Forgotten Songs of the ‘80s: Peter Murphy
Nowadays, Peter Murphy is best remembered as the singer of Bauhaus and also for the mega 1990 hit “Cuts You Up,” but without a doubt, his greatest song was relegated to the lost and found aisle.
“All Night Long” off 1988’s Love Hysteria is one of the most interesting and fascinating modern rock songs of the whole decade. Beginning with xylophone, the song quickly finds its groove and refuses to let up. But instead of going into a fast, up-tempo mood, everything slows down and it all becomes very moody and atmospheric. Peter’s vocals bring the song to its spookiest peak.
But that’s not the end, it just gets creepier from there, as the song reaches its crescendo, his voice becomes lower and lower until it reaches its apex and the song just explodes into a heavenly rich sheen that stays with the listener long after its left the airwaves. Just an absolutely breathtaking song.
http://www.youtube.com/watch?v=q__QnW-9ROs&feature=channel_page (All Night Long)
Friday, May 29, 2009
Tuesday, May 26, 2009
An Interview with Peter Litwin
Coffin Break hve been viewed as one of the more forgotten bands of the 'grunge' era and that's a pretty apt statement. The band was not just a 'grunge' band but were more of a good 'ol punk band than anything else. The music, especially 1990's "Rupture" still stands up strong today and it's good to see them getting the appreciation they so richly deserved. Frontman/guitarist Peter Litwin was kind enough to take time out to answer some questions.What was it like when you guys got started?
The Seattle scene was very small and there were hardily any places to put on all ages shows. Often we would have to go across the water to Bremerton to put on an all ages show or play down at the Community World Theatre in Tacoma.
What was it like in Seattle before Nirvana and Pearl Jam broke?
It was great actually. The scene was small and most of the bands supported one another. It seemed like when we played a show that 60-70% of the audience were in other bands. People had a lot of fun at shows then too…now it seems like people often just stand there and don’t slam dance as much anymore... back then it was just out of control sometimes at shows-which made it really fun.
What was "success" like and how did you deal with it?
We never became as successful as some of the other Seattle bands like the ones you mentioned but I was always so happy to be making records and touring around the world doing my favorite thing in the world. When I think back on it now I realize how lucky I was to spend my twenties touring the world in a punk rock band! Who could ask for more?
How did you guys decide to leave C/Z and sign with Epitaph?
Well C/Z had very little money and thus was not able to give us much in the way of tour support or even pay to record our records. So when someone like Epitaph was interested who could offer those things we jumped at the opportunity. Plus we were pretty stoked to be label mates with our heroes Bad Religion, not to mention being label mates with NOFX, The Offspring, and Down By Law!
When did you decide to bring Jeff in and how did that work out?
Jeff was a friend of mine…I think it just seemed to make sense since he was a cool guy and a great guitarist. As a band we were looking at growing musically and it seemed like Jeff could help us in that regard.
When did the band decide to call it quits?
Soon after touring to support our last record -"Thirteen", I think we were just tired and had enough.
How was it reuniting after 13 years?
Re-uniting was great! I was surprised how much fun it was to play these songs again. It was cool too that as soon as Rob, Dave, and I were back in the same room that any old animosity seemed to just melt away. We just jammed again the other day for the first time since we played Geezer Fest back in August. We were asked to play a memorial show for our good friend Ben McMillan (Gruntruck, Skin Yard) who passed away recently. The show is next month sometime.
What are you guys up to now?
We are all in other bands too. We are thinking of playing some more shows together too. Well I hope I answered all your questions... if not let me know.
Cheers,
Peter Litwin
Thursday, May 14, 2009
Forgotten Songs of the New Millennium: Therapy?
Forgotten Songs of the New Millennium: Therapy?
Irish rockers Therapy? had been around for over ten years before the release of 2002’s High Anxiety, their third album in three years. They’d been through quite a lot, lineup changes, faulty record deals and audience indifference, but still they persevered. With the release of High Anxiety, the band went back to their roots, driving hard rock and the album’s standout, “If It Kills Me” was one of their best songs and dare I say, one of the best songs of 2002.
The song is simple, but that’s the story of Therapy’s? career, they don’t know how to do things any differently, so why bother changing anything. The drumming of dynamo Neil Cooper propels the song to its hard-hitting best. The always reliable Andrew Cairns, a mix of soul and punk, delivers some of his best lyrics here, talking about the same thing he’s always talked about, failed relationships and how to get them restarted.
While the band gave it their best shot, it wasn’t enough and the song was left to wither and rot on the vine. But the band didn’t let it get them down and continued recording and touring. Possibly one day, the song will find the life it fully deserves by being used in a commercial and will be rediscovered by an audience that could fully appreciate it.
http://www.youtube.com/watch?v=GsZCD5ak2w8 (If It Kills Me)
Irish rockers Therapy? had been around for over ten years before the release of 2002’s High Anxiety, their third album in three years. They’d been through quite a lot, lineup changes, faulty record deals and audience indifference, but still they persevered. With the release of High Anxiety, the band went back to their roots, driving hard rock and the album’s standout, “If It Kills Me” was one of their best songs and dare I say, one of the best songs of 2002.
The song is simple, but that’s the story of Therapy’s? career, they don’t know how to do things any differently, so why bother changing anything. The drumming of dynamo Neil Cooper propels the song to its hard-hitting best. The always reliable Andrew Cairns, a mix of soul and punk, delivers some of his best lyrics here, talking about the same thing he’s always talked about, failed relationships and how to get them restarted.
While the band gave it their best shot, it wasn’t enough and the song was left to wither and rot on the vine. But the band didn’t let it get them down and continued recording and touring. Possibly one day, the song will find the life it fully deserves by being used in a commercial and will be rediscovered by an audience that could fully appreciate it.
http://www.youtube.com/watch?v=GsZCD5ak2w8 (If It Kills Me)
Wednesday, May 6, 2009
Forgotten Songs of the '70s: Rick Nelson
Forgotten Songs of the ‘70s: Rick Nelson
When Rick Nelson released “Gypsy Pilot,” it was before the monumental, career-reviving success of “Garden Party,” he was hoping it would be the song that would relaunch him but it sadly never happened. Which is a damn shame considering that the song is one of the best songs from his later days.
The song came off of 1971’s Rudy the Fifth, one of his more scattershot records but the song standing alone is a revelation and is it ever a creepy revelation. The song itself is about a plane crash and what people think of the main victim. Creepy ain’t it?
Lyrics like “when they claim my body, they won’t have much to say, except that he lived a good life and he lived everyday” just up the creepy quotient. The song is simply spooky but Rick’s amazing voice carries through and leads the Stone Canyon Band to one of their greatest performances as they’re carrying along behind him in supreme fashion.
In what is probably one of the creepiest and eeriest ways to end a song, the song’s fake ending comes in and then the real ending comes: the sound of a plane slowly going down and then the sound of a crash. With that, one of the creepiest songs comes to an end.
When Rick Nelson released “Gypsy Pilot,” it was before the monumental, career-reviving success of “Garden Party,” he was hoping it would be the song that would relaunch him but it sadly never happened. Which is a damn shame considering that the song is one of the best songs from his later days.
The song came off of 1971’s Rudy the Fifth, one of his more scattershot records but the song standing alone is a revelation and is it ever a creepy revelation. The song itself is about a plane crash and what people think of the main victim. Creepy ain’t it?
Lyrics like “when they claim my body, they won’t have much to say, except that he lived a good life and he lived everyday” just up the creepy quotient. The song is simply spooky but Rick’s amazing voice carries through and leads the Stone Canyon Band to one of their greatest performances as they’re carrying along behind him in supreme fashion.
In what is probably one of the creepiest and eeriest ways to end a song, the song’s fake ending comes in and then the real ending comes: the sound of a plane slowly going down and then the sound of a crash. With that, one of the creepiest songs comes to an end.
Monday, May 4, 2009
Dustbin of Rock: Jimmie's Chicken Shack
Dustbin of Rock: Jimmie’s Chicken Shack
When Jimmie’s Chicken Shack first came out of Maryland in 1997, many people didn’t pay much attention to them. Aside from the fact they were signed to Elton John’s record label, there wasn’t much to distinguish them from the rest of the late ‘90s alt-rock pack. But if one listens to the music now, they will be blown away and amazed by what they are hearing.
Their first album, 1997’s pushing the salmanilla envelope is packed to the rafters with great lyrics and memorable hooks. The most memorable would have to be “Hole,” a grindingly quick romp through everyday life with the catchy as hell chorus, “Pull myself up from the hole I dig.” Listen to it again and again and pretty soon you’ll find yourself humming along because it’s irresistible and impossible to escape.
The follow-up, 1999’s Bring Your Own Stereo was a bit of a departure, with slower tempos and interesting lyrics. There are still some standouts however, including “Lazy Boy Dash,” a light romp through what was most prevalent in 1999, frat boys. The acoustic “30 Days” is one of the most interesting songs in their whole catalog because they had never done anything like before and haven’t really done anything like it since. The one song everybody grabbed onto was “Do Right,” which sounded right at home with everything else on the radio. But in the ten years since the song’s release, it sounds quite dated and has had an effect on the rest of the record.
After the modest success of “Do Right,” the band became embroiled in a dispute with their record company and constant lineup changes. The result was no studio material until 2004, when the band signed with an indie and released Re.Present. The album was an attempt to get the band back in the limelight by hooking them up with some of their former tourmates and star songwriters, including Aaron Lewis of Staind, Art Alexakis of Everclear, Butch Walker, Mark Tremonti of Creed and John Wozniak of Marcy Playground. The result is as eclectic as a record can get with styles going all over the place. But if one digs through all the mediocrity, they’ll find some nuggets, most notably “Happiness,” which is one of the band’s best songs. With a driving beat propelled by temporary drummer Kevin Murphy, formerly of Earth to Andy, the band finds the right groove and never lets up. The song is an absolute masterpiece but unfortunately was neglected in favor of “Falling Out,” the band’s collaboration with Aaron Lewis, while still a great song, it just doesn’t have the power of “Happiness.”
All in all, the band have had a very scattered discography, but sprinkled amongst it are some really great songs that deserve the recognition they fully deserve. Maybe one day, they will.
http://www.youtube.com/watch?v=8WR3gF9J0hQ (Do Right)
http://www.youtube.com/watch?v=Vzf9-HkpKMQ (Falling Out)
http://www.singingfool.com/Title.aspx?publishedid=11241 (High)
When Jimmie’s Chicken Shack first came out of Maryland in 1997, many people didn’t pay much attention to them. Aside from the fact they were signed to Elton John’s record label, there wasn’t much to distinguish them from the rest of the late ‘90s alt-rock pack. But if one listens to the music now, they will be blown away and amazed by what they are hearing.
Their first album, 1997’s pushing the salmanilla envelope is packed to the rafters with great lyrics and memorable hooks. The most memorable would have to be “Hole,” a grindingly quick romp through everyday life with the catchy as hell chorus, “Pull myself up from the hole I dig.” Listen to it again and again and pretty soon you’ll find yourself humming along because it’s irresistible and impossible to escape.
The follow-up, 1999’s Bring Your Own Stereo was a bit of a departure, with slower tempos and interesting lyrics. There are still some standouts however, including “Lazy Boy Dash,” a light romp through what was most prevalent in 1999, frat boys. The acoustic “30 Days” is one of the most interesting songs in their whole catalog because they had never done anything like before and haven’t really done anything like it since. The one song everybody grabbed onto was “Do Right,” which sounded right at home with everything else on the radio. But in the ten years since the song’s release, it sounds quite dated and has had an effect on the rest of the record.
After the modest success of “Do Right,” the band became embroiled in a dispute with their record company and constant lineup changes. The result was no studio material until 2004, when the band signed with an indie and released Re.Present. The album was an attempt to get the band back in the limelight by hooking them up with some of their former tourmates and star songwriters, including Aaron Lewis of Staind, Art Alexakis of Everclear, Butch Walker, Mark Tremonti of Creed and John Wozniak of Marcy Playground. The result is as eclectic as a record can get with styles going all over the place. But if one digs through all the mediocrity, they’ll find some nuggets, most notably “Happiness,” which is one of the band’s best songs. With a driving beat propelled by temporary drummer Kevin Murphy, formerly of Earth to Andy, the band finds the right groove and never lets up. The song is an absolute masterpiece but unfortunately was neglected in favor of “Falling Out,” the band’s collaboration with Aaron Lewis, while still a great song, it just doesn’t have the power of “Happiness.”
All in all, the band have had a very scattered discography, but sprinkled amongst it are some really great songs that deserve the recognition they fully deserve. Maybe one day, they will.
http://www.youtube.com/watch?v=8WR3gF9J0hQ (Do Right)
http://www.youtube.com/watch?v=Vzf9-HkpKMQ (Falling Out)
http://www.singingfool.com/Title.aspx?publishedid=11241 (High)
Friday, May 1, 2009
Underrated Album of the Month: Ned's Atomic Dustbin
Underrated Album of the Month: Ned’s Atomic Dustbin-“God Fodder”
When Ned’s Atomic Dustbin first came out in 1990, they were unique for their use of two bass players, one lead and the other rhythm. The fact that guitar was relatively hidden from the music came as quite a shock to some listeners. But once people actually sat down and listened to the music, they realized they were listening to something that was one of the most unique albums of the early ‘90s.
God Fodder, released in 1991, kicks off with the first of many standouts, “Kill Your Television,” with its amazing double bass work and vocals by Jonn. The band are at the top of their game, which is amazing considering this is their debut. The lyrics flow effortlessly well throughout and the whole band is sonically tight.
From the beginning, the band sounded ready for radio, with hooks sprinkled liberally throughout. The two catchiest tracks, “Happy” and “Grey Cell Green” immediately became huge alternative radio hits and still get some airplay almost twenty years later, which is a testament to how well the material holds up.
The greatest song on the album, bar none is “Cut Up,” which is so memorable and hooky, it’s almost like a drug. With the rhythm going in two directions at once, the band is at their peak and they know it, with Jonn’s lyrics flowing in a way that back up the groove of the song. Once one hears the song, it’s doubtful that they’ll be able to get it out of their head.
With the band’s subsequent records, they tried some different things but they were never able to top their debut, ultimately disbanding in 1996. All the original members reunited in 2008 to try and see if they could recapture the youth and magic captured on God Fodder. One only hopes they will and will come out with a record that’s even greater than their already legendary debut.
When Ned’s Atomic Dustbin first came out in 1990, they were unique for their use of two bass players, one lead and the other rhythm. The fact that guitar was relatively hidden from the music came as quite a shock to some listeners. But once people actually sat down and listened to the music, they realized they were listening to something that was one of the most unique albums of the early ‘90s.
God Fodder, released in 1991, kicks off with the first of many standouts, “Kill Your Television,” with its amazing double bass work and vocals by Jonn. The band are at the top of their game, which is amazing considering this is their debut. The lyrics flow effortlessly well throughout and the whole band is sonically tight.
From the beginning, the band sounded ready for radio, with hooks sprinkled liberally throughout. The two catchiest tracks, “Happy” and “Grey Cell Green” immediately became huge alternative radio hits and still get some airplay almost twenty years later, which is a testament to how well the material holds up.
The greatest song on the album, bar none is “Cut Up,” which is so memorable and hooky, it’s almost like a drug. With the rhythm going in two directions at once, the band is at their peak and they know it, with Jonn’s lyrics flowing in a way that back up the groove of the song. Once one hears the song, it’s doubtful that they’ll be able to get it out of their head.
With the band’s subsequent records, they tried some different things but they were never able to top their debut, ultimately disbanding in 1996. All the original members reunited in 2008 to try and see if they could recapture the youth and magic captured on God Fodder. One only hopes they will and will come out with a record that’s even greater than their already legendary debut.
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