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.

Sonic Reducer Ain't No Loser (But Is an Advertisement)

The Dead Boys, not the Pretty Boys

I was watching a National Football League game (OK, it was the Buffalo Bills) Sunday when I was pleasantly shocked by a commercial.

Suddenly, the intro to the Dead Boys' "Sonic Reducer" started, and the song kicked in a bit as the video showed...Stiv Bators and the freaking Dead Boys. The advertisement was for the Sonos Playbar, a wireless television music/sound bar; as I researched this, I found out the ad has been out since about the start of November.

Even with the surprise of seeing and hearing music from the Clash, the Sex Pistols and Gang of Four on commercials in recent years, hearing and seeing the Dead Boys is a pleasant surprise, although I wish that someone had gotten around to doing this while Stiv Bators was still alive.

In the spirit of cooperation, might I recommend to advertising agencies considering using, say, Television's "Marquee Moon" for a sleeping product, X-Ray Spex's "Oh Bondage! Up Yours" for adhesive products or "Your Phone's Off the Hook (But You're Not)" by X for telephone service?

Gurf Morlix Plays the Sportsmen's Tavern September 25

          

            Western New York native singer, songwriter, guitarist and producer Gurf Morlix returns to what has become his favorite Buffalo honky tonk when he performs a solo show at 7:30 p.m. Wednesday, September 25, at the Sportsmen’s Tavern, 326 Amherst Street near Grant Street in Buffalo.

            The admission will be a rather low $15, and Morlix will be playing songs off his new CD, “Gurf Morlix Finds the Present Tense” (Rootball Records) as well as older material. While Morlix’s tales still sound grim, dry and honest with the search for hope or happiness a long-term tale, he jokes that “the body count is lower on this CD, maybe just two people die.”

            While best know for his work as guitarist, arranger, producer and more with Lucinda Williams (her self-titled album and “Sweet Old World” remain classics), Morlix has taken part in many fine collaborations, from producing to performing, with Warren Zevon, Ray Wylie Hubbard, Slaid Cleaves, Mary Gauthier, Ian McLagan, Buddy Miller, Patty Griffin, Jim Lauderdale, Robert Earl Keen, Blaze Foley and Michael Penn, as well as lifelong friend, very early band mate and occasional collaborator Jim Whitford and the Pine Dogs. And if you’re a movie fan, Morlix was one the major contributors/interviewees in the Blaze Foley documentary, “Duct Tape Messiah,” and was featured in Tom Weber’s great “Troubadour Blues” documentary.

            On “Gurf Morlix Finds the Present Tense,” many of the songs have spare accompaniment, which still fleshes things out a bit more than the starkness of several of Morlix’s previous releases.

Among the stronger songs on this standout CD are “Series of Closing Doors,” in which he sees his choices and the chances of getting out of a bad situation few and far between; spare organ and electric guitar sweeten the song just as much as is needed, as Morlix figures out how to squirm out of this situation. “Present Tense” is a tough, basic roots rocker on which Morlix notes that no one, from individuals to countries, seem to be able to get along anymore, making everyone uneasy; again, Morlix’s electric guitar and organ from either Ian McLagan, Nick Connolly or Patterson Barrett, add the right touches. “Bang Bang Bang” has some light jangly guitar and organ as Morlix sings of how early the glorification of guns and violence reaches a child, in this instance, early cowboy/western television programs and movies: “We’ll shoot anything that moves…we’re a bunch of card-carrying fools.” “These Are My Blues” comes out of virtually nowhere with burning, crushing, foreboding blues and rock, letting us know the song is up to no good: “These are my blues, I’m gonna wallow in them all night long.”

For more information, you can visit www.sportsmenstavern.com or www.gurfmorlix.com

Peter Case Plays Live at Larkin September 18

            Peter Case and his all-star Buffalo band will perform again in the Live at Larkin Wednesday Music Series at Larkin Square, 745 Seneca Street, Buffalo, on Wednesday, September 18, in what is becoming a fine summer tradition.

           

Peter Case, right, with Mark Winsick
Photo by Val Dunne/Barkloud Productions

            The Grammy Award-nominated Hamburg native, best known for his solo electric and acoustic music as well as membership in the Plimsouls (the classic “A Million Miles Away) and the Nerves, will be joined by Buffalo Music Hall of Fame members Mark Winsick on guitar and vocals, Jim Whitford on bass and vocals and Rob Lynch on drums and vocals. Winsick and Whitford are childhood friends of Case, who will sing, play guitar, harmonica and probably some organ.

            Leroy Townes, well-known to Live at Larkin attendees and WNY music fans, will open the show at about 5 p.m. Case’s Live at Larkin concert last summer was not only a great rock and folk show itself, but in my opinion was one of the best shows of the 2012 Buffalo concert schedule.

            It would take an entire article or so to appropriately describe Case’s musical history and influence (hell knows, I’ve written several), but, after leaving Hamburg like fellow troubadour and rather talented musician Gurf Morlix, Case played in several bands, probably the first of note the Nerves, who released several recordings, the most prominent “Hanging on the Telephone,” made a hit by Blondie (my favorite Nerves’ song is “When You Find Out”). Case found some success and renown later with the Plimsouls, including a radio and alternative hit with his song “A Million Miles Away,” featured in the movie “Valley Girl” and covered by several bands, including Buffalo‘s the Goo Goo Dolls.

            After the Plimsouls ended, Case went solo and turned from the power pop/rock sound to more folk and folk rock, in both band and solo formats. His first two albums, the first self-titled and the second “The Man with the Blue Post Modern Fragmented Neo-Traditionalist Guitar,” with great songs such as “Walk in the Woods,” “Poor Old Tom” and “Two Angels.” There are really too many excellent Case songs and albums to name, and other musicians agree, recording a tribute album of his songs, “A Case for Case,” which helped to pay for his medical bills when he had open-heart surgery but no health insurance a few years ago.

            Case’s last regular studio CD, “Wig!” was a very cool return to 1960s soul flavored rock and roll songs and rave ups, with “Words in Red” my favorite, a slightly twanging rocker on which Case calls out hypocrites who try to force the Bible down people’s throats but don’t follow much of it themselves, without mocking the actual beliefs. Case was also one of the main focuses of Tom Weber's fine 2011 documentary, "Troubadour Blues."

            People should get to the show early and maybe bring lawn chairs if last year’s heavy attendance is any indication. Let me use this opportunity to thank Seamus Gallivan and the people at Live at Larkin for not only another very good concert schedule, but creating a fine place to attend shows and see friends in a great atmosphere.