Rock and Roll Midlife Crises

Growing up I never knew that rock and rollers got midlife crises. I thought they simply became oldies acts or they just quietly retired. Now it's different. Not only are the bands from our youth staying together, their busting their asses to stay "relevant" I'm not talking about niche artists like the Cowboy Junkies who quietly do what they do with their consistent followings, and I'm not talking either about old dudes like Neil Young or Neil Diamond who do what they do and don't care what anyone thinks.

I'm talking about the U2's of the world, the REMs of the world. Add The Cure and the Stone Temple Pilots, among others. to the list These bands still feel a need to be at the top, whether creatively or commercially. First, we must look at the motives, why these earnest indie and punk influenced bands feel a need to make well-publicized "comebacks", second we we look at the creative success of these endeavors, third, does anyone care anymore? Since REM is the latest to go on the comeback trail, that's who we'll talk about.

For most of the 1980's, REM ruled to college rock world. They had an indie soul but never played too loud to be called punk or never so self-consciously "indie" to be nazis about it. Records like "Murmur" and "Fables of the Reconstruction" featured four-minute rock songs that were never ignorant of their blues, country and folk roots, and fit well on alternative playlists without compromising themselves. Even when they got big in the 1990's, they never tried too hard to be commercial, and were still able to put out some of their best work. "Automatic for the People" is a beautiful sounding record, and "Monster" was a slyly subversive take on big rock. They had it all- financial success while compromising little.

Then it all came down. "Monster"'s big world tour nearly tore the band apart, literally and figuritavely. Drummer Bill Berry left, and they became much more a musical project than a band. The resulting had their moments, but were ultimately not up to par with their pre-Monster work. They were missing the rock and roll spirit that ultimately permeated all their records. One could say that the band had retired from the rock stardom thing, giving up the big rock for the whimsical "Up" and the idyllic "Reveal" which saw guitars all but disappear from their sound, in many cases replaced by cheap synthesizers and drum machines. Although they did make it out for a tour or two, they seemed content to be a studio band. Then came "Accelerate"

The new record finds Peter Buck picking up his guitar, it finds Michael Stipe barking out his words and the band actually playing with a full-time drummer. The result is "Monster" without the irony, a straight rock record, at least as straight as REM is capable. It first it seems a little generic for them, especially a band famed for it's nuance. It slowly grows on you, with the catchy melody of "Supernatural Superserious" and the angry "Mr Richards" drawing you in. Peter Buck is certainly on fire, and Michael Stipe seems to have abandoned his love songs for more political fare. The end result is a strong rock album which is the most consistent thing since "Monster"- but is it an REM record?.

The charm of REM was always their inability to be pidgeonholed. When other young indie bands were singing slightlly more literate versions of punk, REM played a little slower than most, Stipe mumbled his lyrics, and Buck's guitar was quite understated. While they would have a few rockers, much of their stuff was mid-tempo or even ballad-like. Their 90's work had more rock-like trappings, but it always had a twist, i.e, the neo-glam poses of "Monster." While REM has certainly earned the right to make the music they feel like making, turning themselves into a garage band might succeed in showing the world that they still rock, and have a very active social consciousness, but it also makes one long for the more subtle charms REM posesses.

They're too old for the indie kids to get into, not to mention the other kids who don't listen to rock, while many of us fortysomethings don't buy as much music anymore. Yes, there are still people out there that will get into this record, some of the indie kids who wonder where their favorite band got their influences, or middle aged white guys like me who have followed them for the last quarter of a century, but it's not going to win many new fans, which may be the reason they came out with this record in the first place.

Too Damned Old

I've been a music fanatic my whole life. I have spent an untold fortune on records, cassettes, CD's, concerts, etc. I still make it a point to see my heroes when they come to town, but the life and finances (or lack thereof) of a father of four do not permit me to drop the two hundred dollars plus to see a top act, or the logistics (babysitters, work, etc.) to see the less popular ones. I'm cool with that. One of my constant pipe dreams has been to go see the SXSW festival in Austin. In the pantheon of my music life, SXSW is heaven. Something I haven't witnessed in person, but when I see the list of talent playing there, it is staggering. There are so many good or at least interesting bands there, there is more than one person can see.

So looking at the pictures of this year's festival, I'm starting to maybe be glad I'm not there. Don't get me wrong. I would love to see The Black Keys, My Morning Jacket and all the others, but honestly it looks like music has become just one of the shows there. It looks like just another corporate hipster cluster fuck mixes in with a walking freak show. If I see another guy with blue-streaked hair jacking off his blackberry, I will go nuts. I imagine there are a ton of the indie "holier-than-thou's" who refer to Paul Westerberg as "Paul" even though they only shook his hand once, the ones who turn their nose up every time somebody says something who is not in their little brotherhood. I do not want to fight to get in a bar to sit in the back and hear bands with bad acoustics, I do not want to sift through a ton of crap to capture a good band out of it all. I don't want to be on a "VIP list" (well maybe that's a lie...), and well, maybe I'm getting old, but I just enjoy listening to music in the privacy of my home, or the rare gig where I'm writing it up and do get on the list. I don't even mind paying for a ticket on the rare occasion where the planets are properly aligned and I can go to a show. I can do without long lines, or the guy walking around who looks like a mix of the singer of Jethro Tull and Tia Carrere. I can do without the stuck up A & R types that are sinking with their record companies. I just want my music and don't want to be bothered while listening to it.

Okay okay. My editor sends me out there, I'm there in a second, provided it doesn't tear apart the rest of my life. All the A & R nazis, the long lines, the lack of places to stay, wouldn't stop me. We all think Mick Jagger is a prick, but we'd give up our life in a second to be him. I'll tell you what, though, SXSW, although it would be a great place to check out some great bands has lost some it's luster for me. Maybe the BS was always there, and I ignored it. Maybe it's not as bad as it looks, I don't know. I'm just a west coast loser writing a blog that nobody reads about something he knows nothing about. I think however, I'm not nearly as sad as I once was for never having been there, and I think my life will turn out just fine if I never do.

Trinity Sessions Redux

The Cowboy Junkies are celebrating the twentieth anniversary of Trinity Sessions by re-recording it with a bevy of guest stars including Vic Chessnut, Natalie Merchant, and Ryan Adams. I have not heard it, and who knows- it might just kick an already brilliant record up a notch. However, I'm wondering why they felt like they needed to re-record it. It was pretty close to perfect as it was.

Trinity Sessions in it's original form was a victory of the sublime. Margo Timmins rarely sang above much more than a whisper, brother Michae's guitar was spare as can be, and the other musical accompaniement of brushes and accordion was very understated. While many records nowadays literally as well as figuratively wave their tits in your face, the Junkies came from a quieter place. They wern't trying to take over the world or prove that they were the sexiest or loudest or most controversial, they quietly seduced you.

What's more- it was a victory of the moment. It wasn't some megastar record that took two years to record with a big-name producer. It was recorded in one day in that famous church with just one mike. They nailed it- all the universe coming together for them that day. But like other "victories of the moment", it is unlikely you ever hit it again. The Junkies were not a one-hit wonder. They produced and still continue to produce quality music and still have a decent following. However, they will probably never again hit that sublime magic that they did on Trinity Sessions. Even more reason to leave it be. It's one thing to re-release it with some bonus tracks or a DVD or something, but re-recording it just seems wrong.

One thing I read said they should've recorded a new batch of songs in that old church. that would've been better. perhaps a cynical marketing ploy a la UB40's many Labor of Loves. But still preferable to re-recording it. Now the Junkies probably aren't out for the big bucks or the cheap comeback, but they still should've left Trinity Sessions alone. it is perfect just as it is.

Classic Rock Comfort Food

I am normally turned on by anything new and different in music. I get bored easily, so if there isn't something there to pique my interest, I lose interest quickly. Yes, I do know there are few, if any original ideas in the world of popular music, but there are still creative ways of putting it all together that do cross original ground. There is an exception to this rule though, when I don't want to seek out little bands on lonely college radio ststions or NPR. Sometimes you need it to go down easy, to just sit back and enjoy something for the gut feelings it engenders instead of the complexities you search for on a Radiohead or Arcade Fire record.

With two audits coming up in my day job, everyone up and down the corporate ladder wanting something and now, I'm stressed. There is little or no comfort at home, with practices, bills, chores, and all that stuff. My only relaxation is the drive home, and the stereo in my little corolla. I can listen to talk radio, but it just makes me more pissed off and agitated. There is "adult alternative", but the angry female folk singers and the denizens of Chad Kroeger and Dave Grohl drive me nuts also. Ventura County doesn't get good reception for the L.A. area alternative stations, so I can't get those. Even when I do, it's a mixed bag of some good stuff with the third-rate Green Days and guys that sound uncomfortably close to Fred Durst. Don't even bring up Top-40, and although I can respect some of it, I don't listen to hip-hop or R & B that much. I'm a almost middle-aged white dude. What can I say? What does that leave? Classic Rock.

Alot of that is nonsense too, but when "Highway Star" comes on, I'm transfixed, listening to Ritchie Blackmore's racing guitar, and Ian Gillan's garage opera vocals, I'm taken away, and I don't have to think about it. Same thing hearing some Mick Taylor Stones or the soaring "Kashmir" by Zepplein. It is pure escapism. I do not care that the music critic in me may trash some of this stuff, but like Mickey D's you know it's not good for you, but it's fast, cheap, simple, and satisfying. there are things in that format which are mediocre in every stretch of the imagination, and force me to switch to the angry folk singers, but when it's in a groove, there is nothing like listening to the old 1960's and 1970's rock on the drive home.

It's not all comfort food. Zeppelin, the Stones, and The Beatles, to name a few, made unquestionably timeless music that still resonates. Look how well the Van Halen and Police tours did. Look at the Stones recent touring grosses. People are slobbering over a potential Zepplelin tour. At that time of the day, however, I don't want to debate in my mind whether Physical Graffitti or Presence was my favorite Zep album. I want to bang my head to "Achilles Last Stand", or be taken away by the Beatles "A Day in the Life". I may not remember what I heard two hours from now, but I will feel much better when I'm doing the dishes at home.

SB

Grammys?

You know, I just found out that the grammys are coming. There is still a little part of me that feels like for some reason I should be paying attention. But the fact that I've been a music critic for almost twenty years, and I have a large, if slightly dated music collection, means I should care, but I don't. I didn't care about them when I was a twentysomething wannabe hipster, and I don't care about them now that I'm a soccer dad veering on middle age. The reason? They are not relevant to me, and aside from some TV and gossip junkies, and some fans of the acts that actually have a chance, I don't think anyone else cares, either.

We're all in our little worlds now. Gone are the days where a record like Thriller would have huge crossover success and go like ten times platinum. We're all into our own little scenes now. Some of the best selling records nowadays will go platinum a few times over, but not become cultural phenomana like in the old days.

I've personally never paid attention. The metal and punk acts I listened to as a teenager either didn't care or knew they didn't have a prayer of winning anything. When a well-past it's prime Jethro Tull took the first hard rock grammy from a young, hungry Metallica, it said everything to me. The college bands I listened to were pretty much in the same boat as the punk and metal bands- didn't know and didn't care. The fact that Paul Westerberg never won one is a crime. there is a long list of brilliant, relevant, and relatively popular artists who never even had a nomination. The artists I listen to nowadays would probably fall into the "don't care" mode either. It is cool to see The White Stripes up for one, Wilco certainly is a great band, but most of the others........who cares?

On Grammy Night, I may channel surf to see who is doing what, but it will share time with the news, CSI re-runs or the Laker games. I'll look in the morning to see if Wilco or The White Stripes won, but that news will share the surfing with the war in Chad and the latest Hillary-Barack gossip. I don't really care, and winning or losing, I'm sure won't make Jeff Tweedey lose sleep. It means nothing to me, and watching it will be a tragic loss of a few hours of my life.

SB

Hello Out There

While I'm new to the blog thing, I'm not new to the writing thing. In my other gigs, I write what me editors tell me to write, but here I write about what I want. I will go on and on about music topics. I've been writing about it for close to twenty years for various small publications, and I will continue to do it here. Sports is also an obsession of mine here, and I will rant about that also. Let me know what you think! SB