Sunday, March 28, 2004
Class of 2004
Outkast, Alicia Keys, Kid Rock and Dave Matthews were just a few of the musicians who introduced the new inductees into the Rock and Roll Hall of Fame last week.
At the celebration, which is held annually at the Waldorf-Astoria hotel in New York, their peers honored renowned recording artists Prince, Bob Seger, Traffic, Jackson Browne, the late George Harrison, the Dells, and ZZ Top. Rolling Stone magazine founder Jann Wenner was also inducted.
The four-hour ceremony, which was whittled down to a two-hour TV special for VH1, began with a film collage of artists who died in 2003, accompanied by the late Johnny Cash’s cover of the Nine Inch Nails tune “Hurt” and the Righteous Brother’s “Unchained Melody.”
The Hall of Fame then went of to pay tribute to the music legends, starting with Prince: “Back in the day, entertainers were singers, they were dancers, they had great style and personality,” Outkast’s Andre 3000 said in his introduction. “We’ve lost a lot of that today, and so when it comes for me to do music, Prince is most definitely one of my greatest inspirations.”
Prince’s acceptance speech was brief, yet sentimental. He even thanked Warner Bros. Record Company, with which he battled for years and once protested by writing “slave” across his face to illustrate the label’s ownership over him. He then went on to perform an energized medley of his hits “Let’s Go Crazy,” Sign of the Times” and “Kiss.”
The 70’s rock band Traffic, led by Steve Winwood, went on to play a lengthy version of their classic “Dear Mr. Fantasy” after being inducted by Dave Matthews with an amusing, personal account of his first experience with their music. Anyone who has ever been in an altered state of mind, like Matthews said he was at the time, can easily relate to his tale.
Other inductees, Bob Seger and Jackson Browne went on to perform emotional and reflective versions of their classics, while Mick Jagger introduced Rolling Stone founder Jann Wenner and his band mate Keith Richards introduced ZZ Top. The Texas Bands performance of “La Grange” and “Tush” proved to be one of the most energetic and flashy events of the night.
The show had its lighthearted moments with the late Beatle George Harrison being inducted by Traveling Wilbury’s cohorts. His wife and son accepted the honor. Harrison’s son, Dhani, even joined the band’s members on stage to perform the Beatles classic “While My Guitar Gently Weeps.”
The show closed with the usual mega jam in which most of the night’s inductees perform together on stage. This year they covered Chuck Berry’s “Sweet Little Rock and Roller” and Traffic’s “Feeling’ Alright.”
My only complaint is that with all the great classic songs that were not performed by the inductees, there could have been a better choice in the songs they selected to close the night with. Where were some of the other hits by Prince, such as “Purple Rain” and what about ZZ Top leaving out their hit song from the 80’s “Legs.”
Outkast, Alicia Keys, Kid Rock and Dave Matthews were just a few of the musicians who introduced the new inductees into the Rock and Roll Hall of Fame last week.
At the celebration, which is held annually at the Waldorf-Astoria hotel in New York, their peers honored renowned recording artists Prince, Bob Seger, Traffic, Jackson Browne, the late George Harrison, the Dells, and ZZ Top. Rolling Stone magazine founder Jann Wenner was also inducted.
The four-hour ceremony, which was whittled down to a two-hour TV special for VH1, began with a film collage of artists who died in 2003, accompanied by the late Johnny Cash’s cover of the Nine Inch Nails tune “Hurt” and the Righteous Brother’s “Unchained Melody.”
The Hall of Fame then went of to pay tribute to the music legends, starting with Prince: “Back in the day, entertainers were singers, they were dancers, they had great style and personality,” Outkast’s Andre 3000 said in his introduction. “We’ve lost a lot of that today, and so when it comes for me to do music, Prince is most definitely one of my greatest inspirations.”
Prince’s acceptance speech was brief, yet sentimental. He even thanked Warner Bros. Record Company, with which he battled for years and once protested by writing “slave” across his face to illustrate the label’s ownership over him. He then went on to perform an energized medley of his hits “Let’s Go Crazy,” Sign of the Times” and “Kiss.”
The 70’s rock band Traffic, led by Steve Winwood, went on to play a lengthy version of their classic “Dear Mr. Fantasy” after being inducted by Dave Matthews with an amusing, personal account of his first experience with their music. Anyone who has ever been in an altered state of mind, like Matthews said he was at the time, can easily relate to his tale.
Other inductees, Bob Seger and Jackson Browne went on to perform emotional and reflective versions of their classics, while Mick Jagger introduced Rolling Stone founder Jann Wenner and his band mate Keith Richards introduced ZZ Top. The Texas Bands performance of “La Grange” and “Tush” proved to be one of the most energetic and flashy events of the night.
The show had its lighthearted moments with the late Beatle George Harrison being inducted by Traveling Wilbury’s cohorts. His wife and son accepted the honor. Harrison’s son, Dhani, even joined the band’s members on stage to perform the Beatles classic “While My Guitar Gently Weeps.”
The show closed with the usual mega jam in which most of the night’s inductees perform together on stage. This year they covered Chuck Berry’s “Sweet Little Rock and Roller” and Traffic’s “Feeling’ Alright.”
My only complaint is that with all the great classic songs that were not performed by the inductees, there could have been a better choice in the songs they selected to close the night with. Where were some of the other hits by Prince, such as “Purple Rain” and what about ZZ Top leaving out their hit song from the 80’s “Legs.”
Sunday, March 21, 2004
The Vines: Winning Days
I must admit that when The Vines first album, Highly Evolved, was released, i was somewhat skeptical. Afterall, The Strokes, The Hives and The White Stripes were all doing similar-sounding things. I suspected The Vines would continue in this same vein, a backwash of punkish power pop, melding with angry vocals. To make matters worse, my reservations were also based on the fact that record labels were signing, hyping and shoving as many of these three-chord, cookie-cutter bands as that could. I was wary because it was painfuly obvious that this was the "now" sound and it was becoming worn.
However, something about The Vines' debut caught my ear. They had an attitude to them. They swaggered, screamed, snarled, leered and growled. This immediately superseded my assumed comparisons to The Strokes and Nirvana.
Delving into the record was a pleasant surprise. Craig Nicholls proved to be a vocalist who could work with catchy guitar hooks. He could get his band mates riled up, creating pop songs with intensity, cohesion, and melody. Yes, The Vines were indeed a fun punk-rock band.
Fast forward two years to 2004. The Strokes, The White Stripes and The Hives are still around in an expanded field that now includes Jet and The Datsuns. With so many guests already at the table, you might think there wouldn't be enough room for The Vines anymore. Think again. This is the stage for The Vines as they release their second album, Winning Days. Although the hype, Mtv buzz and media frenzy has simmered down somewhat, this has not stopped The Vines from unleashing an unrelenting album.
After one listen to Winning Days, it is abundantly clear that The Vines want to be famous, stadium playing rock stars with fast cars and nice houses. The best example of this is the pounding, rock anthem first single, "Ride," which sets a loud, crushing tone for the rest of the album.
On the whole, this is a well-paced and well-constructed record. It doesn't tire easy or give in midway through. The pace is slowed down somewhat with "Animal Machine" and the candle-flicker anthem "Autumn Shade II." By the time The Vines start to rock again, on the gritty "Evil Town," i was completely taken in by how big and massive they sound. Winning Days has the great power chords that every pop song needs, but it descends into this great, chaotic, swirling bed of noise at the end. "She's Got Something to Say" comes out swinging with a loud, raucous guitar intro. It has heavy, loud percussion and a spastic bass line. "TV Pro" and "Rainfall" are solid rock songs, ideal for indie radio. "Fuck the World" ends the album where it began, with loud, expansive rock.
With the release of Winning Days, it is clear that The Vines are going to be around for a while. They manage to wear their attitude on their sleeves without ignoring their influences or innovation. They have proven themselves to be a band with legroom. Unlike many in the music business today, The Vines have walked the walk and produced an impressive sophomore effort.
I must admit that when The Vines first album, Highly Evolved, was released, i was somewhat skeptical. Afterall, The Strokes, The Hives and The White Stripes were all doing similar-sounding things. I suspected The Vines would continue in this same vein, a backwash of punkish power pop, melding with angry vocals. To make matters worse, my reservations were also based on the fact that record labels were signing, hyping and shoving as many of these three-chord, cookie-cutter bands as that could. I was wary because it was painfuly obvious that this was the "now" sound and it was becoming worn.
However, something about The Vines' debut caught my ear. They had an attitude to them. They swaggered, screamed, snarled, leered and growled. This immediately superseded my assumed comparisons to The Strokes and Nirvana.
Delving into the record was a pleasant surprise. Craig Nicholls proved to be a vocalist who could work with catchy guitar hooks. He could get his band mates riled up, creating pop songs with intensity, cohesion, and melody. Yes, The Vines were indeed a fun punk-rock band.
Fast forward two years to 2004. The Strokes, The White Stripes and The Hives are still around in an expanded field that now includes Jet and The Datsuns. With so many guests already at the table, you might think there wouldn't be enough room for The Vines anymore. Think again. This is the stage for The Vines as they release their second album, Winning Days. Although the hype, Mtv buzz and media frenzy has simmered down somewhat, this has not stopped The Vines from unleashing an unrelenting album.
After one listen to Winning Days, it is abundantly clear that The Vines want to be famous, stadium playing rock stars with fast cars and nice houses. The best example of this is the pounding, rock anthem first single, "Ride," which sets a loud, crushing tone for the rest of the album.
On the whole, this is a well-paced and well-constructed record. It doesn't tire easy or give in midway through. The pace is slowed down somewhat with "Animal Machine" and the candle-flicker anthem "Autumn Shade II." By the time The Vines start to rock again, on the gritty "Evil Town," i was completely taken in by how big and massive they sound. Winning Days has the great power chords that every pop song needs, but it descends into this great, chaotic, swirling bed of noise at the end. "She's Got Something to Say" comes out swinging with a loud, raucous guitar intro. It has heavy, loud percussion and a spastic bass line. "TV Pro" and "Rainfall" are solid rock songs, ideal for indie radio. "Fuck the World" ends the album where it began, with loud, expansive rock.
With the release of Winning Days, it is clear that The Vines are going to be around for a while. They manage to wear their attitude on their sleeves without ignoring their influences or innovation. They have proven themselves to be a band with legroom. Unlike many in the music business today, The Vines have walked the walk and produced an impressive sophomore effort.
Saturday, March 06, 2004
Wasted Wes
According to reports from various newspapers, magazines and websites, the rock band Puddle of Mudd walked of stage during a concert in Toledo, Ohio, leaving their drunk vocalist, Wes Scantlin, behind to confess onstage that he was "too fucked up to perform."
However, that didn't stop him from cursing, throwing a bottle into the crowd and doing an impromptu solo set of incomprehensible songs. While it seems unlikely that Scantlin's on the spot lyrics could be any worse than an actual Puddle of Mudd song, the fans weren't impressed and retaliated by cursing and throwing debris on stage.
After facing the wrath of the crowd, Scantlin headed backstage where he was greeted by Toledo Police and arrested for disorderly conduct and intoxication. Charges of criminal mischief and misconduct involving public transportation were added when Scantlin spit in the police cruiser on his way to the station. He was released on $150 bail. Incidentally, all charges were dropped after police discovered the bottle Scantlin threw was plastic, not glass. He also reported that the charges of him spitting in the police car were also false.
Regardless of whether or not the charges were dropped, it still does not excuse his performance. Afterall, this is his job and these are people who respect and appreciate him enough to go out and purchase a ticket to see his band play. Scantlin definitely did not live up to the responsibilities and obligation.
Despite the performance, some loyal Puddle of Mudd fans are not only standing by the band, but also actually enjoyed the show. However, there are some who have enough common sense to condemn the band and their fans.
Comments on their official message board range from "I love you Wes! Fuck the police! You rocked last night!!!" to "Fuck those assholes I'm glad to see you fans of this sap assed band enjoy being robbed...dumbass!"
Indeed. I couldn’t agree more with the last statement.
According to reports from various newspapers, magazines and websites, the rock band Puddle of Mudd walked of stage during a concert in Toledo, Ohio, leaving their drunk vocalist, Wes Scantlin, behind to confess onstage that he was "too fucked up to perform."
However, that didn't stop him from cursing, throwing a bottle into the crowd and doing an impromptu solo set of incomprehensible songs. While it seems unlikely that Scantlin's on the spot lyrics could be any worse than an actual Puddle of Mudd song, the fans weren't impressed and retaliated by cursing and throwing debris on stage.
After facing the wrath of the crowd, Scantlin headed backstage where he was greeted by Toledo Police and arrested for disorderly conduct and intoxication. Charges of criminal mischief and misconduct involving public transportation were added when Scantlin spit in the police cruiser on his way to the station. He was released on $150 bail. Incidentally, all charges were dropped after police discovered the bottle Scantlin threw was plastic, not glass. He also reported that the charges of him spitting in the police car were also false.
Regardless of whether or not the charges were dropped, it still does not excuse his performance. Afterall, this is his job and these are people who respect and appreciate him enough to go out and purchase a ticket to see his band play. Scantlin definitely did not live up to the responsibilities and obligation.
Despite the performance, some loyal Puddle of Mudd fans are not only standing by the band, but also actually enjoyed the show. However, there are some who have enough common sense to condemn the band and their fans.
Comments on their official message board range from "I love you Wes! Fuck the police! You rocked last night!!!" to "Fuck those assholes I'm glad to see you fans of this sap assed band enjoy being robbed...dumbass!"
Indeed. I couldn’t agree more with the last statement.
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