On this day in 1973, Paul McCartney and Wings had their very own network TV special, James Paul McCartney. The variety/musical show was a bit cheeky and a bit sappy — in other words, pretty funny to watch now. Paul and Co. do a bunch a Beatles tunes and a bunch of Wings stuff, including the just released "Live and Let Die." Worth watching (or at least skipping through) if you were a fan of Sir Paul's kick-ass mullet, always wanted to hear a drunk Paul sing drinking songs in a crowded pub or wondered how "The Cute One" looks in a pink tuxedo and mustache.
Paul's most recent adventures in visual entertainment contains a bit more star power:
Click on for Born This Day with Dusty Springfield, Akon and Ian MacKaye.
Brian Penick of local music promotions company The Counter Rhythm Group is guest blogging for CityBeat monthly to provide a behind-the-scenes look at his journey to release his interactive industry guidebook, Musicians' Desk Reference. For more on the project, visit its Facebook page here.
Wow, what a month. Extreme highs and lows, minimal sleep and a work schedule that would make an outsider believe I had an armed guard with a shotgun pointed at my back … which in some regard is true, except that I am playing both roles.
I am going to attempt to make this blog entry significantly shorter than the last because, as you may have guessed, I have more work to accomplish. The ever-looming deadline for South by Southwest (SXSW) is creeping up and preparations with everything surrounding the presence of Musicians’ Desk Reference at SXSW grow almost exponentially by the day.
This will be my fifth year attending the Austin, Tex., festival/conference (the largest music-related event in the US), and while it is my second time going without performing, I can already tell that this will be my busiest year ever. Taking meetings, handing out promo material and managing schedules for myself and my team are just a few of the things that will fill my week-long itinerary, all for the pursuit of introducing Musicians’ Desk Reference to some select individuals for endorsement.
While there are many different potential outcomes to this journey, I feel confident that my inevitable glass of top-shelf Kentucky bourbon at the end of the week will be a salute to success rather than a drowning of sorrows.
The obvious focus of this month, or at least what the intention was to focus on, was our Kickstarter campaign for Musicians’ Desk Reference (our upcoming music industry progression eBook for you newcomers). We still have a little over a week to go and time will tell what the final outcome is. My original goal was to have the funding reached by interested parties to eliminate the need for a third party publisher, ultimately keeping the cost down for the user.
In the event that this goal is not obtained in early March, never fear, as those who know me have probably deduced, I have several backup plans. Am I thorough? Yes. To the point that I am slightly neurotic? Probably. Regardless, nothing is going to stop the freight train that is Musicians’ Desk Reference. Nothing.
So in my attempt to clear my schedule for February to make way for this crowdfunding campaign, I actually ended up with a much busier month that originally anticipated. On top of all of our regular client work, The Counter Rhythm Group hosted our Locally Insourced Cincinnati Music Industry Trade Show, a fantastic show with Bad Veins, PUBLIC and The Ridges. We have been in negotiations with several of our clients for national support tours and we are in the midst of working a potentially huge licensing contract for a client.
In addition to a nationwide social media campaign and a getting ever so close to finishing the book, these past 28 days have seemingly become a marathon that we have just sprinted through. My next vacation is (literally) planned for 2015.
In closing I would like to take a second to thank not only those who have already donated to our Kickstarter, but also to those who (hopefully) will. There is still some time left (depending on when you read this; campaign ends on March 8), and sharing is something we are also encouraging folks to do. I would really like to try and go the independent route with this project, but I am prepared with other options in the end if that is not the case. At the least it has been quite a journey.
I also would like to thank those who have had to deal with my absentmindedness in (“normal,” non-music related) conversation over the past few weeks. I would like to say that this may change in the coming months, but knowing myself and how much I want to accomplish with Musicians’ Desk Reference, I would just plan on it for the next several months. It is by no means a way of stating that I do not care about what else is going on in the world, but should be viewed as a precursor to how significant I think this project can potentially be. I have dedicated literally half of my life to the music industry and I believe this is my biggest accomplishment to date.
Goodnight, and thanks for reading!
On this day in 2003, Iggy Pop reunited The Stooges to perform at the 2003 Coachella festival in California. Well, as much of a "reunion" as possible — original bassist David Alexander died in 1975. But you can't do much better than Mike Watt (Minutemen, fIREHOSE) as a substitute. Pop re-teamed with guitarist Ron Asheton and drummer Scott Asheton for a few tracks on his Skull Ring album, which led to talk of playing some shows (joined by Steve Mackay, who played sax on Fun House).
Like the Pixies, the reunion seems never-ending. The original reunion shows usually stuck to material from the group's first two albums, but eventually they added material from Raw Power (which featured James Williamson on guitar and Ron Asheton on bass) and the band's mixed-reviewed new album, The Weirdness.
In January of 2009, Ron Asheton died of a heart attack. He was 60. The remaining Stooges issued a statement saying, in part, "We are shocked and shaken by the news of Ron's death. He was a great friend, brother, musician, trooper. Irreplaceable. He will be missed."
Then they replaced him. By May, the group had announced plans to keep going with former guitarist Williamson rejoining the band. Pop told NPR, "Although 'The Stooges' died with Ron Asheton, there is still 'Iggy and the Stooges'."
The group picked up reunion-touring that November, adding more Raw Power material to their set. In 2010, after a lot of clamoring from fans and even just those who understood the influence of Pop and Co., The Stooges were finally inducted into the Rock and Roll Hall of Fame.
I saw the first Stooges reunion a couple of times and Pop and the band, while perhaps not as "dangerous" as they once were, still put on a great live show. It would be hard for Pop not to at this point, though it should be interesting to see how much longer the seemingly bulletproof 65-year-old can keep prancing around, shirtless (of course), on stage like a 25-year-old. Is 70 too old? 80? Will Pop keep throwing himself around the stage and working out until his veins protrude from his skin when he's 90? He certainly doesn't show any signs of slowing down anytime soon.
Here's a bit from the historic 1970 Iggy & the Stooges show here in Cincinnati at the ol' Crosley Field (yes, it was broadcast nationally on TV). Read all about the event here, from a 2010 CityBeat feature story on the 40th anniversary of the Cincinnati Summer Pop Festival.
Born This Day: Musical movers and shakers sharing an April 27 birthday include: legendary Rock drummer (John Lennon, Bob Dylan, Carly Simon, Elvis Costello) Jim Keltner (1942); Soul singer/songwriter ("I Can't Stand the Rain") Ann Peebles (1947); lead singer for the Soul group The Main Ingredient ("Everybody Plays the Fool"), Cuba Gooding, Sr. (1944); singer/songwriter/guitarist for Beatles-approved rockers Badfinger ("Come and Get It," "No Matter What"), Pete Ham (1947); vocalist with New Wave group The B-52's, Kate Pierson (1948); original KISS guitarist Ace Frehley (1951); Scottish Pop star Sheena Easton (1959); former Belle & Sebastian singer/cellist Isobel Campbell (1976); frontman for Fall Out Boy and solo artist Patrick Stump (1984); and America's countdown king, broadcaster Casey Kasem (1932).
And now, a long-distance dedication (to be read it in Kasem's voice):
When I was a youngster, I was addicted to your American Top 40 syndicated radio show. I'd listen every Saturday, just as I'd watch the morning cartoons (which you were also a part of, as the voice of Shaggy on Scooby Doo, as well as Robin on my must-see TV of the time, SuperFriends, among other shows.)
In a few years, my musical tastes would develop and I became less and less interested in most Top 40 music, so I didn't listen as much. But I'd still pop in every now and then, to check and see how my favorites, like Men at Work or The Police, were doing that week. And, if I was lucky, you'd throw in a fun fact or two about the artist behind the next song you were going to play (like, "… and that gas-station attendant was none other than Sheena Easton").
As I grew older, I also listened to commercial radio less and less, and I lost touch with my old friend, though I loved the clips of you losing it while recording your show. Earlier today, I noticed on Wikipedia that you officially retired from your radio shows in 2009 (and, apparently, you were still voicing Shaggy until that year as well). I felt bad that I thought you disappeared from the radio in 1986. So, Casey, could you please play Killing Joke's "Eighties" for my old pal, you, on his/your 80th birthday?
Oh, and YOU keep your feet on the ground and keep reaching for the stars.
Mike B. from Ohio
On this day in 1967, The Beatles continued work on arguably their best song, "A Day in the Life." After a debate over how to end the track following the huge orchestral build-up (sustained choral vocals were considered, but scrapped), the group decided to simultaneously strike a massive E chord on three pianos and sustain the notes for as long as possible. Adding overdubs (and a contribution from producer George Martin on harmonium), the final resonating notes hang in the air for over 40 seconds on the recording. As the held chords faded on the pianos in the studio, the engineer had to crank the recording level, which picked up some incidental sounds (like a creaking chair and, certainly, something about Paul being dead) from the studio.
That E-major chord that closes the song — and the whole Sgt. Pepper's Lonely Hearts Club Band album, considered one of the best ever — is widely considered one of the most famous chords in Rock/Pop history. Which means that The Beatles are responsible for the most popular opening chord in modern music — the mysterious G7sus4-ish that kicks off "A Hard Day's Night" — and the most notable final chord with the "A Day in the Life" finale.
Below is audio of BTO guitarist Randy Bachman explaining the "Hard Day's" chord mystery (frustrated guitarists should feel better about their inability to figure it out), followed by today's biggest Pop superstar performing that famed final note from Sgt. Peppers.
Click the jump for "Born This Day" featuring live footage from one of the final Sublime concerts with Bradley Nowell.
Music Tonight: This is the start of one of the more jam-packed music weekends of the summer, with numerous festivals (Feywill, Swinefest, Ohmstead, Taste of Blue Ash, Whispering Beard) competing with some quality club shows, concerts at larger venues and more. First up, a look at the less local-music-centric lineup for Swinefest and the always interesting bookings for Taste of Blue Ash.
For a band that is called fun., I sure find it ironic that their music sparks nothing close to that feeling.
I admit comfortably that when I was 16, I was a fan of Nickelback, Disturbed and other bands that would fall under that “Cock Rock” territory. That’s a pretty bold statement.
While I’d say that (most) of that fandom is long gone, I have been finding myself coming back to a lot of the bands the shaped my childhood and early teenage years. Yes, partly for nostalgia (although no amount of that could ever make me listen to Nickelback again), but I think this is mainly because I am finding more and more that I am losing my place in the ever-changing world of music, specifically alternative and indie music.
Three years ago, I was always into the cutting edge of what is “now” — what many others and myself thought was good. I survived Arcade Fire’s The Suburbs winning Album of the Year at the Grammy’s, braved the great King of Limbs debate of 2011 and forced myself into thinking that a band like Chevelle actually sucked.
I read Pitchfork religiously to stay on top of music’s latest and “greatest” new bands. I even pretended that I loved Bon Iver, but that fell short when it was revealed that for about a year I thought Bon Iver was one person. Sorry I’m not sorry Justin Vernon.
Truth be told, I hate Bon Iver. I also think Neon Bible is a much better Arcade Fire album and even a Radiohead album like The Bends was better than King of Limbs. I think Chevelle kicks ass, but you’d never hear me say that out loud until now.
I guess I’ll stop brown-nosing my ego and get to the point. I like music that is accessible and fun. No, not the band. My friends and I, “We Are Young,“ but if that’s your idea for a great indie party song, then your parties suck.
I use fun. as my main example, but this also applies to Mumford and Sons, Gotye, Imagine Dragons, Lumineers and others. I find my friends and acquaintances throwing it against the wall and, beyond my understanding, I’m seeing it stick. It might be just me, but I find these bands depressing. Not in an Alice in Chains “I’m a heroin addict and I don’t know how to stop ruining my life,” kind of way either, but more like a Simple Plan, “My girlfriend left me and now I can’t stop complaining about it” kind of way. Yes, I just compared Mumford and Sons to a pop-emo band from the early 2000s.
There’s a difference between depressed and depression and these bands embody that very essence of momentary sadness that really doesn’t matter in a few months.
Despite the very real and very dangerous depression of the guys who fronted Nirvana, Alice in Chains, Stone Temple Pilots, Butthole Surfers and several other bands during the ‘90s, the final product of that excessive drug use was great and often fun music to listen to.
You don’t put a hand on your heart and shed a tear for Kurt Cobain when he screams out the lyrics to “Smells Like Teen Spirit.” Of course not! You crank it up to 11 and scream loud and out of key with the guy.
Fun has become such a dirty word in alternative music and it’s not because of any form of stereotypical pretentious hipster nonsense. I really think the reason is, well…just because. I don’t think there’s a reason why Mumford and Sons’ Pop-Folk-with-a-Bluegrass-flare fusion is striking big, while Old Crow Medicine Show has been doing that for years.
What do I know is this: I miss when indie music was something new, exciting and fun to listen to. When I think of indie, I think of the playful lyrics like “We could go and get 40s” from the song “12:51” by the Strokes, the iconic bass line of The White Stripes’ “Seven Nation Army” and the voice-raising howls of “Wake Up” by Arcade Fire.
I realize this is all personal interpretation, but indie music has become something of a boring passé before it even got old to begin with.
Bands have no foreseeable longevity because songs like “We Are Young” will be replaced faster than you can say “something that I used to know.” Ha, see what I did there?
And while Mumford and Sons have proven to have some lasting factor on modern music, I find their songs empty, repetitive and lacking any real expressiveness. I feel like I’m taking crazy pills. “Little Lion Man” and “I Will Wait” are the same damn song.
They just don’t make good indie like they used to anymore, but then again maybe I’m getting too damn old for it anymore.
Anger, pain, jealousy and atheism, but tell me this song doesn’t get you going! I dare you!
Today in 1996, one of the greatest, most influential bassists ever, Bernard Edwards of Disco/Funk group Chic, passed away after contracting pneumonia while on tour in Japan.
My personal favorite bass line is Sly Stone's lick on "If You Want Me to Stay," but it's hard to deny the power of Chic's "Good Times," a Disco-era hit that helped lay the groundwork for Hip Hop. Edwards' bass line from the song is considered one of the most sampled pieces of music ever and it has been mimicked almost as often. Songs that wouldn't exist with Edwards' riff include Queen's "Another One Bites the Dust," Hip Hop trailblazers Sugarhill Gang's breakthrough "Rapper's Delight," Blondie's "Rapture," Daft Punk's "Around the World" and Wham!'s "Wham Rap! (Enjoy What You Do)" (hey, they can't all be winners).
R.I.P Bernard Edwards. And thanks for the groove.
Click on for Born This Day featuring Bez, Skip Spence, Grandmaster Caz and Robert Christgau.