parodies & text by nacrowe

lately ive been on an EARLY ROCK AND ROLL and R&B kick which of course leads one back to MEMPHIS and the LEGENDARY STAX RECORDS as well as its SISTER LABEL VOLT.  it hit me recently that with the EXCEPTION of EARLY ROCK AND ROLL PIONEERS like CHUCK BERRY and LITTLE RICHARD, the NARRATIVE surrounding the GENRE quickly diverts through the BRITISH INVASION BANDS in the 1960s and the SO-CALLED CLASSIC ROCK GROUPS of the 1970s, with IMPACTFUL BLACK R&B BANDS from the SAME PERIOD adjacent but not a part of the SAME LINEAGE in POPULAR MEMORY. 

which is totally ASS-BACKWARDS.

its pretty INCREDIBLE that during a PROLONGED ERA of TUMULTUOUS POLITICAL and RACIAL STRIFE regarding the VIETNAM WAR and the CIVIL RIGHTS MOVEMENT among other CONTENTIOUS ISSUES, STAX maintained an INTEGRATED STAFF and ROSTER throughout its TENURE.  that fact is just EMBLEMATIC of how TRULY AMERICAN the LABEL and its MUSIC actually was back in the day.  i just find it particularly CURIOUS that growing up and listening to the RADIO, that the 60s and 70s BANDS regularly played on MAINSTREAM ROCK AND ROLL RADIO STATIONS in LOS ANGELES were all WHITE with the NOTABLE EXCEPTIONS being THIN LIZZY, LOVE and THE JIMI HENDRIX EXPERIENCE.  BANDS like PINK FLOYD, THE BEATLES, LED ZEPPELIN, THE DOORS, ZZ TOP, THE WHO, AC/DC, THE KINKS, CHEAP TRICK, AEROSMITH, TOM PETTY AND THE HEARTBREAKERS and THE ROLLING STONES among others.

much like discovering BLACK SABBATH in high school which begot an ALTERNATE LINEAGE from the SAME PERIOD in RAINBOW, BUDGIE, JUDAS PRIEST, WITCHFINDER GENERAL, UFO, IRON MAIDEN and PENTAGRAM, discovering STAX meant uncovering previously UNKNOWN (to me) SINGERS like JEAN KNIGHT, LINDA LYNDELL, WENDY RENE and CARLA THOMAS as well as CLASSIC ACTS like ALBERT KING, WILSON PICKETT, ISAAC HAAYES, SAM & DAVE, BOOKER T & THE MGs and THE STAPLE SINGERS. 

in thinking about the LEGACY of STAX, i feel like the TIRED and LONG-PERPETUATED CONVERSATION around EUPHEMISTIC TAGS like "URBAN MUSIC" are not helpful and diminish the IMPORTANCE of these ARTISTS.  it marks them as an other to the SUPPOSED MAINSTREAM, which of course are usually just WHITE VARIATIONS on their INNOVATIONS.  same with JAZZ before and HIP HOP after.  i just dont get why the UNITED STATES has to function like this.  if anything STAX, like SIMILAR LABELS in MOTOWN and TAMLA, is by definition QUINTESSENTIAL AMERICAN MUSIC for the time capsule. 

end stop. 

but for some ABSURD REASON they will always get designated as OTHER even though the very NOTION of ALTERNATE CULTURAL HISTORIES is BOGUS and a COMPLETE FALLACY.  everything is INTERRELATED.  i just dont get it, though my WORKING ASSUMPTION is that this COMMON MISPERCEPTION is probably related to the BROAD INFLUENCE of CORPORATE RADIO STATION PLAYLISTS over the past century.

embedded below is a past DEER GOD RADIO episode on nonprofit internet radio station MAKERPARKRADIO.NYC that includes a playlist celebrating the ICONIC MEMPHIS RECORE LABEL STAX RECORDS.  enjoy!

ive long considered the RED HOT CHILI PEPPERS' PIVOTAL fourth album MOTHER'S MILK (EMI USA, 1989) as a TRANSITIONAL EFFORT that marked the second phase of their CAREER.  such seems OBVIOUS since it is their first recording in the wake of FOUNDING GUITARIST HILLEL SLOVAK's untimely passing from an ACCIDENTAL HEROIN OVERDOSE and the UNDERSTANDABLE subsequent departure of likewise FOUNDING DRUMMER JACK IRONS shortly thereafter.  for a moment the BAND seemed on the decline, a VICTIM to ROCK AND ROLL cliches revolving around DRUG CULTURE, that was until they found the UBER-TALENTED, YOUNG GUITARIST JOHN FRUSCIANTE and the HARD-HITTING MICHIGANDER CHAD SMITH on DRUMS to round out what is considered by most to be their DEFINITIVE lineup.

as such MOTHER'S MILK feels like a CONTINUATION of PREVIOUS EFFORTS that utilize aggressively SYNCOPATED FUNK RHYTHMS propelled by FLEA's signature PERCUSSIVE SLAP-BASS TECHNIQUE and SINGER ANTHONY KIEDIS' highly IMPROVISATIONAL SCAT-SINGING VOCAL STYLINGS.  this is EVIDENT on TRACKS like "JOHNNY, KICK A WHOLE IN THE SKY," "STONE COLD BUSH," "SUBWAY TO VENUS," "PUNK ROCK CLASSIC," "MAGIC JOHNSON" and their CELEBRATED pair of COVERS in STEVIE WONDER's "HIGHER GROUND" and THE JIMI HENDRIX EXPERIENCE's "FIRE." the later of which was recorded with SLOVAK and IRONS. given FRUSCIANTE's MUSICAL VIRTUOSITY and LOVE of the BAND as a FORMER FAN and AFICIONADO of all things FUNK and SMITH's  MUSCULAR CHOPS on the kit, these TRACKS present a BAND with no DISCERNIBLE LETDOWN in terms of SONIC AGGRESSION.  but where the lineup shines is in RELATION to more DYNAMIC, MELODIC TRACKS like "TASTE THE PAIN," "KNOCK ME DOWN" and especially the INSTRUMENTAL "PRETTY LITTLE DITTY" (later TASTELESSLY SAMPLED by CRAZY TOWN on their SOLE NU METAL hit "BUTTERFLY") which seemingly point the way for their subsequent CONSIDERABLE EVOLUTION and GROWTH as a CREATIVE UNIT on their EPIC, GENERATION-DEFINING follow-up BLOOD SUGAR SEX MAGICK (WARNER BROS, 1991). 

the IMPACT of FRUSCIANTE himself cannot be UNDERSTATED.  he brought a HENDRIX-ian MUSICAL VOCABULARY and SENSE of MELODIC DYNAMICS to the BAND that would PROFOUNDLY INFLUENCE both how FLEA interacted with his INSTRUMENT as a PLAYER (he would become more TASTEFUL, less SHOWY and artistically ADROIT with his BASS-LINES) and how KIEDIS would convey his LYRICAL CONTENT (which would become much more PERSONAL and consequently RELATABLE).  when i listen to MOTHER'S MILK i am confronted with a BAND that is between TWO MODES of SONGWRITING, both of which these NEW MEMBERS are DEFT at conveying, but EMOTIONAL POTENTIAL of these batch of SONGS is not quite there yet.  not like they would be on subsequent releases like the AFOREMENTIONED BLOOD SUGAR SEX MAGICK and CALIFORNICATION (WARNER BROS, 1999), which are TRANSCENDENT ROCK AND ROLL albums that will likely CELEBRATED for POSTERITY.
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while this album has its MOMENTS and is undoubtedly a step up in terms of SOUND QUALITY via the likes of PRODUCER MICHAEL BEINHORN, who would later find further SUCCESS with subsequent DISPARATE, UNIQUE releases like SOUNDGARDEN's SUPERUNKNOWN (A&M, 1994), MARILYN MANSON's MECHANICAL ANIMALS (INTERSCOPE, 1998) and HOLE's CELEBRITY SKIN (DGC, 1998) and KORN's UNTOUCHABLES (EPIC, 2002), i would not consider such an ESSENTIAL RED HOT CHILI PEPPERS release.  it is a SONIC STEPPING STONE to what would be their DEFINITIVE ERA as a CREATIVE UNIT.  the final piece of adding PRODUCER RICK RUBIN to the MIX from here on out brought a more DRY, SPARE SOUND that put the SPOTLIGHT on the BAND's unique INTERPERSONAL CHEMISTRY and strikingly EVIDENT MUSICALITY as well as that UNDEFINABLE HUMAN ELEMENT that his INIMITABLE ear could detect.  BEINHORN is more about LUSH, PERFECT SOUNDS and IMMACULATELY RECORDED PERFORMANCES a la other NOTABLE PRODUCERS like GIL NORTON (PIXIES, ECHO & THE BUNNYMEN, FOO FIGHTERS, JIMMY EAT WORLD) and MARTIN HAMMETT (JOY DIVISION, MAGAZINE, THE DURUTTI COLUMN, A CERTAIN RATIO).  such was never what the RED HOT CHILI PEPPERS were about at their CORE, which is BAND that loves to JAM and play off each other in the MOMENT.  GREAT listen nonetheless but something i'd advise digging into after other SEMINAL recordings like the AFOREMENTIONED BLOOD SUGAR SEX MAGICK, CALIFORNICATION and the RECENT UNLIMITED LOVE (WARNER BROS, 2022).

i was made aware of the INDEPENDENT and highly ECLECTIC OHIO-based TROPIDELIC and their HYBRID SOUND due to their 2022 COLLABORATIVE single "FALLING DOWN" with NICK HEXUM of 311.  mixing FUNK with a healthy dose of REGGAE, PUNK ROCK and HIP HOP, TROPIDELIC have a similar SUNNY AESTHETIC and HIGH ENERGY SOUND to that of LIKE-MINDED bands in PEPPER, THE URGE, SUBLIME, IRATION, DIRTY HEADS and, yes, 311.  originally formed at KENT STATE UNIVERSITY, what differentiates the band in my mind from the pack are the SMOOTH, MELODIC VOCALS of frontman MATTHEW ROADS.  at least that was what stuck out to me upon first listen.

although the band has been around since the MYSPACE era, i love the fact that their hard work has seemingly paid off with a recent uptick in VISIBILITY.  i always figure that when i know of a band, such means they have long been out of the UNDERGROUND.  which only bears well for the prospects of TROPIDELIC.  definitely worth checking out, especially where i am on the EAST COAST during this UPCOMING HEAT DOME of beyond OPPRESSIVE sunlight.  maybe their GOOD VIBES will translate to such being a little less BRUTAL.  maybe.

i usually shy away from writing about greatest hits collections since they are usually just CYNICAL cash-grabs with ZERO ARTISTIC VALUE, but i'll make an exception when it comes to 70s FUNK giants in the COMMODORES and their ALL THE GREAT HITS (MOTOWN, 1982) package.  it basically has every stone cold CLASSIC and absolutely not-embarrassing LIONEL RICHIE banger in existence.  everything from the savagely FUNKY "SLIPPERY WHEN WET," "TOO HOT TA TROT," "MACHINE GUN," "I FEEL SANCTIFIED" and "BRICK HOUSE" to the emotive saccharine sweet ballads of "THREE TIMES A LADY," "STILL" and "EASY."  id file this record specifically under 'always makes me smile' since i can listen to it under any MOOD or SITUATION and can't help but nod, laugh and smile.  just try.

​somewhere along the lines, let's call it the the entire 1980s, RICHIE became popular but got off-track in a critical sense and became something of a PERENNIAL LAUGHING STOCK with ABSURD SCHMALTZ hits like "DANCING ON THE CEILING" and "ENDLESS LOVE."  to date i feel like those songs and many others in the same vein obscured his image as one of the great TRADITIONAL POP SONGWRITERS of the MODERN era.  my introduction oddly was through the MUCH-REVERED and INNOVATIVE ALTERNATIVE ROCK band  FAITH NO MORE who covered "EASY" on their second record ANGEL DUST (REPRISE, 1992), which i assumed was a SEND-UP or a PARODY.  nope.  it as a straight DOWN-THE-LINE COVER with all the IDIOSYNCRATIC VOCAL INFLECTIONS carried over intact verbatim.  the GENERATIONALLY-GIFTED SINGER MIKE PATTON can seemingly sing anything from any genre and he chose to go with UNADULTERATED RICHIE for a reason.  i have no doubt its out of an abundance of respect for his SONGWRITING, COMPOSITION and VOCAL TALENTS, which consequently have never been respected up to level they deserve.  it is always odd when a cover does that for a certain audience, but that is why FAITH NO MORE is essentially doing GOD'S WORK here.

and those HARD-DRIVING 70s FUNK TRACKS rank with anything released by GEORGE CLINTON, ZAPP, EARTH WIND & FIRE, KOOL & THE GANG, CAMEO, THE GAP BAND or LAKESIDE in terms of sheer BOOGIE and downright DACEABILITY.  i hold out that STEVIE WONDER, JAMES BROWN and SLY STONE may have him beat at his own game, but that is the case with nearly everyone who ever existed not named LENNON or MCCARTNEY.  in practical terms, i sometimes have to catch myself when in the supermarket and "BRICK HOUSE" comes on because i just get transported to a whole DIFFERENT DIMENSION and MENTAL SPACE where things are alright and the GROOVE is everything.  and for me that is the true to test of a GREAT ARTIST, how much their MUSIC just sends you off to a different EMOTIONAL sphere instantaneously where you bypass CONSCIOUSNESS and just live-and-die moment-by-moment in that UNDENIABLE GROOVE.  that is the COMMODORES to me and RICHIE at his UNQUESTIONABLE peak.

arguably the defining moment of my life (so far) was when my family moved to NIGERIA from SOUTHERN CALIFORNIA in the mid-1990s.  shortly after arriving during this pre-internet era a classmate introduced me to 311 via their breakout self-titled 311 (CAPRICORN, 1995) album and from there i sought out on subsequent overseas trips their previous MUSIC (CAPRICORN, 1993) and GRASSROOTS (CAPRICORN, 1994) albums.  needless to say, these three records as well as the subsequent TRANSISTOR (CAPRICORN, 1997) release was an INTEGRAL part of my soundtrack to the TRANSFORMATIONAL experience of living and exploring WEST AFRICA as a teenager.

and for me that UNIQUE interplay between my memories growing up in a foreign culture and the music itself is what makes 311 such an emotionally loaded topic for me, as i am sure it is for all people and the CONSEQUENTIAL ART, LITERATURE, FILM and MUSIC they consumed at a PIVOTAL stage in their life.  but i will try.  it is evident with even a CURSORY listen of GRASSROOTS tracks like "TAIYED," "LOSE," "GRASSROOTS" and especially "8:16 A.M." that co-vocalist / rhythm guitarist and main songwriter NICK HEXUM seemingly knows his way around EVOCATIVE and SOOTHING JAZZ-based PROGRESSIONS.  the sonic juxtaposition of MEMORABLE SINGLE-NOTE FUNK-based GUITAR RIFFS with HIP HOP production and vocal cadence, as well as REGGAE-indebted RHYTHMS and a layering of those SOPHISTICATED JAZZ CHORD INVERSIONS immediately differentiates the MUSICAL STYLINGS of 311 from that of likewise artistically FORMIDABLE, HYBRID ALTERNATIVE ROCK peer groups at the time like the RED HOT CHILI PEPPERS, RAGE AGAINST THE MACHINE and later INCUBUS.  drummer CHAD SEXTON likewise adroitly fuels this CONTAGIOUS kinetic energy and RHYTHMIC FORWARD MOMENTUM with patterns that are often HARD-DRIVING SHUFFLES, which makes sense given the SOPHISTICATION of the MELODIES and underpinning CHORD PROGRESSIONS at play, especially on COMPLEX showcase tracks such as "SIX," "NUTSYMPTOM," "LUCKY" and  "APPLIED SCIENCE".  worth mentioning also are the indelibly LYRICAL SOLOS of lead guitarist TIM MAHONEY that are reminiscent of THE GRATEFUL DEAD's JERRY GARCIA's lead work, especially with his IDIOSYNCRATIC penchant for the AUTO-WAH GUITAR EFFECT.  STANDOUT moments include the MAHONEY leads on "LOSE" and "TAIYED."

for me the highlight of the album (and arguably 311's catalogue) is the BROODING and emotively CHURNING buildup of the last track "1, 2, 3."  the way the song EBBS and FLOWS and seemingly FLOATS along a MYSTERIOUS ethereal plane until it CRESCENDOS into a satisfying RESOLVE that gets me every time.  its just musically SOPHISTICATED in a way that doesnt necessarily show-off that capacity, but leaves you as a listener SATISFIED and CONTENT.  almost like a great PSYCHEDELIC BEACH BOYS or FLAMING LIPS track that takes you along on a LUSH AURAL JOURNEY.  its an experience.  lyrically the songs seems to be dealing with how to deal with REGRET for the past and the PSYCHIC PAIN and CONFUSION that comes with FORGIVING ONESELF and MOVING FORWARD.  letting the past be in the past.  life in NIGERIA could be quite BRUTAL at the time, dealing with all that comes with being a foreign child of PRIVILEGE amidst a military dictatorship.  WANTON DEATH, POVERTY, INEQUALITY and HUMAN SUFFERING was something i witnessed at an INTIMATE distance as a teenager.  it was easy to feel HELPLESS and completely IMPOTENT to effect change in that environment, never mind the social awkwardness of going through puberty.  "1, 2, 3" was a song in particular during that period that i relied on to CALM ME DOWN and get me through some truly TERRIBLE days and for that i still feel decades later a SPECIAL affinity for 311 and their music.  to me GRASSROOTS is their greatest moment in a career full of highlights, but that is probably more of an assessment based on my personal narrative then theirs.

either way, GRASSROOTS is well worth checking out.  much like the RICH and ECLECTIC 311 catalogue in general.  enjoy.

when i consider the MUSIC of NILE RODGERS the word that keeps coming to mind is JOY.  his KINETIC, UPBEAT and monstrously CATCHY RHYTHMS and COMPOSITIONS that he has architected not only for himself and his LEGENDARY band CHIC but also in COLLABORATION as a PRODUCER and CO-SONGWRITER with the likes of DAVID BOWIE, MADONNA, DIANA ROSS, INXS, THE B-52s, GRACE JONES and DURAN DURAN is the sound of EXUBERANT CELEBRATION and the good things in life.  which makes it all the more COMPELLING that his life narrative, especially related to his TRAUMA as a child and young adult, is such a HARROWING and borderline TRAGIC affair with NEGLECT, MENTAL HEALTH, DRUG ABUSE and POVERTY affecting his early life.  both sides of the coin are discussed in an OPEN and NONJUDGEMENTAL manner that is both DISARMING and GUT-WRENCHING in his RIVETING memoir LE FREAK: AN UPSIDE DOWN STORY OF FAMILY, DISCO AND DESTINY (SPIEGEL & GRAU, 2011).

RODGERS as a kid led a PERIPATETIC existence as a young child, being left to his own devices on both coasts by a string of relatives who were loosely given custody of him as his BEATNICK mother led her DRUG-ADDLED life largely unencumbered by the responsibilities of MOTHERHOOD.  being a CURIOUS and INTUITIVE learner from a young age, RODGERS discovered the power of MUSIC when he was in LOS ANGELES, where he learned to read MUSIC and play the flute and clarinet in junior high school.  this ability to both read and write compositions, as well as comprehend and implement SOPHISTICATED JAZZ INVERSIONS and VOICINGS of popular CHORD PROGRESSIONS would prove incalculably useful in his later career as a musicians, SONGWRITER and PRODUCER of the first order.  after switching to guitar in high school, RODGERS progressed quickly as serendipitously the range of the instrument matched that of the woodwinds he was trained on years earlier.  later relocating to NEW YORK CITY, he got involved with PROGRESSIVE politics at the time (including the BLACK PANTHERS) and played small clubs in GREENWICH VILLAGE which eventually after years transitioned into work as a session and back-up musician on the CHITLIN CIRCUIT.  in this MUSICAL COMMUNITY he eventually found his musical counterpart in bassist BERNARD EDWARDS, whom he would form CHIC with years later.

one of the interesting aspects of this memoir is how RACE played a part in RODGERS life and how he adroitly navigated such in his career.  when CHIC started out they were rejected by labels when they learned the band was BLACK, and thus UNMARKETABLE to a WHITE RECORD-BUYING PUBLIC.  taking inspiration from KISS and ROXY MUSIC, RODGERS surmised that if himself and EDWARDS laid back in the RHTHYM SECTION and let others (i.e. singers) form the popular image of the group to the PUBLIC, then such would counteract this RACIST BIAS in the music industry.  and it worked.  later on he would face similar headwinds with songs and whole records being rejected by the labels of COLLABORATING artists (i.e. DIANA ROSS and DURAN DURAN) for sounding too ETHNIC.  its INTRIGUING that DAVID BOWIE and a pre-global fame MADONNA had enough industry clout to counteract such PREJUDICES.  cant make this stuff up.

another intriguing thread throughout the memoir is the fracturing and dismantling of one's IDENTITY and COMMUNITY through DRUG ABUSE.  RODGERS is a HIGH-FUNCTIONING DRUG ABUSER, mostly COCAINE and ALCOHOL, with a high tolerance throughout the 1970s and 1980s, but eventually such corroded away both his ABILITIES and warped his literal grasp of REALITY.  he hit rock bottom after being confronted with a recording of a live performance showing him to be quite TERRIBLE which countered his IMPAIRED MEMORY of said event.  he thought he was hot shit that night.  falling into fantasies of PARANOIA and HOSTILE DELUSIONS, he put himself into rehab and got better over time, putting his life before his work for the first time.  TRAUMATIC triggers such as the UNEXPECTED sudden PASSING of EDWARDS did not cause him to relapse, thus breaking the cycle that he inherited from his FAMILY.  specifically his FATHER who used DRUGS for years until his DEATH to escape the INTENSE PAIN of RODGERS' MOTHER refusing to marry him.

at the close of the memoir we briefly learn about his CANCER diagnosis, which we now know years later, long after the publication of this book, that he came out (barely) on the other side of.  music during this period, which also included an ALZEIMER'S diagnosis for his BELOVED MOTHER BEVERLY, was his vehicle for finding meaning in existence and literally celebrating life with his extended MUSICAL COMMUNITY.  finding that COMMUNITY and its status as a SURROGATE FAMILY is another COMPELLING aspect of this memoir.  for someone that was so severely NEGLECTED as a child, the rise of CHIC was specifically POWERFUL as it tapped into a likewise NEGLECTED segment of the POPULATION that intersected UNDERGROUND BLACK, LATINO and GAY SUBCULTURES.  when the backlash against "DISCO" happened it cut deeply as it seemed WHITE AMERICA was aggressively assuming back the reigns of cultural hegemony from this UNDERPRIVILEGED MINORITY POPULATION.  the RACIAL OVERTONES of the DISCO SUCKS movement were likewise pretty EXPLICIT for those that that chose to pay attention.  most record buyers didnt and RODGERS career suffered, until he re-marketed himself and BOWIE resurrected his career.  i personally find the whole discussion around DISCO FASCINATING as it is a stain that continues unabated to this day, with the music being disavowed as being largely INTERCHANGEABLE and DISPOSABLE fluff with little to no AUTHENTICITY, as opposed to the SOPHISTICATED MUSICALITY and TECHNICAL EXECUTION that was at its core.  never mind the fact that dancing served as an escape and place of REFUGE and CELEBRATION of IDENTITY for all of these UNDERSERVED POPULATIONS.  it is still quite an UNRESOLVED dynamic that i take great interest in reading about and learning from.

LE FREAK is an CAPTIVATING memoir that very much exposes the steep hills and EXTREME low depths of the valleys of RODGERS' WELL-LIVED life.  this book is a RARE achievement and one of the more COMPELLING memoirs ive read about a musician since starting this blog.  i'd put it right up there with KEITH RICHARDS' likewise EXCELLENT LIFE (LITTLE, BROWN & CO, 2010), PATTI SMITH's JUST KIDS (ECCO, 2010), HENRY ROLLINS' GET IN THE VAN: ON THE ROAD WITH BLACK FLAG (2.13.61, 1995), JOHNNY MARR's SET THE BOY FREE (DEY STREET, 2016) and PETER HOOK's SUBSTANCE: INSIDE NEW ORDER (SIMON & SCHUSTER, 2017) memoirs.  it makes sense that RODGER's legacy includes influencing an ECLECTIC range of NOTABLE musicians from DAFT PUNK, JOHNNY MARR (THE SMITHS), THE WEEKND, ORANGE JUICE and PRINCE to ROBERT WYATT (SOFT MACHINE), LADY GAGA, QUEEN, JUSTIIN TIMBERLAKE and PHARRELL WILLIAMS.  LE FREAK is absolutely worth checking out for fans of the history of AMERICAN cultural and musical history.  i'd even argue it is ESSENTIAL.

sometimes its just fun to watch PEOPLE discuss shop, whether they be PAINTERS, CARPENTERS, RECORD PRODUCERS, FILMMAKERS or MUSICIANS as the case may be. the PREMIERE GUITAR-produced SHRED WITH SHIFTY VIDEO SERIES finds LEAD GUITARIST CHRIS SHIFLETT, primarily known for his two-plus decades of service with the DAVE GROHL-led MODERN ALTERNATIVE ROCK CULTURAL INSTITUTION that is the FOO FIGHTERS as well as NOTABLE PUNK ROCK BANDS like NO USE FOR A NAME and ME FIRST AND THE GIMME GIMMES, interviewing VARIOUS GUITARISTS about their TECHNIQUE, COMPOSITION,  PHILOSOPHY and INSPIRATION(S) for playing.  the PREMIER GUITAR-sponsored VIDEO SERIES and PODCAST appears to be the visual cousin and CONTINUATION of his informal LONGTIME WALKING THE FLOOR audio podcast series that covered much of the same ground.  NOTABLE past SHRED WITH SHIFTY participants in these video interviews include NILE ROGERS (CHIC), RIVERS CUOMO (WEEZER), WOLFGANG VAN HALEN,  MIKE MCREADY (PEARL JAM), RICHIE SAMBORA (BON JOVI), BLAKE SCHWARZENBACH (JAWBREAKER), BRAD WHITFORD (AEROSMITH), DAVE GROHL & PAT SMEAR (FOO FIGHTERS), PHIL COLLEN (DEF LEPPARD) and ALEX LIFESON (RUSH).  its an ECLECTIC, INTER-GENERATIONAL and MULTI-GENRE blend that mirrors the INTERESTS of the HOST, himself an INDEPENDENT PUNK ROCK VETERAN that plays in arguably the most CONSEQUENTIAL ROCK N ROLL BAND on the planet, who also has a budding side career as an ALT COUNTRY TRAVELING SINGER-SONGWRITER.

personally i tend to pay more ATTENTION to the PUNK / ALTERNATIVE / CLASSIC ROCK end of his INTERVIEWS rather than those with the BRAD PAISLEYs and KEITH URBANs of the WORLD (no disrespect to their GUITAR CHOPS and COMPOSITIONAL PROWESS).  i am able to follow the CONVERSATIONS and understand the TECHNIQUES being employed and exploited in these DISCUSSIONS, but i wonder at times about the USER-FRIENDLINESS of such for BEGINNING GUITAR PLAYERS, which i assume is their TARGET DEMOGRAPHIC.  it makes me rethink who the AUDIENCE is for these EXTENDED VIDEO PODCASTS, because it would seem on the surface to be beginning or INTERMEDIATE MUSICIANS.  yet there is no GUITAR TABLATURE provided or VISUAL ASSISTANCE being provided on how what being played corresponds to a GUITAR in REAL-TIME, which would be BENEFICIAL to PLAYERS of all levels.  maybe the ENGAGEMENT of the DISCUSSION is the REAL OBJECTIVE here, but its DIFFICULT to ascertain since so much of the ACTUAL CONTENT revolves around the playing itself.

for my PURPOSES, i enjoy watching SHIFLETT and his GUESTS having FUN talking shop and exploring the DIVERSITY OF THOUGHT that goes behind CONSTRUCTING a MEMORABLE GUITAR PART in a FAN-FAVORITE SONG that has stood the test of time (i.e. GUITAR LEADS from PEARL JAM's "ALIVE," RUSH's "LIMELIGHT," WEEZER's "ONLY IN DREAMS," NILE ROGERS / DIANA ROSS' "I'M COMING OUT" and JAWBEAKER's "ACCIDENT PRONE".  there is REAL VALUE in that and i look forward to each NEW EPISODE irrespective of the GUEST  involved (with the EXCEPTION being the MODERN COUNTRY ARTISTS whose MUSIC is not my cup of tea).  all that being said, SHRED WITH SHIFTY is definitely INTERESTING and well worth checking out.

i came across BREAKBOT, a.k.a. the FRENCH PRODUCER / DJ THIBAUT JEAN-MARIE MICHEL BERLAND, while researching ED BANGER RECORDS for a future DEER GOD RADIO episode.  his music immediately caught my ear since it was reminiscent of SYNTH POP artists i deeply appreciate like CHROMEO and ROYKSOPP, which is INTERESTING since he has REMIXED for both in the past.  BREAKBOT's sound is FUN, UPLIFTING and UPTEMPO with plenty of SOLID FUNK bass lines and WARPED SAMPLED embellishments.  its ELECTRONIC MUSIC that makes you take notice and want to join in immediately on the KINETIC vibe, if only in the privacy of your bedroom.

definitely worth checking outl.

my introduction to the IDIOSYNCRATIC ALTERNATIVE FUNK that is PRIMUS was their main stage appearance on OZZFEST 99.  i was fifteen and that music festival was my initiation into concert going as well.  so much of that day was OVERWHELMING with its INSANE lineup that included BLACK SABBATH, SLAYER, ROB ZOMBIE, DEFTONES, BLACK SABBATH, SYSTEM OF A DOWN and FEAR FACTORY as well as a FRENETIC, emerging group from the MIDWEST called SLIPKNOT, but i distinctly remember PRIMUS standing out both sonically and in terms of their presentation.  they were GOOFY.  but WACKY in the sense that they were such ridiculously TALENTED musicians that they could get away with it.  case in point was their special guest who was a VIRTUOSO guitarist that wore a KENTUCKY FRIED CHICKEN bucket on his head with an accompanying JASON mask going by the name BUCKETHEAD.  even SLAYER fans were into their set despite it being nothing remotely EXTREME or AGGRESSIVE in terms of EXTREME METAL.

turns out that go around was for their ANTIPOP (INTERSCOPE, 1999) record that found the group playing with a more HARDER-EDGED sound courtesy of all the special producers brought in on this project, including TOM MORELLO (RAGE AGAINST THE MACHINE), FRED DURST (LIMP BIZKIT), MATT STONE (SOUTH PARK), TOM WAITS and  STEWART COPELAND (THE POLICE).  not to mention guest appearances by JAMES HETFIELD (METALLICA) and JIM MARTIN (FAITH NO MORE) as well.   regarded in retrospect by the band as their least favorite record with a TORTURED creation story to boot, it nearly broke them as they went on hiatus shortly after its release for three years.  STANDOUT tracks include "GREET THE SACRED COW," "LAQUERHEAD," "ELECTRIC UNCLE SAM" and "THE ANTIPOP," all employing TRADITIONAL hooks with stop-on-a-dime precision SYNCHRONOUS rhythm playing and ECCENTRIC lyrical conceits to match in the best tradition of KING CRIMSON, THE RESIDENTS, WEEN, SYD BARRETT, DR. DEMENTO and FRANK ZAPPA. 

its interesting that ANTIPOP was my introduction to the PECULIAR world of PRIMUS, because it is arguably the least representative of the catalogue.  this was a record they made for their label seemingly out of pressure to remain commercially relevant, whatever that meant back in the late 1990s when the writing was on the wall with NAPSTER and file-sharing driving profits away from compact disc sales.  it was an INTERESTING time to say the least.

still love this record, but for the uninitiated there are better records to dive into first, like FIZZLE FRY (CAROLINE, 1990), SAILING THE SEAS OF CHEESE (INTERSCOPE, 1991), PORK SODA (INTERSCOPE, 1993) and TALES FROM THE PUNCH BOWL (INTERSCOPE, 1995).  just get ready for their PROGRESSIVE ROCK via FUNK sound as interpreted by CAPTAIN BEEFHEART.  its a fun mix and required listening in my opinion.

SMALL VICTORIES: THE TRUE STORY OF FAITH NO MORE (JAWBONE PRESS, 2018) is an exhaustively RESEARCHED and adroitly CRAFTED biography of the expansive GENRE-DEFYING creative unit that is FAITH NO MORE.  since discovering the band via a BRITISH classmate's taped copy of ANGEL DUST (SLASH, 1992) back in middle school shortly after arriving in NIGERIA in 1996, the band has continued to be one of my all-time FAVORITE groups (along with DEVO, THE SMITHS, MASSIVE ATTACK and JANE'S ADDICTION) through all of its iterations.  reading this book was a bit of REVELATION, as it truly ENLIGHTENED and EDUCATED the reader to the inner personal dynamics of the group and the INSPIRATIONS and ALLUSIONS present in much of their EXTENSIVE catalogue.  reading this book is not necessary to properly appreciate the music of FAITH NO MORE, but it brought their CAREER and LEGACY into a proper focus that i had hitherto not fully appreciated.

like most fans, i am obsessed with the work of MIKE PATTON, in and of his involvement with FAITH NO MORE.  he's been on a CREATIVE STREAK for years with his myriad of COMPELLING yet DISPARATE projects like the seminal MR BUNGLE as well as FANTOMAS, TOMAHAWK, LOVAGE, PEEPING TOM and COLLABORATIONS with the likes of ZU, HANDSOME BOY MODELING SCHOOL, THE DUB TRIO and composer JOHN ZORN among many others.  PATTON is very much a singular entity in modern music well beyond the confines of ALTERNATIVE ROCK and is UNIVERSALLY CELEBRATED by most modern rock musicians, end stop.  SMALL VICTORIES makes the INTRIGUING CONNECTION between the CHARACTER STUDIES he inhabits in his lyrics and his formal pre-band STUDIES as an ENGLISH major in college, which i was most definitely not aware of.  but it makes total sense since his FEARLESSNESS as a VOCALIST and writer come from a PERFORMATIVE need to due the MATERIAL justice (regardless of its author), not of SELF-EXPRESSION per se.  case in point, PATTON's abundant ENTHUSIASM to sing "BE AGGRESSIVE" on ANGEL DUST, a song about the pleasure of homosexual oral sex as written by bandmate RODNEY BOTTUM about his own experience with the subject.  for PATTON, this was a SINGULAR professional OPPORTUNITY and CHALLENGE presented to him that he did hesitate from, instead throwing himself into the track.  something arguably most IMAGE-CONSCIOUS frontmen from the period would have second thoughts regarding, not wanting to associate themselves with what was then still very much a TABOO subject that would raise questions about their MASCULINITY (which we all know is bullshit).  it is a FASCINATING dynamic that the singer, usually the focal point of a band, within the context of FAITH NO MORE, is just ANOTHER INSTRUMENT.  in fact, the core of the creative unit is essentially BASSIST BILLY GOULD and KEYBOARDIST BOTTUM (who were childhood friends) and DRUMMER MIKE BORDIN.  this means that one of the truly INNOVATIVE and INVENTIVE modern rock bands was steered in general not by the GUITARIST or lead SINGER, but rather by the RHYTHM SECTION.  its a wholly UNIQUE situation in that regard and a sign of each members' ability to control their ego for the sake of the whole, especially the VOCALIST.

that being the case, the band was blessed with two entirely DIFFERENT yet highly EFFECTIVE generationally TALENTED frontmen in CHUCK MOSELY and MIKE PATTON.  this was after years of a rotating cast of stand-ins that even famously included COURTNEY LOVE at one point.  for GOULD, BOTTUM and BORDIN the focus was on the quality of the INSTRUMENTALS and the VOCALS was an ancillary necessity in order to secure live gigs.  same with GUITARISTS.  if you listen to ANGEL DUST the CRUSHING guitars fo not take center stage but act as a rhythmic bed for the EXTENSIVE PRODUCTION elements like the PROMINENT SAMPLES and KEYBOARDS and processed VOCALS.  that immersive aural landscape is what provided contextual COMPLEXITY for the more traditional DISSONANT guitar tones of JIM MARTIN, and is what made that record such a MIND-MELTING experience for the listener.  FAITH NO MORE were not a straight METAL band, or arguably a METAL band at all, but their SOUND transformed sonic expectations for the genre through such EXPERIMENTATION, as well as their SPECIALIZED sense of HUMOR and CONTRARIAN penchant for ABSURDISM that bucked audience and industry expectations.  ultimately it is that STUBBORNNESS that has led them to be such a BELOVED cult(?) band.

SMALL VICTORIES shines in its attention to important details and its fondness for SESQUIEDALIAN passages that immerse the reader into the MINDSET of individual band-members through time.  i recommend this book to anyone interested in FAITH NO MORE or the cultural underpinnings and history of the pre-NIRVANA ALTERNATIVE ROCK movement of the late 80s and early 1990s.  i am most definitely going to seek out more publications by the author ADRIAN HARTE.  SMALL VICTORIES is quite an achievement and one of the better biographies i have read since beginning this blog.

RIP CHUCK MOSLEY

parodies by nacrowe

ive already written here about the fact the best live show ive ever witnessed, and its not even close, was PRINCE at MADISON SQUARE GARDEN in 2004 on the MUSICOLOGY LIVE 2004ever tour.  pretty sure it was the last time he explicitly tour playing "the hits," but yeah, i had like eighth row seats or something.  dude was beyond INCREDIBLE.  but ive written about that before (linked HERE). 

lately ive gone down the PRINCE rabbit hole again.  he is one of those handful of artists the i double back to when i start to feel jaded about music.  and im probably speaking about new music here in that sometimes stuff feels like a COPY OF A COPY OF A COPY.  which i acknowledge technically that describes everything that has or will exist since there are only so many chord progressions, but you get the idea.  PRINCE was seemingly endlessly INVENTIVE and had the COURAGE and DRIVE to just go and do it.  he didnt care about gatekeepers or critics, just was completely on his own tip and followed his muse to where it led him.  and its really hard not to respect that.  people speak of freedom, but mostly we limit ourselves within comfortable established social confines.  with him i just hear pure ARTISTIC EXPRESSION.  he was an original of a breed that i can only point to a few other examples: LITTLE RICHARD, GEORGE CLINTON, MILES DAVIS and SUN RA.  all dudes that did their thing despite consequences ranging from very real threats of physical danger to looking ridiculous.  in SPINAL TAP there is that classic line about there being a "very fine line between stupid and clever" and these artists were never on the stupid side, but they definitely did risk it at times.

it just feels to me like everything CULTURALLY IS SAFE right now. and i dont mean in some type of whining, cry wolf ELON MUSK / DAVE CHAPELLE "woe is me" cancel culture screed about the state of discourse on the internet.  i mean that artists are not taking CREATIVE CHANCES that may unsettle their base and the STREAMS, MERCH SALES they depend on to make a living in this increasingly FRAGMENTED DIGITAL MARKETPLACE.  sure there are modern artists like THUNDERCAT, MIKE PATTON, FLYING LOTUS, BJORK and so on that create increasingly divergent recordings that challenge their audience, but they are few and far between.

maybe that was also the case.  as PRINCE once said after playing a few bars of ELVIS PRESLEY's "JAILHOUSE ROCK" at that 2004 MADISON SQUARE GARDEN show, "you cant be no king if you aint no prince."  truer words never spoken.

embedded below is a DEER GOD RADIO episode on nonprofit internet radio station MAKERPARKRADIO.NYC dedicated to PRINCE.  enjoy!​

parodies by nacrowe

been a crazy week with DONALD TRUMP getting his tacky FLORIDA pleasure palace raided by the feds on monday.  dont know if anything will come of it but i see no reason not to celebrate it nonetheless.

back in november 2019 i did a show on one of my favorite bands growing up RAGE AGAINST THE MACHINE.  not only are they one of the best live bands ive ever seen, but they are one of the few political bands whose sonic onslaught and INNOVATION matches and maybe even exceeds that of their relentlessly strident PROGRESSIVE POLITICS.  my big gripe with bands like the MC5 or THE CLASH was always that they would talk a big game, but then aurally it left more than a little be desired in terms of stepping away from traditional song structures and being EXPERIMENTAL.  guitarist TOM MORELLO is renowned not only for his flawless technique but also his disregard for the instrument itself, often utilizing various IDIOSYNCRATIC, self-directed techniques meant to render his instrument as DJ turntables.  for MORELLO, everything is fair game including tapping, plucking bending, pulling, unplugging and feed-backing sometimes al at the same time.  ironically he has a spartan gear setup which makes his sonic landscapes that much more impressive.  he is very much the embodiment of INTENT TRUMPING TECHNIQUE.

for me personally listening to RAGE AGAINST THE MACHINE has always been a godsend, especially in the years since i returned from working and living extensively abroad.  coming back home during the TRUMP years was tough and i felt utterly gutted and isolated by what i saw my country devolving into.  i had spent time in developing countries, military dictatorships and more than one failed/struggling democracy.  to see members of my extended family fall under the spell of TRUMP was demoralizing.  listening to RAGE helped me cope with that aggression and attempt to do my part in fighting the guy.  in that regard i am still immensely proud of the music video DEER GOD did in collaboration with DOLLTITS half a decade ago for their clever anti-TRUMP song "LOCKER ROOM TALK."  definitely check it out.

for me the legacy of RAGE AGAINST THE MACHINE, irregardless of whether they ever decided to record a new album, is their authenticity and ability to fully realize their intention.  they are a singular force of nature and have inspired people to persevere even when your country is turning to shit.  same goes for all their solo and side projects over the years such as PROPHETS OF RAGE, AUDIOSLAVE, ON DAY AS A LION, WAKRAT, STREET SWEEPER SOCIAL CLUB and THE NIGHTWATCHMAN. 

​its all good.

oh and by the way, that is not a MAGA hat im wearing in the embedded video below.  my brother got it at a PROPHETS OF RAGE show and it says "MAKE AMERICA RAGE AGAIN."   just wanted to be extra clear on that point.  dont want to be confused for a MAGA loser.

along with BLOOD SUGAR SEX MAGIK (WARNER BROS, 1991), the CALIFORNICATION (WARNER BROS, 1999) record is generally celebrated as the other landmark RED HOT CHILI PEPPERS release, not least in part due to the fact that it marked the return of the virtuosic guitarist JOHN FRUSCIANTE to the fold.  to appreciate this record you have to consider how ALTERNATIVE ROCK had evolved into the late 1990s when HIP HOP-influenced METAL (LIMP BIZKIT, KORN, LINKIN PARK, etc.) was all the rage.  with the exception of the FOO FIGHTERS (as well as several less than credible POST GRUNGE pretenders), there was little vitality in the way of AMERICAN ALTERNATIVE ROCK at the time.

to my ears what made CALIFORNICATION such a revolutionary listen was its simplicity.  this record is celebrated and often cited as evidence of FRUSCIANTE's genius (as well as the rhythm section's preternatural chemistry and dexterous musicality) as he evokes so much emotion from his guitar by pairing everything down to a minimal set of notes.  for such a technically gifted musician it is the act of pairing everything back to its essence that gives this record its power.  CALIFORNICATION sonically is a minimalist affair and is very much a case study in a less is more mindset and aesthetic.  case in point are seminal tracks such as "SCAR TISSUE," "OTHERSIDE" and the title track "CALIFORNICATION."  to me the arrangements almost have the feel of BEBOP and JAZZ, which should come as no surprise given bassist FLEA's musical background with a trumpet.  in fact, subsequent releases will benefit from his formal studies within the genre, further adding to an already advanced group sense of compositional dynamics.

which brings me to the other ingredient at play here: extreme dynamics.  given the single note minimalism of the many iconic FRUSCIANTE riffs that abound this release, such are compositionally showcased by maximalist dynamic shifts in tempo and pitch.  such is on display on tracks like "AROUND THE WORLD," "GET ON TOP," "RIGHT ON TIME." the use of extreme dynamics creates an unpredictability that is both propulsive and undeniable engrossing.  very much reminds me of that kinetic sensibility i felt when i first heard classic GEORGE CLINTON tracks on his PARLIAMENT and FUNKADELIC records.

it was during the CALFORNICATION-era of the band that i saw them live with the FOO FIGHTERS at a gig in PROVIDENCE.  i was in boarding school in MASSACHUSETTS at the time and the show was a school sponsored trip.  i just remember that evening being a respite from the grind of school and in some odd way got me in touch with my CALIFORNIA roots which i had long abandoned some four years before when my family moved to NIGERIA.  there is just something about the band that seemingly exudes the attitude and aesthetic of the GOLDEN STATE, much like JANE'S ADDICTION, X, THE DOORS, SOCIAL DISTORTION, THE BEACH BOYS and THE GERMS before them.  at a point in my life when i felt no connection to my surroundings, seeing that show made me feel like i had a tribe out there somewhere.

and im still looking.

GEORGE CLINTON is the man.  just want to get that out of the way right at the beginning. 

​the DON LETTS-directed BRITISH television documentary GEORGE CLINTON: TALES OF DR FUNKENSTEIN (BBC, 2006) recounts his enduring cultural legacy for permanently expanding the sonic and thematic parameters of the R&B/SOUL idiom with his revolutionary, conscious-expanding, psychedelic FUNK bands PARLIAMENT and FUNKADELIC.  CLINTON himself is interviewed throughout the film as well as current and former band members, writers and notable acolytes including MACY GRAY,  ANDRE 3000 (OUTKAST) and SHOCK G (DIGITAL UNDERGROUND).

one of the big takeaways from the film is how much of a pied piper CLINTON really was and still is, by not only attracting all the eccentric musicians (famously BOOTSIE COLLINS, BERNIE WORRELL, WALTER "JUNIE" MORRISON and EDDIE HAZEL) and experimental artists (PEDRO BELL), but also letting them flourish.  PARLIAMENT FUNKADELIC was his band, but functioned more as a collaborative party.  case in point, he would record with players that were unfamiliar with each other and even have people play instruments they were inexperienced with or make non-vocally trained individuals sing.  it all feels very CAPTAIN BEEFHEART-esque in its pursuit of putting to wax something new.  this was all, of course, the antithesis of MOTOWN RECORDS and traditional R&B/SOUL music of the period which attempted to project an image of BLACK AMERICA that was contained and dignified.  PARLIAMENT FUNKADELIC was pure id.  unrestrained, unadulterated creativity and artistry.  being in the moment and letting your freak flag fly.

it makes total sense to me that the later HIP HOP generation caught up with CLINTON and incorporate his music and, for the most part, the social/political mindset he established with PARLIAMENT FUNKADELIC.  i speak of essential groups from the NYC HIP HOP, NATIVE TONGUES and WEST COAST HIP HOP movements like PUBLIC ENEMY, DR. DRE, ERIC B. & RAKIM, DE LA SOUL, DIGITAL UNDERGROUND and so on.  since the filming of this film i feel his role has yet to wane in modern AMERICAN culture.  we are still very much attuned with the mothership connection.

much like the ICONS and THE COLLECTION series covered before, RIFF LORDS is another string of YOUTUBE videos promoted by GIBSON GUITARS under the GIBSON TV moniker that seeks to reestablish the brands bonafides with the guitar-playing public via celebrity musician endorsements after the disastrous "play authentic" campaign of 2019.

the hook regarding RIFF LORDS is that these famous guitarists are allotted an extended-period to not only go over their most notable riffs, but the PHILOSOPHY, THEORY and TECHNIQUE behind their composition.  noteworthy participants include that of BUZZ OSBOURNE (MELVINS), NICK HEXUM (311), JADE PUGET (AFI), BILLY HOWERDEL (A PERFECT CIRCLE), LER LALONDE (PRIMUS), MARK MORTON (LAMB OF GOD) and CLAUDIO SANCHEZ (COHEED & CAMBRIA).  this sort of territory has been mined for years by the likes publications like GUITAR WORLD and PREMIER GUITAR (not to mention online vendors like REVERB and SWEETWATER) for years, but the extended time and lack of an annoying an unnecessary interloctur makes this series of videos more immediate and engaging.

i play guitar so this hits me right in the sweet spot of seeing some of my favorite artists talk at length about their playing.  now if they could only get DAVE NAVARRO or JOHNNY MARR...  here's hoping.​

internet musical equipment retailer/reseller REVERB.COM recently put out a short-form documentary called THE MU-TRON STORY where they interview engineer and MU-TRON creator MIKE BEIGEL about the famous phase pedal and the nature of creation.

now you find any discussion of OSCILLATORS, CAPACITORS and ELECTRICAL CIRCUITS to be a blur of garbled technical speak, but what draws my attention to content such as this is the process by which new sounds are introduced to the world.  

and that gets heavy real fast to think through the implications of such.  new signal chains equal new vibrations which equals an expanded range of possible sounds.  the lexicon of music has thus been furthered, expanding our consciousness and emotional capacity in the process.

BEIGEL speaking about how difficult it was to get his invention off the drawing board and into physical world, yet lived to see it transformed again by the likes of STEVIE WONDER, FRANK ZAPPA, JERRY GARCIA, BILLY CORGAN, BOOTSY COLLINS, ACE FREHLEY and NEIL YOUNG among many others is a pretty satisfying narrative arc to take in.  it becomes apparent that those circuits have entered into a spiritual realm, affecting us all.

THE MU-TRON STORY is definitely check it out if you have the inclination.

parodies by nacrowe

check out HERE this recent streaming video episode of DEER GOD RADIO focused on the eclectic independent record label STONES THROW RECORDS owned, operated and curated by the inimitable PEANUT BUTTER WOLF.
​
​​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!

honestly i only really came to appreciate this record a few years ago when i was teaching 6th graders in MYANMAR.  this school was AMERICAN but i wasnt teaching AMERICAN or foreign kids, instead it was the sons and daughters of local business, political and military interests.  the school was relatively new, less than 10 years old and was initiated to capitalize on what was assumed to be foreign corporate interest in the region as it became further democratized and open to foreign investment.  sadly with recent events that optimism and hope seems to have been severely trampled upon.

i taught ENGLISH and i was always hesitant about utilizing AMERICAN cultural concepts as the basis for lessons.  i was teaching the language and not necessarily the culture if that makes any sense.  there were times i let that slide and as was the repeated case with music, especially JAMES BROWN, ARETHA FRANKLIN, LOUIS ARMSTRONG and RAY CHARLES.  anyway so there i was teaching a typical class on HALLOWEEN, which the school promoted as an event, when i asked the class if they'd ever seen MICHAEL JACKSON's "THRILLER" video?  they hadnt.  well i fixed that immediately.  i nixed the last half of class just to watch it twice.  the kids were transfixed.  the music, the choreography, the melody, the howling.  from knowing nothing about MICHAEL JACKSON to dancing in the hallways and their next two classes (sorry!), they very much got the gist of the true spirit of HALLOWEEN.

so yeah, even 30+ years late on a culturally neutral, unbiased and unsuspecting audience full of preteens (the most critical of judges i would argue), that video still resonated like it did in the early 1980s.  i was shocked.  but there you have it.

does the THRILLER (EPIC, 1982) have some corny songs on it.  absolutely.  the PAUL MCCARTNEY duet "THE GIRL IS MINE" is beyond lame and cringe-worthy.  the RICHARD CHEESE 2005 version with STEPHEN HAWKING is way better.  "BABY BE MINE" and "HUMAN NATURE" are likewise pretty strikingly bad. 

however, that hook on "P.Y.T. PRETTY YOUNG THINGS" still kills as shone with its repurposing to similar intoxicating effect on KANYE WEST's "GOOD LIFE" track off of GRADUATION (DEF JAM, 2007).  of course "BEAT IT" and "BILLIE JEAN" are iconic stone-cold classics that dont need any vouching on my behalf.  probably my favorite song on the record is "WANNA BE STARTIN' SOMETHIN'" which has a very "ROCK WITH YOU"-vibe from his previous outing OFF THE WALL (), my personal favorite record he did.

anyway, regardless of my opinion of this record and the merits of its individual tracks, this album crushed with pre-teens nearly 40 years after the fact in MYANMAR.  i think that speaks for itself.  it just devastates me that this opening of dialogue between cultures that i experienced seems to be on the way out just at the moment it was getting started.

with MIDNITE VULTURES (DGC, 1999), its hard to discern whether gifted songwriter / cultural chameleon BECK is parodying 70s/80s FUNK and R&B (a la PRINCE) or lionizing it. case in point is the song "DEBRA" which finds him coyly crooning and then wailing away with his impressive falsetto about his feelings towards a woman and her sister, whom he think is named, well, Debra.  its so ridiculous yet virtuosically performed that it really walks that line.  its also my favorite song on the album. to this day i cant discern whether it is pastiche or parody and maybe that ambiguity is the point. 

other standout tracks such as "BROKEN TRAIN," "GET REAL PAID," "SEXX LAWS," "NICOTINE & GRAVY" and "MIXED BUSINESS" all utilize the synth lines, gated reverb, clipped percussion and synth pad textures that make the genre such a sonically pleasurable experience.  it is a fun record that seems less concerned with the pastiche techniques utilized in his universally celebrated ODELAY (DGC, 1996) record and more directly interested in exploring the sonic oeuvre of classic FUNK from ZAPP and LAKESIDE to PARLIAMENT and the THE GAP BAND with a healthy bit of AL GREEN, LIONEL RITCHIE and BOBBY WOMACK thrown in the mix.  at least that is what i hear.

this record is basically the answer to the question "what would a PRINCE record sound like if BECK made it?"  it makes sense to me that he could pull it off given his staggering gift for songwriting and mercurial persona.  and that core identity as a songwriter is what makes his discography so interesting, irregardless of genre or recording techniques, however experimental.  this is his FUNK record, but he shines just as brightly in a FOLK or HIP HOP context.

i first heard this record when it came out.  at the time i was in boarding school in NEW ENGLAND and like most things i was exposed to during that period, i had no context for understanding it.  at 15 i wasnt familiar with the pioneering DUST BROTHERS pastiche production innovations found within the BEASTIE BOYS' PAUL'S BOUTIQUE (CAPITOL, 1989) record, much less classic FUNK.  i just knew it sounded energetic, fresh, idiosyncratic and above all else, fun.

and that is pretty much why i still go back to this record.  its just fun.  its definitely worth revisiting and pays dividends for those seeking experimental audiophile easter eggs and classic pop hooks alike. recommended highly.