Wire - "On The Box: 1979" (concert)

This gem comes from Herbert who tweeted about a week ago "whatever your indie band does, [Wire] did it first".  Prior to this tweet, I wasn't really familiar with Wire -- I knew that a band of that name existed, and I have some of their stuff on remix LPs, but that's not really representative of their sound.  Apparently they've been active off and on since 1976, as well as being quite influential if not exactly popular.  Unlike some of their contemporaries (e.g., The Clash, The Jam, The Cure) I don't think they ever made it in the US onto radio, MTV, etc.  Maybe they should have been "The Wire" instead of just "Wire".

Herbert's tweet included this 1979 concert for the German TV show "Rockpalast", which Wire released in 2004 as "On The Box: 1979", a joint CD/DVD.  Despite having the standard issue awkward, subdued TV audience, this is actually quite a nice time capsule of a band I was mostly unaware of.  A track listing is available, but trust me: you probably haven't heard any of these songs.



I'm not really familiar enough with the band to rate this, so I'll just link to the Pitchfork review.

GWAR - "Phallus in Wonderland" (spotlight)

Dave Brockie, aka "Oderus Urungus", a founding member of Gwar died this week in Richmond.

What can I say about Gwar?  Other than it is possibly short for "Gwaaarrrgghhlllgh".  With Gwar, you either get the joke or you don't; Gwar is equal parts band, performance art, long-running (~30 years) inside-joke, and social commentary.  It's like they combined KISS, Gallagher, This Is Spinal Tap, grindhouse, and He-Man and the Masters of The Universe and decided "that's a good start, but what would happen if we took it to 11?" 

Terry first introduced me to Gwar.  He was pretty plugged into the VA music scene during the 90s and I'm pretty sure he's visited Gwar's headquarters, The Slave Pit, in Richmond where they made their costumes, filmed their videos, held GWAR-B-Qs, etc.  I was always simultaneously proud that something as odd as Gwar would come from VA, and sad that VA is such a religiously conformist environment that it would effectively create a backlash like Gwar.

IIRC, Terry told me that Gwar was advanced a small amount of $ to make a music video but instead they made an hour long movie.  That would be 1992's "Phallus in Wonderland", which is now out of print and Terry's copy is probably worth a good bit. The plot: the "Morality Squad" steals Oderus's "Cuttlefish of Cthulu" and Gwar creates the T-Rex "Gor-Gor" to get it back.  I'd say it makes sense in context but, again, you either get the joke or you don't:



I never saw Gwar live, although we occasionally had a chance when they played at the Norva.  I hope they continue, but the future of Gwar is still up in the air.  They play in costume, but knowing that Dave Brockie isn't there would somehow lessen the experience. 

Don't have time for the full movie?  At the 21 minute mark is "Have you seen me?", their "tribute" to missing children on milk cartons.  If you can make it through that, you'll enjoy the rest of their canon.

Mission of Burma - "Signals, Calls, and Marches" (LP Review)

For my 200th post on F-Measure, I'm covering something simultaneously new, old, and timeless.  One of the pleasant finds from my recent reading of "Our Band Could Be Your Life" was Boston's Mission of Burma.  I have a vague memory of Terry talking about them while we were in college, and I knew a band by that name existed, but I don't remember actually listening to them at the time.  Part of the problem is they essentially broke up in 1983 after two landmark releases, a result of guitarist Roger Miller's tinnitus.  They reformed in 2002, but had largely missed out on the scene they so heavily influenced.  In doing so, they nicely illustrate the difference between "popular" and "influential".  Example: Pearl Jam's 1993's LP "Vs." is named in honor to Mission of Burma's 1982 LP "Vs.". 

As influential as "Vs." was, my personal favorite is their 1981 debut EP "Signals, Calls, and Marches".  Keep in mind that I discovered it some 30 years after its debut, but it still sounds fresh and relevant today.  It occupies the transitional space between early 80s "punk" and "college alternative" in a way that contemporaries like Sonic Youth, Dead Kennedys, Minor Threat, Black Flag, and other candidates simply don't.  Part of it is their strong song writing (with hooks!), without compromising their heaviness and anger, and intelligent lyrics.  Another dimension is member Martin Swope, credited as "tape manipulator/sound engineer", who used techniques you'd associate more with early 70s Pink Floyd to add a rich but subtle extra dimension to an otherwise sparse, angular punk sound.

So while this is over 30 years old, I just "discovered" it within the last year.   Give it a listen: it will sound both new and familiar.

Standout songs: "That's When I Reach For My Revolver", "Fame and Fortune", "This Is Not a Photograph", "All World Cowboy Romance", "Academy Fight Song"

Skip 'em songs: none.

Final Score: 9/10 

Bonus link: the entire, original six song EP

Bonus links to covers: Moby - "That's When I Reach For My Revolver", R.E.M. - "Academy Fight Song".  While: 1) I have much respect for both Moby and R.E.M., and 2) I love covers... -- let's just say these versions underscore how good the originals are.

Note: my copy of the CD is the 1997 Ryko re-release which adds their 1980 7" single "Academy Fight Song" to the end of the original EP, so that's what I review here. 

Neil Young and Devo - "Hey Hey, My My (Into the Black)" (forgotten song)

 Bob Casale, or "Bob 2", of Devo died this week.  Devo unfairly gets labeled a one hit wonder because of the success of 1980's "Whip It", but they actually had a surprising number of minor hits on MTV and even radio, including: their cover of "Satisfaction", "Freedom of Choice", "Through Being Cool", "Love Without Anger", "Girl U Want", and "Peek-A-Boo".  The fact that they were popular at all is nothing short of amazing, since the band itself is a mix of a long-running joke (see also: "Church of the SubGenius"), discordant anti-music, and biting social commentary. 

But arguably their weirdest video is one that you probably haven't seen...  "Hey Hey, My My (Into the Black)" is a Neil Young song from his classic 1979 LP "Rust Never Sleeps", and one you still here on classic rock radio.  What you probably don't know is that the first version was recorded in 1978, with Devo, for Neil Young's movie "Human Highway", that wasn't released until 1982.  Mark Mothersbaugh, in his Booji Boy persona, sings the lead vocals.  Bob 2 is one of the guitarists (I'm not sure which one) behind Neil in the picture above.

To the best of my knowledge, this version is not available outside of the movie itself.  There's so much that can be said about Devo, but I'll mark the passing of Bob 2 by acknowledging their role in reinvigorating Neil Young in the late 70s.

Devo & Neil Young: "Hey Hey, My My (Into the Black)"



Edit:  Apologies for missing the passing of drummer Alan Myers in 2013.

Stevie Wonder - "Higher Ground" (forgotten song)

The Super Bowl was last weekend, and the half time show was Bruno Mars with The Red Hot Chili Peppers guesting.  Bruno Mars did a fine job, but...  he's not really my thing.  I doubt Bruno is losing any sleep over this since, being old enough to rent a car,  I'm not his target demographic.  I also suppose that's why the Chili Peppers were brought in for a guest spot.

Sadly, they only did one song, "Give It Away", and while that is certainly their most popular song, I was hoping that Stevie Wonder would be a surprise guest...

When I recently said that "Singles -- 45s and Under" was standard issue in college, well the Chili Pepper's 1989 LP "Mother's Milk" might have been #2 on the list.  The first single from that LP, and the song that really made them popular, was a cover of Stevie Wonder's "Higher Ground", which first appeared on his 1973 LP "Innervisions". 

And even if Stevie couldn't make the Super Bowl (note that he's been at the recent Grammys and the Beatle's Tribute concert), including Stevie Wonder via a cover would have better united Bruno Mars and the Chili Peppers.  In summary, not a bad half time show (although ending on a ballad was anti-climatic) but omitting "Higher Ground" felt like a missed opportunity. 

Stevie Wonder - "Higher Ground", live 1974
Red Hot Chili Peppers - "Higher Ground"


P.S.  Flea has admitted that, like the Broncos, they didn't really play.

The Beatles - "I Want You (She's So Heavy)" (spotlight)

Tomorrow is the 50th anniversary of The Beatles appearing on The Ed Sullivan show, which basically introduced the band to the US, with approximately 1/3 of the US population watching, a cultural hegemony probably not even possible in today's fractured media market.  Tomorrow, CBS will air a tribute concert in honor of The Ed Sullivan appearance. 

I've mostly ignored The Beatles on this blog, mostly because what could I possibly say that hasn't been said before?  They assimilated the various influences that preceded them, greatly expanded them, and their results have so defined popular music that their music sounds effectively timeless. 

So I thought I had an original thought about The Beatles, but a quick google search suggests otherwise.  Regardless, I'll state it here and you'll have to take my word that I came up with this independently...

I've written about shoegazing many times on this blog, including bands like Slowdive and My Bloody Valentine, whose 1991 LP "Loveless" I consider one of the best LPs of all time.   My claim is that the entire genre of shoegazing is in pursuit of the last 3 minutes of "I Want You (She's So Heavy)", from The Beatles 1969 LP "Abbey Road".  As far as I know, the sound for this song (or more accurately, the last 3 minutes) is totally unique within The Beatles' canon.  That's cultural impact: the last 3 minutes of one, of over 200 songs you've recorded, spawns an entire musical genre.  Listen to "Some Velvet Morning" or "Come In Alone" and tell me I'm wrong. 

"I Want You (She's So Heavy)", (shortcut to the last 3 minutes)


Edit: After reading this, Danette reminded me (although I had not forgotten) that she doesn't like "I Want You (She's So Heavy)".  Needless to say, she doesn't like shoegazing either. 

The Everly Brothers - "Cathy's Clown" (spotlight)

I'm just over a month late, but I wanted to acknowledge the passing of Phil Everly, one-half of The Everly Brothers.  If you're tracing the history of rock and roll, the line between Elvis Presley (the rockabilly sound) and The Beatles (and their early vocal harmonies) passes through The Everly Brothers.  Since their distinctive vocals yielded 26 Top 40 singles in their career, you can't really claim that they were overlooked, but they are certainly overshadowed now by Elvis and The Beatles. 

During their career they made famous songs written by others (e.g., "Wake Up Little Susie") as well as writing songs that others would successfully cover (e.g., "When Will I Be Loved"), but my favorite is probably their 1960 hit "Cathy's Clown", which: they wrote themselves, was never popularized by others, and had a direct influence on The Beatles. 

"Cathy's Clown":  TV July 9th, 1960, UK TV 1961 (backed by The Crickets)
In both videos Phil is on the left; also Don sings the lead and Phil sings on the harmonies / chorus.