Sunday, December 16, 2012

Certain Songs Part XVIII: Cheepnis

Yeah, OK, it has been a while. I read somewhere that the feud between Apple and Google is why Blogger has become staggeringly annoying to use on a Mac, compared to how easy it used to be. Also explains the awful Apple Maps app that can actually give life-threatening directions if you are in Australia. But then, says The Onion, “Apple Promises To Fix Glitches In Map Software By Rearranging Earth’s Geography.”

Anyway, the list continues.

Part I (150–152) here.
Part II (147–149) here.
Part III (144–146) here.
Part IV (141–143) here.
Part V (138–140) here.
Part VI (135–137) here.
Part VII (132–134) here.
Part VIII (129–131) here.
Part IX (126–128) here.
Part X (123–125)here
Part XI (120–122)here
Part XII (117–119)here
Part XIII: (114–116) here.
Part XIV (111–113) here.
Part XV (108–110) here.
Part XVI (105–107) here.
Part XVII (104–101) here.

Echo & the Bunnymen

I came kind of late to this particular party; while I was familiar with Echo & the Bunnymen back in the 80s, and I remember when Ian McCulloch left the band in 1988 and everyone in colleges across the country was quite upset, and I did like a few scattered songs here and there (especially “The Killing Moon,” see later in this list), I didn’t really get into them in earnest until their original five albums were reissued in the early 2000s. Crocodiles was their debut, and it has to go down as one of the best debut albums of all time. They’d get better, sure, especially by Ocean Rain, but it's hard to find a bad track on Crocodiles. Mix two parts doomy post-punk à la Joy Division with one part psychedelia and you pretty much have Echo (or more precisely, the Bunnymen; Echo was the name of the band’s drum machine that was jettisoned before they started recording). Four years before Johnny Marr appeared on the scene to reinvent the guitar sound of the 80s, Will Sergeant was creating unique soundscapes and moods. The highlight here is “Rescue,” with its chiming opening riff. “Villiers Terrace”—“There’s people rolling round on the carpets”—was inspired by a story about how Hitler used to get upset and chew on the carpet (recounted in William Shirer’s Rise and Fall of the Third Reich). “Stars Are Stars” is also a highlight. And the closing song “Happy Death Men” does live up to its name! Their next album, Heaven Up Here, was a bit more experimental.

Roger Waters
Radio KAOS

As a crazy nuts Pink Floyd fan, I picked up Waters’ second proper solo album Radio KAOS (no, there is nothing about Get Smart on it) probably the second it was released, and I played it virtually nonstop throughout 1987. As a concept album, or “rock opera,” if you prefer (and I’d understand if you didn’t prefer), the plot isn’t so much half-baked as quite raw. Basically, a vegetable savant manages to steal a cordless phone and call an LA DJ using his mind (he can communicate via radio waves, kind of like The Who’s Tommy as conceived by Nokia), and he eventually manages to hack into the Government’s computers and scare everyone into thinking WWIII has started. Yeah.

Musically, it was quite different from Waters’ previous Pros and Cons of Hitchhiking (see earlier in this list); it was a bit slicker, a bit more radio friendly (which didn’t help him get on the radio all that much), and more song-oriented. The bass-driven opener “Radio Waves” got some radio play, and “Who Needs Information” tries to advance the plot but doesn’t really. “Me or Him?” was mellow Waters, and side one closer “The Powers That Be” is one of Waters’ effective critiques of the Reagan/Thatcher era. Much of side two (or the last half of the album—that’s right, I didn’t have this on LP, I bought the CD straight away) deals with the simulated nuclear attack and its aftermath. “The Tide is Turning” ends on a hopeful note and may be the most uplifting song Roger Waters ever wrote, even if it was not reflected in reality. His Bleeding Heart Band actually does seem like a proper band (much of them had played on the latter half of the Pros and Cons tour). The usual sound effects add atmosphere and realism to the proceedings.

Actual LA DJ Jim Ladd is a character in the, um, story, and some of his former colleagues at KMET (a freeform FM station in the 70s that was taken over by a large media corporation and turned into a New Age music station) appear here and there, even reprising their “Fish Report with a Beat,” which was far more risqué in actuality than appears on the album, where it just seems strange. (A more representative version of it was included in the concert tour for the album.) Radio KAOS came out at the same time as the reconstituted Pink Floyd released A Momentary Lapse of Reason, and while I liked much of the Floyd album musically, it just fell very flat to me compared to KAOS. (Steven H. and I saw Waters live on this tour in Providence, RI, and it was a fantastic show, with Jim Ladd introducing the songs on stage. I also had the opportunity to work with Jim Ladd, as his memoir Radio Waves was published by St. Martin’s Press when I worked there in 1990. I’m even listed in book’s acknowledgements. My one claim to fame!)

Roxy & Elsewhere

Perhaps the best band Zappa ever had (arguably until his final 1988 tour) was in the post-Flo and Eddie period, featuring George Duke, Napoleon Murphy Brock, Ruth Underwood, Chester Thompson, Jeff Simmons, and a variety of Fowlers on a variety of horns. They played on a few albums in the early to mid 70s, including the masterpiece One Size Fits All (see later in this list). Roxy & Elsewhere, like most of Zappa’s live albums, featured predominantly original songs; indeed, few of Roxy’s tracks appeared elsewhere. (Except on Vol. 2 of You Can’t Do That On Stage Anymore, where the same band does much of the same set list in Helsinki—and it’s startling how the songs transformed over the course of the tour or, in other words, got faster.)

Each of the four sides of the original double album featured a Zappa introduction; opener “Penguin in Bondage” seems like it would have been dirtier on another album, but here is just surreal. “Knirps for moisture” was a bizarre line (I thought “knirps” was a verb, albeit a made-up one), until I learned many years later that Knirps is a brand of German umbrella. Well, I guess it’s still a strange line. “Howlin’ over to some antarticulated moon” is pretty good. “Pygmy Twylyte” is also pretty surreal and vaguely about drugs (not in a good a way; Zappa was vehemently anti-drug). “Dummy Up” features some onstage business about smoking a high school diploma. “Village of the Sun” is that rare Zappa song that smacks of nostalgia (I recall it going through my mind whenever driving past Palmdale, CA, ”out where the turkey farmers run”—that’s where Zappa grew up, in Lancaster). “Echidna’s Arf” and “Don’t You Ever Wash That Thing?” are amazing instrumental showcases, especially for percussionist Ruth Underwood. “Cheepnis” opens with a narrative about the old Roger Corman grade Z movie It Conquered the World (shown on MST3K) before launching into a funny track about Zappa’s love of bad monster movies.

All of side 4 is “Be-Bop Tango,” which begins with a very complicated instrumental section (“The cowbell as a symbol of unbridled passion!”) before morphing into one of Zappa’s “enforced entertainment” events in which audience members were invited up on stage and told to try to dance to something well-nigh un-dance-to-able. It obviously went on longer; the edit toward the end is just abrupt. Just a fun, yet musically challenging record. It’s also very much a percussion-lover’s record—you’ve got drummer Chester Thompson but also random percussionist Ruth Underwood. There are moments that are quite sublime. “A true Zen saying, ‘Nothing is what I want.’”

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