Posts Tagged ‘guitar

11
Jan
18

Endless Boogie “Focus Level”

Another double album, though there are only 11 long songs, some mostly instrumental, and some with singing that reminds me a little of the Chinese Electrical Band (my first band, not at all Chinese). I can’t make out a single lyric to save my life. The cover opens up to reveal, inside, a huge painting of a party consisting of a bunch of young people in an era several centuries past; it actually looks to me like a computer generated photo collage treated to look like a painting, but I don’t know, really, and honestly don’t care; I kind of like it, but then there was always something annoying to me about albums that opened to reveal more art—you’ve got the front and back cover! And then there is one of those annoying one sheet inserts for the credits, but it’s mostly more art and tells you very little, like who’s in this band and playing what?

Or who is even in the band. I heard one of these guys—or was it two?—or is there only one?—on the WTF podcast and it was pretty interesting, but I don’t remember any of the details. I’m not supposed to remember things, that’s what the internet is for! Anyway, some of these songs make me think of an annoying roommate who you want to take the guitar away from. But then some of them remind me of the first few times I went to see punk bands in Cleveland (at the Drome) and some of them sounded more like hard rock than punk, but that was okay because it was pretty severe, and heavy, and it was live. And then some of the other songs make me think of high school, going to see a local hard rock cover band at the marina or the county fair; one of those bands who has a cobbled together, homemade “light show” and is playing stuff like that “Slow ride, take it easy,” song (Foghat?) and that “Now you’re messin’ with a… sonofabitch,” song (Nazareth?)—not that any of this is a bad thing, it’s all about positive and visceral memories. In fact, those county fair bands made a much bigger impression on me than Blue Oyster Cult at a sports arena, capacity 12 billion. I thought BOC were pretty wanky, actually, though the bad pot didn’t help, nor the fact that they followed Bob Seger and ZZ Top. Anyway, I really like a lot of this stuff. There’s a fine line between wankiness and art, and if you take the chance to be wanky, sometimes, you might be able to make art you wouldn’t have been able to come up with if you didn’t venture into wankyville.

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24
Nov
08

Be Bop Deluxe “Axe Victim”

I listened to this record with great anticipation, not having any recollection of what this band sounded like, even though I remember the name well, from my youth. To my surprise it sounds more like David Bowie than anything, though not quite, kind of like that parallel universe Bowie created for the movie “Velvet Goldmine” by a lot of musicians, but most notably Brian Eno and Bryan Ferry. And I suppose you could say this sounds a lot like Roxy Music, but I never listened to that much Roxy Music, it was Bowie for me. I never listened to ANY Be Bop Deluxe– how did that happen? I would have loved this record had I bought it when it came out in 1974 when I was a huge glam rock fan and really into the whole androgynous sci-fi thing, and still a little afraid of the Rolling Stones. I pretty much know for a fact that guitar excess didn’t bother me as much then as it does now– and there is plenty of excess here! This is pretty much Bill Nelson’s band– not the Bill Nelson who is the Florida Senator who flew on the Space Shuttle– though this Bill Nelson has just as effectively seen the heavens firsthand on his six-string rocketship. The title “Axe Victim” could very well refer to the ears of the listener who is not somehow immune to this sort of thing. I mean, if you removed about two fingers on one hand and three on another, this guy could be a great guitar player. This record could be convincing argument for religious leaders not to condemn masturbation, just so young boys will have something to do with their hands besides practice, practice, practice. I’ve just got to say, if you really want to play with the London Philharmonic, get a fucking violin!

But for all that, somehow, perhaps against my better judgment, I really like this record! Maybe I shouldn’t be surprised, as it comes out of my favorite era of rock, the early seventies. And that should surprise no one– just look at my hair! Okay, I admit, I’m stuck a little in that time period, forever trying to relive the weird trippy sensation I had when I brought home that “Diamond Dogs” album from the Ontario store. Anyway, I’ve been listening to this thing over and over, and the more I listen to it the more I like it. The guitar still sounds tremendously overdone, like 300 notes where you could get by more effectively with one, but the singing is quite compelling, and most of the songs are great. Actually, the songs are all over the place, some much better than others, but together as a whole, and specifically as a record album with two sides, they really work together as a whole. The album cover is better not mentioned– I won’t describe it, and if you don’t remember it, believe me– don’t go searching it out. The back cover, however, is classic– a picture of the band– looking more goth than glam, almost– and there is every indication that if you were Bill Nelson’s lover, you’d always be in second place.

But really– I love this record– this is just the kind of thing that finding in some dingy basement could really make you have faith in the idea that there are still great things out there that you have somehow overlooked. I am going to go so far as to go out and buy myself a cassette tape device and record this in a lovely analogue fashion. I might ever go a little further and look up Bill Nelson on the internet. Well, actually I already did, a little bit. It kind of makes me happy, for once, that he’s still out there, maybe in space, making music.




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