Viacom, the parent company of MTV and Comedy Central, sued Google (which recently acquired YouTube) in federal court today, citing “massive intentional copyright infringement.”
Because the two parties have failed to arrive at some sort of licensing agreement, Viacom has decided to go to court. Funny, because YouTube is doing what cable networks fail to do on a daily basis: provide programming that people actually want to watch.
From a legal standpoint, Viacom certainly has a case. And while this is nothing that YouTube hasn't faced before, this lawsuit has serious implications for those of us who love:
A) Music Videos
B) Re-runs of Chappelle's show (Sorry, I don’t own the DVDs)
During the last fifteen years, MTV and VH-1 have come depressing parodies of themselves. Thanks to the success of The Real World and Behind The Music, Viacom executives decided to gradually shift away from exclusively music based programming. As a result, both networks hold the dubious honor of broadcasting some of the most inane, pointless and degrading shit in the history of television. Today's youngsters know MTV as the home of white-washed teen dramas and VH-1 as a dumping ground for washed up celebrities.
Oh, and Comedy Central? Well I dunno about you, but I'm not really a fan of seeing the same re-runs of Mind of Mencia four times in same week.
Shit, I almost forgot BET, which was bought by Viacom. Well, at least they show videos. My only gripe is that they cancelled BET Uncut. Then again, after you see Nelly swipe a credit card down the crack of a woman's ass, can you really take hip hop seriously?
Viacom said today that nearly 160,000 clips of its programming have been available on YouTube and that they had been viewed more than 1.5 billion times
I’m going to be slightly unprofessional for a minute and take this time to say “Fuck Viacom.” Save for BET and VH-1 Classic (which you have to special order from the cable company) none of their networks show music videos anymore. Where the hell else am I gonna be able to watch Eddy Grant’s surreal protest video for “Electric Avenue”??????
Source: New York Times, 13th March 2007
Eddy Grant “Electric Avenue”
E40 "Tell me When to Go"
When Ghostriding the Whip Goes HORRRRRIBLY WRONG
Tuesday, March 13, 2007
Saturday, March 10, 2007
EDITORIAL: Sympathy for the Record Industry
Last month, the Big Four major record companies announced massive spending cuts in order to offset mounting losses. But rather than blaming internet downloading, labels have begun targeting their own artists’ excessive spending.
In summer 2006, Warner Music released an album by socialite Paris Hilton. Said album sold a meager 75,000 copies in the United States and performed even worse in the UK, selling only 13,000 copies. Yet somehow Ms. Hilton’s management convinced Warner execs to send their client and a sizeable entourage to London for a press tour, at a cost of £160,000. Oh, never mind the wasted millions in recording and promotion for a dud album, WB decided to reward the young starlet with an all expenses paid trip overseas. You know, it’s kind of funny. The labels complain about their artists' "diva behavior,” but they continue to sign the checks.
Clearly something is wrong here.
Perry Watts-Russell, a senior Vice President at Warner Brothers, once argued that major labels lose money on a majority of their acts. According to him, many rely on the sales of a few top selling singers or groups to carry such a massive loss. As recently as ten years ago, this was a workable business model. However due to rapidly changing tastes, fierce competition from other media (e.g. increasingly affordable DVDs) and internet downloading, CD sales have dropped significantly.
So what’s the strategy to combat sagging sales? Terminating artists and dismissing loyal employees. V2 Records, an EMI imprint, recently dismissed its roster and is now concentrating on maintaining its back catalog. Warner Music has been dropping “unprofitable” cult acts like Stereolab since 2004. But these bookkeeping adjustments are minor and they do little to address the real problems at hand. In spite of their cost cutting efforts, major labels continue to indulge artists with nearly unlimited recording and travel budgets.
During the last 25 years, the home computer and independent labels have challenged the Big Four’s monopoly over recorded music. Independent labels, which operate on lower profit margins and spending budgets, can regularly turn a profit. A few have generated sizable sales and influence without the extravagant expense accounts of their larger competitors. Meanwhile, the home computer has allowed millions of unsigned bands to promote shows on their own webpages, as well as record and burn their own CDs. This represents a massive shift away from the centralized power of a few New York and Los Angeles based media conglomerates.
Comically enough, major labels initially dismissed the use of online technology as a means for distribution, thereby closing the door on a lucrative opportunity. Had record executives seen the potential of online music stores, they could’ve organized downloadable libraries of their deep catalog material. Instead, most of the Big Four licensed their music to Apple, and as a result the I-Tunes Music Store currently maintains a vice grip over digital music sales.
The reliance on an outdated business model has left the record industry in a vulnerable state. If the industry does not wish to reign in its hefty costs, it will have to find some other creative means for generating revenue.
Still not getting it, eh? Let's put it this way: The film industry made the transition from the Hollywood studio monopoly to a free agent system. Perhaps record executives should follow their example.
CRUCIAL UPDATE
Paris Hilton is to be dropped by her record label within the next few weeks.
According to a report in the Daily Star, Warner Music have not yet told the Simple Life star that they do not wish to work with her for a second album, but believe that Hilton will accept the decision as she has "lost interest" in her pop career.
A source told the newspaper: "Paris will be dropped in a matter of moments. She's totally lost interest in the project and in all honesty, her label feel very much the same."
HMMMMM Perhaps there's hope?
Are there any crap artists that you'd like to see dropped from their label?
MORE INFORMATION
Source for "Paris Hilton being Fired"
Daily Express article that provided me with the facts and figures
In summer 2006, Warner Music released an album by socialite Paris Hilton. Said album sold a meager 75,000 copies in the United States and performed even worse in the UK, selling only 13,000 copies. Yet somehow Ms. Hilton’s management convinced Warner execs to send their client and a sizeable entourage to London for a press tour, at a cost of £160,000. Oh, never mind the wasted millions in recording and promotion for a dud album, WB decided to reward the young starlet with an all expenses paid trip overseas. You know, it’s kind of funny. The labels complain about their artists' "diva behavior,” but they continue to sign the checks.
Clearly something is wrong here.
Perry Watts-Russell, a senior Vice President at Warner Brothers, once argued that major labels lose money on a majority of their acts. According to him, many rely on the sales of a few top selling singers or groups to carry such a massive loss. As recently as ten years ago, this was a workable business model. However due to rapidly changing tastes, fierce competition from other media (e.g. increasingly affordable DVDs) and internet downloading, CD sales have dropped significantly.
So what’s the strategy to combat sagging sales? Terminating artists and dismissing loyal employees. V2 Records, an EMI imprint, recently dismissed its roster and is now concentrating on maintaining its back catalog. Warner Music has been dropping “unprofitable” cult acts like Stereolab since 2004. But these bookkeeping adjustments are minor and they do little to address the real problems at hand. In spite of their cost cutting efforts, major labels continue to indulge artists with nearly unlimited recording and travel budgets.
During the last 25 years, the home computer and independent labels have challenged the Big Four’s monopoly over recorded music. Independent labels, which operate on lower profit margins and spending budgets, can regularly turn a profit. A few have generated sizable sales and influence without the extravagant expense accounts of their larger competitors. Meanwhile, the home computer has allowed millions of unsigned bands to promote shows on their own webpages, as well as record and burn their own CDs. This represents a massive shift away from the centralized power of a few New York and Los Angeles based media conglomerates.
Comically enough, major labels initially dismissed the use of online technology as a means for distribution, thereby closing the door on a lucrative opportunity. Had record executives seen the potential of online music stores, they could’ve organized downloadable libraries of their deep catalog material. Instead, most of the Big Four licensed their music to Apple, and as a result the I-Tunes Music Store currently maintains a vice grip over digital music sales.
The reliance on an outdated business model has left the record industry in a vulnerable state. If the industry does not wish to reign in its hefty costs, it will have to find some other creative means for generating revenue.
Still not getting it, eh? Let's put it this way: The film industry made the transition from the Hollywood studio monopoly to a free agent system. Perhaps record executives should follow their example.
CRUCIAL UPDATE
Paris Hilton is to be dropped by her record label within the next few weeks.
According to a report in the Daily Star, Warner Music have not yet told the Simple Life star that they do not wish to work with her for a second album, but believe that Hilton will accept the decision as she has "lost interest" in her pop career.
A source told the newspaper: "Paris will be dropped in a matter of moments. She's totally lost interest in the project and in all honesty, her label feel very much the same."
HMMMMM Perhaps there's hope?
Are there any crap artists that you'd like to see dropped from their label?
MORE INFORMATION
Source for "Paris Hilton being Fired"
Daily Express article that provided me with the facts and figures
Friday, March 2, 2007
Memories of Wu-Wear
Have you ever been to TJ Maxx or Marshall’s? You know, one of those outlet stores that carry out of season clothing and slightly damaged overstock goods. If you live far from a big city or don't have much money, perhaps you should. Sometimes you can find a real bargain hidden among the unsold pairs of Sneaux shoes and size 40 Lee Jeans.
When you walk around these stores, it’s impossible to ignore the unusually large amount of “urban wear” on the sale racks. FUBU, Sean John, G-Unit, South Pole; they’re all present and accounted for. Whenever I'm at Rugged Warehouse in College Park, MD, I can't help but think of all the hip-hop clothing lines that have come and gone. And when I think of hip-hop, my mind inevitably drifts to the RZA, the GZA, Inspectah Deck, Ol' Dirty Bastard (R.I.P.), Ghostface Killah, Raekwon the Chef, U-God, Masta Killa and Method Man (oh and Cappadonna on a good day).
THE WU-TANG CLAN, DAMMIT!!!!
Long before 50 Cent purchased stock in Glaceau Vitamin Water, The Wu-Tang Clan were hip-hop’s original ghetto conglomerate. Thanks to the RZA's dictatorial five-year plan, they were transformed from a grimy Staten Island collective to a merchandising empire in less than a decade.
Launched in the wake of Wu-Tang Forever's multiplatinum success, Wu-Wear was a strategic move on the economic chessboard. In 2005’s Wu-Tang Manual, RZA explained that Wu-Wear was created to fill a void in the garment industry. According to him, upscale hood favorites like Tommy Hilfiger and Ralph Lauren didn’t make their clothes baggy enough. Nobody was making stuff that cats in the street wanted to wear. RZA’s hunch was correct, and the label took off not only in the hood, but also in the suburbs, where a sizeable percentage of Wu-Tang fans reside. In addition to t-shirts and jeans, Wu-Wear also made hoodies, wristbands, wallets and even special edition two-tone Wallabies.
(An ancient photo from the heyday of Wu-Wear. Courtesy of Shane Annas, pictured on the right)
Sadly, the game has changed a lot since then. Nowadays, every rapper on earth has a clothing line. Hell, even Method Man broke ranks with the Wu to found Johnny Blaze. It’s gotten to the point where there are more ghetto brands than ghetto buyers. And as a result, two things have happened:
1. Most of the (particularly sizes XXXL and up) overstock is being sold at wholesale prices to any store that will take it.
2. There’s been a significant of smaller boutique labels that make very limited runs of their product. Have you ever seen anything by Ice Cream or BAPE being sold at 1/3 reduction?
It would be rather ignorant to blame Wu-Tang for causing the recent glut of hip-hop merchandise. The RZA and co. went into the business with the best of intentions. They created a clothing line that reflected their fiercely independent approach to the rap game. If you’re old enough to remember, there was nobody doing it like the Wu-Tang Clan back late 1990s. Man, Wu-Wear actually stood for something! When you saw somebody walking down the street wearing any article of their clothing, it could be assumed he or she carried a certain set of principles. Chances are, you could ball up to that person, spit the following line, and not get punched in the face:
"Aiyyo, this rappin's like Ziti, facin me real TV
Crash at high-speeds, strawberry, kiwi"
Ok, Ok...maybe I'm exaggerating. But hey,I highly doubt that any of the above could be said about RocaWear!
(The Wally Champ himself @ the 9:30 Club in 2006)
FOOTNOTE:
It’s no accident that the white-tee phenomenon happened when it did. I like to think of it as a sort of minimalist revolt against the rabid commercialization of hip-hop fashion. Not only is it affordable, it’s radical.
PS SEE BELOW FOR SPECIAL LOCAL ANNOUNCEMENT
Thursday, March 1, 2007
Special Local Announcement: THIS SATURDAY COLONEL...ERRR REVEREND K AT THE CONTROLS
FOR READERS IN THE DC AREA:
On Saturday, March 3rd I’ll be DJ-ing at University of Maryland. Actually, it's more like I'll be the "selector"
But for all intents and purposes, it's a DJ set and I’ll be playin’ some of my favorite post-punk, indie, reggae and electro.
I’ll be behind the laptop either between 10am-2pm or the more fashionable 12-2pm.
Either way, I'll be around.
SATURDAY MARCH 3RD.
University of Maryland’s radio station, WMUC 88.1 FM, presents the Record Swap! Independent record dealers from all over the DC/MD/VA area to bring in their latest and greatest!
10:00am - 4:00pm
FREE ADMISSION!!!
Stamp Student Union in The Atrium (one floor above the food court)
University of Maryland @ College Park, MD
Metro: Green Line College Park/U-Md. There is a shuttle from the Metro Station to Campus.
Thousands of records from all genres of music means millions of beats, all ready to catch the needle in the groove and get you movin'! LPs, 45s, CDs, etc, all under one roof. Whether you're looking for that elusive 7" or just want to see what catches your eye and ear, this is the place to be!
DEALERS SO FAR:
- Get Hip!
- Smash Records
- Yesterday & Today Records
- Dave's Metal Records
- Strangeland Records
+ more TBA!
Got vinyl of your own that you want to sell or trade? Bring it in! WMUC will have a consignment table for your own offerings, or bring it around to the dealers, and make a deal! Bring your want-lists and your headphones! THERE WILL BE LIVE DJ SETS and DOOR PRIZES, and a good time guaranteed!
On Saturday, March 3rd I’ll be DJ-ing at University of Maryland. Actually, it's more like I'll be the "selector"
But for all intents and purposes, it's a DJ set and I’ll be playin’ some of my favorite post-punk, indie, reggae and electro.
I’ll be behind the laptop either between 10am-2pm or the more fashionable 12-2pm.
Either way, I'll be around.
SATURDAY MARCH 3RD.
University of Maryland’s radio station, WMUC 88.1 FM, presents the Record Swap! Independent record dealers from all over the DC/MD/VA area to bring in their latest and greatest!
10:00am - 4:00pm
FREE ADMISSION!!!
Stamp Student Union in The Atrium (one floor above the food court)
University of Maryland @ College Park, MD
Metro: Green Line College Park/U-Md. There is a shuttle from the Metro Station to Campus.
Thousands of records from all genres of music means millions of beats, all ready to catch the needle in the groove and get you movin'! LPs, 45s, CDs, etc, all under one roof. Whether you're looking for that elusive 7" or just want to see what catches your eye and ear, this is the place to be!
DEALERS SO FAR:
- Get Hip!
- Smash Records
- Yesterday & Today Records
- Dave's Metal Records
- Strangeland Records
+ more TBA!
Got vinyl of your own that you want to sell or trade? Bring it in! WMUC will have a consignment table for your own offerings, or bring it around to the dealers, and make a deal! Bring your want-lists and your headphones! THERE WILL BE LIVE DJ SETS and DOOR PRIZES, and a good time guaranteed!
Saturday, February 17, 2007
Come on dBs, play one for me! An interview with Dan “100dBs” Brenner
Dan Brenner is tired.
After countless delays, Brenner’s Breaks Vol. 1 was supposed to be available for download on February 10th 2007. This date was not the result of some arbitrary decision; it was intended as a tribute to J-Dilla, who died in hospital one year ago. However the website needed to be redone and mixing was taking longer than expected. But rather than push the album back another week, 100dBs posted up for nearly 48 hours in order to deliver the goods on the morning of February 12th.
And the results are nothing less than stunning.
Dropping nearly two years after the release of his Jay-Z mashup, The Argyle Album, Brenner's Breaks is 100dBs' gritty sophomore offering. Featuring the talents of up and coming MCs Ryan O’Neil and J-iLL, 100dBs clever and nuanced production more than justifies the tardiness of this release. Tying the album together is a twisted series of skits featuring a drugged out Tony the Tiger, a cocaine traffiking Toucan Sam and a pimpin’ and jivin’ Sugar Bear. All of this and more in under sixty minutes.
Due to illness and academic stress, I rubbished the idea of writing a 1,500 word review of this album. (Besides, it would’ve been totally biased). Thankfully, my boy was able to muster up enough strength to answer a few questions about his latest release and life as a grown ass man in Sunset Park, Brooklyn.
Son, what took you so long? This mixtape was supposed to drop in time for summer of '06. It's now February '07!
I was just crazy busy. I could blame it on a lot of things: people had to re-record verses, I was stressed because school was killin' me, I had to make plans to sell my car and move because I didn't want to be at my parent's place in Jersey for too long, tons of shit.
But really what it came down to is that I'm a passionate dude. I can't release something unless I feel like it's damn near perfect. I won't release something wack. I just can't do it; it's not in me. What everyone says is one thing, but if I don't personally feel like it's up to snuff then there's no way the public's going to hear it.
You've cited the late J-Dilla as a huge influence on this album. Do you find him inspirational because he produced a voluminous body of quality work in such a short period of time?
Yeah, you took the words right out of my big mouth. Here you have a guy who passed away due to an incurable blood disease... but because he was so prolific, we'll (hopefully) be hearing previously unreleased shit for years to come.
And his work is timeless. I pride myself on being able to listen to a record I've never heard and be able to place it to within three years of its release date based on certain qualities. You can't do that with Dilla's shit, and I'm not sure we'll ever be able to. He was just too nice with it. Even the unused shit from his beat tapes, It’s all got that "instant classic" quality. And that phrase gets overused a lot, but it can't be overused in this case.I know it seems like I'm on his dick. Fuck it, maybe I am.
Pause.
I thought about it, and it has less to do with the fact that we're lionizing him after his death and more to do with HOW he went out. He did Donuts on his deathbed, and you can hear the urgency. Think about that next time you give it a spin.
It seems like nowadays, a lot of heavy hitters (e.g. Clipse, Jay-Z, Nas,) in hip-hop are steering away from skits. What made you decide to throw in a storyline about cereal box mascots hustlin' in the underworld?
Well, credit Prince Paul for that influence, for better or for worse. He's hands-down my favorite hip-hop producer of all time. His vision for concepts is unparalleled. Oh, and forget about what Clipse are doing...their album was hyped too much anyway. I liked it but... well let's not get into that.
The point is skits can be awful if they're too abundant or irrelevant. Also, they get boring if they're too obvious. If you make ‘em a little weird or random, people will appreciate them once in a while. It's like spices with cooking. You don't want to overpower someone listening to your album... you want to assume that your audience is smart enough not to want to be smacked in the face by a big cold fish, on some cartoon shit.
What were the easiest tracks to record on Brenner's Breaks?
As far as production goes, "Right On" was real easy because it's just chopped up a bit. "Kellogg’s Don't Pay Me Shit" was pretty easy because my boy Outputmessage did a lot of the work. He's very talented. The "One Love" and "Air" remixes were easy as hell for some reason. Nas and Doom just put me into some mode where I immediately know what's necessary to put under their flows, and that’s rare.
And the hardest?
The most difficult? Well, “The Plan" was hard because I just couldn't get the bass to sound right for a while, and the whole thing needed to feel like some grand scheme. "Ms Jackson" was tough because people were saying "You can't touch a classic" and all that shit. I'll touch whatever I want, as long as I think I can do it justice.
As well, working with MCs is often difficult because you have to worry more about recording quality, breath control, and all kinds of performance factors. Especially if you got limited time to work on something or people are not living where you are…. Ryan, for example, recorded most of his shit for BBV1 in less than 24 hours... it was the first time we met and he took a bus down to DC from NYC to record a few joints and he'd heard one before coming over.
Speaking of MCs, this was the first time you recorded with live MCs on a release. Tell us a little bit about working with J-iLL and Ryan O’Neil.
I met J-iLL at UMD. At that time, she was the realest MC I’d heard in the DC area, male or female. I'm not going to mince my words; most rappers down there are wack. It was frustrating, because as a producer all you really want is to back someone ill and you end up fuckin' with acapellas because everyone you hear is awful. It sucks because people talk mad shit - whereas here in New York people may talk shit but they learn to step up real quick because NO ONE pays attention if you're not dope.
As for Ryan, I met him a year ago and it truly feels like we've known each other our whole lives. I've worked with tons of musicians throughout my life and can honestly say I didn't expect to have this much chemistry in a producer/MC situation. It was a pleasant surprise. He's a monster on the mic so keep your eyes open for our debut this year. Summer 2007? Who knows? When it's done, it'll be out.
You were the house DJ at the Francis Estate (EDITOR'S NOTE: our house at University of Maryland @ College Park) from fall '05 till May '06. Now, I don't want to brag, but we threw some of the best parties in the area. On the real, we had peeps from George Washington University and Howard taking taxis from DC to party with us. Did that have any effect on you or your work?
Whatever Reverend, you know you had a lot to with that shit! We put in work, that's all there is to it. Basically, what I took away from that was that I know I can build something from the ground up in the middle of nowhere. So if I can do that there, I have even more confidence in my abilities when I'm in a more vibrant place. I'm used to starting from scratch, so anywhere there's already some form of network established...I feel like I can break in.
True true.. Earlier this month, you and Ryan came down for a special performance at the Francis Estate. It was the first time you'd DJed down here since you left. It was also the first time any of us had seen you and your boy perform as a dynamic duo. I must say, people were really feelin' you.
I really wanted people to hear him. I’m Ryan’s biggest fan, after himself that is. When people ask about what I'm doing, the first thing I say is "working with this sick MC from Queens." It's not "Oh I got this instrumental joint coming up" or "I'm tryin' to get beats to this person or that person." I'm just glad people appreciated some real shit.
Now that we're on the topic of life at U-Md, you've just reminded me...you almost didn't finish your Electrical Engineering degree! What the hell happened?
When I work on music, my brain shuts everything else off. It's stupid, but I used to be in class trying to pay attention to the equations on the board... and all of a sudden I'd get an idea that just kept bothering me. I used to just get up in the middle of class and walk home to execute the idea. Some people write shit down to remind themselves or record themselves humming a tune. Well first of all, writing shit down doesn't help you hear it.It's a conceptual approximation at best, and worthless at worst. Also, I have the worst voice ever. So I can't sing for shit to remind myself of what I'm tryin' to do when I get home. Even worse, my memory is terrible. So I have to do shit as soon as I think of it. The upside? I've learned to work really quickly and I'm willing to bet that some of your favorite beats on my releases were done in less than an hour.
It's been nearly two years since your first full-length release, "The Argyle Album." Have you listened to it since then? Are you happy with your progress?
I have, though it took me a long time to listen to it again after the final mixes. You get really sick of your own music.
I'm quite happy with where my sound has gone since then. I hope I'm not biting anyone. But if I am, then it's only subconscious and that's just my brain's natural way of complimenting those who came before me. When I listen to my favorite productions, I hear simplicity. Not to say I don't still layer things a lot, but I'm trying to be a little more minimal and it's making things more beautiful.
If you stayed in the DC area, you coulda been a big fish in a small pond. What made you go to New York and start at the bottom of the heap?
It wasn't really a tough or deliberate decision. I just know that it's the only place I've ever felt truly comfortable. If that ever changes, I'll move again.
So what's it like trying to promote yourself in the oversaturated hip-hop market in the world? In Brooklyn, for example, every other dude is a "producer" or an “MC.”
It's true, you do. It's tough. I just hope the music will speak for itself. The key is to not get ahead of one’s self.
I see people on the corner everyday yelling at you to buy their $10 mixtape. They’re all like"I see you in that Wu shirt, I KNOW you're down." And I’m like “Fuck that, I don't know you. You might sound like shit. You might be great." I'm not willing to part with the equivalent of two Hop Poh Kitchen specials just to find out you rap about killin' dudes when you really live in your mom's basement. I'll give you my card and you can go online and get my shit for free.
It's time to pay dues. Get that shit out there, and see who bites. This is not the time to be thinkin' about money.
What was your lowest moment as a producer?
Hmmm. In fall 2005,there was a beat battle at Maryland run by a few heads from some hip-hop association or some bullshit group. I don't remember. Anyway, long story short, I "lost" to some dude in the early rounds, despite the fact that mine was the more murderous beat. He just happened to bring more heads to the place,so they cheered louder. Or the judges said. As far as I could tell, everyone knew each other and I was the outsider.
A lot of people came up to me after the event to give me love and say there was no way I should have lost to some Scott Storch wanna-be. However, I think the dude knew he lost because he gave me this look afterwards like "Yeah, I know." It's all good though, because he later came to parties at the house and gave me props, and I wasn't mad.
It is what it is. I went home that night and made another beat. Actually, the beat that I lost on became the Roots Manuva "Witness Remix" on BBV1!!!!
Have you ever wanted to throw in the towel?
I don't think I've ever wanted to. But there have been times where, for whatever reason, I wouldn't touch music for months. Eventually it makes me feel awful. Thankfully, I haven't done that in a long time.
I dunno man. I mean, you've got a good job, a tight crib in Brooklyn.Why are you still doin' this? What's keepin' you in the game for real?
That's a stupid question! The music. It's certainly not the money. If I can just hear once in a while that people were lovin' some shit that I put out and it made them smile, or made them cry, or made them do anything but sit down and watch TV, I'm happy.
Alright, now for the big philosophical questions. First and foremost, will underground hip-hop ever recover? Or are we gonna have to clutch our worn out copies of Soundbombing and just reminisce?"
Everything goes in cycles. Rawkus was good while it lasted, then Def Jux was good for a while, Anticon had their thing, whatever. The labels that are really gonna last are the ones that pay less attention to being obscure and "independent" and more attention to just putting out quality material, no matter what it is (READ: STONES THROW). To be honest, they're the only "hip hop" label I've been feelin' with any degree of consistency lately. Until more labels start approaching it like they do, we won't see a solid "underground" movement again. But I think we will again soon, don't worry.
Well, I'm pretty sick of waiting. We could use another 1989 or 1993 or 1997-99. Hmmmm what else...Err, do you think that Ego Trip’s The White Rapper Show on VH1 is a joke?
Of course the show is a joke. I haven't really seen it (I saw a clip online once), but MC Serch is not stupid. And anything Prince Paul's involved with gets the nod from me on principle. Call me an idealist, but I think once we have a couple hundred dudes who can spit like Eminem (who I'm not even into, but respect) there will be less of a color line. Until then, step your game up.
Alright, fair enough. But I still don’t get it. There’s plenty of amazing white producers, but there's not enough quality white MCs out there getting publicity. Why this restriction to the boards?
You’re right, there are plenty of white producers. Dope ones. A white dude mentored Large Professor.
Why is it that we stay in the production lane? I'm not sure. I think a lot of white dudes don't have the confidence to rap. Those who do choose to rap do one of two things: they thug out and act like they think they should, OR they get really abstract and speak in metaphors that don't make sense with mouth diarrhea. Me? I just never liked my voice. I don't sing. It's the one thing I feel I could never do, musically. Hand me any instrument that I'm interested in and I believe I could play it passably. I can't do shit with my voice.
Last question.What do women really want?
I dunno, you'll have to ask Mel Gibson about that one. What do I think women really want? Most of them want men. Most of them want music as much as they want men. I think we proved that at the Francis Estate. If you build it, they will come. We were a mile or so off campus, and a lot of heads walked to our house. If you provide quality entertainment, people will remember the night as more than just getting drunk with a bunch of idiots. I mean, you're still getting drunk with a bunch of idiots, but you get to dance to the 45 King!
Brenner, thanks for taking the time to answer these questions. I know that shit has been hectic, but you pulled through and I really appreciate it. Any last words?
Thank you once again for this opportunity, some good questions for once. I wanna say whatup to Ryan O'Neil, J-iLL, and Outputmessage. Look out for collaborations this year. Big things.
LINKS
100dBs Homepage
Download Brenner’s Breaks Volume 1 NOW
100dBs at MySpace.Com
Thursday, January 18, 2007
Felt “Absolute Classic Masterpieces Volume 1” (Cherry Red 1992)
I was first introduced to Felt by my friend Faith in August of 2004. We were shooting the shit online, when she IMed me their final album, Me and a Monkey on the Moon. I tried to give it an honest listen, but I was not in the mood. You see, my spirits were high: I was in a serious relationship and was preparing for a move to Paris. Lawrence Hayward’s warbling voice and depressing lyrics were rain on my parade and therefore I could not be bothered.
Fast forward three months later…
The twin pressures of maintaining a long distance relationship and an early Continental winter quickly led me to reexamine Felt’s place in my universe.
In retrospect, my teaching experience was nowhere nearly as nightmarish as I sometimes describe it. I was just terribly lonely most of the time. Either way, I didn’t want to waste a year moping, so I spent every free moment exploring my new surroundings. I hung out at art galleries, monuments and used bookshops on the Left Bank. I also spent a good deal of time was spent borrowing CDs from local libraries. I would take out up to ten discs from as many as four libraries at a time, copy them onto my laptop, and promptly return them by the end of the week. It was miserable for my back, but in the long run, it was worth the pain. By the end of my stay, I added 200+ discs to my collection; many of them unavailable or long out of print in the United States.
By late October, I had overplayed Me and a Monkey on the Moon and was desperate to hear more. Sadly, their original albums proved elusive (in the libraries and in the record shops) so I had to settle for two best ofs to get my fix.
Absolute Classic Masterpieces is a retrospective of Felt’s decade-long spell in the indie ghetto. Volume 1 covers their tenure at Cherry Red Records, while the double-disc Volume 2 includes singles and album tracks released on Creation Records. For the sake of time, I’m going to focus on Volume 1 and leave the Creation era stuff for a piece on great labels of the past.
Before I begin, I should point out that Volume 1 is sequenced in reverse chronological order. This is a minor grievance, considering the quality of the music, but some people dislike working backwards when tracking a band’s progress.
I once read that Belle & Sebastian were heavily influenced by Felt. This tidbit of misinformation led me down a road of confusion and disappointment when I first heard Felt. Musically, the two groups have little in common. Where B&S are busy and ramshackle, Felt was tight and minimalist. Volume 1 does a fine job of confirming the dissimilarity between the two groups.
(EDITOR’S NOTE: It should be noted that both groups are notoriously guarded about their private lives and little is known about individual members. It seems to me that B&S were fascinated by the enigmatic nature of Felt and sought to be as difficult with the press during their early years in the mid 1990s. Go on; try to find one article about them from 1996-7 that isn’t rife with rumors and hearsay about the group’s identity.)
Early songs by Felt, such as “Trails of Colour Dissolve” and “Templeroy,” were undeniably the product of Lawrence’s obsession with Television, Lou Reed and DIY punk ethics. His vocal inflections and strange choices for lyrical subject matter and song titles betray a heavy influence of mid 70s New York. But without a counterweight to Lawrence’s rather obvious influences, Felt would’ve been another blip in the UK indie landscape. Enter Maurice Deebank, the classically trained foil to the self-taught, punk rock Lawrence. Deebank’s delicate arpeggios meshed seamlessly with Lawrence’s minimalist strumming, creating a sound unlike any early 1980s guitar group.
Their unique guitar interplay is best evidenced on the opening track, “Primitive Painters.” This mini-epic sports a heavily drawled and self-depreciative vocal by Lawrence and is bolstered by exceptional performances by Deebank and keyboardist Martin Duffy. This was the first Felt song to receive any significant attention; even though it sounds unlike they’d recorded previously. This can be attributed to the production work of Cocteau Twin Robin Guthrie and partner/bandmate Liz Frazier, who provided the soaring background vocal. In any case, disregard the indie politics and play this song at a very high volume on a large set of speakers. You will be breathtaken. I promise.
The song that really got me hooked on this compilation was “Penelope Tree.” Named for a 1960s model that Lawrence saw in an oversized special edition of Vogue, it is everything brilliant about Felt summarized in two minutes and fifty-seven seconds. The first thing you notice is the absence of cymbals. During the early years, drummer Garry Ainge played a very simple kit, creating a sound that was not unlike the Velvet Underground’s Maureen Tucker. The dry percussive drumming, coupled with jangling guitars, creates a stark and moody song that pretty much describes my lonesome expatriate life. I spent many cold nights wandering the streets of Paris listening to that song on repeat and just wishing that I was somewhere else.
FINAL NOTE:
In regards to Volume 2: If you’re a devout fan of anything released by Creation Records during the mid to late 1980s, it’s a must have. If not, you may find it a bit dull because of all the instrumentals culled from Let the Snakes Crinkle Their Heads to Death and Train Above the City.
Besides, Deebank left the group well before the ink dried on the Creation contract, so you don’t even get any of the guitar noodling that makes Volume 1 such an invigorating listen. Then again, I’m biased…
Crucial listening:
Crystal Ball, Primitive Painters, Red Indians, Penelope Tree, Fortune.
(Believe it or not, you can find most of these on the I-Tunes Music Store.)
More on Felt
Felt: A Retrospective. Probably the only good site about Lawrence & Co. Also the source for the band photos and mp3s
Video for Primative Painters
DOWNLOAD The gorgeous “Buried Wild Blind.” Originally released as a b-side to The Final Resting Of The Ark 12”. Remains unreleased on CD
DOWNLOAD Early version of "Red Indians”
Fast forward three months later…
The twin pressures of maintaining a long distance relationship and an early Continental winter quickly led me to reexamine Felt’s place in my universe.
In retrospect, my teaching experience was nowhere nearly as nightmarish as I sometimes describe it. I was just terribly lonely most of the time. Either way, I didn’t want to waste a year moping, so I spent every free moment exploring my new surroundings. I hung out at art galleries, monuments and used bookshops on the Left Bank. I also spent a good deal of time was spent borrowing CDs from local libraries. I would take out up to ten discs from as many as four libraries at a time, copy them onto my laptop, and promptly return them by the end of the week. It was miserable for my back, but in the long run, it was worth the pain. By the end of my stay, I added 200+ discs to my collection; many of them unavailable or long out of print in the United States.
By late October, I had overplayed Me and a Monkey on the Moon and was desperate to hear more. Sadly, their original albums proved elusive (in the libraries and in the record shops) so I had to settle for two best ofs to get my fix.
Absolute Classic Masterpieces is a retrospective of Felt’s decade-long spell in the indie ghetto. Volume 1 covers their tenure at Cherry Red Records, while the double-disc Volume 2 includes singles and album tracks released on Creation Records. For the sake of time, I’m going to focus on Volume 1 and leave the Creation era stuff for a piece on great labels of the past.
Before I begin, I should point out that Volume 1 is sequenced in reverse chronological order. This is a minor grievance, considering the quality of the music, but some people dislike working backwards when tracking a band’s progress.
I once read that Belle & Sebastian were heavily influenced by Felt. This tidbit of misinformation led me down a road of confusion and disappointment when I first heard Felt. Musically, the two groups have little in common. Where B&S are busy and ramshackle, Felt was tight and minimalist. Volume 1 does a fine job of confirming the dissimilarity between the two groups.
(EDITOR’S NOTE: It should be noted that both groups are notoriously guarded about their private lives and little is known about individual members. It seems to me that B&S were fascinated by the enigmatic nature of Felt and sought to be as difficult with the press during their early years in the mid 1990s. Go on; try to find one article about them from 1996-7 that isn’t rife with rumors and hearsay about the group’s identity.)
Early songs by Felt, such as “Trails of Colour Dissolve” and “Templeroy,” were undeniably the product of Lawrence’s obsession with Television, Lou Reed and DIY punk ethics. His vocal inflections and strange choices for lyrical subject matter and song titles betray a heavy influence of mid 70s New York. But without a counterweight to Lawrence’s rather obvious influences, Felt would’ve been another blip in the UK indie landscape. Enter Maurice Deebank, the classically trained foil to the self-taught, punk rock Lawrence. Deebank’s delicate arpeggios meshed seamlessly with Lawrence’s minimalist strumming, creating a sound unlike any early 1980s guitar group.
Their unique guitar interplay is best evidenced on the opening track, “Primitive Painters.” This mini-epic sports a heavily drawled and self-depreciative vocal by Lawrence and is bolstered by exceptional performances by Deebank and keyboardist Martin Duffy. This was the first Felt song to receive any significant attention; even though it sounds unlike they’d recorded previously. This can be attributed to the production work of Cocteau Twin Robin Guthrie and partner/bandmate Liz Frazier, who provided the soaring background vocal. In any case, disregard the indie politics and play this song at a very high volume on a large set of speakers. You will be breathtaken. I promise.
The song that really got me hooked on this compilation was “Penelope Tree.” Named for a 1960s model that Lawrence saw in an oversized special edition of Vogue, it is everything brilliant about Felt summarized in two minutes and fifty-seven seconds. The first thing you notice is the absence of cymbals. During the early years, drummer Garry Ainge played a very simple kit, creating a sound that was not unlike the Velvet Underground’s Maureen Tucker. The dry percussive drumming, coupled with jangling guitars, creates a stark and moody song that pretty much describes my lonesome expatriate life. I spent many cold nights wandering the streets of Paris listening to that song on repeat and just wishing that I was somewhere else.
FINAL NOTE:
In regards to Volume 2: If you’re a devout fan of anything released by Creation Records during the mid to late 1980s, it’s a must have. If not, you may find it a bit dull because of all the instrumentals culled from Let the Snakes Crinkle Their Heads to Death and Train Above the City.
Besides, Deebank left the group well before the ink dried on the Creation contract, so you don’t even get any of the guitar noodling that makes Volume 1 such an invigorating listen. Then again, I’m biased…
Crucial listening:
Crystal Ball, Primitive Painters, Red Indians, Penelope Tree, Fortune.
(Believe it or not, you can find most of these on the I-Tunes Music Store.)
More on Felt
Felt: A Retrospective. Probably the only good site about Lawrence & Co. Also the source for the band photos and mp3s
Video for Primative Painters
DOWNLOAD The gorgeous “Buried Wild Blind.” Originally released as a b-side to The Final Resting Of The Ark 12”. Remains unreleased on CD
DOWNLOAD Early version of "Red Indians”
Monday, January 8, 2007
Songs of the Spanish Civil War
"Ladies and gentlemen, boys and girls. Contrary to what you've just seen, war is neither glamorous nor fun. There are no winners, only losers. There are no good wars, with the following exceptions: The American Revolution, World War II, and the Star Wars Trilogy. If you'd like to learn more about war, there's lots of books in your local library, many of them with cool, gory pictures." -- Bart Simpson
When you watch the news from Iraq or Afghanistan, you can’t help but agree with young Bart. There’s nothing enviable happening in Basra or Kabul. And yet, sometimes I wonder why there isn’t a “good” war that an energetic young man, like me, could die in.
Sandwiched between the Great Depression and the Second World War, the Spanish Civil War (1936-1939) is one of the more overlooked conflicts of the 20th century. Following a humiliating defeat in the Spanish-American War 40 years earlier, Spain made the difficult transition to democracy. The country became a loose federation of autonomous communities, with special provisions for the historically independent Basque and Catalan provinces. Tragically, political instability and a crippling international recession sparked civil war. Catalonia and Aragon were Republican strongholds, while the rest of the country fell quickly to the Fascist supported Nationalists.
In an unprecedented show of solidarity, communist and anarchist parties from across Europe and the Americas sent volunteers to support the Republican cause. But, as evidenced by Picasso’s “Guernica,” idealism was not enough to guarantee a win. Spain fell to Franco in 1939 he remained in power until his death in the 1970s.
While doing my research, I began to realize that there are some really great songs that were influenced by the war. I started drafting this around Christmas time, but was interrupted by the holidays. Then James Brown died and I would’ve felt wrong if I didn’t give him some praise. Then I got so caught up in New Years, and returning to DC and all this other stuff came up…Ugh, you get the picture. I apologize for the delay, and as a bonus, I’ll be posting a little something about David Bowie to commemorate his 60th birthday.
Submitted for your approval: Three songs about the Spanish Civil War
“Spanish Bombs” The Clash (Epic 1979, or 1980 if you lived in the US)
I hate listening to old punks talk about how the Clash “sold out”. These guys are particularly unforgiving about London Calling. Hell, one geezer had the gall to compare it to Green Day’s Dookie. I argued that The Clash’s decision to expand their sonic palate was what set them apart from the Class of ’77. If the Clash had clung to the parochial punk ideology, they would’ve become boring and repetitive (the Exploited) or run out of ideas (Stiff Little Fingers).
I never paid much attention to “Spanish Bombs” when I first got London Calling. The more upbeat reggae-influenced songs, like “Rudie Can’t Fail” and “Guns of Brixton,” always got priority. Let us not forget that The Clash were one of the few white bands that could play reggae well. It wasn’t until one day when I was hanging out with my friend Ed that I finally took notice of the most saccharine track on the first part of the album.
The Clash were often misguided in romanticizing rebellion and outlaw stories. Joe Strummer foolishly wore a Brigate Rosse T-shirt at Rock Against Racism in 1978. (Ed. Note: In his defense, it should be noted that in the late 1970s the international community had yet to agree upon a proper definition of terrorism and leftits groups like Brigate Rosse and the Baader Meinhoff Gang were seen as chic.)
The Spanish Civil War provided a less controversial source of inspiration for Strummer and Mick Jones. The valiance and bravery of the Republicans was inspirational to a band that viewed their very existence to be a battle. If you pay no mind to the refrain of “Yo te quiero infinito, o ma corazon”, and references to DC-10s, “Spanish Bombs” reads very much like a history lesson. Guy Stevens’ production, denounced as being “too slick” in some corners, actually makes the song more appealing. The interplay between the acoustic and electric guitars on the studio version still sends chills down my spine. It’s absolutely magical, and quite mind blowing when you compare it to anything on their very raw debut.
“If You Tolerate This Your Children Will Be Next” the Manic Street Preachers (Epic 1998)
Being Welsh and overtly socialist during the apolitical Britpop 1990s set the Manic Street Preachers apart from their contemporaries. Despite a mainstream breakthrough towards the end of the decade, the Manics refused to conform.
“If You Tolerate This Your Children Will Be Next” was an unlikely candidate for a number one hit single. It’s driven by a heavily distorted Wurlitzer organ and its lyrics are far from fun. It’s even more amazing that it became a hit during a time when teen pop ruled the charts. The week previous to its release, Boyzone’s “No Matter What” held the #1 spot.
The title was taken from a poster circulated by British Communist parties at the onset of the war. Some 2,000 volunteers left the rainy moors of Britain to join the International Brigade. Few were trained soldiers. In fact, many were farmers, hence the line “So if I can shoot rabbits, then I can shoot fascists.” The poor bastards didn't have a chance. They were doomed from the start, but their intentions were noble.
IYTTYCWBN proved that the Manics had fully emerged from the shadow of Richey Edwards, the troubled architect of their painfully dark masterpiece, The Holy Bible. (1994). Following Edwards’ disappearance in early 1995, the band had to change their approach in order to soldier on. They never abandoned his memory and continued to push the envelope of what an activist rock group should be. For their efforts they were handsomely rewarded with several more hit records, and later a trip to Cuba, where they were the first Western rock group to play a Castro approved concert!
“Start!” The Jam (Polydor 1980)
“Start!” is a piece of shit for two reasons. First, it knocked David Bowie’s “Ashes to Ashes” out of the UK number one spot in April of 1980. Second its bassline was plagiarized, note-for-note, from the Beatles' “Taxman.” This song pretty much sums up the Jam: An annoying trio of Mod revivalists intent on gumming up musical progress with their relentless aping of the 1960s.
It’s also a very very very catchy song.
Homage to Catalonia was based on George Orwell’s experience as a volunteer in the Republican army. Paul Weller was inspired by Orwell’s description of Barcelona, which is described as "a town where the working class were in the saddle.” And to some degree,it was. Folks addressed each other as 'comrade' and for a while it seemed like the socialist dream was alive. Weller asks the listeners if it’s possible to carry that attitude every day, not just in a time of war. In spite of being a bunch of unoriginal louts,The Jam could put together some brilliant music. And because “Start!” is based off one of McCartney’s best grooves, you automatically wanna get up and dance. The backwards guitar solo, however, sort of ruins the song. Almost makes you feel like Weller and co. were trying a little too hard to rip off Revolver...
Perhaps I’ve given the impression that I dislike the Jam. Nothing could be further from the truth: I adore the Jam. I used to sit for hours just staring at photos Paul Weller in his sharp suits and Rickenbacker guitars and just wishing I could be that cool. It’s just that their early Who/Kinks copycat stuff sorta bores me. I prefer their more soulful R&B songs like “Town Called Malice” and “Precious.”
If you're waiting for a clever ending, too bad. I'm tired.
Fact: The Durutti Column took their name from an anarchist resistance group, or column, led by Buenaventura Durruti. He died in combat towards the end of 1936.
The Struggle Continues
Republican Propaganda poster that inspired the Manics tune
1980 promo clip for “Start”
The Manics performing their first #1 in Brussels, 2002
Producer Dave Eringa gives some detailed insight on the recording of "If You Tolerate This Your Children Will Be Next"
Unrelated BUT you can see the now infamous Brigate Rosse t-shirt.The Clash's BRILLIANT Performance of "London's Burning" in 1978
When you watch the news from Iraq or Afghanistan, you can’t help but agree with young Bart. There’s nothing enviable happening in Basra or Kabul. And yet, sometimes I wonder why there isn’t a “good” war that an energetic young man, like me, could die in.
Sandwiched between the Great Depression and the Second World War, the Spanish Civil War (1936-1939) is one of the more overlooked conflicts of the 20th century. Following a humiliating defeat in the Spanish-American War 40 years earlier, Spain made the difficult transition to democracy. The country became a loose federation of autonomous communities, with special provisions for the historically independent Basque and Catalan provinces. Tragically, political instability and a crippling international recession sparked civil war. Catalonia and Aragon were Republican strongholds, while the rest of the country fell quickly to the Fascist supported Nationalists.
In an unprecedented show of solidarity, communist and anarchist parties from across Europe and the Americas sent volunteers to support the Republican cause. But, as evidenced by Picasso’s “Guernica,” idealism was not enough to guarantee a win. Spain fell to Franco in 1939 he remained in power until his death in the 1970s.
While doing my research, I began to realize that there are some really great songs that were influenced by the war. I started drafting this around Christmas time, but was interrupted by the holidays. Then James Brown died and I would’ve felt wrong if I didn’t give him some praise. Then I got so caught up in New Years, and returning to DC and all this other stuff came up…Ugh, you get the picture. I apologize for the delay, and as a bonus, I’ll be posting a little something about David Bowie to commemorate his 60th birthday.
Submitted for your approval: Three songs about the Spanish Civil War
“Spanish Bombs” The Clash (Epic 1979, or 1980 if you lived in the US)
I hate listening to old punks talk about how the Clash “sold out”. These guys are particularly unforgiving about London Calling. Hell, one geezer had the gall to compare it to Green Day’s Dookie. I argued that The Clash’s decision to expand their sonic palate was what set them apart from the Class of ’77. If the Clash had clung to the parochial punk ideology, they would’ve become boring and repetitive (the Exploited) or run out of ideas (Stiff Little Fingers).
I never paid much attention to “Spanish Bombs” when I first got London Calling. The more upbeat reggae-influenced songs, like “Rudie Can’t Fail” and “Guns of Brixton,” always got priority. Let us not forget that The Clash were one of the few white bands that could play reggae well. It wasn’t until one day when I was hanging out with my friend Ed that I finally took notice of the most saccharine track on the first part of the album.
The Clash were often misguided in romanticizing rebellion and outlaw stories. Joe Strummer foolishly wore a Brigate Rosse T-shirt at Rock Against Racism in 1978. (Ed. Note: In his defense, it should be noted that in the late 1970s the international community had yet to agree upon a proper definition of terrorism and leftits groups like Brigate Rosse and the Baader Meinhoff Gang were seen as chic.)
The Spanish Civil War provided a less controversial source of inspiration for Strummer and Mick Jones. The valiance and bravery of the Republicans was inspirational to a band that viewed their very existence to be a battle. If you pay no mind to the refrain of “Yo te quiero infinito, o ma corazon”, and references to DC-10s, “Spanish Bombs” reads very much like a history lesson. Guy Stevens’ production, denounced as being “too slick” in some corners, actually makes the song more appealing. The interplay between the acoustic and electric guitars on the studio version still sends chills down my spine. It’s absolutely magical, and quite mind blowing when you compare it to anything on their very raw debut.
“If You Tolerate This Your Children Will Be Next” the Manic Street Preachers (Epic 1998)
Being Welsh and overtly socialist during the apolitical Britpop 1990s set the Manic Street Preachers apart from their contemporaries. Despite a mainstream breakthrough towards the end of the decade, the Manics refused to conform.
“If You Tolerate This Your Children Will Be Next” was an unlikely candidate for a number one hit single. It’s driven by a heavily distorted Wurlitzer organ and its lyrics are far from fun. It’s even more amazing that it became a hit during a time when teen pop ruled the charts. The week previous to its release, Boyzone’s “No Matter What” held the #1 spot.
The title was taken from a poster circulated by British Communist parties at the onset of the war. Some 2,000 volunteers left the rainy moors of Britain to join the International Brigade. Few were trained soldiers. In fact, many were farmers, hence the line “So if I can shoot rabbits, then I can shoot fascists.” The poor bastards didn't have a chance. They were doomed from the start, but their intentions were noble.
IYTTYCWBN proved that the Manics had fully emerged from the shadow of Richey Edwards, the troubled architect of their painfully dark masterpiece, The Holy Bible. (1994). Following Edwards’ disappearance in early 1995, the band had to change their approach in order to soldier on. They never abandoned his memory and continued to push the envelope of what an activist rock group should be. For their efforts they were handsomely rewarded with several more hit records, and later a trip to Cuba, where they were the first Western rock group to play a Castro approved concert!
“Start!” The Jam (Polydor 1980)
“Start!” is a piece of shit for two reasons. First, it knocked David Bowie’s “Ashes to Ashes” out of the UK number one spot in April of 1980. Second its bassline was plagiarized, note-for-note, from the Beatles' “Taxman.” This song pretty much sums up the Jam: An annoying trio of Mod revivalists intent on gumming up musical progress with their relentless aping of the 1960s.
It’s also a very very very catchy song.
Homage to Catalonia was based on George Orwell’s experience as a volunteer in the Republican army. Paul Weller was inspired by Orwell’s description of Barcelona, which is described as "a town where the working class were in the saddle.” And to some degree,it was. Folks addressed each other as 'comrade' and for a while it seemed like the socialist dream was alive. Weller asks the listeners if it’s possible to carry that attitude every day, not just in a time of war. In spite of being a bunch of unoriginal louts,The Jam could put together some brilliant music. And because “Start!” is based off one of McCartney’s best grooves, you automatically wanna get up and dance. The backwards guitar solo, however, sort of ruins the song. Almost makes you feel like Weller and co. were trying a little too hard to rip off Revolver...
Perhaps I’ve given the impression that I dislike the Jam. Nothing could be further from the truth: I adore the Jam. I used to sit for hours just staring at photos Paul Weller in his sharp suits and Rickenbacker guitars and just wishing I could be that cool. It’s just that their early Who/Kinks copycat stuff sorta bores me. I prefer their more soulful R&B songs like “Town Called Malice” and “Precious.”
If you're waiting for a clever ending, too bad. I'm tired.
Fact: The Durutti Column took their name from an anarchist resistance group, or column, led by Buenaventura Durruti. He died in combat towards the end of 1936.
The Struggle Continues
Republican Propaganda poster that inspired the Manics tune
1980 promo clip for “Start”
The Manics performing their first #1 in Brussels, 2002
Producer Dave Eringa gives some detailed insight on the recording of "If You Tolerate This Your Children Will Be Next"
Unrelated BUT you can see the now infamous Brigate Rosse t-shirt.The Clash's BRILLIANT Performance of "London's Burning" in 1978
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