God Gave Rock and Roll To You

Tonight I attended a show at St. Andrew's Hall in Detroit. This is the full title of the show: Little Steven's Underground Garage Presents the Rolling Rock and Roll Show delivered by the AT&T Blue Room. Did you get all of that?

I wasn't going to go this show...part of me wanted to see it, but part of me thought that $20 was too much. The latter part of me had it right the first time. A friend invited me to the show yesterday, and when I say invite, I mean she said she would put me on the list. I agreed to go, but then changed my mind because I've been out a lot lately. This afternoon my roommate talked me into going. So, for me, this show was sponsored by Deanna (guest list add) and Mike (drinks). Thank you. It was worth it at least to see what it was all about.

This night of the tour had The Sights opening. I've supported the Sights ever since their first shows - through five drummers, two organ players, and at least three bassists. I love seeing them. But I didn't absolutely need to see them tonight. Next up was The Gore Gore Girls. I've never really been a fan, but I have to say they are sounding better than ever. Then there was Atlanta's The Woggles. Those guys were doing this garage rock thing when I was in grade school. The first time I saw them in the late '90s, the only people there were people who are all local rock stars now. Speaking of local rock stars, I couldn't flick a cigarette at tonight's show without hitting someone who's put out a record. The Woggles fucking rocked, and I'm really glad they were getting some exposure. They did it right, too. Lots of energy, tight songs, and the singer hung out in the crowd for a few times, dancing with cute girls and singing to us on our level. I really appreciate that kind of thing. Except when Eric Davidson of the New Bomb Turks does it - he's kind of a prick when he's in 'entertainer' mode. After the Woggles came Mooney Suzuki. They've always been pretty good live, but their over the top rock star schtick is exhausting. At this point in their career, they're venturing into territory that is already well covered: bland poppy rock, the kind of stuff meant for car commercials (incidentally, two of their songs have been in national car commercials).

Finally, the headlining act came on: The Zombies. This was the band that I really wanted to see. I can see those other guys anytime. The billing for the band lists them as "The Zombies" with 'Colin Blunstone - Rod Argent' in smaller print below it. That's because they were the only original members of the band onstage tonight. I'm fine with that, they were the songwriters, Blunstone was the lead singer with that smooth voice (and he still has it!) and Argent's organ provided the backbone to the band's sound. So it's a good thing, right? Maybe. Bass was provided by Jim Rodford, an old friend of the band who played on many Kinks records back in the day. His son was playing drums, I can't remember his name. Guitar was played by some other guy whose name I forget, but he played with Howard Jones and a bunch of other people. Whoever he is, he's quite capable, I just don't remember his name.

Argent dominated the show, and I don't just mean his onstage banter, I mean his fucking songs dominated the show. Did you know that after the Zombies broke up in '67, Rod Argent formed a new band and called it Argent? I always thought that seemed kind of pompous to name a band like that. Anyway, the band Argent also featured Jim Rodford, the same Jim Rodford who played bass with 'The Zombies' tonight. And tonight's setlist featured four Argent songs. That was about three too many. I only say three because Argent had one redeeming song: "God Gave Rock and Roll To You," and they played it at tonight's show. Let me tell you Rod Argent looks like a pedophile. I won't qualify that, but I'll give you a picture of the band Argent from 1973. Argent is second from the left and Rodford is third from the left.



He looks harmless enough, right? Here's what he looked like tonight:



See what I mean? Fucking creepy. He was such a completely pompous asshole. I was so sick of it, I was ready to leave, but then Blunstone announced they were going to play some tracks from their one full-length album Odessey & Oracle (that's the way they spelled it). Good. That was what I wanted to hear. I didn't go out tonight to hear Colin Blunstone's '80s solo hit of the Jimmy Ruffin song "What Becomes of the Broken-Hearted." Nor did I come out to hear Rod Argent brag that Jimmy Ruffin once said in an obscure BBC interview that Blunstone's cover was his favorite cover of the song. I also didn't come out to hear Rod Argent fucking brag about someone giving him an award because "She's Not There" has been played five million times on American radio. I fucking wanted to hear some good psych-pop. It took them long enough. It was torture sitting through the first two Argent songs...awful, awful metal-ish crap.

Overall, I have to say it was good to hear Colin Blunstone sing in person. Jim Rodford is an excellent bassist, and the drummer and guitarist were quite capable as well. But Rod fucking Argent...that guy irritates me. Watching his shit-eating grin every time people applauded was the most painful thing...the band should've been billed as Rod Argent, featuring the other guy who sang for The Zombies. That's what it felt like. He kept announcing the Odessey & Oracle songs like it was a revelation to realize how good they are. I'm guessing that's why they only played a couple songs off that album...even they don't get it, that was the best stuff from them. Memorable, influential, and extremely relevant. I wish they saw it that way.

Boat Rock

Years ago, the band Slint released an album with a song on it called "O Captain, My Captain." Ever since then, countless bands with similar sounds have made records with nautical themes, progressive/jazz instrumental structures, and folk sounds. Mainly June of 44. Jimmy Lucido of the LA band The Strays first referred to these bands as Boat Rock, and the name stuck. (it's possible that he wasn't the first to say it, but he was the first person I heard it from)

The first time I heard The Decemberists, I was annoyed by them. What they were making was Boat Rock, but in lyrics only. Musically, it was just...annoying. The vocals bothered me, the prog-folk instrumentation bothered me, and the way that indie kids were bending over backwards to heap praise on the band especially bothered me. I just didn't see it.

So they have a new album coming out on 10/3. It's called The Crane Wife. From what I've heard so far, I like it. A lot. It's entirely possible that my tastes have evolved, but I think the reality is that the band has evolved into something that's simply more palatable for me.

The vocals are Morrissey-esque, the instrumentation is still slightly folk-prog, but not annoyingly so. The lyrics are still Boat Rock, but that ain't a bad thing. You can check a track from The Crane Wife here. It's called "Summersong." Then there's the band's site, which is here, and if you click below, you can check out more songs on their MySpace page. By the way, the band is featured in the latest issue of Filter Magazine.

Eveningland

This is what I love about the alt-country genre, you can be folk and country and poppily atmospheric and it all fits. I guess I really don't like genres and classification, but it's a necessary evil if one is to explain what a band sounds like.

The Brooklyn band Hem has a new album out this week titled "Funnel Cloud." If you haven't heard this stuff yet, I recommend it. There's a bit of Neko Case (with and without the New Pornographers), but then there's also some Nick Drake, Belle & Sebastien, Beth Orton, and Patty Griffith in there, too.

I probably shouldn't bring up the alt-country thing because that may skew your opinion before you hear Hem. A better way of putting it would be traditional American music. And the band's principal members Dan Messe, Sally Ellyson, Steve Curtis, and Gary Maurer completely and totally bring it on this record. Guest players include Amy Helm (of Olabelle), the 21-piece Gowanus Radio Orchestra, and James Iha (Smashing Pumpkins). The instrumentation alone is staggering: piano, celeste, glockenspiel, guitar, mandolin, banjo, and harmonica.

You can check out Hem's site here, and you can click on that pic below to check out their MySpace page.

Power and Glory Part One

Lisa Papineau is a singer who has so far made her name as a vocalist with Air and M83. So it should come as no surprise to hear that her first solo album is a similar affair, but it's a bit more stripped down. Her breathy vocals remind me of Lori Carson, and her lo-fi electro sound mixed with organic instruments is a sound reminiscent of Beth Orton. Unlike the latter, Ms. Papineau's sound is a little less folky, and more pop. But not Britney Spears pop, you know what I mean.

Click the album cover below to check out the video for the song "Out To You," and trust me, it's more than just what you see in the first few seconds.

Then you can click on this picture of the artist herself to hear her song "Shucking. Jiving."

Then you can go out and buy the record, cuz it's already out and it's called "Night Moves."