Tag: rock

232. R.E.M.

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(September 2019) Episode 232 is R.E.M. How did a band so central to my generation slip to #232? It may be heresy to my peers, but I find R.E.M. … boring.  Yes, the premier college radio band had 10-12 great songs that were the soundtrack of our college years, and their stripped-down jangle rock was a welcome antidote to 80s synth.  But I find most of it limp and listless. R.E.M. greatly influenced alt-rock, but unfortunately that led to limp-rock acts like Gin Blossoms and Toad the Wet Sprocket.

Favorite album: Lifes Rich Pageant

Favorite song: Superman

Best late-period album: Accelerate

Compared to expectations: ↓

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229. Psychedelic Porn Crumpets

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(August 2019) Episode 229 is PSYCHEDELIC PORN CRUMPETS. Did you know it’s the Golden Age of Australian Psychedelic Rock? You do now. And one of its highlights is this band from, oddly like many others, Perth. Put on some headphones and max the volume. PPC will exhaust you but in a good way. My new favorite band. (This is the 3rd band in the Project discovered through a podcast, and only the 2nd to start recording this decade.)

Favorite album: And Now For The Whatchamacallit

Favorite song: Ergophobia

Compared to expectations: ↑

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228. Primus

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(August 2019) Episode 228 is PRIMUS. It’s difficult to label their unique meld of funk-metal with Zappa-esque irreverence and weirdness. But they’ve influenced scores of bands nevertheless. What stands out the most are the sparks flying off Les’ bass, but don’t discount Ler’s calisthenics on guitar.  It’s an acquired taste, but a fun ride when you take it for a spin.

Favorite album: Sailing the Seas of Cheese

Favorite song: Jerry Was a Race Car Driver

Compared to expectations: same

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225. King Missile

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(August 2019) Episode 225  is KING MISSILE.  In its various incarnations, KM is the musical vehicle for poet John S. Hall’s abstract, warped, observational musings. You may recall the novelty song “Detachable Penis,” emblematic of frequent sexual content which comes off as humorously candid rather than perverse. Sure, it’s a joke band, but that sells the music short, which is actually a good listen, while you giggle.

Favorite album: The Psychopathology of Everyday Life

Favorite song: Sex With You

Compared to expectations: same

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223. The Black Keys

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(July 2019) Episode 223 of my “opus project” is the BLACK KEYS. I find their initial southern-fried (although they’re from Ohio), bluesy garage rock better in concept than execution due to Dan Auerbach’s reliance on monotonous, laconic vocals. But for me, they pick it up starting with Attack & Release (thanks, Danger Mouse) with a diversified approach and instrumentation. Black Keys satisfies.

Favorite album: El Camino

Favorite song: Gold on the Ceiling

Compared to expectations: same

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221. The Standells

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(July 2019) Episode 221 of my “opus project” is THE STANDELLS. You may know this mid-1960s garage band from the song “Dirty Water” (you might think they’re from Boston, but they’re not; they’re from LA). Sometimes called the “punk band of the 1960s” (for a clue, listen to “Riot on the Sunset Strip”) due to influences claimed by the Ramones and Sex Pistols. Good stuff.

Favorite album: Dirty Water

Favorite song: Riot on the Sunset Strip

Compared to expectations: same

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220. John Cale

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(July 2019) Episode 220 of my “opus project” is JOHN CALE. For being the most avant-garde member of the Velvet Underground, his solo recordings are surprisingly conventional in the pop/rock vein. His early stuff sounds like a blend of Brian Eno, Lou Reed and Roxy Music, but his style and mood varies over five decades (not to mention his output as a producer and soundtrack composer). I find his collaborations (with Terry Riley, Eno, Reed, Bob Neuwirth) among his strongest recordings.

Favorite album: Paris 1919

Favorite song: Paris 1919

Favorite collaboration: Wrong Way Up (with Brian Eno)

Compared to expectations: ↓

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217. Lou Reed

~ ernopepper ~ 2 Comments

(May 2019) Episode 217 of my “opus project” is LOU REED. The frontman (born 1942) of an influential and innovative 1960s band leaves the group to pursue a solo career. He records many albums over the decades; most are pop/rock oriented, a few are collaborations, and he dabbles in experimentalism. However, the solo output never reaches the magic he made with that 1960s group. Am I taking about Paul and the Beatles or Lou and the Velvet Underground? Even among the weak releases, it’s interesting to track his recordings with the windings of his personal and artistic life. At his best when it’s just his deadpan voice over a spare piano or guitar (nothing tops “Pale Blue Eyes” with the VU).

Favorite album: Transformer

Favorite song: Perfect Day

Best experimental work: Metal Machine Music (most will hate it but I love beautiful noise)

Best collaboration: Songs for Drella (with John Cale, a tribute to Andy Warhol)

Compared to expectations: ↓

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