If Adolf Hitler flew in today, they'd send a limousine anyway.

"Clash City Rockers" by the Clash

"Clash City Rockers", The Clash, The Clash
When I listen to "Clash City Rockers" words like brilliant, mystical, and dynamic do not come to mind, as they did with nearly every Led Zeppelin song I reviewed. But it brings something different to the table - this relentless fury and power, which nobody articulates like the Clash did. Though I use words like fury and power, I resist using the word anger. Sure, the Clash got angry... Just listen to the way Joe Strummer nearly spits the lyrics at you, with a bit of disgust and bouts of angst. But they were also the guys who said, "Let fury have the hour. Anger can be power. You know that you can use it?" "Clash City Rockers" encourages one to get up! Move forward! Move the town to the Clash City Rockers! Don't accept defeat, keep going!

For the most part, the dominating in-your-face riffs of the Clash's first album aren't my favorite sounds from the band. They are riffs that have been done a hundred times over, but the Clash do put their spin on it. Mick Jones is already on it with his punctuating backing vocals, which were continuous perks to Clash records until Jones was sacked. Everything is already being churned out with intensity, as the notes from each instrument resonate with the sheer impact of a punch in the face. Nothing magnificent is going on technically (Jones' solo is very early George Harrison - a fledgling), but its exciting! You don't need endless skill to produce something thrilling. My favorite part comes as the guitar slithers towards the end. The sound is rude and scathing - as they declare, "Rock! Rock! Clash city rockers!" That's always been the savior of "Clash City Rockers" for me. That's what made it stand out and enjoy heavy rotation in my realm.

Snoop Dogg Ft. Kid Cudi - That Tree (Smalltown Djs Sans Snoop Remix)

Hey guys - Here's a new tune for free download. It's a UK House/Bounce remix of Snoop's new Diplo produced track: That Tree, and you can download it here:

That Tree (Smalltown Djs Sans Snoop Remix) - Snoop Dogg feat. Kid Cudi

Anyways - hope you enjoy the jam. Thanks for all the support.

MUSIC TO SUFFER BY

So, I gotta post this album I found. It's was done, apparently, by a wealthy socialite from the 50's, or some shit, who really loved music. So much so, that she hired and orchestra to record with as she sung the songs on her (only?) album, aptly titled, "Music To Suffer By". She's got a kitschy, campy, mock-opera style of singing. The vocals are so fucked up, and terrible, to the the point that they stick in your head and haunt you, days later, when you're trying to concentrate on something important. Download the album and play it in it's entirety the next time you have a dinner party, or bbq, and it'll definitely get people talking. I think the best one is "Yo Ho The Crow". It's a spooki. Also, "Rats In My Room" is a good one:


Downlad this album, it's fucked:
Leona Anderson - Music To Suffer By

a thirteen year old's take on rock history.

"this was so damn interesting!

http://en.wikipedia.org/wiki/Rock_music

look at the bands they list through all the little fazes and subgenres.
pay attention to how they just, for the most part, increasingly get worse. its absolutely fucking terrible.

when people tell me the music I listen to is bad, and I tell them the music I listen to created the (terrible) music they listen to.. they don't believe me. is this not proof?

it is pretty bad when people believe rock music has gotten better, but its even worse when they actually think rap is better.
to quote wikipedia- "Nearly all of the best selling albums of all time are still rock." need i say more?

I'm going to anyway, on the Billboard 200..
Elvis Presley has the most charted albums with 114 albums that made the charts.
the Rolling Stones have the most top ten albums with 36 albums making the top ten.
the Beatles have the most number one albums with 20 number one albums. Elvis Presley only had half that. the Beatles have the most cumulative weeks at number one with 132 weeks. is that not beyond fucking amazing? 132 weeks. that truly blows my mind.
the next up is Elvis with 67. that seems like nothing (but don't get me wrong it is) next to that 132.
what really amazes me though, is that the album that was number one the longest was the West Side Story soundtrack. it was number one for 54 weeks.
the album that has spent the most time on the charts was Pink Floyd- Dark Side of the Moon. it has spent 741 weeks on the Billboard 200 charts. 1500 if you count the time it has spent on the Top Pop Album Catalog charts. my jaw dropppped. that is incredible!

(note that totals are for the main albums chart only, catalog chart totals are not factored in)

the album with the highest RIAA (Recording Industry Association of America) certification is the Eagles- Their Greatest Hits (1971-1975). it has gone 29 times platinum. Thriller is behind that having gone 27 times platinum, and third being Led Zeppelin IV going 23 times platinum. Pink Floyd- the Wall also went 23 times platinum, but it looks to me like Led Zeppelin IV sold more.

the Beatles album with the highest RIAA certification is the White Album, having gone 19 times platinum.

the first album to debut at number one was Captain Fantastic and the Brown Dirt Cowboy by Elton John. he repeated this again with the album Rock of the Westies, the second album to debut at number one.. making him the first person to have two consecutive studio albums debut at number one.

Bob Newhart was the first to have the number one album and number two album at the same time, with The Button-Down Mind and The Button-Down Mind Strikes Back! this was equaled in 1991, with Guns N' Roses- Use Your Illusion I and Use Your Illusion II.

at one point in 1980, all nine albums released to that date by Led Zeppelin were on the charts. that is the most albums by a single artist to chart at the same time. that is fucking amazing.

the Beatles are one of the the three only people to have two different albums hit number one in one year. out of curiousity I wanted to see what albums were number one in 1964 and Meet the Beatles, the Beatles' Second Album, and A Hard Day's Night all went number one that year. I'm sure that applies to other years, but I just want to show that they have gone beyond two, to at least three.

the US sucks. we are a dumb, hip hop oriented, ignorant country. most good music comes from the UK anyways. so whats the ego for, US?

not only does the US suck, this generation sucks.

I'm pretty sure I've made a point. if you are still dumb and ignorant, then well. you are just that and I clearly can't change that. this went from being pro- rock n' roll to an overall lesson in musical history :)

I believe I have rambled enough, but it was all completely true.
to quote the Rolling Stones- "its only rock n roll, but I like it"
and to quote Chuck Berry- "its gotta be rock roll music, if you wanna dance with me""


That thirteen year old was me. I think I cursed then more than now!

Led Zeppelin-a-Day: "Royal Orleans" + FIN

"Royal Orleans", Presence
As the story goes, John Paul Jones picked up a lady friend - or so he thought! Lady friend was actually a dude lady, and shazam, tranny in JPJ's hotel room! JPJ and Dude Lady smoke a doobie, fall asleep with said doobie still lit, and the room goes up in flames. Don't say JPJ didn't know how to party. John Paul Jones claims he knew Lady was a Dude and they were hangin' like friends. And that the whole misinterpretation of sexes happened to someone else, elsewhere in the world. Well, okay. Whether or not John Paul Jones thought he was getting lucky, but then, you know, didn't, is of no importance. He still set a hotel room alight in the Royal Orleans hotel in New Orleans, hence the title. The song itself is fun and funky, with Page providing those riffs worthy of a James Brown record, and Bonham providing a light swing with bongos. Page's solo is fleeting but exciting. I don't rank this as one of my all time favorites, but its good enough.

And what? We're done? Well yeah, basically. I technically didn't review "The Ocean", "Ten Years Gone", "In the Light", and "Tangerine" with this project, but I did review them here. This was fun, wasn't it? Thank you to everyone who emailed saying they liked it throughout xx

Review: Jeff Beck at the Nokia Theatre, 4/17

Ah, Jeff Beck. To begin with, I adore you. In an era where nostalgia runs wild, most acts deliver lacklustre performances of their greatest hits. But not Jeff Beck. Beck has always been a musician who seems to be doing all that he can to avoid being pigeonholed into any genre, and in truth, I feel few have succeeded as he has. Random street walkers wouldn't know his name if you asked, but I genuinely don't believe I've ever heard or read a single negative thing about him, particularly from music lovers. While the way he approaches his career may seem haphazard to some, it seems he has managed to do whatever the fuck he wants - without worrying about selling records, or keeping in the same vein as his previous recordings. In fact, you can nearly count on Beck to bring some new to the table every single time.

Watching Jeff Beck at the Nokia Theatre, I felt that illustrious feeling, that concert feeling. An intense wave of emotions washed over me, and I felt utterly sublime and overwhelmed. Watching Jeff Beck is one of those moments where things are so brilliantly emotional that you're overwhelmed to the point of near fatigue. Following the great momentum of dimming lights and excitable gasps (as well as a few men shouting "Beck-Ola!" and "FREEWAY JAM!"), Beck emerged looking like an absolute star. At sixty-five, not an inch of flash has left him, musically or aesthetically. Granted, it seems his style is a bit more erratic than it was, say six months ago, and it seems he takes his stage clothes a step further with every tour. So hey, Beck! Quit while you're ahead. What also differs from Beck's last jaunt around the States is his band. Twenty-odd year old Tal Wilkenfeld, a jarring talent, has been replaced by Rhonda Smith on bass. Vinnie Colaiuta has been replaced by Michael Narada Walden (who appeared on Beck's Wired), while keyboardist Jason Rebello acts as a mainstay. Though both Smith and Walden are highly acclaimed musicians, I certainly found myself wishing I had seen the previous incarnation of Beck's band. Beck's Platinum-selling DVD Performing This Week...Live At Ronnie Scott's provided a fleeting showcase of the band, and they blow his current cast straight out of the water. No contest.

Through the first few numbers, I thought, "Brilliant. A great mix of slow and moving numbers with raucous scorchers." But as it wore on, I thought, "Wait... Its getting a bit repetitive." He simply hopped back and forth, with numbers that nearly sounded alike. With such a deliciously expansive catalog to chose from, I felt Beck didn't provide as much diversity as he could have. Though the oldies cheering for his seventies classics were appeased by a steaming performance of "Led Boots". Beck was also occasionally backed by an orchestra. Let me say that I found this absolutely haunting and enchanting, but I also felt the orchestra wasn't quite necessary. Few guitarists are so skilled at conveying emotion and provoking them so thoroughly within the listener, while Beck excels at this. I felt the orchestra, more than enhancing the experience, diluted it. With that said, I do feel Beck's new material is absolutely shattering, and stands up well when tossed together with his untouchable classics.

Returning to the topic of his band, bass player Rhonda Smith was far too heavily doted upon. To be frank, she wasn't very good. Why Beck got rid of the illuminating Tal Wilkenfeld is beyond me. Smith also provides vocals, which are - dare I say, irritating. Thankfully, between Smith's first solo and her vocal take on "Rollin' and Tumblin", Beck treated us to "People Get Ready". Rod Stewart, I can't say you're missed! Beck held it gloriously. His skill on the guitar is utterly transcendent, one instantly forgets vocals are standard practice in rock and roll. An especially out-there moment came in Beck's take on "Over the Rainbow". The track is included on his new album Emotion and Commotion, but actually seeing Jeff Beck perform a song so out of his realm is bizarre and incredible. Particularly notable is his utterly magnificent song "Angels (Footsteps)". Featured in the Ronnie Scott's DVD, I was left speechless when hearing the song on television! In person, it was nothing less than awe-inspiring. A genuinely beautiful and moving song, played with perfect precision by Beck. Though he totally dropped his slide piece, which provided a laugh for the very attentive audience. He plays with such grace, and those near-shrieking notes sounded wondrously delectable.

As the show's end drew near, the band busted into "I Want to Take You Higher", leading me to whisper to my dad, "Oh shit." Explosive and such fun! I nearly wished his band would stop providing vocals - but the entire number was so exciting, and I was having such a great time, I stopped caring. He followed this with "A Day in the Life", and I was over the moon. His interpretation of the Beatles classic was rattling and powerful. Thus, I was mildly disturbed when my father said, "Let's get out of here and beat the traffic?" "But dad, what if he encores?" "We already saw the whole show." I should mention my father also squeezed in a nap during Beck's set. Don't get me wrong, I'm nearly positive my adoring opinion of Jeff Beck is genetic, but um, old dudes can't hang, apparently. My father was certainly not the only 45+ sleeping in his seat. This portion of the audience was greatly contrasted by the total guitar geeks, whom ferociously air guitared to every lick. It was certainly a crowd who took music very seriously. Behind me, I heard a conversation, which discussed the merits of Jimmy Page. "He's sloppy. Compare him to Jeff Beck, Clapton, or even Zappa - he lacks that precision. Its just sloppy!" I didn't jump over my seat, I swear...

Alas, I happily skipped through the halls of the Nokia Theatre, humming along animatedly as Beck encored with "How High the Moon". I saw Paul McCartney's guitar player, and just kept on vocalizing Beck's licks, while perhaps dancing? What? I was jazzed.



P.S. Dweezil Zappa, you're the man! I was seriously pleased with Zappa Plays Zappa, the opening act. Never fancied myself a Zappa girl, but I may have to indulge! Dweezil is skilled.

Led Zeppelin-a-Day: "Boogie with Stu"

"Boogie with Stu", Physical Graffiti
Eh, "Boogie with Stu"... I'm hearing it differently right now. Its a cute little number, perfectly channeling those heroes of the 1950's. It isn't explosive, just fun and rollicking. Ian Stewart is an absolute luminary, and he more than anyone else carries this track. Toss in some mandolin, that slapping guitar, and things are pretty good. It isn't the most exciting thing Led Zeppelin ever did, no way! But it certainly isn't trying to be. Its a comfortable and content number. Smooth and spontaneous, I feel myself opening up to it.

This week?

My free time is rather nonexistent, so this bit is mildly haphazard!

Listening: The Sugarhill Gang! Genuinely, that's my current phase. Oh, the expansive choices that music holds. Eclecticism! Also, "Then He Kissed Me" by the Crystals. A lot funk too, and soul... My friends attempted to sum up what I listen to most these days and came up with, "The Clash, Led Zeppelin, and black music." Yes. So basically, Sly Stone, P-Funk, Curtis Mayfield, and a bit o' Smokey Robinson! I need to download new music, I just haven't had the time to sit down and do it...

Reading: Working my way through Psychotic Reactions and Carburetor Dung, the infamous collection of some of Lester Bangs' work. I've only read his Clash piece for NME (dating from '77, I do believe), but it was fucking fantastic. I think Lester Bangs is kind of over-excitedly labeled, but I may have to revoke that thought. This piece is marvelous. It genuinely made me laugh. Its funny, but not condescending. His compassion for others surprised me. His gradual discovery of each musician's character is striking, and each individual depiction is warm and delightfully told. You feel as if you're getting a genuine feel for this band, that this is who they truly are. That authentic quality has really filtered out of music journalism. And how genuine the band seem to be! This is really in the early stages of the band's career, so if any of them went on to be moody bitches, then they have yet to take that turn. I mean, Lester Bangs says that he is in love with them, and this piece - more than anything else, excluding the music - does such a mesmerizing job of making the reader love them too. I'm just skimming it now, to just pull out the funny bits. I feel like I can't grab them all! He says of Simonon, "It is undoubtedly this combination of mischievous boychild and Paleolithic primate which has sent swoonblips quavering through feminine hearts as disparate as Patti Smith and Caroline Coon - no doubt about it, Paul is the ladies' man of the group without half trying, and I doubt if there are very many gigs where he doesn't end up pogoing (earlier Bangs talked of the punks' obsession with pogoing) his pronger in some sweet honey's hive. Watch out, though, Paul - remember, clap doth not a Muppet befit." Oh wow, I concur. Bangs deems Strummer the band's soul, while Jones possesses "voluble wit and twinkle of eye", and Simonon has that "loony toon playfulness", earlier comparing him to that of a Muppet. Glen Matlock makes a cameo in the piece, when Bangs raves about Matlock's skill for grinding out Monkees tunes. The band interact with Bangs on a refreshingly peer-to-peer basis, though at this time Bangs was probably the more notorious. They come off as such a down-to-earth bunch, with Bangs noting how smoothly their no-frills, egoless camp runs - compared to the brutal, egotistical operations of the Stones and Zeppelin, deeming his jaunt with the Clash a "pilgrimage to the Promised Land". He notes the drugless environment and the absence of groupies, with Jones confessing, "We don't get into all of that much. You saw those girls out there - most of 'em are too young. But groupies... I dunno, I just never see that many I guess. I've got a girlfriend I get to see about once a month, but other than that... When you're playing this much, you don't need it so much. Sometimes I feel like I'm losing interest in sex entirely. Don't get me wrong, we're a band of regular blokes. Its just a lot of that stuff you're talking about doesn't seem to... apply." By most accounts, as the Clash's popularity grew, their ability to be faithful to girlfriends dwindled. But Jones' statement led Bangs into another raving tangent about the Clash's unsexist attitude, and its all quite endearing. Bangs frequently talks of the "new wave", with the title not yet equated with synth-pop of the eighties, but a new wave of music led by punk. He notes that mission of the new wave is to, "REINVENT YOURSELF AND EVERYTHING AROUND YOU CONSTANTLY." And how fucking marvelous were the Clash at that? I can't find a particularly poignant passage, but in it Bangs basically compares punks to hippies, and sides with punks. He says hippies were unrealistic, but the punks realized all of the "No Future" bullshit with open eyes, and took it on headstrong, realizing if they wanted change, they had to do themselves - which is the best goddamn way to go about life. This piece is a perfect crystallization of this time in the band's career, go read it! Even if you don't particularly favor Bangs or the Clash. Its just damn good writing.

Led Zeppelin-a-Day: "Custard Pie"

"Custard Pie", Physical Graffiti
Weeoo, so even though "Custard Pie" is off Physical Graffiti, I'm not a massive fan of it. Like most Led Zeppelin songs, I went through a phase with it, but its reign as a favorite didn't last long. It relies too heavily on standard bluesy goodness, even if they're pulling from such luminaries as Bukka White. Of course its just lovely to hear Robert Plant howling about "chewin' a piece of your custard pie", but overall the tune doesn't hit the spot. It does boast a few mesmerizing features, which never fail to enthrall me - such as JP's wah-wah solo, JPJ throwing down a bit of clavinet, and the harmonica solo that fades until the end of the track. In my mind, "Custard Pie" is eternally buddies with "The Rover". But I rarely ever play either one voluntarily.

Gear up dudes, its the final stretch!

I don't mean to brag, I don't mean to boast, but we're like hot butter on a breakfast toast.