Ask 411 Music 09.28.06: The Season Premier Edition
Posted by Mitch Michaels on 09.28.2006
Hip Hope Hits reviewed in brief, the NEW Theme Time Playlist Extravaganza featuring DBT and The Cure, the also NEW Musical Ransom Note CONTEST, “Let’s Get Crazy”, Bob Dylan, Victoria’s Secret, Bon Jovi, The Germs, The Beatles, The Who and hardcore(?),LL Cool J, the UK-US curse, Queen, the John Mayer Trio and MORE!!!
Fuck, I gotta start doing these things more often.
Mitch Michaels back again with another GIANT edition of Ask 411 Music, the pride of 411Mania. It's been several weeks since you all sat under the learning tree of my musical knowledge, but, hey, check out the main page, ‘cause I've been anything but slacking off.
It's a new fall season for Ask 411 Music, not to mention the column's fourth anniversary, and, to celebrate our new season, I've got an absolute ASSLOAD of questions along with some great new features, including one where YOU, yes, YOU, can win your own real estate right here in this very column. Excited? You should be. Let's get to it.
2006 BILLBOARD #1 ALBUMS
As always, I'm still cranking out the reviews in order to fulfill my personal GUARANTEE that each and every Billboard #1 album of 2006 would be reviewed here at the ‘Mania. Check out the latest 10:
Remember, just because a lot of people bought it don't mean it ain't junk.
It's that time of year when the labels dump out all their BIG ones. Look for new stuff by all the heavy hitters, be it new albums, reissues, rereleases or Greatest Hits sets. Gotta get your Christmas money somehow, chumps.
And speaking of Everclear, here's a nice public "Fuck You" to frontman Art Alexakis for all the anti-Christian sentiment lately. If you know so much more about love and kindness, Art, why are you on your third divorce?
In last week's Savage Animal, Mikey MiGo (who I don't hate) hilariously compares emo to disco. He also admits to dreaming about "fem boys" in "tight clothing". Maybe you should check out that Victoria's Secret ad I link later in the column, Mike. It'll set you right.
This week's Savage Animal is particularly compelling, talking about musical stereotypes. Dig those pretty pictures!
Frank Estrada returns with an interesting column called The Sentence, where he takes a look at cliché musical statements or something like that. In the first edition, he talks about the single album that should be issued to every college freshman. Estrada makes a case for Bob Marley's Legend, which I think is a strong choice (both my brother and I picked up a Marley set while in college). I will offer a counterpoint: Sublime - Sublime. Think about it. The second edition talks about forgiving a band for a bad album.
Brian Berry finishes up his Top 40 Albums of 2006…So Far, which is a good read. Get in the mind of an indie snob! Understand the value of Built To Spill!
Brandon Ratliff pops in with a new Broken Memories, where he talks about how musical tastes can change. I can definitely relate. If I liked bands like Static-X and Crossfade, I'd be looking for something new, too! I kid. Seriously, read this one. You think Brandon's got all the fucking time in the world to write columns?
Double M makes his return to music columns with No Rhyme Or Reason. In the first edition, MM talks about pop hype and how too much can harm an album's sales and actually cites examples! I really liked this column.
MSD puts down the bong to hype up the forthcoming Jay-Z return in Elysian Fields.
On the review front, Ratliff calls the new Papa Roach OMG, BEST. ALBUM. EVER., but gets let down by the new Crossfade.
Nathan Ganley has his ALL ORIGINAL review of the new A.S.K., which is also OMG, BEST. ALBUM. EVER.
Stacey Trash reviews the new one by The Adored, who, despite seemingly getting an undeserved break, manage to rise above her expectations.
Album Reviews – In Brief
It's been a pretty slow period for the Venerable Michaels Collection. This time of year usually is, as most of my favorite stuff tends to be released in October. Why? Who knows. Anyway, I picked up the 2007 edition of Gottee's Hip Hope Hits, the third annual installment. Hits 2007 is a good CD, but a little light compared to its predecessors. At only 15 tracks, it's the shortest, but definitely the tightest (great taste, less filler). One thing I noticed is that a lot of the songs on this year's CD are from albums that were represented on Hits 2006. I guess it has been a slow release year for Christian rap, at least for artists under the EMI banner. Anyway, are the songs any good? Glad you asked. The usual suspects turn out some great cuts, of course, with Mars Ill once again taking the best song award for the stellar "More". Guys, I can't find your Pro*Pain CD anywhere. Does anybody out there have this album? Grits' "Changes" is also a great number.
Of the newer guys, the one that most impressed me was Pettidee and his crunk-y "Stepped On". You don't find a lot of real rage on Christian rap tracks, but it's something I'd like to hear more of. Mars Ill has it, perhaps after they've been jerked around so much by the industry despite the fact they're undoubtedly one of the most talented acts out there. Pettidee has that same pissed-off fire and I love it. I also like the flow on Shonlock's bouncy "Lean".
Only a couple of disappointments here. John Reuben's "Nuisance" is a great rap track, but when the guy from Relient K kicks in, it stops it dead. Seriously, I hate it. I was also thinking of picking up KJ-52's Remixes album, but the version of "Plain White Rapper" on this CD changed my mind real quick. Stop making the same album KJ!
Qualms aside, this is another worthy intro to positive (Christian) rap and, if you like hip hop, you will find something to like on this CD.
The iTunes Theme Time Playlist Extravaganza
After 16 months and nearly 200 songs (198 to be exact), I've decided it's time to put the Party Shuffle to bed. 115 different artists plugged in for the weekly celebration that was the Party Shuffle, bringing us music from all genres, from heavy metal to Christian contemporary to traditional country. From Alan Jackson to Rob Zombie, if you will.
But fear not, readers. iTunes and Ask 411 Music will continue their marriage with this new feature, the Theme Time Playlist Extravaganza. Basically, I'll use iTunes' "Search" feature and my digital song library to come up with a themed playlist each column. Nothing too taxing, let's see how it goes. (Also, thanks to Bob Dylan for inspiring the title.)
This week's theme:
(PART ONE)
Aerosmith - "Big Ten Inch Record (Live)" - This is from the band's recent live set Rockin' The Joint. Say what you want about the Aerosmith boys, but they can bring the raunch like no other. "Big Ten Inch" originally appeared on their masterpiece party record "Toys In The Attic" and it's aged really well. The double entendre is fun for fun's sake, and Perry and the other players boogie like there's no tomorrow. Joint finds the band playing some of their vital, sometimes overlooked 70's rockers, so it's worth a pick-up.
Drive-By Truckers - "Nine Bullets" – It's only right that DBT should appear in the inaugural edition of the Extravaganza, given that they appeared in the Party Shuffle more than any other band. "Nine Bullets" is a hillbilly blues stomper about how Patterson Hood would take down his enemies and it's got a great sing-along chorus: "My roommate's gun's got nine bullets/And I'm gonna find a use for every last one". From the second DBT album Pizza Deliverance, which was re-released on New West last year.
The Byrds - "Eight Miles High" - One of the greatest psychedelic rock songs of all-time. This song originally appeared on The Byrds' third LP, Fifth Dimension, in 1966, when the band was beginning to move away from electric folk and more towards the jazz improvisation tendencies of psychedelia. Not much more to say about this one that you don't already know. It's a classic.
The White Stripes - "Seven Nation Army" – After White Blood Cells broke, a lot of people were wondering if Jack & Meg White would bow under the pressure for their follow-up. I think all those thoughts were washed away when this thumping "bass" line hit the air waves. "Seven Nation Army" remains my favorite Stripes song with its awesome guitar solo, straight ahead rhythm and commanding vocals. It topped the Modern Rock chart in 2003.
The Cure - "Six Different Ways" – I was first introduced to this song by a Counting Crows bootleg version I found. It really is a great pop song from a band that isn't always remembered for their big, shiny pop numbers. "Six Different Ways" is a quirky, synth-laden tune from the band's 1985 commercial homerun The Head On The Door. The album (along with the rest of The Cure's catalog) was recently expanded, remastered and re-released and you can check out my 411 colleague Brian Berry's review of the new sets here.
Another new feature for Ask 411 Music and this one can get you a prize. Basically, I'll post a sentence/picture that will be a series of words cut and pasted from album covers (like a ransom note, get it?). The first person to correctly identify the albums that the pasted words came from wins a spot in the next Ask 411 Music to plug, preach, rant or swear about any topic their heart desires. Got it? No? God, you people are dense! Here's an example:
As you can see the words "The" "Open" "Door" have each been cut from an album cover to form the name of the upcoming Evanescence record. But what album covers were the words taken from? "The" is probably the toughest one here, but anyone who's into classic rock probably owns or has heard this LP. That word has been clipped from The Beatles' self-titled release, commonly known as "The White Album". Hair metal enthusiasts will probably recognize the "Open" straight away from Poison's magnum opus Open Up And Say…Ahh!. "Door" is the easiest one, taken from another self-titled classic rock release, 1967's The Doors. Don't believe me? Look below.
OK, now that you know how to play the game, here's this week's puzzle:
That's 5 different albums (counting the forward slash) to make up FutureSex/LoveSounds. Can you figure it out for a spot in the next edition of Ask 411 Music? Send your answers to my email as quick as you can. Good luck!
And now it's time for……..
ASK411 MUSIC
Our first question this week (of many) comes from Canadian reader Craig Kirchner, who needs help finding a song:
Hi Mitch,
I'm hoping you can help me out with something only I seem to remember. As I recall there was a song "Let's Get Crazy" by a group called The Villains. It would have been mid-eighties as I noted the similar name to Prince's "Let's Go Crazy". Though I think the band was more in the punk/new wave vein, this song had a rockabilly feel (like The Stray Cats). I distinctly remember the video being the band playing on stage in a small bar/hall and the main character sneaking in through a window to see them play. I've searched all over the internet and talked to music people and nobody else remembers it. It's much appreciated if you can validate or correct me.
Craig from Toronto
Thanks for the question, Craig, and I may have good news for you. Though I can't find any information about a song called "Let's Get Crazy" by a band called The Villains (and there have been quite a few bands with that name), I'm 99% sure that the song you are talking about was at least originally by Roger Taylor, who is best known as the drummer for Queen.
Taylor released his first solo album, Fun In Space, in 1981 while still with the band. The only US single released from that record was "Let's Get Crazy". While I can't find any details about a promotional video, Taylor did play all of the instruments on Space, meaning if there WAS a video for Taylor's version with a band, the band would have to be "fake". The style of the song could definitely be described as 50's rock ‘n' roll (which influenced rockabilly), while the overall album was littered with synthesizers, which could be the new wave element you recall.
Fun In Space predates Prince's Purple Rain (which included the hit "Let's Go Crazy") by about three years, but, in 1984, Taylor released his second album, Strange Frontier, so his other solo work might have been getting some visibility during that album's promotional period. Hope this helps!
Our next question comes from reader Chase Merriman, who responds to our Dylan discussion from last time:
I saw Bob Dylan in Columbus, Ohio on Sunday, August 13th. I understood some of his singing and some of it I didn't. Songs like "Memphis Blues" and "Shelter From The Storm" were slower, at least "Shelter" was. He tried to make it sound like a love song in a way. He didn't play guitar at all during the show, but he was still very good. Wish he would have sung "The Hurricane" and "Knockin' On Heaven's Door". If you know anyone who has a bootleg of this concert, please let me know.
Chase Merriman
Another dissatisfied Dylan concertgoer, but hey, at least you got to hear some of the songs you like, even if they weren't like the original versions (a hallmark for any Dylan concert). I understand that Bob Dylan has a vast back catalog and can sing whatever he wants, but it just seems like he's doing concerts more to see how much he can change instead of for the audience's enjoyment. Is that defeating the purpose? I think so, but some people dig it, so who am I to judge?
In regards to the guitar playing thing, Dylan hasn't played guitar regularly in concert since 2002. Bob instead plays some keyboards and a lot of harmonica. Why? Who knows. The worst thing you can do is ask Bob Dylan a question. The most prominent (and strangest) explanation is that Dylan needed a keyboard player and just hasn't gotten around to hiring one yet. Take that for what it's worth.
As far as bootlegs go, your best bet online is eTree. It's a huge trader's database and also has an area for downloads. Most of these files are in FLAC format, so you'll have to be aware that they'll be huge but great quality. A quick search on the trader's database shows that several guys have the show you're talking about (Cooper Stadium, 8/13/06) for trade.
Looking at that set list, you got a much better show than I did back in '99. Take a look:
Your Set List:
Maggie's Farm
I'll Be Your Baby Tonight
Stuck Inside Of Mobile With The Memphis Blues Again
Blind Willie McTell
New Morning
It's Alright, Ma (I'm Only Bleeding)
Tweedle Dee & Tweedle Dum
Shelter From The Storm
Masters Of War
Highway 61 Revisited
Sugar Baby
Summer Days
Encore:
Like A Rolling Stone
All Along The Watchtower
My Bullshit Set List:
Roving Gambler
Love Minus Zero/No Limit
Desolation Row
Cocaine
Tangled Up In Blue
Just Like Tom Thumb's Blues
Shelter From The Storm
Tombstone Blues
Blind Willie McTell
You Ain't Goin' Nowhere
Highway 61 Revisited
Encore:
Love Sick
Cat's In The Well
Don't Think Twice, It's All Right
Not Fade Away
Add to that crappy set list the fact that I had to stand beside a bunch of hippies for a full set by Phil Lesh & Friends and I think you win out.
Reader Tommy Turpish clarifies something about my Bon Jovi mini review from last time:
Mitch,
Hey man, Bon Jovi does rock. I've been a huge fan of theirs for a long time. But don't be too pissed about Cross Roads not containing "This Aint A Love Song," After all, "TAALS" was released on These Days, which was put out in 1995, whereas Cross Roads was released one year earlier. Fear not though man, word has it they're looking to release a new Greatest Hits soon.
Peace & Rock n Roll.
Tommy Turpish
411 almunus Rhett Walker follows suit:
What's happening Mitch,
I just got done reading your latest offering to the site and I felt compelled to respond to your thoughts on Bon Jovi and clear something up for you. Don't feel the least bit bad for being a Bon Jovi fan. Right around the time that Have a Nice Day came out last year, I wrote a column praising Bon Jovi for everything they have ever done, while at the same time blasting Mötley Crüe for all they're worth, in spite of the fact that they were a big part of my teenage years. All three of the points you listed about them were 100% true. Bon Jovi is one of the best rock bands in history, period. True, their albums don't have the selling power that they once did, but they still continue to record solid albums and tour around the world selling out stadiums, not just arenas, STADIUMS. These guys deserve everything they have and will get in the future.
I saw in this week's column that the exclusion of "This Ain't a Love Song" from their greatest hits disc Cross Roads kinda irked you a little bit. Allow me to tell you why it wasn't on there. The new song for that compilation was the monster ballad "Always". "This Ain't a Love Song" was the lead single off the album These Days. Cross Roads was released in 1994. These Days was released in 1995. You can now no longer be irked.
Later,
Rhett
Thanks for the info, Tommy, and for the Bon Jovi love and validation, Rhett.
I actually knew that "This Ain't A Love Song" came out after Cross Roads. It just seemed like "Love Song" and "Always" were released as singles REALLY close together (in my mind, anyway) and, just when I'd decided to pick up Cross Roads, BAM, here's These Days and its awesome single. The decision over which CD to buy just cancelled each other out I guess, which is why I just bought the CD 12 years later.
It would figure that Bon Jovi would release a new greatest hits album just after I bought the first one. Hopefully it's a Vol. 2 and not a whole new package. I don't need THREE copies of "Bad Medicine" lying around.
Reader Charles Emmanuelle comments on last time's punk discussion:
Dear Mitch,
Ya know, it's funny; I almost forgot how much Queen were hated by the press and punk artists back in the day. I was thinking about an article I read on the Germs which talked about kids getting high at Queen concerts and Freddie being a hero to homosexual punk artists, but this was in the American punk scene. Ah well.
Charles
Thanks for your comments, Charles. All this punk discussion has been fun research. As far as the punk community's feelings towards Queen as a whole, well, hey, there are always people having different opinions. It's fucking punk, you expect them to get along?
You didn't really ask a question, but your mention of The Germs compels me to throw in a little history here. Though The Germs are rarely listed as huge pioneers in punk rock, they did have the distinction of being the first punk band from L.A., which would become one of the hot beds for the genre (isn't L.A. a hot bed for every genre eventually?).
The band was founded by Darby Crash and Pat Smear (later of Nirvana and the Foo Fighters) and they only released one full-length and a handful of singles during their brief three-year career. Though they can hardly be considered successful commercially, they did introduce an element of theatricality to punk live shows that held a lasting impression.
The Germs dissolved in 1980 the day Darby Crash committed suicide by overdosing on heroin with his friend Casey Cola. Cola lived. John Lennon was murdered the next day.
The Germs recently reactivated with the new version featuring the three surviving members and new vocalist Shane West. West is an actor who played the role of Darby Crash in an upcoming movie about The Germs called What We Do Is Secret.
Regular Eric has several questions this week, but his first is about my least favorite band:
Okay, I knooooow you hate Beatles questions, but too bad.
It seems like there are always Beatles CDs/DVDs coming out. Know of any upcoming projects?
Well, it's nearing Christmas season, so I'm sure Capitol is finding some way to cash in on the Fab Four for the upcoming months.
Actually, there's not much archival stuff on the release schedule this year. The Capitol Albums, Vol. 2 box set just came out in April, so I'm guessing we won't see a Vol. 3 till sometime in late 2007.
There's an album set for release this month by Compendia called Best Of The Beatles: Classical Interpretations, which includes 10 classical versions of Beatles songs, from "Penny Lane" to "Day Tripper". I've always liked "Day Tripper". If you're hardcore into the band, you may be interested in that.
As far as solo projects, it doesn't look like John Lennon has anything on the horizon, but George Harrison's Living In The Material World was just remastered and re-released this month. Ringo Starr has been quiet since Choose Love, his latest album, more or less vanished into a black hole after release last year and Paul McCartney's got an expanded reissue of McCartney II coming out next month and that whole divorce thing going on. Isn't it easier when they just die? (Cold blooded!)
Reader Tanner Pruitt brings us even more punk discussion:
Hey,
I want to add a band that above all should also be credited for the birth of punk music and that is The Who. The opening riff of "My Generation" laid the ground work for every punk band. All of The Who's early music can be seen as the beginning of the punk scene. Heck, even Johnny Rotten, WHO LIKES NOBODY, was a fan of The Who and it's widely known that the Sex Pistols would play "Substitute" at their gigs. After The Who, these bands followed:
MC5
Iggy and the Stooges
The Clash
The Ramones
The Sex Pistols
The Whole DC scene
...and eventually Grunge
On the subject of The Clash, I think that they where very punk on their self-titled album, they just drifted off into other stuff. I think that if they would have stayed to their roots from that album, people in the punk community would have a lot more respect for The Clash.
Thanks for reading.
Whoa whoa whoa now. I'm all for grandiose statements, but to say EVERYTHING in punk and even hardcore and grunge evolved from The Who is, well, total bullshit. Let's break it down point by point:
Punk Music:
I won't deny that The Who were important precursors to punk, with their manic stage energy and dedication to LOUD rock, but they definitely predate the punk scene by quite a while. The Who came up in what was known as the British "mod" movement, and they're probably the best example of a mod band (along with the Small Faces) that made it commercially in the States. Like punk would become, mod was just as (if not more) known for its fashion and lifestyle as its music. Mod's biggest influences, musically, were loud rock and Motown flavored R&B, and you can hear this marriage quite well on The Who's A Quick One, While He's Away. The Who were also one of the most successful bands in the second wave of the British Invasion, which brought acts like them and The Zombies to the US. The British Invasion was a sort of great-grandfather to punk, as it led to garage rock bands like the MC5, New York Dolls and The Stooges, who are regularly credited with being prototypes for punk. So, no, I wouldn't say The Who should be credited for the birth of punk music, since they were just riding a wave of mod and British invasion that only indirectly led to the punk movement of the late 70's. They were definitely influences, though, given their loud, abrasive songs, live shows and sense of style.
MC5:
Yes, the MC5 definitely showed some of their Who influence through their live shows, but the big draw for that group was their unflinching political overtones, which was a direct precursor to punk. You could just as much credit their rock ‘n' roll clusterfuck style to groups like the Stones and Hendrix as you could The Who.
The Stooges:
Sure, you could say The Stooges had an affinity for psychedelic blues that could have been derived from The Who, but The Stooges were all about their grimy nastiness and vulgar lyrics, another precursor to 70's punk. If anything, I would see The Stooges as evolving from The Doors (minus the musicianship).
The Clash:
Definite Who influences here, and their career sort of progressed the same way as The Who, as they started up as straight up punk and then matured and evolved to incorporate new sonic landscapes. Though The Clash were originally inspired by the Sex Pistols, they're probably the most Who-like on this list.
Ramones:
I couldn't disagree more with this one. The Ramones completely bypassed The Who as they dug back for influences. Their sound was firmly cemented in early rock ‘n' roll. Their simple melodies and even simpler instrumentation was a direct copy of the days of post-Elvis, pre-Beatles 45s. If anything, the Ramones and The Who share some early influences, but, while the Ramones were more into rock ‘n' roll's golden age, The Who had more to do with psychedelia and R&B.
The Sex Pistols:
While The Clash might have had the progression of The Who, The Sex Pistols were most definitely ripping off The Who with their live shows and music. They just couldn't play it as well and had to rely on their gimmick more. Punk was born.
The DC Hardcore Scene:
When you look at the origins of hardcore, an evolution itself of the dying punk scene, only three bands really matter: Black Flag, Bad Brains and Minor Threat. Both Bad Brains and Minor Threat formed in Washington, DC, and they're credited with beginning the hardcore scene there in the early 80's that spawned acts like Void, Scream, Rites Of Spring, Ignition and Dag Nasty. Dischord Records, hardcore's most pivotal label, is also based there. Of the big three, you could say Bad Brains has some Who influences, due to the immediate influence of groups like the Sex Pistols and The Clash. Minor Threat was also influenced by the Pistols, but you can't really hear a lot of "Who" in Ian MacKaye's songs. That leaves a very faint Who influence on the DC scene, but you could hardly call them responsible. As far as Black Flag goes, they were more influenced by punk acts like the Ramones and The Stooges, who we've already established have little to do with The Who.
Grunge:
Where the fuck did this one come from? Grunge came up in the late 80's/early 90's, a melding of the artistry of heavy metal and the attitude of punk. We've already established that punk was pretty far removed from The Who, so a genre that only incorporated an element of punk is even farther down the line. While I'm sure Kurt Cobain and Layne Staley wouldn't have minded a copy of Who's Next? playing in the background, I don't think there were too many homages to Roger Daltrey on Nevermind.
And yes, The Clash would have been more respected in the punk community if they had stayed closer to punk on their later records, but they also would've never broken out in the US or lasted in the UK and would be placed a LOT lower on the "all-time greatest punk bands" list. How's that for irony?
Reader Neil Brennan drops by with a few questions:
Hey Mitch,
Question time once more.
1) The oft-used phrase "Don't call it a comeback" - where was it first used? I'm thinking LL Cool J, am I wrong?
Thanks for the questions, Neil. I love your work on "Chappelle's Show".
Neil is, of course, referring to the opening line of LL Cool J's hit song "Mama Said Knock You Out". "Mama Said" was released from the album of the same name in the summer of 1990. That song has an interesting history, actually. After releasing Walking With A Panther, his third album, in 1989, LL was being faced with declining sells thanks to rap's move from good time party music to gritty urban street life screeds. LL realized he needed to adjust with the times and the result was the much darker Mama Said Knock You Out. The title came from LL's grandmother, who told him to "knock out" all the critics after Panther's poor reviews. The opening line, "Don't call it a comeback/I've been here for years", has become a popular pop culture reference to be sure. I can't say if LL was the first to utter such a sentence (he's the first I can find to do so in a song, though), but he definitely owns it now.
Neil continues:
2) This one might be a bit complicated, but I'm curious as to royalties from records. On average, how much do band-members make from each sale? Percent or dollar wise...obviously it differs for each artist, but on average say...even if you don't know for sure, have you any examples of either ludicrous amounts being made on each sale, or bands who were basically ripped off?
The music business has all sorts of wacky rules and contracts, meaning lots of artists make lots of different amounts for their albums. One telling sign is that it seems that most musicians renegotiate their contracts after hitting it big saleswise, meaning that the younger artists probably ARE getting ripped off. That's why publishing rights and live show revenues are so important. I'll give you two extreme examples in country music.
I once heard in an interview that Garth Brooks was making around $1 for every CD sale he made. That was in the late-90's (before his new Wal*Mart deal), but I'm thinking that is still a big number for most bands, and probably an unusual contract altogether. I mean, this is Garth Brooks, he's nothing if not a businessman. That would mean that for, say, Sevens, which sold in the area of nine million, Garth Brooks raked in a cool $9 million just from that part of his contract. That doesn't count publishing and all the other revenue.
On the other side of that you have country songwriter Radney Foster. Foster's 1992 solo album Del Rio, TX 1959 was released on Arista and sold pretty well (not quite gold, but in the hundreds of thousands). It produced four Top 40 country hits and was a big favorite on CMT and radio. How much did Foster make on that record? Just the $35,000 that Arista advanced him to make the CD. Now how's that for a crap deal?
The bottom line is, unless your Garth Brooks or someone of his stature, you're probably taking it up the ass and smiling, just cause all those sales bring more people out to your live shows, which is where you make your real money.
Neil has one more, this time about the US reaction to foreign acts:
3) I ask this question from the other side of the Atlantic, and out of pure curiosity - who would you say are the Top 5 Non-American acts in the US at the moment, in terms of success as opposed to critical acclaim? And why do you reckon some of the biggest acts from the UK fail to really break the US, eg Robbie Williams, Oasis...
Cheers mate, hope I don't keep you too busy.
Neil
As of this chart week, there are 11 foreign artists taking up spots in the Top 100 positions of the Billboard 200: Nickelback (Canada), Barenaked Ladies (Canada), Snow Patrol (Ireland), Maná (Mexico), Corinne Bailey Rae (UK), James Blunt (UK), Nelly Furtado (Canada), KT Tunstall (Scotland), Rihanna (Barbados), Shakira (Colombia), Crazy Frog (whatever country wants to claim him, but he's not ours!) and Michael Bublé (Canada).
If you eliminate the North American artists, that just leaves 5 acts. Of those, I think you could call James Blunt the biggest at the moment. KT Tunstall hasn't really gotten past "one hit wonder" yet (even though she's doing well) and Snow Patrol's popularity has definitely taken a dive since "Run". It's too soon to tell on Corinne Bailey Rae and that damn Crazy Frog is on it's third or fourth wind for some reason, but has never gotten near as big in the States as it has overseas.
Then you have those foreign bands that have really made it to the top level and will never leave, like U2.
As far as the Oasis curse goes, who knows why some music catches on huge in one culture while it fizzles in another. I think Oasis came really close to making it here (their music was really solid, especially those first albums), but their antics that made them so popular in England went largely unnoticed in the States. I think you have to generate a different kind of buzz in the US to get over than you do in the UK. Not that one is better than the other, because both are ridiculous. Your MUSIC should be the thing, you know?
That's just my two cents. Hope that helps answer your question.
Eric returns because he thinks we haven't discussed Queen enough:
Hey buddy,
So, I know little about Queen, but would love to know more. What I do know is that their stuff that's not "mainstream" seems to be a lot heavier than their stuff that is, but I was wondering if I've missed something. Can you possibly name some Queen tunes that aren't played on the radio, but sound like "Bohemian Rhapsody", "Somebody To Love", "Bicycle Race", etc?
Queen is an odd case in rock music. They're remembered as one of the greatest of all time, but during their heyday, reaction to them was very mixed in the US. It took nearly 10 years of big hits in Europe for Queen to break huge stateside (with 1980's The Game) and that success almost immediately declined. If anything, Queen is more popular in the US after Freddie Mercury's death than they ever were during their active period.
The thing about Queen is they were a heavy metal band at heart. While the band delved into a broad range of styles on their records (Caribbean, opera, gospel, disco, dance, new wave), they always came back to that mix of big guitar driven rock anthems (thanks to guitarist Brian May) and big, over the top ballads (thanks to Mercury's undeniable showmanship). I think, when it comes to "Bohemian Rhapsody" and "Somebody To Love", you can't really say that ANYTHING in Queen's catalog is like those songs, which is odd seeing as how they were two of the band's biggest hits. Queen didn't really try to copy past successes as they tried to write compelling albums. The success just came naturally.
Anyway, as far as your question goes, there's nothing really like the gospel-fueled "Somebody To Love", but the entire Made In Heaven album from 1994 will put you in mind (at least a little) of "Bohemian Rhapsody". The disc was released after Mercury's death in '92 and the backing tracks were recorded posthumously by the surviving members of the band. Heaven didn't get a lot of attention in the US, so you probably won't be hearing any of those cuts on the radio. "Teo Torriatte" from A Day At The Races is another epic ballad with its Japanese vocals, but doesn't have the operatic element that makes "Rhapsody" so memorable.
As far as "Bicycle Race", it's more of a common Queen sound. While they may not have recorded anything else with "Bicycle"'s faux innocence, Freddie Mercury definitely wrote his share of overt sexual overtones. Check out "Get Down, Make Love" from News Of The World for Mercury at his raunchy best.
Think Eric was done with just one e-mail? Well think again. And think right this time:
Bob Dylan did an underwear commercial?
How does one go about finding bootlegs?
I'm praying these are two separate questions and Eric isn't actually creaming his jeans at the thought of Bob Dylan in his tighty whities.
Yes, Dylan did do an underwear commercial, rather recently. The spot aired for Victoria's Secret in 2004 and featured one of VS's models doing her thing to Dylan's "Lovesick" (from 1997's hit Time Out Of Mind). Dylan appeared in the commercial, too, but never got the chance to party with the model (on screen anyway). The ad was titled "Angels In Venice" and you can check out a clip of it here. But the promotion didn't end with the TV spot. Victoria's Secret also had an exclusive Dylan EP that was available only through their website and catalog (not sure if you could pick it up in their stores). The EP, titled Lovesick, didn't contain any exclusive music, but it was an interesting sample from Dylan's career (my wife got it for me). Here's the track list:
1. She Belongs To Me
2. Don't Think Twice, It's Alright
3. To Ramona
4. Boots Of Spanish Leather
5. Lovesick
6. Things Have Changed
7. Sugar Baby
As you can see, the tracks are culled from Dylan's more relationship-oriented songs (minus "Things Have Changed", probably one of the disc's selling points since the track hadn't appeared on a Dylan record before then), which is most likely due to VS's target audience.
As far as bootlegs go, check above.
Eric wraps us up this week with a timely question:
What happened to the John Mayer Trio?
And were they any good? I saw a kick ass cover they did of Jimi's "Wait Until Tomorrow", which also kicks ass.
Interesting question, seeing as how I just finished a review of John Mayer's latest album Continuum. The John Mayer Trio formed in 2005 and were part of Mayer's conscious move from adult pop to rawer R&B and blues. The threesome toured the US playing their own material, some of Mayer's catalog and cover songs (notably Jimi Hendrix and Ray Charles). They released the live album Try! in late 2005. Mayer announced the band was breaking up in March of this year, but recently stated they may reunite for a studio album.
That's not to say John is done with the group. Mayer's new solo set, Continuum, was co-produced by Trio drummer Steve Jordan and features Trio bassist Pino Palladino on all but one of the tracks. Continuum is miles ahead of anything Mayer has put out before, a gorgeous album of blues, R&B and terrific songwriting. It also contains a cover of Hendrix' "Bold As Love", which sounds great.
It's been a pretty slow period for the Venerable Michaels Collection. This time of year usually is, as most of my favorite stuff tends to be released in October. Why? Who knows. Anyway, I picked up the 2007 edition of Gottee's Hip Hope Hits, the third annual installment. Hits 2007 is a good CD, but a little light compared to its predecessors. At only 15 tracks, it's the shortest, but definitely the tightest (great taste, less filler). One thing I noticed is that a lot of the songs on this year's CD are from albums that were represented on Hits 2006. I guess it has been a slow release year for Christian rap, at least for artists under the EMI banner. Anyway, are the songs any good? Glad you asked. The usual suspects turn out some great cuts, of course, with Mars Ill once again taking the best song award for the stellar "More". Guys, I can't find your Pro*Pain CD anywhere. Does anybody out there have this album? Grits' "Changes" is also a great number.
The iTunes Theme Time Playlist Extravaganza
Aerosmith - "Big Ten Inch Record (Live)" - This is from the band's recent live set Rockin' The Joint. Say what you want about the Aerosmith boys, but they can bring the raunch like no other. "Big Ten Inch" originally appeared on their masterpiece party record "Toys In The Attic" and it's aged really well. The double entendre is fun for fun's sake, and Perry and the other players boogie like there's no tomorrow. Joint finds the band playing some of their vital, sometimes overlooked 70's rockers, so it's worth a pick-up.
Drive-By Truckers - "Nine Bullets" – It's only right that DBT should appear in the inaugural edition of the Extravaganza, given that they appeared in the Party Shuffle more than any other band. "Nine Bullets" is a hillbilly blues stomper about how Patterson Hood would take down his enemies and it's got a great sing-along chorus: "My roommate's gun's got nine bullets/And I'm gonna find a use for every last one". From the second DBT album Pizza Deliverance, which was re-released on New West last year.
The Byrds - "Eight Miles High" - One of the greatest psychedelic rock songs of all-time. This song originally appeared on The Byrds' third LP, Fifth Dimension, in 1966, when the band was beginning to move away from electric folk and more towards the jazz improvisation tendencies of psychedelia. Not much more to say about this one that you don't already know. It's a classic.
The White Stripes - "Seven Nation Army" – After White Blood Cells broke, a lot of people were wondering if Jack & Meg White would bow under the pressure for their follow-up. I think all those thoughts were washed away when this thumping "bass" line hit the air waves. "Seven Nation Army" remains my favorite Stripes song with its awesome guitar solo, straight ahead rhythm and commanding vocals. It topped the Modern Rock chart in 2003.
The Cure - "Six Different Ways" – I was first introduced to this song by a Counting Crows bootleg version I found. It really is a great pop song from a band that isn't always remembered for their big, shiny pop numbers. "Six Different Ways" is a quirky, synth-laden tune from the band's 1985 commercial homerun The Head On The Door. The album (along with the rest of The Cure's catalog) was recently expanded, remastered and re-released and you can check out my 411 colleague Brian Berry's review of the new sets 
Hi Mitch,
I saw Bob Dylan in Columbus, Ohio on Sunday, August 13th. I understood some of his singing and some of it I didn't. Songs like "Memphis Blues" and "Shelter From The Storm" were slower, at least "Shelter" was. He tried to make it sound like a love song in a way. He didn't play guitar at all during the show, but he was still very good. Wish he would have sung "The Hurricane" and "Knockin' On Heaven's Door". If you know anyone who has a bootleg of this concert, please let me know.
Mitch,
Dear Mitch,
Okay, I knooooow you hate Beatles questions, but too bad.
Hey, 
Hey Mitch,
Hey buddy,
Bob Dylan did an underwear commercial?
What happened to the John Mayer Trio?
