Public Privates - The All-Consuming Blog Of The Public Good
 

Pete weighs in on The Stones and Exile on Main St.

From our good friend and former bandmate Pete Kaperonis, Stones historian extraordinaire:

A few weeks ago I'm driving around listening to Little Steven's Underground Garage on XM and the pick of the week is a Stones Exile reissue bonus track called "Plundered My Soul." Ok tune I think - perhaps I need to email Steve and tell him my general assessment about the Stones' outtake material was wrong. Some things puzzled me though, the production quality seemed really good for Exile era and given how many bootlegs I have, why hadn't I heard this before?
 
Now this revelation - the outtakes (new songs) on the reissue have been "touched up"...i.e., in the case of this song, completely new lyrics and vox as apparently it was just an instrumental track. Also, new guitar overdubs, etc.
 
I'm not against repurposing old tracks/ideas, I mean that's essentially how Tattoo You came about, however, in the context of a classic album reissue it's contrary to preserving the integrity of the moment. The Stones really disappoint me as a fan in this area - for all their control and Mick's supposed business savvy, they really miss the boat here and seem to be poor caretakers of their legacy/history. There are interesting morsels from the period that should have been included - the free NME flexi-single promo for example.
 
Maybe I am right - there just isn't enough from the cutting room floor good enough to stand on it's own. Ok fine, throw in some unreleased live gems from the period. They were on top of their game then...bootlegs abound with some amazing stuff from this period.
 
At least they had the good taste to bring in Mick Taylor to help touch up the "bonus" tracks...or so I though until it was pointed out that Taylor is listed behind Nicky Hopkins on the credits (no, it's not alphabetical). Man those guys begrudge him to this day, huh? Likely was Don Was' idea to bring him back.
 

 

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Posted May 19, 2010 by Dirk. Band Accountant. 
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English needs a better term for "least favorite"

I've worked in supermarkets and coffeeshops, and have thus listened to a lot of terrible, repetitive music, but nothing beats the music I listened to on the job I just quit.

It was an office, and most of the day it was just my boss and I in there.  He had a CD player with a single album in it.  The album was a bunch of famous songs covered by Korean women, with synthetic backing sounds.  The songs included: "Memories," "Dust in the Wind," that opera tune by the blind Italian guy, and "Have I Told You Lately How Much I Love You."  They were all sung in the same high, lilting voice, and I could just barely make them out, being a good 20 feet away.  But that first note of "Memories" always brought me back.  And this CD was on repeat FOR 18 MONTHS.

Yes.  Through interviews, inspections, tense talks about going out of business, that album was playing throughout, no breaks.  I think it was on all night, so the cleaning staff could enjoy it as well.

But I am thankful.  I will never find an album I hate more than that one.  There's something reassuring about this.

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Posted May 18, 2010 by Sam 
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Do Record Reviews Hold Up Over Time?

Something kinda interesting from Jason Gross at PopMatters.com. How about reviews with no stars or numbers? Just writing a reaction, art responding to art?
*

Recently, a colleague on a mailing list noted something about a Pitchfork review. For a recent reissue of Elliott Smith’s From a Basement on the Hill album, the record was anointed with an 8.4 rating. However, the same record got a 7.2 rating from Pitchfork when it originally came out in 2004. What’s up with that? Similarly, each new edition of Rolling Stone‘s record guides has starred ratings which give some older records a better or worse rating than they’ve had in previous guides. It’s an old problem in the review biz we’re talking about here.

First off, everyone changes how they feel about certain records over time. A record that we’ve loved years ago might be meaningless to us now and similarly, a record that we scoffed at might now hold a special significance for us.  Also, some records might vex us a little as we go hot and cold on them- for me, that happens with Wire’s first two albums, where one day I love Pink Flag and another day I think that Chairs Missing is a much better record.
  
Another thing to consider is that music/social history has a way of changing the whole perspective about an artist or a record. Does everyone who listens to Smith feel the same way about him before and after his death? Similarly, does that effect the work of Nick Drake or Joy Division’s Ian Curtis, not to mention a guitarist named James Marshall or a Texas singer named Janis or a Brooklyn rapper named Biggie? Even something like a car commercial can lead people to re-evaluate the career of Nick Drake- when Volkswagen used “Pink Moon” in a commercial, his sales soared way beyond what they had ever been before and many new fans suddenly took notice. Also, think of Randy Newman’s “Louisiana 1927”—the song (about a terrible flood) was part of his 1974 album Gold Old Boys, but it took on special meaning after Hurricane Katrina.

Of course, a review, even for a major publication, is in the end one writer’s opinion, even though by default, it stands in for the decision of the publication itself. One of the rare exceptions was when a controversial record would come out (i.e. Coltrane back in the ‘60s or Liz Phair’s major label debut reviewed by three writers in the Village Voice), more than one reviewer would weigh in. Most publications don’t have the space/pay to afford them that luxury anymore, sad to say. Nevertheless, how often do you find that in online publications and zines otherwise?

It would be nice and refreshing for Pitchfork, Rolling Stone and other places to acknowledge their changing attitudes towards certain records but then again, it ain’t fun to acknowledge any kind of problem with authoritative judgments like that, is it? (one exception is Robert Christgau, who’s rewritten reviews in his record guides, noting his original grade/rating and occasionally discussing his different viewpoint)

It also leads to my point that despite having some good writers there (i.e. Philip Sherburne) and the fact that they’ve built themselves up well into a powerful part of the music media biz, Pitchfork is known for single digit integers, aka their record rating system. As such, they might wanna be careful when handing out numbers.

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Posted May 14, 2010 by John 
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hear THIS guitar solo!

Enough with the old white guys!

 

Here is Sister Rosetta Tharpe absolutely kicking a$$ with her singing and her guitar solo on “Down By The Riverside.”

 

Enjoy!

 

   
Click here to download:
hear_THIS_guitar_solo.zip (63 KB)

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Posted May 13, 2010 by email 
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Q: Why aren't the Stones as good as Aerosmith?

By that, I mean how is it that nearly 40 years into their career, Aerosmith continues to write hit songs -- songs that sell by the millions and millions -- while the Rolling Stones haven't written a single song that garnered any significant airplay in nearly 30 years?

On the eve of the re-issue of the Stones' "Exile on Main Street," perhaps their greatest release, I can't help wondering about that question.

If the Stones weren't putting any new music out, that'd be the answer. But they do release new CDs every few years, though the music is rarely interesting. No one buys it and the radio doesn't much play it. The idea that it might be inspired music is laughable, even to their fans.

Say what you will about Aerosmith, but their "new" songs are usually catchy as hell. Goofy and commercial, yes, but only a few are real junk. Sometimes they're catchy and surprising ("Jaded"), and sometimes they're catchy and funny ("Dude Looks Like a Lady"). Take a look at the list below of Aerosmith hit songs since the Stones last had their own hit -- can anyone imagine the Stones putting in the amount of work it'd require to match Aerosmith's output since 1987?
I don't think the Stones somehow lost the magic. My answer is that the Stones don't give a shit and won't do the necessary work. Which is fine, of course. (Another idea: both the Stones and Aerosmith are putting out raw product, and people much prefer Aerosmith to the Stones.)

Either way, it's interesting that some bands manage to get crazy rich and still do the work, some don't.

Then there's Dylan, still not writing hit songs, but writing inspired music and putting out great CDs that are considered among the best rock music being released in the last 10 years. And he still puts out crazy ones, too -- http://www.bobdylan.com/#/music/christmas-in-the-heart.

Rolling Stones: forget writing hits -- you're telling me you've got Keith Richards in your band and you can't try matching the kind of whacked out kookiness of Dylan singing "Christmas Island"? Oh come on!

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Posted May 12, 2010 by John 
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Stryper Returns with Satanic Songs

Sam might not understand the Justin Bieber phenomenon, but he is The Public Good's heavy metal connoisseur, and he speaks freely of his youthful affinity for the Christian Rock offshoot, which, he swears, is what all the hot 14-year-old chicks in Michigan were listening to when, as a young man, he first strapped on his mighty six string.

In fact, Christian metal band STRYPER's "To Hell With the Devil" era was a great influence on him (pictured here -- notice the matching neck and head bands that Sam also occasionally sports at TPG gigs).

So sadly we break the news to him here that hey hey, my my, like regular old rock and roll, it turns out that Christian heavy metal can also never die. It just follows suit and also eventually sells its soul to the Dark Lord.

Here is the song list of their new album of covers:


* JUDAS PRIEST - "Breaking The Law"
* IRON MAIDEN - "The Trooper"
* SCORPIONS - "Blackout"
* OZZY OSBOURNE - "Over The Mountain"
* SWEET - "Set Me Free"
* VAN HALEN - "On Fire"
* DEEP PURPLE - "Highway Star"
* BLACK SABBATH - "Heaven And Hell"
* UFO - "Lights Out"
* KANSAS - "Carry On Wayward Son"
* KISS - "Shout It Out Loud"

STRYPER guitarist/vocalist Michael Sweet explains the seemingly insupportable choices of Satanic songs: "For those of you who may think that we're walking away from our faith — you're wrong. We've never been more serious about our faith at any point in our lives. It is, however, important to enjoy what you do and lighten up from time to time."

Wow. Sam, can you parse this for us? Are these words to live by? Or has Stryper just admitted that rock and roll is no damn fun unless you're in league with Satan?

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Posted May 11, 2010 by John 
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A Fan Questionnaire!!!

Ok, TPG fans, help us figure out how to promote the upcoming release by helping us better understand you, our growing fan base.  Just answer in the comments section below.  Thanks!

  • What types of music do you like (on those rare occasions when you're not listening to The Public Good, The Popes, The Lovely Lads or Stumble)?  
  • Name ten bands who you are currently listening to (in addition to to The Public Good, The Popes, The Lovely Lads and Stumble).
  • What are your hobbies?  (Some of you know, I hope, not to be too forthcoming here).
  • What TV shows do you watch?  
  • Where are your favorite websites (besides, of course,  thepublicgoodonline.com, facebook.com/thepublicgood, twitter.com/thepublicgood, and blog.thepublicgoodonline.com)?
  • What types of movies do you watch?  (for the sake of this survey let's limit to those with an MPAA ratings in the G to R range, shall we?)
  • Where do you go to eat?
  • What kind of books do you read?  Try to be more descriptive here than "ones with pictures".
  • Where do you go on the weekends? (again, per above, some of you need not be completely forthcoming).

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Posted May 10, 2010 by The Manager 
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TPG returns to DC - Sunday Night

We play an early show on Sunday night, opening the CD release party for Power Pirate and The Vanguard at The Red & the Black. We start at 8:30 sharp!

Club is at 1212 H Street NE, Washington, DC.
202-399-3201

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Posted April 29, 2010 by John 
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Why We Write Songs

8:35 AM, Foggy Bottom Metro, Washington, DC, on my way to work

1. The station is crammed with school kids which triples the number of riders already as we cram in to get on the exit escalators.
2. A voice in the back of the crowd is yelling, "HANDICAPPED! LET ME THROUGH! HANDICAPPED!" The man next to me says, "So what? Handicapped's gotta wait too."
3. There are 3 escalators but only 2 are working. There is someone working on the third but he is by no means in a rush. There has been a broken escalator at Foggy Bottom for at least 2 years now.
4. The woman in front of me with a baby carriage apparently keeps bumping the woman in front of her. This woman turns around and confronts the mother. The mother tells the woman she's not bumping into her and that she has an attitude. The woman replies she doesn't have an attitude and will call the police on the mother. The mother replies to go ahead and call the police. The woman says she will and that by the time they get there the mother will be in the hospital next door. She ends it by telling the mother she'll meet her at the top of the escalator.
5. The person giving away the DC Express is screaming at the top of his lungs.

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Posted April 28, 2010 by fleegle 
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History and its Witnesses

This weekend I learned that this old Swiss guy I know saw the Beatles play in Hamburg in the early 60s.  Yeah.  He said that and I lost feeling in my major appendages.

I asked him, "Did you see them when Ringo was in the band?"  I didn't think I'd ever ask anyone that.  He said yeah, it was soon after Ringo joined.  The Swiss guy was 16, living in Zurich, and he and a couple of friends drove to Hamburg to see some rock and roll.

I think that has to rank right up there among historical musical events (okay, series of events).  Woodstock, Albert Hall 1966, Altamont, the premiere of The Rite of Spring....  But those venues are comparably huge.

I saw Allen Ginsberg (with Patti Smith) reading and singing like a nut a few months before he died, and that's not even the right medium.  Anyone?  Most historically significant musical event you've ever attended?  If you had to choose one, the one you most wish you'd attended?  (John, don't even think about bringing up the Bieber.)

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Posted April 26, 2010 by Sam 
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