Friday, December 17, 2010

TWIWGTS GREATEST HITS #9 -
My Own "Special Comment"

[That's What I Was Going To Say is on a brief hiatus during the holidays.  Regular posting will resume on Monday, January 10.  In the meantime, please enjoy this countdown of the ten most popular posts in the blog's history.  Today we present #9, My Own "Special Comment", originally posted August 11, 2009.]

Hi BillImage by Travelin' Librarian via Flickr
Let me start here: I don't like Keith Olbermann. Nothing personal against the man; I have never met him. He may be a great guy if you get to know him. But as far as his current role as host of MSNBC's Countdown with Keith Olbermann, I find him to be bombastic, overbearing, self-obsessed and hypocritical.

At the same time, a part of me wants to like Olbermann. In his days across the ESPN desk from Dan Patrick many moons ago, he and Dan were easily the most entertaining, most knowledgeable sports commentators on the air; I never missed their show. He is obviously a bright man, quick-witted and, at times, honestly very funny. He is an outstanding speaker, able to use the language almost as a musical instrument.

Yet his skills are used, sadly, to perpetuate the ongoing partisan divide in this country. He is nothing more than the Left's version of Rush Limbaugh or Bill O'Reilly, constantly stirring the pot and fomenting anger and disdain among his audience against the Right. I dislike Olbermann for the same reasons that I dislike Limbaugh, O'Reilly, Beck, et al.: they each contribute mightily to the "us against them" mindset that we find ourselves in nowadays - a mindset that does our country far more harm than good.

But, in Olbermann's case, there's something more. It's the fact that he refuses to admit his role, that he does not see himself that way, but rather as some sort of messianic second coming of Edward R. Murrow, that causes me to want to kick my television in any time I watch his program. His pomposity is simply unmatched, and simply unbearable.

Yet I watch, partly because I keep hoping I'll find redeeming quality in his presentation, partly out of the "train wreck" factor ("What kind of idiocy is he going to spew tonight?"). I watch for as long as I can, until I can take no more and must turn the channel.

So it was that I found myself watching last night. I tuned in at about the halfway mark, and so was able to grit it out to the end of the program, and I'm sorry I did. Last night, Olbermann delivered another of his histrionic "Special Comments," extended editorials he prepares when something particularly goads him. You can read the transcript of last night's Special Comment here.

Again, I want to enjoy Olbermann's work. From a strictly linguistic angle, his Special Comments in particular are damn near poetic in their rhythm, structure, and evocative use of his extensive vocabulary. In content, however, their disingenuous, often factually inaccurate assertions and questionable leaps in logic drive me right up the wall!

If Olbermann is able to use his widely viewed soapbox to wax linguistic against those who get his dander up, then I hope he (and you, my readers) don't mind if I step up on my considerably smaller soapbox and, in the style of the self-appointed Master, vent my Olbermann-induced dander.

As promised, my own "Special Comment":

Mr. Olbermann, if this is, as you suggested in the opening lines of your Special Comment Monday evening, a "terrible time in American history," rest assured that you, sir, are culpable as surely as those folks you chose to call on the carpet.

Yes, you, Mr. Olbermann. You wield your Special Comment as though it were King Arthur's sword, a weapon so powerful and mighty as to only be employed in times of dire need, when the skies are bleakest with despair, and you the only one who can remove it from the stone in order to wield it. Armed, obviously, with your intelligence, skill in speaking, and penchant for the overly dramatic; armed, obviously, with your knowledge of cultural and literary touchstones; and armed, obviously, with Roget's Thesaurus, you drive your verbally acrobatic blade through the heart - what you must believe is the very black heart - of those you demonize. Indeed, you are so driven to rid the land of your enemies that you are nearly brought to tears as you speak of their heinous misdeeds, nearly brought to alarm as you consider where the roads they pave may lead, nearly brought to frenzy by your anger so strong that you spit out their names rather than speak them civilly. It is so convincing an act that those who blindly follow you, sir, are pulled into the visceral maelstrom even if they don't quite understand all the big words.

It
is an act, isn't it Mr. Olbermann? Your outrage, your fervor, your nearly bursting into stage tears; it must all be done to drive home the seriousness of your message. You know just as well as Limbaugh, O'Reilly, and Beck that you can't rally your troops through factual reporting and thoughtful critique alone. You've got to let them hear the sizzle before they'll buy the steak, right Mr. Olbermann? You've got to make them FEEL it, you've got to find their hot buttons, you've got to sell it. And, just like Peter Finch as Howard Beale in the movie Network, you've got to convince them to "go to the window, open it, stick [their heads] out and yell 'I'm as mad as hell, and I'm not going to take this anymore!'"

You do it in small ways night in and night out, don't you Mr. Olbermann? By demeaning those who represent opposing views; by giving them diminunizing nicknames such as "Comedian" Rush Limbaugh, "Billo the Clown," and "Coultergeist;" by smugly sitting in judgment of those you declare "Best" and "Worst" Persons in the World (and how telling that your Bests are really nothing more than another round of Worsts). In doing so, you imply that you, sir, and by default, your followers, are somehow better, more civilized people. You imply that you, sir, and by default your followers, take the higher, more thoughtful road than these obvious heathens.

But, sadly, the opposite is true. You are no better, sir; no more civilized, no more thoughtful; you do not take a higher road. Instead, you hypocritically wallow in the same muck, employing the same tactics of fear-mongering, alarm-sounding hyperbole to whip your supporters into a frenzy as the tactics you decry the targets of your venom for using. Perhaps you veil it less thinly, but not by much. You shame Limbaugh for comparing President Obama to Adolph Hitler, yet you freely compare Sarah Palin with the participants in a racist lynch mob, somehow making the leap from her unfortunate "Death Panel" Facebook comment to that comparison - a comparison not based in any logical thought progression but based merely in the need to make sure your followers get mad as hell! You mock Bill O'Reilly and Lou Dobbs for not being able to "let go" of their arguments with you on their programs, yet you remind us with excruciating clockwork-like regularity of how many days it has been since President Bush declared "Mission Accomplished." You, sir, are no better than they.

You are correct about one thing, Mr. Olbermann. This
is a terrible time in American history. It is a time when I find myself fearing the road we as a nation are traveling. It is a time of some the sharpest, deepest divisions in values, morals, and beliefs that I have ever seen in my 42 years. It is a time when I see the country I love being torn asunder; a time when it seems we can accomplish nothing because the partisan rift has become so deep and wide as to seem incapable of being bridged; a time when the mantra on either side seems to be that of the Hatfields and McCoys: "If'n ye ain't fer us, ye must be agin us!"

And you are also correct, sir, when you call the names of the Palins, the Becks, the Limbaughs, and others as those who should be held accountable, at least in part, for the bile that is ever eroding that partisan rift further. Though it may not seem like it based on what I have said so far, I am no apologist for the Right. I do find their tactics of fear-mongering and panic-inducing hyperbole as distasteful as you claim to.

But, Mr. Olbermann, I suggest that you take a good long look in the mirror, for you too, sir, are partially to blame. You too, sir, use many of those very same tactics while simultaneously decrying them. And, to paraphrase your own words, if someone is hurt at one of these Town Halls, pro-Reform, anti-Reform, or, most likely, as these things tend to play out in real life, sir - if the hurt befalls an innocent bystander - you will have contributed to the harm.

If you truly wish to bring about a change, a healing, in this country, I beseech you, Mr. Olbermann, to reconsider the way in which you are doing it. Sadly, however, I suspect that is not your goal. After all, you have your job to do, and that job is to get ratings. Because, sir, ratings equal dollars for that parent company you work for, don't they? And therein lies another similarity between you and those you demean, another measure of your hypocrisy: at the end of the day you too, sir, are beholden to a corporate boss, just as those you call out for serving their corporate bosses over serving the greater good.


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Thursday, December 16, 2010

TWIWGTS GREATEST HITS #10 -
10 Damn Good Reasons to Be a Phillies Fan

[That's What I Was Going To Say is on a brief hiatus during the holidays.  Regular posting will resume on Monday, January 10.  In the meantime, please enjoy this countdown of the ten most popular posts in the blog's history.  Today we begin with #10, 10 Damn Good Reasons to Be a Phillies Fan, originally posted March 26, 2010.]

Philadelphia Phillies Alt Wallpaper [iOS4 Reti...Image by Brian G. Wilson via FlickrIn the list of the 20 worst seasons in MLB history, the Philadelphia Phillies appear four times. The only other team whose name appears on that list more than once is the long-defunct St. Louis Browns. The Phillies are a team that one year finished 62½ games out of 1st place, in a 154-game season. This is the team that, in 1964, blew the National League pennant that they needed only one more win to clinch by losing 10 straight games, 7 of them at home. Life as a Phillies fan has not always been a bed of roses. Over the past four decades that I've been on this planet, the Phils have had many a season where cheering them on was an exercise in painful futility.

The Phillies also have always had some of the most loyal fans any team can hope to have. From the joyous successes they have achieved in the past few years to the darkest days of the late '80s and early '90s, the Phillies Phaithful have always been there. Why? Well if you love the game of baseball, with all its ups and downs, its quirks and follies, its moments of exultation and its moments of despair, you can't help but love the Phils - they've seen it all, experienced it all, and have had more staying power than any other club (since 1883). They embody everything baseball is and hopes to be.

Not buying that? OK, then how about, with 10 days to go until Opening Day, I give you 10 damn good reasons you should be a Phillies fan starting with the 2010 season (if you're not one of us already!)?

10. "High Hopes"
The Phillies' version of "Win one for the Gipper." The Phillies' legendary Hall of Fame broadcaster Harry Kalas would lead the club and the fans in the singing of this song after they clinched the 1993 National League Championship, the lyrics being perfect for a team that went from worst to first. When Harry left us last year, the song began being played after every home victory, and the entire stadium sings along!




9. The Phillie Phanatic
Named "Best Mascot Ever" by Sports Illustrated and one of only three mascots enshrined in Cooperstown, The Phanatic is the team mascot all other team mascots wish they could be! All the antics your local team's mascot does? The Phanatic did 'em first, and with more personality! Other mascots have come and gone - including San Diego's fabled Chicken - but the Phanatic endures and continues to entertain!

8. Bull's BBQ

As the slugging left-fielder on the great Phillie teams of the '70s through their World Championship 1980 season, Greg "The Bull" Luzinski was beloved by Phillie fans. As the creator of Bull's BBQ, home of the greatest pulled pork and pit beef sandwiches you'll ever find at any ballpark anywhere, The Bull has endeared himself to a whole new generation of Phillie fans. It's a must-visit concession when you're at Citizens Bank Park. And if you're lucky, The Bull himself might serve up your sandwich and sign your ticket!


7. Phillies Tradition
To be a Phillies fan is to be steeped in tradition. The club's moments of glory are ingrained in every Phanatic. Parents tell their children, who learn and recite their Phillies history as well as they do their multiplication tables. Even the youngest generation of Phillies fan knows about - and those who were there can and happily will tell you all about - The 1950 Whiz Kids, Jim Bunning's perfect game on Father's Day in 1964, Rick Wise hitting two homeruns while pitching a no-hitter in '71, the "Shootout in Chicago" in 1979 when the Phillies beat the Cubs 23-22 in ten innings, Schmidtty's 500th homerun, the Divisional Champ teams of '77 & '78, the World Champs of '80 & '08, the Wheeze Kids of '83 and the Worst-to-First misfits of '93. Phillies fans celebrate these and many more as if they happened just yesterday - it's a team whose history remains alive!

6. Harry & Whitey
Speaking of tradition...being a Phillies fan means honoring the memories of the finest, funniest, most knowledgeable and most entertaining duo ever to broadcast a ballgame. For many a fan my age, the voices of Harry Kalas and Richie "Whitey" Ashburn are what a baseball game is supposed to sound like. They were two old friends sitting down to watch a game and share some stories; we were lucky enough to be within earshot. They brought the game to life on radio, and added to the game we watched on TV. They rode every emotional roller-coaster the Phillies took us on with us - they were the ones in the front car, screaming their heads off at the most exciting points. Ashburn left us in 1997, and Harry passed last year, but to Phillies fans everywhere, they still call the games.

5. Leslie Gudel
For the past 10+ years now, Leslie Gudel has been covering the Phillies (and other sports) for Philadelphia's Comcast Sports. You can keep your Jeanne Zelaskos, your Erin Andrewses, your Melissa Starks, your Hazel Maes...Leslie beats them all! She became Philadelphia's first female sports anchor She knows her stuff, and while she's definitely a fan of the Phillies, she's not afraid to speak up when they screw up. Over her time in Philadelphia, she's become one of the best, male or female!

4. Larry Anderson
Simply put, L.A. is the best color man in the business, bar none. When Whitey passed away in 1997, Anderson stepped into to the booth. He never once tried to fill the shoes of His Whiteness (no one ever could); instead, L.A. brought his own brand of story-telling, strategy explanation, and game description to the booth, and helped us heal from the loss of Whitey without replacing him. Paired with Harry Kalas, L.A. became more confident behind the mic with each season. That he's a naturally funny guy helped, but his love of the game comes through every word, and that is what connects with the fans. Now paired with Scott Franzke in the radio booth, there are many, many fans who wish that we could have L.A. back on TV! I know I'm not alone in occasionally watching the game with the TV muted and the radio broadcast supplying the soundtrack!

3. Charlie Manuel
Charlie Manuel took over the managerial reigns of the club from Larry Bowa in 2004. It took a little while for Manuel to find his footing with the club and for Philadelphia to fully embrace Charlie, but he has proven himself over his tenure with the Phillies to be the perfect manager for this club. Manuel's public style is relaxed and down to earth, and he believes in his players - sometimes supporting them to a point that drives fans crazy, such as his decision to stick by Brad Lidge last year as his closer despite disastrous outing after disastrous outing. But you can't argue with success, and I'd say leading the club to three straight NL East pennants, two straight National League pennants, and two trips to the World Series - winning one of them - is success by anyone's measure.

2. Chooch, J-Roll, The Flyin' Hawaiian, Hollywood, Ra-UUUUUL!, and more
You have to love a team with personality, and the Phils have personality in spades! Just look at the nicknames on the team right now. And what makes this team work is that there are no prima-donna superstars. Everyone plays his role, and they celebrate each other's successes, stepping back to allow each teammate their share of the spotlight. Come on, could you ask for a better infield than Howard, Utley, Rollins and Polanco? Or a better outfield than Ibanez, Victorino and Werth? Ruiz has proven himself to be a valuable captain behind the plate and quite the clutch hitter when he's up to bat. With the addition of Roy Halladay and the return of a revived Cole Hamels, the pitching staff will again be among the toughest in the league. This is a team that's been to the Series twice, and still has its best years ahead!

1. The Phans!
Philadelphia fans may have a bad reputation outside of the City of Brotherly Love, but those of us who live the Phillie-Phan life know that those on the outside are simply misinterpreting our passion for our beloved Phillies! Phillies fans will strike up conversations with you, debate strategy, talk about the old days, whatever - whether they've known you for years or just met you by sitting in the same row. New Phillies fans are welcomed with open arms. The excitement in the stadium is electric, and again, when the whole stadium joins in singing "High Hopes," well, there's nothing better! The fans here are the best - but they are fiercely loyal. (Walk into Citizens Bank Park wearing a Mets jersey if you doubt our loyalty!)

So what are you waiting for? Declare your Phillies Phandom today, and join us in cheering on Your Defending National League Champion Philadelphia Phillies as they begin the journey back to the World Series and regain the championship!

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Tuesday, December 14, 2010

Two Years, Time Off and Greatest Hits

I missed an important date.

Yesterday was December 13, 2010 - the two-year anniversary of this here li'l ol' blog! Two years, over 280 posts, 108 New Wave for the New Week entries, and countless new friends made with whom I connected directly or indirectly because of my writing here. Two years worth of your kind readership, which is so greatly appreciated - whether you've been with me from the start or you only popped in once or twice. I thank you all for your feedback, and I hope I will continue to write material that piques your interest.

The very fact that I missed yesterday's anniversary, however, speaks to the need I have to make the following admission: My friends, I gotta take a break from this. Not a long break; by no means is this the end of the blog. But with Christmas, New Year's and both my brother's and my own birthdays all falling within the next few weeks, plus the fortunate challenge of increasing business in my gainful employment, I have a plate that is way too full right now. On top of that, for as much as I loved last month's NW4NW All Request Month, it was a posting marathon that basically burned me out.

So, I am putting That's What I Was Going To Say on hiatus until after the first of the year.  Live posting will resume on Monday, January 10, 2011.  In the meantime, however, I have scheduled repostings of the 10 most popular regular posts in the blog's history as well as the 10 most popular NW4NW entries - call it TWIWGTS's Greatest Hits.  Also, I have scheduled repostings of the Recommended Reading series I did several months back suggesting other blogs that you really should be reading.  It will be a chance for some of you to catch up on some of the better posts from the past two years that you may have missed; for others, a chance to revisit them.  I'll be interested in the feedback I receive on each, viewed with a new perspective.

This way, the blog remains active and, hopefully, entertaining; and when I come back in January I will be, again hopefully, rejuvenated and capable of my best writing.  Until then, I wish all of you very safe and happy holidays, and a happy, healthy and prosperous New Year!
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Monday, December 6, 2010

New Wave for the New Week #108

It's a shame more people haven't heard Sheila Macartney sing.  Landing about midway on the vocal spectrum between Deborah Harry and Siouxsie Sioux, Sheila's voice was confident, commanding and just a bit exotic - and nowadays tucked away in a back corner of the New Wave vault with the rest of her criminally forgotten band, Fay Ray.

Fay Ray was a five-piece ensemble from Bangor, Wales, who first made noise in 1980 with a single, "Family Affair," which was strong enough to get major-label attention.  Elektra Records liked the band's high-energy sound, and in 1982 released Fay Ray's lone album, Contact You.  On the album, Fay Ray comes across as a band with great potential.  A bit obsessed with themes of emotional detachment (the title track, "Modern Lovers") and global thermonuclear war ("Heatwave," "Wargames"), perhaps, but passionate and enthusiastic in their delivery. Theirs was a hook-filled amalgamation of post-punk, rock and pop, with a few surprises turning up here and there (an accordion solo?!?).  In a perfect world, Fay Ray would have been huge.

Alas, the world is imperfect, and Contact You did not connect with an audience.  A second album was recorded, but poor sales for the debut meant that Elektra chose not to release it.  Fay Ray dissolved shortly thereafter.  Contact You has never seen a legitimate CD release, but the album is not difficult to find and well worth digging up.

Sheila (now going by the name Sheila Brook) currently sings for another obscure combo, Turnstone, lending her voice to a somewhat moodier but nonetheless excellent sound.  Poke around their website and you can find a few examples of their music for your enjoyment.

But before you go there, enjoy this week's NW4NW entry, the clip for Fay Ray's shoulda-been hit, "Modern Lovers":



Tuesday, November 30, 2010

New Wave for the New Week #107
BONUS ENTRY! BY REQUEST!

[All throughout the month of November, all NW4NW entries have been based on requests made by you, dear readers. I want to take a moment to thank all of you who submitted requests. I hope that you were pleased with my efforts. The NW4NW series will resume its regularly once-a-week schedule in December. Although NW4NW All Request Month comes to a conclusion with this post, I am always open to your suggestions and requests for future entries - your feedback is greatly valued!]

Bush TetrasCover of Bush TetrasWe close out this year's NW4NW All Request Month with a bit of No Wave funk requested by Ron Parker.  Ron and I met online a few years ago and I have always enjoyed talking music with him. He got his request in under the wire this year, and it's a nifty one to end on.

Pat Place had just left a gig as guitarist in James Chance's bleat-and-skronk combo The Contortions when she teamed up with singer Cynthia Sley to form The Bush Tetras.  Building on the atonal foundation of the swiftly fading NYC No Wave scene, the Tetras cranked up the funky beat and found a greater semblance of melody amid screeching and stunted guitars than their predecessors.  Sley's chanted vocals keep things from sounding completely safe, and the songs wobble a bit, but fans of Gang Of Four or The Slits will understand.

The Bush Tetras original releases, the 4-song Rituals EP (1981) and the cassette-only Wild Things (1983), are both long out of print, but can be had if one is willing to look around a bit. Their two best-known songs were dance-club favorites in New York: their biggest underground success was the sparse but excellent "Too Many Creeps;" "Cowboys In Africa" is a bit more substantial musically but does not stray far from the boundaries of "Creeps."

Reuniting in 1990s, The Bush Tetras issued Boom In The Night, which collected their previous recordings and a few unreleased nuggets in one easy-to-own package.  Tetrafied, a collection of rare and unreleased demos and live performances, appeared in 1996.  Another reuinion came about in the middle of this decade, resulting in 2007's Very Very Happy, which combines old and new material.

For this request, I am happy to share both of The Bush Tetras classics; the video for "Too Many Creeps" and an audio-only of "Cowboys In Africa."  My thanks to Ron Parker for this request, and my thanks again to everyone who submitted requests for this month's fun.  Hope you've enjoyed!







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Sunday, November 28, 2010

New Wave for the New Week #106
BY REQUEST!

[All throughout the month of November, all NW4NW entries are based on requests made by you, dear readers. Because of the amount of requests received, there will often be more than one entry per week during this month - I recommend signing up for email alerts on the left-hand side of the screen so that you don't miss any of the fun! I cannot take anymore requests for this month, but please always feel free to suggest bands you might like to see featured in future NW4NW posts. You may do so either in the comments section of this post, on Twitter, or on the Facebook Fanpage.]

I was honored to receive a request for this year's NW4NW All Request Month from guitarist Amy Gore, formerly of The Gore Gore Girls and currently teamed up with Nikki Corvette, Lianna Castillo and Al King as Gorevette.  Tops on her request list? None other than her own bandmate Nikki's classic bubblegum-punk band, Nikki & The Corvettes!

Nikki & The Corvettes may have had a relatively short shelf life (roughly 4 years, from 1977-1981), but Nikki's influence has been far reaching.  Everyone from Josie Cotton to The Go-Go's to The Donnas owes her an audible debt of gratitude.  Whereas female-led rock and roll bands may not seem so unusual today, when the then-named Nikki Corvette & The Convertibles released the single "Young And Crazy" in 1978, it was almost unheard of, as she discusses in this interview clip:



With a sound that reimagined The Ramones as a '60s girl group, and with enough energy and enthusiasm to nearly bounce the needle right off the turntable, "Young And Crazy" announced the rules by which Nikki was playing:  No mopey torch songs, no dour introspection, no syrupy ballads.  Nikki was all about rock and roll and fun and cars and boys and good times.  This was music meant to be cranked out of a tinny AM car radio with the top down, the sun blazing, and as many friends crammed into the backseat as possible.  You simply are not going to be in a bad mood if Nikki Corvette has any say about it!

A second single, "Honey Bop," appeared in 1979 with the band name now somewhat simplified to Nikki & The Corvettes (try saying "Nikki Corvette & The Convertibles" five times fast), followed in 1980 by a full album on the Bomp! label.  Nikki & The Corvettes is a classic.  Not a bad song to found among it's dozen tracks, it features highlights like "He's A Mover," "Just What I Need," "Backseat Love" and "Summertime Fun" that not only keep your toes happily tapping, they stick to your brain like wonderfully gooey confections, demanding to be heard again and again.  Unfortunately, Bomp! sped up the masters when pressing the album, making Nikki's already bubbly voice sound almost cartoonish.

The single "I Gotta Move" appeared in 1981; it is notable for its flip side, which could be the Nikki Corvette theme song, "Girls Like Me" ("...were born to rock and roll...").  That, however, seemed to be the end of the road.  Nikki dropped out of the recording industry, apparently unaware of the rabid fanbase she had just waiting for something - anything - from their darling Nikki.

In 2000, Bomp! reissued Nikki & The Corvettes on CD with the recording speed corrected, the cover art changed, and all of the non-album single sides appended except, inexplicably, for "Honey Bop." The reissue only served to increase demand, and in 2001 Nikki was coaxed out of retirement for a show in LA, then another in 2002 in Minneapolis.  In 2003, her fans' long wait was rewarded, when the single "Love Me" b/w "What's On My Mind" ended a 22-year recording drought.

Shortly thereafter, a Japanese release, Nikki Corvette's Wild Record Party, appeared, containing Nikki's renditions of classics like Generation X's "Ready Steady Go," The MC5's "High School," The Saints' "Wild About You" and more.  Again the fun is dialed up to eleven, and it's as though the 20+ years since her last album never happened.  Highly recommended.

Nikki had been slowly assembling a new "official" band, and Nikki Corvette & The Stingrays made their bow in 2006 with Back To Detroit.  Kicking off with the sizzling title track, the album transports the vibe of Nikki & The Corvettes to the 21st century without sounding overly nostalgic or derivative. A second album with the Stingrays, Rebellious Love Emergency, followed in 2008.  Again, you cannot go wrong picking up either album.

Nikki was introduced to Amy Gore in 2005, and soon they began writing songs together, releasing their debut as Gorevette, Lustfully Yours, earlier this year.  On their MySpace page, they note a description of their music from Real Detroit Weekly that captures them beautifully: "Bubble-gum and hip-shakeable hooks meet ruthless, pure-firestorm guitar ecstasy."  Having been fortunate enough to see them perform live, I can confirm that description.

My great thanks, again, to Amy Gore for this request! Please enjoy the clips I've chosen below: first, an audio-only of two Nikki & The Corvettes songs circa 1980, "Girls Like Me" and "Let's Go," (the audio starts about 10 seconds in), and then the clip for Gorevette's "Lustfully Yours" from this year. Enjoy!






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Saturday, November 27, 2010

New Wave for the New Week #105
BONUS ENTRY! BY REQUEST!

[All throughout the month of November, all NW4NW entries are based on requests made by you, dear readers. Because of the amount of requests received, there will often be more than one entry per week during this month - I recommend signing up for email alerts on the left-hand side of the screen so that you don't miss any of the fun! I cannot take anymore requests for this month, but please always feel free to suggest bands you might like to see featured in future NW4NW posts. You may do so either in the comments section of this post, on Twitter, or on the Facebook Fanpage.]

The ConnellsCover of The ConnellsEric Link was among those who listed among his requests a band or two that I am not very familiar with at all, but one name on his list jumped out at me, being as familiar as an old schoolmate. It's a band that, to me, completely epitomized the prevailing college radio sound of the era when Eric and I each spun records at the University of Richmond's radio station; a band I don't listen to often enough, but whenever I do I am brought right back to the cramped DJ booth at WDCE, and a smile is brought to my face.

If you put The Smiths and The Byrds into a sonic blender with a mild sprinkling of Celtic flair, the result would undoubtedly sound very much like Raleigh, NC's The Connells.  Lead by brothers Mike and David Connell, the group has been making likable, moody Southern jangle-pop since first appearing on a local indy-label compilation album in 1984.  While comparisons to R.E.M. have been unavoidable, they have also been misguided; The Connells hew closer to a psychedlicized Guadalcanal Diary or The DB's in a blue funk then they do to the Athens giants. 

Their debut, 1984's Darker Days, showed the early Connells to be band with more ideas than ability.  Songs like the title track and "Hats Off" showed such promise, and it was easy to see where the band was aiming, but their playing was a bit clunky and unfocused at times.  Thankfully, they forged ahead without losing sight of their target, and they nailed a bullseye with their second effort.  By the time Boylan Heights was released in 1987, The Connells' musicianship had caught up to their potential.   The album is fantastic.  Vocalist Doug MacMillan no longer strains to project the emotion behind Mike Connell's songs; rather, he almost delivers the excellent "Scotty's Lament" as an aside, tossing out lines like "I delight in my despair" knowing that they are potent enough on their own without any additional oomph needed.  Tracks like "Elegance" and "Try" helped to make Boylan Heights a college radio smash.

Fun & Games followed in 1989, keeping the pace of Boylan Heights but not really taking any steps forward.  Nothing here is objectionable, but nothing is highly memorable, either.  The Connells were back in gear, however, when they released One Simple Word the following year.  With guitars ringing as brightly as ever and a bit more pep in their stride, the band were finding the pop side of their personality.  The single "Stone Cold Yesterday" generated quite a bit of interest, but The Connells were beginning to feel the grind of near-constant touring.  They retreated for a few years before re-emerging ready to reveal their masterpiece.

That masterpiece was found on the album Ring"Slackjawed" crystallized everything that made The Connells so enjoyable into one four-minute song: the off-handed emotion, the catchy chorus hook, and those guitars.  It would be their most successful album and single to date, but certainly not their last. 

Weird Food and Devastation followed in 1996.  Again, The Connells seemed to be stuck in neutral; it continued where Ring left off, but didn't move forward.  Two years later, Still Life found the band sounding softer, almost tired.  It seemed that perhaps the end was near, but The Connells were not out of ammunition yet!  In 2000, they bounced back with the self-released Old School Dropouts, the first album on their own Black Park Records since their debut.  It was as if the two previous records never happened.  Getting back to their DIY roots, the band sounds revived on tracks like "Bust," "Hello Walter" and "Back In Blighty."

Ten years later, the world still awaits the next volley from The Connells.  While band members have tried their hands at side projects, they insist that The Connells are not done.  They do tour intermittently, but whether or not we'll hear anything new any time soon remains to be seen.

In the meantime, please enjoy the clips for two of my favorites, "Scotty's Lament" from the excellent Boylan Heights LP, and "Slackjawed" from Ring.  My thanks to Eric Link for his request!







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Friday, November 26, 2010

New Wave for the New Week #104
BONUS ENTRY! BY REQUEST!

[All throughout the month of November, all NW4NW entries are based on requests made by you, dear readers. Because of the amount of requests received, there will often be more than one entry per week during this month - I recommend signing up for email alerts on the left-hand side of the screen so that you don't miss any of the fun! I cannot take anymore requests for this month, but please always feel free to suggest bands you might like to see featured in future NW4NW posts. You may do so either in the comments section of this post, on Twitter, or on the Facebook Fanpage.]

This entry in the New Wave for the New Week Series marks a departure from the usual: today's is the first post in the series to feature a movie instead of a band.

My old friend Gil Smart reviews both national and local politics in his always excellent Smart Remarks column for Lancaster Newspapers, as well as authoring the blog of the same name. While Gil and I seldom agree politically, we often find common ground when it comes to music.  It surprised me, then, when Gil admitted to never having actually seen the New Wave era's equivalent to the movie version of Woodstock, the cult classic concert film Urgh! A Music War! 

Urgh! is as perfect a time-capsule of the New Wave as could be created.  30+ bands recorded live in 1980, presented in seemingly random succession with no narration, no explanation, and no context save for the immediate comparison to the other bands who appear in the film.  Each act is seen performing one song except for The Police, who open the film with a gripping version of "Driven To Tears" and end it with a sing-along medley of "Roxanne" and "So Lonely."  Indeed, at the time of the movie's 1981 release, The Police were likely the most well-known group in the lineup (the only other "name" act at the time would have been Devo; The Go-Go's and Joan Jett & The Blackhearts had yet to break big).  Their featured status in the film had less to do with that, however, than it did with who produced the movie.

Urgh! was the brainchild of Miles Copeland, brother of Stewart Copeland, drummer for The Police.  Miles Copeland had founded the influential indy label Illegal Records in the UK, which soon was renamed I.R.S. Records in the States.  I.R.S. had a distribution deal with A&M Records, which in turn meant that the artists featured in Urgh! were largely plucked from the I.R.S. and A&M rosters.  The bands ran the gamut from big name (Wall Of Voodoo, Orchestral Manouevres In The Dark, The Cramps) to no-name (the mysterious Invisible Sex is a band that no one seems to know much about outside of their appearance here); from the laid-back reggae of Steel Pulse to the hardcore punk of The Dead Kennedys; from the piano-bar standard of Jools Holland to the avant-garde loopiness of Pere Ubu.  In each case, the music is left to speak for itself, and certainly some performances have aged better than others.  What stands out is that everyone was so young at the time, and full of enthusiasm.  If there is any throughline tying it all together, it is that combination of energy and naivete that exudes from each band.  This was yet another generation who thought they could change the world with music, captured here before being jaded by the realities of the business.

The film itself exists in a few different forms: when originally released for its brief theatrical run, the movie clocked in at 94 minutes.  The VHS and Laserdisc (remember those?) releases to the public include ten additional performances cut from the theatrical release, bringing the running time up to 124 minutes.  During the 1980s, Urgh! was shown with some regularity on the USA Network's old overnight music and pop culture program Night Flight; the version USA aired was sometimes padded with even more footage that had not been originally filmed for the movie. 

For many years, the movie was unavailable unless you either owned (or were willing to pay big bucks for) the VHS release or you still had a working Laserdisc player.  It simply was not to be had on DVD, no doubt due to licensing issues (recent occasional theatrical showings have had to excise Gary Numan's performance of "Down In The Park," as he has apparently not been forthcoming with a signed release.)  Finally, in late 2009, Warner Archives gave the film a legitimate, if lacking, DVD release: it's actually a DVD-R burned to fill each order. The film was not remastered or cleaned up in any way, nor are there any special features beyond the original trailer for the film.  Worse, the DVD chapters are not synced with the performances, but rather only serve to fast-forward ten minutes at  a time. On top of all that, the performance by the UK band Splodgenessabounds is inexplicably cut from the DVD version.  Purchase at your own risk.

Rumors persist that, in actuality, three songs were filmed for each act, and that this footage is collecting dust in a vault somewhere.  If this is true, consider the incredible DVD box set that could be put together by the proper curators!

In addition to the film variations, a soundtrack was released, originally as a two-record set, in 1981, featuring all but 8 of the VHS version's performances.  The vinyl can still be found affordably on eBay and Amazon; the briefly issued and now out-of-print CD release fetches huge dollars.

Urgh! A Music War! was an important film if for no other reason than to serve as window to a time when, as one friend of mine likes to say, New Wave really was a wave.  Both the VHS and the soundtrack are well worth digging up.  To give you a taste, I've chosen four of my favorite performances from the movie.  Rather than tell you about them, I'll just let you watch and let the clips speak for themselves, as the movie intended.   Gil, thank you for an outstanding request!











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Thursday, November 25, 2010

New Wave for the New Week #103
BONUS ENTRY! BY REQUEST!

[All throughout the month of November, all NW4NW entries are based on requests made by you, dear readers. Because of the amount of requests received, there will often be more than one entry per week during this month - I recommend signing up for email alerts on the left-hand side of the screen so that you don't miss any of the fun! I cannot take anymore requests for this month, but please always feel free to suggest bands you might like to see featured in future NW4NW posts. You may do so either in the comments section of this post, on Twitter, or on the Facebook Fanpage.]

The JamCover of The JamAmong the list of suggestions my friend Maureen Gamber offered in her request was one of the greatest bands of the era, regardless of genre; a band who, while never having much commercial success here in the States, was voted #5 British band of all time by Virgin Radio poll of the 100 Best British Bands as voted by their listeners - with the band's lead singer/songwriter coming in at #21 as a solo artist and his next band coming in at #93!

Not a bad showing for Mr. Paul Weller, who fronted the outstanding mod trio, The Jam.  Along with bassist Bruce Foxton and Rick Buckler on drums, The Jam took a 6-year journey from angry young (but well-dressed!) punks to British pop icons, leaving behind a catalog of recorded material that ranges from damn good to unbelievably excellent.

Wearing their musical influences (most notably, The Who) on their mohair sleeves and with Rickenbackers flashing, The Jam brought 1965 to 1977, charging out of the gate with two fantastic albums in less than a year.  Their debut, In The City, bristled with enough energy and angst for the band to have been quickly lumped in with the '77 Punk crowd (that the title track's main riff was nicked by The Sex Pistols for their "Holidays In The Sun" single only solidified that mis-categorization). The immediate follow-up album, This Is The Modern World, added a touch more melody to the proceedings, but did not dial back the roar.  Both are absolutely essential albums.

All Mod Cons, released a year later, began to stretch the band's boundaries.  Musical references to The Who were now evolving into sonic echoes of The Kinks (whose "David Watts" gets covered to great effect), and Weller as a songwriter was becoming more of a storyteller, even if those stories were somewhat harrowing ("Down In The Tube Station At Midnight").  1979's Setting Sons kept The Jam's evolution on track, and scored them not only their first visit to the US album charts, but their first Top Ten single in the UK, "The Eton Rifles." 

The dawn of the new decade saw The Jam take a sudden but not completely unexpected turn towards a Rubber Soul-era Beatles sound with the release of Sound Affects.  The lead single, "Going Underground," showed that the band could still deliver the tough stuff when they cared to, but the stunning "That's Entertainment" began to reveal a new, more wistful side of the band.  A couple of non-album singles, "Funeral Pyre" and "Absolute Beginners," took this sound to the next level, adding some R&B influence to the mix.  The Jam was really hitting its stride.

Which made it all the more surprising that their next album, 1982's The Gift, would be their last.  Sporting a couple of top-notch singles in "Just Who Is The 5 O'Clock Hero?" and "Town Called Malice," The Gift finally gave The Jam a #1 album in the UK.  After two more non-album singles, the stunning "The Bitterest Pill" and the bopping "Beat Surrender," Weller dissolved the band, choosing to focus more on the R&B side of his music with his new band, The Style Council. 

They went out on top and have never reunited, nor does there seem to be any likelihood that they will.  So we can only enjoy the half-dozen albums they left behind.  Here are two of my favorites, which happen also to neatly bookend The Jam's career: First up, "In The City" from their 1977 debut, then "Town Called Malice" from their 1982 swansong.  My great thanks to Maureen for this request- great call!








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Tuesday, November 23, 2010

New Wave for the New Week #102
BONUS ENTRY! BY REQUEST!

[All throughout the month of November, all NW4NW entries are based on requests made by you, dear readers. Because of the amount of requests received, there will often be more than one entry per week during this month - I recommend signing up for email alerts on the left-hand side of the screen so that you don't miss any of the fun! I cannot take anymore requests for this month, but please always feel free to suggest bands you might like to see featured in future NW4NW posts. You may do so either in the comments section of this post, on Twitter, or on the Facebook Fanpage.]

At least one reader piped up with a request on the TWIWGTS Twitter Page this time around, and thank heavens for Twitter's translation services! @macrvy, from Tokyo, Japan, tweeted a request that listed a handful of artists, most intriguing among them the band that is often credited for single-handedly creating and defining what has come to be called Industrial music.  Those of you who are looking for clap-hands sing-along good time music are advised to turn back now; you will be appalled.

"These people are the wreckers of civilization!" - Tory MP Nicholas Fairbairn, Conservative Member of Parliament

The "people" referred to in Fairbairn's oft-cited quote, were Genesis P-Orridge, Cosey Fanni Tutti, Peter Christopherson and Chris Carter, collectively known to the world as Throbbing Gristle. Evolving from an early-'70s performance art troupe called COUM Transmissions, who were themselves reviled by many for their tendencies to stretch the boundaries of obscenity to nearly the snapping point, Throbbing Gristle challenged the common perceptions of music.  Freeing themselves of the shackles of constructs such as rhythm, melody, and often even notes and chords, they created a frightening din within which they explored the darkest, most repulsive aspects of the human psyche.  When semi-recognizable structures did bubble up from their fetid, droning swamp of warped electronic noise, they were rudimentary at best.  Yet, the nightmare they unleashed was fascinating - an all-too unforgiving funhouse mirror image of the worst of us. In Throbbing Gristle's world, music was not meant to be attractive or enjoyable.  Rather, their sonic goal was to challenge - perhaps ultimately enrage - and to reflect the soulless depression of the Britain in which they lived.

Throbbing Gristle debuted on July 6, 1976, at London's Air Gallery, thus beginning a series of live performances that steadily received more and more attention.  Their earliest performances were exactly one hour long: they would literally walk onstage and punch in at a timeclock, just as workers all across the country did at their jobs; 60 minutes later, they would punch out and go home. (Often, they arranged for the power to be cut at the one-hour mark, even if they were in mid-song, to insure strict adherence to schedule.)  Early practitioners of tape manipulation and use of samples and electronics (at a time when the equipment being used nowadays for doing so had yet to be refined - or in some cases, invented), they created a canvas of droning, monotonous, usually minimalistic, repetition with P-Orridge reciting spoken word pieces over top.  Everything was distorted into a decidedly alienating sound; the aural equivalent of grey windowless factory buildings, smoke-blackened skies, depression and terror.

Every live performance was recorded and, eventually, released in a series of cassettes, making their discography immense; their studio recordings did not mitigate the sonic attack in the least.  Their first three albums, Second Annual Report, DoA, and the wonderfully mis-named 20 Jazz Funk Greats (sporting perhaps the most perfect cover art imaginable) are harsh, cold, and almost inaccessible.  That their debut single, "United," verged on synthpop, if a grotesquely stunted and immature version of it, was indicative of the band's sense of humor: not only did it barely foreshadow what was to come, but by the time they included the track on an album (DoA), they sped up the tape so that the entire piece flew by in under half a minute.

While some of their compositions (the term "songs" just doesn't seem right here) went on for over ten unyielding minutes, they were often at their most frightening and downright creepy when working in shorter-form pieces: the voice-through-a-fan vocals of "Hamburger Lady" ("burnt from the waist up") are just barely audible above the nightmarish wall of sound; "Something Came Over Me," while again flirting with actual song structure, is downright bone-chilling.

Wary of sticking around long enough to fall into the trap of self-parody, the band sent out postcards on June 23, 1981, that simply said, "The mission is terminated."  With that, Throbbing Gristle was done - for the time being.  P-Orridge and Christopherson formed Psychic TV and continued in Throbbing Gristle's prolific vein, recording and releasing literally everything they did; Carter and Tutti continued on as Chris & Cosey. 

Throbbing Gristle resumed their mission in 2004, playing the odd reunion gigs here and there and recording new material.  While on tour this year, the band announced that Genesis P-Orridge had abandoned them, and continued on without him under the moniker X-TG.  Where this is leading one can only wonder.

Trying to choose clips representative of Throbbing Gristle's sound is difficult.  For the sake of those who have no idea what they're getting into, I chose shorter pieces.  First up, "Six Six Sixties" from 20 Jazz Funk Greats; then an audio-only of the infamous "Hamburger Lady."  Usually, I say "Enjoy!" I think perhaps that "Good luck!" might be better here.  But, I will say "Thank you!" to @macrvy for an excellent request!







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