I do a lot of “musical analysis” whilst in supermarkets and shopping centres; for me, it’s pure escapism from the demands of society and work life. Last weekend, whilst absent-mindedly shopping in our local supermarket, my ears pricked up to the sounds of Bachelor Girl’s 1998 hit, “Buses And Trains”. “Great pop song”, I muttered to myself whilst paying for our groceries at the self-serve checkout.
Three days later, whilst rushing from one work meeting to another, “Buses And Trains” caught my attention again as it was played over the noise of a busy food court in a suburban Sydney shopping centre.
By default or by design, I was party to the unlikely trifecta of hearing “Buses And Trains” AGAIN as I walked past a women’s clothing store later the same day.
Freaky…
The Australian pop duo of Bachelor Girl enjoyed a handful of hit singles in Australasia during the late 1990’s and early 2000’s, however they will always be remembered for their debut single, “Buses And Trains”. It follows the perfect pop song format [i.e. catchy chorus, simple lyrics et al], and it is a “cookie cutter” template song for supermarkets and shopping centres, as it will never offend any member of the public, and everybody over the age of 25 is familiar with the tune.
Whilst “Buses And Trains” remains a lucrative copyright for Bachelor Girl’s singer Tania Doko and multi-instrumentalist James Roche, one wonders how they feel about the song’s impact on their subsequent music careers. The facts must be faced; their debut single remains their most revered composition.
In keeping with my hobby of analysing music whilst in supermarkets and shopping centres, I surprised myself at how swiftly I was able to compile a list of artists of whom their debut single remains their most revered work:
• “Wuthering Heights” – Kate Bush
• “Just What I Needed” – The Cars
• “Alive” – Pearl Jam
• “Fool If You Think It’s Over” – Chris Rea
• “Kids In America” – Kim Wilde
• “Tomorrow” – Silverchair
• “Baby One More Time” – Britney Spears
• “Morning Train” – Sheena Easton
• “It’s Not Unusual” – Tom Jones
• “More Than A Feeling” – Boston
• “Never Gonna Give You Up” – Rick Astley
• “Take On Me” – a-Ha
• “The Final Countdown” – Europe
From Bachelor Girl through to Europe, these are all great songs, debut release or not. The most important aspect of each song is that it created a career for each artist, and that in itself is something to be proud of. We all know that there are thousands of artists worldwide who would kill to be in a similar position.
This being said, I wonder if these artists ever think to themselves, “when will I outdo the debut single?” It’s a nice question to be able to contemplate…
Saturday, February 4, 2012
Saturday, January 28, 2012
THE WIGGLES: SOME THINGS ARE BETTER LEFT UNSAID
Australia’s most successful kids-genre entertainers, The Wiggles, have recently been in the news for slightly controversial reasons, and the public are collectively scratching their heads as to why and how this has happened.
For the uninitiated, Greg Page [the original “Yellow” Wiggle] left the group in 2006 due to an illness known as dysautonomia [symptoms being chronic fatigue and fainting]. His replacement, Sam Moran, slotted into the group without fault [he being an understudy to the “Yellow” Wiggle role for some years prior to his formal appointment], and for many youngsters around the globe, Sam Moran is THE Yellow Wiggle.
Recent media reports indicate that Greg Page has a clean bill of health, and he will resume the role of the Yellow Wiggle effective immediately. Page’s illness has been well documented [he has released an autobiography in recent years], and as a founding member of The Wiggles, it makes sense that he returns to the fold at this time.
However, the media have sensed a big story from the event, and hasn’t it opened a can of worms!!
The Wiggles “brand” has been one of Australia’s greatest success stories during the past 2 decades; The Wiggles are globally known and they display no sign of fatigue. The slightly “sinister” aspect of Page’s return to The Wiggles has been the treatment of the outgoing Sam Moran. Whilst Moran has been a diplomat in the truest sense of the word, it has been revealed that Moran’s severance pay amounted to “only” AUD$60,000.00, and he will receive publishing royalties of a similar figure per annum for the foreseeable future.
Additional probing into The Wiggles’ corporate empire has revealed that Moran held no equity in The Wiggles, rather he was an employee [albeit a highly prominent employee]. When Page left the group in 2006, he is rumoured to have sold his 20% stake in the conglomerate for circa AUD$20M, with the remaining 3 members of The Wiggles & their 2 managers acquiring his stake.
Is this controversial news? One would have to say not at all in the world of entertainment. The Rolling Stones are owned by Mick Jagger and Keith Richards; Charlie Watts and Bill Wyman are paid a salary whenever The Stones perform in concert. The same can be said for Kiss; Gene Simmons and Paul Stanley employ Ace Frehley and Peter Criss [or whoever wishes to don their respective make-up disguises] for concert tours.
Let’s sum up The Wiggles’ line up change; Page cashed in his chips in 2006, and now he is back as a salaried employee. Moran has a stable cash flow stream [via publishing royalties] for at least the next generation, and his entertainment career is certainly better for the experience.
The world should have been able to move on from this event, and return to enjoying The Wiggles for what they are; wholesome family entertainment. However, Anthony Field [the “Blue” Wiggle] has decided to use this opportunity to reveal his ongoing battle with depression. Whilst this is obviously a very personal matter and it takes considerable courage to announce such an affliction to the world, one must wonder what The Wiggles’ core fan base [i.e. children under the age of five] makes of these recent media reports. Do they truly understand the implications of these announcements? Is it for the benefit of their “older” fan base? [i.e. the children’s parents] Does the world wish for The Wiggles to be seen as experiencing real life issues, or should the fundamental reason for their amazing success [i.e. good old-fashioned entertainment] be upheld in this case?
Maybe [just maybe] The Wiggles should use this opportunity to review their Public Relations firm at this time. Sometimes, some things are better left unsaid…
For the uninitiated, Greg Page [the original “Yellow” Wiggle] left the group in 2006 due to an illness known as dysautonomia [symptoms being chronic fatigue and fainting]. His replacement, Sam Moran, slotted into the group without fault [he being an understudy to the “Yellow” Wiggle role for some years prior to his formal appointment], and for many youngsters around the globe, Sam Moran is THE Yellow Wiggle.
Recent media reports indicate that Greg Page has a clean bill of health, and he will resume the role of the Yellow Wiggle effective immediately. Page’s illness has been well documented [he has released an autobiography in recent years], and as a founding member of The Wiggles, it makes sense that he returns to the fold at this time.
However, the media have sensed a big story from the event, and hasn’t it opened a can of worms!!
The Wiggles “brand” has been one of Australia’s greatest success stories during the past 2 decades; The Wiggles are globally known and they display no sign of fatigue. The slightly “sinister” aspect of Page’s return to The Wiggles has been the treatment of the outgoing Sam Moran. Whilst Moran has been a diplomat in the truest sense of the word, it has been revealed that Moran’s severance pay amounted to “only” AUD$60,000.00, and he will receive publishing royalties of a similar figure per annum for the foreseeable future.
Additional probing into The Wiggles’ corporate empire has revealed that Moran held no equity in The Wiggles, rather he was an employee [albeit a highly prominent employee]. When Page left the group in 2006, he is rumoured to have sold his 20% stake in the conglomerate for circa AUD$20M, with the remaining 3 members of The Wiggles & their 2 managers acquiring his stake.
Is this controversial news? One would have to say not at all in the world of entertainment. The Rolling Stones are owned by Mick Jagger and Keith Richards; Charlie Watts and Bill Wyman are paid a salary whenever The Stones perform in concert. The same can be said for Kiss; Gene Simmons and Paul Stanley employ Ace Frehley and Peter Criss [or whoever wishes to don their respective make-up disguises] for concert tours.
Let’s sum up The Wiggles’ line up change; Page cashed in his chips in 2006, and now he is back as a salaried employee. Moran has a stable cash flow stream [via publishing royalties] for at least the next generation, and his entertainment career is certainly better for the experience.
The world should have been able to move on from this event, and return to enjoying The Wiggles for what they are; wholesome family entertainment. However, Anthony Field [the “Blue” Wiggle] has decided to use this opportunity to reveal his ongoing battle with depression. Whilst this is obviously a very personal matter and it takes considerable courage to announce such an affliction to the world, one must wonder what The Wiggles’ core fan base [i.e. children under the age of five] makes of these recent media reports. Do they truly understand the implications of these announcements? Is it for the benefit of their “older” fan base? [i.e. the children’s parents] Does the world wish for The Wiggles to be seen as experiencing real life issues, or should the fundamental reason for their amazing success [i.e. good old-fashioned entertainment] be upheld in this case?
Maybe [just maybe] The Wiggles should use this opportunity to review their Public Relations firm at this time. Sometimes, some things are better left unsaid…
Saturday, December 31, 2011
RUMER: THE VOICE OF 2011
Whilst Adele achieved critical and commercial saturation during 2011, Rumer was also a worthy frontrunner for the Voice of 2011.
Rumer [real name: Sarah Joyce, and of Anglo-Pakistani origin] quietly released her debut long-player “Seasons Of My Soul” in late 2010, however with a voice equal parts Karen Carpenter & Dusty Springfield it didn’t take long for the music industry to recognise a major talent in the making.
Within reason, if “Seasons Of My Soul” was released 40 years ago Rumer would be a huge star in the music industry. The songs are written and recorded with real instruments, and in the main tell real stories of which music lovers can all appreciate. Rumer has “lived her life”, and she has the voice to articulate these stories to perfection.
It is interesting to note that Rumer has been endorsed by such music heavyweights as Burt Bacharach, Jools Holland and Elton John. Further to this, Rumer’s vocal tonality is a perfect fit for Bacharach’s melodic song writing style. It comes as no surprise that Rumer has recently worked with Bacharach on his new compositions.
Whilst “Seasons Of My Soul” has been critically acclaimed and sold well in Europe, it is far from perfect. The media has focussed on the songs “Slow” and “Aretha” [the latter of which sounds similar to Corrine Bailey Rae’s “Put Your Records On”], however my favourite track is the bouncy opening song, “Am I Forgiven”. Rumer’s voice can’t be faulted on any track, however the collection leans too heavily upon brooding “torch” songs. Rumer shares the writing credit of the long player’s original songs with her mentor, Steve Brown, however CD Number Two would benefit from the inclusion of some tracks from writers external to their inner circle. The three cover versions [David Gates’ “Goodbye Girl”, Cilla Black’s “Alfie” and Steven Bishop’s “It Might Be You”] all work well to a degree, noting that Rumer has now sung the definitive version of Bacharach & David’s “Alfie”.
Rumer is no overnight sensation, and “Seasons Of My Soul” is one of the better long player releases of the past 12 months, notwithstanding a very solid debut collection. Noting that Adele is suffering from media & vocal overload, it will be very interesting to see whether Rumer can attain global popularity whilst Adele stays out of the limelight. With a voice as pure as one has heard, Rumer deserves to be a success. How ironic that an extremely talented musician raises her presence in an era where marketability presides over substance…
Rumer [real name: Sarah Joyce, and of Anglo-Pakistani origin] quietly released her debut long-player “Seasons Of My Soul” in late 2010, however with a voice equal parts Karen Carpenter & Dusty Springfield it didn’t take long for the music industry to recognise a major talent in the making.
Within reason, if “Seasons Of My Soul” was released 40 years ago Rumer would be a huge star in the music industry. The songs are written and recorded with real instruments, and in the main tell real stories of which music lovers can all appreciate. Rumer has “lived her life”, and she has the voice to articulate these stories to perfection.
It is interesting to note that Rumer has been endorsed by such music heavyweights as Burt Bacharach, Jools Holland and Elton John. Further to this, Rumer’s vocal tonality is a perfect fit for Bacharach’s melodic song writing style. It comes as no surprise that Rumer has recently worked with Bacharach on his new compositions.
Whilst “Seasons Of My Soul” has been critically acclaimed and sold well in Europe, it is far from perfect. The media has focussed on the songs “Slow” and “Aretha” [the latter of which sounds similar to Corrine Bailey Rae’s “Put Your Records On”], however my favourite track is the bouncy opening song, “Am I Forgiven”. Rumer’s voice can’t be faulted on any track, however the collection leans too heavily upon brooding “torch” songs. Rumer shares the writing credit of the long player’s original songs with her mentor, Steve Brown, however CD Number Two would benefit from the inclusion of some tracks from writers external to their inner circle. The three cover versions [David Gates’ “Goodbye Girl”, Cilla Black’s “Alfie” and Steven Bishop’s “It Might Be You”] all work well to a degree, noting that Rumer has now sung the definitive version of Bacharach & David’s “Alfie”.
Rumer is no overnight sensation, and “Seasons Of My Soul” is one of the better long player releases of the past 12 months, notwithstanding a very solid debut collection. Noting that Adele is suffering from media & vocal overload, it will be very interesting to see whether Rumer can attain global popularity whilst Adele stays out of the limelight. With a voice as pure as one has heard, Rumer deserves to be a success. How ironic that an extremely talented musician raises her presence in an era where marketability presides over substance…
Saturday, December 17, 2011
MUSIC IS ART; ART IS MUSIC
Music is an aural and visual medium. Whilst the aural component may initially attract the consumer of the music, there is an equal debate for the visual element.
We have all been attracted to the “cover art” of recorded music on at least one occasion in our lives. It may be recorded music of an artist that you know & enjoy, or it could be an unknown artist; sometimes the “cover art” is simply very appealing, and it draws you in. It makes you listen to recorded music, of which you may never have stumbled upon in any other situation.
Great collections of recorded music [whether that be commercial and/ or critical success] invariably have great “cover art”; it simply goes with the territory. I’ll list some examples:
• “Abbey Road” – The Beatles
• “Nevermind” – Nirvana
• “Dark Side of the Moon” – Pink Floyd
• “Rumours” – Fleetwood Mac
• “Country Life” – Roxy Music
The list is endless. In each case, the “cover art” of these music recordings is instantly recognisable and synonymous with that particular recording. Whether it be the artists’ picture or a graphic, these cases will be deemed “classic” for ever and a day.
I have become concerned that the “visual” aspect of recorded music would gradually disappear in conjunction with the steady reduction in physical music sales. There is a material difference is admiring the “cover art” of a physical music recording as opposed to clicking on a thumbnail image of the “cover art” via the Internet.
This weekend’s visit to my local JB Hi-Fi shop [a prominent music retailer in Australia] has set my concerns aside. “Cover art” is alive and well.
“21” by Adele has been the highest selling CD/ mp3 et al in Australia in 2011 [and the rest of the globe]. Adele’s phenomenal success is based upon equal parts brilliant voice & memorable songs, however it comes as no surprise that “21” also features brilliant “cover art”. I had no idea of Adele or her story until April of this year, until I stumbled upon “21” on the music play list of a commercial flight. Why was I compelled to listen to the songs of “21”? The “cover art”; Adele’s black & white portrait immediately grabbed my attention.
Some music critics are claiming “21” to be the saviour of the recorded music industry, as physical sales of the release have been enormous. Maybe [just maybe], “21” has unwittingly rejuvenated the importance of “cover art” for the modern music generation.
Music is art, and art will always be music.
We have all been attracted to the “cover art” of recorded music on at least one occasion in our lives. It may be recorded music of an artist that you know & enjoy, or it could be an unknown artist; sometimes the “cover art” is simply very appealing, and it draws you in. It makes you listen to recorded music, of which you may never have stumbled upon in any other situation.
Great collections of recorded music [whether that be commercial and/ or critical success] invariably have great “cover art”; it simply goes with the territory. I’ll list some examples:
• “Abbey Road” – The Beatles
• “Nevermind” – Nirvana
• “Dark Side of the Moon” – Pink Floyd
• “Rumours” – Fleetwood Mac
• “Country Life” – Roxy Music
The list is endless. In each case, the “cover art” of these music recordings is instantly recognisable and synonymous with that particular recording. Whether it be the artists’ picture or a graphic, these cases will be deemed “classic” for ever and a day.
I have become concerned that the “visual” aspect of recorded music would gradually disappear in conjunction with the steady reduction in physical music sales. There is a material difference is admiring the “cover art” of a physical music recording as opposed to clicking on a thumbnail image of the “cover art” via the Internet.
This weekend’s visit to my local JB Hi-Fi shop [a prominent music retailer in Australia] has set my concerns aside. “Cover art” is alive and well.
“21” by Adele has been the highest selling CD/ mp3 et al in Australia in 2011 [and the rest of the globe]. Adele’s phenomenal success is based upon equal parts brilliant voice & memorable songs, however it comes as no surprise that “21” also features brilliant “cover art”. I had no idea of Adele or her story until April of this year, until I stumbled upon “21” on the music play list of a commercial flight. Why was I compelled to listen to the songs of “21”? The “cover art”; Adele’s black & white portrait immediately grabbed my attention.
Some music critics are claiming “21” to be the saviour of the recorded music industry, as physical sales of the release have been enormous. Maybe [just maybe], “21” has unwittingly rejuvenated the importance of “cover art” for the modern music generation.
Music is art, and art will always be music.
Saturday, November 19, 2011
WHY DOES EVERYBODY HATE NICKELBACK?
Canadian corporate-rockers Nickelback have experienced a couple of very tough months in the music media.
Firstly, Nickelback were voted the band with a musical soundtrack least likely to arouse “romantic feelings” between a man and a woman.
Secondly, the good folk of Detroit, Michigan have commenced a petition [some 40,000 + people!!] to remove Nickelback as the half-time entertainment during the upcoming NFL playoff between the Green Bay Packers and the Detroit Lions.
Nickelback appear to have become the music media’s favourite whipping boys over the past 5 years; where does all of the “anti-Nickelback” sentiment emanate from?
Is it their music? In all fairness to Nickelback, their style of music is “rock by numbers”, full of power chords, big choruses and clichéd lyrics. Then again, the same can be said about Bon Jovi, however New Jersey’s finest [sorry, Bruce] don’t get anywhere near as much bad publicity as Nickelback.
Is it their band name? According to an urban myth, bass player Mike Kroeger coined the phrase “and here is your nickel back” when working for Starbucks as a teenager…
Is it their commercial success? 2005’s “All The Right Reasons” CD sold in excess of 6 million copies in the United States of America alone, which spells big numbers in an era of regressing recorded music sales. Let’s face it, the music of Nickelback appeals to many, many people.
Is it their nationality? It’s a North American thing; USA vs. Canada. Are the people of the 50 States jealous of their Northern neighbour’s huge success?
Is it Chad Kroeger’s hairstyle? The brown goatee beard and dyed-blonde front mullet is certainly unique, and in many cases represents one’s initial visual thought of Nickelback.
It doesn’t matter which way that you analyse the situation; someone started the “anti-Nickelback” phenomena and I’m keen to identify the individual! Whilst I doubt that the boys from Nickelback are unduly perturbed by all of this “talk” [any type of publicity is good publicity], it does seem strange that the ill feeling has grown to its present state.
I’m keen to read your comments about Nickelback, and whether anyone can source the original “anti-Nickelback” instigator!!
Firstly, Nickelback were voted the band with a musical soundtrack least likely to arouse “romantic feelings” between a man and a woman.
Secondly, the good folk of Detroit, Michigan have commenced a petition [some 40,000 + people!!] to remove Nickelback as the half-time entertainment during the upcoming NFL playoff between the Green Bay Packers and the Detroit Lions.
Nickelback appear to have become the music media’s favourite whipping boys over the past 5 years; where does all of the “anti-Nickelback” sentiment emanate from?
Is it their music? In all fairness to Nickelback, their style of music is “rock by numbers”, full of power chords, big choruses and clichéd lyrics. Then again, the same can be said about Bon Jovi, however New Jersey’s finest [sorry, Bruce] don’t get anywhere near as much bad publicity as Nickelback.
Is it their band name? According to an urban myth, bass player Mike Kroeger coined the phrase “and here is your nickel back” when working for Starbucks as a teenager…
Is it their commercial success? 2005’s “All The Right Reasons” CD sold in excess of 6 million copies in the United States of America alone, which spells big numbers in an era of regressing recorded music sales. Let’s face it, the music of Nickelback appeals to many, many people.
Is it their nationality? It’s a North American thing; USA vs. Canada. Are the people of the 50 States jealous of their Northern neighbour’s huge success?
Is it Chad Kroeger’s hairstyle? The brown goatee beard and dyed-blonde front mullet is certainly unique, and in many cases represents one’s initial visual thought of Nickelback.
It doesn’t matter which way that you analyse the situation; someone started the “anti-Nickelback” phenomena and I’m keen to identify the individual! Whilst I doubt that the boys from Nickelback are unduly perturbed by all of this “talk” [any type of publicity is good publicity], it does seem strange that the ill feeling has grown to its present state.
I’m keen to read your comments about Nickelback, and whether anyone can source the original “anti-Nickelback” instigator!!
Saturday, October 29, 2011
LIVE PERFORMANCES: EARNING YOUR FEE
There is an old adage in the business world; “treat all people with respect as you climb the ladder of success, because you will see the same people as you revert down that same ladder”. I would suggest that Flo Rida and Meatloaf pay strict attention to this phrase.
Flo Rida [one assumes that he originally hails from Florida] appears to be a generic rap performer who has struck it lucky and found a massive global audience. In isolation this is fine and what every performer strives to achieve, however success comes with responsibilities in order to maintain the success. Today’s breed of music superstars are invariably challenged by the prospect of “live performances”, and it would appear that Flo Rida is the latest victim of this so-called curse.
Recent media reports indicate that Flo Rida failed to “perform” at 2 concerts in Sydney during his Australian tour in October. This is despite the fact that Flo Rida’s performance fee had been paid in full upfront and all gratuitous expenses were also absorbed by the concert promoter. The irony lay in the fact that Flo Rida was actually present at the venue of 1 of the aborted concerts, however he was deemed to be “unfit to perform”.
This media release can be interpreted in any manner as one deems to be appropriate; this being said the underlying facts remain in focus for all public performers. If you are going to accept your loyal audience’s money, you need to earn your keep!!
Which brings us to Meatloaf…
Meatloaf is a rock God, however he is 30 years past his prime. His legend is earned by way of compelling live performances, although the intensity of his act saw his voice blown out many years ago. Meatloaf was contracted to perform at the Grand Final of the Australian Football League in Melbourne in early October for circa 20 minutes for a reputed fee of $150,000.00. The warning bells should have been heard from the outset…
Granted that Meatloaf performed to a backing tape & without a sound check, his live vocal performance was appalling; some might say the worst singing effort ever by an international act in Australia. Upon leaving Australia, Meatloaf was quoted in the media as stating that the Australian Football League officials were “jerks”. Meatloaf won’t be made welcome in Australia ever again, and he should not have accepted his performance fee if he wasn’t comfortable in performing at the time.
In both cases, Flo Rida and Meatloaf may actually sell a few additional CDs/ mp3s on the back of the self-inflicted negative publicity. After all is said and done, what is more important in this case? Are both artists viewed as being “entertainers” or “musicians”? Whilst neither is technically a “musician”, can either be defined as an “entertainer” if they are incapable of entertaining?
Flo Rida [one assumes that he originally hails from Florida] appears to be a generic rap performer who has struck it lucky and found a massive global audience. In isolation this is fine and what every performer strives to achieve, however success comes with responsibilities in order to maintain the success. Today’s breed of music superstars are invariably challenged by the prospect of “live performances”, and it would appear that Flo Rida is the latest victim of this so-called curse.
Recent media reports indicate that Flo Rida failed to “perform” at 2 concerts in Sydney during his Australian tour in October. This is despite the fact that Flo Rida’s performance fee had been paid in full upfront and all gratuitous expenses were also absorbed by the concert promoter. The irony lay in the fact that Flo Rida was actually present at the venue of 1 of the aborted concerts, however he was deemed to be “unfit to perform”.
This media release can be interpreted in any manner as one deems to be appropriate; this being said the underlying facts remain in focus for all public performers. If you are going to accept your loyal audience’s money, you need to earn your keep!!
Which brings us to Meatloaf…
Meatloaf is a rock God, however he is 30 years past his prime. His legend is earned by way of compelling live performances, although the intensity of his act saw his voice blown out many years ago. Meatloaf was contracted to perform at the Grand Final of the Australian Football League in Melbourne in early October for circa 20 minutes for a reputed fee of $150,000.00. The warning bells should have been heard from the outset…
Granted that Meatloaf performed to a backing tape & without a sound check, his live vocal performance was appalling; some might say the worst singing effort ever by an international act in Australia. Upon leaving Australia, Meatloaf was quoted in the media as stating that the Australian Football League officials were “jerks”. Meatloaf won’t be made welcome in Australia ever again, and he should not have accepted his performance fee if he wasn’t comfortable in performing at the time.
In both cases, Flo Rida and Meatloaf may actually sell a few additional CDs/ mp3s on the back of the self-inflicted negative publicity. After all is said and done, what is more important in this case? Are both artists viewed as being “entertainers” or “musicians”? Whilst neither is technically a “musician”, can either be defined as an “entertainer” if they are incapable of entertaining?
Saturday, October 8, 2011
1980’s ROCK BANDS: WHEN THE CREDIBILITY HAS DISAPPEARED FOR GOOD
Motley Crue were at their commercial peak when I was a teenager/ adolescent, way back in the late 1980’s/ early 1990’s. Whilst I wouldn’t have ever considered myself to be a “fan”, I have always been mildly fascinated by this rock group. Most people of my age read “The Dirt” in a state of awe & amazement; if Vince Neil, Nicki Sixx, Mick Mars & Tommy Lee partook in only a 1/3rd of the debauchery detailed in the book, then I tip my hat to their continued existence and health!
“The Dirt” also focuses on Motley Crue’s live performances as being an important ingredient in their immense popularity. The Crue’s songs are essentially “rock by numbers” and standard fare in comparison to the plethora of other 1980’s “Big Hair” rock bands, however Vince & the boys could historically be relied upon for above-average musicianship & plenty of energy in their live act.
That was then; but what about now?
Motley Crue toured Australia last month, and the concert reviews in general conjure up the image that the Crue’s time is well and truly over. Vince Neil was never a great singer [he is best described as an “entertainer”], however it is fairly sad when a lead singer spends the majority of a gig with his microphone in the direction of the crowd [for a sing-a-long] in an effort to mask his sub-par vocal ability. To compound his lack of singing talent, Neil is physically bloated [too much booze] and presently wearing a ridiculous fake tan.
Motley Crue: you do have a deserved place in the history of 1980’s rock, however for the present day – it’s over!!
Let’s now turn our attention to INXS. Being an Australian, I was kind of proud of the fact that INXS enjoyed global popularity in the late 1980’s. It was a very sad day when Michael Hutchence suddenly passed away, however the true INXS fans would be honest in saying that the final 7 years of a Hutchence-led INXS were not their best years. In fact, the final INXS Australian tour in 1997 saw the band performing in pubs rather than stadiums.
The subsequent 14 years have seen INXS come and go in the media spotlight, throwing up various “guest” lead singers in an effort to keep the INXS brand alive. In 2005, the remaining band members foolishly participated in a reality-TV program in an effort to find a new lead singer. The winner of the program, JD Fortune, was an unoriginal Hutchence sound-a-like with too much hair gel. A CD of new material was released, flickered briefly, and Fortune was soon given his marching orders. Amazingly, Fortune came back into the INXS camp for a series of live performances in 2010, however he was subsequently relieved of his duties for a 2nd time.
One would assume that the INXS brand be embalmed at this time, with new generations of fans being allowed to enjoy their back catalogue. However, it would appear that INXS is attempting to have a crack at global stardom again, with the recruitment of Irishman Ciaran Gribbin as their new lead singer.
There is an unspoken rule in the rock n’ roll world; you can never replace a charismatic lead singer and expect the band to retain their credibility. One must assume that the INXS camp have nothing better to do, as the music world are most likely to ignore the 3rd incarnation of INXS.
This being said, there is an interesting twist to the old adage that “rock stars can’t give up their jobs”. Jeffery Hoad [a David Lee Roth-wannabe lead singer from 1980’s Australian “Big Hair” rock group Kings of the Sun] recently pleaded guilty in Court to possessing a commercial quantity of marijuana. His lawyers argued that Hoad, now 50 years of age, had resorted to dealing drugs for a living due to the fact that his future in music had faded due to changing music trends. Whilst it can’t be ignored that Hoad has committed a criminal offence, he must be applauded for having the sense to acknowledge that 1980’s rock stars can’t continue on forever!!
“The Dirt” also focuses on Motley Crue’s live performances as being an important ingredient in their immense popularity. The Crue’s songs are essentially “rock by numbers” and standard fare in comparison to the plethora of other 1980’s “Big Hair” rock bands, however Vince & the boys could historically be relied upon for above-average musicianship & plenty of energy in their live act.
That was then; but what about now?
Motley Crue toured Australia last month, and the concert reviews in general conjure up the image that the Crue’s time is well and truly over. Vince Neil was never a great singer [he is best described as an “entertainer”], however it is fairly sad when a lead singer spends the majority of a gig with his microphone in the direction of the crowd [for a sing-a-long] in an effort to mask his sub-par vocal ability. To compound his lack of singing talent, Neil is physically bloated [too much booze] and presently wearing a ridiculous fake tan.
Motley Crue: you do have a deserved place in the history of 1980’s rock, however for the present day – it’s over!!
Let’s now turn our attention to INXS. Being an Australian, I was kind of proud of the fact that INXS enjoyed global popularity in the late 1980’s. It was a very sad day when Michael Hutchence suddenly passed away, however the true INXS fans would be honest in saying that the final 7 years of a Hutchence-led INXS were not their best years. In fact, the final INXS Australian tour in 1997 saw the band performing in pubs rather than stadiums.
The subsequent 14 years have seen INXS come and go in the media spotlight, throwing up various “guest” lead singers in an effort to keep the INXS brand alive. In 2005, the remaining band members foolishly participated in a reality-TV program in an effort to find a new lead singer. The winner of the program, JD Fortune, was an unoriginal Hutchence sound-a-like with too much hair gel. A CD of new material was released, flickered briefly, and Fortune was soon given his marching orders. Amazingly, Fortune came back into the INXS camp for a series of live performances in 2010, however he was subsequently relieved of his duties for a 2nd time.
One would assume that the INXS brand be embalmed at this time, with new generations of fans being allowed to enjoy their back catalogue. However, it would appear that INXS is attempting to have a crack at global stardom again, with the recruitment of Irishman Ciaran Gribbin as their new lead singer.
There is an unspoken rule in the rock n’ roll world; you can never replace a charismatic lead singer and expect the band to retain their credibility. One must assume that the INXS camp have nothing better to do, as the music world are most likely to ignore the 3rd incarnation of INXS.
This being said, there is an interesting twist to the old adage that “rock stars can’t give up their jobs”. Jeffery Hoad [a David Lee Roth-wannabe lead singer from 1980’s Australian “Big Hair” rock group Kings of the Sun] recently pleaded guilty in Court to possessing a commercial quantity of marijuana. His lawyers argued that Hoad, now 50 years of age, had resorted to dealing drugs for a living due to the fact that his future in music had faded due to changing music trends. Whilst it can’t be ignored that Hoad has committed a criminal offence, he must be applauded for having the sense to acknowledge that 1980’s rock stars can’t continue on forever!!
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