In the ever delicious online magazine Perfect Sound Forever I find a interview to Lenny Kaye, a man of many artistic activities but remembered mostly as a guitarist and co-founder of the Patti Smith Group . Although it is clear that Kaye has issues to talk a while, the interview focuses on something he knows first-hand and that something is early days of the legendary CBGB , where none actually began his musical career (the Patti Smith Group joined a few months of delay the move generated essentially Television) and owner Hilly Kristal . entire interview is a pleasure as Kaye is a type rather than articulate and, judging by his statements, and just a gentle spirit that hints at something that all the bands 'classic' of CBGB have insisitido but it is difficult to perceive the light of time: the will be massive to have all these bands. The image of intellectual elitism and avant-garde New York punk bands have today if it is not without foundation, was a post-construction and, more educated and risky they were, the rockers of the first generation of CBGB (not thus the second, those in the no wave , who were deliberately and radically anti-popular) relied almost blindly as they were about to steal the scepter of power of Rolling Stones or Led Zeppelin , and of course were far from it.
That's the great sadness that pervades the documentary End of the Century on Ramones. When you see him can innocently ask, "Why all the bitterness with the reception of each disk? Were the Ramones, a band known to Uruguay!" Yes, but they thought to be a band that knew even in Burundi, and the truth is that never came to sell even a tenth record, say, Green Day ( Adding insult to injury ).
When you hear the first Ramones records of the Dead Boys, the Talking Heads in the bottom one should be surprised that there have actually been giants of his time (the only exception was the one that really hit the scene all regarded as the poorest band: Blondie), as the potential "business" of them all was enormous. No wonder Clive Davis (Arista ) or Seymour Stein (Sire ) have jumped over them, were bands charismatic and potential hits cars, manufacturers of songs accessible to any listening environment, and were ignored because of a timing disaster that proves the importance the time and the unfairness of the rules of distribution: all these bands pique paddled against the fact that New Yorkers, a city whose residents often find it very unfriendly to other Americans, but were cleared just because your label of "punk" , a term that immediately ostracized from the radio after the disastrous U.S. tour of the controversial Sex Pistols .
The PSF interview , Kaye is a bit shit in the mystique of the first "homes" of weeks of concerts (in which almost all those bands learned to play) and rescues the later time when there were many more bands and left the scene the inner circle to become something greater, something that allowed them to dream of walking on air and even greater triumphs that never came, or who came when it no longer worthwhile.
In an interview with Mike Watt I read recently, the bassist of the Minutemen says they were "the last generation that believed it could be the new Beatles " . And you say, shit Watt, what you were badly advised, how three types would be ugly and fat as the Minutemen, and worse singing communist songs on guitar modeled very strange, new Beatles? In another world, such time.
But then you think about it and say, why not? They had seen four ridiculous hairstyles English get to the top of the world had seen a big-nosed Jew from Minnesota to become the leading bard of the West despite his shrill voice, had been drug addicts climb like squirrels terminal the social ladder, get married with royalty, hairy unpresentable become revered idols, outcasts become role models. Why could not a son of workers of San Pedro, obese but talented as D. Boon become the new Lennon? Listening to their albums one believes that music is the size of dreams authors.
It's amazing what has been lost over the decades miserable. ***
The Gap number today, Christian Font interview, among the avalanche of letters that have been given in recent days - the most insular of the members of Cuarteto de Nos . Riki Musso , of \u200b\u200bcourse. The interview and starts to Riki when the guy reveals Font, and the rest of the readers, that the formidable guitar solo from his song 'New Car ' is not a guitar solo, but his own voice saying " relief "and treated with a lot of effects. But most interesting interview is the total indifference of Riki to the commercial aspects of the same (in terms of promotion of Rare , the latest album of the Quartet). While there seems to be unhappy with the hard-as it was with the release of Cortamambo - makes it quite clear that his work was limited and it is much, much more interested in talking about his upcoming solo album Servo (which apparently belongs to the superb 'New Cars', included in Rare at the request of producer Juan Campodonico ), says that her favorite songs are never played by the Quartet (including' The Guardian Zoo ', a song whose goodness we have insisted sigmur me and on several occasions), and talks about the strange things that interest you.
One of the most noticeable features of Riki, and very surprised to know, is his brutal honesty, but perhaps the word "brutal" fall short of total freedom of opinion tends to prove, "but no longer someone to do amazing show of this feature in the middle of a re-promotion of his band, and without having the slightest cynicism involved. Not necessarily humor, because what the guy claims is just the dark side, always there but sometimes attenuated, El Cuarteto de Nos. And it makes clear at the end of report " Now come and say 'Bo, how good this album, I screwed up with laughter'" And what do I care? Are we clowns or musicians? . "
I have to admit that after a weak first impression, I Rare has improved over the ears to make me admit that it may be a very good album. But obviously what I'm hoping will be in Servo album that has to come and destroy the Uruguayan rock once, or at least make you shit on the legs.
Riki, you're a bastard, sabelo. Yesterday
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