familiarity and nostalgia that you can’t quite put your finger on.  Glasvegas also have a few tricks up their sleeves that work in their favor, such as the occasional injection of “whoah-oh-uh-oh” and “wah-ya-ya-ya” Phil Spector-ish girl group refrains in “Flowers and Football Tops” and “Daddy’s Gone,” repectively.  However, the former song has been saddled with a tacked-on coda that consists literally of Allan singing “You Are My Sunshine.”  It’s a pointless and unnecessary addition that does absolutely nothing for an already strong song.  Similarly, “Knife” consists entirely of a spoken word piece about knife violence delivered over Beethoven’s “Moonlight Sonata” on piano.  No, I’m not kidding.  Major stumbles like these keep this from being as strong a record as it could have been.

Released in the UK in September, Glasvegas’ self-titled debut was only just given a January release here in the States.  The UK press has gushed over this album, with some declaring Allan a genius and a poet, and others proclaiming Glasvegas as saviors of British guitar rock.  I don’t think Glasvegas have proved themselves to be any of that with this record, but I can see in them the potential to be great.  However, I hope the British press hasn’t already inflated James Allan’s ego too much and given him a Jesus complex.  We’ve already got one Bono.  I’m not sure that we need another one.

Glasvegas – “Daddy’s Gone”

Desmond Tutu has been the spiritual voice of South Africa for a long time and has been a constant critic of the Mugabe regime since the madness began in Zimbabwe.

The” Bish” as Nobel Peace prize winner has become known, has said that armed force is an option in removing Robert Mugabe from power. He was also critical of the South African government’s actions up to now in helping to solve the problem.

 Tutu asked the question “how much more suffering is going to make us say we have given Mr. Mugabe enough time?” “I am deeply, deeply distressed that we should be found not on the side of the ones who are suffering”, added Tutu about the South African response to the Zimbabwe crisis.

 Meanwhile Mugabe has declared that he couldn’t be bothered with anything the world has to say about Zimbabwe. The 84-year-old described the latest US criticism, which followed earlier calls from President Bush for him to step down, as “the last kicks of a dying horse“.

 “We obviously are not going to pay attention to a sunset administration. Zimbabwe’s fate lies in the hands of Zimbabweans,” he said, days after telling supporters that “Zimbabwe is mine.

 Mugabe also hit out at America’s top envoy to Africa Jendayi Frazer, and was quoted as describing Frazer as a “little girl” who was out of touch with reality in Zimbabwe and the rest of the world. She thinks that Africans are idiots, little kids who cannot think for themselves,”

 Once again all South Africans should take seriously what Desmond Tutu is saying about Zimbabwe. Our neighbours are suffering. There is a humanitarian crisis right on our doorstep. The time for dithering and talking has come to an end.

 Lets continue from the days when Bono from U2 urged the world on “Rattle and Hum” album …………”to support a man like Bishop Tutu in his request for economic sanctions against South Africa”…….as the people of a country have once again given up on the peacemakers from the west while they argue.

 It is clear that Archbishop Tutu is right once again. The longer Mugabe stays in power, the worse the situation will become. He has to go now. We have let down the people of Zimbabwe and we cannot rely on our government’s ability to help anymore.Let’s join Tutu’s call to the world to free Zimbabwe now.

http://news.yahoo.com/s/afp/20081223/ts_afp/zimbabwepolitics_081223160508

http://english.aljazeera.net/news/africa/2008/12/2008122412233699731.html