photo manipulation by nacrowe
there's something to be said about musicians interview musicians. there is a telepathy and a common wavelength at work that transcends superficial aspects like genre and style. it probably comes from a rooted common experience and mentality of persistence that comes with "making it" in a band setting. IT'S ELECTRIC! (APPLE MUSIC) was a in-person, pre-pandemic podcast where METALLICA drummer LARS ULRICH interviewed peers like JERRY CANTRELL (ALICE IN CHAINS), NOEL GALLAGHER (OASIS), JAMES MURPHY (LCD SOUNDSYSTEM), MAYNARD JAMES KEENAN (TOOL/A PERFECT CIRCLE), BILLY CORGAN (THE SMASHING PUMPKINS), LES CLAYPOOL (PRIMUS), GREG PUCIATO & BEN WEINMAN (THE DILLINGER ESCAPE PLAN), DAVE GROHL (FOO FIGHTERS/NIRVANA), JOAN JETT, JACK WHITE (THE WHITE STRIPES) and TOM MORELLO (RAGE AGAINST THE MACHINE) among many others.
whats interesting is that ULRICH, despite his notorious reputation for talking (and talking and talking), within the confines of these interviews he is mostly listening. in fact, i'd argue he is an incredible astute interlocutor that gently guides his subjects through insightful productive conversations. most teachers know that the longer you speak the less impact each word has on your students. i was really taken when recently rewatching these interviews to see just how gifted an interviewer ULRICH was and how engaged his follow-up questions were. you didnt get the sense that he had a list he wanted to get through, rather in an almost HOWARD STERN-like manner allow the subject free reign to drive the conversation as he gently steers it. to pull this off you must be a really good listener, which in popular culture i think ULRICH never gets credit for. makes sense though, given the fact that he is often a key composer within METALLICA who often deals with arrangements, a practice whereby you need to listen with intention to surmise the best presentation of musical ideas for maximum impact.
i hope he gets back to this podcast post-pandemic, because it felt like he was really on a roll with it. and it seemed like he was genuinely in his element and having fun. selfishly i just found the conversations compelling and insightful, more so than the vast majority of ROCK AND ROLL interviews you find online.
photo by nacrowe
every time i enter FRANKFURT AIRPORT, the main international transit hub of my youth, it is never lost on me that the place itself is more or less the same. only i have changed over the last 20+ years.
thats kind of the experience of seeing TOOL in concert over multiple tour cycles, since each one is 8-10 years apart. its an odd sense of deja-vu or a time warp or something. the last time i saw them was during the 10,000 Days cycle and the LATERALUS cycle before that. love the band but im not big on big corporate arena shows. you always feel screwed when you can't get better seats and you get the feeling those below you either paid royally in a secondary market or worse, got them as a corporate gift like box seats at a YANKEE game. i guess the demand is just so great after so much time that there is no easy answer to this conundrum in fairness to them.
but the actual show this past saturday (with KILLING JOKE opening!) was epic, TOOL are like the second coming of BLACK SABBATH meets LED ZEPPELIN meets RUSH meets CAPTAIN BEEFHEART. i wasn't super-enthused on the last album since it feels like everything post-LATERALUS is just a rehash of it, like they are using the same tricks (mind you, those tricks are beyond cool). i just wish they'd push the audience a bit more at this stage in their career since they have nothing left to prove.
unless filling arenas that screw over fans is a goal of theirs. if you catch them this go around, thats cool. if not they'll back around. in 10 years.
photo manipulation by nacrowe
for whatever reason, the four seasons of 90s cult classic comedy show MR. SHOW (HBO, 1995-1998) starring BOB ODENKIRK (BREAKING BAD, BETTER CALL SAUL) and DAVID CROSS (ARRESTED DEVELOPMENT) is criminally overlooked. an outgrowth of the alternative comedy scene in LOS ANGELES at the time, its cultural impact can be seen in the varying careers of its many collaborators including that of BRIAN POSEHN (METALOCALYPSE, THE BIG BANG THEORY), TOM KENNY (SPONGEBOB SQUAREPANTS, THE POWERPUFF GIRLS, JOHNNY BRAVO), JILL TALLEY (SPONGEBOB SQUAREPANTS, THE BOONDOCKS), PAUL F. TOMPKINS (BOJACK HORESMAN, BOB'S BURGERS, THE DAILY SHOW), JACK BLACK (TENACIOUS D), SARAH SILVERMAN (THE SARAH SILVERMAN PROGRAM, SATURDAY NIGHT LIVE, BOB's BURGERS), JAY JOHNSTON (THE SARAH SILVERMAN PROGRAM, MARY SHELLEY'S FRANKENHOLE), BEN STILLER (THE BEN STILLER SHOW, ZOOLANDER, DODGEBALL), JERRY MINOR (SATURDAY NIGHT LIVE, COMMUNITY), MARY LYNN RAJSKUB (24, THE LARRY SANDERS SHOW, PUNCH-DRUNK LOVE), JOHN ENNIS (TWIN PEAKS, WALK HARD, ZODIAC), SCOTT AUKERMAN (BETWEEN TWO FERNS WITH ZACH GALIFIANAKIS), MARLON WAYANS (IN LIVING COLOUR, REQUIEM FOR A DREAM) and JANEANE GARAFALO (SATURDAY NIGHT LIVE, 24, THE LARRY SANDERS SHOW). the "Titannica" skit was referenced in the name of a BLINK-182 song ("Adam's Song") and the show even become the springboard for a TOOL side project (MAYNARD JAMES KEENAN's PUSCIFER) and TENACIOUS D, who themselves had an HBO show that was co-created and co-produced with ODENKIRK and CROSS.
the show takes its sensibility from MONTY PYTHON in that live and prerecorded skits are connected tangentially from segment to segment with no narrative arc. this frees the material to be the focus. a product of the CLINTON-era, much of the focus of the humor is derived from lampooning the stupidity of american life (reality tv, jingoism, sensationalist journalism) and public institutions (the police, government officials, corporate america). in many ways the lack of intellectual curiosity and selfish nature of the american general public is a target just below the surface and for that reason, this show has aged remarkably well.
given the political nature of their comedy, the creators and select cast members have done mix-media tours of theaters over the years. i saw them in NYC around 2003 as they lampooned the build-up to the misguided return american military adventure into the middle east on their HOORAY FOR AMERICA! tour. to me MR. SHOW holds a special place in my heart as they were consciously articulating a perspective and using comedy as a mirror to articulate just how far from our professed ideals we had fallen, especially during a time of compliance and plastic patriotic fervor rooted in raw, uninhibited xenophobia.
again, MR. SHOW still holds up. definitely worth your time to investigate.