Let's take a short break from hockey predictions to acknowledge one of the best songwriting talents in 20th Century Rock, Ric Ocasek, who was found dead earlier at the age of 75. He was inducted along with his other The Cars bandmates into the Rock And Roll Hall Of Fame in 2018 (I sure as fuck voted for them, yes).
He also put out some terrific solo albums, my favourite being 1997's Troublizing, which included bassist Melissa Auf Der Maur (Tinker, Hole, The Smashing Pumpkins, a great solo career in stoner rock), drummer Matt Walker (Filter, Garbage, The Smashing Pumpkins, Morrissey) and Billy Corgan (The Smashing Pumpkins) on guitar, keyboards and backing vocals.
But I wanted to focus on The Cars for the moment, seeing as that's what Ocasek was most known for. My favourite Cars song is My Best Friend's Girl, with Just What I Needed ranking a close second:
I'm still looking for additional information pertaining to the video, including who directed it. When I find out, I'll update this paragraph.
Okasek also produced a ton of records for other artists, including Suicide, Bad Brains, Bad Religion, Nada Surf, Le Tigre, No Doubt, and, most recently, Weezer. He just may be the king of Power Pop.
Showing posts with label power pop. Show all posts
Showing posts with label power pop. Show all posts
Sunday, September 15, 2019
Friday, February 17, 2017
Video Of The Week: Dead Messenger
There's this erroneous idea that tense, rigid and far-right-leaning political times makes for better arts in general - and music and film in particular. People point to the presidencies of Richard Nixon (1969-1974) and Ronald Reagan (1981-1989) as proof of this, and I want to make a counter-point.
It's harder for the Nixon years because the utter crap that existed back then didn't make it all the way until my time, but I vividly recall the 1980s, and such bands as Squeeze, Hall & Oates, Flock Of Seagulls, Depeche Mode, Simple Minds, and so forth - thousands of acts that saw Miami Vice as a way of life.
For every U2 there were dozens of Duran Duran; for every R.E.M., there were a hundred boy bands like Color Me Badd; for every Guns N' Roses, there were thousands of Poison, Mötley Crüe, Ratt, Great White and W.A.S.P.-like shitty hair metal bands. And Bon Jovi existed pre- and post-New Jersey, which seems more and more like an accident every time they release anything, including Greatest Hits packages.
Which is to say that, yeah, Rage Against The Machine and Public Enemy are great vessels of thoughts of equality. But Pearl Jam and Bruce Springsteen would exist under any administration. And sure, some already-recognized acts are spurting out some nice art in opposition to what is happening right now in the U.S., but that art would likely have been great even without the added political message.
Take Dead Messenger, for instance. I've been telling the whole world that they're Montréal's best live band for years (nearly a decade, actually), and they likely still are even though the competition is stiffening. Their new single absolutely rocks, and it's the best, most condensed riff they've put out in perhaps five years, but they likely still would have come up with it without the election of Donald Trump and, let's face it, the U.S. has done enough damage internationally that the track may still very well have been called Hyper USA with a similar video directed by lead singer Roger White, shock-full of news footage of rights being trampled, flags and stock footage of go-go dancing, and 1950s fun times:
My point being that chaos does not just breed talent. Talent exists, and sometimes chaos focuses it for a bit, but it always surfaces by itself. Keep in mind all three of RATM's albums came out during the Bill Clinton era, as did Radiohead's OK Computer - a British piece, sure, but one nonetheless marked by a general feeling of unease, with a song called Electioneering smack-dab in the middle of it.
It's harder for the Nixon years because the utter crap that existed back then didn't make it all the way until my time, but I vividly recall the 1980s, and such bands as Squeeze, Hall & Oates, Flock Of Seagulls, Depeche Mode, Simple Minds, and so forth - thousands of acts that saw Miami Vice as a way of life.
For every U2 there were dozens of Duran Duran; for every R.E.M., there were a hundred boy bands like Color Me Badd; for every Guns N' Roses, there were thousands of Poison, Mötley Crüe, Ratt, Great White and W.A.S.P.-like shitty hair metal bands. And Bon Jovi existed pre- and post-New Jersey, which seems more and more like an accident every time they release anything, including Greatest Hits packages.
Which is to say that, yeah, Rage Against The Machine and Public Enemy are great vessels of thoughts of equality. But Pearl Jam and Bruce Springsteen would exist under any administration. And sure, some already-recognized acts are spurting out some nice art in opposition to what is happening right now in the U.S., but that art would likely have been great even without the added political message.
Take Dead Messenger, for instance. I've been telling the whole world that they're Montréal's best live band for years (nearly a decade, actually), and they likely still are even though the competition is stiffening. Their new single absolutely rocks, and it's the best, most condensed riff they've put out in perhaps five years, but they likely still would have come up with it without the election of Donald Trump and, let's face it, the U.S. has done enough damage internationally that the track may still very well have been called Hyper USA with a similar video directed by lead singer Roger White, shock-full of news footage of rights being trampled, flags and stock footage of go-go dancing, and 1950s fun times:
My point being that chaos does not just breed talent. Talent exists, and sometimes chaos focuses it for a bit, but it always surfaces by itself. Keep in mind all three of RATM's albums came out during the Bill Clinton era, as did Radiohead's OK Computer - a British piece, sure, but one nonetheless marked by a general feeling of unease, with a song called Electioneering smack-dab in the middle of it.
Saturday, May 28, 2016
Video Of The Week: Dead Messenger
I'm not preaching, I'm the choir; this week, I'm featuring Dead Messenger again, this time with Master Plan, off their new record, The Owl:
It was co-directed by Liane Thériault (who also shot and edited the footage) and Helen Simard (who also choreographed and conceptualized the piece).
In a totally unrelated way, I'd dubbed my plan for "Happiness (both at work and in my life) By The End Of The Year" The Masterplan, so having my favourite band release this on lead singer Roger White's birthday was just too many coincidences to pass up.
It was co-directed by Liane Thériault (who also shot and edited the footage) and Helen Simard (who also choreographed and conceptualized the piece).
In a totally unrelated way, I'd dubbed my plan for "Happiness (both at work and in my life) By The End Of The Year" The Masterplan, so having my favourite band release this on lead singer Roger White's birthday was just too many coincidences to pass up.
Wednesday, July 1, 2015
Video Of The Week: Dead Messenger
Well, it's Canada Day, or Dollard Day, or Moving Day - whatever your allegiance and/or political affiliation. Mine lies with rock and roll, and summer - thus, Dead Messenger's newest video, directed by Big James Arsenian, Cold Summer:
You may remember them from my constant reminders about how they're the best live band in Montréal, how Jonathan Cummins calls them ''the ideal power pop band'' or just by how fucking amazing they are. Just like Ben Affleck in Phantoms, they're the bomb.
I remember them as good people, terrific musicians, and crafty songwriters. And, well, it's fitting, this song, considering the weather so far.
You may remember them from my constant reminders about how they're the best live band in Montréal, how Jonathan Cummins calls them ''the ideal power pop band'' or just by how fucking amazing they are. Just like Ben Affleck in Phantoms, they're the bomb.
I remember them as good people, terrific musicians, and crafty songwriters. And, well, it's fitting, this song, considering the weather so far.
Saturday, November 15, 2014
Video Of The Week: The Dollyrots
Formed in Florida but based in Los Angeles from the minute they decided to be a full-time band, The Dollyrots were always about punk rock's primal energy mixed with pop, fun and cuteness, so it's no wonder their original indie label (Lookout!) was also the one that launched Green Day.
For their 15th music video in 10 years of professional music-making, director R. Ian MacLeod decided to have the band (singer-bassist Kelly Ogden, guitarist Luis Gabezas and part-time drummer Aixa from Go Betty Go pretending to play Stacy Jones' parts) and various characters pose and dance in front of green screens and white backgrounds, with added effects popping up, including the complete lyrics to Get Weird.
And it's a fun song, in the same vein as the rest of their songs that have appeared in movies, TV shows and film trailers - it just lacks the actual element of weirdness. And perhaps a bit of edge, a bit of balls. Or a message. Some consistence, like former label-mates Green Day, or the owner of their second label Joan Jett.
I like art for art's sake (Radiohead), and I'm not adverse to straight-ahead rock, and The Dollyrots score a fine 7/10 on that scale, but they have 5 albums now, and Barefoot And Pregnant is their second after a $33,000 Kickstarter campaign that was originally slated for $7,500 - perhaps it's time they added a bit more value to their output.
I suggest taking a full year to make their next record, keeping their feet on the ground by raising their kid (Ogden and Gabezas are a couple in ''real'' life), and listening to one ''message band'' per week and nothing else - I suggest the following 52: Bad Religion, Joan Jett, Pearl Jam, Rage Against The Machine, Ani DiFranco, Bruce Springsteen, John Fogerty, Sonic Youth, Hole, Tupac Shakur, Public Enemy, Fishbone, Meshell N'Degeo'Cello, Living Colour, Stevie Wonder, Sex Pistols, Me Mom & Morgentaler, Megadeth, Suicidal Tendencies, Infectious Grooves, The Clash, Social Distortion, Green Day, Fugazi, Outernational, Jack White, Placebo, Pennywise, Nine Inch Nails, Vulgaires Machines (sure it's in French, but they'll get the gist of it), Sahara Hotnights, The Raveonettes, The Minutemen, Ben Harper, Michael Franti & Spearhead, Mos Def, Erykah Badu, The Roots, Damian Marley, SuperHeavy, Dead Kennedys, Against Me!, The Mahones, Hawkwind, Crass, Flux Of Pink Indians, X, Ghost Mice, The Nightwatchman, P.J. Harvey, Bikini Kill, and Amanda Palmer / Dresden Dolls.
But there's a good base with The Dollyrots. They can carve out a guitar-driven pop song, they just need to take some polish off the production and not sound so calculated, so maybe just work a bit on their lyrics and delivery. But it's good stuff, I own three of their records myself, and never go more than 10 days without listening to at least a couple of songs all the way through.
For their 15th music video in 10 years of professional music-making, director R. Ian MacLeod decided to have the band (singer-bassist Kelly Ogden, guitarist Luis Gabezas and part-time drummer Aixa from Go Betty Go pretending to play Stacy Jones' parts) and various characters pose and dance in front of green screens and white backgrounds, with added effects popping up, including the complete lyrics to Get Weird.
And it's a fun song, in the same vein as the rest of their songs that have appeared in movies, TV shows and film trailers - it just lacks the actual element of weirdness. And perhaps a bit of edge, a bit of balls. Or a message. Some consistence, like former label-mates Green Day, or the owner of their second label Joan Jett.
I like art for art's sake (Radiohead), and I'm not adverse to straight-ahead rock, and The Dollyrots score a fine 7/10 on that scale, but they have 5 albums now, and Barefoot And Pregnant is their second after a $33,000 Kickstarter campaign that was originally slated for $7,500 - perhaps it's time they added a bit more value to their output.
I suggest taking a full year to make their next record, keeping their feet on the ground by raising their kid (Ogden and Gabezas are a couple in ''real'' life), and listening to one ''message band'' per week and nothing else - I suggest the following 52: Bad Religion, Joan Jett, Pearl Jam, Rage Against The Machine, Ani DiFranco, Bruce Springsteen, John Fogerty, Sonic Youth, Hole, Tupac Shakur, Public Enemy, Fishbone, Meshell N'Degeo'Cello, Living Colour, Stevie Wonder, Sex Pistols, Me Mom & Morgentaler, Megadeth, Suicidal Tendencies, Infectious Grooves, The Clash, Social Distortion, Green Day, Fugazi, Outernational, Jack White, Placebo, Pennywise, Nine Inch Nails, Vulgaires Machines (sure it's in French, but they'll get the gist of it), Sahara Hotnights, The Raveonettes, The Minutemen, Ben Harper, Michael Franti & Spearhead, Mos Def, Erykah Badu, The Roots, Damian Marley, SuperHeavy, Dead Kennedys, Against Me!, The Mahones, Hawkwind, Crass, Flux Of Pink Indians, X, Ghost Mice, The Nightwatchman, P.J. Harvey, Bikini Kill, and Amanda Palmer / Dresden Dolls.
But there's a good base with The Dollyrots. They can carve out a guitar-driven pop song, they just need to take some polish off the production and not sound so calculated, so maybe just work a bit on their lyrics and delivery. But it's good stuff, I own three of their records myself, and never go more than 10 days without listening to at least a couple of songs all the way through.
Sunday, June 9, 2013
Video Of The (Past) Week: The Donnas
People who hold punk rock in too high an esteem often forget that The Ramones were mostly about putting the fun back in rock'n'roll, and that most of their songs were about parties, teenage rebellion and self-medication for a reason: most of them disagreed about everything in real life, Johnny and Joey the most politically. And yet, their songs - consisting mostly of a beginning that went ''1-2-3-4'!', used three chords and ended two and a half minutes later - got them to the Rock'n'Roll Hall Of Fame, where they were inducted by none other than Eddie Vedder in... a 15-minute monologue.
The high school spirit of The Ramones so far has shined through brightly the most on The Donnas, who as a tribute opted to all have their rock personas share the same first name. Starting in 1993, they developed a rabid following, probably as much for their looks than their music, yet it worked. It got them signed to Lookout! Records (home of the first three Green Day albums), then to Atlantic (the house that Led Zeppelin built).
And it was a steady climb all the way to 2005, where sales of their less-Ramones, more-Kiss-inspired album Bitchin' stagnated compared to the previous one, their best-selling Spend The Night. This song is the catchiest, and perhaps poppiest one in their catalog, from Spend The Night:
Now all in their mid-30s, and not having released new material since 2007 (though they were reported to be working on a new record in 2012), I don't know if they'll keep their adolescent high school energy or just try to make a good rock record, but things will have changed on the back end for sure, as drummer Donna C. (Torry Castellano) officially left the band in 2009 due to shoulder problems including tendonitis. Then again, the Ramones went through 5 drummers and made it out alright, and so have Pearl Jam.
The high school spirit of The Ramones so far has shined through brightly the most on The Donnas, who as a tribute opted to all have their rock personas share the same first name. Starting in 1993, they developed a rabid following, probably as much for their looks than their music, yet it worked. It got them signed to Lookout! Records (home of the first three Green Day albums), then to Atlantic (the house that Led Zeppelin built).
And it was a steady climb all the way to 2005, where sales of their less-Ramones, more-Kiss-inspired album Bitchin' stagnated compared to the previous one, their best-selling Spend The Night. This song is the catchiest, and perhaps poppiest one in their catalog, from Spend The Night:
Now all in their mid-30s, and not having released new material since 2007 (though they were reported to be working on a new record in 2012), I don't know if they'll keep their adolescent high school energy or just try to make a good rock record, but things will have changed on the back end for sure, as drummer Donna C. (Torry Castellano) officially left the band in 2009 due to shoulder problems including tendonitis. Then again, the Ramones went through 5 drummers and made it out alright, and so have Pearl Jam.
Sunday, April 21, 2013
Reversing Falls (Album Launch) @ Casa Del Popolo, April 19, 2013
I had three four events I could have gone to - happily - on Friday night, but physics and cash would force me to attend just one, and it was to be Reversing Falls' album launch, at Casa del Popolo. It was organized by Indie Montreal, and had a decent $7 cover charge which, coupled with the city's best beer at $5 a pint and hosted in the best smallish-to-midsize venue in town made for a night full of promise.
Unfortunately, promises - like New Year's Resolutions - are made to be broken, and they were pretty much shattered by the opening band, Holobody, a male-female duo who at times both sing, both play guitar, and doodle with knobs and pre-programmed instruments with all the energy of a comatose paraplegic. Their most-felt and least-bad song was a cover of Beyoncé's Crazy In Love that would make Lana Del Rey proud, but for all their potential - and they do have some talent - their set fell flatter than dry wall.
Then came Asthma Camp, which was 200% better - but still pretty bad. A three-piece consisting of a decent drummer, an energetic guitarist and a singer/keyboardist, their riffs could have used a lot more power (say: louder volume and distortion) to hide the fact that their white-boy reggae was lifting beats and melodies from all over the 1980s, from Laidback's Sunshine Reggae to Men At Work's Land Down Under, and even Madonna's La Isla Bonita. Indie cred: zero.
Luckily, Reversing Falls were in fine form, with a short-but-energetic, balls-out set - now with a live drummer! They covered Hole's Malibu, played songs from their first EP and even one from a limited-release Distroboto minidisc, as well as much of the new stuff, starting out with Curse This Place. From start to finish, they gradually, single-handedly upped the evening's grade from An F-minus to a solid B - it would have been even better with worthy openers, or had they been the lone performers.
Unfortunately, promises - like New Year's Resolutions - are made to be broken, and they were pretty much shattered by the opening band, Holobody, a male-female duo who at times both sing, both play guitar, and doodle with knobs and pre-programmed instruments with all the energy of a comatose paraplegic. Their most-felt and least-bad song was a cover of Beyoncé's Crazy In Love that would make Lana Del Rey proud, but for all their potential - and they do have some talent - their set fell flatter than dry wall.
Then came Asthma Camp, which was 200% better - but still pretty bad. A three-piece consisting of a decent drummer, an energetic guitarist and a singer/keyboardist, their riffs could have used a lot more power (say: louder volume and distortion) to hide the fact that their white-boy reggae was lifting beats and melodies from all over the 1980s, from Laidback's Sunshine Reggae to Men At Work's Land Down Under, and even Madonna's La Isla Bonita. Indie cred: zero.
Luckily, Reversing Falls were in fine form, with a short-but-energetic, balls-out set - now with a live drummer! They covered Hole's Malibu, played songs from their first EP and even one from a limited-release Distroboto minidisc, as well as much of the new stuff, starting out with Curse This Place. From start to finish, they gradually, single-handedly upped the evening's grade from An F-minus to a solid B - it would have been even better with worthy openers, or had they been the lone performers.
Friday, March 29, 2013
Video Of The Week: Dead Messenger
As rave reviews keep pouring in for Dead Messenger, they recently released a new video off their second record, Recharger, this time with Can't Help Myself.
Filmed, directed and edited by young hard-working Montrealer Adam Reider, who manages a work station/website/traveling film festival encompassed in Rail City Media (he has a thing for railroads, particularly the small model type), it's basically a shot of the Messengers doing what they do best: plugging their amps and rocking out.
Don't get me wrong, story lines are awesome. Some of my best friends are fictitious and go nowhere, have shiny cars surrounded by girls shaking their booties. But nothing beats a good rock performance, and, well, you know what I've been saying about this band for years now... they do it right.
Filmed, directed and edited by young hard-working Montrealer Adam Reider, who manages a work station/website/traveling film festival encompassed in Rail City Media (he has a thing for railroads, particularly the small model type), it's basically a shot of the Messengers doing what they do best: plugging their amps and rocking out.
Don't get me wrong, story lines are awesome. Some of my best friends are fictitious and go nowhere, have shiny cars surrounded by girls shaking their booties. But nothing beats a good rock performance, and, well, you know what I've been saying about this band for years now... they do it right.
Monday, February 4, 2013
Video Of The Week: Dead Messenger
I've said it many times before, and I'll say it until it isn't true anymore: Dead Messenger are the best live band in Montréal, and it sounds like they've been able to harness and process the energy they display on stage into the studio this time around on their second album, Recharger, which will be released on February 19th (two weeks from tomorrow) at L'Escogriffe (Facebook event page here, I suggest you show up).
Not that the first record sounded bad in any way - produced by the legendary Jonathan Cummings and fiddled about by Jace Lasek, it was pleasing to the ears, an aural journey in power pop bliss; it just focused on the sound in my opinion, and not the intangibles that turn all Dead Messenger shows into sweaty dance parties, which kind of resemble the video for this song, Toothcomb - except a tad more crowded.
It's been a time of hardships for the Messengers, what with their hideout/work room The Pound (home of a few UnPop and Sébastian Hell shows over the years) closing down, guitarist/vocalist Ted Yates falling ill for the better part of 2011-2012, talk of disbanding... but they're back with a vengeance, and we're all better for it.
Not that the first record sounded bad in any way - produced by the legendary Jonathan Cummings and fiddled about by Jace Lasek, it was pleasing to the ears, an aural journey in power pop bliss; it just focused on the sound in my opinion, and not the intangibles that turn all Dead Messenger shows into sweaty dance parties, which kind of resemble the video for this song, Toothcomb - except a tad more crowded.
It's been a time of hardships for the Messengers, what with their hideout/work room The Pound (home of a few UnPop and Sébastian Hell shows over the years) closing down, guitarist/vocalist Ted Yates falling ill for the better part of 2011-2012, talk of disbanding... but they're back with a vengeance, and we're all better for it.
Thursday, November 26, 2009
Video of the Week: Dead Messenger
I started a new weekly feature just last week, Video Of the Week, and I nearly didn't post one this week... so much for continuity, eh?
Well, in the hopes of maybe getting myself to follow through on something for once in my life, here's a video from Dead Messenger that they did last summer (so it's still relatively recent). The song is 'Fat Black Heart', one of the best from their recent CD 'Love Is The Only Weapon', and usually the song they end their live sets with - not bad, considering they're one of the best live bands in this stinking town.
The song starts off as a convenience store in-line camera, then just slowly evolves into random acts of randomness that happen every day in town: people dancing in the streets, people walking down the streets with TVs on their heads, people hanging out in the middle of cinder blocks - and shots of Dead Messenger rocking out.
I like this song so much I've already linked the video four times on my Facebook page, and have used their chorus as an intro to a song of mine at a few live shows of late - and I like the band so much I've booked them for a fifth UnPop show in 5 years this Fall. I also plan on booking and opening for them for a future show at Barfly early in 2010.
Well, in the hopes of maybe getting myself to follow through on something for once in my life, here's a video from Dead Messenger that they did last summer (so it's still relatively recent). The song is 'Fat Black Heart', one of the best from their recent CD 'Love Is The Only Weapon', and usually the song they end their live sets with - not bad, considering they're one of the best live bands in this stinking town.
The song starts off as a convenience store in-line camera, then just slowly evolves into random acts of randomness that happen every day in town: people dancing in the streets, people walking down the streets with TVs on their heads, people hanging out in the middle of cinder blocks - and shots of Dead Messenger rocking out.
I like this song so much I've already linked the video four times on my Facebook page, and have used their chorus as an intro to a song of mine at a few live shows of late - and I like the band so much I've booked them for a fifth UnPop show in 5 years this Fall. I also plan on booking and opening for them for a future show at Barfly early in 2010.
Subscribe to:
Posts (Atom)