Everybody Goes As Far as They Can, Big Star memories

7/11/14 train to Mineola

I’ve been listening to a lot of Big Star lately.  This was the band that influenced REM, The Replacements and so many others.  They were a mythical band which were unheard while they were together.  My Big Star kick started out with the documentary “Nothing Can Hurt Me” which was released a couple of years back.  If you have not seen the movie and are at least curious what the story is behind this influential band; do yourself a favor and watch it.  The band was compared to The Beatles and heralded in Rolling Stone, Creem and other rock magazines back in the early seventies.  There is awareness on some songs to The Fab Four, but Big Star was original.  They created an Americanized mix, a little country twang, check their version of Velvet Underground Femme Fatale. The sound created a buzz within all corners of rock establishment and made their first album a must have classic.  If you have not heard it, the layers of instruments will grip you and give you a ride through various emotions.  The first song of the album, FEEL had Chris Bell singing the lead.  It starts off very slow, plucking power chords and then Bell screams the lyrics.  The choir, “I feel like I am dying!” with the rest of the band backing him up.  Sure it sounds like Beatles in some harmonious parts, but then we’re rocking with a sax and a true authentic jangly American guitar sound.  This sound made the band different from other established rock bands. It drove Chris Bell to perfect the quality of their recording while engineering at Ardent Studios in Memphis. This is where the band originated - but the story of their demise is layered like their sound.  It was a lack of record sales which is a story within itself.  There was a clash of ego, but from the movie’s perception, I don’t think there was the violent fall out, the big conflict, the fists; the rift was mental.  It was created in Chris’s head being jealous that Alex Chilton received most of the attention.  It was Chris’ early departure which could have devastated the band, but they did not go their separate ways.  The second album was a bold departure from the first.  They were a three piece.  Their musical style had changed to a more jazz/folk even a WHO influence.  Their singles September Gurls and Back of a Car are examples of what I am trying to disseminate.  The third album, Third/Sister Lovers was their final.  For some listeners they will hear the sound track of a band breaking up.  Some will say it was Alex Chilton who was breaking apart at the seams.  It was the first Big Star album I heard and I knew it very well by the time I saw Big Star perform their 2009 show in Brooklyn.  It was the last time Alex Chilton performed before his passing early in 2010.  That night in Brooklyn was memorable, there was the slightly intoxicated blur. There were too many Polish beers and not enough food.  The band was tight although I recall Alex kept going back to check on his heavy winter coat which he stored behind one of the amps.  Just a thought, but there was something in one of the pockets he did not want to lose.  Thank you Friends is the second song on Third.  I attended the Third performance at Baruch in New York back in 2011 which had Mike Mills, Michael Stipe, Matthew Sweet and a heck of a lot of others who sang the album in entirely as well as other Big Star covers…some of these songs as well as clips from that last show in Brooklyn are captured in the documentary. There is a brief second when you see me as I am walking out of the auditorium and about to shake Jody Stephen’s hand who stood in the lobby and shook many hands before calling it a night…Nothing can hurt me…Big Black car…to sum it up Big Star never had the opportunity to succeed.  From the movie, there was just a sense of bad luck with the band.  Chris Bell recorded a 45, I am the cosmos, and tragically died at 27.  The original bassist left after the second album.   And to capture the thought are the lines from their song Holocaust, “Everybody goes as far as they can.” (Big Star/Third)

Thank you for reading this.

  

The Feelies play a rare gig on Long Island

Sunday 4/27/14 19:29

Mike Sweeney a friend from work has told me for years how he loved The Feelies.  Have you ever heard of them?  Of course, but I couldn’t tell you a Feelies song since none of their albums or singles sold very well.  This was a band which influenced other artists, like REM and Sonic Youth.  Mike asked, so many years ago, ever seen them?  No.  And it was a shame since they broke up for move than fifteen years.  But back in 2009, I saw them play an REM cover (Carnival of Sorts) at the Carnegie Hall show which consisted of various bands and artists covering REM songs.  To this date it was the last time REM played together.  It was also one of the first reunion shows for The Feelies.  The band has the reputation of playing infrequently.  The last time I heard they were in the area was last summer when they played the final sold out shows at the now defunct Hoboken landmark; Maxwells.   A few weeks ago, I found out The Feelies were playing at the WestHampton theater.  Cool, they are on Long Island.  I have to go.  My friend Jeff and I drove east.  It was the first time for me at this quaint venue which promotes and eclectic diversity of acts.  I’ve been intimated by the costs for the tickets.  For instance Natalie Merchant is playing there in a few months.  The cost per a ticket for her show is in the range of $130.00.  I’d love to take Ali, but we can’t afford it. Last night Jeff and I sat in the second row which accounts for the clear pictures for a respectful $35.00 each.   It was not close to sell out.  There were empty seats on the sides and even in the front row.  I would assume there were about a hundred of us in the cozy and warm theater which had carpeted steps and wooden banisters; as if we slipped to somewhere in the distant past.  It is immaculate inside. Not a seat was corrupted or abused by hostile punks or intoxicated seniors who are looking to recreate a delusional magic they erupted decades before.  I was a little disappointed by the lack of an audience.  It was so quiet before the band took to the darkened stage, everyone could overhead some fella a few rows behind us proclaim in a fake accent - in that classic SNL skit -I mean early eighties skit - Joe Piscabo, “You’re from Jersey?”  Between songs as the band tuned their instruments or powdered their hands, it became silent in the dark room except for the same character who made comments such as, “It’s so quiet in here, like we’re in a church.” Others called out so they could be heard by the band, “You guys sound great…really.”  Alright, enough, let’s enjoy the moment of silence before the open chords of the guitar break through.  Brenda Sauter, bassist would say thanks after each song.  But there was little banter or even gestures between the members of the band.   They seem cold towards one another, as if they were just going through the motions of playing. There was no introduction or sharing or stories of their illustrious past, there was no need to discuss the past.  The band played the past and present from a scarce catalog of more than thirty years, but only recorded five critically acclaimed albums together.  Glenn Mercer and Bill Million were perfect together even with broken strings - they did not need the glances towards each other, they were spot on.  As they played, they warmed up, danced about the stage.  There was not an opening band.  There was no need for one.  The band captivated us for close to three hours, played an REM cover, Shaking Through. Covers by the Velvet Underground and The Beatles (Me and My Monkey) I just hope they discovered a venue last night and will consider returning to it since it appears they have played in the same venues for the past few years.  Brenda said between a song; “You have a beautiful town.”  But maybe next time we can bring a few more of our arses into a Saturday night in Westhampton and fill up the plush maroon seats and share the joy of this band.  Then you too can hear our beloved wise ass from the rows behind us; plead to the sweaty performers who slowly came out for a third set, “Stop it already, I need to take a piss!”

Thank you for reading this.

An assorted REM Reunion at Webster Hall

4/27/13 17:12 Home

The last two nights I was in the city.  I bought tickets the moment I heard Peter Buck was opening up for Robyn Hitchcock at Webster Hall.  Ali and were looking forward to the show, but just in case, I gave Eric a head’s up.  I told him, I might ask you to attend a show in the city.  Who?  Robyn Hitchcock.  Cool I like him.  Let me know.  Thursday, I tell him, looks like Ali is going, but thanks.  Friday comes and Ali can’t make it and then Eric tells me he can’t make it and I’m walking around the office looking for someone who could.  I’m out of luck, but I suck it up and drive into the city, park on 15^th just as a car hit their alarm, the car's lights flashed telling me they were arriving and eventually pulling out.  What luck.  It was close to Irving Plaza, but I made my way to 11^th, passed a Greek place which look very appealing. I avoided one of the premier book stores like a good disciplined man: Strand.  I’m selling my books on EBay since I have so many which are either signed or first edition.  I have amassed a library of good books.  This will be another blog entry some other time, you want to read about the show and I’m sorry. I was prepared for the show.  I bought Buck’s LP – which is limited edition – only 2000 copies were released - vinyl - on a small independent label Mississippi Records in Oregon.  I wanted to hear what he would do without the major influence of REM or his other bands like Baseball Project, Tired Pony, Minus 5 and Venus 3.  The album captures the music that Buck gravitates to when he places a needle to thin grooves.  You know he was having a ball recording it.  On the way to Webster Hall I saw Mike Mills walking in front of me, he has a sort of unique strut and his cowboy boots gave him away.  I caught up to him and like a kid, “Mike!” I called out. He turned around, not recognizing the chump who called out his name and said, “Hey...” and moved on up and in the venue.  I caught up to him again and asked if the Baseball Project would come back around, “Eventually,” I could have asked if REM would come back, but I knew the answer.  I assumed Mills was playing bass in Bucks’ band which is called Richard M. Nixon.  They didn’t have a bass player.   Surprisingly Peter was talkative, I dare say - comfortable almost aloof on the stage.  He said he hasn’t played this venue since 85, when it was The Ritz.   I think by ’85 REM were too big to play there since the previous year I saw them at The Beacon.  I know I am a dorky fan.  

Here is the set list: So Long Johnny, It’s Alright, Give me back my wig,  10 Million BC, Planet of The Apes, Monkey Man, Vaso Loco, Outta the House, Near Wild Heaven, Pushing too hard, I’m Alive.

 Buck’s band consisted of Bill Rieflin on drums, REM’s last drummer, Scott McCaughey, REM’s fifth man,  and Kurt Bloch.  Mills eventually joined Peter on stage and they played the REM song Near Wild Heaven.  Was this the first time they played an REM song?  Let the Murmurs.com and REM HQers take note...Lenny Kaye from Patti Smith’s band joined him as well and performed Pushing too Hard…I was debating on calling it a night and head home.   I felt the mission was accomplished I saw the band I wanted to see.  I even sold the extra ticket to some guy who was looking for a freebie…I sold it to him for $10…cheapo…better than nothing.  I really don’t know too many Robyn Hitchcock songs.  I used this same excuse a few years ago when Ali and I went to see Buck and the rest of the Venus 3 support Robyn at the Knitting factory.  As you may know from the blog postings we are REM fans.  I repeat myself.  The rationale then, we had a chance to talk to meet and talk to Peter before the set.  We were honest and told him we didn’t know much of Hitchcock’s songs.  Oh you should stick around, he has great music.  I’m sure you’d like it.  Not taking his suggestion we left.  It was an early night.  So I waited for Robyn to come on and had a beer in the shadows. I was glad I stayed, it was a great show.  I liked how Robyn shared surrealistic stories before each song.  Each time telling us Bill Rieflin was going to keep us in tempo…He wore bright purple pants or some other brightness under the stage lights and a polka dotted shirt.  He will be sixty next week and this is a happy birthday to him.  The set was very diverse, included songs from his repotore, Kingdom of Love; I love you, Madonna of the Wasps, Adventure Rocket ship, as well as a Dylan cover.   Mike Mills joined him as did Lenny.  They closed the night with the Velvet Underground classic: Waiting for my man and finally an excellent version of The Beatles, She says…  She says…and the lights gradually came on as Robyn waved and walked off the stage.   In the night I found myself on the sidewalk, headed back to the car and not waiting as I'd normally do - to meet the band - since I don’t have to always be the obsessive compulsive neurotic fan.  Right? But if Ali was there…well then…neurosis and the chance encounter is rampant.

Thank you for reading this