Sunday, April 17, 2011
The Purity of Disaster
I received the Foundation "Purity/Disaster" 7" for review way back in 1992. I remember giving it a favorable review then, and after listening to it recently I have to say it holds up.
Foundation was out of NY, and while it was a hardcore band, the songs on this release have a certain emo feeling to them. Real emo. Not Hot Topic emo. The 7" itself is on white vinly (classy), and it includes lyrics to the two songs.
I tried looking the band up on the Internet and found nothing really helpful. Even Round Flat Records, which put this out, doesn't seem to have copies of it anymore. Not surprising. This is a solid release, and the band members (Bill Colgrove, John Drenning, Steve Korol and Mike Waney) have already probably moved onto to other things that are hopefully music related. (No sense in wasting one's talent by working at a diner.) Mike Waney as of 2/11 responded to a posting on the Coregasm blog, so he's at least around and checking out what the world has to say of his old band.
I never got to see Foundation live, but I imagine it would've been quite an energetic and positive show. The sound these guys had is due for a resurgence in the next few years. I doubt any of it will be as good as this 7" was, though.
Saturday, April 16, 2011
Letters from Doug Evil
Doug Evil was the man behind Orgy of One, a one-man band that did some Misfits covers and original tunes. He designed my band's logo (JFK's Head, for those keeping score), and did a cover for one of my 'zines. We wrote each other off and on and talked on the phone on occasion. Below is a short letter he wrote about some distribution stuff and ad space in my 'zine (Chaos Into Power).
Doug of C.I.P.,
Here is your order of Orgy 5 "Single" tapes plus Misfits cover tapes. 1 for you & 1 (one) for the Misfits themselves! (If you get in contact with them.)
Please copy the ad I sent you to help with the distro process & enclose a copy of the Misfits cover album flyer with any order of my tape.
Also I'd like a list of names and addresses of people who buy my tape so I can send them flyers & shit. If there are any problems call me at [phone number listed].
Haplessly Yours,
Doug Evil
I did send a copy to the Misfits, but I do not recall the reaction to it. At the time, the Misfits hadn't signed Michael Graves or Dr. Chud yet, so it was in a state of flux. I do remember talking to Doyle prior to sending it, and he was excited about hearing it.
Doug of C.I.P.,
Here is your order of Orgy 5 "Single" tapes plus Misfits cover tapes. 1 for you & 1 (one) for the Misfits themselves! (If you get in contact with them.)
Please copy the ad I sent you to help with the distro process & enclose a copy of the Misfits cover album flyer with any order of my tape.
Also I'd like a list of names and addresses of people who buy my tape so I can send them flyers & shit. If there are any problems call me at [phone number listed].
Haplessly Yours,
Doug Evil
I did send a copy to the Misfits, but I do not recall the reaction to it. At the time, the Misfits hadn't signed Michael Graves or Dr. Chud yet, so it was in a state of flux. I do remember talking to Doyle prior to sending it, and he was excited about hearing it.
Labels:
Doug Evil,
Misfits,
Orgy of One
Thursday, April 14, 2011
A Release to Get Excited About ....
Voodoo Rhythm Records, a label I consider the best on the planet, has released a split CD/LP. (I hope I get a copy of this one.) Mama Rosin Together With Hipbone Slim and the Kneetremblers. Both bands are seriously freakin' good. Cajun meets garage rockabilly. If that release sucks I'll cut off a finger. I just don't see it happening. In fact, I can't think of the last time something came out on Voodoo that I didn't like. Nope.
Both bands have released great records before. Both bands are highly capable of getting asses out of their seats. Together? Oh, that is the sweet spot.
There was other exciting news in the e-mail I got, but seeing this release kind of made everything else just fade into the background. It isn't every day when you hear of such incredible news. This was that day.
For all you readers overseas, here's the tour dates:
13 Apr 2011 L'Ecurie, Genève SWITZERLAND ( with HIPBONE SLIM AND THE KNEETREMBLERS)
14 Apr 2011 Cafe Kairo / bern SWITZERLAND ( with HIPBONE SLIM AND THE KNEETREMBLERS)
15 Apr 2011 1. Stock, Basel SWITZERLAND ( with HIPBONE SLIM AND THE KNEETREMBLERS)
16 Apr 2011 Hacienda, Sierre SWITZERLAND ( with HIPBONE SLIM AND THE KNEETREMBLERS)
14 May 2011 Bearded Theory Festival, Derbyshire UNITED KINGDOM
17 May 2011 Electroacoustic Club @ The Slaughetered Lamb, London UNITED KINGDOM
19 May 2011 The Railway Inn, Winchester UNITED KINGDOM
20 May 2011 Wood Festival, Oxford UNITED KINGDOM
25 May 2011 Centre Culturel Suisse, Paris FRANCE
26 May 2011 Centre Culturel Suisse, Paris FRANCE
29 May 2011 Evolution Festival, Newcastle upon Tyne UNITED KINGDOM
11 Jun 2011 Halt auf Verlangen Festival, Grünenwald OW SWITZERLAND
18 Jun 2011 Mundial, Tilburg NETHERLANDS
19 Jun 2011 TBC Oerol Festival, Terschilling NETHERLANDS
24 Jun 2011 Glastonbury Festival, Glastonbury UNITED KINGDOM
28 Jun 2011 Festival de la Cité, Lausanne SWITZERLAND
01 Jul 2011 Skagen Festival DENMARK
02 Jul 2011 Skagen Festival DENMARK
09 Jul 2011 Festi'Cheyres SWITZERLAND
15 Jul 2011 Larmer Tree Festival, Wiltshire UNITED KINGDOM
16 Jul 2011 Pod'ring, Biel SSWITZERLAND ( with HIPBONE SLIM AND THE KNEETREMBLERS)
21 jul 2011 paleo festifal, Nyon SWITZERLAND ( with HIPBONE SLIM AND THE KNEETREMBLERS)
27 Jul 2011 Musicas do Mundo, Sines PORTUGAL
09 Aug 2011 Broadstairs Festival UNITED KINGDOM
10 Aug 2011 Broadstairs Festival UNITED KINGDOM
13 Aug 2011 Summer Sundae Weekender, Leicester UNITED KINGDOM
Mandatory FTC Disclaimer Time: Clicking on a link can earn me a commission. I have not received a copy of this release to review yet, but I hope to. If I do, I will write about here, of course, along with any place else that will take it.
Both bands have released great records before. Both bands are highly capable of getting asses out of their seats. Together? Oh, that is the sweet spot.
There was other exciting news in the e-mail I got, but seeing this release kind of made everything else just fade into the background. It isn't every day when you hear of such incredible news. This was that day.
For all you readers overseas, here's the tour dates:
13 Apr 2011 L'Ecurie, Genève SWITZERLAND ( with HIPBONE SLIM AND THE KNEETREMBLERS)
14 Apr 2011 Cafe Kairo / bern SWITZERLAND ( with HIPBONE SLIM AND THE KNEETREMBLERS)
15 Apr 2011 1. Stock, Basel SWITZERLAND ( with HIPBONE SLIM AND THE KNEETREMBLERS)
16 Apr 2011 Hacienda, Sierre SWITZERLAND ( with HIPBONE SLIM AND THE KNEETREMBLERS)
14 May 2011 Bearded Theory Festival, Derbyshire UNITED KINGDOM
17 May 2011 Electroacoustic Club @ The Slaughetered Lamb, London UNITED KINGDOM
19 May 2011 The Railway Inn, Winchester UNITED KINGDOM
20 May 2011 Wood Festival, Oxford UNITED KINGDOM
25 May 2011 Centre Culturel Suisse, Paris FRANCE
26 May 2011 Centre Culturel Suisse, Paris FRANCE
29 May 2011 Evolution Festival, Newcastle upon Tyne UNITED KINGDOM
11 Jun 2011 Halt auf Verlangen Festival, Grünenwald OW SWITZERLAND
18 Jun 2011 Mundial, Tilburg NETHERLANDS
19 Jun 2011 TBC Oerol Festival, Terschilling NETHERLANDS
24 Jun 2011 Glastonbury Festival, Glastonbury UNITED KINGDOM
28 Jun 2011 Festival de la Cité, Lausanne SWITZERLAND
01 Jul 2011 Skagen Festival DENMARK
02 Jul 2011 Skagen Festival DENMARK
09 Jul 2011 Festi'Cheyres SWITZERLAND
15 Jul 2011 Larmer Tree Festival, Wiltshire UNITED KINGDOM
16 Jul 2011 Pod'ring, Biel SSWITZERLAND ( with HIPBONE SLIM AND THE KNEETREMBLERS)
21 jul 2011 paleo festifal, Nyon SWITZERLAND ( with HIPBONE SLIM AND THE KNEETREMBLERS)
27 Jul 2011 Musicas do Mundo, Sines PORTUGAL
09 Aug 2011 Broadstairs Festival UNITED KINGDOM
10 Aug 2011 Broadstairs Festival UNITED KINGDOM
13 Aug 2011 Summer Sundae Weekender, Leicester UNITED KINGDOM
Mandatory FTC Disclaimer Time: Clicking on a link can earn me a commission. I have not received a copy of this release to review yet, but I hope to. If I do, I will write about here, of course, along with any place else that will take it.
Monday, April 4, 2011
The Lost Art of the Album Cover
I've always preferred vinyl over CDs, cassettes, 8 tracks and MP3s. Part of this preference has to do with cover art.
Cover art is something that seems forgotten about these days. Yes, it still exists, but I think any serious lover of music would admit that the cover art for a CD is seriously lacking when compared to that of an LP.
When I was a kid, I got lost in cover art. Whether it be Iron Maiden's The Number of the Beast or Massacre's Killing Time. It didn't matter. I'd put the record on, listen and look. My cassettes had cover art, but it was too small to see. Same with my CDs. My 7" singles were even better than cassettes and CDs. The cover art seemed to matter. It looked like art. It was art. It was important.
Now the art is nothing more than a picture. It doesn't help sell anything. It tells no story. It is as cold and impersonal as the MP3 format. There seems to be little thought put into it because the people consuming it (and don't kid yourself, MP3s are a consumable product and nothing more) put no thought into what they are buying.
Years ago, when going into a record store, I'd look at everything. If a band I never heard of had a neat sounding name and a cool album title, the cover art would often make or break my decision to buy it. That's how I actually ended up buying Killing Time. The cover art appealed to me. It was as mysterious as the names of the songs on the release (and in hindsight fit the music perfectly). The cover art of a CD never swayed me to make a purchase.
If you compare the vinyl art on any Iron Maiden album to the exact same art on the CD or cassette, you quickly realize how much detail you lose. There are subtle touches that just aren't there when you shrink down the image to fit the format. The LP cover was the perfect size. Above and beyond the music, it was often art that stood on its own. In fact, when I got Kiss' Creatures of the Night
for my birthday, I actually displayed the album cover in my room for quite a few months, much like someone would hang a painting or display a sculpture. Again, I never did that with a CD.
MP3s are meant to be played on tiny devices, the portability of which is the selling point. Some of these devices display the cover art for whatever music you are listening to at any given time. The art is so small, though, that it becomes pointless. I've purchased MP3s, and like CDS, I never bought one on the whim of a cover ... because I can barely see it. I definitely can't display it, either.
Maybe I'm old, or maybe I romanticize too much. I don't think so, though. Many of my music loving friends feel much the same way. They long for the days when buying an album meant something. When a record felt like an event. Sure, vinyl is still being made (and I still buy it), but the industry has changed. The art seems less inspired. The compact format has led to compact ideas. There are always gems, of course, but they are no longer the norm. Long gone are the days where I would examine every detail of a photo or painting, pondering how it fit into what I was experiencing coming from my speakers. Upsetting? Of course. But it's also a sign of the times, where art has little meaning and everything is meant to be disposable ... including the music.
Mandatory FTC Disclaimer: Clicking on my links may earn me a commission. I'll use the money to get a new record player.
Cover art is something that seems forgotten about these days. Yes, it still exists, but I think any serious lover of music would admit that the cover art for a CD is seriously lacking when compared to that of an LP.
When I was a kid, I got lost in cover art. Whether it be Iron Maiden's The Number of the Beast or Massacre's Killing Time. It didn't matter. I'd put the record on, listen and look. My cassettes had cover art, but it was too small to see. Same with my CDs. My 7" singles were even better than cassettes and CDs. The cover art seemed to matter. It looked like art. It was art. It was important.
Now the art is nothing more than a picture. It doesn't help sell anything. It tells no story. It is as cold and impersonal as the MP3 format. There seems to be little thought put into it because the people consuming it (and don't kid yourself, MP3s are a consumable product and nothing more) put no thought into what they are buying.
Years ago, when going into a record store, I'd look at everything. If a band I never heard of had a neat sounding name and a cool album title, the cover art would often make or break my decision to buy it. That's how I actually ended up buying Killing Time. The cover art appealed to me. It was as mysterious as the names of the songs on the release (and in hindsight fit the music perfectly). The cover art of a CD never swayed me to make a purchase.
If you compare the vinyl art on any Iron Maiden album to the exact same art on the CD or cassette, you quickly realize how much detail you lose. There are subtle touches that just aren't there when you shrink down the image to fit the format. The LP cover was the perfect size. Above and beyond the music, it was often art that stood on its own. In fact, when I got Kiss' Creatures of the Night
MP3s are meant to be played on tiny devices, the portability of which is the selling point. Some of these devices display the cover art for whatever music you are listening to at any given time. The art is so small, though, that it becomes pointless. I've purchased MP3s, and like CDS, I never bought one on the whim of a cover ... because I can barely see it. I definitely can't display it, either.
Maybe I'm old, or maybe I romanticize too much. I don't think so, though. Many of my music loving friends feel much the same way. They long for the days when buying an album meant something. When a record felt like an event. Sure, vinyl is still being made (and I still buy it), but the industry has changed. The art seems less inspired. The compact format has led to compact ideas. There are always gems, of course, but they are no longer the norm. Long gone are the days where I would examine every detail of a photo or painting, pondering how it fit into what I was experiencing coming from my speakers. Upsetting? Of course. But it's also a sign of the times, where art has little meaning and everything is meant to be disposable ... including the music.
Mandatory FTC Disclaimer: Clicking on my links may earn me a commission. I'll use the money to get a new record player.
Saturday, March 19, 2011
Letters from GG Allin 7
Here's a long letter from rock 'n' roll terrorist GG Allin, which came on stationary reading, "GG Allin From His Cell At Jackson State Prison." At the bottom of the page it read, "Murder Junkies The World's Most Out-Ragious R&R Band." I have edited out the name of the 'zine Allin tells me to send my 'zine to simply because I did send it, and they ripped off some of my interview without giving me credit. (In the 'zine's defense, it also published a piece of mine, but not giving me credit kind of pissed me off.) Enjoy the letter.
Doug,
Send a copy of the 'zine to [not worth mentioning]. It's a very well distr. mag. that reviews 'zines etc...
Also-- I am not sending you the address to performance just yet. It is much to soon to approach them on this project. You should not approach them until the project is almost finished. Because they will want some proof of your seriousness. The time must be right. They are also in the process of releasing 2 CD's of mine in the next couple of months .. so the best time to get with them would be summer or fall.. It will more than likely take that much time to compile all of the material. Let me know how it goes..
GG Allin 206045
[Addresses to reach him at after his release.]
The zine was fucking cool.. I just got it..
The project he was referring to was a music project we were working on. His death ended the project as far as I was concerned, as I feared putting it out would make it look like I was exploiting him, and that was definitely not part of the plan. I'm sure it would've made money, but I'm no vulture.
Doug,
Send a copy of the 'zine to [not worth mentioning]. It's a very well distr. mag. that reviews 'zines etc...
Also-- I am not sending you the address to performance just yet. It is much to soon to approach them on this project. You should not approach them until the project is almost finished. Because they will want some proof of your seriousness. The time must be right. They are also in the process of releasing 2 CD's of mine in the next couple of months .. so the best time to get with them would be summer or fall.. It will more than likely take that much time to compile all of the material. Let me know how it goes..
GG Allin 206045
[Addresses to reach him at after his release.]
The zine was fucking cool.. I just got it..
The project he was referring to was a music project we were working on. His death ended the project as far as I was concerned, as I feared putting it out would make it look like I was exploiting him, and that was definitely not part of the plan. I'm sure it would've made money, but I'm no vulture.
Monday, March 14, 2011
Letters from GG Allin 6
This letter came with a bunch of photocopied pictures, many of them signed by Allin. One in particular, which I am too lazy to scan or I would, featured him sans pants standing on a Nazi flag and humping a statue of Jesus. I think Disney is using that for a DVD cover or something. Here's the letter, where Allin continues to rant against those who would dare question his loyalty to the rock 'n' roll mission.
Doug,
You tell those motherfucking non-believers to come to one of my shows.. Then they will understand just how fucking brutal of a reality I live in.. They live in a very
[word is inked out] tight shell.. When they get close to me I'll break that fucking shell wide open.. So keep pissing them off.. Support the only real rock n roll mission that really does matter.. I'm in prison because our society cannot control my non-conformist R+R revolution... They never fucking will.. I'll be out in early 93.. Then I'll get my revenge.. Im [sic] unstoppable..
GG Allin 206045
PS. They don't let tapes in.. I can only receive money orders in any amount.. M.O. must include both my name and prison # Allin-206045.. If you want a copy of the Geraldo tape I can get it for you...
I did actually want a copy of that tape, and sent Allin some money for it. He forwarded the money to Merle, his brother, and I never saw the tape. Do I care? Hell no! I got a pic of Allin humping a Jesus statue while standing on a swastika. Duh. Who is the winner there?
Doug,
You tell those motherfucking non-believers to come to one of my shows.. Then they will understand just how fucking brutal of a reality I live in.. They live in a very
[word is inked out] tight shell.. When they get close to me I'll break that fucking shell wide open.. So keep pissing them off.. Support the only real rock n roll mission that really does matter.. I'm in prison because our society cannot control my non-conformist R+R revolution... They never fucking will.. I'll be out in early 93.. Then I'll get my revenge.. Im [sic] unstoppable..
GG Allin 206045
PS. They don't let tapes in.. I can only receive money orders in any amount.. M.O. must include both my name and prison # Allin-206045.. If you want a copy of the Geraldo tape I can get it for you...
I did actually want a copy of that tape, and sent Allin some money for it. He forwarded the money to Merle, his brother, and I never saw the tape. Do I care? Hell no! I got a pic of Allin humping a Jesus statue while standing on a swastika. Duh. Who is the winner there?
Great Quotes from a GG Allin Press Release
As I was going through my papers, I found this three page press release for his next album. (According to the end of the release, "GG Allin's new LP recorded in New York City, NY with the Murder Junkies to be announced soon [handwritten] is his first studio recording of all new material released in America since 1989. Available on TBA soon [handwritten] Records.
Here are some of the great quotes, which I think summed up GG Allin and his music pretty damn well.
"There is nothing anybody can do to shake up the underground anymore ... unless you are GG Allin who shits on stage and attacks women." - Kim Gordon, Sonic Youth
"Allin says he leads the most violent rock 'n' roll band in the country. We both agree that Allin's actions and lifestyle are among the most bizarre we have come across in decades of police work." - Frank Hoy and Mary Smith, police detectives
"When it was too late, I realized my fate could have well been death." - GG Allin assault victim
"I've worked many murder cases, but this kind of behavior really sickens me." - anonymous New York City police officer
"Fights broke out, three people arrested and a near riot. I blame GG Allin." - Lt. Bill Crook
"Mr. Allin's performance is a crime and the Constitution in this country does not save him. Mr. Allin crossed the line in this performance." - Attorney Michael Steinhafel, prosecutor
"Failure to abide by the conditions of his parole and in lieu of the nature of his arrests in Florida and Texas (on stage) the parole board concluded that Mr. Allin is a risk to society at this time. Maximum penalty suggested." -Michigan Department of Corrections
Who has picked up the mantle these days? Nobody that I can think of. Ah, the good ol' days ...
Here are some of the great quotes, which I think summed up GG Allin and his music pretty damn well.
"There is nothing anybody can do to shake up the underground anymore ... unless you are GG Allin who shits on stage and attacks women." - Kim Gordon, Sonic Youth
"Allin says he leads the most violent rock 'n' roll band in the country. We both agree that Allin's actions and lifestyle are among the most bizarre we have come across in decades of police work." - Frank Hoy and Mary Smith, police detectives
"When it was too late, I realized my fate could have well been death." - GG Allin assault victim
"I've worked many murder cases, but this kind of behavior really sickens me." - anonymous New York City police officer
"Fights broke out, three people arrested and a near riot. I blame GG Allin." - Lt. Bill Crook
"Mr. Allin's performance is a crime and the Constitution in this country does not save him. Mr. Allin crossed the line in this performance." - Attorney Michael Steinhafel, prosecutor
"Failure to abide by the conditions of his parole and in lieu of the nature of his arrests in Florida and Texas (on stage) the parole board concluded that Mr. Allin is a risk to society at this time. Maximum penalty suggested." -Michigan Department of Corrections
Who has picked up the mantle these days? Nobody that I can think of. Ah, the good ol' days ...
Letters from GG Allin 5
Once again, I present more letters from the late, great GG Allin
. This one came on the back of his Michigan Department of Correction Certificate of Discharge/Termination of Sentence paper. Signed by the warden on 2/13/93. This was an actual discharge and not a termination of sentence.
Allin's letter references "Brad." Brad was a co-worker who told me he didn't think Allin was that tough or that extreme. In fact, Brad thought Ozzy Osbourne was far more extreme. Obviously Brad never came face-to-face with Allin. When I showed Brad Allin's response (below), the universal reaction around work was that of fear. They were afraid GG was a-comin' and wanted to know why I would do such a thing to Brad. Brad was a bit scared, too, despite the fact that he had previously said Allin wasn't a bad ass. Enjoy. It's short, but sweet.
Doug
Tell Brad I'll take him on any place any fucking time.. I'll fip his fucking face off the spineless pussy.. I'll be at Merle's after April 10th.
GG Allin
Merle, as many people know, is Allin's brother. I was going to scan the letter here to show Allin's scrawl is even more outrageous than usual, but I figured the words would get the point across. Allin never showed up at my job (I would've been fired on the spot), but I have no doubt that had he met Brad he would have knocked him the hell out. Good times, good times.
Allin's letter references "Brad." Brad was a co-worker who told me he didn't think Allin was that tough or that extreme. In fact, Brad thought Ozzy Osbourne was far more extreme. Obviously Brad never came face-to-face with Allin. When I showed Brad Allin's response (below), the universal reaction around work was that of fear. They were afraid GG was a-comin' and wanted to know why I would do such a thing to Brad. Brad was a bit scared, too, despite the fact that he had previously said Allin wasn't a bad ass. Enjoy. It's short, but sweet.
Doug
Tell Brad I'll take him on any place any fucking time.. I'll fip his fucking face off the spineless pussy.. I'll be at Merle's after April 10th.
GG Allin
Merle, as many people know, is Allin's brother. I was going to scan the letter here to show Allin's scrawl is even more outrageous than usual, but I figured the words would get the point across. Allin never showed up at my job (I would've been fired on the spot), but I have no doubt that had he met Brad he would have knocked him the hell out. Good times, good times.
Univox -- Mixing Genres At Will, But Will It Leave You Cold?
Univox's debut release (on ROIR, a great label) has been critically hailed as indie pop rock at its best. Bands like The Kinks and The Stooges have been thrown around when describing Univox's sound. Hailing from Philadelphia, a city I used to spend way too much time in, Univox is, if you believe the hype, a sort of Second Coming of music. Not happy to stick to one genre, Univox may be worthy of some of that hype, though the end result fails to move me.
I've got no beef with bands that play with music genres the same way kids play with toys, mixing and matching and making it work. You've got to be talented to pull it off. (Think of Mr. Bungle
, which not only mixes genres, but tweaks them to the point where they are almost unrecognizable.) Univox, a four-piece for those concerned, has that talent. In fact, the first track, "Pi," has some real promise. It quickly goes downhill from there.
I picture a club. It could be anywhere. A lot of twentysomethings and thirtysomethings are standing around, import beer in plastic white cups. They all look like they shopped at the same clothes store. Univox is on stage. The crowd nods in time. Between songs there is playful band banter. You know. The general comments about whatever city they are in. The audience responds in kind. Occasionally, drinks are raised in praise of one thing or another. The band ends on with "Mind Traveler's Song," and the crowd demands more. They leave the stage. Come back a few minutes later and do a couple of quick covers. Black Flag. Rod Stewart. Right Said Fred. Showing off their chops as it were, and having fun. The people go home with smiles on their faces. The next day they can't remember much of what happened during the show. It has become disposable.
Univox's strength is also its curse. The fact that you can't pinpoint a sound on it shows just how talented the band is, but at the same time robs it of its identity. That's not always a bad thing, but in this case it works against the band.
I'm sure some will accuse me of blasphemy. Perhaps they are right. This seems like the kind of band Spin will praise in a year or so (if it hasn't already), too late to matter, and too lame to know it. And that's the problem. It doesn't challenge the listeners. Yeah, it's great that the songs all sound different, but where does it go? Nowhere. And fast.
I've got no beef with bands that play with music genres the same way kids play with toys, mixing and matching and making it work. You've got to be talented to pull it off. (Think of Mr. Bungle
I picture a club. It could be anywhere. A lot of twentysomethings and thirtysomethings are standing around, import beer in plastic white cups. They all look like they shopped at the same clothes store. Univox is on stage. The crowd nods in time. Between songs there is playful band banter. You know. The general comments about whatever city they are in. The audience responds in kind. Occasionally, drinks are raised in praise of one thing or another. The band ends on with "Mind Traveler's Song," and the crowd demands more. They leave the stage. Come back a few minutes later and do a couple of quick covers. Black Flag. Rod Stewart. Right Said Fred. Showing off their chops as it were, and having fun. The people go home with smiles on their faces. The next day they can't remember much of what happened during the show. It has become disposable.
Univox's strength is also its curse. The fact that you can't pinpoint a sound on it shows just how talented the band is, but at the same time robs it of its identity. That's not always a bad thing, but in this case it works against the band.
I'm sure some will accuse me of blasphemy. Perhaps they are right. This seems like the kind of band Spin will praise in a year or so (if it hasn't already), too late to matter, and too lame to know it. And that's the problem. It doesn't challenge the listeners. Yeah, it's great that the songs all sound different, but where does it go? Nowhere. And fast.
Thursday, March 10, 2011
My Love of Boy Bands
I felt sort of like the priest who was approached by a police officer outside of church while getting in his car. I was being arrested for crimes against young boys, but I was being questioned about them.
A co-worker, whom I happen to like despite her questionable and startling taste in music, asked me with all seriousness, "Which boy bands do you like?" Or words similar. Then, as if that weren't a terrifying enough question, she started rattling off names. Backstreet Boys (it may be spelled with a "z," I don't know), O-Town, and a host of others. Where in the world did this question come from? Do I come off as a pre-teen girl or a man attracted to shirtless, well-choregraphed boys and young men? I cannot be mistaken for a female (no matter how hard I try), and I didn't think I gave off that vibe my old Myspace page not withstanding. So where did this question come from?
I asked, but did not get a response. Chilling.
My closest brush with boy bands came when I watched a few episodes of that show which made O-Town. I was curious about it, as I thought (correctly) that it would show the type of Frankenstein machine pop music originated from. Lou Pearlman was O-Town's originally manager, and if anyone had the pedophile NAMBLA vibe it was good ol' Lou. For some reason I always pictured him in the dark looking at photoshoot outtakes of shirtless young hopefuls as he sweated and masturbated to all hours of the morning. I'm sure I'm not the only one, either.
Did I come across as a Pearlman type? I've written about music from Prince to GG Allin, and my tastes are fairly well-known and I would imagine somewhat obvious. Where in the name of former NAMBLA Boy of the Year Fred Savage did I appear to be a fan of pre-fabricated boy bands?
Perhaps my co-worker was joking. Perhaps she was serious. I had previously given her three types of grief over what was on her iPod, and maybe this was her way of getting back at me ... or seriously trying to figure out what I listened to in my down time. (For the record, it was Sigue Sigue Sputnik the other day.) She knew I listened to Prince. Maybe she thought other short, dancing males were on my playlist as well.
They aren't.
Now, in order to cleanse my soul of such a misinspired violation of all that I hold holy and to be in good taste, I shall listen to some Cannibal Corpse and put this whole ugly incident behind me.
A co-worker, whom I happen to like despite her questionable and startling taste in music, asked me with all seriousness, "Which boy bands do you like?" Or words similar. Then, as if that weren't a terrifying enough question, she started rattling off names. Backstreet Boys (it may be spelled with a "z," I don't know), O-Town, and a host of others. Where in the world did this question come from? Do I come off as a pre-teen girl or a man attracted to shirtless, well-choregraphed boys and young men? I cannot be mistaken for a female (no matter how hard I try), and I didn't think I gave off that vibe my old Myspace page not withstanding. So where did this question come from?
I asked, but did not get a response. Chilling.
My closest brush with boy bands came when I watched a few episodes of that show which made O-Town. I was curious about it, as I thought (correctly) that it would show the type of Frankenstein machine pop music originated from. Lou Pearlman was O-Town's originally manager, and if anyone had the pedophile NAMBLA vibe it was good ol' Lou. For some reason I always pictured him in the dark looking at photoshoot outtakes of shirtless young hopefuls as he sweated and masturbated to all hours of the morning. I'm sure I'm not the only one, either.
Did I come across as a Pearlman type? I've written about music from Prince to GG Allin, and my tastes are fairly well-known and I would imagine somewhat obvious. Where in the name of former NAMBLA Boy of the Year Fred Savage did I appear to be a fan of pre-fabricated boy bands?
Perhaps my co-worker was joking. Perhaps she was serious. I had previously given her three types of grief over what was on her iPod, and maybe this was her way of getting back at me ... or seriously trying to figure out what I listened to in my down time. (For the record, it was Sigue Sigue Sputnik the other day.) She knew I listened to Prince. Maybe she thought other short, dancing males were on my playlist as well.
They aren't.
Now, in order to cleanse my soul of such a misinspired violation of all that I hold holy and to be in good taste, I shall listen to some Cannibal Corpse and put this whole ugly incident behind me.
Wednesday, March 2, 2011
The Case Against Spin Magazine
Spin. A magazine that used to be fairly relevant but now its only claim to fame is that it isn't Rolling Stone. I know its editors and publisher thinks it is still at the cutting edge of music journalism, but when you are covering an art form that is so stagnant that it makes the CBS network look absolutely visionary, you can't help but take on some of that stagnation. Again, it isn't as bad as Rolling Stone, but is that really what you want people to be able to say about your magazine?
I get it sent to me for whatever reason. I assume because I'm somehow associated with the industry. I get a lot of magazines and whatnot that come my way, along with products and offers to cover festivals and whatnot. I read it when it gets here. Lately, though, I find myself reading less and less of it. It seems that every issue has less relevance to my life. The Next Big Things? Artists to watch for? The best music to download and why? As if the reader has no mind of his or her own.
If Spin were my magazine, I'd set a new plan into motion. I'd do what magazines can do best (offer detailed articles on various things for readers, instead of bite-size pieces that are best suited for the web). I'd also say, "Let's stop telling people what they should like. Let's tell people what we like and hope the enthusiasm catches." If writers want to focus on new music (and many do), that would be great. The pieces would have to long, however. Not just a snapshot of who the musician is, what he or she sounds like, a some "fascinating" tidbit of why you should like him or her ("He once played naked in Wicker Park."). It would have to be an article worth reading. An article that gives the reader a strong sense of why you really like the artist. Far too many of these Next Big Things are covered once in the magazine and then drop off the planet. If someone wanted to do a piece on, say, the Meat Shits, they would be welcome to do that, too, but it would have to offer something more than the usual web write-up. Track down the members. Get the life stories. Review all the releases. Something new. Something unusual. Turn Spin into a magazine for people who appreciate music as art and not product. At this level it is tied with Rolling Stone because both magazines have those occasional articles that do just that, but that seems more like a fluke than anything else.
It's not my magazine, though. I'm just a guy who started reading it when it first appeared. When it included a condom with an issue once and took some heat for it. When it wrote about GG Allin and Bon Jovi. When it mattered. Or maybe it's always been that way, but the music was better then. I have no idea. All I know is that if you are relying on a magazine to tell you what is hot and new, you are woefully behind the times.
I get it sent to me for whatever reason. I assume because I'm somehow associated with the industry. I get a lot of magazines and whatnot that come my way, along with products and offers to cover festivals and whatnot. I read it when it gets here. Lately, though, I find myself reading less and less of it. It seems that every issue has less relevance to my life. The Next Big Things? Artists to watch for? The best music to download and why? As if the reader has no mind of his or her own.
If Spin were my magazine, I'd set a new plan into motion. I'd do what magazines can do best (offer detailed articles on various things for readers, instead of bite-size pieces that are best suited for the web). I'd also say, "Let's stop telling people what they should like. Let's tell people what we like and hope the enthusiasm catches." If writers want to focus on new music (and many do), that would be great. The pieces would have to long, however. Not just a snapshot of who the musician is, what he or she sounds like, a some "fascinating" tidbit of why you should like him or her ("He once played naked in Wicker Park."). It would have to be an article worth reading. An article that gives the reader a strong sense of why you really like the artist. Far too many of these Next Big Things are covered once in the magazine and then drop off the planet. If someone wanted to do a piece on, say, the Meat Shits, they would be welcome to do that, too, but it would have to offer something more than the usual web write-up. Track down the members. Get the life stories. Review all the releases. Something new. Something unusual. Turn Spin into a magazine for people who appreciate music as art and not product. At this level it is tied with Rolling Stone because both magazines have those occasional articles that do just that, but that seems more like a fluke than anything else.
It's not my magazine, though. I'm just a guy who started reading it when it first appeared. When it included a condom with an issue once and took some heat for it. When it wrote about GG Allin and Bon Jovi. When it mattered. Or maybe it's always been that way, but the music was better then. I have no idea. All I know is that if you are relying on a magazine to tell you what is hot and new, you are woefully behind the times.
Monday, February 21, 2011
Letters from GG Allin 4
Ironic. I decided to listen to A Tribute to the Exploited: Punk's Not Dead while another reprint of a letter from GG Allin, who is very much dead. The letter, long by Allin's standards, came to me from prison on the back of flier for the upcoming (at the time) film Hated. If you haven't seen Hated I highly recommend it. It may offend, but it is a fascinating look into a mind such as Allin's. Without further rambling ...
Doug,
Can't think of any bands to recommend for the comp.. Most of the bands I know have already done versions of my material.. I want bands that nobody has heard of or at least very unpopular bands. I want it to be fucking brutal noisy and hate filled mutilation of the senses.. If you run the ad in MRR, you should run it more than once.
Hated is due for its premier showing in Jan in NYC..
It will not be available to the public for quite a while.. Todd plans in possibly taking it on the road to film festivals, etc..
Send #7 when its printed. Put-from publisher on the envelope. I'll see what I can come up w/for #8.
GG Allin
206145
Tell those simp [?] people to fuck themselves. Real R+R is suppose to leave a bad taste and a dagger in your fucking gut...
I couldn't agree more with Allin on what real rock 'n' roll should do. If he could see what was being presented as rebellion these days he would go on the attack instantly. If anything, the present music scene is even more watered down and has very little to offer someone looking for something truly thought provoking.
Doug,
Can't think of any bands to recommend for the comp.. Most of the bands I know have already done versions of my material.. I want bands that nobody has heard of or at least very unpopular bands. I want it to be fucking brutal noisy and hate filled mutilation of the senses.. If you run the ad in MRR, you should run it more than once.
Hated is due for its premier showing in Jan in NYC..
It will not be available to the public for quite a while.. Todd plans in possibly taking it on the road to film festivals, etc..
Send #7 when its printed. Put-from publisher on the envelope. I'll see what I can come up w/for #8.
GG Allin
206145
Tell those simp [?] people to fuck themselves. Real R+R is suppose to leave a bad taste and a dagger in your fucking gut...
I couldn't agree more with Allin on what real rock 'n' roll should do. If he could see what was being presented as rebellion these days he would go on the attack instantly. If anything, the present music scene is even more watered down and has very little to offer someone looking for something truly thought provoking.
Saturday, February 12, 2011
I Was a Murder Junkie: Waking Up With GG Allin
I like to fall asleep listening to music. I put the Bose on low, set the sleep timer and then try to drift off. The other day I was listening to the CD that came with the book I Was a Murder Junkie: The Last Days of GG Allin. It had been a long time since I had listened to it. I had forgotten what it had.
The first song is an acoustic ode to the love of the weed Humboldt is famous for. That is when I started to fall asleep. A short while later I was awakened in a state of terror, reaching for my knife ...
If you've never heard the CD, it's a few acoustic songs and some interviews with Allin, the Murder Junkies and the author of the book. Well, not interviews by the normal definition of the word, but radio appearances and whatnot. If you've never heard Allin speak, imagine a voice turned gravel by years of hard living, alcohol and guttural screams for the audiences throughout the country.
What I woke up to was the radio show appearance where Allin and crew were being their charming best ... just inches from my ear. Yeah, I freaked. My hand went right under my bed and pulled out my knife, which I got from a since-deceased biker whom I'm sure put it in at least one person. The blade is long enough that if I stuck it in your neck it would come out the other side with plenty of metal to spare. It is intimidating, which is what I wanted because I was convinced psychopaths had made their way into my room.
The moral of this story is: Don't listen to GG Allin talk while you are trying to sleep. You'll wake up paranoid and ready for violence ... which is just how he would have wanted it.
The first song is an acoustic ode to the love of the weed Humboldt is famous for. That is when I started to fall asleep. A short while later I was awakened in a state of terror, reaching for my knife ...
If you've never heard the CD, it's a few acoustic songs and some interviews with Allin, the Murder Junkies and the author of the book. Well, not interviews by the normal definition of the word, but radio appearances and whatnot. If you've never heard Allin speak, imagine a voice turned gravel by years of hard living, alcohol and guttural screams for the audiences throughout the country.
What I woke up to was the radio show appearance where Allin and crew were being their charming best ... just inches from my ear. Yeah, I freaked. My hand went right under my bed and pulled out my knife, which I got from a since-deceased biker whom I'm sure put it in at least one person. The blade is long enough that if I stuck it in your neck it would come out the other side with plenty of metal to spare. It is intimidating, which is what I wanted because I was convinced psychopaths had made their way into my room.
The moral of this story is: Don't listen to GG Allin talk while you are trying to sleep. You'll wake up paranoid and ready for violence ... which is just how he would have wanted it.
Saturday, February 5, 2011
Orgy of One
While waiting to see when/if some friends would ever arrive (and I would be lucky if it were an "if"), I popped in a tape I hadn't listened to in a long time. Ogry of One's ... From Outer Space. There's a good chance that most of you reading this have never heard of this one-man band named after a Meatmen song. If you're a Misfits fan, though, you should be familiar or make yourself that way.
The product of Doug Evil (who is now a great photographer out of Pittsburgh and did the logo for my old band JFK's Head -- yes, he's also an excellent artist), Orgy of One came about due to his fascination with the Misfits. I had received a tape to review, and we quickly started writing.
... From Outerspace is a cassette-only release. Four songs. All of them Misfits cover tunes. "London Dungeon," "Bullet," "Last Caress," and "Mommy ... Can I Go Out and Kill Tonight?" All of those are classic Misfits, and this one-man band does them proud. Released on Pernicious Misanthrope Records (year unknown), Evil gave away the tapes for the price of postage, unable to sell them for the obvious reasons. (He once asked me if I thought he would get in trouble. I knew Mo and Doyle of the Misfits and told him I thought they'd enjoy hearing it and gave him info on how to contact them.)
Listening to this tape brought back some memories. Good memories. I remembered some of my contacts with Evil, too. He was a good guy, and it looks like he's gone on to some great things. I wonder if he ever pops this tape in and relives some old times? Probably not. I rarely go back and read the things I wrote from so long ago. Either way, I'm glad I still own the tape, and it definitely isn't going up for sale.
The product of Doug Evil (who is now a great photographer out of Pittsburgh and did the logo for my old band JFK's Head -- yes, he's also an excellent artist), Orgy of One came about due to his fascination with the Misfits. I had received a tape to review, and we quickly started writing.
... From Outerspace is a cassette-only release. Four songs. All of them Misfits cover tunes. "London Dungeon," "Bullet," "Last Caress," and "Mommy ... Can I Go Out and Kill Tonight?" All of those are classic Misfits, and this one-man band does them proud. Released on Pernicious Misanthrope Records (year unknown), Evil gave away the tapes for the price of postage, unable to sell them for the obvious reasons. (He once asked me if I thought he would get in trouble. I knew Mo and Doyle of the Misfits and told him I thought they'd enjoy hearing it and gave him info on how to contact them.)
Listening to this tape brought back some memories. Good memories. I remembered some of my contacts with Evil, too. He was a good guy, and it looks like he's gone on to some great things. I wonder if he ever pops this tape in and relives some old times? Probably not. I rarely go back and read the things I wrote from so long ago. Either way, I'm glad I still own the tape, and it definitely isn't going up for sale.
Labels:
Doug Evil,
Doyle,
Misfits,
Orgy of One
Friday, February 4, 2011
Letters from GG Allin 3
This letter came on a standard piece of notebook paper. GG didn't seem to care too much about keeping on the lines. I don't know what set him off this time, but here is what he wrote.
Doug,
No you didn't piss me off, and it's no fucking rock star trip ... Come on motherfucker you ought to know me a bit better than that. I've been busy with the book, the tour, the LP, the film, but I'm down to my final days of this prison time so I just keep getting more and more fucking busy planning the Terror in America tour w/ the Murder Junkies and everything else. I'm walking out into a fucking whirlwind of fire. But I'm ready ... More than ready. Call me at Merle's [I'm not reprinting the number here] after April 1st ... I'll fill you in on what's going down ...
GG Allin
206045
Doug,
No you didn't piss me off, and it's no fucking rock star trip ... Come on motherfucker you ought to know me a bit better than that. I've been busy with the book, the tour, the LP, the film, but I'm down to my final days of this prison time so I just keep getting more and more fucking busy planning the Terror in America tour w/ the Murder Junkies and everything else. I'm walking out into a fucking whirlwind of fire. But I'm ready ... More than ready. Call me at Merle's [I'm not reprinting the number here] after April 1st ... I'll fill you in on what's going down ...
GG Allin
206045
Friday, January 28, 2011
Soundtrack to Destruction
It's amazing how hearing one song brings back a flood of memories ...
I had just turned 18. There were three of us. I was in the passenger seat. One friend in the back seat, one friend driving. The needle was buried. The country road was a blur. The cop was gaining on us.
At the rate we were going, we'd soon be dead. That was a certainty. I told the driver to forget it. Pull over. Stop.
The idea was to slow down, pull off to the shoulder and stop. The lights from the cruiser behind us were filling the car with that sick red and blue. We were beat. We knew it. Slow down. Stop.
It didn't quite work that way, though.
The brakes were tapped. Maybe. Maybe they were slammed on. It didn't matter. They locked. We skidded back and forth on the road, the tires screaming as they tore across the asphalt. I don't know at what point we went onto the roof. All I knew was that I heard the crunch of metal and heard glass shatter and then there was a boulder the front of the car slammed into and for some reason weeds were growing down from where the sky used to be.
That's when I realized we were like a turtle on its back in the desert.
When all was said and done, we stood outside the car, waiting to be loaded into the police car. A fire crew was busy spraying water onto the car. You could smell burning rubber and gasoline, though there was no fire.
And under the sound of that fire hose? The Exploited's Live at the Whitehouse. It had been playing throughout the chase, and it keep playing when we were sliding (later we found out it was 96 feet), on the roof. And now, with the car being saturated lest it catch on fire, it was still going strong.
If you ever have heard The Exploited, it makes perfect sense for it to be a soundtrack to a police chase. Don't forget the chaos, indeed.
I had just turned 18. There were three of us. I was in the passenger seat. One friend in the back seat, one friend driving. The needle was buried. The country road was a blur. The cop was gaining on us.
At the rate we were going, we'd soon be dead. That was a certainty. I told the driver to forget it. Pull over. Stop.
The idea was to slow down, pull off to the shoulder and stop. The lights from the cruiser behind us were filling the car with that sick red and blue. We were beat. We knew it. Slow down. Stop.
It didn't quite work that way, though.
The brakes were tapped. Maybe. Maybe they were slammed on. It didn't matter. They locked. We skidded back and forth on the road, the tires screaming as they tore across the asphalt. I don't know at what point we went onto the roof. All I knew was that I heard the crunch of metal and heard glass shatter and then there was a boulder the front of the car slammed into and for some reason weeds were growing down from where the sky used to be.
That's when I realized we were like a turtle on its back in the desert.
When all was said and done, we stood outside the car, waiting to be loaded into the police car. A fire crew was busy spraying water onto the car. You could smell burning rubber and gasoline, though there was no fire.
And under the sound of that fire hose? The Exploited's Live at the Whitehouse. It had been playing throughout the chase, and it keep playing when we were sliding (later we found out it was 96 feet), on the roof. And now, with the car being saturated lest it catch on fire, it was still going strong.
If you ever have heard The Exploited, it makes perfect sense for it to be a soundtrack to a police chase. Don't forget the chaos, indeed.
Monday, January 10, 2011
One Too Many Lousy Records
Back in the days of the Dead Kennedys, singer Jello Biafra warbled that the sales slump that had hit the music industry was due to "one too many lousy records." He was right on. The music industry, which continues that downward spiral into extinction, blames illegal downloading, the Internet, and terrorism (I made that last one up, but you can blame terrorism for everything these days and get away with it). The one thing the music industry doesn't blame, however, is "one too many lousy records."
Pirates have done their share of damage to artists and the record industry. While I will shed no tears if the major labels go under, I do feel for the artists (even the ones I don't like) for their income loss. Nobody wants to work for free, including the people who think they are entitled to free music simply because they have an Internet connection.
One can't ignore that there are "one too many lousy records" out there, though. The music industry would never agree with that. After all, if spokespeople came out and said that the product sucks, they can't really blame anyone other than themselves, and then everyone gets to question the industry's business model even more than they do now. The truth of the matter is, however, that I've heard quite a bit of what the industry passes off as "good music" (it comes with the territory), and it is cookie-cutter garbage that would have never gotten a major label deal in healthier times. Pop music has always sucked, but these days it isn't even trying to be good. In fact, it seems very happy sounding like everything that has come before it ... and that cuts across genres.
Consistently putting out garbage will eventually cause your sales to fall, and now that online sales have declined (gasp!), the record industry is once again scrambling to place the blame anywhere other than itself. But, really, how can the music industry blame the consumer when it produces acts like Rhianna and Justin Bieber (hot on the newly forged Social 50 chart), which sound just like everything that has come before them? Katy Perry is fresh and exciting in what decade? And if you go toward the bottom of the charts it's even worse. Of course, there are anomalies, but those are anomalies. What the industry presents as its brightest are nothing more than rehashes and clones delivered as The Next Big Thing and Cutting Edge. Yawn. Taylor Swift a genius? No. Eminem was the biggest-selling artist of 2010. While I have no problems with him other than the fact that his music doesn't move me (I do appreciate the artistry involved), he's not exactly new, and he hasn't been on the cusp of cutting edge in years.
The music industry is stale, well past its primes. Even its mainstays like U2 are showing their age. And as for what it brands as rebellion these days ... wow. Parents of teenagers everywhere have nothing to worry about.
So here's a toast to lousy records and declining sales. Let the entertainers go back to their jobs at the Gap, and let the true artists sign to smaller labels or even go the DIY route. Let the industry sputter and cough, and I'll help pull out the IV. Let it die in its own piss-soaked bed of greed and contempt for an audience it never fully understood. Or maybe it understood it all too well, and that is why it is in this situation in the first place. When you act the thief, you attract the thieves, and when you release shit eventually people smell it.
Let's hope next year's sales are just as dismal.
Pirates have done their share of damage to artists and the record industry. While I will shed no tears if the major labels go under, I do feel for the artists (even the ones I don't like) for their income loss. Nobody wants to work for free, including the people who think they are entitled to free music simply because they have an Internet connection.
One can't ignore that there are "one too many lousy records" out there, though. The music industry would never agree with that. After all, if spokespeople came out and said that the product sucks, they can't really blame anyone other than themselves, and then everyone gets to question the industry's business model even more than they do now. The truth of the matter is, however, that I've heard quite a bit of what the industry passes off as "good music" (it comes with the territory), and it is cookie-cutter garbage that would have never gotten a major label deal in healthier times. Pop music has always sucked, but these days it isn't even trying to be good. In fact, it seems very happy sounding like everything that has come before it ... and that cuts across genres.
Consistently putting out garbage will eventually cause your sales to fall, and now that online sales have declined (gasp!), the record industry is once again scrambling to place the blame anywhere other than itself. But, really, how can the music industry blame the consumer when it produces acts like Rhianna and Justin Bieber (hot on the newly forged Social 50 chart), which sound just like everything that has come before them? Katy Perry is fresh and exciting in what decade? And if you go toward the bottom of the charts it's even worse. Of course, there are anomalies, but those are anomalies. What the industry presents as its brightest are nothing more than rehashes and clones delivered as The Next Big Thing and Cutting Edge. Yawn. Taylor Swift a genius? No. Eminem was the biggest-selling artist of 2010. While I have no problems with him other than the fact that his music doesn't move me (I do appreciate the artistry involved), he's not exactly new, and he hasn't been on the cusp of cutting edge in years.
The music industry is stale, well past its primes. Even its mainstays like U2 are showing their age. And as for what it brands as rebellion these days ... wow. Parents of teenagers everywhere have nothing to worry about.
So here's a toast to lousy records and declining sales. Let the entertainers go back to their jobs at the Gap, and let the true artists sign to smaller labels or even go the DIY route. Let the industry sputter and cough, and I'll help pull out the IV. Let it die in its own piss-soaked bed of greed and contempt for an audience it never fully understood. Or maybe it understood it all too well, and that is why it is in this situation in the first place. When you act the thief, you attract the thieves, and when you release shit eventually people smell it.
Let's hope next year's sales are just as dismal.
Labels:
the record industry
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