Continental Reunion, WBNY Alumni Weekend

It seems that the weekend of April 25-27 will be a rather busy and fun one in the Dunne Hosey Estates.
The formerly annual WBNY 91.3 FM Alumni Weekend will be held from Friday through Sunday, April 25-27, at the studios in the Student Union at Buffalo State College, 1300 Elmwood Avenue, and of course, on the airwaves at 91.3 FM, with a revised fund-raising effort included. I am very proud and humbled to have been a DJ at WBNY form 1984-1985, as host of the loudest morning show in Buffalo (6-10 AM Wednesdays), and I was lucky to get to play a lot of original local music as well. Details are still being finalized, and I will post them here as they become available.
The second annual Continental reunion, cleverly called Continental Reunion II, will be held Saturday, April 26, at the Town Ballroom (the site of the first reunion last year) on Main Street in downtown Buffalo. The event, which drew about 900 people last year to a night that no one present wanted to end, will again be produced by Bud Redding (Continental DJ, booker, virtual manager and musician) and Hard Productions, with lots of help from Jennifer Shanley.
The band lineup alone is amazing, including Nullstadt (who blew away everyone last year), the Enemies, Pauline and the Perils, Terry Sullivan and Friends, Tension. the Kevin K Band (former Toys, etc.), Johnny Revolting and Skinbound, and there will be nine classic DJs returning. In particular, Andre Frazier, DJ Andre, etc., should be performing double duty that weekend at both the WBNY Alumni Weekend and the Continental Reunion.
As we get closer to the reunion, I will be talking with Redding for a more extensive article and update, and for tickets or more information, visit the Town Ballroom box office or online at www.ticketfly.com. Also, for information on hotel packages for the weekend, check the Continental Facebook page. BTW, Continental Reunion II artwork courtesy of Bud Redding.

Rush to (Commercial) Judgment

Take off with Walmart, it's a beauty way to go.

Well, it seems that my continuing commentary (harping) on musical choices being used in commercials, mainly television, has taken an unexpected turn.
While I was watching the Winter Olympics from Sochi (and seeing little non-man made snow except February 18), I caught a commercial for Walmart, mentioning how allegedly committed the company is to the American (as in USA) workers it employs at its stores, warehouses, etc., as well as American factory workers and its acquiring of their products.
When I finished spitting out my snack and stopped laughing and shaking my head, I noticed that the music being used in the television commercial was..."Working Man," by Rush. That's right, Walmart was spraining muscles patting its own back for "supporting" American workers with a song from the proudly and unmistakeably Canadian progressive rock band which has set a course of independence, musically and politically, for years.
Of course, as well as this use of the song by one of the most vile mega corporations around, I am still confused with and trying to find more about Rush, its members and its licensing agents and staffers allowing the use of this song, even for money.
We have assumed control, we have assumed control.

Decided the Yogurt Sings the Song

Use of this photo of Simon LeBon proves how much I love my wife Val,
even though she is a bigger Jonathan Taylor fan

Yoplait yogurt has taken the lead in the use of music that surprises some people in advertising sweepstakes, most recently causing a mini controversy of sorts, at least among its fans, with the use of Duran Duran's "Hungry Like the Wolf" in a commercial that aired last year and early this year.
The band claims that it was unaware that the song was going to be used in a yogurt commercial and said it would never have agreed to its use, but please, don't try to tell me the band and its management, legal team and licensing staff didn't know of and allow this. The band members asked that the advertising campaign using "Hungry Like the Wolf" stop, and Yoplait eventually ended using the ads, whether because of the request or the campaign simply ran its course I can't tell (although the latter seems more reasonable).

I think Depeche Mode now has more than enough.

Yoplait then cleverly used "More Than a Feeling" by Boston in its next commercials, which pushed the Boston Cream Pie variety of yogurt, and has been using other bands' music.
Last night, for the first time I caught the newest Yoplait ad, using "Just Can't Get Enough" by Depeche Mode. I assume the campaign using this song has been out for a bit (I don't usually spend much time looking for yogurt advertising), but I have yet to hear any wailing or grinding of teeth or beating of breasts over this.
That's kind of surprising, considering that, while I enjoy both bands' music, I would certainly think of Depeche Mode as being a more cerebral and more serious band than Duran Duran.
 During my days as a DJ at WBNY 91.3 FM at Buffalo State College (1984-85), I played a lot of both bands and got way more requests to play their music. I remember that some early fans of Depeche Mode were kind of surprised and almost offended at the poppy sound of "Just Cant' Get Enough" compared to songs such as "Black Celebration," "Blasphemous Rumors," "Master and Servant" and "People Are People."  Somehow, I didn't expect the fans of the band that brought us "Girls on Film," "Rio," "Planet Earth" and "Hungry Like the Wolf," all songs I like, to get more publicly offended that Depeche Mode fans.
Maybe God does have a sick sense of humor.

Rage Against the Zamboni

     With Val and me major Buffalo Sabres fans, the Sabres having a pretty bad season so far (last in the NHL as of this writing) and me being a music geek, I have been noticing musical things while watching games a bit closer.
     First, the Sabres have adopted as their theme music for opponents' penalties "Bulls on Parade" by Rage Against the Machine. I am a pretty strong Rage Against the Machine fan (their debut album is  a classic), but I am wondering of the person who chose this song is a bit uncertain about the lyrics, which are rather anti-politicians and the ruling class using the military-industrial complex to maintain control and power and use any means to defend themselves and their beliefs; also, "bulls" has often been used to describe uniformed police and law enforcement.
     In hockey, professional and otherwise, there are enforcers who play rough games, often fighters, and trying to blunt the other team's similar players, who do not play too many minutes; or, the referees are enforcers of the rules. Either seems a bit of a stretch for the song, despite being a real headbanger.
     During the January 21 Buffalo Sabres-Florida Panthers game, which Florida won, 4-3, the music played during one of the breaks at the First Niagara Center was "War Pigs" by Black Sabbath; an absolute all-time favorite of mine and classic anti-war, anti-military-industrial complex, anti-politician song.
     But as much as I like and would encourage the playing of this and the other above song at Sabres and all professional sports games, I have absolutely no idea what the point was of playing it here, especially when I hear sports team and venue owners and operators mewling about creating family atmospheres. I laugh when I think of what family this might be...besides our own.
     Oh, one more Sabres music thought: Doug Allen is the main singer of the American and Canadian national anthems at Sabres games. For years, the Douger used to point to the crowd near the end of the US anthem, ending it by pointing into the camera as he sang "Home of the brave." It is an absolutely over-the-top, maudlin but fun moment, and Val and I would always loudly cheer on the Douger until and as he did it. But this season, there is none of this; no pointing and, indeed, the camera does not end the US anthem with a closeup of Allen. What gives, Sabres?

Thumbs Up to 'Live from Daryl's House'

     After reading several positive articles and receiving a couple of recommendations, Val and I finally watched a few episodes of "Live from Daryl's House," a musical program hosted by Darryl Hall of Hall & Oates, and it is a really good program.
     Hall originally hosted the program from his house in Millerton, NY, but is now be taping it at a club called "Darryl's House" in Pawling, NY. The show began as a web cast in 2007, and was picked up for television and can now be seen on VH1, VH1 Classic and Palladia networks.
     I've seen parts and clips from a bunch of shows, but of the entire programs I've seen, my two favorites are those featuring Smokey Robinson and Nick Waterhouse. The hour-long program was originally set in renovated houses with live-in-studio performances featuring Hall on vocals, guitar and keyboard, as well as some talented musical regulars and special guests/cohosts.
     In particular, the Smokey Robinson episode features everything that is good about this format as well as the guest himself. The musical selections ranged from classic Robinson hits throughout his career to some lesser-known songs. Upbeat tunes such as "Tears of a Clown" and of a more obscure Motown song I wish I had caught the title of had the original kick with a bit more grit to them, and even "Being With You," not exactly a favorite Robinson song of mine (and I do consider Robinson among the true music geniuses), sounded soulful, as Hall traded lines with Robinson using his falsetto. They also performed a smoldering version of Hall & Oates' "Sarah Smile."
     The best song in my opinion was "Ooh Baby Baby," with the band really holding back as it should have while providing a soft, slinky, romantic backing. Robinson took most of the lead vocals, while Hall harmonized quite nicely, but eventually, except for the necessary harmony lines, you could see Hall just sit back with a wide grin to listen and watch Robinson amazingly sing everything, including the higher notes, without missing a single note or emotion. I kind of got chills listening, but the reactions of Hall and the other musicians were priceless, as they smiled, whistled, shook their heads and applauded in amazement and appreciation. As the show ended, Hall and others could hardly express their good fortune and enjoyment of performing with Robinson.
     While I had heard of Nick Waterhouse, I hadn't really heard more than a song of his, so his episode helped introduce me to his music as well as entertained me. Waterhouse plays revved up 1960s flavored rock and soul, sometimes with an early Elvis Costello and the Attractions feel, other times older, and he and Hall seemed to hit it off well musically. Let's just say the music and performances were good enough that it appears I will be using some of the funds I have in my iTunes account to get an album of his.
     My timing in writing this piece is better than anticipated; it appears that the newest "Live from Daryl's House," with Billy Gibbons from ZZ Top, debuted yesterday, January 15, on the show's website, LFDH.com, with this and other new shows starting in February. Also, I hope to catch the shows with Todd Rundgren, Cee-Lo Green, Booker T and the MGs, Shelby Lynne, the late Ray Manzarek, Robbie Krieger and, yes, John Rzeznik of the Goo Goo Dolls.

You Just Keep Me Hanging On

     I've been writing about interesting and/or surprising covers in this blog and my previous column of the same name, but I have forgotten to mention one
that has me curious or confused.
     There is a Play Station 4 commercial using Lou Reed's "Perfect Day," and despite repeated viewings, I can barely figure out what the song has to do with the music, unless rabid video game violence is equated to unrequited or delayed love and understanding. Yes, I know, as if it has to have any specific meaning.
     Again, I have no problem with the late Lou Reed, and now his estate, earning money from the use of his songs, but at the least, Reed has caused some discussion, derision and laughter at his advertising choices, including the famous/infamous Honda Scooter commercial using his "Walk on the Wild Side."
     I would be more entertained and appreciative, and actually smile, if possibly a shoe company would use "Venus in Furs" ("Shiny shiny, shiny boots of leather") or a utility company would feature "White Light White Heat." A music geek can dream.

My Baby Drove Up in a Brand New Cadillac

It used to be that I was totally opposed to the use of rock and roll songs, especially punk rock/new wave/"my music," in commercials, but as I realized that the artists used this as one way to make money, money they often (in my opinion) deserved but never made, I lost my offense, but never fully my surprise.

One of my big shocks, as it were, was when Jaguar used "London Calling" by the Clash in a television commercial; yes, I know it was used before that and I was not surprised when it was used in several ways for the London 2012 Summer Olympics. My last blog post was about Sonos using the Dead Boys' "Sonic Reducer" in a recent advertisement.

So I am not certain why I was at first surprised when I saw a Cadillac commercial using, among other things, part of the Ramones "Do You Remember Rock 'n' Roll Radio" as it referred to the band and allegedly Cadillac itself having started in the garage; few similarities between the ur-American punk band and a luxury vehicle maker occur to me. We all remember Budweiser using "Blitzkrieg Bop" in a series of advertisements (and they may still do so), and it has been used elsewhere.

So I guess I am glad that the Ramones, the Clash, the Dead Boys and other bands get some recognition and money, and I hope this causes some people to either revisit their music or listen to it closely for the first time (my wife Val is very unhappy hearing "Hungry Like the Wolf" by one of her favorite bands, Duran Duran, in a yogurt commercial). But it still seems weird to hear my adolescence, early adulthood and sense of uniqueness being sold and selling things.