McCain Predicts To Win Iraq War In 2013
McCain’s recent talk about the Iraq War time schedule seemed a bit comical. I am really not sure what is going on in his head. He said the following in Columbus, Ohio to reporters:
“It’s not a timetable; it’s victory. It’s victory, which I have always predicted. I didn’t know when we were going to win World War II; I just knew we were going to win.” (McCain’s Predictions)
World War II? McCain was born in 1936. He would have been three years old when the war started and nine years old in 1945 when it ended. Why is he talking about that? This is strange.
Let’s do some math with his 2013 target date. “There have been 4,390 coalition deaths — 4,078 Americans, two Australians, 176 Britons, 13 Bulgarians, one Czech, seven Danes, two Dutch, two Estonians, one Fijian, four Georgians, one Hungarian, 33 Italians, one Kazakh, one Korean, three Latvian, 22 Poles, three Romanians, five Salvadoran, four Slovaks, 11 Spaniards, two Thai and 18 Ukrainians — in the war in Iraq as of May 16, 2008, according to a CNN count.” (CNN Casualty Source)
4390 divided by 5 (years since 2003) = 878 casualties per year.
878
x 10 (Years)
8780
Casualties for 2013.
The tide may be turning in the war, especially with the elections coming up. Career soldier, Matthis Chiroux, is refusing to report for his June 15 duty date for Iraq. U.S. Soldier Refuses To Serve In ‘Illegal Iraq War’
Rodney Bingenheimer
From my journal on May 5, 2004 - Dallas Texas
I went to see the movie about Rodney Bingenheimer called “The Mayor of Sunset Strip.” He is a guy that hung with many of the core music people of the 1960s and 1970s. Rodney was Davy Jones’ double for the Monkees Television series. Rodney knew Sonny and Cher and the Beatles.
He is most known for being the groundbreaking radio DJ for KROQ 106.7 in Los Angeles. He was first in putting on “the Runaways, Blondie, the Ramones, Social Distortion, Van Halen, Duran Duran, Oasis, the Donnas, No Doubt, Coldplay, Dramarama, the Offspring, the Go-Go’s, the B-52’s, X, the Vandals, and others.”1
The movie is a nostalgic documentary that shows much of my old stomping ground: the Tower Records on Sunset Blvd., Canter’s Deli on Fairfax Avenue, and the Denny’s Restaurant on Sunset Blvd. near the Guitar Center. There’s even a bit showing a crippled guy who polishes the stars along Hollywood Boulevard.2
Rodney also made his own English Disco Club that operated for awhile in Los Angeles. To me, Rodney’s a strange guy. I’ve never met him but I had a friend in L.A. that knew him well. Some people have talked bad about him but my friend said he was nice. I respect his great knowledge of music.
It seems that music was and still is his salvation. I can relate a bit. As a kid, I often locked myself in the bedroom and listened to the Beatles or Elvis. They were my heroes and took me to different places. At school, I was a freak and even loner, I suppose: the only guy with sideburns when I was sixteen years old. That was in 1990. Sideburns weren’t very in style then.
There was one time in the school cafeteria when I was sitting at the table alone and this bully behind me at the next table made fun of me. He yelled and got my attention. I looked over and he was holding two napkins up to both sides of his face like they were sideburns and laughing. I just ignored him. He was some punk clown.
In my high school days, I read biographies about rock and roll. I read one called Life With Elvis by his kid step-brother David Stanley.
At the age of sixteen, David Stanley found himself at the top of the world, traveling from city to city as a personal aide to his stepbrother Elvis Presley. Touring with the king of rock ‘n’ roll, Dave lived life in the fast lane - a way of living most people only dream about. On August 16th, 1977, tragedy struck when Dave found the king of rock ‘n’ roll lying facedown on his bathroom floor, dead at age forty-two. Life With Elvis tells Dave Stanley’s compelling story about growing up with Elvis, the dangers and disillusionment of life in the fast lane, and how he discovered true meaning in life through faith in God. — from book’s dustjacket.
It’s an interesting read. The book has a bit about how hoods often hastled Elvis about his sideburns in the boys’ room. One time at Humes High in Memphis, Elvis’ future bodyguard, Red West, stepped in to help Elvis. This was the time when short hair and flat tops were in style. Elvis styled his hair after truckdrivers. Elvis eventually became a truck driver for awhile before recording “That’s Alright Mama.”
From Elvis’ ‘68 Comeback Special
It was natural that I picked up the guitar in the 9th grade and never looked back. Music was my way of relating to the chaotic world around me. Things would explode and erupt but the music remained with me. It is proof that music is power. I really hope that the kids these days can put good stuff in their heads to empower. Elvis, along with many others, instilled in me a philosophy of hope and trust.
I don’t think the kids are getting this message today. What do you think?
Me - With the Highlander Band 1991
up1Wikipedia contributors. Rodney Bingenheimer. Wikipedia, The Free Encyclopedia. May 9 2008, at 15:05. Available at: http://en.wikipedia.org/wiki/Rodney_Bingenheimer. Accessed May 14, 2004.
up2I spoke to him a few times en route to the Musicians’ Institute that I was attending.
Flat People
SAMPLE Press Articles
Enjoy!
Tuesday, April 29, 2008
Nothing “Flat” About Flat People’s Bob Guittard
Digesting music from a steady bowl of oldies, with large sprinkles of the Beatles on top, Bob Guittard developed an interest in music very early in life thanks to the combined influences of his father and brother. “I played violin and piano growing up for years, then my brother gave me one of his guitars when I was fourteen and that completely changed me forever. I taught myself to play out of Hendrix and Zeppelin tab books and immediately started writing songs and formed a band with my buddies.”
His first band, formed in the seventh grade, was called The Little Puppy Dogs. His eighth grade year saw the birth of The Daring Chapstick Officers, followed by Fandango in late high school, The Bob Guittard Band during his first year as a Radio-TV-Film major at The University of Texas at Austin, Timado in his second year of college, and on and on through a variety of front man and back up band positions until, in 2007, he formed his current enterprise Flat People. Guittard’s older brother, Jim, writes music as well. He plays sitar, guitar, trombone and he sings. Guittard’s father and grandfather both played brass instruments in their respective high school marching bands. And his mother, maternal grandmother and maternal great grandmother played violin and piano quite well, which explains how he came to choose his first instruments as a child. “[That] was kind of forced on me as a kid. I liked it for a few years then gave it up when high school hit, probably because I felt like a nerd in the orchestra would rather play the guitar.”
Guittard and his wife recently had a child of their own, a little boy named Miles, and Guittard, although he has no intention of forcing music on his son, is adamant that the boy’s time not be wasted playing video games. He’s hoping that a love of music and creativity will grow from time not spent… well… wasting time. “I think about that a lot,“ said Guittard. “He’ll always be around music and I think he won’t be able to help loving music. Kids love banging on drums so I’ll bet he’ll originally be into that. I’m definitely not going to discourage him playing music. I’m all for my kids not melting their brains and wasting the years away on video games. It seems so common these days and is such a huge waste of time. Think of all the time that could have been spent creating art, music, stories, using the imagination, whatever. I don’t get on a soapbox often, but overuse of video games for kids and overuse and prescribing of anti-depressants, especially for kids, really bugs me. I talk about that in one of the songs on my album called ‘Everybody’s Got a Syndrome Here.’”
Guittard admits that his primary musical influences as a now-seasoned songwriter vary greatly from those of his childhood. He continues to cite the Beatles as a major influence, but has added Jeff Buckley, Wilco, Neil Young, Beck, Radiohead, Air, Bob Dylan, Elliott Smith and more to the list, explaining, “All of these folks stretched themselves either musically, vocally, lyrically, or sonically. They were all so passionate and so good. These are the folks that will give me goosebumps on that long road trip at night, or make me cry, or make me wish I could write a song like that. Or angry that I didn’t.”
Guittard has floated from Dallas to Austin to Los Angeles and back again in a quest for creative and musical fulfillment. Originally from Dallas, his move to Austin was prompted by both his desire to attend the University of Texas and Austin’s “vibrant history of music.” Two months after he graduated college, he moved to Los Angeles - following in the footsteps of his brother who had moved there two years earlier and was deeply embedded in the “darker coming” of the 60s era rock revival - hoping to satisfy two dreams. The first was simply to pursue his music. The second was to utilize the RTVF degree he’d earned in college.
“I had aspirations, like everyone else in that town, of becoming the next big screenwriter, director or producer of films. Once I got out to L.A. it was cool, but I figured out that I wasn‘t that into pursuing the film dream and, once I‘d decided that, I figured I didn‘t really need to live in L.A. to do something special with my number one love, music.”
While in L.A. Guittard joined a couple of different bands and played regularly on the Sunset Strip, but didn’t stay long enough to focus on his own music as much as he would have liked to. He said that his time there contained several “dark and low points” which matured him a great deal. His car was stolen and totaled, and he had broken up with his girlfriend, a girl he knew he wanted to spend his life with.
“It made me think a lot. The beach, writing songs, and the upright piano I rented weekly helped me get through it. The journey there was a necessary evil that I look back on fondly.”
Guittard moved back to Dallas in 2002 both in the hopes of getting a “real” job (in case his musical aspirations didn’t work out), and reconnecting with the girl who would later become his wife.
“I’m not planning on leaving Dallas any time soon unless there is a really compelling reason to. Although I’d love to just take off and travel the world, I’ve got some pretty firm roots here and I’m really happy being sedentary for now.”
Art imitates life for Guittard and his music. He stated, “I tend to write about what’s going on in my life, what I’m going through, what’s got me down or up, or general things or insecurities I’ve noticed as I walk through life. Sometimes it’s in the form of a narrative disguised as other folks and sometimes it’s in a vague metaphorical journey that may make sense to me, but no one else. I’m not sure whether it hits home for others or not, but it makes me happy so I’m good with that.” According to SAMPLE Press Music Writer, Jason Manriquez, Guittard’s lyrics are “a cut-and-paste collage of image-laden tongue twisters and fantastical descriptions of everyday occurrences.”
Guittard said of his songwriting style, “I hope [people] think about the lyrics. My songs, I think, are naturally emotive in terms of how they make me feel so I hope they strike a chord with other people. I’d hate to make a record that fails to stir up some emotion in my listeners. What’s the point if not? I’ve never been one to enjoy an entire album of light, fluffy material.”
Guittard’s decision to work with Nourallah on his album was not one that he came by blithely. Although he’d seen Nourallah play a couple of live shows and loved the music, his interest wasn’t peaked until he read the Dallas Observer article regarding the troubled relationship between Salim and his brother, Faris.
“After doing some research, I figured out that he was also a great producer, really putting out some great music. So, because I loved his approach to music and songwriting, I knew he’d be a great fit to work with me on producing my album. I emailed him and he actually said a friend of his had told him about my music already, which was cool. It just seemed like it was meant to be. I later met with him and gave him my songs and he was really excited, so we began the journey together. I can’t say enough about how great that studio experience was.”
The name, Flat People, did not come about until after the studio recording was complete and the final mixing was in progress.
“We were wrapping up the mixing and I was trying my best to take a step back and look objectively back through the song lyrics and general themes that make up the record. Flat People is the result. Vague, I know.”
Vague indeed. But, unraveling the nuances and mysteries behind Guittard’s music and the Flat People name is the link that binds the listener to the sound. However vague it may be, you are guaranteed to be entranced by it.
– Jennifer Manriquez
(Photos courtesy of Bob Guittard)
Copyright: SAMPLE Press, 2008
www.samplepressonline.com
www.myspace.com/flatpeoplemusic
The BJM Dallas Show
Journal entry from August 13, 2005
I caught the BJM show here in Dallas on Saturday night. It was different but really glad Anton chose to play. The preceding shows in Palm Beach Florida and Orlando were cancelled. The Quarter After, the opener, was good as usual. I had seen them in L.A.
Before the show, when I spoke to Rob, he said Anton’s voice was not up to par so they were kinda nervous about the show. I was going to say hello to Anton but decided I didn’t want to bother him with talk cause I figured he would be in his zone about the show. Anton was sitting at the sound board before the show. I got a good picture of him at the board with his thumbs up. Glad it wasn’t the middle finger.
After the Quarter After played, there was Innaway led by Reid Black. They were a Pink Floydish band from Philadelphia. It was cool and mellow. After Innaway, the crowd was getting anxious. The whole place was packed. I was rather pleased for Anton. I couldn’t even walk around. It was shoulder to shoulder. I had seen BJM at the same place 2 years prior and it was a pretty good crowd but not like shoulder to shoulder.
As I stood in the audience, the BJM brought out all their gear and set up but I wondered where’s Anton? The band patiently waited on stage smoking cigarettes and tuning and retuning etc. I looked around and Anton was on the board again DJ’ing music, kinda trippy hip-hop beat type stuff. It
sounded really cool. Anton had his head phones on creating a vibe. I wish I knew what he was playing. That went on for 30 minutes. The band was ready to go and Anton was jamming out with his head phones still on at the sound board. I thought it was great. After probably 6 or so songs, the lights went low and Anton emerged onto stage.
He got on the mic pretty quick, “Anton style.” He was real nice though and the audience I thought was pretty good. They didn’t heckle him too much. Anton laid down the law from the start.
He said, “Texas had been real good to him and the band.” He didn’t want to cancel the show. He said that he couldn’t really sing that night. He said something like, “Look, I’m your guest; treat your
guests right. If ya want to kill someone, go to Iraq. You be patient!” That was classic talk.
He explained that he would show us how they make up songs. He had his drummer start a hip hop beat and they all joined in. At one point he told his bassist to try not to lead for once or something
like that. They jammed out this instrumental for probably 20 minutes.
I saw a couple of people walk out but I’m sure they had never seen the BJM before. Anton ends the instrumental song and says something like, “Well who in the audience can sing?”
Some guy with a cowboy hat on and sunglasses came up on stage to sing the first song “Sailor.” Anton made it clear that he would throw him out the door and never let him back in if he was a fuck up
or “pissed in the well.”
The songs they played were:
Unknown Jam
Sailor*
Nevertheless*
Whoever You Are#
Nailing Honey to the Bee#
Who?
This is Why You Love Me#
Jennifer*
Jennifer restart#
When Jokers Attack#
Unknown Jam
* - random fan(s) on vocals
# - Rob Campanella on vocals
? - Reid Black
As a girl came up to sing Jennifer, Anton said her name was Jennifer. She piped up it was “Jill.” There were a few false starts on that song. The girl was eventually told to get off and someone else came
up. Rob stepped up to the mic to help out and did a good job. He did “This Is Why You Love Me.”
Several times during the show Anton said something like you don’t know me just because of some movie. And at least “I don’t give up.” Wise words.
The BJM played from 12 midnight to a little after 2. It was great that Anton let some fans help out. We are in this all together, right? Screw all this attacking stuff.
Betcha those fans who sang up there will remember for ever. I’m not disappointed.
Time Between
From my journal on March 21, 2004 Dallas, Texas:
I am out on the balcony of my grandparents 2-story home smoking an Indian Bidis cigarette in the dark sneaking around like I am a child. I am 30 years old with nothing concrete to show.
As I sit and breathe in and out, I feel that familiar sinking, pushing down feeling on me. The fear and anxiety grips me along with the regret of much of my life. The feeling is that I should have spoken up for myself and not pretended that all was fine.
I’ve been in my current living situation for about seven months. I have never wanted to be like everybody else, to live an insignificant life of mediocrity. I just never knew my thing or felt confident enough to express it.
I think back on my college days in Colorado and the years I wasted going through the motions. I remember watching on late night cable “The Lost Weekend” where the actor locks himself up in his apartment to try to shake the booze cravings and to be a writer. Shame and fear or whatever else always kept him down. For me it was the fear of the unknown that got me caught up or the fear of breaking from tradition or the mold.
Fastforward to today 2008.
I guess, enough is enough, right?
Well, I have been in Bulgaria for the past two years with the Peace Corps teaching English at a high school. Not really teaching, mostly supervising. Ha, ha, ha….
I told you I wanted to do things different. I have been writing songs and posting about my experiences in a foreign culture. It is pretty foreign. I have even written some songs in the Bulgarian language.
Blog title comes from Chris Hillman’s song on The Byrds 1967 Album “Younger Than Yesterday”
Influencing Society Through Music
Today’s mainstream music is not very healthy for the average person’s psyche. It leaves most people going in circles and never resolving anything, only hoping to win the lotto of material wealth and fame.
Music in the past had worthwhile messages and often empowered the listeners to strive for something good and meaningful. Nowadays, the listeners are often led on selfish head trips that do not empower at all but rather cripple.
Much of the music of the past was geared to correct society’s problems. Now, music is rather limited in its focus. The main focus is on appearance, material gain and other rather selfish themes. Take a look at MTV for evidence.
In Plato’s, The Republic, the role of music was discussed for the ideal state. In the ideal state, harmonies which expressed excessive sorrow and relaxation were to be banished completely. In musical terms, Plato only allowed for two modes in songs and melodies: Dorian and Phrygian1 Probably, Spinal Tap’s sad piece, “Lick My Love Pump”, would have been banned.
The modern Philosopher Friedrich Nietzsche said in his Case of Wagner in 1888: “Only sick music makes money today.” I believe this quotation has much relevance to most of today’s mainstream music.
Here is the Top Ten hits from Top 40 Charts for May 2, 2008 for sales and airplays.
1. Lil Wayne – Lollipop
2. Leona Lewis – Bleeding Love
3. Jordin Sparks & Chris Brown – No Air
4. Usher & Young Jeezy – Love in This Club
5. Mariah Carey – Touch My Body
6. Madonna & Justin Timberlake – 4 minutes
7. Sara Bareilles – Love Song
8. Ray J & Jung Berg – Sexy Can I
9. Chris Brown – With You
10. Lupe Fiasco – Superstar
Let us examine some of the lyrics.
Partial lyrics Chris Brown – With You
‘Cause if I got you
I don’t need money
I don’t need cars
Girl you’re my heart
Mr. Brown’s implied message is good. He implies that material things are less important than people. I give him a thumbs up for good positive message.
Usher & Young Jeezy – Love In This Club
Might as well give me a kiss, if we keep touching like this
I know you’re scared, baby, they don’t know what we’re doing.
Let’s both get undressed right here, keep it up and, girl, I swear.
I’m gonna give it to you non-stop.
And I don’t care, who’s watching.
I believe this is bad message that promotes impulse and lack of commitment. Thumbs down.
Mariah Carey – Touch My Body
Touch my body
Put me on the floor
Wrestle me around
Play with me some more
Touch my body
Throw me on the bed
I just wanna make you feel
Like you never did.
Touch my body
Let me wrap my thighs
All around your waist
Just a little taste
Touch my body
Know you love my curves
Come on and give me what I deserve
And touch my body….
Trash lyrics. Maybe Mariah is tired of the Paparazzi filming her and claiming they had relationship with her. Thumbs down for negative message. (oh boy).
Leona Lewis – Bleeding Love
Closed off from love
I didn’t need the pain
Once or twice was enough
And it was all in vain
Time starts to pass
Before you know it you’re frozen um ooh ooh ooh yeah
But something happened
For the very first time with you
My heart melts into the ground
Found something true
And everyone’s looking round
Thinking I’m going crazy
But I don’t care what they say
I’m in love with you
They try to pull me away
But they don’t know the truth
My heart’s crippled by the vein
That I keep on closing
You cut me open and I
Keep bleeding
Keep, keep bleeding love
I keep bleeding
I keep, keep bleeding love
Keep bleeding
Keep, keep bleeding love
You cut me open
Trying hard not to hear
But they talk so loud
Their piercing sounds fill my ears
Try to fill me with doubt
Yet I know that the goal
Is to keep me from falling
But nothing’s greater
Than the rush that comes with your embrace
And in this world of loneliness
I see your face
Yet everyone around me
Thinks that I’m going crazy, maybe, maybe….
I’ll give credit to Ms. Lewis for staying committed and fighting the good fight through the problems. This song is obviously about love. Thumbs up for positive message.
The music of the 1960s brought about change in a turbulent decade. The time was about questioning authority. George Harrison’s song “Think for Yourself” is a good example of the philosophy of the 1960s. Now people do not question authority much. We have become too satisfied with life. We have too much idle time and so we become obsessed with determining who has “The Sweetest Ass in the World”. If you do not know this song, look up Alex C. on google or youtube. These are the type songs that are not only popular but sell money today. I think Nietzsche would be having a fit!
In the past, music had the power to literally break down walls. In Biblical times the town of Jericho was liberated by music and sound. The walls surrounding Jericho came down from the loud blasts of trumpets and the shouting of priests. 2 The music set the people free. The music of today often keeps us in bondage to depression or to bad situation we are going through.
Another Biblical musical reference is about the Shepherd David. David was requested to calm down the anxiety-ridden king of Israel. In the King’s palace, David played his soothing harp. This is an example how music can be used to benefit mental health.3
Most of today’s music is aggressive but it makes sense with the War on Terrorism and Iraq both raging. There are so many bad vibes floating around. The workplace is also very volatile and up and down with lay-offs, wage freezes, and rumors of recession. Maybe we are all fed up with what is going on or we should be. We are in a fearful and uncertain time. It is often hard to see the light at the end of the tunnel.
I believe that most people should be a little angry and fed up. If the person is not, then the person is probably numbed by anti-depressants or other pills. (Been there, done that). Living in the comfort zone of America, people have become too apathetic to break away from American Idol or the latest fad or trend.
In the 1960s, there were riots, protests, demonstrations, assassinations, the most turbulent of decades. Today is probably just as turbulent or more but where is the cry for change from the mainstream?
There are a few but it is limited. System of a Down has been one of the more outspoken bands about the war in Iraq.
B.Y.O.B.
Everybody’s going to the party have a real good time.
Dancing in the desert blowing up the sunshine.
In 1969, at Woodstock, Country Joe sang his famous protest song of the Vietnam War. Here is the first part of the lyrics.
I Feel Like I’m Fixin’ To Die
Yeah, come on all of you, big strong men,
Uncle Sam needs your help again.
He’s got himself in a terrible jam
Way down yonder in Vietnam
So put down your books and pick up a gun,
We’re gonna have a whole lotta fun.
And it’s one, two, three,
What are we fighting for?
Don’t ask me, I don’t give a damn,
Next stop is Vietnam;
And it’s five, six, seven,
Open up the pearly gates,
Well there ain’t no time to wonder why,
Whoopee! we’re all gonna die….
The band, Rage Against the Machine has been outspoken on such issues as censorship and artistic freedom.
This is a very big issue in the music industry these days. Stay tuned…
To end on a positive note, here is a list of artists that have thoughtful and forward thinking messages and have meant a lot to me. You cannot go wrong here!!
1. Animals, The
2. Arlo Guthrie
3. Association, The
4. Band, The
5. Beach Boys, The
6. Beachwood Sparks
7. Beatles, The
8. Beck
9. Black Angels, The
10. Black Rebel Motorcycle Club
11. Bob Dylan
12. Bob Gibson
13. Brian Jonestown Massacre, The
14. Bruce Springsteen
15. Buffalo Springfield
16. Byrds, The
17. Canned Heat
18. Carl Perkins
19. Carter Family, The
20. Chi-lites, The
21. Chris Stills
22. Chuck Berry
23. Coasters, The
24. Counting Crows, The
25. Crosby, Stills, Nash, and Young
26. Cure, The
27. Dandy Warhols, The
28. David Bowie
29. Deep Purple
30. Depeche Mode
31. Donovan
32. Doors, The
33. Edie Brickell
34. Elvis Presley
35. Fairpoint Convention
36. Flat People
37. Flying Burrito Brothers, The
38. Further
39. Gene Clark
40. George Harrison
41. Go-Kart Mozart
42. Gram Parsons
43. Grateful Dead, The
44. Hank Williams
45. INXS
46. Janis Joplin
47. Jay Farrar
48. Jefferson Airplane
49. Jesus and the Mary Chain
50. Jimi Hendrix
51. John Lennon
52. Johnny Cash
53. Kinks, The
54. Kula Shaker
55. Led Zeppellin
56. Left Banke
57. Lenny Kravitz
58. Little Richard
59. Lou Reed
60. Louvin Brothers, The
61. Love
62. Lovin’ Spoonful, The
63. Merle Haggard
64. Monkees, The
65. My Bloody Valentine
66. Mystic Chords of Memory
67. Neil Young
68. N.W.A.
69. Oasis
70. Paul McCartney
71. Pink Floyd
72. Poco
73. Police, The
74. Quarter After, the
75. Radiohead
76. Rage Against the Machine
77. Red Hot Chili Peppers
78. Richie Furay
79. Ride
80. Roger McGuinn
81. Rolling Stones, The
82. Ryan Adams
83. Sheryl Crow
84. Sly and the Family Stone
85. Simon and Garfunkle
86. Son Volt
87. Spacemen 3
88. Stephen Stills
89. Strawberry Alarm Clock
90. System of A Down
91. Thrills, The
92. Tom Petty
93. Troggs, The
94. Tyde, The
95. U2
96. Uncle Tupelo
97. Van Halen
98. Van Morrison
99. Velvet Underground, The
100. Violent Femmes, The
101. Warlocks, the
102. Who, The
103. Willie Nelson
104. Wiskey Biscuit
105. Wilco
106. Wings
107. Zombies, The
108. ZZ Top
up1Plato. Republic. Trans. Benjamin Jowett.
Modern Psychedelic Influenced Bands
First of all I recommend a band called the Beachwood Sparks. They take the torch where Gram Parsons and the Byrds left off particularly with the Sweetheart of the Rodeo album. I’ve seen them live numerous times and have never been disappointed. They are the best especially with
their extended Space Echo freakout endings. They have 3 albums out and the first called Beachwood Sparks is my favorite. I hear that the BWS is getting back together (coincidentally on Roger McGuinn’s birthday), July 13th in Seattle for the 20th year for Subpop label. I wish I could be there.
The second band I recommend is called the Tyde. This band has mutual members of the Beachwood Sparks. The Tyde is more Bob Dylan or Lou Reed sounding with much reference to surfing. I’ve seen them live, too. They have 3 albums out. I like Once the best.
The third band that I recommend is the Quarter After. This band is Byrds influenced with chimey Rickenbackers and groovy lyrics. It is lead by brothers, Rob Campanella and Dom Campanella. Incidentally, Rob records and produces many of the bands I mention here. I was
fortunate to sit in on a Quarter After session a few years back.
Here’s my somewhat humorous review for their debut album:
The Revolution Is Coming Down!!!
I dig the Quarter After live and on record. They are nice
outstanding citizens who are dedicated followers of the
Revolution effort. If you don’t understand, look up the
Brian Jonestown Massacre.Their song ‘Too Much to Think About’ can put you in a
trance if you are not careful. It takes you back to 1966
with some Raga-Rock influence. ‘Know Me When I’m Gone’
is my favorite track on the album. It is modern psychedelia.
Dominic’s singing is much like Roger McGuinn’s. Byrds fans
will love the Quarter After. Or any fan of the ’60’s or good music.Quarter After is authentic and not cheesy. They do not
overdo it. Dominic’s 12 String Rickenbacker work is great.
Good harmonies too by Rob and various personnel.
The Quarter After has recently put out their second album. I have not got my hands on it yet but will review soon.
And last but not least is the band called the Brian Jonestown Massacre. These guys are pretty outstanding and have had a documentary about them already called “Dig!” This band is the one
that really should take credit for this revival in psychedelic sound. They have at least a dozen albums out. They are very prolific.
I hope you will check these bands out. They really cook.
Living With The Elderly
From my diary July 1, 2005 (Dallas, Texas)
Last night, I served my grandfather dinner. We had tamales that the maid, Socorra, brought us. Before dinner, I set up the T.V. trays so we could watch the Wheel of Fortune on the new T.V. I brought down from upstairs. It was placed on top of the huge old 1980’s T.V. my grandparents still had. The old T.V. had very bad reception and no sound. (Buying cable was out of the question.)
We ate the food and it was fine and my grandfather explained this to me about five times. Five times I said, “I’m glad you liked it.” My grandfather was ready to go to bed quickly and didn’t want to finish the Wheel of Fortune. This was early. Wheel of Fortune ended at 7 PM. So I walked down the hall behind my grandfather on the walker. I then reminded him to brush his teeth, which he did. I waited and then we went to his room. I turned down the covers on the bed and waited till he got in okay.
I went back into the T.V. room and after about forty-five minutes I went into the kitchen to clean the dishes. Then I heard him coming and I looked up and saw him coming down the hall into the T.V. room.
I asked, “Do you need something?”
He asked, “What are you cooking breakfast?”
I said, “No.”
It was just barely night. It was just 7:30 PM and the sun was still up.
I then said, “Go back to bed. It’s still night.”
I followed him back to bed after he realised what was the deal.
Another time, I was in the kitchen talking on the phone when I heard some noise in the T.V. room. I came in and looked and my grandfather was running without his walker to the sliding glass door and banging on the glass with his fist. He was trying to scare the squirrels away that were outside.
“Good” Musical Genealogy
Good music has its roots and can be tracked like a family tree. The long historical tree will show exactly where the influence of good music was handed down band to band, or artist to artist. It is naive and incorrect to think that any certain band just appeared and came up with “good music.” There is much tradition.
The Byrds are a great example of “good music.”
It has been written that the Byrds took traditional folk songs and put a Beatle beat.
With Bob Dylan’s philosophical mathematical poetry, the Byrds flew high. They pioneered the folk-rock, country-rock, and jazz-rock genres.
But prior to the Byrds and Elvis, the pre-rock and roll genre started in the late 1940’s. Elvis Presley, Little Richard, Jerry Lee Lewis, Chuck Berry and others all waited in line for their open door. If it had not been for pre-Rock and Roll, then the Byrds, Beatles, or the Stones would not have been ready. It is all connected.
In my head, I have imagined all these famous guys all standing in a line waiting their turn. Elvis’ opportunity came when DJ Dewey Phillips played his “That’s Alright Mama” on his Memphis radio show. Callers just couldn’t believe that this guy was white.
Elvis needed to give much credit to the sounds he heard on Beale Street. He is linked to such black artists as: B.B. King, Arthur Crudup, and Rufus Thomas. These guys pre-dated the invention of Rock & Roll.
Now the big controversial question is: who copied who? “To some, Presley had undoubtedly “stolen” or at least “derived his style from the Negro rhythm-and-blues performers of the late 1940s.” Some black entertainers, notably Jackie Wilson, countered, “A lot of people have accused Elvis of stealing the black man’s music, when in fact, almost every black solo entertainer copied his stage mannerisms from Elvis.” Blank, Christopher (July 15, 2006). “Elvis & Racism - Elvis Presley Legacy is cloudy through lens of race”.
So whatever you believe, Elvis is generally the one known for opening the doors for artists like Chuck Berry and Little Richard. I guess it is like the old adage “what came first: the chicken or the egg?” I tend to lean toward the opinion that Elvis really was not the original rock and roll pioneer. He was the one that got the most press and made it popular and in style.
So after Elvis, there stood the Beatles, and the Byrds waiting close behind. Here is the important shift. Elvis was a singer-entertainer but the Beatles and Byrds were songwriters and musicians. The bands of the 1960’s migrated towards songwriting.
Roger McGuinn, who was in the Byrds at that time, waited patiently behind Bob Dylan and the Beatles. As Dylan was making waves, the movie Hard Day’s Night soon came out. The door became wide open for the Byrds. McGuinn, Clark, and Crosby quickly formed their jangly poetry beat sound. It became classic and the door was wide open.
Others were to follow through the Byrds-Dylan door. The Turtles, Sonny and Cher all followed copying Dylan and the Byrds’ jangly sound. Arthur Lee with Love fits in there.
During this time the Beatles and the Byrds also got into a little egg/chicken situation. It has been written that George Harrison heard the Byrds’ “Bells of Rhymney” song and was influenced to write “If I Needed Someone.” It was through a mutual public relations man Derek Taylor that Roger received a pre-released copy of “If I Needed Someone”. The bands had a healthy relationship.
Both bands are linked to the 12-String Rickenbacker guitar and to Ravi Shankar. We know that John and George were already into Rickenbackers but the question is - who was the first band to turn on to Ravi? It has been argued that David Crosby introduced the Beatles to Ravi. But of course, the Beatles probably got more credit for this link after their Indian trip in 1968. It is much like Elvis getting the credit for being the original Rock and Roll pioneer.
So Ravi Shankar is standing in line next to the Beatles and the Byrds in this pretend line-up.
Fast forward twenty plus years and the line after the Byrds and the Beatles includes bands such as Tom Petty and the Heartbreakers, the Beachwood Sparks, the Tyde, the Quarter After, and the Brian Jonestown Massacre. Where do the Ragas fit in the line-up? Hmm?
All the best,
Jim
My Connection With Rock & Roll History
February 2000, Los Angeles, California
I drove up to the Sherman Oaks, California Guitar Center on Ventura. I had grown tired of the Guitar Center on Sunset Blvd and all the tourists. It was so loud. On this particular day, I walked in wearing
my John Lennon T-Shirt that said New York City.
I had gone in to look for a new amplifier. I looked around the store quickly and decided that I had seen enough. I walked out the front door and down the street and decided, no I was going back in.
Inside I found a white Fender Stratocaster and got a power cord and plugged into a Fender amp. I began playing jazz chords. After a few minutes and while I was still playing a guy came up to me.
This was Henry McGuinn. He said, “Hey man. I like your playing. What’s happening? Do you like the Byrds?”
I said, “Yeah, I guess so. I don’t have any of their albums but I like Mr. Tambourine Man and Eight Miles High. That’s all I know.”
Henry said, “My dad’s Roger McGuinn, who started the Byrds.”
I said, “Yeah, man, that’s cool. Can I see your ID.”
We talked in the store for about twenty minutes. We spoke about the Beatles, Bob Dylan, and the Rolling Stones. I finally found someone I could relate to with this type of music. My meeting with Henry left me with renewed purpose. I seemed that I was just waiting around a bit in Hollywood to find the right people. I figured sooner or later I would find someone. I left the Guitar Center stoked, thinking of
the possibilities. I guess I was a bit star-struck, too.
The next day, I went to the Warehouse on Sunset Blvd. to look for some Byrds music. I found and bought 5D. It was the Byrds 1966 album that had Eight Miles High, Mr. Spaceman, and I See You on it. I listened to the album a few times and decided to call Henry.
I left a message and an hour or so later he called from a pay phone.
Henry, “Hey, what’s happening? This is Henry McGuinn.”
I said enthusiastically, “Hey, Henry, yeah this is Jim. I met you at the Guitar Center.”
Henry said, “Yeah cool. I’m out by the beach just loving it.”
I said, “I bought 5D. It’s really cool. I haven’t ever really listened to the Byrds but they are really hip.”
Henry said, “Yeah, they’re all good, especially ‘65-’68 era. Well, so you want to get together?”
I said, “How bout tomorrow? We could have lunch and then jam.”
Henry, “Yeah, I just want to meet and see if we have chemistry, you know.”
Boy I was excited, the chance to play with someone that liked the same music I did and the fact that his dad is a rock star is totally rad!
The next day I met him outside at his truck. We brought up his guitar and then we walked to a Sandwich shop right up Las Palmas in Hollywood. We ate and talked music and began to get to know each other. We seemed to be on such a similar wavelength. It was kind of
amazing chemistry really.
After lunch, we opened up our guitars. He brought out his acoustic 12- String Martin guitar. At first, I just listened to him. He sang a few Byrds tunes. He sang Tambourine Man and You Ain’t Goin’ Nowhere and I believe he sang the Christian Life as well. At the time I had never heard the Christian Life and I was stoked on it. I was really inspired to start playing.
The next few times that we met, we listened to Byrds music. At the Tower Records, I loaded up on all sorts of music that he recommended. I was really into it. I bought several Flying Burrito Brothers
albums, some Gram Parsons and Lovin’ Spoonful.
Our music was finally coming together. We were playing some Beatles, Byrds, and Dylan covers and some of our new stuff. He played me his cool song called Summertime that he wrote at the beach inspired by George Harrison and What You Say a song about running away and pure Byrds. I loved it. I added some rhythm guitar to it while he did his fingerpicking style soloing inspired by his father.
One day Henry brought over his 12-String Guitar Instructional Video that his dad had done. On the video his dad went wild on the 12- String Rickenbacker playing his old classics. I was again blown away.
Now prior to that point I had always thought that the Beatles were my number one group but I now believed that the Byrds were up there with them. It was great to learn more about music. I did not feel bad about buying a lot of records. I considered it an investment: The Who ‘65, The Zombies, The Association, Beach Boys Pet Sounds, The Kinks, Gram Parsons, and the Flying Burrito Brothers.
The next thing I did was to buy the Johnny Rogan Byrds biography. Henry had been talking about it. It was the only complete Byrds biography written. I found it at the Book Soup book store on Sunset
Strip right across the street from Tower Records. Henry and I considered it our manual on how to live a Byrdsian lifestyle.
I met Henry in February 2000 and in March South by Southwest music festival raged in Austin, Texas. We found out that Roger was playing at the Cactus Lounge on the University of Texas Campus. We felt it was a good excuse for a road trip.
Before we left, Henry and I made a trip down to the Rickenbacker factory in Santa Ana. At Rickenbacker, we both waited in the reception area. Shortly after, John Hall, the CEO, came out and I was introduced.
Henry told me stories of John Hall and the Beatles. John Hall had been to the Beatles’ Hollywood Bowl show in 1965 as a teenager and had met all the Beatles and the Byrds. John Lennon and George
Harrison both played guitars that were given to them by Rickenbacker and Crosby and then Jim McGuinn would run down to S.A. for Rick customizations . Needless to say, Rickenbacker has had great
influence on Rock & Roll. Henry’s father worked with Rickenbacker in designing a custom signature 12-String guitar with an on board compressor. What resulted was the wood colored (Maple Glo)
Rickenbacker 370 Model. Henry is totally proud of his father.
While Henry talked with John in his office, I sat down and looked at magazines. We were there for Henry to interview for a job with Rickenbacker. I sat and waited for fifteen minutes and then Henry
returned, full of hope for the future. We said our good byes to John Hall and Henry told John that he would get back in touch after our trip to Austin.
I felt on the in-crowd a bit. Rickenbacker had worked with all sorts of artists: REM, Tom Petty, Susana Hoffs, Carl Wilson, etc. I have a Rickenbacker FG 330 from those days. Henry on the 325Byrd and me on the 330 is some of the best noise ever! All the best bands play Rickenbacker.
Hope you enjoyed the read.
Henry and I put up a website for our band the Ragas. You can check
it out at:
