The Southbound Internet Radio Blog

When looking through the annals of influential music spawned from the American Underground in the 80′s and 90′s, it seems that the genre of noise-rock is generally and quite unfairly overlooked. Perhaps the reasons for this are obvious, as hallmarks of the genre include walls of jarring, abrasive distortion usually without the safety net of melody. The lyrical content usually consists of shocking imagery most rock genres wouldn’t have the stomach for.

One of the leading lights of this wholly unique sound, Swans, has reformed after a 13 year absence since their last album “Soundtracks for the Blind” and, frankly, I’m ecstatic.

Michael Gira, the leader of the band has decided to revamp the extremely influential band with a new album and tour set for fall 2010. Gira had recently been playing in Angels of Light, who specialized in playing music that was more concerned with folk-like spartan beauty but who were still equally intense in their own way.

The closest well known touchstone to the sound of noise rock would probably be Sonic Youth’s earlier records. The sound of it is unrepentantly gloomy and chaotic, yet undeniably powerful and incendiary in its balking at any type of acceptance in mainstream music culture. It’s probably best to approach noise rock like one approaches David Lynch’s films: with a lot of patience and an open mind.

Of course, noise rock can also be quite excruciating when not placed in such capable hands as Gira’s. Here’s a list of some of the best albums you could listen to to get acquainted with the sound.

Note: not recommended for children or the easily offended.

Swans – Children of God

Sonic Youth – Sister

Big Black – Atomizer

The Jesus Lizard – Goat

Royal Trux – Accelerator

Carter Glascock

Tags Michael Gira, noise rock, Swans

I will be the first to admit that when I first heard of the Parents Music Resource Center (PMRC) and what they proposed to do, that is, move for legislature that would require explicit material labels to be placed on albums with such material, I was not happy.  Of course, I was a teenager and defiantly against anything that the establishment tried to do to limit my musical freedom.

Even to this day, I am still adamantly opposed to certain aspects of what Tipper Gore’s group strived to do, and most of my opposition comes from a look at their infamous “Filthy Fifteen”.  Granted, most of the tunes on here are not songs I’d ever play for my mom and now that I am older, not songs I would play for my daughter.  In fact, I had to hide Purple Rain from my folks lest they hear “Darling Nikki” and toss it.  But the list does show my major complaint: how do we know what is explicit?

Case in point: Madonna’s “Dress You Up”, which according to the PMRC, is about sex.  I’m sorry, but you have to really use some imagination or already be thinking sexual thoughts to immediately ascertain that interpretation.  Does this mean we need a governmental “art interpretation” office to decide if something is explicit?  Dear God, let’s hope that never comes to pass, because with our luck, Glenn Beck would be put in charge, and this sentence would be deemed blasphemous.

Some of the songs on the list are blatant, and as a parent, yes, I agree that some warning should appear.  But others are not.  I mean, if “We’re Not Going To Take It” by Twisted Sister was that bad, why is it still part of every high school’s cheerleading squad’s pep routine?  But the PMRC said it promoted violence.  OK.  Maybe it was competitive violence against your cross-town rival for the homecoming game?

Which brings up another point: if your kid can be influenced by anything Dee Snider of Twisted Sister says, somebody dropped the ball somewhere, and it wasn’t Dee.

However, now I’m older and can see more of the parental aspects of the group and its mission.  Hold on – I didn’t say I’d join it if it still existed.  I’m simply saying that at some point, a parent needs some help.  And I think the industry needed to see that kids don’t pay for music with money they make as much as they pay with money their parents make, so some type of awareness is necessary.

But did the PMRC change anything?  The cultural Armageddon I predicted at age 15 never came to pass, which is good.  And artists know that even on iTunes, they run the risk of losing sales if they choose to use explicit language.  But even the mildest of bands will use sexual innuendo or release some anger that might be interpreted by some as violence, and it many times goes without being labeled, slipping through the cracks.

So while we have benefitted some from the PMRC, the problem was never fully solved, and at the same time, awareness was raised.

Let’s call it a draw.

I am a fan of cleverly done cover songs, and am equally passionate about my hatred of poorly done covers.  On Southbound, we even had a Top 5 list of the worst cover versions ever, and looking back over that list, it is a wonder my tone did not give away the seething dislike I was feeling just discussing Celine Dion’s rendition of “You Shook Me All Night Long”.

                I have become an interested fan of Fearless Records’ compilations of punk bands doing cover songs, with each version tackling a particular genre.  Titles include Punk Goes Crunk, Punk Goes 80’s, Punk Goes Pop, and so forth.  And while some inclusions are unnecessary at best, unlistenable at worst, other songs are as clever as any cover song compilations I have ever heard.  Some standouts:

• The Maine’s version of Akon’s “I Wanna Love You”
• Anberlin’s cover of Depeche Mode’s “Enjoy The Silence”
• Say Anything’s side-splitting version of Ole Dirty Bastard’s “Give Me My Money”
• A Static Lullaby’s take on Brittney Spears’ “Toxic”
• Dynamite Boy’s rockin’ cover of “I Want It That Way”

You get the idea. 

I think what the great versions show is that underneath most pop songs is the structure and potential for a great tune, but that it’s all in the arrangement, instrumentation, and production, as well as the execution.  This is particularly inspirational to songwriters because it asks them to pause and reflect on their own music; “Is what I’ve written in the best arrangement it can be, structured in a way that truly shows its brilliance?”

The bad versions show that it’s possible that not every chart topper was good to begin with.

DS

I do not claim to be a metal head, per se, but I gotta say, the passing of Ronnie James Dio yesterday has really hit me in a way that makes me look back and appreciate what heavy metal has done for music.

Dio, born Ronald James Padavona, passed away May 16 after a bout with stomach cancer. At the time of hi death, he was in the process of a project with former Black Sabbath bandmates Geezer Butler, Tony Iommi and Vinny Appice. Still a hard working rock and roller at age 67, Dio had a signature voice, although I am not sure how kind rock history will be to him.

If for no other reason, Dio deserves credit for popularizing one of pop culture’s most prevalent hand gestures. The “devil horns” that metal fans have been displaying with their hands at every concert since the late 1970′s, has widely been considered Dio’s creation, as he learned it from his Italian grandmother (who used the sign to ward off “the evil eye”). Although other performers have been known to use it before Dio, he was credited with making it the “symbol” for heavy metal lovers everywhere.

Dio played in the bands Rainbow, Elf, Black Sabbath, Dio and Heaven and Hell – in a career that spanned more than 40 years. That is four decades making music. And anyone who has heard his voice has to know what a strain that would be on anyone’s vocal chords.

Of you have not already, pay tribute to this legendary rock and roller. Listen to some tunes of any of the aforementioned bands. And find out what the rock and roll world has lost.

In an age of corporate radio comglomerates, pirated music, and satelite radio, local indie artists are faced with new challenges in getting their music heard and trying to create a fan base.  And while the internet, Pro-Tools, and iTunes have certainly leveled the playing field, it has also crowded it.

So we here at Southbound appeal to you to do what you can to support your local music scene.  It’s not hard, because even little things make a big difference in the viral age.

1. Discourage illegal downloading of indie music.  No, I doubt if the estate of Michael Jackson cares if you illegally obtain “Billie Jean”, but that cool band in your hometown who is lucky to sell 10 CDs at a show is really hurt by it since the funding for their recording probably came from their own pockets.  Support by buying it legitimately.

2. Try to see bands live.  I know with work/school/kids/spouse/girlfriend/etc it’s tough to get out and see bands.  But check out local entertainment publications or websites, find the shows you really want to see, and try to see them.

3. Most importantly – spread the word.  Bought the new album from cool local band?  Email ten friends and tell them about it.  Cool local band playing in town but you can’t go?  Then email/text 10 friends and tell them about it.  This simple act helps not just the band but also helps the clubs who are willing to book original talent instead of crappy 70′s cover bands.  Remember – local clubs are as part of the music scene as the bands who play in them.

And from all of us here at Southbound, thanks for your support!

On our April 24 show, we showcased several indie bands from around the Southeast, so go listen to the podcast or the mp3 and check them out!

DS

                I was with a friend about 4 years ago who introduced me to a new term; every major band has what he calls a “You Shook Me”.

                His definition of a “YSM” is that one song by a band that everyone knows, and is also used by casual fans to “prove” their knowledge and enthusiasm for an artist.  Here it’s the term used in a sentence: “AC/DC?  Hell yeah, I love them.  ‘You Shook Me All Night Long’ is awesome!”  Chances are, this person knows no other songs by the band but uses this one to declare his fandom, usually in an attempt to appear more hip than he really is.

                The “YSM” is an interesting concept, and one that I had not thought of before my friend defined it for me, but after that, I’ve been able to see how knowing one song can, in social situations, help one pass as a true fan when s/he is really not.  Kinda sad.  The music snob in me wants to call them out with some follow up questions to expose them as frauds.  “So, you like AC/DC, huh?  What’s your favorite song off of ‘Razor’s Edge’?  ‘Fly On The Wall’?  Yeah, that’s what I thought, poseur.”

                But I won’t do that, because I’m a nice guy.  And it’s not worth it, because then I have to man up and admit my lack of knowledge in social situations when I have no idea who Lady GaGa is, instead of just nodding along, hoping no one asks me my favorite song of hers.

                Here are a few “You Shook Me’s”:

• “Don’t Stop Believing” – Suddenly, 20 year olds are declaring a love of Journey.  They are unimpressed when I tell them I owned this album on vinyl.  “What’s an album?” 
• “Baba O’Reilly”, but often mistakenly called “Teenage Wasteland” by Who poseurs. 
• “Wish You Were Here” – forget Dark Side of the Moon and The Wall were ever recorded.  This is also a favorite sing-along of drunken college girls when they are feeling reminiscent.
• “Good Riddance” but mistakenly called “Time Of Your Life” by those who falsely claim Green Day fanhood. 

The Beatles, Stones, and Elvis escape the YSM because their vast catalog is so well-played that it is impossible to only know one song by these artists.

                I will never call out anyone on using a YSM for the reason aforementioned.  But also because these people inevitably give themselves away if the conversation goes beyond that song.  So I let it happen and hope they will drop the YSM and truly learn more songs by great artists.

DS

I am going to come out and say it. I think cover bands get an undeserved bad rap among the music community. And no, I am not saying that only because I once played in a cover band, although that experience has shaped my appreciation for it. I say it because there is a need for it. And let’s all face it: even the best original musicians got their starts performing other people’s songs.

Let me first say that I understand why musicians often roll their eyes and scoff at cover bands. They often make more money on the bar scene than original bands because they draw a larger crowd. And that is a shame. I once heard cover bands referred to as nothing more than a “live jukebox.” Also, they often butcher the songs they are trying to cover, which is annoying as well. And as David once said in a previous blog, there are some songs that just have to be retired and taken out of the cover band rotation. Oh, and ladies, can we all agree to find a song OTHER than “Me and Bobby McGee” to show off your vocal talents? For a while there, it seemed like every time I was at a venue where a cover band was playing, a female friend of one of the band members would get on stage and sing that damn song. Love me some Janis Joplin. But I do not love me some nervous yet slightly intoxicated debutante singing Janis Joplin. So much gets lost in the translation.

But the cover band does serve a purpose. Playing music people want to hear in order to keep the people happy so they will stay at the party/buy more drinks at the bar/get other people to stick around and dance. All of those elements are part of what constitutes a pretty successful event for me. Good music, good fun and good drinks. And I am not saying I have not had that kind of fun at a show by a band playing original music. I am just saying that for mass appeal, a cover band fits the bill well.

Just avoid these cover band pitfalls:

1. Try to mix it up a little and not play too much of one artist. Otherwise, that just makes you a tribute band, which is entirely different than a cover band.

2. If you are going to invite a guest on stage to perform a song with you (see “Me and Bobby McGee” statement above), make sure they don’t suck. When you stop a gig to allow someone to come on stage, you are drawing attention to yourselves even more. Scrutiny.

3. Make a choice. Either play the song the way the original artist played it, or perform an entirely different and unique version of the song. Anything else in between just causes most of the audience to scratch their heads and wonder if you realize those are not really the words to the song and the solo was just screwed up.

4. Getting the audience into the music is one thing. But be a little humble. You are NOT Jim Morrison. You are only singing his song. Show a little respect by  knowing that all you are doing is singing a song someone else took the time to write and compose first. Unless the chicks are digging it. Then there is small amount of respectability to it. But you are still risking douchebag status.

5. An encore is simply not acceptable.

There we go. If you are in a cover band. More power to you. It is fun. And its a great way to keep people listening to the music you love. And if you do write your own songs, it is a good way to introduce your own tunes to a captive audience, if the original songs are properly mixed into the set.

Rock on, friends. Rock on!

MS

                I have always said that if I were having a party and wanted everyone to leave, I’d just start dancing.  I’m that bad.  It’s not that I cannot keep a beat; after all, I am a musician, so I do have some level of rhythm.  But I never took dancing lessons, so traditional dancing is out.  And from what I have seen in dance clubs, I feel pretty certain I’d pull muscles I didn’t know I had if I were to try and dance like they do in clubs.

                But there is something about techno dance music that I really do like, and it’s a shame that I am so challenged in that area.  I don’t know this for a fact, but I believe that it is the primal quality to the thump of the techno dance beat that attracts even casual listeners to it, like it taps into something within us that is very basic.  Like a heartbeat.  Sadly, I don’t listen enough to list the best in the genre, but that style does make me wish I were more like Fred Astaire and less like Fred Flintstone.

                I should say parenthetically that I am not a fan of what I call ‘grind’ music, songs that are dance-oriented but more rap/R&B/urban that have beats yet very little melody.  Also, they usually include lyrics that I find ridiculously inane.  And maybe that’s why I stay off the dance floor; when the DJ switches to Akon or Lil Wayne, I feel like a moron trying to slither and gyrate in a way no one my age should attempt.  And I don’t get it; why would I want to look like a dog humping a stranger’s leg?

                However, techno dance music draws me for some reason.  And I appreciate how the beats provide an intense foundation that allows for the real artists to layer intricate sounds, melodies, and arrangements on top of it.  So yes, it is primal, but it also allows for something more, and I think that combination not only attracts me but increases my respect.

                Dave Matthews Band.  Goo Goo Dolls.  Hootie and The Blowfish.  Better Than Ezra.

                No, this is not a mid-90’s musical roll call.  It is however, a sampling of the bands I saw in clubs in Tuscaloosa when I was in college.  Let me repeat: in clubs.  Not arenas, not coliseums, but clubs.

                Granted, these bands were just starting out and had not become nationally huge, so no line to stand in.  But that’s not the point.  The point is that if you were open-minded enough (like some clubs and booking agents in T-town at the time – not anymore, but that’s a blog for another day) you could see these bands before they were stars in an intimate club setting, where the music is clearer and the scene a lot more personal.  You can shake hands with the artists, get autographs and pictures.  Really experience the music.

                This is not a blog about “the good ole days”, because this opportunity still exists today.  The problem is that we don’t have the advantage of knowing in advance what bands we go see at a bar or club will be huge and which ones will break up before the end of the month.  But how cool would it be to be able to say five years from now when you’re watching the Grammys that you saw the band winning the award for best new artist at the club down the street.

                So go out to clubs and support your local scene, because you never know.  And don’t dismiss the opening bands, either.  After all, Hootie was opening for, ahem, my band that night in Tuscaloosa, and I don’t think I need to mention that our career paths diverged tremendously.

My wife and I co-hosted a party recently and were chargedwith the task of providing the music for the event. As David and I have said before, times have changed in the music world these days in regard to how we buy, listen to and catalog our music libraries. So instead of toting with us a box of CD’s like we would have even five years ago, we simply logged onto our iTunes account and created a playlist for that particular party and downloaded it onto our tiny little iPod, put it in my pocket, and off to the party we went.

Choosing music for  a party is not unlike back in the days when I used to make “mixed tapes” for my friends, girlfriends and girls I hoped one day might be my girlfriend. I was that guy. I loved music compilations. It meant I could put together a group of songs tailored to one specific person, emotion or, in some cases, event that could capture what I wanted to capture through those particular songs.

We included “old favorites,” like some fun and quirky 80′s songs (Duran Duran always ends up being a hit), some edgier songs that some folks may not have ever heard (mixing in a little Jesus and Mary Chain at a Mexican-themed party actually worked surprisingly well), and a cornicopia of country, classic rock and of course, songs from our high school and college days.

But each song was added based on what we felt like would enhance the mood of the guests at the party. I liked watching people’s reactions to what was playing, if they had a reaction at all. There were people playing some drums on the table when the White Stripes came on, which was nice to see. And people singing along with Johnny Cash and R.E.M. and the Samples. And there were even a few songs that people actually walked over to the iPod to identify.

Either way, the music is usually the catalyst to any particular gathering like that, which makes the responsibility ofr the person or people providing that music even more important. It has been a long time since I played in a band and provided live entertainment for a party, but I have to say, putting together this song list was not entirely different than putting together a song list for a gig I would have played back in my younger years. What to open with, what to close with, what to learn specifically for that party, what songs we felt would keep the party energy going, what songs would spark a feeling or emotion appropriate for that time of the evening. It is really more complicated than one might think.

MP3 players make this a lot easier than it used to be, but only because it takes the transportation of that music easier. The music, my friends, MAKES the party.

MS