Star Man Fades to Black: David Bowie’s Brilliant Final Album

bowie-blackstar-viceAmid the frantic beats, atmospherics, and saxophones playing tug of war on the title track that opens the new David Bowie album Blackstar, about halfway through the 10-minute track most of the sound clears and Bowie sings “Something happened on the day he died, spirit rose a meter and stepped aside; Somebody else took his place, and bravely cried.”

Released on his birthday and just two days before his death, Blackstar is dizzying and exciting and strange and oddly cool and I thought all those things even before he died. But now it’s a little more difficult to hear him wailing “good-byyyyyyye” as the reverb increases and the star man sounds like he’s floating back into space or heaven or wherever he was just visiting from.

Secrets are hard kept in the modern age, and yet somehow Bowie could spend months working on a new album with a small group of people and the rumors never leaked. He stunned the world in 2013 when he suddenly had a brand new (and quite rocking) album, The Next Day. It seemed amazing, even a few years ago, that a major artist could be at work and finished with an album without the world hearing any rumors or news about it (let alone a leaked copy of the actual album). It didn’t hurt that it was a well-received return to form, a rare feat a full 10 years after his previous album.

He came close to pulling it off again, but in 2015 it looks like he chose to give the world a few months’ notice that he’d employed a New York City jazz band to back him on a very diverse record to be released January 8, on his 69th birthday.

And just as we were in the midst of unpacking this complex and interesting new album, Bowie was gone.

The world mourns online and it is one of the bittersweet and ironic advantages of the internet: we can all be together when we’re all alone and sad about the passing of a true artist. And among the inevitable retweets of clueless teenagers asking “who tf was david bowie?” there were countless tributes and notes of sadness, as well as attempts at joy (like this, from Dean Podestá @jesuisdean: “If you’re sad today, just remember the world is over 4 billion years old and you somehow managed to exist at the same time as David Bowie.”) Others commented that Bowie left such a huge void, as if an entire color was now gone from the universe. (Here’s a great collection of newspaper/magazine covers mourning the loss.)

I wasn’t a huge Bowie fanatic; I liked pretty much all his hits, knew some of his albums, saw him in concert once, and I understood his significance and influence in rock music and popular culture. And I’m probably one of the people that loved his first Tin Machine album. But even beyond the music, Bowie made being “weird” or just being yourself (and shattering such labels as “weird”) something to aspire to. Funny that there was a time when a kid could get beat up for liking David Bowie. But we don’t live in a world like that anymore, thanks in part to David Bowie. It’s okay to be yourself. It’s okay to be different.

He didn’t just predict the future, he helped us get here. Continue reading →

The Competition Of Music

We were backstage mingling around with our peers and our gear, our stomachs in knots as a result of the anticipation and excitement. We had never done this before. How was it going to play out? Exactly how many people are out there? Do we have any clue what we’re doing?

The auditorium backstage I am speaking of belonged to my middle school. The people “out there” were our classmates. It was the 8th-grade talent show. This was my first gig. It was 1988.

My first band was called High Voltage (don’t laugh, at the time we thought it was “cool” in an AC/DC kinda way). I will say this about us: we were so green that we thought the difference between guitars was how they were tuned. In other words, we didn’t even realize you had to tune your guitars together. This led to a classmates father (who “produced” our demo in our drummers’ basement) to inform us that we sounded like “Sonic Youth.” We were Iron Maiden/Judas Priest/Kiss-loving teenagers, we had no fuckin’ clue who this “Sonic Youth” he referred to was (the ultimate irony being that they are now one of my all-time favorite bands). Another thing I will say about High Voltage is that we wrote our own songs, no covers. “Danger In The Night”, “Living In A Nightmare” were a few titles, so you get the gist of what we were shooting for at the time. With lyrics like, “he’s out in the night, looking for a fight, danger in the night, danger in the night” no one was mistaking us for Dylan.

Continue reading →

5 Myths About Playing In A Band

Women in band fighting over man

“I love Jackie!” “No, I love Jackie!!!!”

I have been playing in bands since the day after I bought my first guitar. I took my bar mitzvah money and purchased some cheap-ass imitation Stratocaster the same week a close friend decided he wanted to play drums. We recruited another classmate to play bass, another friend to play guitar, and High Voltage was formed in 1986 (you do the math how old I am now). I have played in 2,673 bands since (minus a few thousand).

Throughout my musical career (I use that term very loosely in that having a career in something usually means you actually make money doing it and, you know, do it full-time, neither of which I do) I have had many great moments, some okay moments, and plenty of that-fucking-sucked moments. If there is one thing you should expect when forming a band it’s that it is never going to be what you expect it to be.

Today, being that it’s been a while since I wrote any sort of “list” for BumsLogic, I have decided to come up with a list of 5 myths about playing in bands. These are mostly based off what people who don’t play in bands think about those of us that do. I shall pre-apologize for my cynicism. My pen name should’ve given that away before you even read this.

Continue reading →

How to Mask Friends and Influence People: Reviewing My Friend’s Band

Clown-Mask-Card-8.5x8.5-FrontBefore you listen to this Jackie & the Treehorns album, before you share this review, tell me what your friend’s band sounds like.

They’re good, aren’t they? Your friend’s band? They’re always really good, not just because they’re your friends. I’ve always been a bit too fascinated with how we talk about music, why we attempt to write about music and put into words that which can’t and doesn’t need to be explained.

So the next question is how do we listen to and process our friend’s bands? What if it’s our brother, or our best friend, or just dudes we knew in college? And do we overvalue how “great” they are? Cuz let’s face it, some of your friend’s bands aren’t that great. But that’s awesome that you still talk them up.

When you hear your friend’s new demo (or soundcloud thingy or youtube “trailer” for their upcoming album), do you think about how your boy once rocked a C&C Music Factory cassingle in his car and now he’s got this super-serious Queens of the Stone Age hard rock vibe going? Our intimate knowledge of our friend’s life and known favorites and influences surely must taint our view of their music.

Wait, you can’t view music. This is how Jackie & the Treehorns trick you into using the word “taint” in their album review.

The point is, there is this indescribable difference in listening to your friend’s band versus the latest album from an actual famous rock star. For instance, I know Jack White is a minimalist rocker heavily steeped in and indebted to the blues. He’s a longtime champion of a truly “independent” business approach and has an extreme fondness for vintage, authentic recording gear and techniques. I know all of this because that is what he has presented to me on record and through interviews, etc. (And of course all of that is then remixed and regurgitated and re-imagined for me by all the people attempting to write about music.) I don’t actually know Jack White as a person, I didn’t hang out with him growing up in Detroit, I never worked with him as an upholsterer, and I’ve never been in any of his numerous bands or side projects.

But I’ve been in Jackie & the Treehorns. I was the original drummer, and also served as Jackie’s manager and confidant during such dizzying highs and lows of his career that there’s a documentary film about it. In fact, I’ve been in a few bands and side projects with my friend Steven Rubin, the guitarist, singer/songwriter, and mastermind producer behind Jackie & the Treehorns.

I know his influences. (I won’t name check them). I thought I knew his influences. Yes, I can hear some of them peaking out from behind the Clown Mask. And then there are new faces, or old faces with different masks on, and they’re singing too. I didn’t know he knew them. There are things about our friends that we don’t know.

Did you think your friend’s band would sound like this? What did you think they’d sound like? Do you feel guilty if, when your friend isn’t around, you tell people “They’re kinda like 311, but they totally don’t sound like them at all”? Are you a little ashamed that you’ve only made it out to see them ONCE, and you got there a little late, and honestly don’t even know what they sound like? You could always just mumble “sort of a Blues Traveler kinda thing” and hope the person either doesn’t get the reference or thinks it’s a good thing.

Have you ever lied to your friend? Or, more accurately, have you ever just not told the truth about how much you think they suck? Do you have a lot friends in bands? Are you reluctant to spread the good word about how great they are because the other friends you’re telling probably assume you’re only talking about your friend’s band just to let people know you’re the kinda cool person who knows people in bands?

So then what happens when your friend’s band makes a really great album? Your other friends are so tired of hearing about your friend’s band they might as well be called Cried Sheep. It’s not that they don’t care (yea, it’s cool, you know dudes in bands). It’s just that they’re probably never gonna take the 14 seconds to click the one or two links to instantly listen to the whole album for free. Seriously, read that last sentence again: they’re probably never gonna take the 14 seconds to click the one or two links to instantly listen to the whole album for free. Back in the day when no one would get off my lawn, we (the friends of yours who were in the bands) had to beg our friends (you) to purchase a hard copy compact disc of our band and then we inevitably just gave most of them away for free, in exchange for the promise or hope that you would tell all your friends about our band and then also get together with them and PLAY IT FOR THEM. Force them sit through My Friend’s Band’s CD. Thankfully, we don’t have to do that. We can do the here’s the link, go listen for free at the time and place of your choosing thing. But I will tell you this: my friend’s band’s album is really, really good. I’m not just saying that. And he didn’t email me bugging him to write something about it (full disclosure: yes he did). Fittingly, my favorite track is called “In No Condition to Explain.”

Please don’t ask me what my friend’s band sounds like. Aren’t your friend’s bands true originals with a unique style that really doesn’t sound like anyone else? It’s almost impossible to know, but even if it wasn’t my friend’s band, I’d still think this was a great album.

Do you believe me? Will you check it out? Do you mind if I wear a clown mask?

How to Fix Van Halen

VanHalen_OnKimmel_
Perhaps you saw Van Halen on your TV recently gracing the stage at Jimmy Kimmel Live and the Ellen Show, fronted by a gum-chomping, ink-covered old singer and just shook your head. More likely, you clicked a link to watch one of the appearances online after the fact and maybe X’d out of it in disappointment at how The Mighty Van Halen has fallen.

What’s wrong with Van Halen in 2015? Well, first off, they seem to not have a promotional/PR team (or social media presence). In fact, a random slip-up by a Canadian DJ, followed by tireless “internet research” by members of the VHLinks message board, followed by “confirmation” from Billboard and Rolling Stone (citing sources that sited “internet chatter”) is how word of their upcoming live album first leaked (confirmed by the band a month later with those TV appearances).

That brings us to what else is wrong with Van Halen in 2015: they are just now finally releasing their first live album with iconic front man David Lee Roth and it’s a 2013 show (with no BluRay/DVD companion). Still no classic shows from the vaults.

So the problem with Van Halen isn’t just that they are old, although they are that. But old age has treated the Bruce Springsteens and Paul McCartneys of the world just fine. Van Halen has fallen down the next step: they’ve made themselves irrelevant. Since their heyday(s) with both Roth and his successor Sammy Hagar, they’ve brought both back for reunion tours of varying success and mostly wallowed in inactivity, save for the 2012 studio album they made with Roth (with Eddie Van Halen’s son Wolfgang replacing Michael Anthony on bass).

But while other rock bands (from Van Halen contemporaries like Rush to disciples like Pearl Jam) have almost all released live DVDs from tours old and new, along with remasters with bonus tracks, Van Halen has been curiously silent and their remasters offer no previously unreleased material. Time to change that. Time to restore the greatest American rock band back atop the throne of stardom and glory. Time to fix Van Halen.  Continue reading →

The Anniversary Re-Issue of My Top 10 List

Working in a record store back in 1987, we got the first Beatles CDs shipped to us and excitedly opened the boxes after hours as they would go on sale the next day to coincide with the 20 anniversary of the release of Sgt. Pepper. Obviously I understood the leap to the new format, but was a little surprised at the hype of this “new” release that was really just a reselling of old music everyone already had.

And in true Beatles fashion, of course they predicted all of this and put it on record. In fact the first line of that legendary Sgt. Pepper album is “It was 20 years ago today…” and a tagline was born. The Beatles making it to compact discs in the late 80s wasn’t the first or last “anniversary reissue” but it rang in a new era of nostalgia culture along with what the Box Set craze was doing for what was once known as “The Record Industry.”

As our media and culture and news cycles continued to speed up as technology advanced, so too did our nostalgia rates. The 1990s saw a resurgence (recycling) of the 1960s…. and soon enough we couldn’t wait to re-celebrate the 70s and shout I LOVE THE 80s and by the dawn of the 21st century it seemed we were already “looking back” on a 90s decade that just ended. This hyperwarp eventually ate itself and now we just spend each day, week, and year looking back at the great things that already happened 10, 20, and 25 years ago.

Usually we are nudged into this by some not-so-coincidental reissues… anniversary edition remasters of the classic albums we already know and love. And in the digital age where selling any music, especially hard copy CDs, is next to impossible, it’s a lot easier to (re)sell us stuff everyone knows is good (especially with added goodies and updated artwork or notes). It’s easy to have a hit with a hit.

In the “rock is dead” era, we didn’t need the Strokes or the White Stripes to be saviors of rock, we just exhumed the Beatles, Rolling Stones, and Led Zeppelin to do it again. It’s almost comical that the recent remastered reissues (expanded 2-disc versions!) of the Zeppelin catalogue rolled out exactly 20 years after the 1994 remasters. Can a shark jump the shark?

Anniversary culture gives us an excuse to tell the world which albums changed our lives and how. We gather in the town square (Facebook/Twitter) and remind our friends that A Tribe Called Quest’s Low End Theory came out 24 years ago. We make our high school buddies feel old by telling them Van Halen’s 1984 is 31 YEARS OLD while websites gather clicks by offering us info on the whereabouts of the woman from the “Hot For Teacher” video. Obviously seminal albums like the Stones Exile on Main St get lavish remastered reissues, and so do lesser-known but still critically acclaimed efforts like Bob Mould’s Workbook, but soon enough there’s a niche within the niche and we’re “celebrating” albums that weren’t so great the first time around. Or maybe the album might be worthy, but we don’t wanna wait for the 20th or 25th anniversaries, so now just “It was 10 years ago today” is good enough.

best_double_albums_3203775bInstead of listing every album that’s had an anniversary reissue, it would be easier to list the ones that haven’t. As for which ones are worthy of buying a second or third time… this brings us from the nostalgia phenomenon to our other favorite rock pastime: Top 10 Lists. From the dawn of the first day spent on that hypothetical desert island, we’ve been making our personal Top 10 lists. Once everyone and their former record-store coworkers had blogs, rock fans everywhere were raging against the tastemakers and righting all the wrongs unjustly handed down by the gatekeepers at Rolling Stone or SPIN or the Grammy voters and anyone else who gets it wrong when trying to tell us what’s good.

It’s a way to make sense of a senseless world in which Bob Marley never won a Grammy and Ziggy Marley’s career is already longer than Bob’s. Continue reading →