Onefinemess » Springsteen

What would a Wilburys for the 00s look like?

onefinemess — Thu, 15 Oct 2009 06:13:16 +0000

I ask this question because I seem to recall a review somewhere comparing Monsters of Folk to the Wilburys.

I think that’s a silly crazy thing to say, but that’s just me. I hadn’t even heard of half the MoF – not that I’m uber musically educated, but at the time the Wilburys came out, pretty much everyone had heard of all of them. Except Jeff Lynne. I still don’t get him. I’ve heard a couple cool ELO songs since then but… it still doesn’t make sense (his producer cred maybe?). So, anyway, as a thought exercise I thought it would be fun to try and come up with some modern day equivalents.

SO. Wilburys, 1988.

Bob Dylan: Fucking Bob Dylan. Making music for 26 years at that point. Folksy. Lots of cred pretty much everywhere. Musical chameleon?
George Harrison: A fucking Beatle. One that wasn’t Ringo (he doesn’t smoke it no more). Also in the industry for 25-26 years at that point.
Roy Orbison: One of the best pop singers of his era, had a truly remarkable (to me) voice. ~28 years in the business.
Jeff Lynne: 17 years in the industry (I didn’t realize ELO had that many albums. Then again, you could fill the internet with things I don’t know about ELO). Strong producing cred. Not very well known publicly???.
Tom Petty: The baby of the group at only 12 years in the industry. 6-7 strong albums under his belt. Southern rocker.

So what are we looking at for Wilburys 2009?

Re-using Dylan would be too easy. How about this Tom Waits guy? I actually don’t know much about him at all (I guess I should be embarrassed…). He fits the genre I think, but it’s hard to touch Dylan’s cred (ok, impossible?), but about 10 years too early.

Ah hah! Let’s go with Elvis Costello! He’s most definitely a musical chameleon, has cred up the ass, and came into the scene a bit later than Waits, putting him a bit closer to the age mark.

Now we need the ex-member of a gimongous supergroup to end all supergroups. Wait, that’s the Beatles, and there was only one of them. Was there a band with that kind of magic in the early 80s/late 70s that is still relevant today? Urk. Drawing a blank here. Instead I’m going to go with Springsteen, because I think any rock supergroup of this generation would just have to have him. He is something of a phenomenon too – not like the Beatles, but definitely something. He can fill something of the Dylan/folksy role too.

A 70s/80s vocal giant. That’s still alive (sorry Marvin :( ). Jen suggests Prince. I’m not familiar enough with his work outside the singles to judge the extent of his vocals, but seems like a solid suggestion. He’s got the star power. Not to mention those guitar chops! Other suggestions?

I don’ t know much about producers… how about Brian Eno? I hear the cool kids like him. Might be a bit too old. I need some serious help on this one folks. Ideas?

I’m thinking Eddy Vedder for the “young guy”. Not too many bands from the early 90s are still with us, and Pearl Jam’s 18 years (18? Holy fuck! I’m old!) puts them a little past Petty’s 12 in 1988…but is there someone of Vedder’s talent level and public familiarity still with us from 1997?

things I’ve listened to lately

onefinemess — Thu, 26 Feb 2009 07:43:17 +0000

WTF is up with the new Common album? I tried to listen to it again, skipped the first three songs, then went to something else entirely different. The beats really annoy me, and the songs seem especially trivial. There are some good rhymes in there but..ugg. “Sex 4 Suga”. Really? Is he becoming more like H.E.R.? I just went back again and went through the whole thing again. “Changes” is ok. Maybe I just like “happy Common”. Definitely not big on “horny Common”.

The new Killers album is actually pretty good. I like it. They do pretension with just enough sincerity and youthful exuberance that I buy it. Most of the time.

The new Springsteen was NOT a 5 star album. Same with the new U2. I dunno what the fuck RS has been smoking (maybe the section?) for the last few years, but they are way too generous with some of their reviews. Springsteen’s was good – although seriously marred by the dopey intro song (no that’s not an official video!). It would have worked much better on one of his folkey projects, I really don’t like it in this album’s context. In general, I don’t like songs where the chorus is someone telling you their name. It rarely works. I’d say it was 3.5-4 stars. His work is almost always quality, but it’s not always solid gold! Grow a pair RS! I need to listen to the U2 one a bit more, but it does nothing for me (yet) so it’s hard to get up the muster.

Airborne Toxic Event album is good. I think I mentioned this already.

New Morrissey seems pretty good so far.

I like the new Bon Voyage too. Not so much on the new Starflyer sadly. It just doesn’t grab me. Jason’s weakest effort to date imho. Still not bad, but just..just not anything really.

I like the new Q-Tip.

Not so much the Dandy Warhols. Nothing sticks out, not worth getting. Have they have finally choked on their own cock of pure metaphorical pretension? You decide!

I do like the Vampire Weekend album. I really didn’t want to. I still don’t. But hey, I like Graceland, and it’s Graceland light in indie shoes. No diamonds.

I’ve been listening to a lot of Fine Young Cannibals lately. I love the dude’s voice. Here’s a track from them you may not be familiar with. I wish they had put out a few more albums.

Also Stevie Wonder. I have a soft spot for this song. And I’m ok with it.

Jawbreaker. Man am I late on this boat. I was wondering why his voice sounded so much like the Jets to Brazil guy….DUH. I knew that Ataris song (wow, that’s a big dude) was too good for them! Love his voice.

Thanks to Wayne for reminding me to listen to Okkerville River. Good shit. I still have to check out most of the other stuff on his list. Another very distinctive voice. It must be distinctive voice night! I heard/read someone somewhere recently remarking that rock music was more about having a distinctive voice than it was about being able to sing well. I strongly concur. Chops don’t hurt though.

OH, and I just found out about Skunk Anansie. I don’t even remember how. But hit them up on youtube. Good shit. I love finding good dead bands so I don’t have to go through the trouble of keeping up with their new stuff. I know, I’m old and cranky and boring. It seems like they got mellower with the later album (s). Now I just have to track down actual copies or digitals of the albums. Next time I hit the used bins – top of my list!

Here’s a sample to close things out:

www.youtube.com/watch?v=QL_5LF9Ph9U

The River(s)

onefinemess — Fri, 26 Dec 2008 20:45:14 +0000

I mentioned The River & various modern updates recently in my review of the last Gaslight Anthem album, and I thought I’d return to that briefly, just to post the 3 songs in question and see if anyone out there knows of any other direct modern takes/updates/covers/etc.

Click on images to play from my Vox blog.

The original:

Lyrics (from here):

“The River”

I come from down in the valley
where mister when you’re young
They bring you up to do like your daddy done
Me and Mary we met in high school
when she was just seventeen
We’d ride out of that valley down to where the fields were green

We’d go down to the river
And into the river we’d dive
Oh down to the river we’d ride

Then I got Mary pregnant
and man that was all she wrote
And for my nineteenth birthday I got a union card and a wedding coat
We went down to the courthouse
and the judge put it all to rest
No wedding day smiles no walk down the aisle
No flowers no wedding dress

That night we went down to the river
And into the river we’d dive
Oh down to the river we did ride

I got a job working construction for the Johnstown Company
But lately there ain’t been much work on account of the economy
Now all them things that seemed so important
Well mister they vanished right into the air
Now I just act like I don’t remember
Mary acts like she don’t care

But I remember us riding in my brother’s car
Her body tan and wet down at the reservoir
At night on them banks I’d lie awake
And pull her close just to feel each breath she’d take
Now those memories come back to haunt me
they haunt me like a curse
Is a dream a lie if it don’t come true
Or is it something worse
that sends me down to the river
though I know the river is dry
That sends me down to the river tonight
Down to the river
my baby and I
Oh down to the river we ride.

The Killers thematic twist/update/take from 2006:

Lyrics:

“This River Is Wild”

Leaves are falling down
On the beautiful ground
I heard a story from the man in red
He said the leaves are falling down
Such a beautiful sound
Son, I think you better go ahead

But you always hold your head up high
Cause it’s a long, long, long way down
This town was meant for passing through
But it ain’t nothing new
Now go and show them
That the world stayed round
But it’s a long, long, long way down

You better run for the hills before they burn
Listen to the sound of the world
And watch it turn
I just want to show you what I know
And catch you when the current lets you go
Or should I just get along with myself

I never did get along with everybody else
I’ve been trying hard to do what’s right
But you know I could stay here all night
And watch the clouds fall from the sky

This river is wild
This river is wild

Run for the hills before they burn
Listen to the sound of the world
Watch it turn
But shake a little
Sometimes I’m nervous when I talk
I shake a little
Sometimes i hate the line I walk
I just want to show you what I know
And catch you when the current lets you go

Or should I just get along with myself
I never did get along with everybody else
Ive been trying hard to do whats right
But you know I could stay here all night
And watch the clouds fall
From the sky

Because this river is wild
God speed you boy
This river is wild

Now Adam’s taking bombs
And he’s stuck on his mom
Because that bitch
Keeps trying to make him pray

He’s with the hippie in the park
Coming over the dark
Just trying to get some of that little girl play

You better run for the hills before they burn
Listen to the sound of the world
But watch it turn
I just want to show you what I know
And catch you when the current lets you go

Or should I get along with myself
I never did get along with everybody else
I’ve been trying hard to do whats right
But you know I could stay here all night
And watch the clouds fall from the sky

And pay this hell in me tonight
Because this river is wild
God speed you boy
This river is wild
God speed you boy
This river is wild

Now the cards are everywhere face in dust
The fairground
I don’t think I ever seen so many headlights
But there’s something pulling me
The circus and the crew
Well they’re just passing through
Making sure the merry still goes round
But it’s a long, long, long way down

And now Gaslight Anthem’s take/update/etc. from this year:

Lyrics:

“Meet me by the River’s Edge”

See I’ve been here for 28 years.
Pounding sweat beneath these wheels.
We tattooed lines beneath our skin.
No surrender, my Bobby Jean.

We’ve been burned by all our fears.
Just from growing up around here.
Our father’s factories marked our cars.
While Eden burned against the stars.

And Sally said, Sally said.
I can’t take no more regret.
It cut us deep, into our souls.
Came and climbed into our bed.
And Sally said, Sally said.
Meet me by the River’s edge.
We’re going to wash these sins away.
Or else we won’t come back again.

You know I had these ballroom dreams.
That, as a child, came to me.
I was a boy in Grandma’s arms.
A mother’s pride and a wounded heart.
And I was full with fiery wonder.
You wore Audrey Hepburn pearls.
You were the only one who understood me then and the only one who will.

And Sally said, Sally said.
I can’t take no more regret.
It cut us deep, into our souls.
Came and climbed into our bed.
And Sally said, Sally said.
Meet me by the River’s edge.
We’re going to wash these sins away.
Or else we won’t come back again.

And now I drive the 101 on the California night.
And I’m amazed at all the stars beneath that old Hollywood sign.
And they waltz the ballet of the boulevard to a place we never kept.
And I’m not sure if we belong here, if I ever really left, or If I can go home.

And Sally said, Sally said.
I can’t take no more regret.
It cut us deep, into our souls.
Came and climbed into our bed.
And Sally said, Sally said.
Meet me by the River’s edge.
We’re going to wash these sins away.
Or else we won’t come back again.

No retreat. No regrets.
Meet me by the river’s edge.

You can see the Gaslight version takes a much more direct angle on Springsteen with some direct quotes in there – just in case you wouldn’t pick up otherwise – but I think they manage to do it in a respectful way (although I do think the Bobbie Jean bit may be going a bit far, but it still floats). The Gaslight version also manages, to me, to come off as more personal and invested than the Killers version. Neither is bad, but I think Gaslight does it better. Also, there is some serious cheese in the Killers track, lyrically (the ‘bitch’ verse) and sonically (the overdone vocals on the chorus).

Of course, I don’t think either can touch the emotion, drama, lyrical or musical content of the original. It’s just a classic that I think has & will stand the test of time.