Tag Archives: music

Interview: John Mellencamp’s new testament

Hilton Head Monthly — A few weeks ago, John Mellencamp wandered through a large and shiny mall in Indianapolis in a futile, climate-controlled and probably Cinnabon-smelling hunt for the record store.

This was, of course, a terrible idea, in part because you can imagine what happens when John Mellencamp wanders unannounced through a mall in Indianapolis, but also because he’d have had about as much luck finding a reliable VCR repairman or some MySpace gear; who knows the last time the mall had a record store. So he abandoned the search and did the only logical thing he could — went over to the Apple store. “The place was packed,” Mellencamp said. “Packed. People swarming in line, the way the record store was when we were kids.”

That was, needless to say, some time ago; these days when you accidentally stumble across a record store it feels weird, like an abandoned mining town or an undervisited museum. It looks passed over and it feels old-fashioned, but that makes sense, says Mellencamp, because so is rock ‘n’ roll.

“It’s done. It’s over. We killed it,” he says, pausing for effect between each little eulogy. “There’s nothing that’s going to revive it, or give us that extra little goose, like punk or grunge did. We ruined it. We outgrew it. So I’m kind of excited to see what’s next.”

Read the full story at Hilton Head Monthly.

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Billboard’s Top 10 Bonnaroo Moments, feat. Coco, Jay-Z and, it goes without saying, Daryl Hall

Billboard — Trying to boil down three days and four nights of relentless music, comedy, distant bass thumping, a unrelenting jerk of a sun that made you sort of wish you had never been born, heat-based insomnia, unstable baked-mud terrain, fried foods in paper trays, sympathy-inducing sunburns and displeasing olfactory combinations into an Internet-friendly list is an absolutely impossible job; a team of a dozen working the festival at all times would be inadequate.

But nonetheless, our small but intrepid team fearlessly managed to put together Billboard’s Best Moments of Bonnaroo 2010, in no particular order, and issued with the caveat that when these moments were happening, dozens more were happening elsewhere, but we were probably in the press area, where we found a little air-conditioned spot. Read the full list, with plentiful videos, here.

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Billboard @ Bonnaroo 2010: Dispatches from the RIDICULOUS SOUL-SCORCHING HOT

Pictured: Snoop Dogg, somewhere

Billboard — In flagrant defiance of the Weather Channel’s subtle forecast for central Tennessee this weekend — EXTREME CAUTION ADVISED FOR HEAT AND HUMIDITY THIS WEEKEND… BE PREPARED FOR HEAT STRESS says their delightful-sounding SPECIAL WEATHER STATEMENT — I’ll be covering Bonnaroo this weekend with the highly skilled and personable Troy Carpenter (and attempting to keep up with the equally skilled and bearded Tyson Wheatley at CNN), on the official Billboard site right here. Daily recaps, interviews, blogs, one-man mobile uplink units, etc. etc. Also we might die of heatstroke, so if the stories stop, that’s what probably happened.

We’ll also be tweeting, so point your personal World Wide Internet reading machine device to twitter.com/billboarddotcom and enjoy our slow descent into humidity-induced madness, or the almost-certain ankle injuries that happen when you stumble in the dark over passed-out twentysomethings lying upside down in dirt. Follow!

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There’s A Fred Durst To See You, Sir: Run-DMC and the “Crown Royal” Fiasco

Despite his prominent placement on this cover, DMC, sadly, appears on this record approximately as much as I do

PopDose — Let it first be proclaimed that talking the smack about Run-DMC pains me on a very deep and contemplative level; it feels much like punching my grandfather, or making fun of my son’s hair when he stumbles up in the morning (to be fair, though, he looks totally drunk, and it’s kind of hilarious).

But Raising Hell was the first real cassette I ever high-speed dubbed (though I made sure to awkwardly snip out the super-bad words), and my entry into not only hip-hop but the greater world in general, as at the time I was living in a one-stoplight whistle-stop called Upland, Ind., where it was generally accepted that the music world basically began and ended with Amy Grant. My devotion lasted through for years, too, through Tougher Than Leather, through Down with the King, and through the first seven seconds of Crown Royal, which immediately thereafter turned into a pretty shocking platter of comprehensive suck.

The complete deconstruction is over at PopDose.


Interview: A modest proposal: Joe Henry’s letter-writing campaign results in Mose Allison’s first record in 12 years

All About Jazz — Joe Henry’s strategy for coaxing Mose Allison back to the studio for the first time in twelve years was simple enough: All he had to do was quietly and thoughtfully stalk the jazz icon for a year.

“He kept at it, and kept calling me and emailing and so forth,” the 82-year-old Allison said of the courting process by Henry, who received two Grammy nominations this month for his production on Allen Toussaint’s The Bright Mississippi and Ramblin’ Jack Elliott’s A Stranger Here. “And so I finally decided, ‘Well, what the hell, I haven’t done a record in a long time.’”

That record is The Way of the World, due out in March on Anti, home of Tom Waits, Neko Case, the Swell Season and Henry himself. Read the full interview via the good people at All About Jazz.

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Download: 7kxuZt


Listening to the Bee Gees is torture, yes, but it’s also *torture* torture (co-starring The Fat Boys)

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How is it possible that I am in the positive of decrying people who hate the Bee Gees? Effing Cheney.

GateHouse — So it turns out that using music as a means of torture – which is an idea that all music fans have entertained, if not implemented, many thousands of times, mostly depending on how long they’ve been in high school and how many Color Me Badd tapes they currently own – is considerably less funny when you learn that music has actually been used to, what’s the word, torture people.

Like Will Ferrell movies and the third “Ghostbusters” sequel, music torture is funny only when it’s theoretical. Or it’s funny when you’re maybe in the seventh grade and your cousin has this Debbie Gibson cassette that she’s preposterously obsessed with and will not remove from her candy-pink Service Merchandise-model jam box, no matter how many times you beg and plead with her to play something different for a change, something awesome, like the Fat Boys.

But when it’s used as torture torture, not just torture – that reads funny but is actually exactly how the Bush administration described it in memos — the wacky aspect sort of evaporates. Yet that’s what happened in the early part of the century, part of what were previously dubbed with barely contained giddiness Enhanced Interrogation Techniques(TM) at Guantanamo Bay. (The word “enhanced” there always bothered me, because it always connoted to me some sort of progress was being hinted at, like, “Look, we’re using much more conductive wiring now.”)

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Interview: Tenacious D: Mike Ness on 30 years of Social Distortion

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Mike Ness, pictured here rocking faces off.

Island Packet — For a number of extremely appropriate reasons, the music of Social Distortion serves as a particularly effective antidote — or at least an accompaniment — to adolescent-era small-town near-panicky Friday night restlessness, which is why theirs was generally the first cassette Aaron Bradshaw would snap into his tape deck on our regular, mostly pointless semi-excursions into northwest Indiana nights (usually the one with “Ball and Chain,” the band’s definitive kiss-off to a tortured relationship that either of us would have sold the other out for without a second thought).

Mixing Springsteen’s factory-overalls ethic with Southern California punk energy and outerwear, Social Distortion boiled all the wordiness and loftier ideals out of “Born to Run” and redrew the map so the highways all ended basically in the same town they just left. And they did it with a metaphorically impeccable chain of iconic dusty punk images, ideas and inventions: the albums had names like “Somewhere Between Heaven and Hell,” they cooked Johnny Cash songs into fiery punk rave-ups and they starred singer Mike Ness, a mess of tattoos and broken-down proclamations whose voice sounds like he’s dragging it behind the truck on a chain. (“I’m a Cadillac tramp at the end of the road/I’m a guitar gangster without a tune” — damn right you are!)

But in the 30th year of their career, Ness and Social Distortion have managed to do one of the most un-punk things you can do these days: They failed to burn out. They’ve never become obsolete, never released a single featuring a rapper and never transmogrified into some sort of Frankenstein monster riding the rails powered by scrap parts and nostalgia T-shirt sales. This year alone has seen Ness turn up at a Springsteen concert in California to do one of his own songs (“Bad Luck,” see below); the band leaves Hilton Head Island to open for Pearl Jam for two nights in Philadelphia alongside fellow enduring punk godfathers Bad Religion.

“It’s still a rush, no matter what, when you’re walking out there,” Ness said by phone last week from New York City. “You spend the whole day sometimes toiling, and you walk out there and it’s like, ‘Oh yeah. This is why I’m here.’ ”

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Download: aNPvcE

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The Steel Horse Archives: Mr. Big, “To Be With You” (1991)

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PopDose — Part Three of The Steel Horse Archives features Mr. Big, who are inexcusable and impossible to defend, no matter what Aaron Bradshaw says. Go to PopDose at once to find out what these pinheads have to do with Mega Man, and why they rule Japan with an iron fist.

Insane Clown Posse coming to town (in a tiny car), bringing Miracles All Up In This Bitch

Pictured: Insane Clown Posse. Sometimes people get confused about exactly who this is a picture of.

Pictured: Insane Clown Posse. Sometimes people get confused about exactly who this is a picture of.

Island Packet — Before anyone goes all crazy about the Insane Clown Posse performing on Hilton Head in October, a quick story: There was a time in probably 1972 when everyone was afraid of Alice Cooper, and his torrnents of blood, and his big dumb rock show, and his disembowelment and corpse makeup and all that, and the last time I encountered Alice he was, I believe, engaged in a round of televised golf on VH-1 with Hootie and the Blowfish.

Actually, that’s not true — the last time I encountered Alice  was in 2005, when I interviewed him in advance of a vintage Alice, ridiculous, over-the-top splattery concert in Florida, so of course we spent the entire time talking about my son.

In preparation for Alice’s call I had deposited my then 2-year-old before what was probably the day’s 20th screening of “Elmo’s World,” a small dosage of cognitive dissonance I pointed out to Alice by way of introducing myself, and he replied with, and I am so not making this up: “Oh, I love that you’re a daddy!” and then spilled forthwith into a half hour of thoughtful, often genius parenting advice that I find myself referring to even now (“Think, Jeff,” I’ll whisper to myself when I catch Jake erupting into a small fit because his Lucky Charms have arrived in the incorrect bowl, “How would Alice react?” You’d be surprised the clarity this usually brings, along with the chorus of “School’s Out,” which is totally a bonus.) See? And you thought Alice couldn’t shock anymore.

This brings me back to the wicked clowns (well, these particular wicked clowns anyway — I still don’t trust that “Bozo”).

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The Steel Horse Archives: Warrant, “Cherry Pie” (1990)

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PopDose — Part Three of The Steel Horse Archives features Warrant, whose inexcusably awful 1990 “Cherry Pie” sports an art-directed “metaphor” that is single-handedly responsible for making Warrant the hair band of choice among English grad professors. Go to PopDose at once to find out what in the hell these idiots are doing writing a song called “Uncle Tom’s Cabin.”

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