Bootleg City: 3 in New York City, April ‘88

Happy Fourth of July, everyone! As the mayor of Bootleg City, it’s my responsibility to give you the best aural fireworks display money can buy, but therein lies the problem — Bootleg City has run out of money.

You see, Fiscal Year 2008 was kind of a downer in Bootleg City, just as it was for many other cities around the world. Did you hear Gotham City is liquidating its entire police department and putting all further law enforcement in Batman’s hands? And in Erotic City, the Fruit on the Bottom Edible Underwear factory closed earlier this year, putting thousands of citizens out of work and forcing them to wear real underwear for the first time. Mayor P.R. Nelson responded to the crisis by saying, “If we cannot make babies, maybe we can make some time. Thoughts of pretty you and me, Erotic City come alive,” which seems to indicate City Hall is heavily courting the cuckoo-clock industry to set up shop there sometime soon.

Here in Bootleg City I was hoping to present you with a great Jackson 5 bootleg on the Fourth, but instead you’ll have to settle for 3. You remember 3, don’t you? Yeah, neither do I, but here’s a little bit of background …

Popular prog-rock trio Emerson, Lake & Palmer broke up in 1979. Six years later, keyboardist Keith Emerson and bassist Greg Lake got back together without drummer Carl Palmer, who was in Asia at the time (the ’80s supergroup, not the continent; then again, I don’t have the man’s itinerary for that decade, so anything’s possible), and formed Emerson, Lake & Powell with drummer Cozy Powell. ELP thus became a slightly different ELP, with a drummer whose initials were the same as the first guy’s. Totally uncool, guys. But at least Steve Augeri, the Steve Perry look- and soundalike who replaced Perry in Journey in the late ’90s, can’t say a precedent hadn’t already been set.

ELP2 broke up after one album, at which point Emerson got back together with Palmer and they added a new guy, Robert Berry, on bass. Somewhere along the way they must have decided “EBP” wasn’t catchy enough, so they did a quick head count and came up with “3,” giving Geffen Records’ marketing department a terrific reason to reach for the nearest noose.

Like ELP2, 3 only recorded one album: 1988’s To the Power of Three. On April 14 of that year they performed a show at the Ritz in New York City that was then broadcast on WNEW-FM, and is brought to you today by our own Dw. Dunphy. Thanks for the bootleg, Dw.!

Next week the citywide budget cuts continue, with a bootleg of Three Dog Night performing one song — Nilsson’s “One,” of course — that will only be available for download for half a minute. We all have to make sacrifices, people.

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Bootleg City: Evan Dando and the Lemonheads

To celebrate/exploit the release of Varshons, the new covers album by Evan Dando’s Lemonheads, Bootleg City is covering its own covers-filled edition from July 27, 2007. Of course, back in those days there was no Popdose.

“But Mayor Cass,” the children always ask, “where did people go when they wanted to download music for free and write comments underneath the accompanying text that was only tangentially related to said text?”

“My my!” I answer. “What big words you have in your … um … don’t tell me … starts with a V …”

That’s when their smiles usually vanish. “Fine, we’ll dumb it down for you, old man. What was it called before it was called Popdose?

Kids. They really do say the darnedest, most f**ked-up bulls**t.

For those who don’t know, before there was Popdose there was Jefitoblog, and whenever its creator, Popdose’s Jeff Giles, was foolish enough to allow guest writers to contribute, he’d often have to upload all their MP3s for them along with all their text. Uploading MP3s is a time-consuming, hand-cramping, soul-fisting process. Don’t get me wrong, it’s fun being mayor of Bootleg City, but if there was a way to charge you people a nonreading tax so I could buy some child labor that would upload the MP3s for me, I’d do it in a heartbeat. (Of course I wouldn’t underpay them. I love those little octothorp ampersand percent sign exclamation points.)

However, I’m glad Jeff no longer has to upload songs for me, because (1) he does more for Popdose than you’ll ever know and deserves our eternal gratitude, and (2) I don’t trust him one bit with my stuff. Never have, never will. The real Jeff Giles writes for Newsweek — who does this “Jeff DeWester” impostor think he is?

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Bootleg City: “Vin Scelsa’s Live at Lunch,” 6/28/00 (Pt. 3)

Here are some fun facts about singer-songwriter Jules Shear:

1. He’s from Pittsburgh. So is actor Jeff Goldblum, who stars in a 2006 pseudo-documentary called Pittsburgh that chronicles his homecoming performance in a production of The Music Man five years ago. It also stars Illeana Douglas, a friend of Goldblum’s, who was dating Moby in ‘04 and learning more than she wanted to know about the musician’s appetite for pornography.

2. Illeana Douglas and Moby never dated, hence Pittsburgh’s status as a “pseudo-documentary.” But Moby did research his role by borrowing Jules Shear’s extensive collection of amateur porn.

(Okay, so that “fact” about Shear’s porn collection is a lie. And it’s possible he wouldn’t consider it to be “fun,” either. But why should Jeff Goldblum be the only person who’s allowed to blur the line between fact and fiction? On that note …)

3. For a brief period in the early ’90s, Shear cut his own hair. When he was finished with a trim he’d yell, “Shear genius!” Sadly, no one was around to hear it.

4. Jules & the Polar Bears was originally going to consist of Shear and three actual polar bears, but due to his unwillingness to relocate to the North Pole — and polar bears’ general inability to play instruments — he eventually settled for human musicians David Beebe, Richard Bredice, and Stephen Hague. However, he insisted on treating them like real polar bears, going so far as to contractually limit them to an all-fish diet.

5. Jeff Goldblum starred in the 1988 movie Vibes with Cyndi Lauper, whose hit song “All Through the Night” was written and first recorded by Shear. The soundtrack of 1985’s The Goonies includes two songs performed by Lauper as well as one by the Bangles, “I Got Nothing,” which was cowritten by Shear. The Bangles then recorded Shear’s “If She Knew What She Wants,” another song he recorded first on one of his own LPs, for their album Different Light. Goldblum sings in Pittsburgh for his role as Professor Harold Hill in The Music Man, but songs like “Seventy-six Trombones” probably would’ve sounded better coming out of Lauper’s mouth.

6. “Jules Shear” is a stage name. His real name is Julianne Shear.

7. Did you know that legendary author Jules Verne used rival sci-fi scribe H.G. Wells’s time machine to travel forward in time to 1984, where he declared Cyndi Lauper’s “Time After Time” to be “not as good as that one Shear wrote”? And that after watching The Adventures of Buckaroo Banzai Across the 8th Dimension he declared costar Jeff Goldblum to be “quirky as hell but fun to watch”?

8. Jeff Goldblum, Jeff Goldblum, Jeff Goldblum!!!

9. The Pittsburgh Penguins recently won the Stanley Cup, but don’t talk about the reigning hockey champions around Shear or he’ll go into a loud, profane tirade about how there aren’t any penguins in Pittsburgh. There aren’t any polar bears either, but you’ll only make things worse if you bring that up. Just change the subject to Happy Feet and you’ll see that he loves penguins — it’s lapses in geographical logic he can’t stand.

10. Though it hasn’t been confirmed that either Jules Shear or Jeff Goldblum has read Michael Chabon’s The Mysteries of Pittsburgh, it’s nice to imagine them being members of the same book club. Especially if one’s a big fan of Jules Verne and the other’s a big fan of H.G. Wells and they’re willing to wrestle over who’s better.

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Bootleg City: “Vin Scelsa’s Live at Lunch,” 6/28/00 (Pt. 2)

In part two of this flashback edition of Vin Scelsa’s Live at Lunch, singer-songwriter Jules Shear talks about the R&B inspiration for “If She Knew What She Wants,” how he feels about artists licensing their songs for commercials, his romantic relationships with singer-songwriters Pal Shazar and Aimee Mann, and his role in the creation of MTV Unplugged in the late ’80s. In between the bursts of candid conversation, Scelsa spins songs by Cyndi Lauper and Johnny Cash, a foot-stomping cover of Sam & Dave’s “Hold On, I’m Comin’” courtesy of B.B. King and Eric Clapton, and a cut from Shear’s first band, the Funky Kings.

However, the biggest surprise of the entire June 28, 2000, Live at Lunch broadcast is Shear’s speaking voice. Suffice to say it’s not what you’d expect if you’ve ever heard “Steady,” his sole entry on the Billboard Hot 100 chart (though Lauper’s cover of Shear’s “All Through the Night” reached #5 in ‘84). My own personal reaction is best summed up by the following verse from “Stereo,” the opening track on Pavement’s 1997 album Brighten the Corners:

What about the voice of Geddy Lee?
How did it get so high?
I wonder if he speaks like an ordinary guy.
(I know him, and he does.)
Then you’re my fact-checkin’ cuz.

[interview: Jules and the Isleys]
[interview: "Twist and Shout"]
If She Knew What She Wants (Jules Shear)
[interview: songs in commercials]
The More That I’m Around You (Jules Shear)
[interview: love and songwriting]
All Through the Night (Cyndi Lauper)
[interview: Cyndi Lauper's She's So Unusual]
All Through the Night (Jules Shear)
I Walk the Line (Johnny Cash)
[interview: questions from Vin's listeners]
Nothing Was Exchanged (The Funky Kings)
[interview: MTV Unplugged]
Hold On, I’m Comin’ (B.B. King and Eric Clapton)

Bootleg City: “Vin Scelsa’s Live at Lunch,” 6/28/00 (Pt. 1)

As the mayor of Bootleg City, it’s good to be king — or just mayor, I guess. Or how about “king-mayor”? But certainly not Sonia Sotomayor, who dared to suggest eight years ago that her experiences as a Latina have been different than mine as a white guy. Your Honor, I’ll have you know that I own both the Mambo Kings soundtrack and a Tito Puente greatest-hits compilation. I’m not allowed to play them at the country club, but my golfing buddies did use them as coasters without my permission last week. I’m just glad they didn’t take those CDs out onto the skeet-shooting range. It took forever to glue my vinyl collection back together.

What I’m trying to say is that I like having power and influence in the music world. For example, last fall I was benevolent enough to give all of you demos and outtakes from Big Star’s classic albums #1 Record and Radio City. Once again, you’re welcome, and yes, it is my world you’re not paying property taxes in.

Rhino Records must have visited Bootleg City last fall — rather than all those other blogs and websites that featured the tracks first, though there’s no competition when it comes to my selfless, humble charity — because come September they’re releasing a Big Star box set featuring the Memphis band’s first three albums and the bootleg tracks that were featured here. My pleasure, Rhino, and of course I’ll accept a free copy as a sign of your gratitude. Send it to: The Mayor, 1 Way St., Bootleg City, USA. ‘Preciate it!

I forgot to mention on May 29 that the Genesis Live at Wembley Stadium bootleg was made possible by Jason Hare, whose name isn’t as fun to say as “the Chubb Group,” but it’ll have to do. Thanks, Jason! (By the way, if any of you ever refer to me as “Mayor Casshole,” you’ll be banished from the kingdom. Unless you’re Rupert Murdoch — he has power over my influence, and he knows how to abuse it. I can now say that all the Aussie-bashing on Flight of the Conchords and in the trailer for Funny People is totally justified. There must be something in their backwards-draining water that makes them so aggressive. Or maybe it’s because their entire civilization started with a conjugal visit.)

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Bootleg City: Genesis in London, July ‘87

Noah Lennox, otherwise known as Panda Bear in the band Animal Collective — and as a solo artist — plays art rock and experimental pop music. But it’s still pop, and when the Onion A.V. Club asked him to set his iPod to “shuffle” in October 2007 as part of its Random Rules feature, one of the songs that came up was Phil Collins’s 1985 hit “Sussudio.”

Lennox said, “I feel like the way people react to music is the same way they react to people; you either respond to the person and trust them, or you don’t. I can’t put my finger on it, but I get into guys like S.E. Rogie or Phil Collins — even somebody like George Michael — whereas there’s a lot of similar music that I won’t get into for whatever reason. It’s really difficult to for me to say why. The fact that [Collins] is really into what he’s doing comes through somehow, and that resonates with me very well.”

Collins, of course, was a hugely successful solo artist in the ’80s as well as the lead singer and drummer for Genesis, which made its name with progressive rock in the ’70s but shifted its focus to radio-friendly pop the following decade, scoring five top-ten hits alone with its 1986 album Invisible Touch. Collins has taken his fair share of abuse over the years for the earworms he’s created, with “Sussudio” showing up on many “worst songs of the ’80s” lists.

Why all the hate? Because rock stars aren’t supposed to be short and losing their hair, that’s why! It makes them too much like normal people, and we all know normal people suck. And rock stars apparently aren’t supposed to use a nonsense word like “Sussudio” for the title of a hit song that you’ll be singing for the rest of the day whether you like it or not. But for artists and fans like Panda Bear, Collins is king because he knows who he is, and the world is a better place for it. Don’t blame him for the fact that no matter where you are in the world at any given moment, one of his songs will be on the radio.

The following bootleg is a bit of a cheat: it’s an audio rip of Genesis’s Live at Wembley Stadium DVD, recorded in London in July 1987. But “Sussudio” is nowhere in sight, so those of you with a preexisting earworm infection can rest easy.

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Bootleg City: Spoon, 11/8/07

Remember last week when I was duped into thinking I’d been sent that Air Supply bootleg by a guy named “R. Murdoch”? It never crossed my mind that “R.” might be short for Rupert, as in Rupert freakin’ Murdoch, the megazillionaire media mogul from down under who owns the New York Post, the Wall Street Journal, 20th Century Fox, Fox News, the Fox network, and three-quarters of the world’s fox population, be they animal or female.

Rich guys like Mr. Murdoch don’t miss a beat: last weekend, as he was waiting for his credit-card purchase of Transformers star Megan Fox to go through on the ol’ laptop, he decided to google his name for fun, when up popped the insinuation that he’s a fan of Australian soft rockers Air Supply. “I’d rather have me wedding tackle chopped off than listen to those two drongos!” he said in an e-mail I received on Saturday afternoon.

Turns out he’s an Olivia Newton-John fan, but unfortunately I don’t have any bootlegs by the star of Two of a Kind. (I know, I know, nobody remembers the Travolta-and-ONJ movie that isn’t Grease, but Two of a Kind is a 20th Century Fox product, so I’m being forced to mention it.) However, Mr. Murdoch did threaten to cut out my heart with a dull spoon, which made me remember that I have a terrific bootleg by one of the best bands working today. That would be Spoon, performing in Tallahassee, Florida, at a club called the Moon. In June? Sadly, no — this particular concert took place on November 8, 2007. But it’s well worth a listen.

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Bootleg City: Air Supply in Cleveland, October ‘82

A reader named R. Murdoch* sent me the following bootleg by “my best mates,” Graham Russell and Russell Hitchcock, the Australian duo otherwise known as Air Supply, performing in Cleveland, Ohio, on October 22, 1982. I can’t verify that Mr. Murdoch really is friends with “Graham Russell Terrier,” as he collectively calls them, but I do hope for his sake that he’s not just some random fan hoping to make a name for himself by claiming he knows rich, famous people. That would be tacky.

I Can’t Get Excited
Lost in Love
Every Woman in the World
Even the Nights Are Better
Now and Forever
One Step Closer
Late Again
[Graham mistakenly addresses the audience as "Cincinnati" and asks where he can score some H after the show.]
Young Love
Here I Am (Just When I Thought I Was Over You)
Sweet Dreams
All Out of Love
She Never Heard Me Call
[Graham goes bananas, hurling a bottle of Jack at a single mother in the third row after she requests "Who Can It Be Now?"]
I’ve Got Your Love
The One That You Love
[Russell insults the band for blowing "the easiest bloody cue in the entire bloody show" and storms off the stage.]
This Heart Belongs to Me

* Turns out it was Popdose’s old pal Joe Mallon, from whose voluminous archives many of our bootlegs have sprung. Thanks, Joe — for the bootleg and the deceit!

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Bootleg City: NRBQ, 11/3/84

In a 2004 interview with music writer Casey Fundaro (a.k.a. “David Fufkin”), former Marah singer-guitarist Serge Bielanko said, “My brother [Dave, the leader of Marah] and I grew up listening to the radio first, then we began to buy cassettes … Then we would read interviews in Musician or Rolling Stone with certain artists and we’d discover what they’d listened to early on. This led to us being able to discover things slightly off our collective radar. Hearing Keith Richards say he liked Howlin’ Wolf, hearing the Replacements speak of NRBQ, finding out that Steve Earle was a big Townes Van Zandt fan — that sort of trickle-down discovery method was important to us.”

I’m a longtime Replacements fan, and I like some of what Marah has done, especially 2000’s Kids in Philly, but I’m not too familiar with NRBQ (which stands for “New Rhythm and Blues Quartet”). It’s worth noting, however, that all three bands built their reputations playing high-energy, unpredictable live shows. Maybe it’s time for me to start catching up with NRBQ’s music, and not just by rewatching the episode of The Simpsons they appeared in ten years ago.

This week’s bootleg comes from a performance in Bremen, West Germany, on November 3, 1984, featuring the “classic” NRBQ lineup of keyboardist Terry Adams, guitarist Al Anderson, drummer Tom Ardolino, and bassist Joey Spampinato. Tear down that wall, NRBQ. Tear it down!

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Bootleg City: Material Issue in Cleveland, May ‘91

Back in 1992, my girlfriend received a 16th-birthday mix tape from a friend of ours named Tai. There were no artists or song titles listed on the cassette label, making the tape something of a mystery gift. My girlfriend and I listened to it while driving (because when you’re 16 you just drive, regardless of whether or not there’s a Point B), and later I borrowed the tape so I could dub the songs I liked onto a cassette of my own.

Since I didn’t know the titles of the songs I was adding to my collection, I made up my own: the Stone Roses’ “Elephant Stone” was listed as “In My Dreams”; the Hummingbirds’ “Everything You Said” became “Your Picture”; the Blue Hearts’ “Train-Train” turned into a single “Train”; Blake Babies’ “Out There” was rechristened “I Know It’s Stupid”; and Morrissey’s “Mute Witness” morphed into “That She Saw” (yes, I know I was reaching with that one). One track I did manage to name correctly was “Valerie Loves Me,” by Chicago power-pop trio Material Issue. I could’ve sworn they were British all those years ago, probably because of lead singer Jim Ellison’s English-accent affectations, as all power pop seems to lead back to the words and music of Lennon and McCartney, even though you couldn’t hear their accents when they sang.

This week’s bootleg is a radio broadcast of Material Issue playing at the Empire Concert Club in Cleveland, Ohio, on May 9, 1991. Back then they were promoting their debut album, International Pop Overthrow, whose title has since been borrowed for an annual traveling power-pop festival: the 2009 edition arrived in Chicago on April 16 and leaves town on Sunday, then starts back up in Milwaukee next Thursday. The bootleg is brought to you by Addicted to Vinyl’s Matt Wardlaw, a friend of Popdose and a heck of a nice guy. Here’s what he has to say about the venue and the concerts it hosted that aired on local radio:

“The Empire Concert Club was a great though short-lived club here in Cleveland that was only open for a couple of years at the beginning of the ’90s. In that time they did close to 100 live concert broadcasts with legendary rock station WMMS. Some of the more memorable broadcasts included shows from Cracker, King’s X, Sarah McLachlan (her first show in Cleveland), Rik Emmett, Matthew Sweet, and this show from Material Issue. Personally, I enjoyed the broadcasts because they featured a lot of artists like Material Issue who had new and fresh sounds for music fans to latch onto at a time when you could still hear that kind of thing on the radio; these live broadcasts captured many of the artists as they were about to explode on a national level. Great club, great bands — so how did it end? The Empire got nailed for filling the venue beyond capacity during a Buddy Guy concert — not their first offense — and they were penalized by having their capacity reduced by half, which led to an eventual shuttering of the club. Empire co-owner Tony Ciulla resurfaced a short time later as part of the management team for Trent Reznor’s Nothing Records.”

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