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(11/16/06 5:00am)
I hope Keith Urban cracks open a fortune cookie soon and reads the following message: "Give up on your music, and just be happy with your lovely wife." Nicole Kidman could undoubtedly support her husband if he decided to call it quits. My wish won't come true, though, which is a travesty; Love, Pain & the Whole Crazy Thing digs Urban deeper into the hole that is his career. \nUrban seems an unlikely country star. We hear him sport the twang, but in interviews his native Australian accent remains thick. Yet he claims Nashville as his home. Regardless of such confusion, the album's laughable lyrics could serve as inspiration for a South Park ditty. In the generic "Once in a Lifetime," Urban sings "It's a long shot baby/Yeah I know it's true/But if anyone can make it/I'm bettin' on me and you." \nThe rest of the album doesn't shy away from romance, either. Even though "Won't Let You Down" begins with a solid first verse, Urban couldn't resist throwing in cheesy love lines in the chorus. He's a love lyric-aholic. Where did he go wrong? His early career promised so much. He was an award-winning country musician whose guitar skills placed him head and shoulders above his peers. Since an initial burst onto the scene, however, Urban's cookie cutter albums achieve mediocrity at best. \nLove, Pain & the Whole Crazy Thing serves as a fitting counterpart for Urban's aptly named fan club, Monkeyville. There's plenty of square-dancin', toe-tappin', boot-slidin' and hay-rollin' goin' around for everyone, folks. \nThe only number that doesn't induce a yawn, "Raise the Barn," tips a hat to the people of New Orleans for their strength after the disaster of Hurricane Katrina. Now there's a topic to sing about, Keith. If only he could broaden his song-writing capabilities.
(11/16/06 5:00am)
Throughout an epic career, people have labeled The Rolling Stones "The World's Greatest Rock and Roll Band" or to a lesser extent "England's Greatest Rock and Roll Band." Indeed, Mick and the boys have proven themselves time and again by outlasting their peers for the last four decades. And they don't show any signs of weakness from indulging in the rock 'n' roll lifestyle. \nI am not here to argue for or against The Stones' heavyweight status. I am here to try to answer the question that leaves us restless at night: Who is America's greatest rock 'n' roll band? If England and all of planet Earth can praise a band like The Stones, why can't we? After all, America gave birth to rock 'n' roll! I don't know about you folks, but I am sick and tired of being the underdog. \nSo why have The Stones never been challenged, you ask? The answer lies in the fact that very few American bands have risen to such juggernaut stardom. When I say other English bands, I refer to The Beatles, Led Zeppelin and The Who. They're the only viable competitors who have protested The Stones' claim to the throne. But alas, The Stones have weathered the test of time. And now it's time to discuss key players in America's rich rock 'n' roll history to send to this international cage match. \nIn order to keep this selection process sane, I will maintain a list of criteria. For instance, the title in question is "America's Greatest Rock and Roll Band," not artist. If individual artists were allowed to compete to become "The World's Greatest Rock and Roll Band," The Rolling Stones would be lucky to finish in the Top 10. In that scenario, someone like Ray Charles or Eric Clapton might take the cake, or maybe Meatloaf. So having established that rule, I must throw a whole gaggle of choices out the window: Elvis, Bob Dylan, Jimi Hendrix, Paul Simon, Bruce Springsteen, Billy Joel, John Mellencamp (sorry Hoosiers) and Prince. The concept of a band dictates that all members or at least most members contribute to the music. This camaraderie influences a band's performance and image, defining it as a democracy. At the end of a concert, fans want to see Mick Jagger, Keith Richards, Ron Wood and Charlie Watts take a final bow. Fans don't care to see Mick pull a T.O. and pretend to fall asleep on the microphone after performing "Brown Sugar" while the rest of his bandmates awkwardly watch with embarrassment. You get the point.\nLet's move on to the next precedent. In the music industry today, staying power is rare. A great rock 'n' roll band despises the immediate gratification of a "one-hit wonder." On the contrary, it rises to fame through years of grueling life on the road and endless hours negotiating with managers and record execs. An impressive catalogue of music is a must to attain the coveted title of "America's Greatest Rock and Roll Band." Additionally, the music itself must be written using a delicate combination of style, art, attitude and sound. Therefore, let me cast away the next round of applicants: Kiss, Van Halen, The Beach Boys and The Eagles. Sure, this eclectic group of bands produced some good tunes, but they basically wrote about one topic. Kiss and Van Halen love the groupies; The Beach Boys love the waves and the girls; and The Eagles, well, I think The Dude speaks for all of us: "I fucking hate The Eagles, man." \nNow I would like to dispense of a few bands which, however well-loved they might be, are too marginal to be embraced by America as a whole. The Band is too folkie; The Grateful Dead is too jammy; and Fleetwood Mac is too married or involved with each other. \nFinally, I have narrowed the list of nominees to nine. These bands can rock your socks off during one song, and they can turn around and compel you to hold a lighter to the air during another. In no particular order, we have Tom Petty and the Heartbreakers, Lynyrd Skynyrd, Aerosmith, Talking Heads, R.E.M., Nirvana, The Doors, Guns N' Roses and Pearl Jam. \nImmediately, however, I must eliminate Nirvana, Guns N' Roses and Pearl Jam. Yes, all three bridged the gap between old and new generations of rock, but for a band to carry the torch for America, our parents and elders must accept and support its music. \nTo keep this argument rolling, let's get rid of Lynyrd Skynyrd because Confederate flags still fly at their concerts, and frankly, it's the 21st century, not 1865. The Doors were probably the first true great American rock 'n' roll band, but let's be honest, Jim Morrison was a nut job. He mesmerized audiences, but he couldn't charm them with wit like Mick Jagger. Aerosmith's tendency to sell out weakens its chances. And although R.E.M. continues to release reliable albums today, they spent the better part of a decade trying to gain that mass following. \nAnd then there were two. Tom Petty and the Heartbreakers vs. Talking Heads. Although Tom Petty is an easy favorite, I'm going to go with the upset and choose Talking Heads. It's not so much what Tom Petty and his gang don't offer; it's what David Byrne and his gang bring to the table. Talking Heads proved to be a dynamic quartet, constantly rethinking the way they made music. They stitched together forms of punk, funk, blues and even world to create a diverse rock tapestry. Ever--important in America, as a symbol of independence, Byrne took over as producer after Brian Eno left in 1983 and demonstrated creativity and integrity. Furthermore, Talking Heads' depth is rarely acknowledged. Eight albums in 11 years plus breakthrough concert performances (see Stop Making Sense) made for a very innovative band. \nWell there ya have it, folks. Bring on The Stones. Who will prevail? It's gonna be a barnburner. In the end, I believe "Psycho Killer" will triumph over "Street Fighting Man"
(11/16/06 4:30am)
Throughout an epic career, people have labeled The Rolling Stones "The World's Greatest Rock and Roll Band" or to a lesser extent "England's Greatest Rock and Roll Band." Indeed, Mick and the boys have proven themselves time and again by outlasting their peers for the last four decades. And they don't show any signs of weakness from indulging in the rock 'n' roll lifestyle. \nI am not here to argue for or against The Stones' heavyweight status. I am here to try to answer the question that leaves us restless at night: Who is America's greatest rock 'n' roll band? If England and all of planet Earth can praise a band like The Stones, why can't we? After all, America gave birth to rock 'n' roll! I don't know about you folks, but I am sick and tired of being the underdog. \nSo why have The Stones never been challenged, you ask? The answer lies in the fact that very few American bands have risen to such juggernaut stardom. When I say other English bands, I refer to The Beatles, Led Zeppelin and The Who. They're the only viable competitors who have protested The Stones' claim to the throne. But alas, The Stones have weathered the test of time. And now it's time to discuss key players in America's rich rock 'n' roll history to send to this international cage match. \nIn order to keep this selection process sane, I will maintain a list of criteria. For instance, the title in question is "America's Greatest Rock and Roll Band," not artist. If individual artists were allowed to compete to become "The World's Greatest Rock and Roll Band," The Rolling Stones would be lucky to finish in the Top 10. In that scenario, someone like Ray Charles or Eric Clapton might take the cake, or maybe Meatloaf. So having established that rule, I must throw a whole gaggle of choices out the window: Elvis, Bob Dylan, Jimi Hendrix, Paul Simon, Bruce Springsteen, Billy Joel, John Mellencamp (sorry Hoosiers) and Prince. The concept of a band dictates that all members or at least most members contribute to the music. This camaraderie influences a band's performance and image, defining it as a democracy. At the end of a concert, fans want to see Mick Jagger, Keith Richards, Ron Wood and Charlie Watts take a final bow. Fans don't care to see Mick pull a T.O. and pretend to fall asleep on the microphone after performing "Brown Sugar" while the rest of his bandmates awkwardly watch with embarrassment. You get the point.\nLet's move on to the next precedent. In the music industry today, staying power is rare. A great rock 'n' roll band despises the immediate gratification of a "one-hit wonder." On the contrary, it rises to fame through years of grueling life on the road and endless hours negotiating with managers and record execs. An impressive catalogue of music is a must to attain the coveted title of "America's Greatest Rock and Roll Band." Additionally, the music itself must be written using a delicate combination of style, art, attitude and sound. Therefore, let me cast away the next round of applicants: Kiss, Van Halen, The Beach Boys and The Eagles. Sure, this eclectic group of bands produced some good tunes, but they basically wrote about one topic. Kiss and Van Halen love the groupies; The Beach Boys love the waves and the girls; and The Eagles, well, I think The Dude speaks for all of us: "I fucking hate The Eagles, man." \nNow I would like to dispense of a few bands which, however well-loved they might be, are too marginal to be embraced by America as a whole. The Band is too folkie; The Grateful Dead is too jammy; and Fleetwood Mac is too married or involved with each other. \nFinally, I have narrowed the list of nominees to nine. These bands can rock your socks off during one song, and they can turn around and compel you to hold a lighter to the air during another. In no particular order, we have Tom Petty and the Heartbreakers, Lynyrd Skynyrd, Aerosmith, Talking Heads, R.E.M., Nirvana, The Doors, Guns N' Roses and Pearl Jam. \nImmediately, however, I must eliminate Nirvana, Guns N' Roses and Pearl Jam. Yes, all three bridged the gap between old and new generations of rock, but for a band to carry the torch for America, our parents and elders must accept and support its music. \nTo keep this argument rolling, let's get rid of Lynyrd Skynyrd because Confederate flags still fly at their concerts, and frankly, it's the 21st century, not 1865. The Doors were probably the first true great American rock 'n' roll band, but let's be honest, Jim Morrison was a nut job. He mesmerized audiences, but he couldn't charm them with wit like Mick Jagger. Aerosmith's tendency to sell out weakens its chances. And although R.E.M. continues to release reliable albums today, they spent the better part of a decade trying to gain that mass following. \nAnd then there were two. Tom Petty and the Heartbreakers vs. Talking Heads. Although Tom Petty is an easy favorite, I'm going to go with the upset and choose Talking Heads. It's not so much what Tom Petty and his gang don't offer; it's what David Byrne and his gang bring to the table. Talking Heads proved to be a dynamic quartet, constantly rethinking the way they made music. They stitched together forms of punk, funk, blues and even world to create a diverse rock tapestry. Ever--important in America, as a symbol of independence, Byrne took over as producer after Brian Eno left in 1983 and demonstrated creativity and integrity. Furthermore, Talking Heads' depth is rarely acknowledged. Eight albums in 11 years plus breakthrough concert performances (see Stop Making Sense) made for a very innovative band. \nWell there ya have it, folks. Bring on The Stones. Who will prevail? It's gonna be a barnburner. In the end, I believe "Psycho Killer" will triumph over "Street Fighting Man"
(11/16/06 4:21am)
I hope Keith Urban cracks open a fortune cookie soon and reads the following message: "Give up on your music, and just be happy with your lovely wife." Nicole Kidman could undoubtedly support her husband if he decided to call it quits. My wish won't come true, though, which is a travesty; Love, Pain & the Whole Crazy Thing digs Urban deeper into the hole that is his career. \nUrban seems an unlikely country star. We hear him sport the twang, but in interviews his native Australian accent remains thick. Yet he claims Nashville as his home. Regardless of such confusion, the album's laughable lyrics could serve as inspiration for a South Park ditty. In the generic "Once in a Lifetime," Urban sings "It's a long shot baby/Yeah I know it's true/But if anyone can make it/I'm bettin' on me and you." \nThe rest of the album doesn't shy away from romance, either. Even though "Won't Let You Down" begins with a solid first verse, Urban couldn't resist throwing in cheesy love lines in the chorus. He's a love lyric-aholic. Where did he go wrong? His early career promised so much. He was an award-winning country musician whose guitar skills placed him head and shoulders above his peers. Since an initial burst onto the scene, however, Urban's cookie cutter albums achieve mediocrity at best. \nLove, Pain & the Whole Crazy Thing serves as a fitting counterpart for Urban's aptly named fan club, Monkeyville. There's plenty of square-dancin', toe-tappin', boot-slidin' and hay-rollin' goin' around for everyone, folks. \nThe only number that doesn't induce a yawn, "Raise the Barn," tips a hat to the people of New Orleans for their strength after the disaster of Hurricane Katrina. Now there's a topic to sing about, Keith. If only he could broaden his song-writing capabilities.
(05/25/06 4:00am)
What do you get when you mix a rock fundamentalist with a one-man band? A gigantic creative force with some hefty musical output sounds about right. So goes the story of Jack White of the White Stripes and Brendan Benson, a native of Detroit and longtime friend of White. Joining them are bassist Jack Lawrence and drummer Patrick Keeler of the Greenhornes, an established alt-rock band from Cincinnati. \nThe Raconteurs materialized in the summer of 2005 and gained experience playing together when the Greenhornes opened for the White Stripes on the North American leg of their tour last year. Even though songs from their debut album Broken Boy Soldiers leaked onto the Internet more than a month before its official release date, the Raconteurs have surged ahead with confidence and are about to embark on a tour covering dates in North America and Europe. \nSoldiers strikes a nice balance between acoustic and electric tracks. The quirky psychedelic riff on "Level" sounds like White and Benson are playing their guitars underwater. That, teamed with a vintage 1960's fuzz guitar sound, makes it one of the standout tracks on the album. Another critical component in this song and other heavier numbers is the Vox organ, which has been revived after bands like Deep Purple popularized it in the 1970s. \nAs the album cover \nsuggests, these four occasionally play like a bunch of bruised-knuckled bar mongers on some rousing tracks. The band's broiling attitude bursts through especially on "Store Bought Bones," a raucous number that matches perfectly with a pub brawl. It displays White's classic frenzied guitar work and includes a frantic jam section towards the end with all instruments indulging in a few solo measures. \n "Blue Veins" presents an interesting midsection as well as some masterful studio engineering. One of the verses, sung by White, is looped backwards and creates an eerie effect that fits well with the bitterly lamenting lyrics. Hollow guitar sounds and a shuffling drum beat on the title track resemble a White Stripes tune, and references to boyish mischief and petty guilt in the lyrics assist in making it an easy favorite on the album. \n"Together" drags a bit and diminishes the overall flow of the album with its flat changes and repetitive lyrics, but it otherwise serves as one of only two disruptive tracks, along with "Call it a Day," that weakens Broken Boy Soldiers.\nTo a certain extent, the other three members tame White's rock savagery that has been familiar on White Stripes albums. Throughout he steps down as frontman and lets Benson take the mic. Interestingly enough the two seemingly polar opposite musical personalities form a becoming combination. Benson's warm low voice compliments White's high-pitched yowl on most tracks, and the two often create harmonies as well. \nWhile the album may lack an overall flow from track to track, there's a strong effort on many songs. An odd mixture of four-part Beatle-esque harmony and a blasé lyrical delivery on "Call it a Day" sounds a little conflicted. But the talent's right there, and the future looks promising for the Raconteurs if and when they collaborate on a second release.
(05/25/06 12:42am)
What do you get when you mix a rock fundamentalist with a one-man band? A gigantic creative force with some hefty musical output sounds about right. So goes the story of Jack White of the White Stripes and Brendan Benson, a native of Detroit and longtime friend of White. Joining them are bassist Jack Lawrence and drummer Patrick Keeler of the Greenhornes, an established alt-rock band from Cincinnati. \nThe Raconteurs materialized in the summer of 2005 and gained experience playing together when the Greenhornes opened for the White Stripes on the North American leg of their tour last year. Even though songs from their debut album Broken Boy Soldiers leaked onto the Internet more than a month before its official release date, the Raconteurs have surged ahead with confidence and are about to embark on a tour covering dates in North America and Europe. \nSoldiers strikes a nice balance between acoustic and electric tracks. The quirky psychedelic riff on "Level" sounds like White and Benson are playing their guitars underwater. That, teamed with a vintage 1960's fuzz guitar sound, makes it one of the standout tracks on the album. Another critical component in this song and other heavier numbers is the Vox organ, which has been revived after bands like Deep Purple popularized it in the 1970s. \nAs the album cover \nsuggests, these four occasionally play like a bunch of bruised-knuckled bar mongers on some rousing tracks. The band's broiling attitude bursts through especially on "Store Bought Bones," a raucous number that matches perfectly with a pub brawl. It displays White's classic frenzied guitar work and includes a frantic jam section towards the end with all instruments indulging in a few solo measures. \n "Blue Veins" presents an interesting midsection as well as some masterful studio engineering. One of the verses, sung by White, is looped backwards and creates an eerie effect that fits well with the bitterly lamenting lyrics. Hollow guitar sounds and a shuffling drum beat on the title track resemble a White Stripes tune, and references to boyish mischief and petty guilt in the lyrics assist in making it an easy favorite on the album. \n"Together" drags a bit and diminishes the overall flow of the album with its flat changes and repetitive lyrics, but it otherwise serves as one of only two disruptive tracks, along with "Call it a Day," that weakens Broken Boy Soldiers.\nTo a certain extent, the other three members tame White's rock savagery that has been familiar on White Stripes albums. Throughout he steps down as frontman and lets Benson take the mic. Interestingly enough the two seemingly polar opposite musical personalities form a becoming combination. Benson's warm low voice compliments White's high-pitched yowl on most tracks, and the two often create harmonies as well. \nWhile the album may lack an overall flow from track to track, there's a strong effort on many songs. An odd mixture of four-part Beatle-esque harmony and a blasé lyrical delivery on "Call it a Day" sounds a little conflicted. But the talent's right there, and the future looks promising for the Raconteurs if and when they collaborate on a second release.
(03/02/06 5:00am)
Although '80s hair metal had been in decline for a couple years in Los Angeles, the Red Hot Chili Peppers were ripe and ready to be harvested by the early 1990s. Cooped up in a Laurel Canyon mansion for two months, the four band members and producer Rick Rubin recorded an upbeat album that exploded on the streets of Hollywood Hills in September 1991. \nWhereas later albums like Californication and By The Way represent the melodic phase of the band, Blood Sugar Sex Magik is commonly known as the last release dominated by funk. On one hand, lead singer Anthony Kiedis' domineering lyrical delivery coincided with Chad Smith's crisp swank drumming. On the other, John Frusciante incorporated a piercing guitar sound with swirling chorus effects to match Flea's (Michael Balzary) signature frenzied finger-slapping bass.\nBlood Sugar Sex Magik served as the Chili Peppers' stepping stone, linking hardcore underground funk roots with sweeping commercial success. Careful not to dilute quality with quantity, the Chili Peppers discovered a perfect blend of raw energy and sophistication and spread it across 17 tracks.\nWhile hits like "Breaking the Girl" and "Under the Bridge" can't be ignored for their lyrical presence (written about Kiedis' numerous women and heroine addiction, respectively), they cordially contrast from the album's musical styles. \nAfter Frusciante's scorching solo on "If You Have to Ask," others in the studio can be heard clapping for the last 20 seconds when the oft-bemused guitarist finally masters his own riff. One of the underdogs of the album, the title track, contains arguably the heaviest groove the band has ever created. Another notable gem, "Sir Psycho Sexy," deviates from the typical four minute length. With Kiedis muttering, "I think I'll go to sleep for a while," the other three members launch into a glossy chord sequence and jam for the final third of the song. \nThis daunting fifth album from the quirky quartet proved to be a watershed in not only the band's career but also modern rock, influencing later acts like 311 and Limp Bizkit. The Red Hot Chili Peppers are due to release their ninth studio album in May 2006. Hopefully the funk scale will be turned up at least as half as much as it was on Blood Sugar Sex Magik.
(03/01/06 11:53pm)
Although '80s hair metal had been in decline for a couple years in Los Angeles, the Red Hot Chili Peppers were ripe and ready to be harvested by the early 1990s. Cooped up in a Laurel Canyon mansion for two months, the four band members and producer Rick Rubin recorded an upbeat album that exploded on the streets of Hollywood Hills in September 1991. \nWhereas later albums like Californication and By The Way represent the melodic phase of the band, Blood Sugar Sex Magik is commonly known as the last release dominated by funk. On one hand, lead singer Anthony Kiedis' domineering lyrical delivery coincided with Chad Smith's crisp swank drumming. On the other, John Frusciante incorporated a piercing guitar sound with swirling chorus effects to match Flea's (Michael Balzary) signature frenzied finger-slapping bass.\nBlood Sugar Sex Magik served as the Chili Peppers' stepping stone, linking hardcore underground funk roots with sweeping commercial success. Careful not to dilute quality with quantity, the Chili Peppers discovered a perfect blend of raw energy and sophistication and spread it across 17 tracks.\nWhile hits like "Breaking the Girl" and "Under the Bridge" can't be ignored for their lyrical presence (written about Kiedis' numerous women and heroine addiction, respectively), they cordially contrast from the album's musical styles. \nAfter Frusciante's scorching solo on "If You Have to Ask," others in the studio can be heard clapping for the last 20 seconds when the oft-bemused guitarist finally masters his own riff. One of the underdogs of the album, the title track, contains arguably the heaviest groove the band has ever created. Another notable gem, "Sir Psycho Sexy," deviates from the typical four minute length. With Kiedis muttering, "I think I'll go to sleep for a while," the other three members launch into a glossy chord sequence and jam for the final third of the song. \nThis daunting fifth album from the quirky quartet proved to be a watershed in not only the band's career but also modern rock, influencing later acts like 311 and Limp Bizkit. The Red Hot Chili Peppers are due to release their ninth studio album in May 2006. Hopefully the funk scale will be turned up at least as half as much as it was on Blood Sugar Sex Magik.
(12/08/05 5:00am)
As if the pressures of the dreaded sophomore release weren't intimidating enough, The Darkness have had a lot on their plate since the stunning Permission to Land debuted in 2003. Lead singer Justin Hawkins has made a name for himself by spending much of 2004 in a drug rehab clinic, and in October he called Coldplay frontman Chris Martin a "diva." After leaving the band, citing musical differences, bassist Frankie Poulain was replaced by guitar technician Richie Edwards. \nExternally, the band has repelled death threat letters and an incident where their new album was put up for auction on eBay two weeks before its official release date. \nIt's no joke when critics liken The Darkness to Queen, a comparison that makes even more sense after listening to One Way Ticket. Calling upon the services of Freddie Mercury and Co.'s former producer Roy Thomas Baker, The Darkness attained an inimitable but familiar sound. "English Country Garden" and "Blind Man" would fit right in with "Bohemian Rhapsody" on A Night at the Opera. All three songs are laden with a rich soaring choir and a heavy ballad piano, both new spices for The Darkness. \nThe typical ingredients are still there, of course. Justin Hawkins' voice continues to shatter glass within a one-mile radius, guitar solos mesmerize and general musical ingenuity abounds. But the band has dug deeper this time around the bend, because the only track that plays along with Permission to Land is "Bald." It has that rock anthem appeal, starting off a little slow, but by the last few measures it has you head-banging like Butthead. \nNew pieces have been added to the puzzle as well. Orchestras, sitars, bagpipes and more prominent piano and acoustic guitars increase the album's depth. \n"One Way Ticket" follows the familiar Darkness recipe in terms of lyrics by telling an anecdote. Here Hawkins replays the night he was taken to the hospital after a cocaine overdose: "Chewing my face off talking absolute rubbish/The first line hit me like a kick in the face." The articulation doesn't seem to be as sharp as most of the tracks on Permission to Land, but it's nonetheless entertaining. \n"Is It Just Me?" and "Seemed Like a Good Idea at the Time" take more than a few rounds in the CD player to sink in. The other eight songs, however, are easily adaptable.\nIt's comforting to see modern bands looking up to classic rock influences, but The Darkness may have followed too closely in Queen's footsteps. Regardless, One Way Ticket to Hell ... and Back represents another seemingly effortless album from an externally comical but internally stern band.
(12/08/05 2:24am)
As if the pressures of the dreaded sophomore release weren't intimidating enough, The Darkness have had a lot on their plate since the stunning Permission to Land debuted in 2003. Lead singer Justin Hawkins has made a name for himself by spending much of 2004 in a drug rehab clinic, and in October he called Coldplay frontman Chris Martin a "diva." After leaving the band, citing musical differences, bassist Frankie Poulain was replaced by guitar technician Richie Edwards. \nExternally, the band has repelled death threat letters and an incident where their new album was put up for auction on eBay two weeks before its official release date. \nIt's no joke when critics liken The Darkness to Queen, a comparison that makes even more sense after listening to One Way Ticket. Calling upon the services of Freddie Mercury and Co.'s former producer Roy Thomas Baker, The Darkness attained an inimitable but familiar sound. "English Country Garden" and "Blind Man" would fit right in with "Bohemian Rhapsody" on A Night at the Opera. All three songs are laden with a rich soaring choir and a heavy ballad piano, both new spices for The Darkness. \nThe typical ingredients are still there, of course. Justin Hawkins' voice continues to shatter glass within a one-mile radius, guitar solos mesmerize and general musical ingenuity abounds. But the band has dug deeper this time around the bend, because the only track that plays along with Permission to Land is "Bald." It has that rock anthem appeal, starting off a little slow, but by the last few measures it has you head-banging like Butthead. \nNew pieces have been added to the puzzle as well. Orchestras, sitars, bagpipes and more prominent piano and acoustic guitars increase the album's depth. \n"One Way Ticket" follows the familiar Darkness recipe in terms of lyrics by telling an anecdote. Here Hawkins replays the night he was taken to the hospital after a cocaine overdose: "Chewing my face off talking absolute rubbish/The first line hit me like a kick in the face." The articulation doesn't seem to be as sharp as most of the tracks on Permission to Land, but it's nonetheless entertaining. \n"Is It Just Me?" and "Seemed Like a Good Idea at the Time" take more than a few rounds in the CD player to sink in. The other eight songs, however, are easily adaptable.\nIt's comforting to see modern bands looking up to classic rock influences, but The Darkness may have followed too closely in Queen's footsteps. Regardless, One Way Ticket to Hell ... and Back represents another seemingly effortless album from an externally comical but internally stern band.
(10/27/05 4:00am)
You may or may not notice how often music is being played when you watch a movie, whether it's a theme song or a pop song. Music is almost as essential to a movie as the plot. It sets the mood in different scenes and, when done well, it can evoke a very emotional reaction. \nSoundtracks have long been a way for moviegoers to take that mesh of music and film outside of the theater and place it into their lives. They help us reminisce a hero saving the day, a team winning a game and a group of friends simply enjoying each other's company. \nThere are basically two different types of soundtracks. For many dramas, directors hire a symphony and conductor to create a theatrical score soundtrack. The man, the myth and the legend in this category is John Williams. I'm sure you've heard some of his work in all six of the "Star Wars" movies, the "Indiana Jones" and "Harry Potter" series, "E.T.", "Jurassic Park" and "Home Alone," just to name a few. Yeah, he's kind of good. Another notable is Danny Elfman, who can be heard in "Spider-Man", "Beetlejuice" and a few of the "Batman" films. I pray those guys are immortal. They're pretty much the Beethoven and Bach of our time. \nMy personal favorite conductor, however, is James Horner. He stole my heart the first time I saw "Braveheart." Those were some serious bagpipes and flute, and after watching it, I wanted to frolic in the hills of Scotland, wielding a four-foot-long sword and donning a kilt. \nIn just about every other movie, you will hear songs performed by pop artists. These soundtracks are usually more recognizable and appeal to the masses. Some of the more famous soundtracks include "Pulp Fiction," "Easy Rider," "Saturday Night Fever" and recently "Garden State," which reached popularity at an exponential rate and put bands like The Shins and Iron & Wine on the music map.\nA bullet point in the pop soundtrack category is the single-artist soundtrack. I believe Simon and Garfunkel were the first to accomplish this feat with the soundtrack from "The Graduate." Others include Tom Petty and the Heartbreakers' "She's the One" and Eric Clapton's "Rush." \nIn my book, tackling such projects can really gain brownie points for artists. It shows that they're willing to step out of their comfort zone and write music according to another person's storyline, thereby adding another level of meaning to a film. I had no idea who the hell Mrs. Robinson was when I first heard the song, but after I watched the movie, it was a complete revelation. I felt like she was my neighbor. \nThen there are artists who choose to have their cake and eat it, too. I'm talking about Prince and "Purple Rain." While his motives for starring in and providing the soundtrack for the film may have been well-intentioned, I don't think the final product reflected that goal. It seems to be more of an unabridged music video than an actual film. \nAlong those same lines, though, I am excited to see how the new Outkast film-soundtrack combo works out. Their upcoming album, Idlewild, is set to accommodate the Depression-era film, to be released in January. The hip-hop duo has gone to greater lengths than Prince to assure that the music and film are legitimately complementary. Outkast grasps the concept behind a soundtrack, and many artists should follow their lead. \nNot all soundtracks prove to be successful, however. Some producers just don't get it. Take for example the blunderous "A Knight's Tale." I seem to remember Queen's "We Will Rock You" blaring on the big screen while Heath Ledger's character jousts with a bad guy. Wow! What a hot move! I'm sure the person in charge of that soundtrack had much more in mind than merely seeking to boost the film's profit margin. \nIf you're going to select songs for a soundtrack, you better know what you're doing. In my opinion, it can often make or break a film. I wish it were an actual profession. "What's your job?" "Oh, nothing much. I just pick the songs for the soundtracks of tons of different movies. Yeah, I sit around all day, watch movies before they're released and I get paid to place songs where I think they're appropriate in each scene." Sign me up! And I know I'm not the only person who thinks about this all day long.
(10/27/05 2:14am)
You may or may not notice how often music is being played when you watch a movie, whether it's a theme song or a pop song. Music is almost as essential to a movie as the plot. It sets the mood in different scenes and, when done well, it can evoke a very emotional reaction. \nSoundtracks have long been a way for moviegoers to take that mesh of music and film outside of the theater and place it into their lives. They help us reminisce a hero saving the day, a team winning a game and a group of friends simply enjoying each other's company. \nThere are basically two different types of soundtracks. For many dramas, directors hire a symphony and conductor to create a theatrical score soundtrack. The man, the myth and the legend in this category is John Williams. I'm sure you've heard some of his work in all six of the "Star Wars" movies, the "Indiana Jones" and "Harry Potter" series, "E.T.", "Jurassic Park" and "Home Alone," just to name a few. Yeah, he's kind of good. Another notable is Danny Elfman, who can be heard in "Spider-Man", "Beetlejuice" and a few of the "Batman" films. I pray those guys are immortal. They're pretty much the Beethoven and Bach of our time. \nMy personal favorite conductor, however, is James Horner. He stole my heart the first time I saw "Braveheart." Those were some serious bagpipes and flute, and after watching it, I wanted to frolic in the hills of Scotland, wielding a four-foot-long sword and donning a kilt. \nIn just about every other movie, you will hear songs performed by pop artists. These soundtracks are usually more recognizable and appeal to the masses. Some of the more famous soundtracks include "Pulp Fiction," "Easy Rider," "Saturday Night Fever" and recently "Garden State," which reached popularity at an exponential rate and put bands like The Shins and Iron & Wine on the music map.\nA bullet point in the pop soundtrack category is the single-artist soundtrack. I believe Simon and Garfunkel were the first to accomplish this feat with the soundtrack from "The Graduate." Others include Tom Petty and the Heartbreakers' "She's the One" and Eric Clapton's "Rush." \nIn my book, tackling such projects can really gain brownie points for artists. It shows that they're willing to step out of their comfort zone and write music according to another person's storyline, thereby adding another level of meaning to a film. I had no idea who the hell Mrs. Robinson was when I first heard the song, but after I watched the movie, it was a complete revelation. I felt like she was my neighbor. \nThen there are artists who choose to have their cake and eat it, too. I'm talking about Prince and "Purple Rain." While his motives for starring in and providing the soundtrack for the film may have been well-intentioned, I don't think the final product reflected that goal. It seems to be more of an unabridged music video than an actual film. \nAlong those same lines, though, I am excited to see how the new Outkast film-soundtrack combo works out. Their upcoming album, Idlewild, is set to accommodate the Depression-era film, to be released in January. The hip-hop duo has gone to greater lengths than Prince to assure that the music and film are legitimately complementary. Outkast grasps the concept behind a soundtrack, and many artists should follow their lead. \nNot all soundtracks prove to be successful, however. Some producers just don't get it. Take for example the blunderous "A Knight's Tale." I seem to remember Queen's "We Will Rock You" blaring on the big screen while Heath Ledger's character jousts with a bad guy. Wow! What a hot move! I'm sure the person in charge of that soundtrack had much more in mind than merely seeking to boost the film's profit margin. \nIf you're going to select songs for a soundtrack, you better know what you're doing. In my opinion, it can often make or break a film. I wish it were an actual profession. "What's your job?" "Oh, nothing much. I just pick the songs for the soundtracks of tons of different movies. Yeah, I sit around all day, watch movies before they're released and I get paid to place songs where I think they're appropriate in each scene." Sign me up! And I know I'm not the only person who thinks about this all day long.
(10/20/05 4:00am)
Face time on MTV seems to be a common goal among many young bands today, whether it's TRL or Hard Rock Live. That's not exactly Nickel Creek's plan. As a trio featuring the mandolin, fiddle and guitar, this band fits in more with CMT and PBS, where they have appeared quite often since their career took off in 2000. \nThe three acoustic instruments are the ingredients for a country-bluegrass recipe, but Nickel Creek insist on maintaining a genre-free identity. \n"We were never really a bluegrass band," said guitarist Sean Watkins. "We branched out a long time ago."\nA long time ago? The members are only in their mid-20s. But considering the fact that they've been playing together since before they were teenagers, it can seem like a long time. \nWatkins was only 10 years old when he began strumming his guitar alongside 8-year-old sister Sara and 8-year-old friend Chris Thile. Sara plucked the fiddle while Thile showed off his talents on the mandolin. The three were child prodigies, and by the early 1990s they began appearing in music festivals throughout their home state of California. \nSean, Sara and Thile continued to play together for the rest of the decade. Eventually they caught the attention of renowned country music artist Alison Krauss, who lent a hand in the studio by producing Nickel Creek's first two albums, released in 2000 and 2002. \nNickel Creek prolonged the "branch out" theme by hiring Eric Valentine and Tony Berg to produce their latest release, Why Should the Fire Die? \n"Alison would have done well with us, but we wanted a new experience," Sean said. "Eric just got what we wanted. Our musical views matched well."\nWhereas many critics have classified the two previous Nickel Creek albums as country-bluegrass, their latest release would fall under more of a progressive folk category. For the first time, the band opted to use drums on one track, an effort which contributed to a dramatic finish at the end of "Helena." And Sara displays her angelic voice in the Bob Dylan cover "Tomorrow is a Long Time."\nNickel Creek seems to be flourishing when it comes to song writing. They supplied the producers with enough material to comprise two full albums. \n"Eric and Tony picked a group of about 30 songs and narrowed it down to 14 tracks," Sean said. "It was challenging but exciting to find a group that really fit where we were as a band."\nLike many young artists, Nickel Creek diversifies their lyric content to keep their fans interested in the music. There is always one common thread that runs through some songs, however.\n"The heartbreak is always a good thing to sing about," Sean said.\nSean, Sara and Thile are currently taking their music on the road. Their fall tour covers 50 different cities and expands into every region of the country, including a stop in Indianapolis on October 23 at the Egyptian Room. Equipped with a new crew, Sean said the band is well-organized.\n"We've toured a lot in the past, but we're having more fun on this tour," Sean said. \nBecause they play at small venues, Sean said the band notices a great reaction from the crowd that makes them play differently from when they're in the studio.\n"On stage our focus is more like 'How can we make this crowd happy?'" Sean said. "If you mess up you can always redeem yourself. We just look for something that will make the song jump out of the speakers."\nAs Nickel Creek matures, they tackle other musical endeavors. Sean and Thile have each produced two and four solo albums, respectively. \n"It definitely helps the band to have outside projects," Sean said. "It fosters new musical ideas that aren't for the Nickel Creek format. It keeps you busy and lets you play with people you can't normally work with."\nNickel Creek has also collaborated with former Toad the Wet Sprocket frontman Glen Phillips to release an album under the name Mutual Admiration Society. Recently, their talents came to the attention of country legend Dolly Parton, who invited them to perform the Dylan classic "Blowin' in the Wind" on her newest album. \n"It's great to get involved with other musicians," Sean said. "We've known Dolly for a while. She is such an unbelievable person with a huge personality."\nIn addition to working with other musicians, Nickel Creek has made appearances on the late night talk shows of Conan O'Brien and Jay Leno. On PBS, they have performed twice for both "Austin City Limits" and "All-Star Bluegrass Celebration." And in 2003, the band made the bill at the modern-day Woodstock known as Bonnaroo Music Festival in Manchester, Tenn. \nWhile the media paints Nickel Creek as a country-bluegrass band, the three members keep listeners guessing after every performance. They have been known to cover songs by artists ranging from 1920s Tin Pan Alley to the Beatles to Radiohead. \nAt this point in their career, Sean, Sara and Chris have maintained a high level of comfort both in the studio and at live shows. The result of such comfort is a cohesive three-piece acoustic band that produces energetic, audacious music. \n"The way we improvise onstage really helps that we've played together for so long," Sean said. "It's really cool to have that history because then we have more of a unified sound"
(10/20/05 3:46am)
Face time on MTV seems to be a common goal among many young bands today, whether it's TRL or Hard Rock Live. That's not exactly Nickel Creek's plan. As a trio featuring the mandolin, fiddle and guitar, this band fits in more with CMT and PBS, where they have appeared quite often since their career took off in 2000. \nThe three acoustic instruments are the ingredients for a country-bluegrass recipe, but Nickel Creek insist on maintaining a genre-free identity. \n"We were never really a bluegrass band," said guitarist Sean Watkins. "We branched out a long time ago."\nA long time ago? The members are only in their mid-20s. But considering the fact that they've been playing together since before they were teenagers, it can seem like a long time. \nWatkins was only 10 years old when he began strumming his guitar alongside 8-year-old sister Sara and 8-year-old friend Chris Thile. Sara plucked the fiddle while Thile showed off his talents on the mandolin. The three were child prodigies, and by the early 1990s they began appearing in music festivals throughout their home state of California. \nSean, Sara and Thile continued to play together for the rest of the decade. Eventually they caught the attention of renowned country music artist Alison Krauss, who lent a hand in the studio by producing Nickel Creek's first two albums, released in 2000 and 2002. \nNickel Creek prolonged the "branch out" theme by hiring Eric Valentine and Tony Berg to produce their latest release, Why Should the Fire Die? \n"Alison would have done well with us, but we wanted a new experience," Sean said. "Eric just got what we wanted. Our musical views matched well."\nWhereas many critics have classified the two previous Nickel Creek albums as country-bluegrass, their latest release would fall under more of a progressive folk category. For the first time, the band opted to use drums on one track, an effort which contributed to a dramatic finish at the end of "Helena." And Sara displays her angelic voice in the Bob Dylan cover "Tomorrow is a Long Time."\nNickel Creek seems to be flourishing when it comes to song writing. They supplied the producers with enough material to comprise two full albums. \n"Eric and Tony picked a group of about 30 songs and narrowed it down to 14 tracks," Sean said. "It was challenging but exciting to find a group that really fit where we were as a band."\nLike many young artists, Nickel Creek diversifies their lyric content to keep their fans interested in the music. There is always one common thread that runs through some songs, however.\n"The heartbreak is always a good thing to sing about," Sean said.\nSean, Sara and Thile are currently taking their music on the road. Their fall tour covers 50 different cities and expands into every region of the country, including a stop in Indianapolis on October 23 at the Egyptian Room. Equipped with a new crew, Sean said the band is well-organized.\n"We've toured a lot in the past, but we're having more fun on this tour," Sean said. \nBecause they play at small venues, Sean said the band notices a great reaction from the crowd that makes them play differently from when they're in the studio.\n"On stage our focus is more like 'How can we make this crowd happy?'" Sean said. "If you mess up you can always redeem yourself. We just look for something that will make the song jump out of the speakers."\nAs Nickel Creek matures, they tackle other musical endeavors. Sean and Thile have each produced two and four solo albums, respectively. \n"It definitely helps the band to have outside projects," Sean said. "It fosters new musical ideas that aren't for the Nickel Creek format. It keeps you busy and lets you play with people you can't normally work with."\nNickel Creek has also collaborated with former Toad the Wet Sprocket frontman Glen Phillips to release an album under the name Mutual Admiration Society. Recently, their talents came to the attention of country legend Dolly Parton, who invited them to perform the Dylan classic "Blowin' in the Wind" on her newest album. \n"It's great to get involved with other musicians," Sean said. "We've known Dolly for a while. She is such an unbelievable person with a huge personality."\nIn addition to working with other musicians, Nickel Creek has made appearances on the late night talk shows of Conan O'Brien and Jay Leno. On PBS, they have performed twice for both "Austin City Limits" and "All-Star Bluegrass Celebration." And in 2003, the band made the bill at the modern-day Woodstock known as Bonnaroo Music Festival in Manchester, Tenn. \nWhile the media paints Nickel Creek as a country-bluegrass band, the three members keep listeners guessing after every performance. They have been known to cover songs by artists ranging from 1920s Tin Pan Alley to the Beatles to Radiohead. \nAt this point in their career, Sean, Sara and Chris have maintained a high level of comfort both in the studio and at live shows. The result of such comfort is a cohesive three-piece acoustic band that produces energetic, audacious music. \n"The way we improvise onstage really helps that we've played together for so long," Sean said. "It's really cool to have that history because then we have more of a unified sound"
(10/13/05 4:00am)
There are no tricks or gimmicks on the latest Neil Young release. The album art looks just like the music sounds -- unpretentious and down-home. Fans have seen this approach previously from Young on 1972's Harvest. \nThe lyrics conjure images of country roads and boundless cornfields, and the stripped-down musical elements contribute to an agrarian vibe. Prairie Wind may not contain the characteristic blustering guitar solos and thick distortion, but it's a welcome album.\nWorking with many of his long-time studio musicians, including Ben Keith on pedal steel guitar, Young was able to churn out 10 intelligible, cohesive tracks. On "Far From Home" and "He Was the King," Young brought in horn players to give the countrified album another animate layer. Other songs like "No Wonder" and "When God Made Me" take on a ballad feel with the help of the Fisk University Jubilee Choir. \nPrairie Wind rolls through without much musical complication. The basic chord arrangements don't stray from most Neil Young songs, and he adds a folksy tone with the familiar harmonica.\nYoung steps away from his usual political discourse save the urgent "No Wonder" in which he references 9/11, Chris Rock and fuel. The haunting number may not fit in with the rest of the album, but it serves as the most passionate tune when the 60-year-old hits the high notes in that quivering lament. \nYoung isn't trying to deceive anyone with his choice of lyrics, either. There is no concealment of the facts when he clearly mourns and pays homage to his recently deceased father in the title track. Many other songs contain family-oriented lines, too. Young speaks responsibly to his children in the buoyant "Here For You" when he sings "Yes I miss you/But I never want to hold you down."\nThe poignant "He Was the King," a tribute to Elvis, seems a random spot until, upon closer inspection, listeners discover the album was produced in Nashville. Young also displays his appreciation for his instrument of choice on the heavily sentimental "This Old Guitar," in which he practically portrays his axe as a second wife. \nThe DVD included in one edition of Prairie Wind documents the recording process. It's nothing spectacular, containing multiple shots of ageless musicians in the studio. But it is a prospective concept for CD packaging that could thrive in the industry down the road. \nAlthough it's not overwhelmingly satisfying, Prairie Wind is a pleasing listen. Young adds another dependable album to his enduring career. He might turn around a few years from now and plug into an amp, but for right now the quiet and straightforward repertoire fits him well.
(10/13/05 2:43am)
There are no tricks or gimmicks on the latest Neil Young release. The album art looks just like the music sounds -- unpretentious and down-home. Fans have seen this approach previously from Young on 1972's Harvest. \nThe lyrics conjure images of country roads and boundless cornfields, and the stripped-down musical elements contribute to an agrarian vibe. Prairie Wind may not contain the characteristic blustering guitar solos and thick distortion, but it's a welcome album.\nWorking with many of his long-time studio musicians, including Ben Keith on pedal steel guitar, Young was able to churn out 10 intelligible, cohesive tracks. On "Far From Home" and "He Was the King," Young brought in horn players to give the countrified album another animate layer. Other songs like "No Wonder" and "When God Made Me" take on a ballad feel with the help of the Fisk University Jubilee Choir. \nPrairie Wind rolls through without much musical complication. The basic chord arrangements don't stray from most Neil Young songs, and he adds a folksy tone with the familiar harmonica.\nYoung steps away from his usual political discourse save the urgent "No Wonder" in which he references 9/11, Chris Rock and fuel. The haunting number may not fit in with the rest of the album, but it serves as the most passionate tune when the 60-year-old hits the high notes in that quivering lament. \nYoung isn't trying to deceive anyone with his choice of lyrics, either. There is no concealment of the facts when he clearly mourns and pays homage to his recently deceased father in the title track. Many other songs contain family-oriented lines, too. Young speaks responsibly to his children in the buoyant "Here For You" when he sings "Yes I miss you/But I never want to hold you down."\nThe poignant "He Was the King," a tribute to Elvis, seems a random spot until, upon closer inspection, listeners discover the album was produced in Nashville. Young also displays his appreciation for his instrument of choice on the heavily sentimental "This Old Guitar," in which he practically portrays his axe as a second wife. \nThe DVD included in one edition of Prairie Wind documents the recording process. It's nothing spectacular, containing multiple shots of ageless musicians in the studio. But it is a prospective concept for CD packaging that could thrive in the industry down the road. \nAlthough it's not overwhelmingly satisfying, Prairie Wind is a pleasing listen. Young adds another dependable album to his enduring career. He might turn around a few years from now and plug into an amp, but for right now the quiet and straightforward repertoire fits him well.
(09/29/05 4:00am)
Years ago I saw "The Simpsons" ripping on the Rolling Stones in their reference to 1994's Steel Wheels by conjuring an image of Mick and Keith in Steel Wheelchairs. It was funny at the time, but those British rockers are having the last laugh these days.\nIn light of their sweeping tour and new studio album, A Bigger Bang, the Stones are at the forefront of what I like to call the "old geezer movement," an elite group of rock bands dating back to the 1960's that will not fade away. For all you Stones fans, pun intended.\nThe rest of the entourage is no joke either. The Who, Pink Floyd and Paul McCartney were on the bill at Live 8. The Doors and Cream both reunited over the summer. Neil Young just came out with Prairie Wind, Santana is releasing All That I Am in November and of course Bob Dylan and the Dead are built for life on the road. \nIf you want to wander outside the realm of rock, there's B.B. King, who may not ever be passed in terms of longevity. As a bluesman touring during the year he turns 80, he should be the spokesman for Energizer, not some silly pink fluffy sunglass-donning mechanic bunny. \nSadly, I may not be fortunate enough to see the Stones on this current tour, but one of my friends scored tickets to the show at Soldier Field. She said without a doubt it was the best concert she had ever seen. The show lasted two and a half hours, complete with a couple encores, the classic Mick Jagger rooster strut and an additional stage in the middle of the stadium where they cranked out a few tunes. \nSome nay-sayers might crash the geezer party with the sell-out theory. Yes, most of the aforementioned bands have been spotted or heard in car and financial consulting firm commercials. There are two rebuttals to that argument. One is that many bands today have little or no control over the rights to their songs. Blame the colossal record labels for that move. \nThe second argument is that these bands "sold out" deep into their careers. When The Who's Won't Get Fooled Again appeared on Nissan Altima commercials, I guarantee the decision wasn't driven by money. As far as I see it, they're just trying to spread the love. The more people who get wind of such great music, the better.\nWho cares if the Stones' new album has only been getting mixed reviews? And who cares if most of the other bands have laid the studio work to rest? At this point in their careers, these musicians don't need to prove anything. They have established themselves as icons by giving hope to you and me.\nA few centuries from now they will be legends, and little children will want to hear bedtime stories about how the Stones worked in 100-degree heat in a studio to produce 1972's Exile on Main Street in one day! They will want to hear how The Who set the record for the loudest concert at 120 decibels and how Pink Floyd jammed in an ancient outdoor amphitheatre at the foot of Mt. Vesuvius in Pompeii. \nOur parents watched the Stones draw crowds to high school auditoriums in the 60s. And now forty years later they can watch them perform in arenas and enjoy the show with their children and even grandchildren in some cases. Did anyone stop to think how ridiculous that is? Are these guys actual human beings? They've been through more sex, drugs and rock n' roll than any aspiring musician could ever hope to endure. \nI just pray that we can say the same thing for the music of our generation. Some bands (Pearl Jam, Foo Fighters) are climbing up the proverbial hill, but even they have about twenty-five years to reach "Stones status." Mick is 62, Keith is 61 (he looks 97), Charlie Watts is 64 and young gun Ron Wood is 58. I'll count myself lucky if I can still drive a car at that age. \nDon't take them for granted, folks. Who knows how much longer they will be around? It used to be cocaine overdoses, and now it's throat cancer. As far as I'm concerned, they're still in their heyday, laughing in the face of the dangers of rock 'n' roll and pumping up crowds night after night. These old farts know how to rock.
(09/29/05 2:31am)
Years ago I saw "The Simpsons" ripping on the Rolling Stones in their reference to 1994's Steel Wheels by conjuring an image of Mick and Keith in Steel Wheelchairs. It was funny at the time, but those British rockers are having the last laugh these days.\nIn light of their sweeping tour and new studio album, A Bigger Bang, the Stones are at the forefront of what I like to call the "old geezer movement," an elite group of rock bands dating back to the 1960's that will not fade away. For all you Stones fans, pun intended.\nThe rest of the entourage is no joke either. The Who, Pink Floyd and Paul McCartney were on the bill at Live 8. The Doors and Cream both reunited over the summer. Neil Young just came out with Prairie Wind, Santana is releasing All That I Am in November and of course Bob Dylan and the Dead are built for life on the road. \nIf you want to wander outside the realm of rock, there's B.B. King, who may not ever be passed in terms of longevity. As a bluesman touring during the year he turns 80, he should be the spokesman for Energizer, not some silly pink fluffy sunglass-donning mechanic bunny. \nSadly, I may not be fortunate enough to see the Stones on this current tour, but one of my friends scored tickets to the show at Soldier Field. She said without a doubt it was the best concert she had ever seen. The show lasted two and a half hours, complete with a couple encores, the classic Mick Jagger rooster strut and an additional stage in the middle of the stadium where they cranked out a few tunes. \nSome nay-sayers might crash the geezer party with the sell-out theory. Yes, most of the aforementioned bands have been spotted or heard in car and financial consulting firm commercials. There are two rebuttals to that argument. One is that many bands today have little or no control over the rights to their songs. Blame the colossal record labels for that move. \nThe second argument is that these bands "sold out" deep into their careers. When The Who's Won't Get Fooled Again appeared on Nissan Altima commercials, I guarantee the decision wasn't driven by money. As far as I see it, they're just trying to spread the love. The more people who get wind of such great music, the better.\nWho cares if the Stones' new album has only been getting mixed reviews? And who cares if most of the other bands have laid the studio work to rest? At this point in their careers, these musicians don't need to prove anything. They have established themselves as icons by giving hope to you and me.\nA few centuries from now they will be legends, and little children will want to hear bedtime stories about how the Stones worked in 100-degree heat in a studio to produce 1972's Exile on Main Street in one day! They will want to hear how The Who set the record for the loudest concert at 120 decibels and how Pink Floyd jammed in an ancient outdoor amphitheatre at the foot of Mt. Vesuvius in Pompeii. \nOur parents watched the Stones draw crowds to high school auditoriums in the 60s. And now forty years later they can watch them perform in arenas and enjoy the show with their children and even grandchildren in some cases. Did anyone stop to think how ridiculous that is? Are these guys actual human beings? They've been through more sex, drugs and rock n' roll than any aspiring musician could ever hope to endure. \nI just pray that we can say the same thing for the music of our generation. Some bands (Pearl Jam, Foo Fighters) are climbing up the proverbial hill, but even they have about twenty-five years to reach "Stones status." Mick is 62, Keith is 61 (he looks 97), Charlie Watts is 64 and young gun Ron Wood is 58. I'll count myself lucky if I can still drive a car at that age. \nDon't take them for granted, folks. Who knows how much longer they will be around? It used to be cocaine overdoses, and now it's throat cancer. As far as I'm concerned, they're still in their heyday, laughing in the face of the dangers of rock 'n' roll and pumping up crowds night after night. These old farts know how to rock.
(09/16/05 4:44am)
Nearly all the seats were filled at the Buskirk-Chumley Theater Wednesday night in anticipation of Richard Heinberg's presentation titled "Peak Oil: The Challenges and Opportunities of Petroleum's Waning Days."\nHeinberg's presentation served as the keynote address to kick off the seventh annual Simply Living Fair. The fair is 9:30 a.m. to 5:30 p.m., Saturday and Sunday at Third Street Park. The fair offers free seminars and workshops on topics that range from food and wellness to transportation and eco-spirituality. \nSince 2003, Heinberg, a professor at the New College of California in San Francisco, has traveled worldwide to speak and raise awareness about the issues facing domestic and international oil depletion. Danise Alano, assistant director of economic development for the City of Bloomington, pointed to City Councilman Dave Rollo as the one who secured Heinberg's visit. \n"Dave is really versed in the peak oil issue and (he) knew (Heinberg) was one of its first and foremost supporters," Alano said.\nIn 1956, the famous geophysicist M. King Hubbert predicted U.S. oil production would reach its peak in 1970. Peak oil has been a controversial topic in the oil industry for more than half a decade. \nAs Heinberg exhibited graphs of a bell curve in which the domestic oil production began declining in the early 1970s, he confirmed Hubbert's theory. \n"Everyone is used to the U.S. being a bottomless reservoir," Heinberg said. "Before 1970, our country was one of the world's highest exporters of oil. Now we're producing about the same amount as we did in the 1940s."\nHeinberg demonstrated in his presentation that although oil production has been decreasing since 1970, domestic oil usage has been on a rollercoaster ride. \nIn 1973, the Arab oil embargo jacked up gas prices by 400 percent, Heinberg said. As a result, many Americans bought smaller cars, and the interstate speed limits dropped from 70 miles per hour to 55 miles per hour, Heinberg said.\nIn the 1980s, Heinberg said, gas prices decreased to record lows, which in turn brought a "new level of increased dependence."\n"Since 1980, oil extraction has passed up oil discovery," Heinberg said. "As a ratio, for every barrel discovered, we extract and use four."\nAs for the global perspective on the oil industry, Heinberg indicated that it's following the same pattern as the United States. \nCurrently the world production rate is about 84 million barrels per day, Heinberg said. Another 30 million barrels per day of new production is needed to offset depletion by 2010, but there are only 12.5 million barrels per day of new capacity in development for the next five years.\nHeinberg also said other industry problems have occurred within the Organization of the Petroleum Exporting Countries, a group of 11 countries that produce oil to be exported. Many of these countries, such as Indonesia and Iran, have been decreasing their oil production, and Heinberg said Saudi Arabia is next on the list.\nBecause this list is dwindling and demand is increasing, OPEC countries have a vested financial interest in keeping some information to themselves, Heinberg said.\n"A lot of OPEC global oil reserves have been overstated for political reasons," Heinberg said. "In 1987, Iraq reported having 47.1 billion barrels, but in 1988 that number jumped to 100 billion barrels. And these are all self-reported figures."\nHeinberg said that as a result of diminishing oil production, there will likely be two scapegoats: OPEC and oil companies.\n"If we wait for the market to work itself out, in about 20 or 30 years it will be too late," Heinberg said. "The plateau when global oil production peaks will be extremely volatile, complete with economic and political disasters."\nHeinberg suggested that people try walking or biking instead of driving cars. He also suggested hybrid cars and carpooling.\nRollo echoed his friend's position on peak oil.\n"Our society is totally dependent on fossil fuels, and yet few people understand the real implications," he said. "If ever we needed energy literacy, the time is now"
(09/15/05 5:29am)
Beast-taming electroshock guns aren't only for farm-hands and lion tamers anymore.\nCommonly referred to by the trademark Taser, the weapon's reputation has changed as more law enforcement officers add stun guns to their belts as an extra tool to combat crime. \nIU Police Department Lt. Jerry Minger said stun gun usage is growing at both state and federal levels. \nBut college campus police departments see benefits, too. One year ago, the Ball State University Police Department began using stun guns. They serve as a way to bridge the gap between weapons like batons and firearms, BSUPD First Sgt. Rhonda Clark said.\n"We felt it was a less lethal weapon," said Clark.\nClark also said the purchase of stun guns was not related to the death of BSU student Michael McKinney, who was shot and killed by an officer in November 2003.\nThe reaction to the stun guns from the BSU campus seems largely positive, Clark said. \n"(Students) were very interested and very supportive," she said. "Then again, there are probably a lot of them who don't realize we have (the stun guns). Most of them think it's a good idea."\nWhile Clark said there has not been a noticeable change in crime on campus since officers began carrying stun guns, she said the number of suspect injuries has gone down along with the number of officer injuries. \nThough stun guns can be used in many different scenarios, they serve one basic function -- to prevent any unwanted harm to either a suspect or an officer, said Monroe County Correctional Facilty Jail Commander Bill Wilson. \n"Stun guns should only be used when there's a threat of harm," Wilson said. "It depends on the situation, and it's somewhat subjective."\nLaw enforcement at Monroe County Jail have been carrying stun guns for five years, Wilson estimated. Since then, they have only been used a "handful of times," with the last instance occurring 18 months ago. \nBecause of their quick, effective and basically harmless nature, stun guns can be used in many delicate situations, Wilson said. With a range of 20 to 25 feet, stun guns carry a less-lethal shock that immobilizes the nervous system for about 10 to 15 seconds. \n"They can be very helpful in hostage and suicidal situations," Wilson said. "The benefits far outweigh the risks."\nAs for IU students, don't expect to see stun guns on campus anytime soon, Minger said.\n"We have evaluated the use of stun guns as a way to address forced issues," Minger said. "At this time, we don't need them because they're expensive, and incidents we've had in the past didn't rise to the necessity to carry them." \nWhile public sentiment certainly plays a role in the stun gun controversy, law enforcement officers do not deny their value. Monroe County Correctional Center Major Thurman Fuller sees stun guns as much more favorable than firearms. \n"(A stun gun) is a tool," Fuller said. "And if you don't have that tool, you have to go to the next level, which is terrible"