In a response to one of the posts about bubblegum music, a reader states that glam is like “bubble gum with pubes”. Vile, yes. Disgusting? Absolutely. But not a bad analogy.

Glam is bubblegum’s older brother/sister, more streetwise, more decadent, more overtly sexual, but at its core it’s still pop music with gigantic hooks. Aural glitter, if you will. These songs don’t hope to catch your attention with a wink of an eye; that would be far too subtle. Glam is zippers and bulges and leering innuendo – wham bam thank you ma’am.

Many films tried to accurately portray the scene; few succeeded. Velvet Goldmine not only had a great storyline – think Eddie and the Cruisers but starring Bowie and Iggy – but a killer soundtrack that still holds up today. I heard the soundtrack prior to seeing the film, and it only accelerated my desire to do so. Faith rewarded in both media.

Todd Haynes co-wrote and directed the film, which featured a stellar cast including Christian Bale, Ewan McGregor and Eddie Izzard, among others. But the music…ahh, the music.

My thoughts from 1998, first printed in TransAction Magazine…

I confess up front that I havent seen the movie, although that has not been a deterrent to appreciating soundtrack records – they usually have little to do with the plot anyway. But I know good glam punk when I hear it. Shudder To Think does Bowie incarnate with “Hot One”; Placebo gives Bolan a workout with their version of “20th Century Boy”.

Also included are some great turns by Teenage Fanclub (“Personality Crisis”), Thom Yorke and star Ewan McGregor (a ripping version of “TV Eye” backed by Ron Asheton, Mike Watt and Thurston Moore, among others!). Plus how can you go wrong with Eno, Lou Reed, Roxy Music and Pulp?

And for those who forgot Steve Harley and Cockney Rebel in Mott’s wake, heres a reason to dig out your vinyl. God, the energy, the passion, the feeling!  So tell me again how the pulse of the music world had its balls shrink into raisins over the past few years?

Velvet Goldmine soundtrack

Velvet Goldmine film

Clip: Placebo rocking “20th Century Boy”

I was incredibly shocked and honored to find that “Water Under Mouse” off of the debut “VESSEL” by GiantFace has made its way to the Watt from Pedro Show,hosted by the one and only Mike Watt. As a human, and bass player Watt has had an influence on me, and the show is great, definitely my favorite podcast,and Im not just saying that ‘cuz he played my song.Here’s a link to the podcast. http://twfps.com/pages/show.php?sid=211

highlights:

* on-air guest skipper jeff

* february 27, 2001 interview w/ron asheton

* spiel from watt in between tunes he plays from his and his guests’ collections hour one:

“goldsboro express” john coltrane
“under pressure” petra haden

“guitars” tenko
“politics of hate” bass army
“lame talking” tohban djan

“bass is my bf” heavygrinder
“julie told suzie” gravity of the situation
“tugboat/jetboat” telomere repair
“cut with me” og

hour two:

ron asheton interviewed by john griffin on wcbn (ann arbor, mi) feb 2, 2001

hour three:

“flatter” sandy yang
“dirty blue gene” (ver 1, 1971) captain beefheart
“dirty blue gene” (ver 2, 1971) captain beefheart
“recession war blues” charlie noakes
“the roof blew off/open up” the cohen brothers

“your lamplight” boy in sleep
“burned baby doll” gahanna
“certifiable” signals
“indiana man” community currency

“water under mouse” giantface
“an astronaut’s nightmare” korean noise research
“peak experience” scotch wiggly band
“look out” super synth modulation

Atormentado por la culpa de no haber ido a bailar Thriller al monumento de la revolución, Godínez decide dedicarle la ofrenda de este año al Jack-O. Unas mallas a la Peter Pan y unos muñecos japoneses (de esos con los brazos marcaditos y los genitales bien rasuraditos) acompañan al cigarro y tequila que le procura cada año al abuelo.

Únase a Godínez y póngase a cotorrear con sus muertos favoritos.

Duración: 82 minutos 12 segundos / 33.3 MB

Canciones:

• Jim Carroll / People Who Died
• The Cramps / New kind of kick
• Les Paul / Guitar boogie
• The Ventures / Walk don’t run
• Mercedes Sosa / Alfonsina y el mar
• Manic Street Preachers / Mausoleum
• Nacha Pop / Persiguiendo Sombras
• The Seeds / Can’t Seem To Make You Mine
• Michael Jackson / Workin’ day and night
• Gustavo Pimentel / El Magazo
• Koko Taylor / I’m A Woman
• Oingo Boingo / Weird Science
• The Stooges / I Wanna Be Your Dog
• Chavela Vargas / Que te vaya bonito
• La talentosa Marilyn Chambers.

Arte: Folder para tu Pc / imprime, recorta y arma el empaque.

Descarga: Godínez pone su ofrenda. 14 canciones para comer huesitos de azúcar.

Escucha en línea:

It’s September and we’re about two-thirds through the year 2009. Here are just a handful of celebrities who have died since the year began.

Every day, our top 666 songs of alltime countdown gets one step closer to #1. Friday’s song is #327:

Radio Birdman – Hit Them Again

Characteristic pyrotechnics from the Australian garage-punk legends’ Radios Appear album, 1979, a co-write with Ron Asheton. Deniz Tek’s excoriating noise solo as the song burns its way out is pure adrenaline. Mp3s are everywhere – and here’s the Visitors doing the song in 2008 live!

‘D.I.Y. or Die: How to Survive as an Independent Artist’ é un documental de baixo coste dirixido por Michael W. Dean en 2002. O título do filme e os nomes dos capítulos xa din todo sobre o que se trata, non hai máis. 

Inclúe entrevistas a Ian MacKaye, Lydia Lunch, J Mascis, Ron Asheton ou Mike Watt entre outros.

Listado de capítulos:
1. What Is D.I.Y.?
2. Purpose
3. Integrity
4. Commerce
5. Self-Definition
6. Dealing With Adversity
7. Giving Back
8. Who Did What

VERSIÓN ORIXINAL

Una voz rotunda. Iggy Pop (Michigan, 1947) se expresa con la gravedad de un actor veterano, aunque es un conversador jovial, siempre presto a reírse de lo absurdo de su existencia. Así, reconoce que 2009 iba a ser una especie de año sabático, tras hacer caja con la gira de su grupo histórico, The Stooges. Todo se torció a comienzos de enero, cuando apareció muerto su viejo compañero, el guitarrista Ron Asheton. También supo que Hollywood renunciaba a filmar The passenger, la película sobre sus años salvajes. De alguna manera, ha decidido llenar el vacío sacando adelante proyectos particulares. El más visible es Préliminaires (EMI), un disco musicalmente audaz, inspirado por La posibilidad de una isla, la novela de Michel Houellebecq. Iggy atiende cordial desde Miami: “Acabo de salir de la piscina, podemos hablar de lo que quieras”.

Pregunta. Me asombra que viva en Miami, donde -fuera del universo cubano- no hay mucha actividad cultural.

Respuesta. Por eso lo elegí. Aunque soy eso que llaman un “artista de culto”, prefiero pasar desapercibido: vivo con mi mujer en un barrio ordinario. Pero aquí también existe una pequeña escena de rock alternativo y he terminado por hacer amigos.

P. Préliminaires oscila entre el jazz de Nueva Orleans y la chanson. Asombra que, con la crisis de la industria, le dejaran hacer algo tan atípico.

R. ¡No les pedí permiso! Originalmente, iba a ser un disco exclusivo para Francia; luego, quisieron editarlo otros países. De todos modos, me reprimí: dejé fuera un tema lento de diez minutos que es desesperación pura. En Estados Unidos, Préliminaires ha tenido las críticas más dispares: gente que me felicita y descontentos que piden [pone voz cervecera] ¡rock and roll!

P. Entiendo su confusión: ¿a quién creer, a ese Iggy Pop que canta Las hojas muertas o al que se desgañita sobre un muro de decibelios?

R. No son incompatibles. Mi oficio es el de cantante de rock. Tengo 62 años pero conservo toda la energía, conozco los códigos, sé mover a un público.

P. Seguro que recuerda lo que proclamaba Mick Jagger: que no se imaginaba cantando Satisfaction cuando cumpliera 40 años.

R. ¡Lo que no sabía es la cantidad de pasta que le iban a ofrecer por hacer eso! En este negocio no puedes decir algo tan tajante: el diablo te va a obligar a comerte tus palabras. De todas formas, entiendo que cantar rock toda tu vida pueda parecerse a una condena a cadena perpetua.

P. Hace poco, Jerry Lee Lewis tocó en Madrid; estaba muy deteriorado pero conservaba su dignidad.

R. Lo creo, me gusta el último disco que ha hecho. Jerry Lee igual preferiría cantar country pero ahí está. Recuerdo actuar en Madrid a principios de los ochenta en un local oscuro y no acudieron más que unas docenas de tipos feos, que se empeñaron en cubrirme de escupitajos. Yo no era consciente pero había tocado fondo: los conciertos posteriores en España han sido buenos, incluso muy buenos.

P. Hay una canción en el nuevo disco titulada Spanish coast

[Costa española]. ¿Recuerda cuál fue la inspiración?

R. Sí, estaba solo en un hotel cerca de Benicàssim, quería descansar. Al lado había una playa nudista. No podía poner a prueba mi español: todo eran rusos, árabes, nórdicos. Me impresionó que hubieran reducido la experiencia de España a “sol, sexo y mar”, pero prescindiendo de los nativos. De repente, me llegó la noticia de la muerte de mi manager, Art Collins, y no tenía con quién compartir mi dolor. Luego comprendí que estaba viviendo una situación que encajaría perfectamente en un libro de Houellebecq.

P.¿Hay música nueva que sorprenda a Iggy Pop?

R.Me impresiona el Hypnotic Brass Ensemble. Músicos callejeros, la mayoría hijos de un trompetista de jazz. Tocan muy crudo y… bueno, ellos no lo saben, pero les estoy componiendo canciones.

P. Uno no puede parar ¿verdad?

R. Así debe ser. En septiembre, doy un concierto en Alemania, con una cantante folk, Tine Kindermann. Es un ciclo llamado Un siglo de canciones. Uno espera haber aportado algo al cancionero del siglo, aunque solo sea I wanna be your dog (Quiero ser tu perro).

P. ¿Hay algo que añadir respecto a la muerte de Michael Jackson?

R. Yo soy más experto en fracasos que en éxitos. Imagino que el éxito desmesurado distorsiona todo. Lo sé, lo he vivido al lado de David y la suya era una fama más controlable. En el nivel de Michael, supongo que te vas debilitando y entras en una espiral de decadencia. Todos quieren algo de ti, todos te acosan, los abogados te abruman. No te adaptas, estás nervioso y tomas algo para resistir. Luego… fundido a negro.

P. Por cierto, he visto el spot donde hacía publicidad de una aseguradora británica de automóviles que…

R. … no aseguraba a músicos, ya lo sé. Bueno, ya han rectificado. Hay ventajas en ser un “artista de culto”: alguien te ofrece un montón de dinero por asociar su imagen contigo. Absurdo pero no me voy a negar.

P. Una pequeña maldad. Me dicen que conduce un Maserati. Imaginaba que, dado sus raíces en Detroit, sería fiel a sus coches.

R. He tenido coches americanos hasta hace poco, pero me daban muchos disgustos, no es bueno quedarse parado en algunas zonas de Miami. De cualquier manera, no quiero frivolizar con ese asunto: es terrible la decadencia de Detroit como ciudad.

FUENTE EL PAÍS

I’ll fully admit that for a few minutes there I was worried about what 2009 would be like for music.

After all, within the first two months of the year, we already lost three legends, in the form of Ron Asheton of the Stooges, Lux Interior of the Cramps, and Randy Bewley of the painfully underrated, yet highly influential Athens, GA band, Pylon.

I’ll cut to the chase. It was looking like dark days were ahead.

But, thankfully the gods of noise intervened, and have blessed us in the form of that which is new, and surprisingly excellent.

I’ll spare you talking about Animal Collective’s Merriweather Post Pavilion, simply because while it’s great, it’s also going to be one of the most-reviewed albums of the year. And I won’t talk about Wavves’ Wavvves, because, if we’re being honest, the previous Wavves release on Fuckittapes kinda kicks its’ ass, and if we’re being really really honest, none of it is anything that Guided By Voices, in all their shining lo-fi pop mastery, didn’t do way, way better over 15 years ago. There. I said it. Start throwing stones.

Instead, I’ll use part one of this series to talk about one of the most mind-explodingly great albums I’ve heard in a long, long time. Mi Ami’s Watersports.

For those of you interested, Mi Ami are post-Black Eyes tribal noise-punk madness. I got a chance to catch their set at Cake Shop last month, and watching them put me into a danced-out state of both elation and terror (and in case you were wondering, this is meant to be a huge compliment).

A lot of people will listen to a record like this and wonder what the hell the point is. It’s messy and incoherent. Noisy and abrasive. Sometimes the only thing the songs are driving towards is their own imminent and explosive self-destruction.

But to those critics and pseudo-intellectuals ingratiated to the satisfaction of dissecting albums via the authority of a blog for the entire world, who seem to always be looking for some form of deeper meaning, who will probably scratch their heads and reject something like this, I’d just like to say: Get over it.

Because while you were busy searching for meaning, busy comparing every album that passed through your ears to the Stooges and Cramps and Pylons of the world, and inevitably denigrating most of it for not living up to these unfair expectations, a whole lot of people willing to let go of this pretense were having their faces melted listening to Mi Ami break down every bit of meaning into rhythmic, dub-infused, scary-sexy madness.

And it felt really, really good.

Read “2009 has been rocking the new music releases [Part 2]” here.

Anton Newcombe with shocking pink flowers.

Tempted, last week to buy a subscription to Mojo magazine, a music mag with the greatest photos ever and from all decades, I fought the urge.

I went to Barnes and Noble to check out the new issue and it was just what I wanted. I’d passed on a few in the last six months, trying to watch my spending and not being completely taken by the content. But this one I had to buy.

They are the best source for painting portraits of musicians. I could justify the subscription. It was $83 at Amazon that day. Now it’s up to $90. I pay $10 per mag at B and N.

If I need to check out the details of Arthur Lee’s face, in his prime, I know I can find source material in Mojo.

Eno, The Stooges, Nick Cave! Yes!

I dived into the Stooges article only to learn belatedly that Ron Asheton had passed away in January. Beside Iggy, he was my favorite Stooge.

Think about that guitar work, boys and girls, and wish Ron a speedy passage to the land of light. Let the tears flow.

The Nick Cave article is great. I learned that he had indeed had an affair with Miss Polly Jean Harvey. But he was far too self-destructive back then and she was far too set on her own self-preservation. Good girl.

I was so sleep deprived the day I bought it that I had to drop the mag halfway through the article and find out about Nick and P.J. the next day. Good gossip about people I don’t know is always worth waiting for.

I once bought a Vogue magazine, something completely against the grain of my common sense, just to see what Jen had to say about Angelina (hiss).

It wasn’t a very cool thing to do.

That’s a paraphrase of Jen’s laid back condemnation of Angie for stealing her husband.

Reading about her magnificent zenned-out Malibu beach-cleansed house made the purchase worth all the pennies I put up. It sounds yummy and green and huge.

If Brad would swap for Angelina he is a dumb ass. I remind you, readers, once again, they were not holding hands at the Academy Awards. Sweetheart partners tend to do that when they are genuinely excited and hopeful that their beloved will be recognized for the hard work they have done on a particular project.

Sean Penn and Robin Wright were true-heart pals.

Also in Mojo, Brian Eno, here as a brilliant child, is a constant delight.

His brain is one of the sexiest on the planet.

I could watch a 12-hour bio pic of Eno in one sitting.

The dude from Coldplay, Gwenyth’s man, said in the studio (as producer) Eno is the Alpha male.

Eno has worked with Dave Bowie, David Byrne, and big ol’ U2 (hi, Rob Rogers!). David Byrne, Bono and Eno are all Tauruses. Chris Martin is a Pisces.

Brian Eno has made sublime music, art, thoughts, magic and he’s got a sense of humor which is plainly obvious in those 12-year-old eyes. You see.

Adventures in Vegetation

Yesterday, out on a short round of errands with my model gnome along, I decided to take a few photo of the happy gnome posing in the new crop of flowers at Home Depot.

Spring is beginning to show in certain places and it’s time for new gnome pix.

It felt very stealth, like I was doing something forbidden though, really,  I was not.

It was difficult to find flowers close enough to the base on which the gnome would sit. Most of the blossoms were too high.

I found some lovely bell like flowers but they were in the shade and too near the check out counter.

Would it seem completely mad to ask permission next time?

“I’d like to take a few pictures of my gnome in your flower pots. Is that okay?”

The clerk would feel they have to call the manager. The manager would become paranoid about my real purpose — was I a corporate spy from a competeing entity? The manager would claim a need to get permission from his overlords.

“What would I be doing with these photographs,” he’d ask.

“Amuse myself,” I’d reply.

Este año ha estado pesado con las bajas en cuanto a lo que a mí me gusta escuchar, se fue Ron Asheton de Iggy and the Stooges, Murió Andy Martinez de los Nekromantix, Bo Didley y recientemente uno de mis 6, ahora 5, más grandes y vivos. Lux Interior de los Cramps.

Pero en vez de hablar de lo triste y deprimente que se hizo mi día cuando me enteré…¡hablemos de fuzz musique!

El género probablemente ni siquiera exista, sólo lo utilizaremos para definir a aquellas bandas, que por el sonido que tienen, podrían encontrarse en un mismo cartél y mantener la coherencia sin importar la escena a la que pertenezcan porque:

a) Usan un pedal de fuzz

b) Fuzz musique suena muy chingón, y si tuviera una banda consistente en este momento, me gustaría que dijeran que toco fuzz musique.

Ok, hablar de todas las cosas, entornos sociales y casualidades que definieron tantos géneros como el garage, el frat rock, el surf, el punk  y el protopunk  etc etc, sería muy tedioso; Sólo es necesario señalar que los Kinks descubrieron un tipo de distorsión al razgar el cono de un amplificador con una navaja, Link Wray encontró otro al agujerar la malla de su amplificador con un lápiz, se pueden hacer guitarras eléctricas y acústicas con las piezas de un teléfono público,  los amplificadores de bulbos son caros, pero valiososos, vale la pena lo que sea que pagues por patear el cabezal de uno y que te dé ese sonido de feedback, como cuando pasas por debajo de una torre de alta tensión. Todo esto tiene en común un zumbido.

Hay muchas temáticas dentro de todos estos géneros, el protopunk dió bases al punk, y el punk bueno, es punk.

El frat rock y el garage son muy parecidos, la diferencia más notoria podría ser que el frat rock tiene un tipo de coro como de pandilla, que se llama anthemic en inglés.

Y el surf, tiene como característica que es instrumental la mayoría de las veces, y existe un plumilleo como médula espinal del género, cosa que suena… si, a un zumbido. Pero estas distinciones  no importan mucho en realidad, porque aquí estamos hablando de Fuzz musique.

Probablemente el tema más socorrido dentro de la fuzz musique sea el horror, hay muchos métodos para apoyarse y darle cierta atmósfera, los theremins y órganos farfisa ayudan mucho, pero definitivamente si a alguien se le debe algo, es a Lux Interior, quien de entrada reinventó el shock rock; cuando Alice Cooper ya no asustaba, Lux se puso tacones y tanga de cuero; Y canciones como Creature from the black leather lagoon, Human fly, y Aloha from hell, tal vez sean los más covereados dentro de toda la fuzz musique.

Otra institución dentro del fuzz serían… los Fuzztones. Un tip: TOOOOODO lo que hacen los Horrors hoy en día, los Fuzztones lo hicieron dentro del revival del garage… hace 30 años. Todo menos tocar en un hospital psiquiatrico, jeje.

Entonces, ya expliqué cómo sonar a fuzz musique, qué temas abordar, qué géneros integran esta inexistente, y nada seria escena.

¡Pues vámos a los ejemplos!

The Ghastly Ones – Ghastly Stomp

The Cramps – Ultra Twist

The Fuzztones – Ward 81

Link Wray & His Ray Men – Rumble

Lechuga!

Destroy All Monsters live at the Heidelberg featuring Ron Asheton of the Stooges, Niagara, Scott Morgan of The Rationals on guitar and Gary Rasmussen of the Up on Bass. Apparently this is the fourth iteration of DAM from the punk era circa 1983. The Heidelberg is a German restaurant and bar located at 215 North Main street in Ann Arbor Michigan, it still exists today. I shot the footage on an old Panasonic vidicon camera which accounts for the visible image lag and streaky burn in those pickup tubes were famous for. The show was a dual bill with the Cult Heroes.

As you probably already know, the old American Top 40 had about as much to do with actual popularity and record sales as…well…as much as this page does. Nothing at all, in fact. This is just another way for us to spread the word about some of the best under-the-radar stuff out there.

1. Jay Bennett - The Engines Are Idle

This big, vicious, 100% acoustic ballad is the centerpiece of the former Wilco multi-instrumentalist’s brilliant new cd Whatever Happened, I Apologize.

2. Soil & “Pimp” Sessions - Storm

Wild stuff by the Japanese inventors of the “death jazz” genre (actually the most live sound you could ever want to hear, right from the wall of horns that hits you upside the head as the song opens). From their upcoming cd Planet Pimp, scheduled for release on Koch on 2/24.

3. Our Vision - The Game

A big, sweeping, gorgeous janglerock anthem. Sounds a lot like the Church! They’re at Ace of Clubs on 4/3  

4. The Mad Dukes – Gone Gone Gone

Hauntingly rustic Steve Earle-esque murder ballad with a trick ending, a remake of the version that first appeared on Kim Simpson’s 1996 Midnight Apparitions cd.

5. Julia Haltigan & the Hooligans – All I Can Think of Is You

Really cool, noirish jazzy Americana. Click on this and then try tuning out. You can’t. She’s at 11th St. Bar on 2/24 at 10.

6. The Great Deceivers – Starless

Live cover of the epic King Crimson classic. In two parts, one here and the other here on youtube.

7. Ten Pound Heads - Paint Manhattan Black

A pop song as Iron Maiden or King’s X might have done it – fast new wave bassline, organ in the background. Good stuff.  

8. Destroy All Monsters – Party Girl

Yeah, we’ve been surfing youtube. This is a golden oldie, Ron Asheton’s late 70s band with Detroit cult vocalist Niagara. She looks great and the footage of Ron’s characteristic wailing solos is choice. Turn it up.  

9. The Brooklyn What - Soviet Guns

Wouldn’t be a Top Ten without a Brooklyn What song, right? And it makes a great segue with Ron Asheton. This is a characteristically snarling live take from the Brooklyn Lyceum show last year that made our Top 20 shows of 2008 list.

10. Rocketship Park – Birthdaydeathwish

The beautiful lushness of the string section and the soaring melody of this big ballad makes you forget about the flat, weak, stereotypical indie vocals. They’re at Monkey Town on 2/21 at 10:30 PM with the smartly amusing Balthrop Alabama.

Every day, our top 666 songs of alltime countdown gets one step closer to #1. Today’s song is #527:

The Stooges – I’m Sick of You

Absolutely evil proto-punk from 1974, Iggy getting snuck out of heroin rehab to do vocals, James Williamson’s offhandedly vicious guitar over Ron Asheton’s bunker-buster descending progression on the bass. It’s on a million compilations on both vinyl and cd; mp3s are everywhere.

Je reste dans la nécro, c’est pas gai je sais bien… En ce moment, je bosse sur une intervention autour de la décennie 75-85, les années punk et new wave. Alors que je suis totalement immergé dans le rock & roll de mon enfance, ce vieux briscard de Ron Asheton décide de passer la guitare à gauche.

A l’annonce de sa mort, le 6 janvier dernier, j’ai eu un gros flash, je revoyais Iggy slammer sur nous à la Foire aux Vins de Colmar en 2005. A un moment, à quatre pattes sur une enceinte, Iggy cabotinait, aboyant comme un damné en tortillant son derche, pendant que Ron envoyait le gros riff de “I wanna be your dog”, les trois méchants accords bien lourds et vicelards qui fondèrent le mythe punk. J’étais là et je me disais que ce type tout simple là, dans son patelin de Ann Harbor au Michigan, en plein été 1969 au lieu de faire le hippie de base, il composait cette bombe !

Comment calculer l’impact de Asheton, de son jeu de guitare sur le rock post 69 ? Le jeu de scène d’Iggy, le je m’en foutisme des New York Dolls, les experimentations de Lou Reed ont ouvert la route aux jeunes punks de 76, certes, mais n’oublions pas ce petit gars du Michigan parce que quelque chose me dit que sans lui, on aurait peut être pas eu de Steve Jones, Brian James, Johnny Ramone ou Mick Jones… Gros respect à toi Ron, j’espère que t’es retourné dans la Fun House !

Ron en interview :

Le Ron à l’action :

La Ciudad ha sido siempre un motor de la vida intelectual y desde donde se gestó la era moderna. Desde el siglo 18 en los cafés de Londres o los bares en la margen izquierda del Sena de París, sin la metrópoli, no habríamos tenido notables expresiones del arte, movimientos políticos y los cambios sociales que nos traen a la actualidad: la modernidad.

Ron Asheton, “chitaristul legendarei formatii The Stogees”, a inceput anul foarte prost. Se pare ca la miezul noptii era deja mort. Da’ l-au gasit dupa vreo 7 zile. Trista viata, trista moarte. No fun, no fun baby, no fun, no fun to be alone. And dead. De la Layne Staley incoace n-a mai existat asa moarte trista pentru un rockstar. Daca Ron era cumva rockstar. Fiindca la Stogees singurul rock star era babuinul de Iggy Pop. Prin ‘67, patru putzoi dementi, James Newell Osterberg [aka Iggy Pop], Ron Asheton, frate-su Scott (on drums) si Dan Alexander (bass), au inchiriat o casa in Detroit, unde luau acid, ascultau de la The Who la nu stiu ce rahaturi din Tibet, dupa care produceau un zgomot urias cu pretentii de muzica. Au ajuns chiar sa scoata doua albume magistrale, The Stooges (1969) si No Fun (1970). Dupa o pauza de trei ani pe motiv de prea mult bagat in vena (cica doar bietul Ron nu le avea cu asa ceva), trupa s-a regrupat si a mai scos un album, Raw Power. Putin straniu, Ron a trecut la bas, pe motiv ca Dan Alexander era intoxicat rau (a si crapat in 75). Iar la chitara a venit alt tolomac, James Williamson. Apoi Stooges s-a spart. Iggy avea sa se lanseze intr-o stralucita cariera solo, sub obladuirea lui David Bowie. Ron a ars-o cu trupe obscure si efemere ca Destroy All Monsters, The New Order (no relation cu urmasii Joy Division), New Race, la mare cautare acum printre colectionarii maniaci. In 98 a aparut pe coloana sonora la Velvet Goldmine. In 2003 fostilor Stooges le-a venit ideea sa se reuneasca si n-au facut rau (desi ma declar impotriva reuniunilor in general:)) Mai mult, treaba a fost durabila si a aparut chiar si un album, The Weirdness (2007). Existau planuri de viitor, Stooges erau anuntati si la Bestfest. Intre timp bietul Ron s-a imbolnavit de deces. Intr-o amarnica singuratate. Oricum, moartea va trebui s-o infrunti singur. Dar e beyond trist sa nu ai cui sa ii spui bun ramas. Revenind la viata, normal ca retardul de Iggy a focalizat toata atentia asupra lui. Dar fara un chitarist demential ca bietul Ron ar fi fost doar o varianta drogata al lui Tom Jones. Omul canta pur si simplu instinctiv. Nu era muzica de fapt. Era pure madness ce facea el acolo. Si s-au gasit o gramada de cretini sa rezoneze la chestia asta, intre care si unul care arata ca un nerd imbecil cu ochelari (adica eu). Daca Iggy Pop este Mick Jagger impins dincolo de extreme, Ron Asheton era Pete Townshend, impins si el cu un sut zdravan in fund dincolo de extreme. Omul a creat coloana sonora cea mai potrivita pentru declinul implacabil al lumii occidentale.

In loving memory of Ron Asheton voi racni cat pot de tare: I feeeeel allright!

Ptr cei curiosi de cum suna Destroy All Monsters… Gagica, ce-si spunea Niagara, era really hot. Acum e probabil o punkista batrana. Saxofonistul este Steve McKay, vechiul colaborator de la Stooges.

Si multumita minunii numita youtube, avem si New Order-ul lui Ron Asheton, mai vechi decat acela al fostilor Joy Division. Suna putin a Kiss, ceea ce nu e de bine…

PS Stooges au hotarat sa nu mai cante fara Ron. Ii respect ptr asta, desi din acest motiv n-o sa-l mai vedem pe babuinul de Iggy.
PS 2 L-am numit pe Iggy drept retard si babuin cu cel mai adanc respect. Cand ma fac mare vreau sa fiu ca el.

Ron Asheton basszusgitáros halála miatt nem jön Iggy Pop…deeee itt lesz Moby!!!

részletek: http://www.bestfest.ro/editia2009/romana/blog/mesaj/14/index.html