"I've got syphilitic hetero friends in every part of town"
That's how it starts .....ominous, mad, diseased......then you get romance and optimism (sort of) and it ends with white noise that either represents the doomed sound of how the song began or the feeling of exhilaration that came afterwards.
One of their best songs and the Reid brothers left it off any proper album too.
Live Peel Session from one of the greatest (and meanest) put-down lyricists - best lyricists overall actually - but he had a particular knack for telling people to fnck off. The notorious B-side "Your Chosen Life" among the most vicious put-downs ever .......but this one is more, um, direct.
So many political and sexual double entendres that it would be a whole career for some people - to him it's just another song and at this period in 1979 he hadn't written anything close to a bad one and had a whole bunch of classics already.
She's my soft touch typewriter ......and I'm the great dictator.
The Pixies - one of the great bands of their decade and maybe the best US band of the last half of the decade too were actually very out of place with even their alternative Rock peers.
They had a record deal even before they played a lot of shows which meant they came across like a well "not very good" live band - they (oddly) didn't talk to the audience and they didn't play the songs any differently in any way. Even among other conceptual bands they were lesser - they weren't louder or looser or more entertaining actually.
But just getting their songs - where everyone has a specific niche to play - "right" was a task in and of itself. Here they recreate one of their best songs and you can see how seriously each member takes their role here - they weren't really boring but rather they couldn't change the songs much because the often ingenious construction/concept actually WAS the song.
One of the 90s great one off singles and one of the decades best couplets too: "What the world needs now is a new Frank Sinatra so I can get you in bed What the world needs now is another folk singer......like I need a hole in my head"
One of the great actors of the 70s - John Lydon "acted" the role of frontman as much as he was it - "I am an Antichrist, I am an Anarchist" you don't just write that or sing it - you have to portray it. Here he's still working it out but he has the right idea - the words get fncked up, he's seething........he means it too, man.
This is literally TV history and Glen Matlock soon to be kicked out in a move the would seal their downfall and their immortality is the MVP.
The Talking Heads were by far the most expansive and forward thinking of all the 70s NYC bands but sometimes considered too cerebral which discounts just how frantic and joyous they could also be - especially live. Here they play one of their most rhythmically complex songs with all the fury and fun of any straight ahead punk tune....... and with sly humor too:
"365.........degrees!" where any other band may have been content with "365.......days"......
Last Edit: Sept 19, 2019 11:37:23 GMT by pacinoyes
Like their spiritual predecessors in Art-Rock/Pop REM, how you feel about The National often depends on where you first heard them. To many people (me included) they peaked on two Rock records Alligator/Boxer.........to many others they didn't really exist until High Violet when the "Rock" began to more or less be replaced by other elements (note the um, string section here).
Here they are on Letterman playing one of their very best later songs......with one of their wittier lines "If you want to make me cry play Let it Be or Nevermind" - although that inadvertently links them to 2 beloved bands - the 'Mats and Nirvana and that's a tough task for any band to live up to.....
The Ramones were never quite the same beast - on record or live - as they were with Tommy on drums. You might think that's BS, he wasn't Keith Moon after all - but his lightness of touch couldn't really be copied and the bands very best songs zipped and surged along with him.
Here playing the simplest song (!) from the debut, he balances out every other element. The overall effect of the band is like a new discovery - like a science experiment gone exactly, improbably right.
I've argued in the "covers" thread that Terry Reid did this song better than anyone in its studio version - he understood it, sung it from the right perspective, made it child-like and scary ........here he does it live showing that wasn't studio trickery on vocals or guitar.
Many bands - often bands heralded as "best/biggest of their generation" even - Pearl Jam, REM, Nirvana, U2, The National, get labeled as "humorless" but it often isn't entirely true. Those bands all had humorous sides that people missed at least they did for a while.
No band gets this tag as much as The Clash whose strident Joe Strummer was famously dissed as "Joe Bummer" by Johnny Thunders but who sometimes was well aware of it too - this song, from their 2nd, underrated album is rather hilarious with a point - and look at people (and girls!) dancing and having fun - not so strident or a Bummer all the time.
The great Jimi Hendrix and to see him play live you see that the guitar is like an extension of his body - he isn't playing it so much as he's facilitating its sounds - the showing off is the song - it is entirely amazing over 50 years later.
Mike Krol's "Power Chords" already won my album of the year for 2019 ...........and he showed hints of what he was capable of before - 3 pretty good albums before he made a great one this year and this performance from late 2018 shows how full of ideas he is - rocking the tambourine, spacey guitar (and vocal) effects, all the band members contribute to hand claps (!), then him throwing the tambourine - you can see him stick his hand out to his guitarist like "sorry I hit you man, but your supposed to stop playing there"
Noel Gallagher, who didn't write a bad song in Oasis from 1994-until Be Here Now (in mid-97) and he wrote a bunch of fantastic ones on albums and singles/B-sides especially in '94 when he wrote for worlds very best band when shit like that still mattered. This song, which he plays solo is an example of what a keen ear he had - it sounds like a billion artists but you can't quite put your finger on it (yet).
Like The Stone Roses he had that very specific, very marvelous thing where he seems shy and sensitive but seems like he could kick your teeth in too. You have to be born with it really...
The mighty PW - every inch the rock star and with the band that would constitute his best solo backing band (and half of the reunited touring Replacements - drummer Josh Freeze and guitarist Dave Minehan). Here playing one of his very loveliest solo songs - with so many Westerbergisms in it, its fun to count - wistful past romance, a love song sung with the urgency of punk defiance, nature references, a repeated new lyric in the fade out, a love song about the narrator more than his love object (it's his first glimmer).
Note the very 90s/cringe-inducing intro by Lewis Largent.....
Rock and roll is a funny thing - sometimes something can look great on paper and implode and fall apart in reality.
Johnny Thunders made 4 classic records from 1973-1978 and Wayne Kramer in some ways a punk founding father with the MC5. They were guitar heroes that seemed perfectly suited but their partnership in the band Gang War - a mix of uncontrolled heroin use, depression and ego - was an utter disaster in every way - they couldn't get it together to really record even - and live shows were a chaotic nightmare.........except on some moments like this one when they were both lucid and coherent.