Facebook really saved me this morning from potentially sharing this “news story” from The Onion. Turns out Facebook’s team of crack fact-checkers couldn’t verify the validity of a claim that a WWE staff member shot an aggressive wrestler after a child had climbed into his cage. First off, I’m relieved it wasn’t true, as it would have been a tragedy for the child and their family, not to mention the irreversible damage the WWE would have incurred. Second, I almost shared this link on my social medias…then what would’ve happened? It would have likely been shared by parents and grandparents and that one uncle, gone viral, and then the president himself would have tweeted about it. We live in scary times.
There aren’t many artists that can easily bring me to tears, but Richard and Linda Thompson sure can. Linda’s voice alone does that, but add Richard’s low-end harmony and I melt into a puddle. Or when he squeezes off one of those moving guitar solos. Or when he drops a minor chord in just the right spot. I listen to I Want to See the Bright Lights Tonight a lot–sometimes it’s the only thing that gets me through the day with my faculties intact. “The Cavalry Cross” makes time stand still, and the title track is a joyous sliver of hedonistic ’70s barroom rock. I’d be remiss if I didn’t also mention Timi Donald, whose laid back, yet precise drumming is one of my favorite things about this record (he’s also excellent on John Cale’s Slow Dazzle). This album is perfection and, if you’re looking for more, 1975’s Pour Down Like Silver notches only slightly lower for me.
As a metalhead–and a knucklehead–in high school, bands like U2 and INXS were like poison (not Poison…I liked them), and best avoided. And just imagine my horror back then when The Edge was making “best guitarists” lists alongside Eddie Van Halen and Kirk Hammett. I grew to appreciate those bands (and The Edge) after the fact. While I still enjoy The Joshua Tree for the most part, I can see it for being the overwrought record that it is. Honestly, I just put it on so I could listen to “In God’s Country,” which is still a magical three minutes, and, to me, the reason The Edge made those lists back in 1987.
My friend Mark Arnone would have been 47 today. He was the OG DJ Mark In the Dark and, as you can see, a massive KISS fan. In fact, that’s how we met in high school. I was drawing Gene Simmons on my notebook, and he saw it, and that was it. We did all kinds of degenerate things together. We went to a bunch of KISS shows. I was the best man in his wedding. Mark died too soon–only 36–and that is only amplified the older I get. I miss him. Happy birthday, friend.
I’m seeing Archie Shepp tomorrow as part of the PDX Jazz Festival, and I cannot wait. I’m gearing up by listening to this live set, one of two records that came from his 1975 performance at the Montreux Jazz Festival in Switzerland. Not as out-there as Mama Too Tight or The Magic of Ju-Ju, but it’s a pretty hot performance, and one that I imagine closely captures what I’ll be experiencing this weekend. One of the last of the avant-garde/free jazz players–gotta see these legends while we still can.
(United Artists, 1973)
It’s hard to choose a favorite Ike & Tina record, but this is probably it for me (1971’s ‘Nuff Said also gets a lot of spins around here). The title track alone is worth the price of admission, but then you have killer kuts like “Make Me Over,” “Club Manhattan” and their fiery, difinitive version of “River Deep, Mountain High”–guaranteed to draw some blood, sweat and tears! And Tina Turner is, was, and always will be, the goddamn Queen. Bow down.
FRANKFORT, Kentucky–Colonel Sanders (L-Ky.) has finally announced his running mate for the contentious upcoming 2020 presidential election. In a The Days of Lore exclusive, we’ve discovered that Vincent Furnier (R-Ariz.) accepted the offer several days ago, ending months of speculation.
The fried chicken mogul’s decision to go with the occasionally headless Furnier reflects a strategic move to solidify his message of delivering a more theatrical approach to chicken harvesting, as evidenced by Furnier’s unhinged performance at the Toronto Rock ‘n’ Roll Revival Festival. The theatrical treatment of animals has emerged as a key issue among the colonel’s base.
His more radical constituents have condemned Sanders for using untheatrical slaughterhouse practices, which include birds being scalded to death in the defeathering process. The colonel addressed the claim late last year at a press conference, saying, “Those dirty birds need to ‘Feel the Bern.'”
Tonight I’ll climb up into the booth at the world-famous Ground Kontrol classic arcade for my monthly Black Sunday gig. All metal. All vinyl. From extreme black to bands that just wanna rock and roll all nite, I’ve got you covered. Also, no cover. It’s a holiday tomorrow so come have a drink(s) and play some Ms. Pac-Man. 8 p.m. – 2 minute to midnight.
My 5-year-old and I are coming up with some avant-garde compositions that push all boundaries, and are going to leave critics absolutely speechless. Sort of a blend of John Cage and The Fall meets Glass Houses-era Billy Joel. Wrap your head around it if you can.
What else would I be listening to on this unholiest of days? (I bought this original German Vertigo pressing a decade ago for 10 bucks, for you nerds). Released in the UK on February 13, 1970–Friday the 13th, of course–Black Sabbath’s debut invented an entire genre–guess which one? Fifty years ago. There were a lot of hard rock bands at the time (Sir Lord Baltimore, Coven, Blue Cheer), but no one conjured the bleakness or evil that these four blokes from Birmingham had. Or the riffs. Or that voice. Tony Iommi rightfully gets credit for creating some of the most menacing riffs ever put on tape, but Ozzy Osbourne’s vocals were from another dimension. Add to that a rhythm section of bassist Geezer Butler and drummer Bill Ward, and you have a band that would release six straight untouchable records that can still crush anything that has come since. Heavy metal as we know it started right here. Let us pray. And let us listen to my favorite cut from this slab o’ doom.