Author Archive

Being Kurt Cobain

My first impression of Kurt Cobain, even before I knew anything about him, was that he was the kid in school who was painfully quiet, but whose mind was silently screaming. This, I remember thinking, was a kid who had spent a lot of time alone. Not because he wanted to, of course, but because, from Day One, he’d been made to feel that he was alone.

Like you (one can only presume), I have felt the odd juxtaposition of loneliness within a crowded room and written it off as self-manufactured. In Kurt’s case, loneliness was but a byproduct of absolute, unadulterated alienation, he of the broken home with no dad and a mom who couldn’t have given two shits about him if it meant any bit of sacrifice on her part.

If he and Nirvana had arrived at any other time in the history of rock & roll, they’d have gone unnoticed, but, since they came on the scene with their songs of anger and alienation at a time when the youth of this world could no longer maintain a happy façade, their music was welcomed with open arms. Sure, it didn’t happen overnight. Their first album, Bleach, was only a moderate indie success, but it had led to a deal with major label, Geffen, and the strange planetary alignment that would result in the recording and release of an album that would change the world.

Upon its arrival, Nevermind changed little, if anything. I personally remember weeks of watching MTV’s “120 Minutes,” seeing their video, and not being at all moved by the band. Then one day some three months after the album’s release, I turn on the car radio and hear “Smells Like Teen Spirit” on the local AOR radio station. I do a quick check to see if this is, indeed, the right station, because they’re more prone to play an old Pink Floyd or Billy Squier song than something like this. Whether I’ve heard the song before or not, I cannot recall, but, at that very moment, it is the single most beautiful and powerful thing I’ve ever heard. To this day, I remember every nuance of that moment like others remember where they were when JFK was assassinated.

The next day, determined to get my hands on the album this amazing song is from, I run to the local record store and find that I am not alone in my desire to procure said album. As I stand at the register, eager to part with my cash, the guy behind the counter gives the cassette (!) an odd glance — he doesn’t seem to know who Nirvana is, but mentions that a lot of people have been in the past few days looking for the album and that he’d been telling them he didn’t have it. “I should probably order some more of these,” he says as I exit the premises. (more…)

Being Tom Petty

As a musician, singer, and songwriter, I am often surprised by the similarities between myself and Tom Petty. We’ve both been supremely blessed with the love of good women, the musical input and support of first-rate musicians, and the unceasing ability to stick to our guns – against almost insurmountable odds. Yep, ol’ Tom Petty and I have an awful lot in common, I like to think. He, of course, lives in a palatial estate in sunny California and, well, I just saved a bunch of money on my car insurance by switching to Geico.

See, as much as I like to think that the head Heartbreaker and I are cut from the same cloth, share the same undying dedication to rock & roll (no matter how uncool that may be at the time), and walk with the same tenuous swagger that comes from having seen it all and done it all, the truth is that when they made Tom Petty, they broke the mold. And burned the cloth.

How I came to know of Tom Petty is a story I’ve told friends and will now tell you:

When I was a kid, I was already neck-deep in my love for rock & roll. As my twelfth birthday approached, I began dropping a series of not-so-subtle hints that I wanted the new Pretenders album as a gift. Over and over, I mentioned the Pretenders. When they appeared on television, I made sure to turn up the volume and yell, “Oh cool, the Pretenders!” within earshot of my parents. The last thing I wanted was for them to buy me the wrong album.

Finally, my birthday arrives and I rip into the album-shaped present that sits before me. I throw the wrapping paper on the floor and gaze at the – wait a second, this isn’t the Pretenders album. It’s Tom Petty & The Heartbreakers Damn the Torpedoes. Not wanting to hurt my parents’ feelings, I feign excitement and, once my birthday dinner is over, carry the album to my room with all the enthusiasm of a pack of Fruit of The Loom briefs.

From the moment I touched needle to wax, though, I was in love. (more…)

Desert Island Discs: Dan Wilson and Hugo Burnham

Dan Wilson (Trip Shakespeare, Semisonic, solo artist)

Okay Darren, here are my picks! I’m sure if I thought about it more I’d only come up with a bunch more bonus picks, so I’m sticking to these.

Joni Mitchell’s Hejira album. If it were one song I’d say “Hejira” — there’s something so heartbreaking about Jaco Pastorius’ bass melodies intertwining with Joni’s lyrics. And the song is about love, travel, the temporary fixes of modern life, and the quest for something lasting. What more could you ask for in a song? (more…)

Ray LaMontagne: Chicago Theatre, October 1, 2008

There are few artists whose music evokes the coming of autumn more than Ray LaMontagne. Thus, it seemed only fitting that as I walked from my car to the venue, I should take note of the first turning of leaves and a chill in the air that signals the true end of summer.

Despite having lived in Chicago on and off since 1986, this would be my first concert at the esteemed Chicago Theatre; a venue so beautiful in its regal elegance as to invite comparisons to Michaelangelo.

Once inside, I drew my first gaze and felt myself exhale. Home.

Moments later, I would momentarily wish I’d never left home.

There’s nothing worse than attending a concert and having the opening act take a complete shit onstage, to the extent that if there were a dentist in town that could fit you in at a moment’s notice, you’d schedule a root canal (necessary or not) rather than subject yourself to further musical nonsense.

And, thus, there I was having the life sucked out of me by opener Leona Naess.

(more…)

Steve Foley, Elvis Presley, and America

This past weekend, drummer Steve Foley passed away at the age of 49. Foley, of course, is best known for replacing Chris Mars in the Replacements for their final tour in 1991 after years spent gigging on the local Minneapolis music scene. Upon hearing word of his passing, I found myself revisiting a thought — a concept, if you will — that’s been vying for more space in my mind as of late.

My thought, of course, is that there’s really no less flattering sight than that of the aging rock ‘n’ roll musician. Now, before you respond with a sarcastic “boo-hoo,” hear me out. It’s one thing to show your age in a grey cubicle — as long as they make Dockers in your size, truth be told, you’re still good to go — but a rocker hitting his 40s is a whole ‘nother bag of hammers.

Rock ‘n’ roll’s very inception — or conception, if you will — was a reaction to the stodgy “grown-up” music of the day, and while its first real star, Bill Haley, was already pushing 30 (!) by the time “Rock Around the Clock” appeared in the closing credits of the film Blackboard Jungle and changed the face of popular music forever, rock ‘n’ roll still enjoyed an immediate and irrevocable connection to youth.

For teenagers in America who had long been stuck listening to the same music as their parents, rock ‘n’ roll was something they could call their own. Haley was a huge star, of course, but the proverbial elder statesman soon gave way to much younger idols with whom teenagers could more closely identify, including Elvis Presley, Frankie Avalon, and Ricky Nelson.

Presley, of course, is probably the best example of rock ‘n’ roll’s celebration of youth. After all, while talent surely had something to do with it, it was his youthful bravado and untamed sexuality that made him a star. He had the swagger of a young man who had no idea what he couldn’t do, and America’s teenagers loved every controversial shake of the hips and snarl of the lips. He, more than anyone, made sure that rock ‘n’ roll belonged to the young: he was young, the millions of adoring fans were young, and they saw something in each other that made for a beautiful relationship.

As he grew older, though, he lost touch with his audience and watched as bands like the Beatles and Rolling Stones stole his thunder. His final days were spent as a tired Vegas act going through the motions, lost in a drug-induced haze and utterly alone in a world that, for the most part, had moved on from him years ago. He was 42.

(more…)

@#$% Preconceptions: Eurythmics, “In the Garden”

Preconceptions can be a bitch.

Lemme give you an example. Back in 1981, I bought an album by a band called The Tourists, whom I knew nothing about, and, upon first listen, promptly became the hugest Tourists fan in southwestern Michigan. Okay, competition wasn’t exactly fierce.

Still, I never read a word about the band in the many rock magazines I devoured, nor did I see them on MTV (their video for “I Only Want To Be With You” may have aired a few times, but since I didn’t have cable, I never knew it) and, thus, they joined the growing list of obscure bands I loved, but knew little about.

A couple years later, former Tourists Annie Lennox and Dave Stewart, having begun recording as Eurythmics, were enjoying worldwide stardom on the heels of their second album, Sweet Dreams (Are Made Of This). Even though their music and faces were everywhere, I had not yet made the connection to their past.

Truth be told, by the time I did realize that they had been members of the Tourists, their singles had been played so often on the radio, Friday Night Videos, and the like that I didn’t think actually hearing the rest of the album would reveal any new surprises. I’d heard their music, thought it was decent enough, but just wasn’t compelled to join them for this ride.

Here’s where the preconceptions come in. (more…)

An Open Letter to Trent Reznor

Okay, let me just say right off the top that I’ve always had a bit of a problem with Trent Reznor. This was purely from an artistic POV. As a huge fan of Ministry’s early industrial output (the landmark records Twitch and The Land of Rape and Honey), I saw Trent’s Pretty Hate Machine as a homogenized version of the Ministry aesthetic. It was as if someone had sawed off all the harsh, jagged edges of a Ministry record. No, let me rephrase that. It was as if someone had taken a basic rock record…you know, verse/chorus/verse stuff…and added a little industrial window dressing.

That the suburbs, malls, and amusement parks were soon littered with suburban kids with NIN logos on their chests and backs was proof positive that Trent Reznor had succeeded in making industrial music palatable for the suburbs. After all, suburban kids wanted to feel “bad-ass” too, but those Ministry records were some scary shit. NIN, on the other hand, was no more frightening than watching The Crow for the hundredth time.

So, yeah, I thought Reznor was a poseur.

That opinion did not change when I saw him have a mini-meltdown at Lollapalooza when his pre-programmed keyboards wouldn’t work. Seriously, Diana Ross, Liza Minnelli, and the rest of their ilk have nothing on this guy.Of course, along the way, the guy actually managed to write “Hurt,” which I heartily believe is a fucking great song, but doing so only made me expect more from the guy. If he was capable of that, then why did we keep getting albums that were, by and large, huge steaming piles of unfulfilled promise?

Because his fans accepted those albums as symbols of musical brilliance, that’s why. (more…)

Random-onium: Redd Kross, Chris Isaak, and the “Miami Vice” Soundtrack

This is the first in a series that I call Random-onium!, for lack of a better term. The premise is that I go to a friend’s house and pick a few CDs out of their collection — completely at random– and review them for your reading and listening pleasure.This week, my buddy John was kind enough to allow me access to his collection, making sure to point out in advance that the Natalie Merchant and Bangles CDs belonged to his lady, who thought it would be cool to merge their respective collections soon after she moved in.

“What?” he exclaimed defensively, noticing the expression on my face. I could have said any number of things and laid him out like a punch drunk boxer decades past his prime, but my sly grin and silence said it all. Of course, my insatiable adoration for “the obvious joke” overpowered my restraint and I let loose with a “whip crack” that would have made Michael Winslow proud, for which I paid the ultimate price as John thumped me in the shoulder. Not just my shoulder, though, but the exact spot on my shoulder that hurts like a mother when you knuckle punch it.

After “walking it off,” I promptly closed my eyes and blindly reached into his stack of tracks, pulling out… (more…)

Blatant Pop Attempts: Ministry, “With Sympathy”

There are those artists who get a couple releases into their career before they feel the pressure from the suits at the label to “have a hit,” and then there are those artists who sell out right from the get-go.

Ministry certainly falls into the latter category and their debut longplayer smacks of blatant commerciality…blatant, misguided, and downright silly commerciality.

Hailing from the urban mecca of Chicago, Alain Jourgenson and Steven George formed Ministry in 1981 as a funk-tinged synth duo, scoring a couple minor dance hits before inking a deal with Arista Records.

Despite a pedigree that included a stint in the hard-edged alt-rockers Special Affect (a band that also included future My Life With The Thrill Kill Kult founder Groovy Mann), Jourgenson’s vision on With Sympathy was single-mindedly aimed at the charts.


(Ministry circa 1983: Al Jourgenson, left, and Steven George)

How else does one explain such tracks as “Work For Love” and “What He Say?” — the latter a laughably kitschy blend of synth-pop and, uh, world music…I think. (more…)

Contemplating Adele’s “Chasing Pavements”

So much of our lives are shaped by how we carry ourselves — our self-confidence, if you will. Yet I have come to believe that confidence is actually an indicator of:

a) the ability to convince people you have confidence when, in fact, you don’t, or

b) severe narcissism and a delusional belief in one’s self.

As luck would have it, I once befriended a co-worker, with whom I shared some musical interests, who fell very much into “column B.” He was a guitarist who fancied himself a singer/songwriter and, while his songs were pleasant enough, he had an uncanny knack for writing tunes that keenly captured the essence of songs that already existed. When he played a show and a girl came up afterwards and said that one of his songs sounded like something she’d heard on the radio, but she couldn’t remember what, he took it as a supreme compliment.

I had never met a guy who took such shameless pleasure in talking about himself. At first, I just thought it was because we shared an office and quickly ran out of other things to talk about, but when we ventured out for a night on the town at one of L.A.’s many hotspots where aspiring (and expiring) actresses gather, the night would invariably go a little like so:

He’d spot a couple tramp stamps, wander over, introduce himself, and then challenge the women to get a word in edge-wise over the next couple hours before escorting one “lucky lady” back to his place. (more…)