Here is a quick hitter just for my favourite blogger Dewey, AKA Andrew Parker. For the record Blink 182 pushes the realms of what makes it into the punk a major item of contention for me. But if you aren’t to old to hear about high school and getting grounded Dude Ranch is a fast, funny album that I still find enjoyable at times.
Sunday, November 28, 2010
Friday, November 26, 2010
NOMEANSNO meansitstimetogetcreative
No Means No has been rocking the punk scene for about twenty years, and the “Worldhood of the World” is right up there with the rest for the uniqueness of the music, but it is over the top with rockin’ tracks. “Joy” is the first track, and it starts with Rob Wright singing joy in a build up until he is at least he is belting it out at the top of his lungs. Joy creates a build up that sets the pace for an album that builds and fades through out with tunes like Lost which begins slowly, and then ends up sounding like a punk rock newscast, or recollection in speech form, and the faster rockin’ tracks like Wiggly Worm, Humans, and . This album is something you have really got to get to understand what I am trying to describe
I believe that my new favourite tune on this album is “Tuck It Away”. This track is hard and fast all the way through, but there are three different parts if the great “Tuck it away” chorus is included. In fact I have been so inspired by this album that this flashback is has become a NOMEANSNO double shot with “Why Do They Call Me Mr. Happy?” which I just picked up Sunday at Music Trader - The best music store in Winnipeg.
“Why Do They Call Me Mr. Happy?” is a great release on the Alternative Tentacles record label from 1993. It is no surprise after hearing this album why Jello Biafra (owner of Alternative Tenticales, amd former Dead Kennedy’s lead man) signed these guys to what is a rather exclusive label in terms of the types of bands that get signed. It reminds me a little of G7 Welcoming Committee which deals mainly in experimental, and politically driven bands.
This album has some great bass lines that actually remind me of an early Red Hot Chili Peppers in the 80’s when they played more funk, with a dash of Less Claypool, although they don’t get quite as wild as Claypool - few can.. Songs like “Madness and Death”, and “Why Do They Call Me Mr. Happy?” are two tracks that really go off on nice bass lines. They also feature unique, and epic vocals from Rob Wright, which as in every NOMEANSNO album engages the listener whether they care for the fast, or experimental tunes. “Kill Everyone” is an 8 minute roller coaster ride that includes the vocals and bass I discussed, and a great Dead Kennedy like ending. Every NOMEANSNO album is bery similar in that for some these songs may be too experimental for them to enjoy, but I really think anyone who has a decent ear for what is good, compared to what is catchy will see the greatness in each of these albums.
My recommendation is that if you take a chance on these albums try songs like Humans, and maybe check out “Why Do They Call Me Mr. Happy?” once you are down with the later stuff, but if you got the intestinal fortitude to get down with so weird shite this albums may just get you as jacked up as I am right now listening to “Land of the Living”
I believe that my new favourite tune on this album is “Tuck It Away”. This track is hard and fast all the way through, but there are three different parts if the great “Tuck it away” chorus is included. In fact I have been so inspired by this album that this flashback is has become a NOMEANSNO double shot with “Why Do They Call Me Mr. Happy?” which I just picked up Sunday at Music Trader - The best music store in Winnipeg.
“Why Do They Call Me Mr. Happy?” is a great release on the Alternative Tentacles record label from 1993. It is no surprise after hearing this album why Jello Biafra (owner of Alternative Tenticales, amd former Dead Kennedy’s lead man) signed these guys to what is a rather exclusive label in terms of the types of bands that get signed. It reminds me a little of G7 Welcoming Committee which deals mainly in experimental, and politically driven bands.
This album has some great bass lines that actually remind me of an early Red Hot Chili Peppers in the 80’s when they played more funk, with a dash of Less Claypool, although they don’t get quite as wild as Claypool - few can.. Songs like “Madness and Death”, and “Why Do They Call Me Mr. Happy?” are two tracks that really go off on nice bass lines. They also feature unique, and epic vocals from Rob Wright, which as in every NOMEANSNO album engages the listener whether they care for the fast, or experimental tunes. “Kill Everyone” is an 8 minute roller coaster ride that includes the vocals and bass I discussed, and a great Dead Kennedy like ending. Every NOMEANSNO album is bery similar in that for some these songs may be too experimental for them to enjoy, but I really think anyone who has a decent ear for what is good, compared to what is catchy will see the greatness in each of these albums.
My recommendation is that if you take a chance on these albums try songs like Humans, and maybe check out “Why Do They Call Me Mr. Happy?” once you are down with the later stuff, but if you got the intestinal fortitude to get down with so weird shite this albums may just get you as jacked up as I am right now listening to “Land of the Living”
Thursday, November 18, 2010
These are Some Good Sloppy Seconds
Sloppy Seconds’ “Garage Days Regurgitated” is one of my many finds I picked up from Music Traders that I purchased just off their reputation, and one song off a Nitro Records comp called deep thoughts. This pick up was not in vain, unlike the Doughboys disc I picked up years ago. You know what I should give that a listen.
Back to these “Garage Days Regurgitated”. The first song I heard was “I Wanna Go Home”, which is great compilation of Ramones inspired power chords combined with the raspy lead vocals of BA. BA really puts Sloppy Seconds over the top for me. A lot of people criticize punk of being poor in the vocals department, but I think when you need a fast quick hitting tune a unique growl, or even flat voice like Fat Mike can clash just right.
If I had one criticism for the album it would be that there are only seven songs on it, and they aren’t too much longer than your regular punk song. But you gotta pay for greatness right. Well this album is on the verge of greatness. Poor Little Rich Girl, Kill ( a song that reminds me of the Queers for some reason), and a sweet T.V. Party cover that for me at least is better than the Black Flag original.
This is a later release , so some of the earlier stuff is better, but for me this album is not a disappointment at all.
Here is an earlier video from Sloppy Seconds - "Fifteen Minutes or It's Free."
Back to these “Garage Days Regurgitated”. The first song I heard was “I Wanna Go Home”, which is great compilation of Ramones inspired power chords combined with the raspy lead vocals of BA. BA really puts Sloppy Seconds over the top for me. A lot of people criticize punk of being poor in the vocals department, but I think when you need a fast quick hitting tune a unique growl, or even flat voice like Fat Mike can clash just right.
If I had one criticism for the album it would be that there are only seven songs on it, and they aren’t too much longer than your regular punk song. But you gotta pay for greatness right. Well this album is on the verge of greatness. Poor Little Rich Girl, Kill ( a song that reminds me of the Queers for some reason), and a sweet T.V. Party cover that for me at least is better than the Black Flag original.
This is a later release , so some of the earlier stuff is better, but for me this album is not a disappointment at all.
Here is an earlier video from Sloppy Seconds - "Fifteen Minutes or It's Free."
Saturday, November 13, 2010
True Fiction
I wrote this after an arguement at work. Things may sound harsh, but I mixed it up just a little for effect. But it was about someone welching on a bet with my favorite team the Philidephia Eagles.
“Ooohhh!” He says in a stereotypical Italian manner.
“ You got my ten bucks?”
“What ten bucks?”
“From the Eagles bet. Indy got whooped, pay up.”
“We never bet. I never shook on it.”
“Are you serious don’t welch you goof.”
He goes to the wash room to change. I hate welchers.
“You’re a fuckin’ goof if you don’t pay up.”
“Don‘t call me a goof.”
“Don‘t be a fuckin goof and give me the money welcher.”
“Fuck you.”
He walks by me as if he wants to hit me.
“Are you serious you know you made the bet.”
“We didn’t shake, there was no bet.”
“You’re a fuckin’ bum. Pay up.”
“You’re a dumbass.”
“No. I’m not the dropout.”
Did I go to far?
“Ooohhh!” He says in a stereotypical Italian manner.
“ You got my ten bucks?”
“What ten bucks?”
“From the Eagles bet. Indy got whooped, pay up.”
“We never bet. I never shook on it.”
“Are you serious don’t welch you goof.”
He goes to the wash room to change. I hate welchers.
“You’re a fuckin’ goof if you don’t pay up.”
“Don‘t call me a goof.”
“Don‘t be a fuckin goof and give me the money welcher.”
“Fuck you.”
He walks by me as if he wants to hit me.
“Are you serious you know you made the bet.”
“We didn’t shake, there was no bet.”
“You’re a fuckin’ bum. Pay up.”
“You’re a dumbass.”
“No. I’m not the dropout.”
Did I go to far?
Thursday, November 11, 2010
FBI Stakeout See.
I got lucky when I bought the October 25, 2010 edition of the New Yorker.
First, let me tell you all that my favourite genre of film after comedy, is the mafia/heist genre, and David Means captures everything that is great about those films. I actually have been looking for other stories he has published. I haven’t read any of them yet but I found one in Harper’s I just hope I can access it.
The story in the LXXXVI, No. 33 issue of the New Yorker is called The Tree Line, Kansas, 1934, and this piece o’ fiction almost makes me want to get snooty as heck, start wearing Dockers, and subscribe to the New Yorker. This story reminds me of Reservoir Dogs the way it goes from future to past, only Reservoir Dogs is split evenly between present and past.
The description of the young agent is superb. You really get the sense of how naïve, inexperienced, and really stupid this character is, when he is saying how the stakeout is pointless, and in the end is completely unprepared for Carson, and his two other heavily armed men (The bank robbers). I just loved how it seemed like the classic heist movies of the 60’s and 70’s. The story progresses at a seemingly slow rate until the reader, and the characters are
I was torn on how I felt about the way Means creates lists of things describing the young agent and other aspects throughout the piece. I like them at first because it was a nice change of pace, which allowed a great description through the words of Lee, but they were so long I thought they eventually separated themselves from the story, and took away from other aspects of the story. Aspects such as suspense, especially at the end I felt were compromised by this strategy.
That said I want to reiterate that this story is a fabulous read, that took me by surprise at the end, although after watching loads of movies such as Bonnie and Clyde, and Thieves Like Us I thought at least one of the two agents would be killed. Truthfully I thought it would be poor old Lee.
This clip is the opposite of the story, but it is as hiest shoot down as it gets.
First, let me tell you all that my favourite genre of film after comedy, is the mafia/heist genre, and David Means captures everything that is great about those films. I actually have been looking for other stories he has published. I haven’t read any of them yet but I found one in Harper’s I just hope I can access it.
The story in the LXXXVI, No. 33 issue of the New Yorker is called The Tree Line, Kansas, 1934, and this piece o’ fiction almost makes me want to get snooty as heck, start wearing Dockers, and subscribe to the New Yorker. This story reminds me of Reservoir Dogs the way it goes from future to past, only Reservoir Dogs is split evenly between present and past.
The description of the young agent is superb. You really get the sense of how naïve, inexperienced, and really stupid this character is, when he is saying how the stakeout is pointless, and in the end is completely unprepared for Carson, and his two other heavily armed men (The bank robbers). I just loved how it seemed like the classic heist movies of the 60’s and 70’s. The story progresses at a seemingly slow rate until the reader, and the characters are
I was torn on how I felt about the way Means creates lists of things describing the young agent and other aspects throughout the piece. I like them at first because it was a nice change of pace, which allowed a great description through the words of Lee, but they were so long I thought they eventually separated themselves from the story, and took away from other aspects of the story. Aspects such as suspense, especially at the end I felt were compromised by this strategy.
That said I want to reiterate that this story is a fabulous read, that took me by surprise at the end, although after watching loads of movies such as Bonnie and Clyde, and Thieves Like Us I thought at least one of the two agents would be killed. Truthfully I thought it would be poor old Lee.
This clip is the opposite of the story, but it is as hiest shoot down as it gets.
Sunday, November 7, 2010
This Post is Systematic, It's about Grease Sing-A-Long Automatic
I am actually a hater of musicals, but Grease is one I can deal with thanks to Less Than Jake’s Greased album. This album is a complete collection of Grease tunes covered 90’s skate ska style.
Hopefully Chapman will get in for a Grease Lightning duet.
Hopefully Chapman will get in for a Grease Lightning duet.
Tuesday, November 2, 2010
The album when I knew good Offspring had "Gone Away"
I thought I would go with an album this flashback that actually wasn’t one of my favourites, but still gets a bad rap. That album would be The Offspring’s Ixnay on the Hombre. “Gone Away” was one of the first releases from that album, and I don’t think many people including myself were excited about the direction that The Offspring had gone in. Ixnay definitely pales in comparison to there previous work on Smash, and Ignition, but there are a lot of classic style Offspring tracks on there that don’t get a fair shake because some of the goofier songs that have become the unrecognizable Offspring of the two thousands.
The album starts out with the Disclaimer which is not as funny as I believe they thought it was, but amps things up with “The Meaning of Life”, a great old school Offspring song, followed by “Mota” which harkens to the straight edge roots, and is actually funny as opposed to a few of the songs such as “Pretty Fly for a White Guy.” Wait I gotta be truthful, when that song came out I liked it, but after hearing it a million times on radio it got old quick, and for the record I only thought it was funny the song is way to gimmicky to be good I think.
The end of this album is really good too with “Amazed”, and “Change the World”, both of which are a darker style than I think any album they have ever released. They are both along the lines of “Gone Away the guitar and drums are still hard, but they are a little slower, and often lower than many Offspring fans are probably used to. The weakness of this album is the downfall, because other than “Gone Away” and “What I Want” (my personal fav. The video is good to which hopefully will be up on the blog by noon tomorrow, but check the link for now) there is a lyrical black hole that is sucking all redeeming qualities into oblivion. Don’t pick it up, and me and my old lady definitely aren’t the worst Offspring songs now, but at the time, although listenable these tracks stick the joint up. Last but not least “Way Down the Line” is a lyrically superb song, but maybe in an attempt to liven up the album do a song that has dark tones to goofy instrumentals. C’mon man. http://www.youtube.com/watch?v=us8OhI-OTHg&ob=av2n
The album starts out with the Disclaimer which is not as funny as I believe they thought it was, but amps things up with “The Meaning of Life”, a great old school Offspring song, followed by “Mota” which harkens to the straight edge roots, and is actually funny as opposed to a few of the songs such as “Pretty Fly for a White Guy.” Wait I gotta be truthful, when that song came out I liked it, but after hearing it a million times on radio it got old quick, and for the record I only thought it was funny the song is way to gimmicky to be good I think.
The end of this album is really good too with “Amazed”, and “Change the World”, both of which are a darker style than I think any album they have ever released. They are both along the lines of “Gone Away the guitar and drums are still hard, but they are a little slower, and often lower than many Offspring fans are probably used to. The weakness of this album is the downfall, because other than “Gone Away” and “What I Want” (my personal fav. The video is good to which hopefully will be up on the blog by noon tomorrow, but check the link for now) there is a lyrical black hole that is sucking all redeeming qualities into oblivion. Don’t pick it up, and me and my old lady definitely aren’t the worst Offspring songs now, but at the time, although listenable these tracks stick the joint up. Last but not least “Way Down the Line” is a lyrically superb song, but maybe in an attempt to liven up the album do a song that has dark tones to goofy instrumentals. C’mon man. http://www.youtube.com/watch?v=us8OhI-OTHg&ob=av2n
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