June 16, 2008 Earworm

I'm sorry that I don't remember the particular comedian's name but, when asked what a fish logo on the back of a car means, he replied, "Somebody doesn't know how to spell Jesus".

To me, it means that the soldier in front of me is going to make my trip hell. I've been paying attention this a lot lately and the odds are that if I find myself behind a fishmonger, then I'll be crying out, "Jesus Christ,would you please learn how to drive before you get us killed!". I don't know if this an overwhelming trend specific only to the ever sprawling Atlanta metro area or if others are suffering from it as well but someone needs to step up so I guess it will be me offering up a word to the pious.

Just because you're looking for Jesus doesn't mean that it's acceptable for you to drive twelve miles below the speed limit, suddenly speed up to twenty miles over said limit only to suddenly hit the brakes and drop down to 21 in the 40 zone. What are you doing up there, reading the good book? Isn't that out on tape already? Besides, if Jesus is so hard to find, try asking God - he's your co-pilot, right?! I don't want to start any blasphemous rumours but, really, the only difference between you and the asshole swerving in out of the other lane while chatting on the phone and flossing his teeth is that you have declared your convictions via a logo: in essence, you're an asshole with an easily recognized logo and equally as dangerous to those of us you believe need to be saved. And no matter how many times your inability to focus on more than one thing scares the hell out of me, I still won't believe in your vision. But, should you succeed in getting me killed and it turns out you were right, I'm sure you will be the first to say, "Told you so".

Which brings me to Depeche Mode; the little synthpop band that everyone who ever dipped their ears in the water just outside of the mainstream used as their example of being "into Alternative Music". From the moment I first heard the plinkety plunk love to love you giddiness of "Just Can't Get Enough" I'd been unable to fully commit to Depeche Mode. Like those who only visit the church on high holidays and weddings, I would buy the twelve inch singles they churned out as soon as they hit the import racks, paying nearly twice as much as I would have if I'd only waited a few weeks for the domestic release, but buy one of their albums?! Not until I could get a promo or cut out copy priced sensibly at $1.99, thank you very much. Besides, there was bound to be someone around me who had it and those who had it seemed to have entered into some unholy alliance where their end of the agreement was to play the damn thing to death.

Dipping into the recent Rhino/Mute re-issue program - and still, only when I find them in the second hand shops - I'm surprised by the obvious growth the boys demonstrated with each release and have to admit that I may have been wrong. While I have always been willing to claim "Construction Time Again" and "Black Celebration" as albums that I have (belatedly) loved, that love has been attributed to the fact that each one vividly recalls the time of my life in which they were released. Recent listening, however, makes me realize that maybe others were right all along - if not for the right reasons. As much as the sound is undeniably 1983, the lyrics are not only timeless but, in the case of "Told You So" for example, razor sharp and precise: "...standing in line the blind lead the blind/waiting and waiting for an overdue sign - brothers and sisters playing chinese whispers/if things aren't suited, then they'll get diluted..." As they grew increasingly aware of the world around them and the gray matter between black and white, their records became darker and fuller, exploring the many facets of a scenario without falling back on sloganeering.

Depeche Mode would eventually achieve what many of us thought unbelievable: "Personal Jesus" would become the biggest selling 12" single in Sire's history to date, they'd hit the US top ten with "Enjoy The Silence", and they'd debut at number one on both the US and UK album charts with "Songs of Faith and Devotion", all of which were pretty miraculous considering the humble beginnings of "Dreaming of Me" barely a decade before. Yet it probably wasn't until legendary hipster producer Rick Rubin had Johnny Cash record "Personal Jesus" that Depeche Mode felt truly justified in saying, "told you so".

To watch:

To cherish: Tim Russert

05/07/1950-06/13/2008
Integrity

June 13, 2008 Earworm

Starting with the hard won records for Sun/Philips International - the pew-rockin' "Lonely Weekends" to name just one - and on through his overlooked and largely unreleased Hi releases, Charlie Rich was one or two steps ahead of the rock and roll, blending genres that weren't supposed to play well together. Those who can get beyond the pay day hits of the Billy Sherrill/Epic years may have different favorite periods, clearly defined by the label to which he was signed at the time, but everyone I know seems to agree that "I Can't Go On" as a masterpiece of the blue-eyed soul genre and one of Charlie's career best.

A little bit of Spector, a little bit of Motown, and that beautiful country boy croon simmer and stew before rolling to a full stomping boil that explains why record companies continued to sign the guy up no matter how many flops he'd just left behind. This is usually mistaken for Elvis in '68 when I play it for someone unaware and I say, "No, this is what Elvis listened to two years before Elvis in '68".

There may be much to dismiss in Charlie's hit years on Epic but it is in the wondrous flops like this and many more, including the stunning last album, 1992's "Pictures and Paintings" for Sire, that give more than enough reason to excuse the cashing of the check - he'd already suffered for his art. Besides, "Behind Closed Doors" isn't all that bad, now is it?

p.s. I happen to like the Smash years best.

June 12, 2008 Eaworm

So, I found myself saying that I would perform a sexual act for Bob Mould's art. That I was willing to suffer for his art. Not that the former implies the latter; it doesn't. Because that would be rude. And Bob Mould is an indie hero. Bob Mould is to somebody what Weller is to me.

By the way, Bob Mould doesn't need anyone to perform a sexual act for his art. I'm just a nice guy. I would be happy to give him some sugar because it's a good idea. It's the least I could do.

Now, I didn't tell Bob Mould this but I did tell it to someone who knows him. And if they know what's good for them...

All that talk of Bob Mould's art made me realize that I still had not picked up his latest, "District Line", so off I went. This was a good idea because track eight is "Very Temporary" but the amount of times I've hit repeat suggest that it's not. Track eight is Bob Mould, standing naked, arms opened wide, and offering all or nothing, knowing full well that this stance is only a few nails shy of crucifixion.

This is not the first time that I've found myself inspired by Bob Mould and that is why I'm willing to suffer for Bob Mould's art.

Hey, Bob - call me...

Special OUTrageous WTF?

How much wood would chuck chuck if chuck did indeed chuck wood?

p.s. it's a myth: it wasn't him in the porn... or was it?

June 11, 2008 Eaworm

Conversing about the subtext of sixties pop songs with the Siniawsky's - as one does on a Friday evening - has me bending an ear in an attempt to see what I may have been missing. "Johnny Get Angry" was finally asked "Johnny Are You Queer" but I already knew the answer to that and I'm pretty sure I know the real story of "Jimmy Kiss and Run". And it's good to know that I'm not the only one who has suspected a down low theme to "I Think We're Alone Now".

The Crystal's "He Hit Me (And It Felt Like A Kiss)" has been discussed in detail for it's underlying theme of masochism but I've always thought the real story there was about insecurity, no matter how aware Spector was of the innuendo. Grizzly Bear's cover on their "Friend EP", however, throws any ambiguity aside like an empty condom wrapper with just one brief pause between "it felt like a" and "kiss"; just long enough to make it clear that he treasures the memory and the gratification that the moment provided.

It may not be my thing but it still sounds sexy as hell and not one bit gratuitous which is more than can be said for previous covers by Hole and The Motels. Go ahead, try it.

June 10, 2008 Eaworm

To demand all or nothing is a risky proposition and is best left to the young: the rest of us know better. You can wish, ponder, and dream for all of it but Van Vechten was right and you get what want in the form you deserve. And who wants all of that?

A passing comment to a friend led to a nice compilation of the lads' work being sent to my door. It should move me past the "Ogdens' Nut Gone Flake" album that seemed to be in the collection of every friend of my parents if I could stop listening to "All Or Nothing". The climbing/diving guitars, the terrace chants and, of course, the mind fucking vocal by Steve Marriott - alternately pleading and demanding - leave me speechless.

I'm not completely sold on Small Faces yet but I don't know how I've lived without this song and while it is playing, I give up everything.



with special thanks to Kmatt

To mark your calendar

CARL MARTIN: Photographs 1986-2007
Curated by Samuel Fogarino
June 20- August 2, 2008
Opening reception and artist's talk: June 20th, ( 6-9p)

Opal Gallery is pleased to present CARL MARTIN:
Photographs 1986-2007.
This collection of photographs span twenty-one years of life spent in New York, NYC, and Georgia. Carl Martin's unique awareness and sensitivity to the world around him resonates in the loose comic geometry of this snapshot based body of work. The range of subjects is not limited to a particular typology but, as he describes, is simply what was being seen and the "visceral way things just are". Curated by musician and writer Samuel Fogarino, this massive installation of imagery offers a contemporary view of the living connection to those who have created a life before us. Filled with aliveness, each individual photograph is evidence of the continuation of a celebration composed of many incongruent components.

Carl Martin received his degree from The School of Visual Arts in New York. He has exhibited nationally. His work is exhibited in numerous private and public collections including the Museum of Modern Art in NYC, New York and Hartsfield Atlanta International Airport in Atlanta, GA. He lives and works in Athens,GA.


The Opal Gallery is located at:
484 B-2 Moreland Ave NE
Atlanta, GA 30307
www.theopalgallery.com
For more information please contact:
Constance Lewis, Director
constancelewis@gmail.com
tel. (415) 601-0281

June 09, 2008 Eaworm

A wise but wanton young woman once told me that any cocktail party worth its salt needs a little tension. This is true but who in their right mind wants to be the source? Perhaps The Sensations' Yvonne Baker got the same advice because she's trying to beat down the door on "Let Me In" and she's going to use that sax as a battering ram if she doesn't get her way. From the sound of that upright bass, the rocking is really rolling in the hall and she'd be wise to stay right where she is. More dancing and less of a toll on her reputation...

To watch:

I've not been able to use paper towels for hand drying since...

To read: