Archive 1999

 I SKIPPED THE PART ABOUT LOVE: WHY MOST LOVE SONGS SUCK (& A FEW THAT DON'T)  (February)

In honor of Valentine's Day (which is a Hallmark created conspiracy against single people, like myself, but I'll save that for another column), I'm going to discuss why most love songs suck. The number one reason, as I once heard Michael Stipe say, is they are poorly written. These songs are suppose to speak to the truest emotions of the heart yet really say nothing meaningful. Mariah Carey shirking at the top of her lungs "you've got me feeling emotions" or U2 singing "ain't love the sweetest thing" don't speak to my heart. The best love songs are the ones that come from the heart. When Dolly Parton sang "I Will Always Love You", she wrote it for a real live love and the true feelings came through the song. When Whitney Houston sang it, I only heard unemotional melodrama and a cash register. Some of the best break up songs were written when the artist was going through a real life breakup. Matthew Sweet's Girlfriend album was written during his divorce. The Afghan Whigs' Gentlemen album was written after the break up of a long term relationship. Because the pain was real, the listener could feel it too. When there is heart in the lyrics, the songs become better written lyrically. 
Another reason most love songs suck is they glamorize one of the ugliest aspects of an unhealthy relationship: the doormat syndrome. Celine Dion sang "I'm everything I am because you loved me." Whitney Houston sang "I have nothing if I don't have you". Reba McEntire sings to a cheating lover, "Whenever whoever in New England's through with you" I'll take you back. Ladies, GET SOME SELF ESTEEM! These so-called romantic songs glamorize cheating and having no self worth. Celine, you're not everything you are because another person loved you. Whitney, you always have so much more than just a lover. Reba, tell this scummy cheat to stay in New England. What is scary to me is that love songs have glamorized the doormat syndrome so much that we criticize the ones who challenge the doormat syndrome. When Alanis Morrisette sang the gutsy, "You Oughta Know" about about a man who dumps her for another woman, she was labeled "the angry woman". One should be angry at cheating and belittling. These things are not romantic nor should they be glamorized. 

With that said, I have picked some love songs that don't suck. I'm not a complete cynic :-). 

Finding Love/Being in Love:
 In Your Eyes, Peter Gabriel, from the album So- After I saw the scene in Say Anything where John Cusack's character plays this song outside Ione Skye's character's bedroom window, I was convinced that this was one of the most romantic moments I had seen in a movie. I would melt if a guy did this for me. 

All I Want is You, U2, from the album Rattle and Hum- A beautiful, simple message set to a soaring musical track make this song one of my favorite U2 songs (See U2 fans, I'm making up for the shot I took at the beginning of this piece). 

You Are the Everything, R.E.M., from the album Green- I love this song because it is romantic with lyrics such as "the stars are the greatest thing you've ever seen and they're there for you, for you alone you are the everything" and confessional (some times I feel I can't even sing, I'm very scared for this world) at the same time. This balance demonstrated a level of intimacy that Michael Stipe usually didn't touch before this song. 

I've Been Waiting, Matthew Sweet, from the album Girlfriend-This song is the happier side of the Girlfriend album about that rush of the beginning stage of a crush where you are happy but anxiously hoping for a romance to develop. 

At My Most Beautiful, R.E.M. from the album Up- This song was not a big favorite of mine until I saw the R.E.M. Storytellers and Michael Stipe explained it. This song is about the happiness that can come from simple acts such as a smile across the room from the object of affection. R.E.M.'s message is simple, clear, and beautiful in this song. 

We're the Same, Matthew Sweet, from the album 100% Fun- I long to find the person that Matthew describes in this song, where I don't have to speak and the other person knows what I'm thinking. This song also show the realism of "being the same" both in failure and "shining in each other's skies". 

The Lost Loves:
When We Two Parted, Afghan Whigs, from the album Gentlemen- In probably one of the saddest songs the Whigs have written, Greg Dulli lays his bleeding heart on his sleeve. Lyrics such as "if I only could have once heard you scream, to know that you were alive instead of abandoning yourself" tell the tale of a breakup with gut wrenching honest. 

Thought I Knew You/You Don't Love Me, Matthew Sweet, from the album Girlfriend- These two songs are back to back on the Girlfriend album and are about the moment when a relationship is ended. "Thought I Knew You" speaks about the betrayal that can go with a breakup and "You Don't Love Me" deals with the hurtful truth that love is over. 

Step Into the Light, Afghan Whigs, from the album Black Love- In this song, Greg Dulli remembers fondly a past love ("the drug of your smile has gone away") while begging for help ("step into the light and see the trouble I'm in"). This song is came to a new level for me when I learned of Greg Dulli's battle with depression during the writing of this album. 

The Drug Don't Work, The Verve, from the album Urban Hymns- This is the sad story of a person who has hit rock bottom but still sings with hope "I believe you're coming back to me". This song is a tear jerking with a glimmer of hope making it a powerful statement on drugs and love. 

Under You, Better Than Ezra, from the album How Does Your Garden Grow- This song is about the bittersweet nostalgia of remembering a past love. Lyrics such as "ramen noodles at 4:30 in the morning, where we barely could survive, I never felt more alive" and "but every now and then I'd swear I'd see you standing on a sidewalk, in a restaurant, in a taxi passing by" make us too remember fondly those from our past.

THERE'S SOMETHING ABOUT DULLI: THE MYSTIQUE OF GREG DULLI (March)

If you've spent any time on my website, you've probably guessed that I am an avid Afghan Whigs fan. I have been fascinated with the Whigs' frontman, Greg Dulli, for the entire five years I've been a fan, which is something my family and friends don't quite understand. For all of you disbelievers, I am going to explain now all of the reasons why I love Greg Dulli. 

I began my trip with the Whigs in the Fall of 1993. I was a freshman in college and I was undergoing the second biggest transition period in my life, the first being when I graduated college and entered the job market. I had heard of the Afghan Whigs before this point thanks to my favorite local band, Stranglmartin, showing "Conjure Me" on their public access show. The Whigs and I didn't click until I saw "Debonair" for the first time on 120 Minutes. "Debonair" was one of the best songs I had heard in a long time and I was absolutely mesmerized by Greg Dulli. I rushed out and bought Gentlemen and a rare thing happened. I buy albums all the time but it is a rare and beautiful moment when you find something so brutally honest and well written. There have been many break up songs but never had I heard anyone sing about the really ugly aspects on relationships such as macho gender roles (Gentlemen, Be Sweet), codependency (Fountain and Fairfax), relationship claustrophobia (What Jail is Like), masochism (My Curse), and betrayal (Now You Know). This album changed my life because I felt that Greg sang about the things people don't like to talk about. Whenever things get really rough, the Gentlemen album is the old friend's shoulder I cry on. 

People who don't really listen to the Whigs remember Greg Dulli as the cocky bad boy. Sure, all Whigs fans know the Greg Dulli myths and legends and have passed them on to future fans. The stories about Greg breaking a washing machine at Sudsy Malone's due to beer bottles in the spin cycle, stealing Meatloaf's vodka, and more recently, cracking his head on a nightclub's concrete floor in Austin after a fight with a bouncer named Taiter, have been told, retold, discussed, and analyzed by every good Whigs fan. He's been the macho guy who has bragged over the years about his women and has sang openly about macho attitudes about lust. But Greg Dulli is more than the bad boy in these stories, he's also a very talented and sweet man. He wrote the Gentlemen album which changed my life and so many others. He's openly discussed his struggles with drugs and depression without sounding like a pretentious whiner. He's discussed his breakups and has tugged at my heart strings when he's said that a breakup is like taking care plant, you can take care and one day it just dies and you don't know why and has even declared "I'm such an asshole I don't deserve to have a girlfriend". 

Greg can also be very witty. He and his friend, Donal Logue, made a memorable appearance on 120 Minutes when they acted out skits from The Godfather and played "Torso Man" between showing videos. Anyone who has seen the Whigs live knows about his hilarious monologues while proclaiming to those who think he talks too much "welcome to your first Afghan Whigs show". He recently has joked about the Austin incident by changing song lyrics to "baby don't hit me in the back of the head" . He's come out on stage in a boa, hat, and sunglasses and he said he feels like Truman Capote. He's wooed the women in crowd by saying "ladies if he doesn't love you, you meet me backstage because Greg loves you". 

Finally, the Whigs have the coolest fans around. From being on the internet, I truly know what a cult following is. Men and women both have been mesmerized by Greg's stage presence. The cockiness the rest of the world thinks of when they think of Greg Dulli is the same cockiness we love. But it's the musical gift the Whigs have given us that we love the most. 

Now don't get me wrong, there have been times I've wanted to choke the Whigs. I've held tickets to two canceled shows but the third time was the charm and worth every second. The Whigs new album has a song titled "Sweet Son of a Bitch" and I feel that this title best sums up the complexity of the man known as Greg Dulli. Dear Greg, you rock my world.

VH1 BEHIND THE MUSIC: THE STORIES BEHIND THE MUSIC OR TABLOID JOURNALISM? (April)

VH1 has a show, Behind the Music, which has become quite a hit for them. These shows are biographies on both popular musicians from today and before that tell how they got their start and "the stories" of what made them a hit. I've watched many of these shows, both on artists I like and dislike, because VH1 always seems to be always airing one. These shows are very appealing, if I start to watch one it become difficult to turn one off. 

After watching so many of these, I've found certain trends in the show troubling. These shows follow a very calculated formula. Tell me if you've heard this one before. Musician comes from humble beginnings. Musicians beats the odds and becomes a hit. Musician loses it all because of his drug/alcohol problem. If musician is still living, he tells about how he went to hell but is sober now and awaiting a comeback. If artist is deceased, friends and family lament how the musician's life and talent was wasted because of the drugs/alcohol. I can't tell you how many of these shows have followed this storyline. This show can be so predictable, it's almost like the writers just substituted a different artist each week into this tired and predictable story. 

However, there are many artist who don't fit this story. Then VH1 will doing something worst than recycling a story each week, they will focus on whatever juicy gossip they can find about the artist. Some examples of this are on the show about R.E.M. they talked quite a bit about (GASP) Michael Stipe's bisexuality. Shania Twain (GASP) showed her belly button in her videos. A stupid magazine ran a untrue article stating that Ann and Nancy Wilson of Heart were lesbian sister lovers. None of these things have anything to do with these artists' music but since they didn't follow our formula VH1 has got to come with something juicy for the show. 

What bothers me the most about Behind the Music, is when they invade the artist's personal life so much that the viewer becomes a voyeur. I really didn't need to know that Michelle Phillips of the Mamas and the Papas was such a slut that she sold out her friendship with Mama Cass to sleep with a guy. I didn't need to know that Grace Slick of Jefferson Airplane slept with everyone in the band except Marty. Sometimes VH1 will include things that are just down right in poor taste. When Rick Springfield was almost in tears discussing his father becoming disable or when Leif Garrett visited the man for the first time in fifteen years that he put in a wheelchair because of his drunk driving, VH1 needed to turn the cameras off. Airing this footage was in poor taste and using sensational means just to get a story. Unfortunately, we are so nosy that we love sensationalism and that in one of the reasons the show is so popular.
 

Don't get me wrong, there are things I like about the show. I've learned a lot about some of my favorite artists, I've gain respect for some, and remembered why I have no respect for some. I was moved and intrigued by the stories of Gloria Estefan's recovery after a bus accident, Heart's battle with sexism in the music industry, Karen Carpentar's losing battle with anoxeria, Vince Neil of Motley Crue losing his four year old daughter to cancer, Rick Springfield's fight to be taken seriously, and coming face to face with the woman who took Selena's life. I remembered why Milli Vanilli and Vanilla Ice were no talent losers. I only wish that VH1 would put out an informative show like the MTV Rockumentries or the A&E biographies and lay off formula stories, petty gossip, and sensationalist tabloid stories.

THE GATHERING FIELD: THE BEST BAND YOU'VE NEVER HEARD (May)

This month I am receiving help on this column from my friend Susan because I would have never heard of this band if it wasn't for her. I had never heard of this band but Susan convinced me to go see them as the opening act for a band called the Samples. After the show, I was intrigued by the Gathering Field so I bought a copy of their album, Lost in America. Lost in America is a poetic, acoustic musical journey. What makes the album so good is the Gathering Field's gift for storytelling. Songs like the amazing title track (we call this one the Gathering Field anthem) and "The Soul is Human" tell vivid stories of wandering spirits while the song "Bound to Be" tells the coming of age story of a woman during 1947 in the wake of Hiroshima. In "Blue Sky Song", a man searches for his "angel" and the album even pays tribute to Jack Kerouac (Are You an Angel?). Susan really likes "Love Me Good" as a good kiss off song (ever know anybody like this). 

Susan and I had the pleasure of seeing the Gathering Field again last month opening for Goose Creek Symphony (which was a really strange pairing) and had the chance to meet them. They were the nicest most "unrock star" guys I've ever met and I mean this as a true compliment. They have a new album out, Reliance, which is even cooler than Lost in America (didn't think it was possible). Instead of writing trite love songs or songs about partying which already flood mainstream music, the Gathering Field writes songs with deeper meaning. Reliance's opening track, "Simplify", and "Beautiful Land" are calls for a less complicated world. The catchy "I'd Believe in God for You" (cowritten by former Go-Go, Jane Wiedlin) openly discussed issues of spirituality that most mainstream bands won't touch with lyrics such as "I got more faith than a thousand men". I personally empathsize with the Gathering Field's love affair with some records and a turntable on "When I Put the Record On". If you are looking for music with soul and meaning, I encourage you to give the Gathering Field a chance. If some of those Goose Creek Symphony, bluegrass fans could be converted, I have faith you'll love them too. 

WHY CORPORATE ROCK SUCKS (June)

My friends I write you this as a way to express my utter disgust with the business end of the music industry. At the root of this disgust are the major record labels. I am not going to bitch about indie artists "selling out" because major labels do offer more money and exposure for the musicians. What bothers me is the fact that CEOs who are businessmen, not musicians, dictate what you and I hear. These fat cats are only concerned with what will bring them big bucks in the short run. I could go on and on about the many "artists" who have made quick bucks then are quickly forgotten, even mocked. Remember Vanilla Ice, Milli Vanilli, Tiffany, Paula Abdul, New Kids on the Block, etc, etc. These record CEOs drop all their cash in promoting these no talents in order to make the quick bucks while they ignore their real talents. I can't tell you how many talented artists have had one or two major releases and then quickly left a major label. The recent body count includes the Gathering Field, the Ass Ponys, and Scrawl. Others find working for the majors so difficult that they ask to leave: the Afghan Whigs left Elektra after receiving no promotion for the brilliant Black Love; Matthew Sweet left A&M and spent years trying to find a label for his best album to date,Girlfriend; 10,000 Maniacs left Geffen for the indie label, Bar None. Others get caught by the corporate merger and have to go shopping for another label: Girls Against Boys, the Cowboy Junkies. As someone who has a business degree, I can understand being profit driven, as a music fan, this trend breaks my heart. Plus these fat cat executives rip the artist off badly. A recent article in the Sunday Times stated that promotional costs are so high that if an artist sells a million records they might not see any money. In addition, record executives demand grueling tours and hit singles. Singer Michelle Shocked's husband and manager described these contracts as "unconscionable" (1). R.E.M. has been one of the rare success stories of a band who has made tons of money from major labels doing it their way. I've often wondered and haven't found an answer, is it better to be the king of the less glamourous indie label or to be the bottom of the major label world and be treated like shit by record executives? 

Another major force in the evil empire is MTV. This station used to actually be "music television". Now all they show is Real World Part 50: Podunk, America or Road Rules Part 40: Bosnia. MTV recently had the gall to have viewers vote for the "25 Lamest Videos" from a list of fifty. The top 25 "lamest" got permanently removed from the MTV vaults. Included in this list of fifty were past Video Music Award winners, Pearl Jam's "Jeremy" and the B-52's "Love Shack" and superstars such as U2. Others on the list, though cheesy, should be kept for nostalgia: "Do You Really Want to Hurt Me" (Culture Club), "Wake Me Up" (Wham!) and many 80s hair bands. Isn't great to know that you have a friend who will shower you with praise then turn their back on you a few years later. MTV, you've got my vote for "lamest". 

Then there are the radio stations. Most radio stations are owned by corporations. Did you know that listeners can't request what they want to hear? Yes, that's right, unless your song is on an approved setlist, sorry. That's the way of the mainstream radio station. I'm happy to say I've never heard of a lot of the songs in the Billboard top ten. Who in the hell is Brittany Spears? I can't tell you a damn song she sings. My friend, Susan, was willing to donate a hundred dollars to charity if they wouldn't play Everlast for a week (our local radio station was accepting charitable donations for requests). 

Though I was never a Nirvana fan, Kurt Cobain said it best with the t-shirt he wore on the cover of Rolling Stone, "Corporate Rock Still Sucks". 

(1) From The Sunday Times, May 9, 1999, "A Chance to Break the Pop Stranglehold" by Neil Strauss.

VIVA 80's (July)
 

I would like for you to go with me for a moment to a time where everybody had big hair, MTV was born, and rubik cubes were cool. Yes, I am talking about the 1980's. Maybe it's nostalgia but I love the music of 80's. I think one reason is the songs were just down right fun. Most of these songs were one hit wonders and the lyrics were complete nonsense. I don't know what Night Ranger meant when they sang "you're motoring" or why Men Without Hats stated that "if you're friends don't dance then they're no friends of mine" or even what "turning Japanese" meant (I've heard rumors though). However, it didn't matter. These songs always bring a smile to my face and boy can I sing along to one in the middle of rush hour traffic. 

Another thing that was cool about the 80's was that the term "alternative" music actually meant something. During the 80's there were bands that weren't getting tons of air play on mainstream radio but were the darlings of college radios. Bands such as R.E.M., the Replacements, the Smiths, the Psychedelic Furs, and the B-52's paved a road for alternative music and were truly "left of the dial". Now the term alternative is thrown around so much it doesn't mean anything. Sorry, but bands like Matchbox 20 and Third Eye Blind are hardly alternative considering that they get tons of air play. These "alternative" radio stations are just as mainstream as the ones that will admit they're mainstream. The only true alternative is still college radio.

MTV was born in the 80's and was actually a music station. I grew up watching MTV and they played nothing but videos. The videos changed rock and roll because for the first time, we actually saw the artist and an image to go with the music. Yes, the video were low budget compared to now and cliched but they were fun. MTV actually lived up to its name of music television. 

In closing, if you are feeling nostalgic for 80's music, I encourage you to pick up the VH1 Big 80's or Rhino Records' Just Can't Get Enough-New Wave Hits of the 80's series (the Rhino series is 15 CDs and oh yes one day I will own all 15). 

Here are my favorite 80's songs. 
Save It for Later- The English Beat 
I Melt With You- Modern English 
Whenever You're on My Mind- Marshall Crenshaw 
I Got You- Split Endz 
Safety Dance- Men Without Hats 
Mexican Radio- Wall of Voodoo 
Pop Music- M 
Tainted Love- Soft Cell 
Working Girl- the Members 
Pretty in Pink- the Psychedelic Furs 
Obsession- Animotion 
Wishing- Flock of Seagulls 
Our House- Madness 
There's Something Going On- Frida 
Sister Christian- Night Ranger 
In a Big Country- Big Country 
Video Killed the Radio Star- the Buggles 
How Soon is Now- the Smiths 
They Don't Know- Tracy Ullman 
Words- Missing Persons 
867-5309 Jenny- Tommy Tutone 
Turning Japanese- the Vapors 
Voices Carry- Til Tuesday 
Bastards of Young- the Replacements 

Long Live the 80's!

IN DEFENSE OF BOOTLEGGING (August)

As you have probably figured out if you have spent any time of my website, one of favorite hobbies is trading tapes of live shows or "bootlegs". I have heard every argument under the sun as to why tape trading is "bad" but I am going to tell you why I think tape trading is cool and why most arguments against tape trading are hypocritical, incorrect, or just plain dumb. 

The Arguments Against Tape Trading: 

1. Tape Trading is illegal and robs artists of their royalties 
My Rebuttal: First off, it is illegal to sell copyrighted work FOR PROFIT. I for one, have NEVER sold a bootleg tape to another person. Tape trading is fans TRADING live shows with other fans. The only cost involved is the cost of the blank tape and the postage PERIOD. If is was illegal to copy copyrighted material I don't believe VCRs, double tape and CD decks, CD burners, etc would be legal to use since one of their major functions is to COPY. Seriously, where do you draw the line to this argument? According to this logic, I'm going to jail for taping South Park for my friend who missed it this week. I am bothered when people sell bootlegs for high prices because they are clearly profiting off somebody else's work. However, it is not illegal for a die hard fan to pay Mr. Bootlegger. The die hard fan might be getting "ripped off" but I personally believe if you are willing to pay a price and are satisfied with the product you bought then you didn't get ripped off. 

As for the artists getting ripped off, how are royalties being lost on the trading of an audience recording when the material being traded is unreleased or out of print? Believe me, I've got so much released Afghan Whigs stuff that I have bought that I hardly think I am ripping the Whigs off because I got a copy of one of their unreleased live shows. Most people who tape trade an artists are such die hard fans that they've bought every released thing they can. Nobody trades artists they've never heard of. What I find totally hypocritical about people who make this argument is these are the same people who think it's cool to download MP3s off the internet. These people are too cheap to buy the album so they pirate a copy off the internet at no cost to them. Talk about copyright violations and robbing the artists. The artist and the record store owners aren't making any money off of you and you're stealing released material. I'm all for the freedom of internet but I have much more trouble seeing the legality in this practice than trading unreleased material. 

2. Artists hate bootlegging. 
My Rebuttal: Yes and no. Some artists don't want their shows recorded. However, some artists are flattered that their fans like them so much they'd want to listen to a bootleg. Some artists even allow fans to record the shows. R.E.M.'s biggest bootleg collector is guitarist, Peter Buck. Back to my point in #1, it's the profiting that bothers artists, not the trading. 

3. Tape traders profit, not in money, but in blank tapes. 
My Rebuttal: This is one of the dumbest arguments I've ever heard. It costs money to buy tapes and then ship them. There are times when I wish somebody would give me some blank tapes so I'd have to quit running to the store for blank tapes. Profiting, no my friend, I'll work for blank tapes. 

4. Everyone of the internet is a psycho so if you trade with them you'll probably get ripped off or worse they'll come many miles to kill you. 
My Rebuttal: Yes there are psychos on the internet but most people aren't, trust me. I've trade with people from all over the world and I've not once met someone who I thought was dangerous. You always run the risk of getting ripped off but word will travel among your fellow traders about bad ones in the bunch. I've traded for a little over three years and I've only lost three blank tapes and about $3 in postage. Look at my list and you'll see that I'm batting pretty. Just use common sense and those safety rules you learned in kindergarten and you'll be fine. 

Why Tape Trading is Cool

1. It preserves musical history. 
The experience of a live show is something wonderful that cannot be repeated. Bootlegs preserve this experience. Considering that R.E.M. is now doing arena shows, the experience of hearing R.E.M. in a small club where a shy, unknown named Michael Stipe simply greeted the audience "we're R.E.M., here's a song" can never be repeated. Bootlegs allow fans to see the evolution of bands through their live shows. 

2. Tape trading is a cool way to meet other fans. 
Through tape trading on the internet, I have met a lot of cool fans of the bands I like. Not all of my friends like the same bands I do so it's cool to talk with other people who have the same interest. As I said above, most people on the internet are cool the few psychos just give it a bad name. 

The bottom line is that until record labels make live shows available to fans, bootlegs will exist. So happy trading.

THE MOST UNDERRATED BANDS OF THE 80'S (THREE PART SERIES) (September)

PART 1: LEFT OF THE DIAL: THE REPLACEMENTS 

The Replacements burst on the music scene in the early 80's. In those days, the Replacements, led by Paul Westerberg, spent most of their time drunk. Their early recordings were sloppy and their live shows were drunken parties filled with weird covers, most of the time which they didn't even complete. Though hard to listen to, I bet that the people in the audience were having a blast. But bigger things were on the horizon for the Replacements (the Mats as called by fans).
 

In 1984, a more mature Replacements released the brilliant album,Let It Be. Paul Westerberg's songwriting was more polished with the classic rockers "I Will Dare" and "Black Diamond" and tear jerkers such as "Unsatisfied". The album was an underground hit and the critics were taking notice. 

In 1985, the future looked bright for the Replacements. Just signed to a major label, they released the brilliant, and my personal favorite album, Tim. Now on a major label, it seemed that steps were being taken to bring the Mats to the masses but the Mats were the voice flipping off mainstream rock. When they finally made a video for the song, "Bastards of Young", instead of featuring super models and sports cars, the video was a black and white shot of a vibrating speaker and the back of the head of a man smoking. When asked to appear on Saturday Night Live, they showed up drunk and cussed on live television. Tim featured some of the Mats best songs such as the nonconformist anthem "Bastards of Young"; "Left of the Dial", a statement on alternative music when music really was alternative, and my personal theme song, the beautiful "Here Comes the Regular". The critics still raved about the Mats but the mainstream was not ready for them.
 

In 1987, the stellar, Pleased to Meet Me was released featuring the classic rockers "Alex Chilton" and "Can't Hardly Wait" and the gorgeous, "Skyway". Again the critics and fans loved it but it wasn't a "hit". 

In 1989, the Mats made one final stab at the mainstream withDon't Tell a Soul. This album wasn't as popular with the fans or critics but it still has it high points including the rockers, "Talent Show" and "I'll Be You" and the tearjerkers "Achin to Be" and "Anywhere's Better Than Here". The Mats really tried to reach the mainstream by making more videos for MTV but the mainstream didn't care. After the release of All Shook Down in 1990, the Mats called it quits. 

The members of the Mats have released solo work during the 1990's. Sadly, founding guitarist, Bob Stinton lost his battle with drugs and passed away in 1995. Paul Westerberg pays tribute to Bob in his very moving song, "Good Day", from his 1996 solo record, Eventually. I recommend all of Paul Westerberg's solo work and all the Replacements' albums mentioned here. The Mats played by their own rules and created some of the 1980's best albums. Sadly, like most geniuses, they were too hip for the mainstream during their time.

THE MOST UNDERRATED BANDS OF THE 80'S (THREE PART SERIES)  (October)

PART 2: THE REAL UNDERGROUND: TOMMY KEENE

Sometimes you discover a musical treasure by complete accident. This is what happened to me with Tommy Keene. I had ordered some CDs from Alias Records and they included in my package a CD sampler of their bands. After just one listen to Tommy Keene's inclusion on this sampler, I could say this. Tommy Keene is one of the most talented and underrated singer/songwriters out today. 

Tommy began his solo career in 1982 with the release of Strange Alliance on a local label. In 1984, he released two EPs on the indie label, Dolphin Records, Places That Are Gone and Back Again Try. After much critical acclaim, Tommy was picked up by the major label, Geffen, in 1986. 

Tommy's first release for Geffen was the brilliant, Song From the Film. This album included the remake from the EP of the same name of the bittersweet, "Places That Are Gone". The fact that this song was not a major stream hit is to me one of the greatest musical injustices ever. Tommy released the EP, Run Now, and the album, Based on Happy Times, for Geffen before being dropped by the label. 

You just can't keep a good man down. In the 90's, Tommy released the EP, Sleeping on a Rollercoaster, and the albums, Ten Years After and last year's Isolation Party for the indie label, Matador, plus the retrospect with unreleased tracks, The Real Underground, for Alias Records. Tommy has also toured during the 90's as a guitarist in Paul Westerberg's band (see last month's column). 

What I admire most about Tommy Keene is his love for the music that is not based on record sales. He has spent almost two decades in the "real underground" but continue to release quality music without bowing down to the standards of the music business. He can tug at your heart strings with love songs such as "Never Really Been Gone" and "Love is the Only Thing That Matters" without being cliched or sappy. His catchy pop tunes make you smile and hum along. 

Unfortunately, most of Tommy's releases from the 80's are out of print. However, Songs From the Film was rereleased last year on CD. Run, don't walk, to your record store and pick up as many of Tommy's albums as you can! 

"What goes round in a story, what comes down with the glory can be found in the real underground"- Tommy Keene, "The Real Underground"

THE MOST UNDERRATED BANDS OF THE 80'S (THREE PART SERIES) (November)

PART 3: THIS AIN'T NO OUTERSPACE SHIP: LOVE TRACTOR

At this time, I'd like for you to take a little journey back in time with me. It's the early 1980's and we're in the college town of Athens, GA. The B-52's have hit it big and R.E.M. was still a little local band. However, unknown to most people, there was another band in Athens, GA that was just beginning to play and they were Love Tractor. 

Love Tractor formed in the early 1980's in Athens, GA at about the same time as R.E.M. A little known fact is that R.E.M.'s Mike Mills and Bill Berry actually lived in the same dorm with members of Love Tractor at the University of Georgia and Bill Berry almost quit R.E.M. in the early days to play with Love Tractor. Soundwise, Love Tractor has a unique sound that was all their own. 

In 1981, Love Tractor released their self titled album on the Atlanta based label, DB. When the band decided that nobody wanted to sing and a PA was too expensive, all of the songs on the album became instrumental. I tried really hard to come up with a way to describe Love Tractor's music and words can't describe it. Love Tractor's songs are poppy, quirky melodies with names such as "Seventeen Days" and "Fun to Be Happy". Though he didn't stay with the band, Bill Berry still helped out Love Tractor by writing "Motorcade" for the debut album. 

In 1983, Love Tractor released their second album, Around the Bend, for DB. For this album, Love Tractor decided to add lyrics to a few of the songs with guitarist, Mike Richmond, on lead vocals. The album included "Spin Your Partner" which they made a video for that was actually played on MTV and the instrumental "Pretty". "Pretty" was later recorded live and featured in the 1987 documentary on the Athens music scene, Athens, GA Inside Out. 

The following year Love Tractor released the EP, Til the Cows Come Home, for DB and I've heard there was another EP, Wheel of Pleasure, that was released in Europe.  In 1986, they released This Ain't No Outerspace Ship for Big Time Records. This Ain't No Outerspace Ship was produced by Pat Irwin, who would later toured with the B-52's in the 1990's. More of the songs on this album included lyrics such as "Beatle Boots" and "Outside with Ma" but the band stuck with their unique love for instrumentals on tracks such "We All Loved Each Other So Much". 

By the release of This Ain't No Outerspace Ship, R.E.M. and the B-52's had successfully put Athens, GA on the map and the country was turning their eyes to Athens for the coolest music scene in the country. Though Love Tractor had a huge local following, they were overlooked by the nation. In 1988, Love Tractor released their final album, Themes from Venus. Themes From Venus is one of my favorite albums of all time. I don't know what most of the lyrics are about but it's Love Tractor's gift for writing melodies that makes the album a winner. Songs such as the title track; the oddly titled, "I Broke My Saw"; "Crash"; and the weird take on heavy metal, "Satan"; contain completely cryptic lyrics but the music makes you want to tap your foot and sing along. 

Sadly, after the release of Themes from Venus, after constant touring without real national success, Love Tractor called it quits in 1989. I believe that another one of the greatest musical injustices occurred in the 1980's when Love Tractor did get national success with R.E.M. when the Athens music scene received national attention. But like the Replacements and Tommy Keene, Love Tractor was too hip and unique for mainstream American music. Fortunately, I heard that Love Tractor has reunited and is shopping for a record label for their new songs. And in closing, Jeff if you're reading this, you should be very proud that Two Small Bodies' first gig was opening for Love Tractor.

WHO'S HOT, WHO'S NOT: THE BEST AND WORST OF 1999 THE WINNERS (December)
 

Best Albums:
Swifty- On 
Art Geko- Hurry Up and Wait 
Vertical Horizon- Everything You Want 
Paul Westerberg- Suicaine Gratifaction 
Gathering Field- Reliance 
Honorable mention: Tori Amos- To Venus and Back: I'm not as fond of Tori's new material but the live CD on this collection is a great representation of Tori live and includes a lot of old favorites such as "Girl", "Cloud on My Tongue", and "Little Earthquakes". 

Best Singles: 
Most of the songs on the radio suck but once in a while a cool one will come along. These are some of the popular songs I actually liked. 
Six Pence None the Richer- Kiss Me, There She Goes 
Better Than Ezra- At the Stars 
Filter- Take a Picture 
Vertical Horizon- We Are, Everything You Want 
R.E.M.- The Great Beyond 
Goo Goo Dolls- Black Balloon (I'm really embarrassed admitting this one) 
Afghan Whigs- 66 
Train- Meet Virginia 
Marvelous 3- Every Monday 
Baz Luhrmann- Everybody is Free to Wear Sunscreen 

Best Shows:
 In Lexington, KY, we don't have as many shows coming to town as some of you do who live in big cities do but I did go to a lot of cool shows this year in the area. Afghan Whigs- Bogarts, Cincinnati 2/9/99 
Better Than Ezra- A1A, Lexington 4/28/99 
Lexfest- Masterson Station Park, Lexington 5/16/99 (I hope this becomes an annual event) 
Swifty- Lynagh's, Lexington 7/7/99 
Vertical Horizon- A1A, Lexington 8/16/99 
R.E.M.- World Theater, Chicago 8/20/99 
Afghan Whigs- Bogarts, Cincinnati 9/25/99 
Better Than Ezra/Six Pence None the Richer- Headliners, Louisville 10/24/99 
Art Geko CD Release Party (with Swifty and ZuZu's Crush)- Millennium, Lexington 10/29/99 
Swifty CD Release Party- Millennium, Lexington 12/4/99
Honorable mention: Candy Says- Millennium, Lexington 10/30/99 (the Wizard of Oz costumes were great for Halloween)

Best Videos: 
This list is pretty short because MTV only shows episodes of the Real World and Road Rules and VH1 only shows repeats of Behind the Music. 
All the Small Things- Blink 182 (the "boy" band parody had me laughing hysterically) 
The Great Beyond- R.E.M. 
Best Covers: 
Lost in the Supermarket- Afghan Whigs from the Clash tribute album, Burning London. 
Save It For Later- Harvey Danger from the movie, 200 Cigarettes
There She Goes- Six Pence None the Richer 

Best Discoveries during the year: 
Vertical Horizon 
Six Pence None the Richer 
Lexington is STILL a "real rock town" 

THE LOSERS
 -anything by Everlast, especially "Ends", the dude sounds like he is in a coma in this song -White guys can't rap- Everlast, Limp Bizkit, Kid Rock
-New Red Hot Chilli Peppers, especially "Scar Tissue" 
-Len- "Steal My Sunshine", I've seen them bad before but this is really bad... 
-Days of the New- I'd like to give these guys a little advice, self titled album are not incredibly original but you can only title your album this ONCE. Just because you fired your entire band does not mean you can use the same title for the album AGAIN! 
-Ricky Martin and that Mambo #5 song- anyone who made their start in Menudo should never be allowed to release new material. I'm not real familiar with Latino music but I am sure there are better representatives of this type of music than these two individuals. 
-Cher- "Believe", another comeback I could have done without
-Pearl Jam- "Last Kiss", please make Eddie Vedor stop wining 
-Smash Mouth- I thought these guys were going to be a one hit wonder. Unfortunately, they came back. -The "boy" bands (they're all the same to me) 
-Bands that I hated in 1998 that I thought I would be rid of in 1999 but unfortunately released new stuff: Creed, Bush, Our Lady Peace, 311 -Goo Goo Dolls- "Slide", mediocore song that was played entirely too much
 -Worst Cover of the Year- Ice Cube and Mack 10 rapping the Clash's "Should I Stay or Should I Go"- I don't believe the Clash ever wanted to hear "should I stay or should I go, ho" in any of their songs. If I was the Clash, I probably would have vomited at the butchering of my work. 
-Fiona Apple- Can she be any more pretentious? A 90 word album title is not innovative, it's just dumb. Fiona, if you can't fit the title comfortably on the spine of the CD, IT'S TOO DAMN LONG!