Social Distancing Spins – Day 38

By Joel Francis

Watching the anti-quarantine protests and five o’clock follies, I am trying to take comfort in these words by Walt Whitman:

Meditating among liars, and retreating sternly into
myself, I see that there are really no liars or lies
after all,
And that nothing fails its perfect return—And that
what are called lies are perfect returns.
 
Let’s get into the music.

Talking Heads – Fear of Music (1979) The Talking Heads’ third album is very much a transitional piece. You can hear some glimpses of where they are headed, into the full-blown, Brian Eno-assisted soundscapes that populate their next album, Remain in Light, but for the most part Fear of Music is spare. The song titles are just as lean. Most are one or two words, reading like a cryptic poem on the sticker placed on the pack of the album: “Mind,” Paper,” “Cities.” “Air,” “Heaven,” “Animals.” After the surprise success of “Take Me To The River” on their previous album, the Heads are intentionally running as far away from mainstream success as possible, exploring African rhythms and Ddaist nonsense on “I Zimbra,” feral primitivism on “Animals” and cinematic isolation on “Drugs.” “Cities” races with frantic paranoia and “Air” is laced with sinister synthesizers and processed vocals. Even the songs with strong melodies serve as warnings. “No time for dancing/or lovey dovey,” singer David Byrne proclaims on “Life During Wartime.” Later, “Heaven” is merely a place where nothing ever happens. The Talking Heads were never this stark – or dark – again. Which is why Fear of Music is my favorite Talking Heads album.

Thom Yorke – Tomorrow’s Modern Boxes (2014) The Radiohead frontman’s second solo album is more likely to rattle around in your head after a deep listen than spring from your lips like a Broadway melody. The music is moody and cerebral. And as I found out when I saw Thom Yorke in concert in the fall of 2019, surprisingly danceable and energetic when dialed up to 11. My favorite moments are when Yorke stretches out and lets the tracks hypnotize. “There Is No Ice (For My Drink)” is a glitchy wonderland. “The Mother Lode” manages to combine ambient music with dubstep. I’m not enough of a cryptologist to pretend to know what these songs are about, nor versed enough in EDM to compare this to other, similar pieces. What I can say is that Tomorrow’s Modern Boxes is a solid listen that helps place Radiohead’s The King of Limbs in context.

INXS – Kick (1987) Nearly 25 years after the death of lead singer Michael Hutchence, the music of INXS remains ubiquitous. The Australian band’s pop prowess is undeniable, but they always had trouble crafting great albums around those magnificent singles. Kick, their sixth album, is the one time everything clicked. OK, it helps that five of the dozen tracks here were big hits, but the other seven are no slouches. Opening track “Guns in the Sky” plays like a set of expectations the band will need met before delivering the hits. It sets the table nicely for the great run of “New Sensation,” “Devil Inside” and “Need you Tonight.” The first half concludes with “The Loved One,” the only cover on the album. The second side includes another amazing run of “Never Tear Us Apart,” “Mystify” and the title song. You’ve heard these songs so many times I don’t need to describe them. Kick was so big that even the songs that weren’t singles ended up being recognizable. Knowing the songs’ omnipresence you may question needing to own the album. The answer is yes, of course you do. Because even though you’ve heard them a million times, once you get done playing Kick, you’re going to want to flip it over and play it again.

Berwanger – Exorcism Rock (2016) Singer, songwriter and guitarist Josh Berwanger has been a fixture on the Kansas City music scene since The Anniversary broke through in the late ‘90s. Fans missing that great band might find the next best thing with Exorcism Rock. Former bandmate Adrianne deLanda contributes backing vocals on two tracks and former Anniversary producer Doug Boehm is back behind the boards. But you don’t need to know any of that to enjoy the infectious, hook-heavy songs. It’s impossible not to smile and sing along. The lyrics get catty sometimes – “Heard you on the radio/Song’s bad/I thought I’d just let you know,” goes the chorus on the title track – but the music is always sunny. Stir up Cheap Trick, Tom Petty and the Get Up Kids, another local favorite, and you’re getting close. I saw Berwanger last fall and the songs sound even better in person. I can’t wait to hear them again once all this blows over.

Paul McCartney – Tug of War (1982) Yes, this is the album with “Ebony and Ivory,” and yes that song is awful. But despite that transgression, Tug of War is a great album. First of all, there’s another, even better Stevie Wonder collaboration, the funky “What’s That You’re Doing.” Rockabilly legend Carl Perkins pops up for another duet on “Get It.” Jazz bassist Stanley Clarke also appears on two tracks. The most notable collaborator is producer George Martin, who wrote a great orchestral accompaniment for the title song and a very Beatle-esque horn line to “Take It Away.” Martin also added sublime strings to the affecting “Here Today,” McCartney’s tribute to John Lennon. Despite all this star power, McCartney is always in the driver’s seat. Side two kicks off with the upbeat “Ballroom Dancing.” Later, “Wanderlust” adds another composition to McCartney’s awesome ballad songbook. By the time you get to “Ebony and Ivory,” almost hidden away as the last song on the album, it starts to make a little more sense in the context of the album. Tug of War is easily found in the sale racks at a cheap price and should be an easy purchase next time you see it.

Peter Tosh – Legalize It (1976) Reggae guitarist Peter Tosh had a lot to prove on Legalize It, his solo debut. After coming up in the Wailers, Tosh was eager to establish himself as more than Bob Marley’s sidekick. Although the title song is a strident political statement (with supporting cover art), the rest of the album is surprisingly playful. “Ketchy Shuby” is a light-hearted look at love and “Whatcha Gonna Do” manages to stay perky despite a narrative about running afoul of the law. Think of it as the reggae equivalent of “Here Comes the Judge.” The most heartfelt moments arrive in the middle of the album. “Why Must I Cry” is an emotional breakup song written with Bob Marley. The next song is an excellent Rastafarian hymn, “Igziabeher (Let Jah Be Praised).” Legalize It successfully established Tosh as a star in his own right and ranks among his best work.

Reunion bands: Ain’t nothing like the real thing


Above: The two original members of Lynyrd Skynyrd and five other guys play “Sweet Home Alabama.”

By Joel Francis

When the Temptations and Four Tops took the stage Saturday night with only one original member in each ensemble, it raised questions of truth in advertising. Can a band be billed by its legendary name if only one of its musicians is an original legend?

Few bands are as fortunate as Los Lobos and U2 to have retained the same personnel since their debut. Some bands, like Wilco, have a different lineup on nearly every album.  But the reunion craze has accelerated hiring ringers to fill in for dead or uncooperative musicians.

When Journey played the Midland a few weeks ago, longtime singer Steve Perry had been replaced with Filipino Arnel Pineda, who was 8 years old when the band’s first album came out. No one complained, but Pineda’s job is essentially to sound like Perry while founding guitarist Neal Schon and the rest of the band deliver their signature sound.

Similarly, Yes were primed for a 40th anniversary tour when lead singer Jon Anderson fell ill. Rather than cancel the tour, the remaining members, who include Oliver Wakeman, son of original keyboardist Rick Wakeman, recruited a new singer off YouTube.

The majority of fans will tolerate a minor substitution. There were no grumbles when bass player Eric Avery sat out Jane’s Addiction’s second go-round. Most fans will recognize that age and time will prevent everyone from taking part. But when the skeleton of the original crew drag new faces out under the old name, it starts to take advantage of the people who kept the hunger for a reunion alive.

There’s also a slight double-standard in play. Few Beatles fans would be satisfied with a Beatles “reunion” featuring Paul, Ringo, Julian Lennon and Dhani Harrison, but The Who have completed not one but two successful (read: lucrative) tours minus the late John Entwistle and Keith Moon. Of course a true Fab Four reunion never happened, while The Who have launched a handful of “farewell” tours, but the rhythm section of Moon and Entwistle defined The Who’s sound just as much as John and George did for the Beatles.

Swapping drummers and bass players is one thing, but the road to finding a new frontman is fraught with peril. INXS failed miserably in their reality TV quest to carry on after the premature death of Michael Hutchinson. However, 14 years after Freddy Mercury died, Queen – minus drummer John Taylor – reconvened with former Free and Bad Company vocalist Paul Rogers. Many of the band’s East Coast concert date sold out quickly.

When Ray Manzarek and Robby Krieger hired Cult singer Ian Astbury to hit the road as The Doors they were faced with a lawsuit from drummer John Densmore and forced to tour as Riders on the Storm. The moniker didn’t alter any setlists, but it at least let the fans know they weren’t getting the same guys that worked together in the ‘60s.

Then there are the jazz orchestras that continue to tour despite the death of their bandleader. The Count Basie and Glenn Miller orchestras draw decent crowds when they visit the area, despite Miller’s disappearance during World War II and Bill Basie’s death a mere 25 years ago. The Gem Theater will host a Jazz Messengers reunion concert on October even though bandleader Art Blakey died in 1990.

The reason why a musician will resurrect his old band with ringers is obvious: Billy Corgan will sell a lot more tickets and albums as the Smashing Pumpkins than he would alone. And while there’s no clear-cut solution, I think this is a rare example of capitalism and artistry joining forces to provide the ultimate answer.

If a band’s catalog is strong enough, fans won’t mind shelling out $30 to $50 as they did Saturday night at Starlight to hear someone else sing “My Girl” and “Baby I Need Your Loving.” On the other hand, if bands plug on minus crucial components, they might be confined to the state fair/town festival circuit Three Dog Night and the Guess Who have been riding for years.