Results for 1980s
By the early 1980's, punk had become less about sticking it to the man, and more about conforming to a set of rules. Then came The Minutemen with Double Nickels on the Dime, the 1984 album that threw out the punk rulebook. This week Jim and Greg are joined by Minutemen bassist Mike Watt, who founded the San Pedro hardcore group alongside drummer George Hurley and larger-than-life lead singer and guitarist D. Boon. The Minutemen weren't afraid to experiment with their sound, incorporating jazz and funk, as well as "Econo"—a lo-fi, DIY attitude that would later inspire indie rock. Ever the motor-mouth philosopher, Watt waxes poetic about jamming econo, the true meaning of“Double Nickels on the Dime,”and his idea of a "Hot Topic."Go to episode 287
Andy Summers of The Police
This week Jim and Greg sit down with Andy Summers, former guitarist for 1980s supergroup The Police. Andy was in town promoting his latest tome, "One Train Later." It's a memoir — a good one according to Jim and Greg — about his years before and during the Police era. Andy is honest and frank in the book, and it comes across in the interview. Our hosts start things off by asking Andy about the origins of the band and The Police's distinctive sound. Andy was largely influenced by jazz growing up and firmly established himself as a professional musician well before he helped form The Police. He had a brief stint with the jazz fusion/progressive rock band Soft Machine and did session work during the 1970s for artists like Neil Sedaka and Joan Armatrading. His Police band mate, drummer Stewart Copeland also came from a musically trained background. Jim points the irony in having two highly trained musicians emerge out of the British punk scene — a scene that demanded unpolished musicians and hated solos. Andy considers The Police to have been fake punk band.
Although Jim did not get to catch The Police at their first US gig at CBGB's, he did see the band shortly after at New York's The Bottom Line. The young self-proclaimed“drum geek”strategically sat behind Stewart Copeland's drum kit. He discovered The Police's disdain for each other, noting the“nasty, nasty”words Stewart had written in magic marker on his drum skins cursing the other band members. Jim asked Andy what it was like to work in such acrimonious conditions, especially with the rising megastar Sting. Summers says nothing negative about his experience and feels the fights helped fuel the creativity of the band. Greg reiterates that although several people over the years mistake The Police as Sting's band, Andy and Stewart really shaped the sound. Andy concurs, detailing how songs like "Walking on the Moon" and "When the World is Running Down" involved all three members of the band.
As the interview nears a close, Jim asks the question that burns in the brain of many a Police fan: Will The Police reunite? Andy is up for reuniting and is in contact with the other two members (he had dinner with them this year) but he won‘t sit around waiting for the phone to ring. He’s busy with his own career, producing solo albums, and working as a photographer and bandleader. The closest the Police came to a reunion was in 2003 for the Rock and Roll Hall of Fame induction ceremony. A reunion still sounds possible — let's hope this former Sting fan doesn't squelch such a possibility.Go to episode 53
In the 1980s, Slayer redefined the metal genre by bringing more speed and intensity than many had ever heard. But the band's musical virtuosity was often overshadowed by their lyrics and imagery, which at times referenced violence and satanism. That made them the target of groups like the Parents Music Resource Center, which was cofounded by Tipper Gore. But despite critics, they've been going strong for over three decades, despite personel changes and the tragic death of Jeff Hannenman earlier this year. In 2010, founding members Dave Lombardo (who has since left the band) and Kerry King sat down with Jim and Greg to talk about their favorite Slayer moments, working with Rick Rubin and what they'd say to parents concerned about their music.Go to episode 421
Jim and Greg often like to invite a noteworthy record producer to come on the show to share some behind-the-scenes insights. This week they talk to Stephen Street. Stephen worked with The Smiths on three of their landmark albums during the 1980s. Then in the '90s, he recorded with Blur on five of their releases. He also produced the hugely successful debut by The Cranberries. Today he continues to work with top British bands like Babyshambles and The Klaxons. Stephen shares with Jim and Greg some of the backstory of making tracks like "Meat is Murder" and "Girls and Boys." He also expresses huge admiration for both Damon Albarn and Graham Coxon of Blur. Stephen thinks a Blur reunion is not far off-much more likely than a Smiths one.Go to episode 243
In the 1980's Slayer redefined the metal genre, bringing more speed and intensity than many had ever heard. But the musical virtuosity of members Tom Araya, Jeff Hanneman, Kerry King and Dave Lombardo was often overshadowed by their lyrics and imagery, which at times referenced violence and satanism. That made them the target of groups like the Parents Music Resource Center, which was co-founded by Tipper Gore. But despite critics, they've been going strong for over three decades and are currently out on tour. Drummer Dave Lombardo and guitarist Kerry King sit down with Jim and Greg to talk about their favorite Slayer moments, working with Rick Rubin and what they'd say to parents concerned about their music.Go to episode 250
In preparation for this week's guest, Steve Wynn, Jim and Greg do a little primer on the Paisley Underground music scene that developed in California in the 1980s. Jim plays a song by one of the seminal bands of this scene, The 3 O'Clock, whose very psychedelic name was inspired by Tom Wolfe's assertion in "The Electric Kool-Aid Acid Test" that if one drops acid in the early evening, the high of the trip will occur at 3:00 a.m. The 3 O'Clock was helmed by Michael Quercio, a musician who started as a punk rocker. After discovering psychedelic rock, however, his sound, and his look, began to change. It was Cuercio's affinity for the music of the '60s, as well as the brightly colored paisley clothes, that gave this scene its name. While the name did not do the music justice, the influence of the Paisley Underground on contemporary bands like Oasis and The Secret Machines is undeniable.
It may surprise to listeners who are only familiar with "Walk Like an Egyptian," but The Bangles were also pioneers of the Paisley Underground. Their original sound, with its three- and four-part harmonies and sing-songy melodies, paralleled that of The Mamas and the Papas and The Byrds. Lead singer Susanna Hoffs continues to work in this genre; she and '90s indie pop star Matthew Sweet just released a 1960s covers album featuring songs by The Left Banke, The Beach Boys and The Who.
Greg points out that the Paisley Underground sound was not a homogenous one — in fact, what bonded these bands was a punk sensibility that welcomed other musical styles. Unlike many other punk bands at the time, these acts didn't see why they had to conform to a strict policy of three-minute, Ramones-style songs. And what's more punk rock than non-conformity? One band that went above and beyond its punk and psychedelic influences was The Long Ryders. They took more of a country approach and can be seen as pioneers of the alternative country scene that now houses bands like Uncle Tupelo, Son Volt, and The Bottle Rockets.
The Rain Parade is the next Paisley Underground band up for discussion. While the members of The Rain Parade never saw the major label success like their peers in The Bangles or The 3 O'Clock (who were signed to Prince's Paisley Park label), many went on to work on successful projects. David Robeck formed the band Mazzy Star, which had an alternative hit single with "Fade Into You" in 1993 and Matt Piucci went on to work with Crazy Horse. The remaining bandmates reincarnated themselves as Viva Saturn.
Greg plays a song featuring this week's guest, Steve Wynn. His band The Dream Syndicate was a group that both Jim and Greg became fans of in the early '80s. They emerged in LA as one of the pioneers of the Paisley Underground sound. Steve then released a number of solo records and has spent the last few years with his most recent band, The Miracle 3. Steve and his band members, Linda Pitmon, Dave DeCastro and Kirk Swan, joined Jim and Greg for an interview and performance at the Chicago Recording Company.
The Dream Syndicate never made it into the 1990s, but its innovative sound continued to influence artists. While other LA bands at the time, like Black Flag, Social Distortion and Bad Religion, were making post-punk and punk music with a really hard edge, The Dream Syndicate stuck to a swirlier, psychedelic pop sound. For this reason, Jim and Greg explain, no matter how many solo projects he embarks on, our guest will most likely always be remembered as the lead singer of The Dream Syndicate.
After playing a track from Days of Wine and Roses, which Greg calls one of the masterpieces of the Paisley Underground era, our host asks Steve about the chemistry between two guitarists. In this case, Steve's partner in guitar is Kirk Swan, who was in another innovative '80s indie pop band, Dumptruck, Steve responds that the basic formula of guitar, drums, and bass is simple, but never gets old. He points to bands like Neil Young and Crazy Horse and Television as examples.
Jim asks Steve about why he continues on in this business after so many years. As Steve jokes on his website, this new album is one of several“comebacks,”but music is not such an easy life to come back to. After being pegged the“new Springsteen,”Steve and the band had somewhat of a difficult time. He explains how that hurt the band (and indirectly how he hurt Jim one drunken night). Thankfully they both came out on the other side.Go to episode 21
Mission of Burma
This week's guests are the men of Mission of Burma: Roger Miller, Clint Conley, Peter Prescott, and Bob Weston. The post-punk pioneers were in Chicago to perform at the Pitchfork Music Festival, so they stopped by Sound Opinions for a discussion and performance. Jim and Greg explain that Mission of Burma is a rare example of a band able to break up, reunite and continue making music as good as (if not better than) they did before. Burma's first incarnation was in the early 1980s — they recorded one album in 1982 before they had to disband due to Roger's debilitating tinnitus, but their influence is undeniable. The band returned twenty years later to tour and record OnOffOn, and have recently released The Obliterati, which both Jim and Greg say may make their Best of 2006 lists.
Mission of Burma is known for combining pop melodies with quite a lot of noise. These characteristics often get the band thrown in the same pot as bands like Gang of Four and Wire, but listeners shouldn‘t confuse these post-punkers. One of Burma’s distinctive features is their use of tape loops. During their first go-around, Martin Swope would record the band's sound and manipulate it live with a reel-to-reel tape machine. Now Shellac's Bob Weston has the job, and you can hear the effects on "Max Ernst," which they perform live on the show. Another famous looper is Radiohead's Jonny Greenwood, though he works digitally.
Another Burma trademark is the songwriting. All three regular members, Roger, Clint and Peter, pen very smart, rather literate lyrics. An example of this is another song they perform live, "Donna Sumeria." While it was Roger's attempt at a love song, it's also a witty pun on Donna Summer and the ancient Middle Eastern civilization. Greg cites it as an example of Burma's punk sensibility. Their music doesn't have rules and can even have disco elements.Go to episode 38
Next Jim and Greg embark on one of their trademark genre explorations. They've mentioned the term "Synth-Pop" a lot in the past year. The electronic sound of the 1980's has been heavily influencing a slew of new bands including Passion Pit, MGMT and Phoenix. So where does that synth sound come from? Of course, Jim traces a line directly to Kraftwerk and Brian Eno, but notes that it wasn't until technology became cheap and portable that it really came into the mainstream. He and Greg cite Daniel Miller of The Normal as an example of an artist who really embraced synthesizers and didn't merely use them to replicate other instruments. And acts like the Human League developed the sound further to have more warmth and emotion.Go to episode 225
People in Chicago of a certain age fondly remember strolling down Lincoln Avenue into Wax Trax! Records. It was the epicenter of cutting edge culture in the 1980s. But even if you weren‘t there to sample goods from the record store and label, you’re familiar with its influence. Owners Jim Nash and Dannie Flesher created a world headquarters for artists who bridged disco, house, electronic, punk, and industrial music. Acts like Ministry, Front 242, RevCo, Underworld, KMFDM, and My Life With the Thrill Kill Kult went on to sell millions of records internationally. Nash died in 1995 and Flesher in 2010. A year later, Wax Trax friends and family celebrated its 33 1/3 anniversary at Metro in Chicago. Two key players in that scene were Chris Connelly and Paul Barker. They share their memories of Wax Trax with Jim and Greg.Go to episode 293
The Chills Silver Bullets
If you aren't familiar with The Chills, chances are you aren't entrenched in the New Zealand indie rock scene –not to mention this is first full-length album the group has put out in nearly two decades. The Chills are credited for popularizing the kiwi pop sound that emerged in New Zealand during the 1980s. It was a marked departure from the indie rock that was prevalent in the U.S. at the time and an original sound altogether. Greg was unsure what to expect from The Chills, as he hasn't heard a full-length album from them since 1996s Sunburnt. But he's happy to report singer/songwriter Martin Phillips is back. As a result of battling drug addiction and illness, Phillips‘ lyrics are dark and introspective. The album conveys a sense of urgency to appreciate life’s good things, and to Greg, Phillips sounds like a man renewed. Jim also likes the subtle touches of violin, timpani roll and chiming guitar. The song "America Says Hello" makes a political statement that is more direct than anything else Jim has heard from The Chills, so it's an enthusiastic Double Buy It for Silver Bullets.
Aimee Mann Mental Illness
Aimee Mann began her career as the lead singer of the Boston synth pop band 'Til Tuesday in the 1980s. Since then, she's had a successful solo career, most notably with her 2000 album Bachelor No. 2. She's just released her first solo record in five years, Mental Illness. Jim thinks that this is one of Mann's best efforts. He loves her minimal use of instrumentation and thoughtful lyrics. While he's not a fan of the singer-songwriter genre, he digs Aimee Mann and gives Mental Illness a Buy It. Greg is also a longtime Aimee Mann fan, and thinks this record is one of her all-time best. Her intelligent lyrics and melancholy vocals make Mental Illness a superb album. He gives it a Buy It.
New Order Lost Sirens
At the beginning of the New Order review, Greg calls the English band's latest album Lost Sirens almost a collection of“leftovers.”That can‘t bode too well for it. New Order’s music in the 1980's was undeniably influential. There'd be no LCD Soundsystem or Radiohead without their electronic pop innovations. But, Jim doesn't hear anything that evokes their Madchester greatness on this effort. He says Trash It. Greg really liked the tracks "I Told You So" and "Hellbent", so that bumps up his rating to a Burn It.
Bowie The Next Day
Tony Visconti is back with Bowie on the singer's first album in ten years: The Next Day. And both are back in top form, according to Greg. He thinks it's Bowie's most consistent record since the 1980's and again hears that sweet spot between pop music and the avant garde. Jim has always found Bowie something of a charlatan, and can't recommend The Next Day. So the gentlemen are split: Buy It for Greg, Trash It for Jim.
After a public battle with his former music label, Atlantic, rapper Lupe Fiasco has finally released a new album. DROGAS Light is Fiasco's sixth studio record, and is the first of his final trilogy of albums. Jim has always enjoyed Lupe's music, and says that he is one of the most intelligent people he has ever interviewed. That being said, this album is not reflective of his intellect and lyrical prowess. Many of the tracks feel like leftovers from other projects and sound far too much like bad commercial rap songs. Jim gives it a Try It at best. Greg is also a huge fan of Lupe, and almost always finds his music profound and interesting. However he finds DROGAS Light to be repetitive, crass and unimaginative. Although it pains him to do it, Greg gives this album a Trash It.Go to episode 586
Greg chooses a Desert Island Jukebox track this week. Taking inspiration from The Effigies' visit, he picked a song from the Chicago punk scene of the 1980s. Naked Raygun was one of the bands that really got national attention, partly because of their intense live set, and partly because of their emotionally charged songs. Greg chooses one such song, "Home of the Brave," to take with him to the deserted island. In the song, the band plays three terse verses about the outrage they experienced during the Reagan administration. The song asks the listener to think about what it really means to be the“home of the brave,”and both Jim and Greg are amazed at how appropriate the song's lyrics still are today.Go to episode 88
Jim was saddened by the loss last week of Michael Carlucci, a guitarist and fixture of the 1980s Hoboken, New Jersey scene where Jim cut his teeth. Carlucci was best known for leading his own band Winter Hours, but was also a member of Red Buckets, playing behind singer/songwriter Richard Mason. Red Buckets was beloved in Hoboken – Yo La Tengo has recorded two tribute songs to the band – but never achieved national success. In memory of Michael Carlucci, Jim nominates "Jane September" by Red Buckets to the Desert Island Jukebox.Go to episode 519
This week, Jim chose the unique track "The Gormleys Will Miss Me" by the 27 Various for two reasons. One explanation is that after his recent DIJ selection by New Jersey's Red Buckets, it got him thinking more about underground indie rock from the 1980s. The other reason is that ever since Sound Opinions‘ intern Libby Gormley joined the team, Jim couldn’t get this track out of his head. While the Minneapolis band never gained huge traction, Jim loves this group, and finds this obscure song to be the perfect choice for this week's Desert Island Jukebox pick.Go to episode 522
During his most recent adventure on the desert island, Jim took comfort in a Paisley Underground classic called "Her Head's Revolving" by a band that truly exemplifies the genre. The Three O'Clock* came up in Los Angeles at the start of the 1980's alongside similar sounding groups such as The Dream Syndicate, Green on Red and The Bangles. The band's mix of 1960's psychedelic harmonies and 1980's pop flavor produced a new distinct twist on a classic sound. Lead vocalist Michael Quercio dubbed it“Paisley Underground,”a tribute to the“far out”decade. And none other than Prince took notice.Go to episode 449
No one of a certain age can hear "Rio" without picturing Simon LeBon and the members of Duran Duran crooning off the side of a yacht. They were the“Rolling Stones of the New Wave era”according to writer Lori Majewski, and through such videos represented everything you either love or hate about the 1980's—the excess, the sex, the fashion and the pure pop production. But, while this was a very visual era of music (with infamous clothes and even more infamous hair), there's a lot to be said for the sound. Jim and Greg talk to Lori about her new book Mad World: An Oral History of New Wave Artists and the Songs That Defined the 1980's, co-written with Jonathan Bernstein. In it, the authors reveal why New Wave caught on so strongly with pop fans and the media, especially post-punk in the U.K. (Certainly the NME would rather photograph Adam Ant than a spitting Johnny Rotten). And Jim and Greg reveal their own affection for music by Boy George, The Cars, A Flock of Seagulls and most anything brought to the big screen by John Hughes.
Here are other New Wave acts we fondly remember:
- Duran Duran
- Gary Numan
- Spandau Ballet
- Adam Ant
- Human League
- Tears for Fears
- Psychedelic Furs
- Simple Minds
- Culture Club
- A Flock of Seagulls
- New Order
Universal Music, the home to U2, Eminem and Lil Wayne, has decided to drop its CD prices to $10 or less. These new prices will certainly be welcome by both consumers and retailers, but Jim and Greg wonder if this is a case of too little, too late for the music industry. CDs were nearly $20 a decade ago when physical music sales were at a high. Now that those sales are down, $10 may draw some consumers back in, but it's still a heck of a lot more expensive than an mp3.
Next Jim and Greg remember musician Alex Chilton who died last week at the age of 59. Chilton first came on the scene as the 16-year-old singer of The Box Tops' "The Letter." He then joined Big Star, and as Jim and Greg explain, became hugely significant to musicians in the 1980's. Big Star was never a commercial hit, but everyone from REM to The Replacements has name-checked Chilton and the band's power-pop sound as an influence. The singer and songwriter died only days before a scheduled Big Star reunion at SXSW. The event turned into a tribute, one that Greg describes as one of the most memorable shows he's ever seen. To honor Alex Chilton Jim and Greg play a song from Big Star's third release Third/Sister Lovers called "Thank You Friends." For more Big Star love, check out the Sound Opinions Classic Album Dissections of #1 Record and Radio City.Go to episode 226
First up in the news the sentence handed to Daniel Biechele, the tour manager of the band Great White. Biechele was ordered to serve four years in prison and three years probation for setting a fire in a Rhode Island nightclub in February 2003 — a blaze that killed 100 fans and injured twice that number. This was the fourth deadliest nightclub fire in U.S. history. The ruling represents a compromise between the defense and the prosecution, who were originally seeking a ten-year sentence. Meanwhile. victims' families are awaiting the trial of the club owners, to take place later this summer.
Another court case also made news this week. In the battle between The Beatles' Apple Corp. and Apple Computer over trademark infringement and their shared apple logo, the judge ruled against the Fab Four. The band was contending that Apple Computer and its iTunes Music Store had breached a 1980 trademark agreement by expanding onto their turf — the music industry. However, the judge, who does own an iPod, responded that“even a moron in a hurry,”could tell the difference between the two companies. Now we just have to wait and see if the Beatles will finally release their songs to the online music retailer. Hopefully this will not confuse any of the morons in a hurry out there.
There was also an update on Keith Richards' health status, which was discussed last week. After a mysterious fall on the island of Fiji, Richards was admitted to a hospital in Auckland, New Zealand. On Monday, after complaining of headaches, he underwent an operation, which, according to his publicist, was 100% successful. The Stones' camp has not said how he fell or what the operation was for, but reports speculate that it was to drain blood from his skull. A spokesperson has, however, denied that there was more than one surgery or that Richards suffered any brain damage. Fans can expect to see the guitarist touring in June, and back to his old, randy self in no time.
Grant McLennan, frontman of Australian indie rock band The Go-Betweens, died in his sleep earlier this week. The singer/songwriter was 48. Greg discusses how The Go-Betweens, who were going strong up until McLennan's passing, were not necessarily commercially successful, but were very influential in the 1980s. Musicians like Bono and Morrissey and members of bands like R.E.M. and Coldplay have all sung the praises of McLennan and his partner Robert Foster. Many listeners will only know the band from their hit "Bachelor Kisses," but Greg points out that the songwriting pair penned many wonderful pop songs that were full of emotion and humanity. He chooses to play "Bye Bye Pride," and prompts listeners to pay attention to the oboe solo.Go to episode 24
First in the news Jim and Greg discuss the controversy over the censorship of political lyrics in a song by Pearl Jam during the AT&T Blue Room webcast of their recent Lollapalooza performance. While Pearl Jam criticized this kind of censorship on their website and posted both versions of the song, it appeared that the audio editing was a fluke. In the days following the festival, though, it was revealed that this was not the first time such censorship had occurred, sparking interest from advocates of Internet neutrality. Both Jim and Greg agree that webcasters have a public responsibility to broadcast what actually happens at events, and concert promoters have a responsibility to tell bands whether or not they're giving up their right to free speech. Both critics are anxious to see how things play out in the weeks leading up to the next big festival, Austin City Limits.
Another news story confirms our suspicion that music fans have better brains. Or at least more active brains. Researchers at Stanford Medical School recently released findings that show that music increases brain receptivity and reception. To find out about the study Jim and Greg speak with the paper's senior author, Dr. Vinod Menon, associate professor of psychiatry and behavioral sciences and of neurosciences at Stanford. Dr. Menon explains that the greatest amount of activity occurred during moments of transition or pauses. While he used the tunes of 18th-century English composer William Boyce, it's interesting to think about how this research applies to rock music. Check out the MRI for yourself here.
In another miracle of science, (most of) the original members of '80s rock group Van Halen announced they are reuniting this fall for a series of concerts. The band's first lead singer, David Lee Roth, will perform with the band for the first time in 22 years. Fans expected this announcement a few months ago, only to be left disappointed by guitarist Eddie Van Halen's trip to rehab. But now the Sammy Hagar and Gary Cherone-haters will get their wish… sort of. Founding bassist Michael Anthony has been given the boot, and Eddie's son Wolfgang van Halen will replace him. Not only were the names Anthony and Hagar omitted from the group's press release, but Anthony's image had been airbrushed from a picture of the band's album cover on the website. As quick as history was revised, it was re-revised, though, and Anthony is back in the picture. Only literally of course.
Record label owner, broadcaster, journalist, pop impresario and nightclub founder Anthony Wilson died last week at the age of 57. Wilson is the man who put the Manchester music scene on the map, a scene that included Joy Division, New Order and The Happy Mondays. He ran Factory Records in the late 1970s and the Hacienda nightclub in the 1980s and early 1990s. Many listeners will remember Steve Coogan's portrayal of Wilson in the semi-fictional story of the Hacienda, 24 Hour Party People. But, Jim and Greg choose to remember Wilson through the music he influenced.Go to episode 90
Jim and Greg talk about some surprising numbers Nielsen SoundScan recently released. According to the sales trackers, 40% of the albums old in 2006 were catalog sales. While there were a number of successful new releases from acts like Mary J. Blige, The Dixie Chicks and High School Musical, it seems that music fans still have a lot of nostalgia for the hair metal era of the 1980s. AC/DC's 1980 album Back in Black sold 444,000 copies last year, a figure that would make a contemporary CD a success. Also faring well was Metallica's 1991 self-titled album, Guns 'N Roses' Appetite for Destruction and Bon Jovi's Greatest Hits collection. The New Jersey band is also having success with their new release Lost Highway, though this is one figure Jim really can't wrap his head around.
Next the hosts discuss their recent experiences at the Pitchfork Music Festival in Chicago. The three day festival organized by the Chicago-based Internet music magazine pitchforkmedia.com and indie music promoter Mike Reed was attended by 48,000 people in Chicago's Union Park. In fact, both Jim and Greg worry that the concert is getting too big for its britches, and the park. There were a number of highlights including performances by Yoko Ono, Mastodon and Clipse and full-album performances from Sonic Youth, Slint and GZA. But, one of the problems with a festival that celebrates the underground is that eventually things move above ground. Even Third Stage acts like electronic artist Dan Deacon demanded a huge crowd. In addition a number of artists from previous Pitchfork Festivals are appearing at this year's Lollapalooza. One thing this proves is how big the Pitchfork tastemakers are now. More than MTV play or radio play, it's coverage on indie sites like pitchforkmedia.com that thrust an artist into the spotlight.Go to episode 86
With his mutton chops, leather biker gear, and one word moniker, Lemmy was a larger-than-life rock icon. The lead singer, bassist, and founder of English heavy metal innovators Motörhead died on December 28 at the age of 70. Born Ian Kilmister, Lemmy started out as a roadie for Jimi Hendrix before making important contributions to the seminal space rock band Hawkwind. After getting kicked out of that band in 1975, he formed Motörhead. Initially they didn't fit in with the metal and progressive rock acts of the time, but became a template for thrash metal in the 1980s. Greg always appreciated the sly sense of humor behind Lemmy's music. Jim notes that he was also a serious scholar of military history. In tribute to Lemmy's passing, he plays the 1979 Motörhead cut "Bomber" about the Heinkel He 111 aircraft.Go to episode 528
Proving the adage that everyone is a critic, the Vatican has released its first official Top Ten List of albums. The official Vatican paper, L'Osservatore Romano, has endorsed records by Oasis, The Beatles, Michael Jackson and Fleetwood Mac. And perhaps for the title alone, they also included Carlos Santana's Supernatural. It made a point of not including Bob Dylan, however, on the grounds that generations of less-talented Dylan acolytes have "harshly tested the ears and patience of listeners with their inferior imitations, thinking that their tortured meanderings might interest somebody."
In other music news, rock producer Ian Burgess passed away last week. As Jim explains, Burgess was one of the architects of the hyper-aggressive, yet melodic, indie rock sounds of the 1980's. He worked with a number of Midwest bands such as Naked Raygun, Pegboy and Big Black. He also served as a mentor to Big Black founder-turned producer Steve Albini. To honor Burgess, Jim and Greg play "I Don't Know" off Naked Raygun's 1985 album Throb Throb.Go to episode 221