Music: A to Z 10.09.09: O is for…

Posted by Chris Crowing on 10.09.2009

Oasis, the Offspring and Ozzy Osbourne as well as my less than complimentary thoughts on the MOBO Awards.



Yes yes, I should have selected Opeth, but what could I really say apart from that they are stunningly awesome, and proof positive that heavy metal is more than mindless noise? Here's a video to satisfy your urges…



In fact, I must confess I had complimentary tickets to go and see Opeth & Dream Theater on Sunday, but I gave them away – if only because I have tickets for Billy Connolly the same night and you don't pass up a chance to go see the Big Yin.





The MOBO Awards

I just had to deal with this noxious awards ceremony (or more appropriately the kind on bottom feeding pond-life who seemed interested enough to pay money to attend it) in my work last week. While all awards ceremonies are vacuous, self-congratulatory, wank-a-thons for the music industry and the evil marketeers in charge of it to show off their wealth and how their vile machinations have paid off, this one strikes me as worse, more pervasive, more offensive, more contrived. Here's why…

Hate Crime

If you had a ‘Music of White Origin' awards show, then you'd be embroiled in a politically correct frackstorm and labelled a racist. If we are aiming for a harmonious, equal world, then surely excluding music of ‘white', ‘yellow', ‘red' or ‘grey' (for all you zombies out there) origin is just as much a hate crime as disparaging music of ‘black' origins (more on that in a second) or by ‘black' artists.

Secondly, since when has the adjective ‘black' been an acceptable adjective for race or culture? If you called someone of African descent ‘black' in the street, they would in all likelihood cry racism and all that, and quite possibly hit you. Surely the use of this adjective is promulgating racial differences and hatred more than celebrating and integrating disparate cultures and influences?

Musical Blindness

If you look past the racial hypocrisies implicit in the naming and promotion of the awards show, there is a more pertinent hypocrisy to do with the music the show features and promotes.

If you assume ‘Music of Black Origin' to be music played in it's original form by people of African descent (specifically ‘black' Africans…) but which is now played by anyone of any skin colour (which is the excuse for having acts like Amy Winehouse featured in recent years) OR any music currently played by ‘black' musicians, then the actual scope of the awards seems to fall somewhat short of it's MO.

The awards are dominated by commercial hip hop/rnb and urban music, and while there are token awards for ‘Best Jazz Act', ‘Best Gospel Act' or ‘Best African Act' – and what does that mean anyway, is it the best act of African origin, the best act in African styles of music (which I'm sure is a quite stunningly varied field), or the best act FROM Africa?

In short, while the awards posture to be a celebration of ‘black' music, no matter who it is played by, they are in effect just another industry back slapping celebration of lowest-common-denominator unit-shifting ‘music' with a theme of supposedly black genres, but more accurately that pervasive ‘urban,' ‘bling' or ‘ghetto' aesthetic which is so false and divisive.

The fact that some of the most widespread, popular and successful ‘music of black origin' – meaning blues and its derivatives, (which include almost all rock and metal, no matter how pale the skin of their players) is completely ignored by the awards shows the hypocrisy in the supposed intent.

Merely to mollify my personal taste, they could have featured Alice in Chains (who released their comeback album, with an undeniably ‘black' influenced sound, and a brand new ‘black' singer two days before the awards) or Skunk Anansie (also on the comeback trail, with an even more ‘black' influenced sound and two ‘black' members), or Skindred (awesome Welsh ragga-dub-metal band), or a thousand other acts…

(any excuse...)



… but of course, you can't have those ‘white' rock bands making the place look untidy with their lack of bling style, but look here is an urban act using samples from (oh-so ‘white') electro bands from the 80s, aren't they so fashionable and ghetto!

All sarcasm applied and intended.

Furthermore, when the acts you promote and reward the most are Alexandra Burke and JLS (both products of last years X-Factor – which is the Uk American Idol) who are plenty talented, but a little fresh to be winning anything other than best newcomer awards, and at this young stage in their career, clearly pawns of the industry (however IMHO both have the tools to grow into very interesting artists in the future, once they find their feet) as well as the absolutely shockingly bad, yet I guess marvellously ‘urban' N-Dubz it shows the paper-thin premise of your awards is just a way to promote this seasons line of ‘black' flavoured pop candy.



You simply cannot tell me that Chipmunk is better than Kanye West or that JLS or N-Dubz are the MOST deserving of awards even within the specious realms of ‘Music of Black Origin'

Add to that the fact that much of what they promote is a horrid distortion of the glorious passion and skill that characterises old school jazz, the real rhythm and blues of yesteryear and what I would call proper rap & hip hop, and it's just another industry circus, playing off racial stereotypes and hate divisions to maintain relevance. The spirit of the delta blues, Tamla Mowtown old school jazz and passionate gospel would doubtless be revolted by these awards.



It makes me sick.

Of course, every awards ceremony has this problem, but the MOBOs is worse, because of the self-righteous hypocrisy in its premise and execution. If they actually stood to the premise I wouldn't mind so much, apart from the divisive nature of the racial element in the premise, which is indefensible in this day & age.

As far as awards ceremonies should even exist, they should be about the best (or most successful if you are being honest) in a certain defined style of music, and things like the race of the musician or the supposed racial origin of the style shouldn't come into it.

Racism, seemingly positive, or evidently negative has NO place in music or modern life at all.

Yes, I'm a naïve idealist, with a vitriolic and cynical sense of humour - you hadn't noticed?

On A More Positive Note...

The Foo Fighters upcoming greatest hits has a new song on it called "Wheels" and while it's the most formulaic piece of mainstream rock I've ever heard, it is perfectly done and full of their characteristic charm. I love it somewhat guiltily, but I do love it…...



... alas, official vid is 'embedding disabled...' BOO!



* Please note, all 'Best...' designations are merely this writer's opinion, and stand as a recommendation for new fans, rather than an attempt to make a definitive statement. I'll likely change my mind by next week anyway.

Oasis

What: 90s indie megastars
From: Burnage, Manchester, England
In the Beginning: Following time roadying for the Inspiral Carpets, Noel Gallagher joined and effectively took over his brother Liam's band as an outlet for his back catalogue of songs. Following a year or so of intense gigging saw them signed to Creation Records following a gig at Glasgow's King Tut's venue. Creation arranged an international deal with Sony, leading to the recording and release of debut record Definitely Maybe in 1994, where it became the fastest selling debut album in UK history.
Best Album*: Definitely Maybe (1994), (What's the Story) Morning Glory? (1995)
Best Song*: "Supersonic", "Slide Away", "Don't Look Back in Anger"
Recently...: Following a line-up shift following Be Here Now, Oasis star declined over following albums, although their popularity resurged with Don't Believe The Truth (2005) and Dig Out Your Soul (2008). Despite a long history of brotherly fallings out, a dispute on 28th August on 2009 has led Noel Gallagher to quit Oasis. There remain unconfirmed reports that Liam will persist with the group in Noel's absence, but the success of such a venture with the band stripped of it's songwriter and leader is questionable at best.

For all my oft-repeated allegiance to all things loud and alternative, I would in all likelihood not be a musician today, and would not be sitting at this keyboard typing a column about music if it were not for Oasis and their rise to stardom in the mid-nineties.

As a child I absorbed folk music, and 80s standards like Queen and Seal into my consciousness, but the first music which I liked on my own recognisance was techno, with bands like 2 Unlimited and Ultrasonic prevalent in a soup of influences which included bossa nova, the M.A.S.H soundtrack, Nirvana, Blur and a series of NOW: That's' what I Call Music compilations. As I grew into a fairly normal (whatever that means) football loving Scottish teenager, the pop culture nexus that was Blur vs. Oasis a choice needed to be made, and my choice was for Oasis.

In fact I think the choice was made long before I actually decided, as I had an Oasis song on an old (I think Smash Hits 95) compilation and I much preferred that song to any of Blur's undoubtedly catchy tunes like "Girls & Boys" or "Parklife"…



While possession and adoration for the What's The Story, Morning Glory record was the true start of my musical fandom, with the benefit of 20/20 hindsight, I would probably say that the debut record Definitely Maybe was probably better, with songs like "Supersonic", "Columbia" and "Live Forever" arguably the very best in Oasis' canon.

However, my favourite song on the record is probably the most atmospheric, honestly emotive song Oasis ever did…



… you just don't get indie music that affecting anymore, at least not in the mainstream spotlight.

Of course, like millions of others, it was (What's The Story)… which turned me from a ‘kid who listens to music' to a ‘music fan' and the initial rush of indie-love which followed (I still have fond memories of Space, the Bluetones, the Seahorses and a host of other indie acts) was eventually succeeded by my all encompassing love for alternative music – but without (What's the Story)… and this song in particular, I may never have embarked on that road.



For all that "Wonderwall" may be the ubiquitous, legendary single (although I guess "Don't Look Back in Anger" could make a case for that position) my favourite songs on that record come from the second half. They may have a little less shine, but there is more heart and more emotion in them. I will always rate "Cast No Shadow" and the title track higher than "Roll With It" but the one that really sticks in my mind is this song…



… but unlike many, "Champagne Supernova" tends to annoy me, as an overt attempt to write a "Lucy in the Sky With Diamonds."

I desperately wanted to go to their show at Loch Lomond which I think was in 1996, but couldn't afford a ticket, what with being 15 at the time…

By the time Be Here Now came around, Oasis were undoubtedly the biggest band in Britain, and while my musical horizons had widened I still liked the album – quite a bit more than the negative press reaction would indicate – and it became my walkman favourite for when I was going to watch football.

Tangent:- It's curious how segmented my lifestyle and musical taste became as a teenager. Indie music (Oasis, Stereophonics) when I was acting ‘normally' and going to watch football, Heavy metal and alternative music at home or with my close friends and dance music when I was going out. I bet a psychologist would have a field day with that…



As I've said, Be Here Now was met with a mixture of praise and a sense of disappointment – quite what Oasis would have had to produce to avoid this I'm not sure, as I'm pretty sure they were never actually capable of pulling a Revolver or Sgt. Peppers Lonely Heart Club Band out of the fire, which is what certain segments of the music press and fan base seemed to demand of them. Perhaps the album actually has a stronger heart than What's the Story… with songs like "Stand by Me" and "The Girl In The Dirty Shirt" being remarkably fresh and honest for a band at their level of fame.



However, it was all downhill from there for Oasis, with the sacking of the long term bass player and ‘other' guitarist in favour of doubtless more talented and definitely more ‘scene looking' musicians coinciding with a genuine loss in song-writing drive. I finally saw Oasis at the Reading Festival in 2000, and while it felt good to finally see them, I really couldn't care much at that point (however, Limp Bizkit, the Foo Fighters and above all Rage Against the Machine were amazing)



Perhaps it's the change in my musical perceptions that turned me off of Oasis, but every times I've heard their new tune since Standing On The Shoulder Of Giants came out, it has seemed forced, formulaic and lacking in both the technique and form that I have come to demand of music, and more importantly lacking in the exuberance, passion and heart that can make technically easy music have a power and charm all it's own.

I think it's more the second, as I'll happily enjoy other forms of strum -long stuff which has come out since, and really liked Travis' the Man Who and Invisible Band LPs for example.



I'll always hold Oasis in a warm place in my heart, as they are where my story and education began, and they have more than a few songs I still play and enjoy listening to now. However, they lost it in the most primal way, and I think it's perverse that their last few records have sailed into #1 status, just because they are Oasis – it always bugs me when a band's success seems inverse to their quality.

With the news that apparently Noel & Liam have finally had enough of each other and Oasis is a done deal, I am unmoved, unsurprised and unconvinced – they'll be back.

the Offspring

What: pop punk wayfarers
From: Huntingdon Beach, California
In the Beginning: Originally formed from high school in 1985, their first limited release, eponymous record emerged in 1989. Follow up Ignition (1991) did much better and gave the band the platform for the national hit that was to follow in 1994's Smash.
Best Album*: Smash (1994), Americana (1998)
Best Song*: "Genocide", "Come Out & Play", "Self-Esteem", "All I Want", "Falling", "Want You Bad"
Recently...: Eighth album Rise and Fall, Rage and Grace released in June 2008. There are reports of a new album, produced by Bob Rock due to be released in 2010.

I do not apologise or make excuses that this is the first Offspring song I ever heard.



Everyone has to start somewhere, no? Of course, as part of my oft-discussed alternative education, I soon ran headfirst into the Offspring, by the route I assume most people will have which goes like this.

Innocent Me: I like Green Day. (…and by this I mean entertaining, 90s Green Day, not the sunken cheeked, sell out trash responsible for crap like "21 Guns")

More Experienced Campaigner: You should like the Offspring then.

IM: Who?

MEC: Here, have a listen. (Hands over copy of Smash)

IM: Oh. That's quite good.



I guess you can copy & paste quite a few bands into that conversation, but you can't deny we all discovered at least one band we like that way.

Smash remains my favourite Offspring record, bursting with youthful aggression, pop hooks and cheeky exuberance. Songs like "Self Esteem" and "Come Out & Play" are post-teen angst for the cynically and sarcastically minded, and tunes like "Genocide" and "Killboy Powerhead" and just awesome dumb fun.

I think I'm off to pogo around the room for a minute...



...that was fun.

I will freely admit that I haven't paid the early albums (Offspring and Ignition) or the 'middle record' Ixnay on the Hombre the same attention I have given to Smash and the records that were current when I was a fully paid up pop-punk fan (Americana and Conspiracy of One.)

That said, one of the singles from Ixnay remains one of my favourite Offspring (or pop punk in general) songs, largely due to it's appearance on the soundtrack to the Crazy Taxi game...



While punk purists will deride the Offspring for their increasing pop tendencies, I've always enjoyed them as a band who have fun with their music, without letting toi much 'scene' issues cloud the flow of a song.

Likewise, will I will always look askew at Green Day's sudden development of political thought at a time when it's oh-so-cool to 'Rock against Bush' and other such platitudes, I'll always respect the continuing theme of anti-authoritarianism and clear headed political thought that slides between the jaunty tunes on most Offspring records - as befits a former Epitaph artist.

That said, one of my favourite Offspring songs is purely and simply a formula pop-punk tune about wanting your girl to be a bit bad...



Since Conspiracy of One I've not followed the Offspring as much, and I've been pretty ambivalent about what I have heard (there is the theory that you can only like 'new' pop punk when you are under 21 or so, and then anything new is just more of the same, while you can still enjoy the stuff you liked when younger because of emotional association) but the band continue to release, and gain a measure of success, even if it is nowhere
near the level the enjoyed with Smash, Americana or Conspiracy of One.

Having seen them live once (on the Conspiracy of One tour, I can say that they are a damned fine live act, displaying a self deprecating humour, and giving the crowd a rest with an 'intermission' which was so damned funny I remember it seven or eight years later...



Ozzy Osbourne

What: Heavy metal founder and unlikely survivor, turned mainstream celebrity and successful gig promoter.
From: Aston, Birmingham, England
In the Beginning: Formed Earth, later to be known as Polka Tulk and more famously Black Sabbath with schoolmate Tony Iommi and as such is a legendary figure in the development of hard rock and heavy metal. Fired from Sabbath because of his substance abuse issues in 1979, he embarked on a solo career, which continues with success to this day.
Best Album*: Blizzard of Oz (1980), Tribute (1987), No More Tears (1991)
Best Song*: "Crazy Train", "Mr. Crowley", "Mama, I'm Coming Home", "No More Tears"
Recently...: Following not being accepted onto the Lollapallooza line-up in the mid nineties, Osbourne (more accurately, his wife and manager, Sharon) started the enduring and successful Ozzfest festival, which has been one of the most consistently successful and enduring touring festivals in North America since it's inception. Mainstream celebrity came from a reality TV shows based on his home life. His most recent release was Black Rain in 2007. There is no word on a new Osbourne album, although he says he will record two more before he retires. He is apparently seeking a replacement for long-term guitarist Zakk Wylde before writing a new record.

I first heard of Ozzy before I'd actually heard (consciously) of Black Sabbath on one of the many mix tapes which figured largely in my early musical education. There were a selection of songs from the Ozzmosis album, jammed in between the Cult, LA Guns, Paradise Lost, Cradle of Filth, Pantera and Fear Factory. I really need to look that tape out...actually, do I even have a cassette player anymore?



Of course, any discussion of Ozzy simply must take into account his origins as one of the forefathers of heavy metal in Black Sabbath so...



...Ozzy was a founder member of Black Sabbath and as such is a key figure in the evolution of heavy metal. This is established fact and needs no further discussion.

Following his dismissal from Black Sabbath, Ozzy's manager (and soon to be wife) Sharon set about forming a new band, basically installing Ozzy as the singer in an existing band, to be titled Blizzard of Oz. However, when the record finally came out, the high heid-yuns of the record company decided the record would be called Blizzard of Oz and the band would be merely titled Ozzy Osbourne.

The notion that Ozzy's self-monikered output has indeed been true ‘solo' material is fallacious and deeply unfair to his enduring cycle of truly awesome musicians in his band, starting with the late, lamented Randy Rhodes and hitting a collective peak in the late 90s, early 2000s, when he had Zakk Wylde (Black Label Society) on guitar, Robert Trulljo (Suicidal Tendencies & now Metallica) on bass and Mike Bordin (Faith No More) on drums. That is surely one of the most awesome power trios ever assembled!

Nonetheless, Ozzy has always been a distinctive, charismatic, if eccentric front-man and is much underrated as a singer, and I feel you have to respect his ability to remain relevant, from his pioneering days in Sabbath to his reinvention as an 80s stadium metal icon, complete with bald or blond head, then his resurrection as the figurehead behind the Ozzfest, (which also makes him one of those most responsible for helping young heavy acts up the ladder, which is always laudable) to his apotheosis as a mainstream celebrity through ‘the Osbournes.'

Or I guess you could call him a flip-flopping, fame hungry, follow-the-scene-of-the-moment scene-whore desperate to maintain their position in the limelight. It all depends on your perspective, but seeing as I LIKE Ozzy, I'll go with the former version of events.

I mean with songs as visceral and unrelentingly extreme and dark as this, how could anyone doubt Ozzy's status as the Prince of Darkness?



Perhaps I'm being sarcastic, perhaps not…

Either way, Ozzy has a back catalogue of tunes which would make any ‘greatest hits' CD or concert a brilliant and memorable experience. Quite aside from his Sabbath back catalogue, the set ranges from the cheesy ("Crazy Train", "Bark at the Moon") to the pleasantly doom laden and heavy ("No More Tears", "Thunder Underground") to the restrained and heartfelt ("Changes", "Mama I'm Comin' Home") and the controversial ("Suicide Solution")



I always think that's Faith No More at the start...

While you may think he's a second rate (or worse) singer, a career pop tart, and an embarrassment to rock music in general or (like myself) think he's an amusing, somewhat adorable (even the tale of him trying to kill sharing having said ‘WE'VE decided you've got to die' seems quite humorous in retrospect) and dearly beloved, if woefully outdated rock legend, you have to admit that he made an impact and retains an importance quite out of proportion to his own musical talent and of far greater import than many of his peers.

All aboard!





A better turnout this week.

First up, Guest#2046 weighed in with Always look forward to your columns, dude. The problem is you post on a Friday - not good internet reading time. You need a more prime-time slot!

Thanks for the compliment man. Please direct any complaints about by scheduling to Mitch Michaels - Music Editor, but don't say I sent you, lest he hunt me down and use my very skin for his drumheads!

Next skinead_bufty contributed with sorry I missed commenting last week. You musn't have said anything I disagreed with. However this week......

hmmm not much either. I do think that you as well as almost everyone else rates Origin of Symmetry way to high and that it is blatantly Muse's worst album albeit with 2 good singles. Mind you I've not heard the new one yet.

Henry Rollins and Doug Standhope mentioned in one column also makes me :D

Actually, I think Absolution is Muse's best record, followed by Showbiz. Origin of Symmetry drops off seriously in quality apart from "Plug in Baby" and "New Born", while the other two have start-to-finish awesomeness.

However, I'd rate Origin.. about level with Black Holes & Revelations but far ahead of the Resistance so far.

That said, I have a feeling that the Resistance could well be a grower, but it's got a LOT of ground to make up, lacking the awesome guitar and bass interplay and hooky choruses I've come to demand from Muse.

Rollins and Stanhope together...now that's an idea for a chat show - who needs Oprah or Jeremy Kyle!

Propagandhi joins in with some mixed thoughts - Keep telling yourself you can learn Nirvana songs in under an hour. Eventually someone will be believe you.

Trent Reznor is a God amongst mere mortals.

Trust me, most Nirvana songs aren't so hard. Sure, I'll admit I'm not note-perfect from memory with an hour's practise, but definitely good enough for a quick cover or sing-along at a party. Exact covers are for anally retentive fools in any case. Any halfway competent guitarist will agree with me.

However, Trent is indeed a God, I cannot argue with that.

Next, Hdj360 had some bad news - Yup, missed your column last week! I was too busy getting laid off from my job and seeking another but other than that this week was pretty good with NIN and Nirvana were a must to talk about! As for the new Muse album, I thought it was actually pretty good except for losing all the heavy guitar riffs they usually have in they're albums. MK Ultra is probably the only semi-heavy song they have on the album but I did like the 3 part epic Exogenesis! Have you checked out Breaking Benjamins new album "Dear Agony"?

As for next weeks column, I really can't think of any I like but I guess: Oasis, Otep, The Offspring

Damn man, I hope you get back in the ranks of the employed and soon! Best wishes from your friendly internet music opinion writer!

Like I said above, perhaps my utter disappointment is the lack of the awesome guitar and bass interplay that Muse usually offer, and the Resistance might grow on me. There is a fine line between progressive/expermental/epic instrumental grandeur, and being indulgent and pretentious - again, the difference between 'technically good' and 'actually fun' and at the moment, the Resistance is firmly in the ‘technically good but indulgent and pretentious' and hence' not fun' category.

No I haven't checked out the new Breaking Benjamins record - is it worth it?


Lastly, Guest#1299 had this to say: Wow...Nightwish ?? Didn't think I would see that...I generally listen to heavier stuff, but I do like my prog and that's how I kinda got into Nightwish...I liked their Phantom of the Opera too...

Always glad to surprise people!

Their version of the "Phantom of the Opera" theme is bloody great - although I'd love to hear them have a crack at the Iron Maiden song of the same name, with full keyboard bombast, and I reckon the female vocals would add a nice extra layer to it.

---

OK, that's me done for this week but as I look ahead to a November packed with awesome shows, I've tracked down the videos for some of Skunk Anansie's new songs, and this has me tightening my belt and looking out my mouth guard for some fun violent movement when they come through Glasgow...



Tell me that isn't fun?

Next week, I'm talking about FIVE bands, with some added value from my favourite Scots troubadours and whatever occurs to me in the meantime.

Slainte,
Chris Crowing

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