Showing posts with label anvil. Show all posts
Showing posts with label anvil. Show all posts

Thursday, June 21, 2012

Cock Roaches and Keith Richards: Some Bands Seem to Last Forever

Originally published in my "Aural Fixation" column on PopMatters.com on June 21, 2012. See original post here.

Rolling Stones publicity photo, image from popmatters.com


The Rolling Stones, the Beach Boys, Metallica and other rock groups have been around for decades. What are the keys to their longevity?
In 1986, the Beach Boys had a sturdy discography built on surf-pop gems like “Good Vibrations,” “California Dreamin’,” and “Surfin’ U.S.A.” They were closing in on their 25th anniversary, but with their last top ten hit a decade behind them, they were in danger of becoming an embarrassing nostalgia act. Their last couple singles hadn’t even cracked the top 40. Obviously their days were numbered.

That same year, the Rolling Stones’ Dirty Work album was the most panned of their career. Guitarist Keith Richards was feuding with singer Mick Jagger, who wouldn’t tour to support the new album because he was off doing a solo thing. The band was rumored to be on the verge of breaking up.

Meanwhile, a group named Metallica released their third album, Master of Puppets. It was hailed as a classic of the heavy metal genre, seemingly positioning the band for even bigger and better things. Then a bus crash killed bassist Cliff Burton.

Metallica, the Cliff Burton years; image from loudwire.com

A funny thing happened over the next few years, though. These groups wouldn’t go away. The Beach Boys landed their first #1 song on the Billboard charts in 22 years with 1988’s “Kokomo.” The Rolling Stones patched up their differences and stormed back into the limelight in 1989 with a massive tour in support of the return-to-form album, Steel Wheels. Metallica enlisted a new bassist and landed their first top-ten album with 1988’s …And Justice for All.

Fast forward to 2012 and these bands are still around. To celebrate their golden anniversary, the Beach Boys have launched a major tour, and gifted the world with their first studio album, That’s Why God Made the Radio, in 16 years.

Technically it shouldn’t be called an anniversary since the current lineup of Brian Wilson, Mike Love, David Marks, Al Jardine, and Bruce Johnston never performed together on a public stage prior to the 2012 Grammys. That is nit-picky, though, since all five “boys” have rich histories with the band. Wilson formed the band in 1961 with his brothers Dennis and Carl (who died in 1983 and 1998 respectively) as well as cousin Mike Love and friend Al Jardine. Brian did his last full tour with the band in 1965 at which point Johnston came on board. Marks was an early member who left in 1963 but returned in 1997. Jardine returns to the fold after a 14-year absence.

You have to offer kudos to a band who’s ridden the waves for so many years. Theirs is a remarkably rare feat. Today’s kiddos – and I’m talking about of-the-moment boy bands like One Direction and The Wanted – can learn a few lessons from the old foagies like the Beach Boys, the Rolling Stones, Metallica and others if they want to still be kicking in 2062. For the record, I don’t expect either of those groups to last ten years, much less fifty, but if they follow these tips they might just surprise me.


Maintain a core.

Like the Beach Boys, the Rolling Stones have endured roster changes over the years, but maintained a basic core for five decades. The audience of less than a hundred on that first historic night witnessed the seemingly indestructible Keith Richards riff on his guitar while Mick Jagger waggled those famous lips. By January 1963, drummer Charlie Watts joined and the trio have anchored the group ever since. The newbie of the group, guitarist Ronnie Wood, signed on in 1975.

A year after Wood joined the Biggest Band in the World, a quartet of Irish lads formed the band which would eventually wrestle that title away from the Stones. Bono, The Edge, Adam Clayton, and Larry Mullen Jr. formed U2 and have stayed together ever since. Think of it this way – it has become a rarity for anyone to retire from a job after 36 years of service. Imagine if four guys at the same company collected their gold watches at once.

U2, image from brainz.org


Take vacations, but let fans know you’re coming back.

Even millionaire musicians are entitled to occasional breaks. There’s no way the Beach Boys or the Stones could keep up the grueling pace of touring and releasing a couple albums a year like they did at the onset. As the decades roll on, the gaps between projects grow wider. The Stones graced us with their last studio effort, A Bigger Bang, in 2005 and the subsequent tour wrapped two years later.

The difference in a long layoff being labeled as a “break” or a “break up” comes down to public perception – and how much dirty laundry the band members air. When the Eagles went on hiatus in 1980, Don Henley famously stated the band would get back together again when Hell froze over. People definitely considered the band kaput, a point which Glenn Frey jokingly referenced on the band’s live 1994 album with the tongue-in-cheek title Hell Freezes Over: “For the record, we never broke up. We just took a fourteen-year vacation.”

the Eagles on the Hell Freezes Over tour, image from glennfreyonline.com


Stay together for the kids.

The relationships amongst band members can resemble the for-better-or-worse nature of a romantic couple. Sturdier bands withstand the rocky times, knowing the kids (or the fans) depend on them. The Stones’ near break-up of ’86 was one of many Jagger and Richards squabbles. They most recently tangled over the latter’s 2010 no-holds-barred autobiography, Life, but never to the point that fans thought it was over. There’s still serious talk of a tour and maybe even an album next year.

Metallica has now thrilled the world for 30+ years by unleashing aggression through thrashing guitars and ear-crunching vocals. However, in 2004 they took the very un-heavy-metal move of releasing a documentary, Some Kind of Monster, which keyed in on their group therapy. Even the toughest of rockers have to talk out their feelings to keep the relationship going.


What else are you gonna do?

Bono stated in a Daily Mail article (“‘Til death do them part: Bono believes unshakable U2 will stay together until they die”, 9 September 2011) that he believed the members were so defined by their band roles that they are otherwise “unemployable.” He continued, saying, “There’s only one way out, in a coffin.”

The dedication to music at all costs has never been captured better than in the 2008 documentary Anvil! The Story of Anvil. The titular Canadian heavy metal band formed in 1978 and seemed on the brink of success in 1984. The movie shows them enduring the humilities of paltry audiences, sleeping in train stations, and scuffling with bar owners who won’t pay them. Their big dream hasn’t happened, but they refuse to quit. Singer Steve “Lips” Kudlow said, “I started out with Rob when I was 14 years old and we said we’re gonna do it ‘til we’re old men. We really meant that.”

Richards says in Life, “There’s something beautifully friendly and elevating about a bunch of guys playing music together…It’s really teamwork, one guy supporting the others, and it’s all for one purpose.”

The Four Tops, image from thefourtopsoriginal.com

The Four Tops made some of the biggest hits during Motown’s 1960s heyday with gems like “Reach Out (I’ll Be There)” and “I Can’t Help Myself”. Until the passing of member Lawrence Payton in 1997, they’d kept the same lineup for 44 years. Years ago, a Eugene Register-Guard article (“The Four Tops come spinning to town”, 2 December 1988) discussed their endurance, citing their bio which read, “They were never greedy, never riddled by egotism or impatience, and never lost sight of what they wanted to do most: sing!”


Share the same sense of ethics and mission.

Since 1974, Rush (who just released Clockwork Angels) have maintained the same lineup of Geddy Lee, Alex Lifeson, and Neal Peart. Their Wikipedia page credits the rock trio’s strong work ethic and commitments to philanthropic causes.

An article at amanet.org article (“Great Teams: The Extraordinary Unity of U2”, 20 August 2008) asserts that keys to U2’s longevity include their similar values, shared mission, and consensus-oriented decision-making style. The Daily Mail article quoted Bono saying U2 had “a kind of belligerent respect” for each other.


Let tragedy unite you.

The amanet.org article also acknowledges the role tragedy can have in bringing a group closer together. Bono’s mother died when he was 14; Mullen lost his mom when he was 16. Through their grief, the two became very supportive friends. Later, the band rallied around Clayton to support his battle against drug and alcohol addiction.

image from guardian.co.uk

Like Metallica, other bands have rallied back from the death of a member. AC/DC may have the most phenomenal story. Brothers Angus and Malcolm Young formed the hard-rock outfit in 1973. Acute alcohol poisoning took the life of lead singer, Bon Scott, in February 1980 and seemingly sank the group’s ship just sailing into international waters. A mere six months later Back in Black, featuring new frontman Brian Johnson, made it clear the group was still afloat. 32 years later, the band is still electrifying audiences the world over and Back has put them firmly in the black: the album’s 49 million in worldwide sales is second all-time only to Michael Jackson’s Thriller (“The World’s Top 100 All-Time Best-Selling Albums”, 20 February 2012).


Hey, you’ve got a legacy to uphold – and bucks to be made.

With the exception of Anvil, the bands spotlighted here haven’t just stuck around for decades, but been hugely successful. It’s hard to keep playing if no one comes to see you. At ajc.com, Melissa Ruggieri (“The Beach Boys display fine-tuned nostalgia on anniversary tour”, 29 April 2012) sums up the Beach Boys concert trek: “There is one point to a 50th anniversary tour: nostalgia.”

The Rolling Stones, U2, Metallica, Rush, AC/DC, and other bands with thirty or more candles on their birthday cakes, aren’t new to the party. Their days of being hailed as “the next big thing” are long gone. However, these bands have entered another phase of their musical lives: fans want to see these rock and roll legends before they’re gone.

Surely it is more likely that in another quarter century, The Wanted or One Direction will still be around while the Rolling Stones’ rocking years and the Beach Boys days of harmonizing will be long behind them. Then again, there’s a long-standing joke that when the world ends the only thing left will be cock roaches and Keith Richards. Here’s hoping cock roaches know how to appreciate a good guitar solo.

Friday, July 16, 2010

Music Goes to the Movies

image from musiccareers.net

There is a moment in Pirate Radio (2009) – an inexplicably deleted scene relegated to DVD extras status – that nails the joy of being a music geek better than anything since High Fidelity (2000). Academy Award winner Phillip Seymour Hoffman leads his band of fellow DJs through London in the late ‘60s on a bachelor party night of depravity. They pause for reflection across the street from Abbey Road studios. Hoffman points out that the Beatles might be in there recording at that very minute. In a salute to the power of music, he states “there’ll always be poverty and pain and war and injustice in this world, but there will, thank the Lord, also always be the Beatles.”

Similarly, there will always be movies about poverty and pain and war and injustice, but there will also be those about the Beatles. And Elvis. And the Rolling Stones and the Who and Bob Dylan and Johnny Cash and Ray Charles and…Anvil.

Anvil? In the mid ‘80s, these metal-also-rans seemed poised to take over the world alongside contemporaries like the Scorpions, Whitesnake, and Bon Jovi. The where-are-they-now documentary Anvil: The Story of Anvil (2008) is a real-life This Is Spinal Tap (1984) that doubles as a heartwarming tearjerker about a group that should have hung it up years ago, but just can’t abandon the dream that they still might make it big. Singer Steve “Lips” Kudlow says that jumping off a cliff would be the easy way out to which drummer Robb Reiner replies, “You won’t jump off the cliff ‘cause I’ll stop you.”

Of course, music-oriented movies aren’t just about rock ‘n’ roll. The relationship between the two mediums dates to roughly the births of both art forms. The first couple of decades of the 20th century saw the simultaneous rise of recorded music and the addition of sound to film, the latter most notably in 1927’s The Jazz Singer. As soon as Hollywood saw dollar signs and discovered the power of pilfering instead of creating something new, they raided Broadway. If it was big on stage, it could be big on screen (1933’s 42nd Street, 1936’s Show Boat, 1949’s South Pacific, 1956’s The King and I).

Disney spawned its own version, complete with animated princesses, woodland creatures, and puppets (1937’s Snow White and the Seven Dwarfs, 1940’s Pinocchio, 1940’s Fantasia, 1941’s Dumbo, 1942’s Bambi, 1950’s Cinderella).

When Elvis started swiveling his hips the musical gasped for breath. The rock ‘n’ roll era saw the arrival of vanity projects from the genre’s biggest stars. The King of Rock and Roll churned out Jailhouse Rock (1957) and a slew of other B-grade movies while the Beatles made A Hard Day’s Night (1964), which some call the greatest music movie ever made.

The traditional movie musical sounded a few last hurrahs (1961’s West Side Story, 1965’s The Sound of Music) before going largely mute until the new millennium (2001’s Moulin Rouge!, 2002’s Chicago). In the meantime, though, Hollywood figured out how to marry the musical to rock ‘n’ roll (1973’s Jesus Christ Superstar, 1979’s Hair) and churn out celluloid treatments of classic rock albums (The Who’s 1975 Tommy, Pink Floyd’s 1982 The Wall). The Wall and Heavy Metal (1981) also de-Disneyed the cartoon world with decidedly non-kid-oriented animated fare.

Shooting a dose of electric guitar into the film community didn’t just banish the musical to has-been status, but also birthed new genres. The tradition of seeing rock legends on stage and off kicked into high gear with 1967’s Don’t Look Back, 1970’s Woodstock, and 1970’s Gimme Shelter and has continued to the present with the aforementioned Anvil movie, Michael Jackson’s This Is It (2009), and It Might Get Loud (2008). How can you not be awed into rock star worship by the scene in the latter movie of Jack White crafting an electric guitar out of scrap material?

Of course, reality isn’t always what it’s cracked up to be so the film industry also embraced the biopic. This allowed film makers to more liberally edit which details of real-life personalities to embellish and which to forget. While telling the story of a musical legend was nothing new – the story of composer George M. Cohan in 1942’s Yankee Doodle Dandy comes to mind – the zest and decadence of rock star lives (1986’s Sid & Nancy, 1987’s La Bamba, 1989’s Great Balls of Fire) gave the format a new twist, for better or worse. On the plus side, the past decade has rewarded us with Academy-Award-winning performances in the depictions of musical icons Ray Charles (2004’s Ray!) and Johnny Cash (2005’s Walk the Line).

On the negative side, the rock-and-roll lifestyle is little more than a cliché in other movies. The Runaways (2010) had its moments, including Kristen Stewart’s spot-on Joan Jett look, but what should have been deeper commentary on the exploitation of girls in a predominantly male-driven business was yet another look-how-drugs-destroyed-them cautionary tale.

Then there was Crazy Heart (2009). While seemingly about a fictional character, it played like a biopic about Kris Kristofferson in an alternative world where he:

a) passes out nightly in a drunken or drugged stupor
b) is relegated to performing in small-town seedy bars and bowling alleys
c) has an inevitable meltdown on stage as “a” clashes headlong into “b”
d) still commands more than his share of sexual conquests no matter how old, fat, or drug-addled he becomes

Don’t get me wrong – Jeff Bridges earned his long overdue Best Actor Oscar – but did we need another musical journey through the life of a damaged soul who beds much younger women on his hopeful road to redemption?

Movies don’t always take music so seriously. The Blues Brothers (1980) reminded us just how fun music is. This Is Spinal Tap delighted in its absurdities. The Rocky Horror Picture Show (1975) gave us the full-on participation of live performance in all its camp and bad movie-making glory.

Speaking of camp, the ‘80s saw the MTV-inspired era of “is this a film or one big soundtrack promo?” with Flashdance (1983), Footloose (1984), and Dirty Dancing (1987). Not that light, adolescent-oriented fare was new – Elvis’ movies weren’t exactly competing for Oscars and the Annette Funicello and Frankie Avalon music-fueled Beach Party romps of the ‘60s weren’t focusing energy on commentary about the political relationships of the world’s super powers.

Of course, the very birth of rock ‘n’ roll, and subsequently its introduction in film, is tied to marketing to teens. Bill Haley & the Comets’ “Rock Around the Clock” provided the soundtrack for the opening of 1955’s Blackboard Jungle. While the movie aimed for anti-social commentary, it incited its audience to riot more than ponder the consequences of delinquent behavior.

Okay, so what’s the point of this music-goes-to-the-movies history lesson? Well, the first point is a music-goes-to-the-movies history lesson. Second, though, is this: at its worst, music-meets-film can evoke eye-rolls with over-the-top portrayals of people inspired to delinquency or decadence. At its best, however, a cherished musical film moment serves up a metaphor for pondering the human condition.

It doesn’t have to be that deep, though. Sometimes a movie simply prompts people to dance in the aisles or be transported beyond their surroundings for the moment. One afternoon, my sons and I were walking home from school during a light drizzle. We were all equipped with umbrellas but I soon noticed my boys twirling theirs on the ground and dancing around them instead of holding them aloft. Sure enough, their impromptu rain-soaked musical number was inspired by – what else? Singin’ in the Rain.