|
|
|
photo & text by nacrowe
i dont even know where to start with TROUT MASK REPLICA (STRAIGHT, 1969) by CAPTAIN BEEFHEART & HIS MAGIC BAND. in an era, the 1960s, that was known for expanding the lyrical and sonic possibilities of ROCK N ROLL, this record stands alone for its experimental embrace of idiosyncratic sonic textures and rhythms, not to mention a complete discarding of traditional arrangements and recognizable song structures.
i put this record up against LOU REED's METAL MACHINE MUSIC (RCA, 1975) as records that are more about the process than the end result. whereas METAL MACHINE MUSIC is an exercise in dissonance, discordance and complete sonic disarray in the vein of STRAVINSKY or PENDERECKI, TROUT MASK REPLICA is steeped in the BLUES, yet utterly warped. this was done partly by BEEFHEART having his musicians record on multiple instruments they were not familiar with. it is a record composed by BLUES musicians intimately familiar with the form, yet not "biased" by the traditions and techniques of their instrument. the fact that the record even comes off coherent is really a testament to their musicality, despite its seeming naïveté. i almost feel that the nearest analogue to TROUT MASK REPLICA is not even music, but OUTSIDER ART. people like HENRI JULIEN FELIX ROUSSEAU or HENRY DARGER who impulsively manipulated their canvases based on pure instinct, without resorting to the techniques and artificial prejudices of the public or educators. despite their naïveté, what shines through is a purity of intent. everytime i hear TROUT MASK REPLICA i am challenged to rethink the purpose of basic melodic elements and how limited our collective musical imaginations really are by what we listen to in the WESTERN TRADITION. for me this record is a line in the sand to expand my musical horizons and challenge myself to experience alternate forms from other cultures, traditions and musical communities. if this dude was able to subvert BLUES in such a profound manner, there must be a world of truly alternative soundscapes out there just waiting to be discovered and cherished. 
0 Comments
photo & text by nacrowe
i cant help but smile every time i hear a song off the JAILBREAK (MERCURY, 1976) album by THIN LIZZY on the radio.
to me that record is the very definition of bravado in rock music. this is no doubt largely due to the contributions of singer/basist/songwriter PHIL LYNOTT, who is a absolute legend and arguably the great IRISH frontman of all-time (sorry BONO). i carry an IRISH last name and he is the sort of dude (like SHANE MCGOWAN, OSCAR WILDE or JOHNNY MARR) that makes me proud of my ancestral heritage. which is funny because LYNOTT has little in the way of vocal range, but makes up for such immeasurably with an everyman, working-class swagger and attitude that makes you root for him implicitly, especially in celebrated songs like "WARRIORS," "THE BOYS ARE BACK IN TOWN" and "JAILBREAK". that sense of audience connection is really what THIN LIZZY is about at their core. thats not to say that their sound wasnt influential. the synchronized dual lead guitar work of BRIAN ROBERTSON and SCOTT GORMAN, especially on the epic "EMERALD" provided the template that was later adopted by NWOBHM bands like JUDAS PRIEST and later THRASH METAL bands like SLAYER, METALLICA and MEGADETH and their acolytes in MASTODON, AVENGED SEVENFOLD and beyond. the synchronized dual lead sound THIN LIZZY popularized is such a potent, powerful sound. to my ears it seems very reminiscent of CELTIC FOLK MUSIC, which often relies on the interplay of stringed instruments coming in and out of synchronicity, creating a complex, overpowering sonic texture to sing over. it also creates a sense of immediacy and emotional power, which makes sense given the IRISH lyrical traditions of celebration and mourning the best and worst life has to offer. again, its a sound that is very IRISH at its core. a seminal record by a historically criminally underrated band from the 1970s. well worth revisiting and checking out again. 
photo & text by nacrowe
i'm just going to come out and say it, this book plays out a bit like a hagiography. NO HERE GETS OUT ALIVE (PLEXUS, 1980) by JERRY HOPKINS (and 10 years later amended by DANIEL SUGARMAN) is the first published biography on JIM MORRISON, the legendary front-man of LOS ANGELES rock icons THE DOORS. this book was based in part on interviews HOPKINS had done with with MORRISON a decade early just prior to the singer's death.
in a way it is to be expected. MORRISON was a shaman-like, slithering poet of a front-man who exemplified all the FREEDOM and excess of the 1960s DRUG CULTURE and the fervent ANTI-MILITARISM of the VIETNAM WAR protests. i suspect to baby boomers at the dawn of the 1980s he was still a beacon of hope for things to come (too bad TRUMP is part of that legacy now, ouch). what i took from this book at the time i read it, which was way back in high school, was the moment they inhabited. MORRISON was part of a generation that was challenging notions of RACE, MARRIAGE, WAR and PEACE, SEX and were most definitely in the midst of an INTER-GENERATIONAL divide. drugs and birth-control allowed people to expand their consciousness as well as divorce SEX from its procreative responsibilities in a pre-AIDS landscape. the book goes into great detail about the music scene in LOS ANGELES at the time including most predominantly ARTHUR LEE and his band LOVE, who were the house band at the WHISKY A GO GO when THE DOORS started out. ironically in a book about THE DOORS, it is his descriptions of LEE that really resonated with me since it expanded on that brief cultural moment when racial and artistic lines seemed to blur however temporarily in the arts scene, which mirrored the concurrent CIVIL RIGHTS and ANTI-WAR MOVEMENTS of the period. the other big takeaway is how these same indulgences are what did MORRISON in eventually, famously passing away in PARIS in requisite mysterious fashion. his death and mystique didn't interest me, but his downfall did. the manner in which he sequestered himself from the band and those who cared about his well being ultimately getting pushed away as drugs and hangers-on took over. if anything this is a big ROCK N ROLL cliche. a cliche that influenced countless musicians since including IGGY POP, JANE'S ADDICTION and (i'd argue) the entire PUNK movement. read this book with a grain of salt. if anything pay attention to its descriptions of the cultural and political moment THE DOORS inhabited. i am almost certain that their greatness lies in their innate ability to absorb and reflect the light from a burning nation bent on consuming itself ouroboros-style. i wish we had someone today who could artistically relay that today's fractured state of affairs accurately and authentically in real time. where is this generation's JIM MORRISON? 
parodies by nacrowe
join us TONIGHT at 10PM EST for an all new episode of DEER GOD RADIO on MAKERPARKRADIO.NYC with a playlist celebrating the legendary MUSCLE SHOALS session musicians out of rural ALABAMA.
past episodes of DEER GOD RADIO are available here at the DEER GOD website as well as in the MAKERPARKRADIO.NYC archives. and if you haven't done so already, make sure and download the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience! 
parodies by nacrowe
join us TONIGHT at 8PM EST for an all new episode of DEER GOD RADIO on MAKERPARKRADIO.NYC with a playlist celebrating the work of legendary songwriter and NEW YORK CITY cultural icon LOU REED.
past episodes of DEER GOD RADIO are available here at the DEER GOD website as well as in the MAKERPARKRADIO.NYC archives. and if you haven't done so already, make sure and download the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience! 
photo & text by nacrowe
DOUBLE FANTASY (GEFFEN, 1980) by JOHN LENNON and YOKO ONO is probably the most depressing album ever made. and that is not to say the songs are bleak or somber in tone, in fact it is the opposite. songs such as "BEAUTIFUL BOY," "WATCHING THE WHEELS" and "(JUST LIKE) STARTING OVER" find LENNON in a state of DOMESTIC BLISS, after surviving his years-long lost weekend away from ONO, and unbridled optimism about his new son SEAN. this record is so PAINFUL and HEATBREAKING to listen to because of its BUOYANT outlook and CHEERFUL, UPBEAT tone.
this is one of those records that is nearly impossible to listen to and divorce it from the fact that LENNON was senselessly murdered by a fan shortly after its release. similar albums in this regard that come to mind are JOY DIVISION's CLOSER (FACTORY, 1980) and NIRVANA's NEVERMIND (DGC, 1991). but those two are not comforting records celebrating FATHERHOOD and the benefits of COMPANIONSHIP. knowing about LENNON's own biography and the role his mother JULIA played into his fear of ABANDONMENT (she deserted him as a child), the very idea of him finding a sense of IDENTITY and SALVATION through LOVE at the moment his life was snuffed out from under him is too much to bear. even now more than 40 years later. at the risk of sounding entitled i'll say emphatically that we were all robbed. i literally cannot listen to this record without getting emotional. LENNON most definitely had one of the most affective singing voices ever which is severely underrated during and after his time. the former BEATLE had a unique instrument in that regard that allowed him to come off EARNEST and TUNEFUL without coming off as overly CONTRIVED or PROFESSIONAL. it worked in his favor throughout his career and gave his material the illusion of being effortless and of the people. it gave his songs an EVERYMAN quality. to this day when i hear PUNK ROCK, i hear LENNON. since childhood every time i hear this album it makes me think of my father, much like hearing "BABY LOVE" by THE SUPREMES reminds me of my mother. its just such an astounding affecting achievement and too tragic for words. a seminal recording by an iconic generational talent that should be heard and appreciated by everyone. 
parodies by nacrowe
check out HERE this recent streaming video episode of DEER GOD RADIO dedicated to the singer-songwiter HARRY NILSSON.
​ ​​past episodes of DEER GOD RADIO are available here at the DEER GOD website as well as in the MAKERPARKRADIO.NYC archives. and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience! 
photo & text by nacrowe
i have early memories of U2's ACHTUNG BABY (ISLAND, 1991). specifically seeing the evocatively colorful and downright sensuous STEPHANE SEDNAOUI-directed "MYSTERIOUS WAYS" video on small tv in the guest room of my family's house in SOUTHERN CALIFORNIA. i must have been 7 years old.
there was a definite energy happening with that record. to date its easily my favorite U2 record with standout tracks like "EVEN BETTER THAN THE REAL THING," "LOVE IS BLINDNESS," "ZOO STATION," "ACROBAT," "UNTIL THE END OF THE WORLD," and the aforementioned "MYSTERIOUS WAYS." even today, this record still moves me. also, how do you not love a record whose titled references a scene from the cult comedy THE PRODUCERS (EMBASSY, 1967). forget and put aside any ill will you may harbor towards BONO and his pretentious JESUS complex for a moment, realize the dude named a record after reference to a MEL BROOKS film. that is the very definition of awesome. any fan of the group will know that this record marked an important transition for the band where they in essence gutted and discarded the sound they had mined on previous releases throughout the 1980s. essentially guitarist THE EDGE was known for a jangly, delayed sound that made previous albums like WAR (ISLAND, 1983) and THE JOSHUA TREE (ISLAND, 1987) such seminal recordings. that ended with this record. sonically he explored digital / inorganic soundscapes with the help of returning producers DANIEL LANOIS, STEVE LILLYWHITE and BRIAN ENO that made use of everything from phasers and wah pedals to god knows what else behind the scenes. the results were startling and expansive, yet still sounded like THE EDGE through his unique melodic sensibilities that shone through new layered textures. besides the sonic experimentalism at the core of the record, the lyrics and persona of BONO went through a huge transformation. in essence he discovered irony. yes there are earnest tracks that call back earlier materials such as "ONE" and "WHO'S GONNA RIDE YOUR WILD HORSES," but those are an exception to other more forward-looking tracks like "EVEN BETTER THAN THE REAL THING" which seem to thrive on playing with the concept of authenticity in a world dominated by MASS MEDIA , specifically the newly emerging power of CABLE TELEVISION. its a heady concept that makes me think of other conceptual art pieces by the likes of DAVID BYRNE and TALKING HEADS. another song i really adore is "UNTIL THE END OF THE WORLD" which on first glance seems to be a classic love song where the protagonist is self-loathing and conscious of being unworthy of reciprocated love, but what you realize is that the subject of the story is in fact JUDAS ISCARIOT and his betrayal of CHRIST in the GARDEN OF GETHSEMANE. i know BONO is CATHOLIC and all, but this interplay of romantic and spiritual love through betrayal is very clever. maybe even literary. at the very least it is not standard rock fare by any means. my favorite songs on the record are "LOVE IS BLINDNESS" and "ACROBAT" which i believe were entirely written by THE EDGE about his then divorce. those two tracks are so completely and utterly raw and nakedly vulnerable. really quite the achievement. it seems en vogue to hate U2, but i always go back to those two songs which i would put up against anything by any artist during any period in ROCK N ROLL history. i do believe they are that great. i should also mention that during my elementary school days participating in local SOUTHERN CALIFORNIA sports events, one of the songs in the car on constant rotation was "ZOO STATION." for me that song is divorced from its BERLIN metro station origins (which i did get to visit!) and to me represents summer track meets and soccer tournaments as a youth. so i have deep sentimental attachments to this record. just want to put that out there. so much more i could go into in terms of production (recorded at the legendary HANSA STUDIO) and history (recorded near the recently opened BERLIN WALL), but suffice to say this is a great album by a great band at an important inflection point during their career when they really outdid themselves. arguably that hasnt happened since, but man what a great album. definitely worth looking into and investigating further. higly recommended. 
photo & text by nacrowe
it is hard to downplay the cultural and historical importance of the massively influential debut BLACK SABBATH album BLACK SABBATH (WARNER BROS, 1970). it basically created METAL as a genre. in fact, BLACK SABBATH is such an important band that there are whole current sub-genres that trace their origins back to specific songs from various albums.
of course this is all in hindsight, at the time of its release this record was not a critical favorite and the band were never considered to be at the vanguard of ROCK N ROLL or anything particularly unique or special. that fascinates me. this is the type of stuff i find intriguing about art in general, how each generation rediscovers and cherry picks from the past. how the inscrutable 16th century DUTCH painter HEIRONYMOUS BOSCH was a favorite of the SURREALISTS some 400 years later. how KRAFTWERK and KRAUTROCK in general influenced early HIP HOP acts like AFRIKA BAMBAATAA. why is BLACK SABBATH arguably as celebrated as LED ZEPPELIN with modern METAL musicians? its beyond interesting. putting that aside, what always struck me about their debut was how much a JAZZ element there was to it. if you listen to the interplay of the drums and bass on songs like "N.I.B." and "THE WIZARD" there is a definite swing element at play. in fact, it really grooves. i think that aspect of their sound is criminally overlooked. on subsequent releases they streamlined this sound which eventually became further developed with subsequent bands like JUDAS PRIEST, IRON MAIDEN, METALLICA, SLAYER into various beloved subgenres ranging from the extreme in GRINDCORE, BLACK METAL and DEATH METAL to the streamlined in THRASH METAL and the experimental in SLUDGE METAL, POST METAL and even DOOM METAL. obviously the most celebrated track is the opener "BLACK SABBATH" with its iconic tritone riff and creepy atmospherics. when i envision it the adjective cinematic comes to mind. it just sets a mood long before singer OZZY OSBOURNE enters in. obviously OZZY is one of the great frontman in ROCK N ROLL history, but id argue not from his voice which is evocative but rather limited. i dont think he'd disagree with me on that. where his gift lies is in his commitment to the material and his presence as a relatable avatar for the every-man. i find OZZY immensely more relatable than contemporaries of the 1970s like ROBERT PLANT, ROGER DALTREY or even members of the then-recently disbanded BEATLES. no disrespect to any of them but they cover an altitude beyond us mere mortals. to my ears, OZZY comes off as something attainable. i think this is why he is beloved by every ROCK N ROLL iteration since, including PUNK ROCK and all its incarnations like 1980s HARDCORE and 1990s ALTERNATIVE ROCK. i also think lyrically OZZY is never given enough credit for the intelligence of his lyrics. in my mind the song "BLACK SABBATH" can be a substitute for your pick of any existential crisis, global or personal. i should also mention that the riffs of guitarist TONY IOMMI are legendary and the aforementioned TRITONE PATTERNS (specifically diminished 5ths) as well as detuned guitars (to accommodate his recently disfigured right fretting hand) and ample distortion is in effect the very template for the sound of METAL for the past 50 years. its hard to downplay his impact on this and subsequent records. his riffs alone are copied by modern guitarist to this day. IOMMI basically is METAL. i was lucky in that as a teenager i got to see a reunited BLACK SABBATH at OZZFEST numerous times and hearing specific tracks like "BLACK SABBATH" and "N.I.B." in a love context always sounded haunting and absolutely massive. even in their waning years they were a force to reckon with even after supporting acts like SLAYER, PANTERA, SYSTEM OF A DOWN, JUDAS PRIEST, SLIPKNOT or ROB ZOMBIE. never did they disappoint. again, its hard to downplay the importance of this record. as i stated before, it is also one of those records that gets rediscovered year after year by young musicians, much like THE STOOGES or THE VELVET UNDERGROUND, and continues to influence and shape modern culture. seminal record by a seminal band. definitely worth your time to investigate. 
photo manipulation by nacrowe
due to their complex songs written in odd time signatures with with lyrics that had literary ambition, RUSH has had a cult following since the 1970s and are very much an acquired taste. some people can't get past GEDDY LEE's vocals, others find them pretentious.
in their documentary RUSH: BEHIND THE LIGHTED STAGE (BANGER FILMS, 2010) directors (and fellow CANADIANS) SCOTT MCFADYEN and SAM DUNN lovingly showcase the trajectory of their career both from the perspective of the band and their dedicated fans, which include prominent musicians like TRENT REZNOR (NINE INCH NAILS), TAYLOR HAWKINS (FOO FIGHTERS), VINNIE PAUL (PANTERA), LES CLAYPOOL (PRIMUS), DANNY CAREY (TOOL), ZAKK WYLDE (OZZY OSBOURNE, BLACK LABEL SOCIETY), SEBASTIAN BACH (SKID ROW), MIKE PORTNOY (DREAM THEATER), KIRK HAMMETT (METALLICA), TIM COMMERFORD (RAGE AGAINST THE MACHINE), JASON MCGERR (DEATH CAB FOR CUTIE), JIMMY CHAMBERLAIN and BILLY CORGAN (SMASHING PUMPKINS) as well as contemporaries like GENE SIMMONS (KISS) and MICK BOX (URIAH HEEP) and entertainment industry heavyweights like JACK BLACK (TENACIOUS D), MATT STONE (SOUTH PARK) and CLIFF BURSTEIN (Q PRIME MANAGEMENT). for some it was their technical wizardry on their instruments that drew them in while for others it was their expansive palette of sounds which mirrored thematic depths of their lyrics that inspired such devotion. what comes across is their genuine affinity for the honest, authentic nature of these three unassuming, well-adjusted CANADIANS. in GEDDY LEE and ALEX LIFESON you have two second generation immigrant kids that found each other in middle school in the suburbs outside TORONTO. LEE was the son of HOLOCAUST survivors of POLISH descent while LIFESON the son of a YUGOSLAVIAN (SERBIAN) family the immigrated shortly after WWII. in both you had families that instilled hard work and kindness, which in other words meant they had a typical CANADIAN upbringing. i feel like this was a key to their success since, ironically, it freed them from worrying about success. they had a balanced sense of identity rooted from an early age that made them take the successes and failures of their unusual career in stride with a sense of humor, but also intense focus on the craft itself. a very strong puritan ethic seems to mark them. there is a definite sub-narrative throughout the film that gets into the idea of RUSH as a cultural phenomena and the idea of not being "cool" and being an "outcast" that arguably defines the fan experience. most of the famous musicians (interestingly the majority of them being notable bassists and drummers) seem to have a confrontational approach to this subject as they dismissed that and liked them because they liked them. REZNOR in particular expands on his appreciation for the choices made by the band in terms of their inclusion of technology and sense of arrangement to incorporate an expansive set of instruments (including the keyboards, synthesizers, etc). the one voice i could have left without hearing predictably was CORGAN who seemed to whine about how RUSH wasn't properly appreciated by the music critics. at times it seems like he was projecting himself and the legacy of his own band onto RUSH in a visceral way which was annoying and completely self-serving. you really get the sense that RUSH don't care about people in opposition or indifferent to the group. their concern is their own sense of creative evolution and those that appreciate it. CORGAN's whining just seemed completely counterproductive and i resent him for it. that aside one of the things i most appreciated about the band was their sense of mutual respect and genuine love for one another. this was seen when the uncomfortable talk about when drummer NEIL PEART's wife and daughter passed away separately and in quick succession. the band gave him his space and were willing to hang it up. this dedication continues now after his passing from cancer. RUSH is GEDDY LEE, ALEX LIFESON and NEIL PEART. period. quickly about PEART, they go into his awkwardness growing up and discovery of drums as a means of self-expression but for me the most interesting thing about his career was how in his later years he took drum lessons from jazz icon FREDDIE GRUBER and effectively altered his playing style. that amazes me his devotion to evolving and learning new aspects to his instrument that continued until his passing. even when he was celebrated as one of the greatest living drummers, he retaught himself from the ground up. just so inspiring. if you don't like RUSH, i get it. but even so this film may be worth your time, even if it is a love letter to the greatest CANADIAN band by a CANADIAN production company which received grants from the CANADIAN government to make this production happen. i recognize all that and still recommend it. RECORD REVIEW | "THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS" BY DAVID BOWIE4/1/2021 
photo & text by nacrowe
i remember my senior year of high school, a few months after relocating to SACRAMENTO from KUWAIT in the aftermath of 9/11, visiting a childhood friend in ORANGE COUNTY over winter break. i always find it interesting how music has a way of presenting itself to you at a point when you are ready to receive it. this friend had lots of opinions on music, some i agree with and many i dont, but i remember being in a car with him for that few days with a copy of DAVID BOWIE's THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS (RCA, 1972) on repeat. by the end of that trip i was a BOWIE fan by osmosis and basically sought out the rest of his discography.
i think what captured my imagination at first were the lyrics and how they utilized this premise of an otherworldly being as a rock star to showcase real emotions regarding isolation and being an other. im thinking of songs like "FIVE YEARS," "MOONAGE DAYDREAM," "IT AIN'T EASY," "STARMAN," and "ZIGGY STARDUST" specifically. you can read into that depiction a pretty powerful character study of what it must have been like to be a BOWIE or any cultural phenomenon dealing with issues regarding fame and mass adulation. on one had you are raised up and admired but that distance is cutting into your very sense of identity and personal self-worth. "ROCK N ROLL SUICIDE" and "HANG ON TO YOURSELF" really dig into that territory lyrically. i remember during my time working abroad i was constantly aware of my own exoticness and being an other, especially when living in MYANMAR, JAPAN and ALBANIA. you had to be aware that people noticed you and that it was nearly impossible to blend in and be anonymous. i think that is probably why i gravitated to this BOWIE album in particular when living and working overseas. i should also mention that guitarist MICK RONSON is a beast and the feedback-drenched saturated soundscapes he came up with for this record make it sonically transcend the FOLK MUSIC and acoustic foundations that obviously underpin it. this record was a gateway drug to another of my favorite artists, T. REX, and the whole back-to-basics, less-is-more mentality of 1970s GLAM ROCK in general. BOWIE obviously had a varied career with lots of creative peaks, this just being one of them, but the world opened herein made me receptive to new sounds and ideas which to me mark any work of significance. it literally expanded my appreciation for what could be accomplished within the construct of ROCK N ROLL. it made me a more receptive listener. 
photo manipulation by nacrowe
i think people are aware enough of the innovative and controversial shenanigans that have taken place on the HOWARD STERN SHOW over the years. it is pretty amazing that he is being finally recognized in his late career for his singular interviewing skills, i'd even argue that his shows now are among the best of his career. just wish he'd stay off those lame network talent shows.
regardless i think often overlooked as well are the number of amazing music performances that have taken place on his radio show, mostly of the ALTERNATIVE ROCK, METAL and CLASSIC ROCK variety including the likes of CHRIS CORNELL, JOHN FOGERTY (CREEDANCE CLEARWATER REVIVAL), FIONA APPLE, DAVE GROHL (NIRVANA/FOO FIGHTERS), BILLY CORGAN (THE SMASHING PUMPKINS), ROB ZOMBIE (WHITE ZOMBIE), DAVID BOWIE, PERRY FARRELL (PORNO FOR PYROS / JANE'S ADDICTION) definitely check some of these out and see what i mean. 
parodies by nacrowe
check out HERE this recent streaming video episode of DEER GOD RADIO celebrating the conscious-expanding sounds of aural shaman JIMI HENDRIX! perfect for our 100TH EPISODE!
​ ​past episodes of DEER GOD RADIO as well as other MAKERPARKRADIO.NYC shows like MAKE HER SPACE, NOWHERE FAST, THE SYNTHESIZER SHOW and CLASSICAL-ISH WITH NUTMEG are available here at the DEER GOD website. and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience! 
parodies by nacrowe
join us tonight at 8PM EST for an all new episode of DEER GOD RADIO on MAKERPARKRADIO.NYC dedicated to the criminally under-appreciated singer-songwriter HARRY NILSSON.
past episodes of DEER GOD RADIO as well as other MAKERPARKRADIO.NYC shows like MAKE HER SPACE, NOWHERE FAST, THE SYNTHESIZER SHOW and CLASSICAL-ISH WITH NUTMEG are available here at the DEER GOD website. and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience!
photo & text by nacrowe
much like listening to one of his classic songs from the 1960s heyday of CREEDENCE CLEARWATER REVIVAL, JOHN FOGERTY's memoir FORTUNATE SON (LITTLE BROWN AND COMPANY, 2015) has an authentic hand-made, earnest and straightforward fell to it that belies an attention to craft despite its relative unadorned, plainspoken nature. sometimes with legacy artists you wonder who their audience is given that they are reliving, and us through their words, their salad days. some are attempting to recast their career in a new critical light (cough, cough, PETE TOWNSEND) while others are explaining their life experiences and shedding light on those that paved the way (KEITH RICHARDS and BRUCE SPRINGSTEEN's memoirs are great examples of such). i would put this memoir in the later category, the music of FOGERTY is and integral part of the greater musical narrative of AMERICAN CULTURE and his greatness as a preeminent songwriter precedes itself.
and i wanted to get that legacy out of the way early in this entry. my biggest takeaway about FOGERTY from this book outside of a clearer appreciation for his suffering caused by being exploited by one of the most famously lopsided deals in music industry history, as well as the repeated betrayal of his bandmates (including his older brother TOM); outside of those things what comes across is his passion for the folk traditions of AMERICAN CULTURE. maybe that comes from growing up poor in a crowded divorced household in the NORTHERN CALIFORNIA nowheresville of EL CERRITO where images of DAVY CROCKETT and the old WILD WEST of the 1800s spurred an imagination prone to escapism. it may have come from film and TV serials and songs his mother would sing to him in early childhood or family lakeside trips when his parents were still together. for whatever reason that APPALACHIAN musical tradition (COUNTRY, HILLBILLY and FOLK MUSIC) had a profound influence on the themes and texture of the songs he wrote and performed in CREEDENCE CLEARWATER REVIVAL and beyond. it goes without saying also that the cross-pollination of such with the BLUES that brought on GOSPEL-influenced DOO WOP and R&B and later early ROCKABILLY and ROCK N ROLL all found its way in the melting pot within his wild imagination. the fact that he became part of that great tradition for him is one of the great joys of his career. an example of such is related when he speaks about the common misinterpretation of "there's a bad moon on the rise" line in the song "BAD MOON RISING" which has been repeatedly misidentified as "there's a bathroom on the right." he states that because it is so commonly heard that way for so many years that in concert at least half the time he uses the bathroom line. he's in on it and gets it and celebrates it. i found that beyond charming. and for me this memoir is really about that passion for AMERICAN MUSICAL TRADITIONS. unfortunately the vehicle he used to gain notoriety had a TRAGIC HERO-esque flaw, he was surrounded by unscrupulous opportunists at his record label as well as within his own band. FOGERTY states matter-of-factly that the worst thing that ever happened to CREEDENCE CLEARWATER REVIVAL was THE BEATLES, since everyone in the band thought could be in THE FAB FOUR. there is this longstanding fantasy amongst audiences that bands are democracies. that each contribute to the total success of the bands creative output. this is the exception, not the rule. FOGERTY was CREEDENCE CLEARWATER REVIVAL. he wrote the songs, largely oversaw the production of their records, even managed them. it was his singular focus, drive and creative ambition that made them a success. this created a dynamic where the others became jealous of his stature and reputation. and that was the downfall of the band and it had long-lasting consequences on FOGERTY in terms of his relationships, sobriety, and mental/physical well being. it took him years to get out of that ever expanding spiral of shit that seemed to consume and drag him under. the fact that his bandmates, long after their breakup, seemed willing to sell their soul to the record company that exploited them all just compounded the tragedy here. it was literally FOGERTY against them all. i appreciate that FOGERTY wrote his memoir after he came to terms with record label and former bandmates. and by that i dont mean legally, but just in terms of their hold on his spiritual real estate. such was instead pushed aside by the efforts and unbridled love and loyalty of his second wife JULIE. it would almost sound corny to hear of their love story (with FOGERTY crying during an early date watching CINDERELLA with his wive's child from a previous marraige) if you didn't understand the level of loneliness and psychic detachment this man suffered. its all instead very touching. i thought this was a very affecting memoir and really played the balance of well of focusing on the depth of his suffering while also showcasing the efforts of those who embraced him unconditionally and ultimately brought him around to see himself of being worthy of such love. i highly recommend this memoir to anyone interested in CLASSIC ROCK or 20th CENTURY AMERICAN CULTURE in general. also you really get a sense of the IAGO-lke depts of greed and inhumane depravity that is SAUL ZAENTZ and his immoral colluders at FANTASY RECORDS. may they be reviled evermore. amen. 
photo & text by nacrowe
im writing this review having completed the book on election night 2020 still unsure of how we proceed as a nation. we are at a crossroads that very much reflects our where we are as a nation and what we value. it very much feels like the soul of AMERICA is up for grabs, or whatever is left after four years of TRUMP.
its interesting because these are the types of all-or-nothing existential stakes that inform the songwriting perspective of legendary musician and NEW JERSEY's favorite son, BRUCE SPRINGSTEEN as expressed in his autobiography BORN TO RUN (SIMON & SCHUSTER, 2016). he is one of those unique songwriters that is able to collapse the personal into the political without diminishing either, in fact their collision empowers the music with a definite edge that marks his best work in the tradition of BOB DYLAN, PETE SINGER, HANK WILLIAMS and others in the FOLK and early COUNTRY narrative traditions. but make no mistake he is also a ROCK AND ROLL lifer, part of a generation that was old enough to be of age for the BRITISH INVASION and appreciate the BLUES forebears that preceded (when they were still alive and touring late career), as well as take not of later revolutions like the PUNKS, HIP HOP and beyond. there is a definite narrative to his music that parallels that of his family, his relationships, his evolving sense of national and masculine identity and his status as an AMERICAN. what i take from this book is his preternatural ability to self-evaluate and have the confidence and courage to trust his sense of self. that compass doesnt always do him well, flawed as it is by a self-identity plagued and complicated by a childhood marked with a absentee father prone to fits of outburst and isolation. this left a son that was left to believe that love and affection were conditional and needed to be earned. it almost feels like a metaphor for the payoff of performance in general. what i admire is his ability to look inside and write about themes and people he knew, making organic connections with a local NEW JERSEY audience. throughout BORN TO RUN he acknowledges his limitations as a vocalist but such only motivated him to double down on his craft with blue collar workmanlike zeal. his success was earned with blood and sweat. now full disclosure: i live in NEW JERSEY. i am a child of CALIFORNIA and have lived abroad for more than a decade (NIGERIA, KUWAIT, ALBANIA, MYANMAR, CYPRUS, VENEZUELA and JAPAN), but since the age of twelve the only geographical constant were the summers i spent staying with relatives along the JERSEY SHORE and later relocated to LONG BRANCH and MIDDLETOWN. it just so happens that such are ground-zero for the story of SPRINGSTEEN. i have cousins that have lived in FREEHOLD and SEA BRIGHT and have had coworkers and friends that had apartments in NEPTUNE CITY, BRADLEY BEACH, BELMAR and ASBURY PARK. for me one of the great pleasures of this book, much like reading or learning about local film director KEVIN SMITH, is learning the history of my adopted home of NEW JERSEY. for me SPRINGSTEEN is a shaman who slips out beyond the ether and through mysterious sets of divinations produces tangible visions of ourselves as a nation, worts and all, set to a melody. it is a service he continues to provide. we are riding copilot with the king, the boss, as he circumnavigates our national psyche and the complicated emotions that abound. he provides a sense of a better future while taking not of the very real NOW. on election day with a future undetermined his work feels more relevant than ever. everything is up for grabs. all the marbles. just like his music. this is a phenomenally crafted book that is among the better written autobiographies by a musician that i have ye to come across. there is a lyrical bent to his prose that is deeply personal and right up there with that of LIFE by KEITH RICHARDS (review linked HERE). BORN TO RUN is definitely worth your time and investment, even if you are not an adopted son of NEW JERSEY. 
photo & text by nacrowe
legendary songwriter, musician and THE WHO creative visionary PETE TOWNSHEND is a hard one to pin down, especially after having read his memoir WHO I AM (HARPER COLLINS, 2012). on one hand he is on a shortlist of songwriters (others being JOHN LENNON, PAUL MCCARTNEY, MICK JAGGER, KEITH RICHARDS and RAY DAVIES) that sparked the BRITISH INVASION in earnest and permanently transformed music in the ENGLISH speaking world in the 1960s. the scope and naked literary ambition of his rock operas including TOMMY and QUADROPHENIA sought to expand the concept of an album beyond a collection of songs that no doubt found adherents in everyone from PINK FLOYD to GREEN DAY. genius is thrown around quite a bit these days, but arguably the creative output by TOWNSHEND makes his case for him.
on the other hand he comes off repeatedly like a stuffy, pretentious, self-obsessed, pedantic, domineering asshole who literally goes on for hundreds of pages about the relevance of his solo albums and half-baked musical theater projects and, most damningly gives little to no space in this book to his bandmates. not to mention this mindset also led him to rationalize dumb decisions that led to his 2003 arrest for charges i wont go into. i don't know what to make of his devotion to ZOROASTRIAN mystic MEHER BABAR, who claimed to be god in human form. all i can say is that TOWNSHEND is a supremely gifted silly person, makes total sense why in later life he identified so much with BILLY CORGAN. full disclosure: i am familiar with the main records by THE WHO, but by and large i am a bigger fan of their contemporaries THE BEATLES and THE KINKS. not even close. not trying to take anything away from TOWNSHEND's achievements, but all the same just wanted to let you know where my biases lie. it would seem that most readers are searching for something beyond the recounting of events or achievements when consuming a memoir. they are looking for some insight into he mindset of the subject. TOWNSHEND painfully sets up his narrative by talking about the pain and isolation of being part of the post-WWII generation that had to break away from parents who, understandably, sought safety in conformity and limited ambitions after nearly being obliterated by the NAZIS abroad and at home. i would have loved for him to go into how his lyrical and musical content was impacted by such. his father was in a big band and TOWNSHEND as a child spent summers watching him play at beachside gigs for tourists. how did that affect his view of the audience/performer divide? was he jaded or excited by the act of performing? there are so many enticing nuggets he throws out there only to be disregarded in a never-ending avalanche of details about real estate, money, cars and boats and will-he-or-wont-he get divorced that just drag on and on and on. for me this memoir unfortunately suffered from his ego, which he fully admits is huge, since it seems he is trying to settle for posterity his role in THE WHO and the history of western music in the 20th century. don't get me wrong, he's there as a prominent creative and deservedly so, but by denying the reader anything interesting concerning his bandmates or collaborators just diminishes the power of his own personal glory, which is undoubtedly his goal in this book. i also found his need throughout the book to root the value of his work by the judgement of ROCK CRITICS to be lame, especially when he would throw demos at them for feedback. the fact that he also contributed considerable funds to build the ROCK AND ROLL HALL OF FAME is beyond pathetic. who gives a shit what JANN WERNER and his enablers think is good music. nobody cares about the ROCK HALL or THE ROLLING STONE magazine. good i got that out. overall, this book was a bit of a disappointment. if you are looking to get an insight into the BRITISH INVASION era or rock history in general, i would highly suggest you consider KEITH RICHARD's excellent LIFE (LITTLE BROWN & CO, 2010) memoir (review linked HERE) which both recognizes the efforts of unsung and forgotten heroes (i.e. sideman) of ROCK AN ROLL and also soberly waxes poetic about the evolution of the form from a knowledgeable firsthand perspective. 
parodies by nacrowe
tonight's new episode of DEER GOD RADIO at 8PM EST on MAKERPARKRADIO.NYC is all about the expansive, singular, psychedelic, epoch-defining music of JIMI HENDRIX.
past episodes of DEER GOD RADIO as well as other MAKERPARKRADIO.NYC shows like MAKE HER SPACE, NOWHERE FAST, THE SYNTHESIZER SHOW and CLASSICAL-ISH WITH NUTMEG are available here at the DEER GOD website. and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience!
photo manipulation by nacrowe
HELLO CLEVELAND!
arguably the greatest parody film of all-time and the most painful for touring musicians to watch. i can't even count the amount of musicians in interviews i've read who namecheck this film as the most painful thing they've ever seen. SLASH himself said that THIS IS SPINAL TAP (MGM, 1984) ruined an entire GUNS N' ROSES tour for him since it hit the mark with such precision. where this film excels is in its mocking of the utter ridiculousness of nearly all forward-facing aspects of ROCK N ROLL, everything from album covers, lyrics, gear, stage set design to JESUS-complex surrounding musicians that drank the kool-aid on their image. in my estimation all the classic lines of this film have that core ribbing as its moral center. i remember once GENE SIMMONS saying that all bands (at the time he was referencing the then-current GRUNGE bands out of SEATTLE) were in the KISS business. they all sold records and merchandise. such is true. no matter how "serious" or "artistic" your band is and no matter how respected they are by those whose opinion carries sway, at the end of the day you are a product that is being sold. THIS IS SPINAL TAP showcases a band that didn't get that memo and seemingly trample over every fault-line a band has to negotiate throughout their recording and touring cycles. having been around musicians in studios to some extent, the ridiculous nature of it all has never been lost on me. that is what makes it compelling and not part of the straight world. the music is also classic. its obvious they are mocking specifically post-OZZY BLACK SABBATH and DEEP PURPLE and late 70s/early 80s METAL in general with their silly set designs and focus on the macabre. but my favorite song in the movie is their send-up of BRITISH INVASION-era songwriting in "GIMME SOME MONEY." never fails to make me smile. classic movie with classic lines that still stings its subjects. quite an accomplishment. 
parodies by nacrowe
i always feel like when you are listening to ROCK AND ROLL of any genre or era, inevitably all roads lead you to AC/DC. their sound is stripped of anything superfluous and just hits you over the head with the grace of a sledgehammer. to me it is the very essence of BLUES-based ROCK AND ROLL. i mean what more can you say that hasn't already been said about MALCOLM YOUNG (R.I.P) and his sublime rhythm guitar playing. it feels like he invented the notion of playing in the pocket. if you only listened to their grooves it'd be worth the price of admission alone, but on top of that you have ANGUS YOUNG and his legendary crafty lead work that never seems extraneous. BON SCOTT, BRIAN JOHNSON, i mean come on.
again, straight-up ROCK AND ROLL done absolutely right. no chaser. what more do you need on a thursday? ​past episodes of DEER GOD RADIO as well as other MAKERPARKRADIO.NYC shows like MAKE HER SPACE, NOWHERE FAST, and THE SYNTHESIZER SHOW are available here at the DEER GOD website. 
|
October 2021
All
|
