Butch Walker- Leavin' the Game on Luckie St.

Butch Walker was tired of being mistreated by record companies. Ever since his first band was signed in 1991, he was the victim of record company politics. Although his records found a devoted cult of followers, record companies had no idea how to market him. Now six years into his solo career, Butch Walker is taking a page from Radiohead’s playbook and taking matters into his own hands.

On February 11, Walker posted a blog on his Myspace page telling fans that he was finished putting his music on physical compact discs. Fans would now be getting his music directly through his page on friendsorenemies.com and be able to choose whether they wanted to pay for it or not. It is an ambitious endeavor, but it does it work?

On Valentine’s Day, Walker ushered in the next era of his career by releasing a live record entitled Leavin’ the Game on Luckie Street. Recorded in his hometown of Atlanta, Luckie Street shows Butch Walker in his element. Atlanta has been a Mecca for Walker’s cult since his days in the Marvelous 3, and the crowd and the artist feed off each other. The crowd is with him for every guitar riff, every high note, and every lyric. Walker responds with cover tunes, anecdotes and extended versions of his songs.

Walker finds a nice balance between his recent work and his past. It’s really rewarding to hear a newer song like “The Taste of Red” followed by the Marvelous 3’s “Over Your Head.” Walker handles rockers and ballads with equal aplomb, but the ballads hit dizzying heights. On “Mixtape,” Walker starts out quietly and introspectively, his passion increasing with every verse. The end is an explosion of fury, with Butch and the band bashing out the final notes. After a heartbreaking version of “Stateline,” Walker moves to the piano and performs “Sober,” “Joan” and “Cigarette Lighter Love Song” “Sober” is a revelation on the piano. Initially an anguished break-up song, it is transformed into a reflective lament on lost love.

Leavin’ the Game on Luckie Street would have been a perfect live document, except for a nearly fatal flaw. A live album is supposed to make the listener feel like they are at the show. Walker’s performance achieves this tenfold, but the MP3s don’t. At the end of every song, there is a jarring pause before the next song begins. This isn’t a major problem during the electric songs, but during the acoustic numbers it ruins the vibe. The beginning of “Joan” gets cut off. You hear the first two words and then…..nothing. It destroys the illusion that you are in the crowd.

Butch Walker’s experiment is admirable, but the kinks need to be worked out. If the song breaks weren’t so jarring, it would have been a resounding success. Right now it is just an intriguing idea. Fortunately the music is able to transcend the problems of the format and deliver some great moments. Butch Walker may have gone independent, but he did not leave his game on record company steps.

Why Cheap Trick is America's Greatest Rock Band (Really!)

Every great theory begins with tremendous doubt. Galileo was condemned by the Catholic Church for his heliocentric view of the universe. Charles Darwin was labeled a heretic for his theory of evolution. Freud’s interpretation of his dreams was declared to be pseudo-science. As time went on, the controversy and doubt faded. These theories became the basis for modern science. The theory I am going to present in this essay will also be greeted with doubt, ridicule, and disbelief. However, I believe in it with every fiber of my being: Cheap Trick is the greatest rock n’ roll band that America has ever produced.

“Cheap Trick? The ‘I Want You to Want Me’ band? John, are you out of your mind?”

This is the general reaction I get from friends and colleagues when I present this theory. I admit it seems a bit far-fetched. There are certainly bands that have sold more records than Cheap Trick. There are bands that have had more hits and have sold out more arenas than Cheap Trick. Hell, there are bands that are more popular than Cheap Trick. I am aware of all these factors, but I still say that Cheap Trick is America’s greatest rock band. Why?

Rock n’ roll has existed for half a century. In those 50 years, America has produced thousands of bands. A select few are great. Some are pretty good. The vast majority are terrible. There are very few bands that are contenders for this title. Aerosmith, The Eagles, Tom Petty and the Heartbreakers, The Grateful Dead, Lynyrd Skynrd would all be fairly standard choices. They all have strong followings and have sold tons of records. More importantly, these bands represent important facets of Americana. Aerosmith is the sleazy excessive side. The Eagles are the laid back country side. The Dead represents the optimistic stoner. Lynryd Skynrd is the South, and Tom Petty is the traditionalist. These bands are America. So what puts Cheap Trick above these bands?

March, 2003: It’s a gorgeous day in early spring and I am standing under the marquee of The Recher Theatre in downtown Towson. Cheap Trick is in town today, and I’m pretty skeptical. I know approximately three songs and don’t own any of their records. I am here because it’s just something to do, an excuse to get out of the house. Nothing beats live music, even if it’s a band that I don’t know anything about. The other people in line are not in my situation. Every single one of them has Cheap Trick’s iconic stamp logo emblazoned on something. Trick seems to be a code among these people, as they eagerly discuss the set list and showoff pieces of memorabilia.

Doors open at 7:00 PM, and I take my usual spot in the front row. I am minding my own business when I feel a tap on my shoulder. I turn around and see a man about my dad’s age. He even looks like my dad: Button down shirt, khaki pants, glasses. His most distinguishing feature is his jacket: A vintage satin baseball jacket with the Cheap Trick logo on the back.

“Is this your first time brother?” he asks with a grin.

“Yup. Are they any good live?” I sheepishly ask.

“Unfuckingbelivable,” Almost-Dad says. “You are going to be blown away my man. I first saw them when I was your age, and I had no idea who they were. I was so impressed I bought the jacket.”

In my experience, adding the word “fucking” to an adjective usually means that you are about to see something monumental. The fact that the word came from my dad’s long lost brother confirmed it. This guy obviously used such words sparingly, and the fact that Cheap Trick warranted an obscenity was intriguing.

The house lights go down. Almost-Dad begins to pump his fists in the air and lets out a mighty “YEAAAAAAAAAHHHHHHH!” He’s not the only one. These fans are in complete and total ecstasy, and a note hasn’t even been played. This is commitment.

Guitarist Rick Nielsen and drummer Bun E. Carlos appear onstage first, followed by bassist Tom Petersen and lead singer Robin Zander. They tear into “Hello There,” and I am absolutely mesmerized. These guys are the same age as my parents, but are performing with the passion of a band in their early ‘20s. Robin Zander’s British Invasion-style vocals sound exactly like they do on the records. Rick Nielsen looks and acts like a crazy uncle, jumping around and telling dirty jokes in between songs. Tom Petersen stands in the background looking pretty, while Bun E. Carlos holds it together with his simple, steady drum beat.

The music is three decades old, but sounds as if it was written yesterday. Even though I don’t know any songs besides “I Want You to Want Me” and “Surrender,” I find myself singing along. The tight harmonies and heavy guitar riffs go together like peanut butter and chocolate. This is one helluva band.

The week before, I saw The Used at Towson University. The Used were in their ‘20s and could not match Cheap Trick’s energy or presence. I compared Robin Zander to The Used’s Burt McCracken. McCracken swayed back and forth like a heroin addicted glacier. Zander didn’t move around much, but charisma spewed out of every orifice. I want to be Robin Zander when I grow up.

The show ended with “Surrender,” and when the band left the stage Almost-Dad tapped me on the shoulder again.

“Whadja think Bro?” he asked.

“Amazing,” I breathlessly replied. “Absolutely amazing!”

“Toldja!”

With that, Almost-Dad left, his Cheap Trick jacket waving me goodbye.

I left the Recher and went around to where the tour bus was parked. I didn’t have anything cool for them to sign; I just wanted to tell them what I thought. After awhile, Robin Zander emerged from the bus. He flashes me his million-dollar smile and comes over. I sheepishly give him a piece of notebook paper to sign and he obliges.

“Y-you guys were really great tonight,” I said, aware that I was in the presence of greatness.

“Thanks,” he replied. “I appreciate you coming out.”

He shakes my hand before attending to the other fans waiting for an audience.

Rick Nielsen comes out next, and flashes me his demonic grin. As he signs the paper I ask him a question.

“Can I take a picture of you?”

“Yeah man! Snap away!”

I take out my Kodak disposable camera and take a picture of Rick gritting his teeth like a deranged R. Crumb character.

I immediately went out and bought the core of the Cheap Trick canon: Cheap Trick, In Color, Heaven Tonight and At Budokan. As I got deeper into their catalog, I wondered why Cheap Trick was not in the pantheon of great American rock n’ roll. It seemed odd that a band like Aerosmith was lauded with massive critical respect, but Cheap Trick languished in the Recher Theatres of the world. I wondered why.

June, 2006: Record and Tape Traders. It’s my weekly trip to the record store. While thumbing through the new releases, I stumble upon Rockford, the new Cheap Trick album. I wasn’t even aware they were making a new album, but I bought it anyway. I wasn’t expecting much, but loyalty is a rare virtue in today’s world. If anything, it would have one or two decent songs, like most latter-day Trick albums. I put it on the stereo, and my reaction was similar to the one I had three years before.

I listened to Rockford incessantly for about a month. With every listen, a hypothesis started to roll around in my head. Cheap Trick is one of America’s greatest rock bands. I continued to listen to Rockford and went over their back catalog. I was listening to Heaven Tonight when I came to my final conclusion. Cheap Trick was not one of America’s greatest rock bands; they were America’s greatest rock band.

I realized that this was a ridiculous statement the moment I made it to myself, but the more I thought about it, the more it made sense. Like an evangelical preacher, I began preaching my theory, and was labeled a heretic. Maybe I am a heretic, but my argument stands on solid ground.

One of the pillars of American life is consumerism. From the moment Cheap Trick was conceived in Rick Nielsen’s wonderfully warped mind, they were already a brand. The ingenious stamp logo was plastered on everything from t-shirts to panties as early as 1976. To move the merch, the band created a subtle but effective image for themselves. Pretty boys Robin Zander and Tom Petersen were strategically placed up front, their adorable Midwestern faces greeting impressionable fans from an album cover. The not-so-pretty Nielsen and drummer Bun E. Carlos were relegated to the back. This strategy not only sold records, it gave the band personality. Personality was scarce in the late ‘70s rock scene, and the band stood out.

This strategy especially worked in Japan, where Cheap Trick was treated like royalty. Millions of Japanese girls fell for the American marketing machine, shelling out millions of yen for posters of “Robeeen.” Although the image was calculated to sell the maximum amount of records, it was subtle enough that you didn’t really notice unless you actively looked for it. The image was also symbolic. Robin Zander and Tom Petersen were up front, but if you looked at the songwriting credits, they all belonged to Rick Nielsen. Robin Zander was the great and powerful Oz, but Nielsen was the man behind the curtain.

However, Cheap Trick’s image was much more than a marketing ploy. Early press releases featured fabricated stories of exotic backgrounds and exaggerated deeds. This was meant to give Cheap Trick a level of mystique that few bands had in the mid-‘70s. They were touted as a band without a past, and any journalist that attempted to get information out of them were promptly given a more outrageous story than the last.

Consumerism and branding are an aspect of American culture that Cheap Trick has mastered, but musically it is a bit hard to make a case. Each one of the bands that I mentioned in my introduction have a distinctly American sound. Aerosmith plays blues-influenced hard rock. Tom Petty plays electrified folk. The Dead is heavily influenced by jazz, while Sknyrd and the Eagles are influenced by the sounds of the south.

Cheap Trick is from the Midwest, but their sound is based in the British Invasion. Rick Nielsen’s huge power chords are taken from the Who, and the vocal harmonies are copped from The Beatles. However when you deconstruct their music, there is much more to it. The basis for the sound is in the British Invasion, but American culture is subtly inserted. Bun E. Carlos’ drumming is steeped in the American R&B of the 1950s, and the band often includes Fats Domino’s “Ain’t That a Shame” in their setlist.

The majority of Trick’s musical influence comes from Britain, but Rick Nielsen’s smart-aleck lyricism and obsession with sex are purely American. Many of his songs are meant to be humorous, but kids from different cultures were able to get a slice of Americana from their Cheap Trick records. For example, “Surrender” is both an homage to and a parody of American teenage rebellion. However, in Japan, where such rebellion is looked down upon, “Surrender” provided a true release. It told the kids that they would be alright.

Finally, Cheap Trick’s music is totally devoid of the pretension that plagues most great American rock bands. All of them play completely unpretentious music, yet when you talk to them, they act as if they are talking about writing Beethoven’s Fifth Symphony. When Steven Tyler talks about writing “Dream On,” he talks with reverence about how that song launched a thousand make-outs. That’s all well and good, but it’s just another garden variety power ballad. It’s not like he wrote “In My Life” or “God Only Knows.” He has completely fallen for his own hype machine. It’s incredibly lame to see a nearly 60 year old man pretend to be relevant when his last decent record came out in 1979 (I am aware that Aerosmith is far more popular now than they were in the ‘70s, but I refuse to consider sober Aerosmith Aerosmith.) . Meanwhile, if you ask Rick Nielsen about “Surrender,” there is no pretension. He will tell you that it is a kick-ass rock song and then proceed to play it, complete with five-necked guitar.

In many ways, Cheap Trick is the embodiment of America. They are a hard-working band, completely devoid of pretension. They are big, loud and showy but complex at the same time. They talk a big game, but if you look deeply enough there is a big heart at the center of the music. Cheap Trick is the melting pot of rock n’ roll.

August, 2007. Virgin Festival. It is 105 degrees in the front row. My throat is sore, I have a pounding headache, and my nose is running. I have gone through the two bottles of water that I was allowed to bring in. Fountains of Wayne have just finished an underwhelming set, and my friend Jon is not happy. I told him that the only thing I really cared about was being in the front row for Cheap Trick.

“But what about the Fratelli’s?” He asked.

“Trust me on this one.” I assured him.

The background music fades out, and the MC introduces the band. I realize that I have stepped into the role of Almost-Dad, and Jon is my pupil. The band steps onto the stage one by one, with Robin appearing last. I look up at Jon, who has skepticism written all over his face. I wait with baited breath for the first power chord, because once he hears that, it’s all over. The band tears in to “Hello There.” I look up at Jon, who is now picking his jaw up off the floor.

After a blistering 45-minute set, Cheap Trick leaves the stage. I am mentally and physically drained. Jon stares into space for a few seconds, and then speaks.

“I don’t know about you, but I think that kicked ass.”

The cycle begins again.

Elvis Aron Presley 1935-1977

Authors note: This blog originally appeared as an entry in the 411Mania Music Hall of Fame. The story appears here:

http://www.411mania.com/music/hall_of_fame/68232/411-Music-Hall-Of-Fame-Class-Of-2008:-Elvis-Presley.htm

On December 3, 1968, The King reclaimed his throne. After years of mediocre movies and lackluster singles, Elvis Presley proved that his title was not just a marketing gimmick. Clad in a black leather suit with his hair piled in a perfect jet-black pompadour, he performed with a fire that he had not shown since the 1950's. He performed songs that he hadn't performed in years: "Lawdy Miss Clawdy," "Jailhouse Rock," "Hound Dog." The official name was "Singer Presents: Elvis", but history would remember it as the '68 Comeback Special.

Elvis Aron Presley was born on January 8, 1935 in Tupelo, Mississippi. His father Vernon worked odd jobs, and his mother Gladys was a seamstress. Elvis began singing in the church choir at an early age and received his first guitar for his eleventh birthday. He made his first public performance the year before at the Mississippi-Alabama Fair and Dairy Show. He sang "Old Shep," a Red Foley ballad about a boy and his dog.

Like many Depression-era families, the Presleys had trouble making ends meet. They bounced from home to home before finally settling in Memphis, Tennessee. The diverse musical climate of Memphis agreed with young Elvis; he listened to everything from the country picking of Hank Snow to the hard driving blues of B.B. King. He hung out on Beale Street, soaking up the music and buying flamboyant clothes at Lansky Brothers

Elvis graduated from L.C. Humes High School in June of 1953. That summer, he walked into The Memphis Recording Service to make a belated birthday present for his mother. He recorded two songs, "My Happiness" and "That's When Your Heartaches Begin". Receptionist Marion Keisker was impressed enough to take down his name and telephone number for her husband Sam.

Sam Phillips was the owner of the Memphis Recording Service and the founder of Sun Records. He noticed that many white kids were buying R&B records, and set out to find a white singer that sounded black. In January of 1954, Elvis returned to the studio to make another recording. This time Sam was around for the proceedings and, like Marion, he was impressed by Elvis' rough talent. That summer, Sam brought Elvis in to record a demo of a song called "Without You". The song didn't click, but Sam was still willing to give Elvis a shot. He put the young singer together with guitarist Scotty Moore and bassist Bill Black.

After several unremarkable sessions, the band stumbled upon an old blues number by Arthur "Big Boy" Crudup entitled "That's All Right." The instant the band started playing, everything fell into place. Elvis' ringing rhythm guitar and confident voice highlighted Scotty's leads, while Bill's propulsive bass held it all together. The result was a compelling blend of country and R&B that would later be known as "rockabilly". "That's All Right" b/w "Blue Moon of Kentucky" was Elvis' first single for the Sun label, and was released on July 19, 1954. Scotty became the group's manager, and they began to play small clubs throughout the South. Sun released his second single, "Good Rockin' Tonight" b/w "I Don't Care If the Sun Don't Shine," in late September of 1954. On October 6, 1954, the band appeared on "The Grand Ole Opry". They were given a lukewarm reception.

A few weeks later, the band played the "Louisiana Hayride". Elvis' appearance on the "Hayride" was a success, and he signed a contract for 52 more appearances. During this time, Elvis met Colonel Tom Parker, manager of country star Hank Snow. In January of 1955, Sun released Elvis' third single, "Milk Cow Blues Boogie" b/w "You're a Heartbreaker." Elvis signed a contract with Bob Neal, who took over as the band's manager. Colonel Parker became involved with the band's affairs as well, booking them on several package tours with Hank Snow and other "Hayride" stars. His live appearances became wilder, and his good looks and sex appeal were a hit with the girls in the crowd. That spring, Elvis auditioned for Arthur Godfrey's "Talent Scouts" but was not accepted. In April, Sun released his fourth single, "Baby Let's Play House" b/w "I'm Left, You're Right, She's Gone."

In August of 1955, Elvis signed a management contract with Hank Snow Attractions, owned by Hank Snow and Colonel Tom Parker. Snow left shortly after, and Colonel Parker became the sole manager of Elvis Presley. Bob Neal was initially kept on in an advisory capacity, but disagreements with the Colonel caused him to leave. The same month, Sun released his fifth and final single for the label, "I Forgot to Remember to Forget" b/w "Mystery Train."

In November of 1955, Colonel Parker began to negotiate the sale of Elvis' Sun contract to RCA. The deal included all five of Elvis' Sun singles, and all of his unreleased material. Elvis signed the document on November 20, 1955. The deal was for an unprecedented $40,000, plus a $5,000 signing bonus. Elvis had his first RCA recording session in January of 1956, just days after his twenty-first birthday.

On January 27, 1956, RCA released Elvis' first single, "Heartbreak Hotel" b/w "I Was The One." The single was a smash right out of the box, selling 300,000 copies in its first three weeks. It would eventually hit #1 on the pop and country charts, as well as #5 on the R&B chart. Elvis and the boys made their first television appearance, on the Dorsey Brothers' "Stage Show". They performed Big Joe Turner's "Shake Rattle and Roll" and "Flip Flop and Fly." The audience was not sure what to make of Elvis, but it was clear that a new star was on the rise. He made five more appearances on the Dorsey Brothers' show, and his confidence grew with each one. Meanwhile, Elvis and the band continued to tour and make appearances on the "Hayride". Elvis concerts became scenes of mass hysteria. Girls lost their minds with every shake of his magic pelvis.

On March 13, 1956 RCA released Elvis Presley, his first full length album. The album eventually reached #1 on the album chart, where it would remain for ten weeks. The album is a million seller.

On April 1, 1956 Elvis had a screen test for Paramount Pictures. He lip synched "Blue Suede Shoes" and performed a scene from The Rainmaker, a Katherine Hepburn vehicle. Elvis did not get a part in the film, but signed a seven-picture deal with studio head Hal B. Wallis. Elvis' fame skyrocketed during this period, and crowds got bigger and wilder. Many shows were stopped early due to hysterical fans rushing the stage.

On June 5, 1956 Elvis made an appearance on "The Milton Berle Show". He performed "Hound Dog," and swiveled his hips in a manner most suggestive. Adult America is shocked and appalled, and Elvis was condemned by religious leaders and parents groups. The press dubbed him "Elvis the Pelvis." The controversy made him even more popular with teenagers.

A month later, Elvis appeared on "The Steve Allen Show". In an effort to diffuse the controversy, Allen had Elvis dress in a tuxedo and tails. To complete the humiliation, Allen forced Elvis to sing "Hound Dog" to a basset hound. Elvis went along with the plan, but was clearly unhappy about it. Meanwhile, Elvis' fame continued to grow. Ed Sullivan vowed never to have Elvis on his show, but eventually offered The Colonel $50,000 for three appearances. It was the highest amount ever paid for a variety show performance. Later that year, an issue of Variety magazine proclaimed Elvis the "King Of Rock ‘n' Roll".

In August 1956, Elvis began shooting his first movie, a Civil War melodrama called The Reno Brothers. The movie co-starred Debra Paget and Richard Egan. The title was changed to Love Me Tender midway through production to capitalize on Elvis' new single. Elvis made his first appearance on the "Ed Sullivan Show" on September 9th. He performed "Hound Dog," "Don't Be Cruel," "Love Me Tender" and "Reddy Teddy." The show garnered the highest ratings in television history.

Tupelo, Mississippi proclaimed September 26, 1956, "Elvis Presley Day." Elvis played two shows at the Alabama-Mississippi Fair and Dairy Show, the very place that he performed "Old Shep" a decade before. The crowd was so wild that the National Guard was called in to maintain order. Elvis Presley was deemed the biggest thing to hit the music industry since Frank Sinatra. The Colonel capitalized on his fame by placing his likeness on every piece of merchandise imaginable, from lipstick to stationary. By the end of the year, the merchandise would gross $22 million.

Elvis made his second "Ed Sullivan Show" performance on October 28th. On November 16th, Love Me Tender premiered. The film was a smash, and the critics' reviews weren't bad. The fact that Elvis sang several songs in the film certainly helped matters.

Elvis made his final appearance on the "Ed Sullivan Show" on January 6, 1957. To avoid controversy, he was only filmed from the waist up. Ed Sullivan proclaimed Elvis to be a "real decent, fine boy" and told America that he was a pleasure to work with. Shortly after his Sullivan appearance, Elvis began shooting his second movie, Loving You.

In March, Elvis purchases Graceland, a sprawling mansion for his family to live in. The home was his sanctuary for the rest of his life. The family moved into the home in April. Elvis finished work on Loving You, and continued to tour and make personal appearances. That spring, he performed outside of the United States for the first time, appearing in Canada. In May, Elvis began shooting his third film, Jailhouse Rock.

Loving You premiered on July 9th. The movie was another smash for Presley, and reached the top ten of the box office receipts. The movie produced two hit singles, the title track and "Teddy Bear." Elvis continued to tour, release records and make appearances. On August 31st, Elvis performed a concert in Vancouver. It would be the final time he performed a concert outside of the United States.

On September 27th, Elvis returned to Tupelo and performed a benefit concert for the Elvis Presley Youth Recreation Center. He would donate to the center for the rest of his life, and it still exists today.

Jailhouse Rock premiered on October 17th. The film was another huge hit, and is generally considered Elvis' best performance. The jailhouse production number provided an iconic image of Elvis, and the title track became one of his signature songs. Unfortunately, the movie was also marred by tragedy. Just weeks after shooting wrapped, Elvis' co-star Judy Tyler was killed in an automobile accident. Elvis never watched the finished film.

Elvis and his family celebrated their first Christmas in Graceland in December. Elvis received an unwelcome present that year: His draft notice. Undaunted, Elvis began shooting his fourth film, King Creole in January of 1958. Shooting wrapped in March, and Elvis returned to Memphis to perform a few concerts. These would be his final live appearances until he was released from the army.

On March 24, Elvis Presley was inducted in the United States Army. His induction was masterfully orchestrated by Colonel Parker. Everything from his formal induction to the desecration of his perfect pompadour was meticulously documented by the press. Elvis was sent to Fort Hood in Texas for basic training, and would remain there for six months. While on leave, he was rushed into the recording studio by RCA. This would be his final session until his release in 1960.

King Creole was released in July. Elvis received positive reviews for his acting, and the film is considered to be one of his finest. Unfortunately it was one of the only times where he was taken seriously as an actor.

In August, Gladys Presley became very ill. She returned to Memphis, and doctors diagnosed her with acute hepatitis. The army granted Elvis emergency leave, and Elvis rushed home to be by her side. Gladys Presley died on August 14, 1958. Services were held the next day at the Memphis Funeral Home, and she was laid to rest at Forest Hill Cemetery. Elvis was devastated by his mother's death, and he never quite got over it.

On October 1, 1958, Elvis was deployed to Germany. He was stationed there for eighteen months. During this time, Colonel Parker kept his name alive by putting out records and through various promotions. In October 1959, he met fourteen year old Pricilla Beaulieau. He was instantly taken with her.

Elvis was promoted to Sergeant on January 20, 1960. He was a good soldier, and showed remarkable abilities as a scout. Despite his celebrity, he was treated just like any other GI. He was officially discharged from the United States Army on March 5, 1960. He returned to Memphis two days later.

The remainder of March was a blur of recording sessions and television appearances. On March 26th, he taped an appearance on Frank Sinatra's television special that was titled "Welcome Home Elvis". The highlight of the special came at the end, when Sinatra crooned "Love Me Tender" and Elvis answered back with a rendition of "Witchcraft."

Elvis is Back! was released on April 8th. The record went to #2 on the Pop chart. It was considerably less rocking than his 50's output and showed the more pop oriented direction that he was going in. Meanwhile Elvis began shooting his fifth film GI Blues. "Welcome Home Elvis" aired on May 8th and was a ratings winner. In August, Elvis began shooting his sixth film, Flaming Star. Flaming Star was a serious drama, a major departure from the musical fluff of GI Blues.

The GI Blues soundtrack was released in October and quickly hit #1. The album would become Elvis' most successful on the Billboard charts. The film was released in November, and was a big hit. In contrast, Flaming Star was released to good reviews, but the lack of music hurt its box office receipts.

Elvis would make a few more serious dramas, but they never did as well in the box office as his musicals. GI Blues and 1961's Blue Hawaii set the tone for the remainder of his film career: Exotic locales, pretty girls, and lots of music. With the exception of 1964's Viva Las Vegas, none of them show Elvis' talent as a performer. Elvis quickly became bored and frustrated with his lack of quality output.

As the 1960's wore on, Elvis seemed to fall behind with the times. His movies always made a profit at the box office, but teenagers had moved on. The Beatles had surpassed their idol as the number one musical act in the world. The Fab Four met Elvis at his LA mansion in 1965. The two camps were civil, but Elvis was clearly threatened by the Beatles' popularity.

On May 1, 1967, Elvis and Pricilla married in a private ceremony in Las Vegas. Pricilla had been living with Elvis since 1963. Pricilla became pregnant in July, and Lisa Marie Presley was born on February 1, 1968. In July, Elvis began rehearsals for a new television special. The show was initially supposed to have a Christmas theme, but midway through production plans were changed. The special featured the best new material since Elvis is Back! as well as rocking versions of his older hits. The highlight of the show was a roundtable jam session with his original musicians. Elvis played his hits and even poked fun at his rebellious image. Elvis' creative juices were reinvigorated.

The "comeback special" aired on December 3, 1968 and became a milestone of American popular culture. It was one of the biggest television hits of the year, and the accompanying soundtrack album shot up the charts. The King had proudly reclaimed his throne. The creative juices kept flowing into 1969, and Elvis threw himself into recording. He held marathon recording sessions in Memphis, and the musicians were astounded by how motivated he was. The results, From Elvis in Memphis and Back in Memphis are considered Elvis' finest studio albums.

In March of 1969, Elvis began filming Change of Habit, his final motion picture. In July, he was booked for a four week engagement at the International Hotel in Las Vegas. The engagement marked Elvis' first appearances on a live stage since the early 1960's. Elvis was in tremendous shape, and the show was a red-hot mix of old classics and new material. In September of 1969, "Suspicious Minds" was released. The song was his first #1 hit since "Good Luck Charm" in 1962, and would be his final #1 single.

In January of 1970, Elvis returned to Vegas for another engagement at the International. He broke attendance records. In February, Elvis played six shows at the Houston Astrodome and drew a record setting 207,494 people. The success of the shows spawned rumors that Elvis would tour for the first time since the 1950's. Elvis returned to Vegas for another engagement in July, and parts of it were filmed for an upcoming documentary, Elvis: That's the Way It Is.

In September, Elvis embarked on a nine-city concert tour. It was his first since 1957, and ticket sales were brisk. The show got good reviews and parts of it were also filmed for That's the Way It Is. He never left the road for such a long stretch again.

In December, Elvis made in impromptu visit to the White House and met with President Nixon. He wanted a DEA Drug Enforcement Badge and wrote a heartfelt letter to the president, telling him that he was deeply concerned about the drug problem in the United States. Ironically, Elvis was high most of the time. He had gotten hooked on amphetamines in the army, and was rarely without a lethal cocktail of uppers and downers. Nixon granted Elvis his badge and took several photos. The picture of Elvis and Nixon shaking hands is one of the most requested images in the National Archives.

Elvis continued to tour and release records throughout 1971 and '72. In June of 1971, part of Highway 51 South in Memphis was re-christened "Elvis Presley Boulevard". In late 1971, Elvis and Pricilla separated. The marriage had been on the rocks for several years, and Pricilla left for karate instructor Mike Stone. Elvis began dating Linda Thompson, who would remain his female companion for the next four years. In June of 1972, Elvis performed four sold out shows at Madison Square Garden. A live concert album was quickly rushed out by RCA. Parts of the concert were used in a new documentary called Elvis On Tour.

Elvis performed another Vegas engagement in September and announced plans for a television concert to broadcast live via satellite from Hawaii. Expectations for the special were high, and it was predicted that the concert would be seen by more people than any other television special in history. In October, Elvis released "Burning Love," which would be his final major hit.

Elvis: Aloha From Hawaii was broadcast via satellite in January of 1973. The special was seen by over one billion people in 40 countries. Elvis was in top form for the special, and he played a mixture of standards, new material and his old classics. It was the pinnacle of his career in the 1970's. His performances would rarely hit such glorious heights again. The concert album was released in May, and reached #1 on the charts. It was his final #1 album. Elvis and Pricilla's divorce was finalized in October. The two remained close friends, and Elvis was granted regular visitation with Lisa Marie. In mid-October, Elvis entered the hospital for a variety of health problems, including hepatitis and an enlarged colon. His dependence on prescription drugs increased, and his weight ballooned.

Although his health was getting worse, Elvis continued to tour and perform in Las Vegas. His performances became erratic. He began forgetting the words to songs, and sometimes performed entire concerts on his back. Despite the lackluster performances, Elvis' female fans still saw the sexy "Hillbilly Cat" of 1956. His tours continued to sell out, and he always broke attendance records. During his summer '74 engagement in Vegas, Elvis met with Barbra Streisand to discuss starring in her remake of A Star is Born. Elvis was excited by the idea, but it never materialized.

Elvis and Linda Thompson split in 1976, and Elvis began dating beauty queen Ginger Alden. His life became a haze of tours, pills and food. He barely resembled the King of Rock n' Roll that he once was. In 1976, Elvis fired longtime bodyguards Sonny and Red West. The pair retaliated by writing a tell-all book entitled Elvis: What Happened? The book exposed Elvis' drug problems to the public for the first time. Elvis was shattered and betrayed by its publication.

As 1977 dawned, it was clear that Elvis' health was failing. He still continued to tour. In June, some shows were recorded and taped for a special and concert album called Elvis In Concert. Elvis was a shadow of his former self, but flashes of his amazing talent broke through. At the end of the show he performed "Unchained Melody," and belted the song out with every fiber of his being.

On June 26, 1977 Elvis performed his final concert at The Market Square Arena in Indianapolis, Indiana. After the show, he returned to Graceland to relax before starting another tour mid-August. He spent time with Lisa Marie, and attempted to get an advanced copy of Star Wars for her to watch.

In the early morning hours of August 16th, Elvis finalized tour details and relaxed. He played a game of racquetball and sang a few songs on the piano. He retired to his room at 7 AM. In the late morning, Ginger Alden found him slumped over in the bathroom. Paramedics were called but were unable to revive him. Elvis was taken to Baptist Memorial Hospital. Doctors tried everything they could, but it was no use. Elvis Presley, the undisputed King of Rock n' Roll, was dead. He was 42 years old.

The news reached the media within hours. The major television networks threw together documentaries about his life. Fans gathered at the gates of Graceland, and radio stations played marathons of his records. On August 17th, the gates of Graceland opened for mourners. An estimated 80,000 people passed by Elvis' coffin. The funeral was attended by many celebrities, including Caroline Kennedy and former co-star Ann-Margaret. Televangelist Rex Humbard presided over the service and comedian Jackie Kahane delivered the eulogy. The casket was taken to Forest Hill Cemetery in a procession of all-white automobiles. His body was later moved to the Meditation Garden in Graceland when somebody threatened to steal the corpse. Gladys' remains were also moved, and Vernon was buried there in 1979.

Why Elvis Presley was selected:

Elvis Presley didn't invent rock ‘n' roll, but he was its savior. Bill Haley had a major hit with "Rock Around the Clock," but it was considered a novelty record. Elvis legitimized rock ‘n' roll as a genre and proved that a long term career was possible. Elvis' early records capture everything that was great about early rock n' roll: The energy, the excitement, the innocence and the sexuality. His later records are more subdued, but he still made some fantastic music. The amount of emotion he brings to songs like "Suspicious Minds" is absolutely stunning. Without Elvis, I wouldn't be writing for this website, and I would probably be listening to Patti Page. As legendary rock critic Lester Bangs put it in 1977: "Elvis kicked ‘Doggie in the Window ‘out the window and replaced it with ‘Let's fuck.' The rest of us are still reeling from the impact." Elvis Presley is the one true King of Rock ‘n' Roll. Accept no substitutes.

A Month With Elvis Presley

The final word count was 4,011. I had never written anything so epic. I e-mailed the piece to my editor, and took a deep breath. I was exhausted. I put aside everything in my life to focus on that article. I locked myself in my room and lived on a steady diet of Goldfish and Mountain Dew, pausing occasionally to sleep and shower. For one month, I was consumed with Elvis Aron Presley.

Elvis and I have a long and complicated history. When I was in the third grade, my dad came home with a box of records that he inherited from an elderly client. The records were pretty terrible. My dad went through the box, periodically rescuing treasures and commenting on the oddity of the collection: “Who in their right mind buys two Dr. Demento albums?”

I didn’t have any interest in anything that contained “I’m My Own Grandpa,” but two records caught my eye. The covers featured a man wearing a white-sequined jumpsuit and a helmet of black hair. The man apparently had one name: Elvis. At eight years old, I had a vague idea of who Elvis Presley was. I had never heard any of his music, but I knew that he was pretty important. I put the record on, and the moment I heard “Jailhouse Rock,” everything clicked. My friends listened to bands like The Spin Doctors, Counting Crows and Toad the Wet Sprocket, but I immersed myself in the music of the King.

As I grew older, I moved on. I stopped listening to Elvis all together and moved my posters down to the basement. In my late teens, I even subscribed to the revisionist theory that Elvis was nothing more than a wilder version of Pat Boone. I didn’t understand his impact. Sure his ‘50s work was fantastic, but pap like “It’s Now or Never?” The terrible films where he always seemed to be playing a race car driver? How could he be considered the king of anything, let alone rock n’ roll?

I don’t think anyone from our generation can truly grasp what an impact Elvis had on our culture. We’ve grown up in a world where sex is no longer a dirty word. When Elvis hit the national stage in 1956, male singers stood stoically at the microphone crooning sweet ballads and novelty songs. Elvis threw that notion out the window with swiveling hips and a hiccupping vocal. Male singers had never been sexy, and in the conformist world of the mid-‘50s, that was threatening. His sneer still implies danger a half century later.

Unfortunately the image that most people have of Elvis Presley is not the “Hillbilly Cat,” of 1956. Elvis’ fall was so stunning that people only think of him a fat drug addict who died in his bathroom. To place him in that box is not only insulting to the man, but also insulting to our culture. Elvis gave us some of the greatest music of the 20^th century, and we take it for granted. We take it for granted because it has always been there. However, there was a time when it wasn’t there. Elvis Presley is the root of all modern music. Everyone has been influenced by him, consciously or unconsciously. As legendary rock critic Lester Bangs once said, “Elvis threw “Doggie in the Window” out the window, and the rest of us are still reeling from the impact.”

I decided to write about Elvis because I wanted to understand his impact. I have a firmer grasp on it, but I don’t think I’ll ever fully appreciate it. However, I am fully aware of one thing: Elvis’ early records encapsulate everything that is wonderful about rock n’ roll. He will never leave the building.

Van Halen- Fair Warning

When critics discuss Van Halen, they usually focus on their self-titled debut or the multi-platinum juggernaut of 1984. This makes a lot of sense, because those records sum up everything that was great about Van Halen. The riffs, the songs, and the attitude were perfectly in place. Both records established the myth that Van Halen was America’s greatest party band. However, one record nearly destroyed the band’s carefully constructed good-time image.

The early Van Halen records follow an arc. Van Halen I and II show a young, hungry rock band desperate for stardom. The songs are carefree, energetic and eager to please. On Women and Children First, Van Halen are legitimate rock stars, indulging in all the spoils. A year later, the stardom was beginning to take its toll. Fair Warning shows a band under considerable strain. It is not so much an album, but a war between two dominant personalities.

The tension between David Lee Roth and Eddie Van Halen has always been the force behind Van Halen. Their partnership follows an age-old rock n’ roll cliché: The extroverted showman and the guitarist with mystique. Roth and Eddie were able to keep the peace for three albums, but by Fair Warning they were jockeying for position.

Eddie’s intense solo in the beginning of “Mean Street,” sets the tone for the entire album. If “Eruption” was a cocky kid showing off his revolutionary style, then “Mean Street” is the mature musician who is confident in his ability. The solo is only a few bars, but the message is clear: “This is my band!”

Eddie’s guitar is the most dominant trait on Fair Warning. Roth attempts to rise above it with his usual chatty banter, but Eddie’s guitar chops him down to earth with a blast of distortion. Eddie’s guitar solos are still technically brilliant, but are much more focused. The signature hammer-ons, pull-offs and two hand tapping are structured so every note means something.

Eddie’s tougher guitar sound gives way to tougher songs. David Lee Roth tries hard to keep up his heavy metal lounge singer persona, but it seems transparent. “Dirty Movies” is the most obvious example of this. On an earlier record, this song would have been a joyous ode to adult entertainment. On Fair Warning, Diamond Dave is clearly getting sick of hotel room VCRs loaded with the finest in silicone based cinema.

Fair Warning’s greatest moment comes in the middle. If “Unchained” is not the best song Van Halen ever recorded, it is certainly the heaviest. It is the one moment on the album where Eddie and Dave come together. Eddie’s riff tries to subdue Dave, but Dave’s personality finally breaks through with a triumphant “ALLLLRIIIIGHT!” When Dave says that line, you can imagine him jumping off a drum riser. It is the most vivid moment of the Roth era.

Fair Warning is the lost album of the David Lee Roth era. It is an album of anger, resentment and weariness sandwiched between albums about pretty women and dancing in the street. Fair Warning gave us the real Van Halen, not the myth that we all wanted to see. This was Van Halen unchained.

Kevin DuBrow 1955-2007

Author's note: This blog was originally part of 411Mania's Year End Tributes. It can be found here:

http://www.411mania.com/music/columns/66579

hen Kevin DuBrow passed away on November 19th, the condescension was palpable. The elite music magazines and websites acknowledged DuBrow's death, but you could almost see the smirk on the writer's face as he was typing the obit. After all, Kevin was the lead singer for Quiet Riot, and Quiet Riot was a living, breathing Spinal Tap. It was as if they couldn't fathom why anyone would care.

Quiet Riot never had much credibility to the rock elite. They were never the heaviest band or the sleaziest band. Other bands had much cooler frontmen than the balding, cartoonish DuBrow. However, Kevin DuBrow and Quiet Riot deserve much more respect than they are given. Quiet Riot was the first metal band to hit number one on the Billboard charts, and their success paved the way for dozens of bands. Def Leppard, Metallica, Guns n' Roses and Pantera all owe Quiet Riot a debt of gratitude, because they cemented metal as a commercially viable genre. For many people, Metal Heath was their first exposure to the genre.

I saw Quiet Riot a few years ago at the Recher Theatre in Baltimore, MD. The club was half full, but DuBrow performed like he was onstage at Madison Square Garden. After the show, he stuck around and signed autographs for anyone that wanted one. He was grateful for every fan that came out to support him.

Kevin DuBrow never set out to be a serious rock musician. All he wanted to be was a rock star, and for a few fleeting years he was one of the biggest. He might not have made any "important" albums, but he certainly had a lot of fun. I think that is one thing that music has lost, and will never get back.

Rest in peace my friend.

-John Nagle

Top Seven of 2007 and Other Superlatives

Author's Note: This blog originally appeared as part of 411Mania's Year in Review feature. It can be found here:

http://www.411mania.com/music/columns/66364/411-Music-Presents...2007-Year-In-Review:-Part-1.2---Staff-Picks,-Vol.-2.htm


Top Seven Albums of 2007:

1. The Wildhearts - The Wildhearts. Just when I think my love affair with hard rock has reached a plateau, a record like this pulls me back into the fold. Once again, Ginger has proven that he is the most underrated songwriter in all of hard rock. He keeps a delicate balance between pop melodies and heavy guitar riffing, never letting one outshine the other. He even adds a new layer to the classic sound by trading dueling guitar solos with guitarist CJ. Unfortunately this record has only been released in Europe and the UK, but it is worth every penny of the import price.

2. Rilo Kiley - Under the Blacklight. I was slightly disappointed when I found out that Jenny Lewis was going back to Rilo Kiley, but my disappointment was short-lived. There is an undercurrent of danger that runs throughout this record, especially on songs like "The Money Maker." Blake Sennett's guitar is soaked in sex, and Lewis has never sounded more seductive.

3. The Joneses- Keeping Up With the Joneses. The Joneses were victims of bad timing. Originally released in 1986, this record was too raw for the mainstream hair metal fan. If the album had been released a year later, it would have been huge. All the elements of great sleaze rock are in place: Great Stonesy riffs, simple songs, and truckloads of attitude. Their cover of "Crocodile Rock," is especially noteworthy, because it takes the innocence of the original and turns it on its head.

4. Bruce Springsteen - Magic. I breathed a sigh of relief when I heard "Radio Nowhere" for the first time. Bruce's folk diversion was pleasant, but if I want to hear "Froggy Went A-Courtin'," I'll listen to Raffi. The striking thing about Magic is that it gets better with repeated listens. The first time I listened to the album all the way through, I remember thinking that "Girls in Their Summer Clothes" was contrived. However, with each listen I heard something new, and now it is my favorite song on the record. Once again, Bruce Springsteen has shown that he is one of music's most valuable songwriters.

5. Motion City Soundtrack - Even If It Kills Me. I want to make this perfectly clear: Even If It Kills Me is NOT an emo record. Yes, the music is fast-paced and poppy. Yes, all the songs deal with relationships in one form or another. Yes, the lead singer wears horn-rimmed glasses. So how is this album anything other than emo? The wittiness and complexity of Joshua Cain's lyrics place it firmly in the realm of power pop. Cain's lyrics often come close to being corny, but they are delivered with such sincerity that it is impossible to hate them. Don't we all want a girl who loves Cap'n Crunch and listens to the Ben Folds Five?

6. Bright Eyes - Cassadaga. I feel like Strong Sad when I listen to this album, but the richness of the music sucked me right in. The thing that sets Oberst apart from a million other indie singer songwriters is that he uses metaphors that nobody else uses. A soul singer in a session band? It's amazing nobody has thought of that before. The way he moves from country-ish sounds to complex orchestrations is also really impressive. Somehow Oberst has found a way to make music that sounds pretentious on paper, but doesn't sound pretentious at all.

7. Knugen Faller - Lugna Favoriter. This band is from Sweden, and they sing in Swedish. Therefore, I have no idea what they are talking about. According to their MySpace the album is "a three chord journey through the new right wing Sweden." All I know is that this band has written some of the best power pop this side of The Go-Go's. It's probably better that I don't know what they are talking about.

Honorable Mention: The Carbonas - The Carbonas, Nine Inch Nails - Year Zero, The Fratellis - Costello Music, Sebastian Bach - Angel Down, Down - Down III: Over the Under, Fountains of Wayne - Traffic and Weather, Arctic Monkeys - Favorite Worst Nightmare, The White Stripes - Icky Thump, Arcade Fire - Neon Bible, Ryan Adams - Easy Tiger, Radiohead - In Rainbows

Most Annoying Album of the Year: Good Charlotte - Good Morning Revival. I don't think I've ever felt such visceral hatred for a record. The remarkable thing about Good Charlotte is not their music, but their ability to rip off whatever influence is popular at the time. Four years ago it was cool to namedrop The Cure, so the band went goth for The Chronicles of Life and Death. New wave has become popular again, so Good Charlotte has picked up a synthesizer. To be a great new wave band, you have to be stylish and glamorous. No matter how many parties they attend, or how many anorexic blond starlets Joel Madden dates, there is NOTHING glamorous about Good Charlotte. As the final cherry on the cake, Madden wrote lyrics decrying the vapid Hollywood scene with a straight face. Do you actually think dating Hilary Duff makes you any better Mr. Madden?

Biggest Music News of the Year: The Continuing Saga of Britney Spears or How to Lose Your Remaining Sex Appeal in 12 Months. I don't really have much to say, except this is the biggest trainwreck I have ever witnessed. I'm actually amazed that she is still alive, because I was kind of waiting for it to happen. This is shaping up to be one of the biggest Hollywood tragedies of all time. She has become the female version of 70's Elvis.

Favorite Concert of the Year: Bruce Springsteen and the E-Street Band. I was lucky enough to see some great concerts this year, but Bruce Springsteen is the greatest show I have ever seen. It was not really a concert, but more like a pep rally and a revival meeting rolled into one. There was so much emotion in that room, and the emotion was not based on hype or pyrotechnics, but based on the power of the music. It's something that you have to experience to understand. I wish I could bottle up how I felt on that night and feel that way all the time.

Biggest Disappointment of the Year: Iggy and The Stooges - The Weirdness. I usually don't get my hopes for reunion albums, but the reunited Stooges' live performances set my hopes sky-high. I should have known better. The Weirdness tarnished The Stooges' perfect batting average forever. The most disheartening thing about it was Iggy's performance. He sleepwalks through every song, and the lyrics are inane and uninspired. The man who once proclaimed that he was a "street walking cheetah with a heart full of napalm," reduced himself to "My idea of fun is killing everyone." Pathetic.

Biggest Surprise of the Year: Van Halen Reunites. I never thought I'd witness it in my lifetime. Money talks.

Best Breakthrough Artist of the Year: Amy Winehouse. How do you sell an artist that has no track record in the US? Exploit her addictions and personal problems for all they are worth. It worked like gangbusters, because Back to Black was the one record we all had to have in 2007. I want my $9.99 back please.

Comeback Artist of the Year: The Wildhearts. The Wildhearts did not make the headlines like Led Zeppelin, Van Halen or the Eagles did. They didn't top year end best lists like Rilo Kiley did. In fact, the only way you got word that they had a new album out is if you were a fan. However, I think The Wildhearts comeback is more noteworthy than the big three, simply because it wasn't a cash grab. These guys quietly went into the studio and arguably made the best record of their career. Cheers Ginger, you did well.

Sebastian Bach- Angel Down

It’s easy to view Sebastian Bach’s new album with a haze of cynicism. Bach is in the middle of a publicity windfall thanks to his appearance on MTV’s Celebrity Rap Superstar, so a new record seems very convenient. However, Angel Down has been in the works for seven years, and is Bach’s first real solo record since leaving Skid Row in 1996. Although 1998’s Bring ‘Em Bach Alive contained five new songs, it was mostly a live record, with Baz shouting out Skid Row classics. The new songs were decent enough, but contained little of the fire of his previous band.

Angel Down is Sebastian Bach’s triumphant return to the metal throne. Bach has not sounded this focused since 1995’s Subhuman Race. With its lean production and razor sharp guitar riffs, Angel Down is almost an extension of that record. Bach’s titanium pipes are still in tact and he hits every high note effortlessly. Many of these songs have been floating through Bach’s live sets for several years, and they reach their full potential here.

The title track continues the grand metal tradition of a soft intro followed by a roaring chorus. This technique has been used by so many bands that it could easily morph into self-parody. Bach diffuses the cliché by using the intro as a warning. Once the guitars kick in, the song does not let go. The band spends about ten seconds on the opening riff before Bach comes in with a devastating roar.

One of the more puzzling aspects of Angel Down is the presence of Axl Rose. Rose comes out of his artistic coma to lend his voice to three tracks. Rose is in surprisingly good form vocally, but his contributions are a mixed bag. He fits in well with the album’s ridiculously titled first single, “Love is a B*tchslap,” a gleefully chauvinistic romp that sounds like a leftover from Appetite for Destruction. The lyrics cannot be repeated here, but it is impossible to take them seriously.

The album’s only misfire is Bach’s cover of Aerosmith’s “Back in the Saddle.” The song is performed as a duet with Axl Rose, and the dynamic duo completely misinterpret the song. The raunchy blues groove of the original is mutated into generic heavy metal. Every element of this song is out of place, from Bach’s overdrawn screaming to an embarrassingly metallic solo. When have you heard Joe Perry play a million notes in rapid succession? That’s right. You haven’t.

Fortunately, “Back in the Saddle” is one weak moment in an album of greatness. Angel Down won’t change the world and doesn’t have anything particularly “important” to say, it’s just a heavy metal record. Bach’s loyalty to the genre is part of what makes Angel Down such an enjoyable listen. This has everything you want out of a metal album: It’s fun, unpretentious and sounds best when played at high volumes. Sebastian no longer has the youth, but he remains forever wild.

The Rock n' Roll Stormtroopers- On Fire

Author's Note: This review was originally published on The Label Project. It can be found here:

http://www.labelproject.com/fullbreachkicks/fbk006.html

One look at the Rock n’ Roll Stormtroopers tells you what kind of band they are. The clichés are all present and accounted for. There’s hellfire, cutoff denim vests, devil horns and several assurances that this record will rock your face off. All of this is extremely charming and somewhat reassuring, because as Twisted Sister once put it: We all wanna rock. Unfortunately, On Fire doesn’t deliver. My face is still present and accounted for.

The main problem with On Fire is that the Stormtroopers are too self-aware. They know the image is ridiculous and every song is delivered with a wink and a nod. There is nothing wrong with being in on the joke, but there has to be at least one serious element. For example, 90% of AC/DC’s lyrical content is utterly ridiculous, but Angus Young’s guitar work keep them from being court jesters. The Stormtroopers don’t have that, and the shtick gets old very quickly.

The Stormtroopers’ saving grace is their boundless enthusiasm. Lead singer Tex Tornado (How’s that for a rock n’ roll name?) and the boys sound like they are having a great time. The band’s heavy German accents also set them apart from a million other bands, simply because you don’t often hear such heavy accents within this genre. Unfortunately this positive trait is undercut by static production that sucks the energy out of the songs

The album’s opening track, “Bulldozers on the Loose,” sets the tone for the entire record. Tornado repeats the title of the song for a minute or so, before crooning some generic lyrics about mindless destruction. Repeat chorus. Add in a few uninspired AC/DC riffs and you have the crux of the Stormtrooper sound. “Bulldozers on the Loose” is a catchy tune, but only because the chorus is repeated ad nauseam. Every other song on the record follows this basic template, with a few minor changes to mix things up a bit. The three themes: Rock, parties, and the almighty power of rock.

The Stormtroopers have the basic idea of party rock down but they fail to understand what makes it work. It’s not really about being original, but about taking the clichés and putting your own twist on them. All the elements are in place, but the Stormtroopers haven’t figured out how to make the genre their own.

Despite these minor setbacks, the Rock n’ Roll Stormtroopers have a lot of potential. If they lose some of the shtick and tighten up their songwriting, they could be a force in the sleaze rock scene. As it stands, they are all smoke and no fire.

The Who- Meaty Beaty Big and Bouncy

How do you start listening to The Who? This sounds like a stupid question right? Tommy, Who’s Next or Quadrophenia would probably be typical answers. Those records are incredible works of art and showed how far rock n’ roll could be taken. As great as those records are, they would not be a good place to begin. Why? The complexity of those records can be quite intimidating for a newcomer, and they would probably be turned off. A compilation would be a more logical choice.

Choosing a Who compilation is often more confusing than choosing a proper album. Most Who compilations tend to focus on their arena rock heyday, virtually ignoring their early singles. Instead of getting a balanced view of the band’s musical career, the listener is only hearing one side. Fortunately, one compilation distills everything great about the Who into a single disc.

Meaty Beaty Big and Bouncy is one of the best compilations in the history of rock n’ roll. Unlike the later Who compilations, Meaty Beaty Big and Bouncy has a purpose. Like their contemporaries The Beatles and The Rolling Stones, The Who’s early singles were never released on an actual album. Therefore this record was intended to collect all those early singles in one handy place.

Although it was a greatest hits collection in England, Meaty Beaty was considered a rarities album in the United States because none of the early Who records had charted. We tend to think of the Who as just behind The Stones in terms of popularity in the 1960s, but on their first tour of America they actually opened for Herman’s Hermits! Think about that for a second.

All of the major singles are here, from “I Can’t Explain” through “Pinball Wizard.” The songs are very poppy and on the surface seem like the typical British Invasion sound. The jangly guitars, high harmonies and catchy hooks are abundant, but the lyrical content sets them apart from peers like The Dave Clark Five. Although Pete Townshend was still finding his voice as a writer, his trademark vulnerability runs through the seemingly happy tunes. He is insecure in “Substitute,” (“I’m a substitute for another guy.”), and slightly paranoid on “The Kids are Alright,” (“I know I gotta get away/cause if I don’t I’ll go out of my mind.”). Even the sing-song chorus of “I Can’t Explain” is self-doubting.

The other element that sets The Who apart is the manic drumming of Keith Moon. In a time when drummers played simple beats, Moonie bashed the entire kit. His drumming gives the music a propulsive energy that other bands of the era can’t match.

This energy is the reason why Meaty Beaty Big and Bouncy holds up better than other Who compilations. There is a visceral thrill in hearing The Who when they young, hungry and trying to prove themselves. Their music became louder and more complex, but The Who never rocked as hard as they did on these early singles. There is no pretension on this record, just maximum R&B.

Puddle of Mudd- Famous

Author's Note: This review originally appeared on 411Mania.com It can be found here:

http://www.411mania.com/music/album_reviews/61796/Puddle-of-Mudd---Famous-Review.htm


Nearly seven years ago, Puddle of Mudd released their debut album, Come Clean. Thanks to a couple catchy singles, the album rose to multiplatinum status, briefly putting Puddle of Mudd on top of the modern rock scene. Unfortunately, 2003’s Life on Display failed to set the world on fire, and Puddle of Mudd faded into obscurity. Five years later, they hope to recapture some of their former glory with Famous.

Five years is an eternity in the world of pop music, but Puddle of Mudd lives in a world of eternal stasis. From the first power chord to the final fadeout, you immediately travel back to the early 2000s. The cleanly sanitized grunge riffs, the snarling Eddie Vedder-like vocals, and bland arrangements hearken back to a time when Creed was king. The only difference between Famous and Come Clean is the lack of decent singles.

Puddle of Mudd can’t be faulted for having a signature sound, but their signature sound belongs to other bands. Nirvana, Alice in Chains, Stone Temple Pilots and Pearl Jam are all present and accounted for. Lead singer Wes Scantlin cribs freely from these bands, but fails to pick up on the songwriting behind the riffs. Nirvana was loud and distorted, but the distortion was backed up with clever wordplay, irony and genuine emotion. There is nothing clever about Wes Scantlin’s lyrics; everything he says is meant to be taken literally. This results in one missed songwriting opportunity after another.

The title track is the biggest misstep of all. In the hands of a more talented band, “Famous” could have been a sly nod the fact that Puddle of Mudd is losing ground. Nope. What we get is yet another song warning the world about the shallowness of the Hollywood scene. Gee, a song like that has never been written. The song would have comic value, except that Scantlin delivers each word with unnecessary seriousness.

The rest of the record alternates between shallow angst and shallow introspection. The problem is that it’s hard to tell what emotion Scantlin is trying to convey, since his vocal inflection never changes. The only time Scantlin’s voice shows any life is his occasional shouts of “YEAAAAAAH!”, which is supposed to signify anger. The charisma that the band showed on singles like “Control” and “Blurry” has disappeared and Puddle of Mudd seem to be content to sink into mediocrity.

Not all of the blame falls on the band. Corporate rock superman Brian Howes was brought in to give the band some hooks, but there are no hooks to be found. “Lips of an Angel” is a terrible song, but it least it was catchy. Howes leaves Puddle of Mudd to their own devices, and there is not a single memorable song on the album.

To be fair, nobody expects a classic rock album from a band like Puddle of Mudd, but the lack of singles is surprising. If the songwriting was better, if the riffs were punchier and the charisma was there, Puddle of Mudd could have made a decent little rock album. Instead, it’s just another banal slice of corporate rock n’ roll.

Rod Stewart- Every Picture Tells a Story

You think you know Rod Stewart, but you have no idea. There was a time when he didn’t sing torch songs to middle aged housewives. There was also a time when he didn’t strut around in pink spandex asking if he was sexy. There was a time in the not-so-distant past when Rod Stewart was….dare I say…cool. For a generation that has only heard his milquetoast ballads or his innocuous pop songs, this may be hard to believe.

Rod Stewart has been making mediocre records for so long that it is easy to forget how good he really is. Released in 1971, Every Picture Tells a Story is what Rod Stewart is capable of when he is motivated. The album is the perfect blend of impeccable song selection, musicianship, and interpretation. Musically, Every Picture Tells a Story is hard to define. The acoustic instrumentation is from the folk tradition, but Stewart and his band are purely rock n’ roll. After a few listens, Stewart’s approach becomes obvious: Rock n’ roll and folk music are the same.

This delicate balance is kept in check by Stewart’s backing band, led by Faces guitarist Ronnie Wood. Most singer/songwriter albums from this period use quiet, reflective arrangements. Wood tosses this unwritten rule aside, playing his acoustic guitar as if it was electric. Drummer Mick Waller also ignores the conventions of the genre, pounding the drums with reckless passion.

The band is the perfect compliment to Stewart’s emotive singing. His whiskey soaked vocal cords are an acquired taste, but they have a surprising amount of range. He goes from being a nervous teenager on the title track (“I combed my hair in a thousand ways/but I came out looking just the same”), to heartbroken in “Seems Like a Long Time,” (“Hard times are only the other side of good times”) and is able to make both convincing.

When most people think of this album, they immediately think of “Maggie May,” which has been played into oblivion thanks to classic rock radio. Overexposure aside, the song still packs a punch thanks to the Stewart’s “lovable rogue” persona. He would exploit this aspect of his personality for the next three decades and gradually use it as a crutch. The Rod Stewart sleeping with Maggie Mae is not the slimy cad of later songs like “Tonight’s the Night.” Rod sounds completely innocent as he comments that the morning sun really shows her age. Unfortunately, “Maggie Mae” was such an iconic song, Stewart unwittingly typecast himself.

“Maggie May” gets all the press, but the unsung highlight of the album is Stewart’s show stopping cover of The Temptations’ “I’m Losing You.” Backed up by his mates in The Faces, Stewart manages to out-tempt The Temptations. Stewart sounds as if his heart is being ripped out of his chest, as the band chugs along. The album’s best moment comes at the end of the song. Just as the band begins to fade out, they come roaring back for one final tear-stained chorus.

Every Picture Tells a Story is proof that you can’t judge an artist for their latter day sins. This record is timeless, and yet people tend to remember his most dated work (“Infatuation” anyone?). Listening to this album, you realize why Rod Stewart is so revered. Does Rod Stewart have a good record left in him? Let’s hope so, because he is too talented to be a lounge singer.

How to Make a Mixtape

One of the best things about being a music fan is the homemade music mix. I’m not talking about putting an iPod on shuffle and randomly putting songs on a disc. A true mix requires thought, sweat and a lot of frustration. The process has gotten slightly easier thanks to the CD burner, but making a mix can be a frustrating ordeal. In this week’s column, I will try to alleviate some frustration.

Step One: Start With A Bang

The first track of the mixtape should grab the listener’s attention. If you start with a ballad, there is a high probability that the listener will get bored and not listen to the rest. Therefore, it’s always best to start with an up-tempo number, because it gets the listener involved in the record. It also sets the tone for the rest of the tape. If you have a really great opener, the chances of a great tape dramatically improve.

Step Two: Cool It Down

Now that you have attention, you need to bring things down a bit. This does not mean you come out with ballad guns blazing. The third track is a good time to break out a mid-tempo song. It gives the listener time to recover from the opening onslaught and sets up the next up-tempo song. Here is an example. If I were making an AC/DC mix, I would open up with the double whammy of “Whole Lotta Rosie” and “Girl’s Got Rhythm.” Then I would cool things down with “The Jack,” which is the perfect lead in to “Givin’ the Dog a Bone.” Remember: The listener needs to catch their breath.

Step Three: Album Tracks Are Your Friend!

Let’s say you were making a Beastie Boys mix for someone who had never heard them before. Obviously you would need to include “Fight for Your Right” and “Sabotage.” However, The Beasties’ best work has always been the non-singles. Shake it up a bit! Use stuff like “Slow and Low,” or “Shake Your Rump” or “Johnny Royal.” “Fight For Your Right” is great, but it’s been done a million times. By using album tracks to your advantage, you introduce someone to songs they would never hear on the radio.

Step Four: Make Sure It Flows!

.You can have the best tracklist in the world, but if it doesn’t flow, it doesn’t work. How do you avoid bad flow? Every time you add a new track, listen to 30 seconds of the track that came before. Then listen to 30 seconds of the new track. Then ask yourself: “Do these go together?” If not, it’s no big deal. Either delete the track, or move it to a different spot. Before you burn the disc, give it a full listen. However, it should be noted that proficiency in this step comes with experience. If you don’t get it the first couple of times, don’t be discouraged.

Making a mix is not easy, but I think it is an important skill. You learn a lot about music, because it forces you to think about how each song fits within the context of a record. It’s also a great way to make friends and to introduce someone to music that they have never been exposed to. But most importantly: It’s a lot of fun.

Chaz Matthews- Amazing Graceless

Author's Note: This review was originally published on The Label Project. It can be found here:

http://www.labelproject.com/fullbreachkicks/fbk004.html

Chaz Matthews has to be given credit for one thing: It takes a lot of balls to be a one man band. If the record sucks, you can only blame yourself. Matthews accepts this challenge with Amazing Graceless, his first solo record since the breakup of the Dimestore Haloes. The risk doesn’t pay off.

The logic behind this record was quite simple. Matthews was dealing with his personal demons, wrote a bunch of songs, and wanted to get them out. This approach often results in a classic album, because it is written and recorded in the heat of the moment. The problem with Amazing Graceless is not the music itself. Matthews is a talented songwriter, and the songs are some of the best of his career. He has a remarkable ability to put the listener in his shoes. You feel the pain, the angst and his desperation. When he croons “I need a fix and your kiss,” in “Girl From Detox,” he’s not just referencing The New York Dolls. So if the songs are good, how come the record gets a low rating?

The production on Amazing Graceless nearly kills the listening experience. One of the most appealing things about the Dimestore Haloes was Matthews’ knack for writing addictive guitar riffs. The riffs are still there, but you have to listen really hard to find them. The guitars are a buzzing wall of white noise, and it takes two or three listens before you find the riff. Matthews also makes the mistake of using a drum machine, which makes the drumbeats nearly inaudible.

The production is so bad that the sound quality fluctuates from track to track. On one track the vocals are louder than the guitar, on another the guitar drowns out the vocal. The bass is non-existent. You end up listening to the album in chunks, because you can’t take it all at once. Matthews’ ambitious decision to produce his own record and play all the instruments is admirable, but couldn’t he have ponied up the cash for a real producer and a drummer? Instead of listening to the songs, you end up thinking “Wow, I bet this sounds amazing live.”

Ultimately Amazing Graceless is an album of “What if’s?” What if The Dimestore Haloes recorded this song? How would this sound with a real drummer? Where is the bass guitar? Raw production is a good thing for punk rock, but you should be able to listen to the songs. Amazing Graceless is proof that just a little production goes a very long way.