Nobody expected the 1983 motion picture BREAKIN’ to be a hit. At the time, breakdancing was quickly becoming a worldwide craze, rising from the urban neighborhoods and spilling into white-bread suburbia. Since Hollywood always loves to capitalize on current trends, TV commercials suddenly incorporated breakdancing and movies like BREAKIN’ and BEAT STREET (amongst others) were quickly put into production. BREAKIN’ was first out of the gate. The film was a commercial – and financial -success and was followed a year later by BREAKIN’ 2: ELECTRIC BOOGALOO. Highly entertaining some 35 years later, both films were light on plot and acting ability but heavy on music and fun. Regardless of how lightweight the films were, the soundtracks served up a healthy selection of R&B, Soul, and Funk music that was surprisingly light on the more dangerous sounds of Rap/Hip Hop. Regardless, the music introduced young movie goers to a sound and culture that they may not have experienced otherwise. The BREAKIN’ films were like extended versions of Michael Jackson’s “Beat It” video – every problem can be solved by a dance-off! And what is wrong with that?
Back in when I was a teenager, I thought I knew the difference between good and bad music. In my twisted late ‘70s teenage way of thinking, I thought that bands with skinny ties and Rickenbackers were the good guys and bands with moustaches and mullets were messengers of the devil. Yeah, like any 14 or 15 year old, I thought I had a clue. It wasn’t until I was 18 that I realized that I had been wrong about a lot of things – especially music. And since 1981, I’ve tried to make up for my discretions by choosing to search for the lost chord, investigating new artists and styles while revisiting the bands I once scoffed at. For example, I once thought that AOR (AKA Stadium Rock and/or Melodic Rock) was predictable and repetitious. I thought it was simply rock-by-numbers and that none of those bands could write an original song or riff to save their lives. But then, I took a hard look at the New Wave and Power Pop that I was listening to and realized that many of my favorite bands were at least partially guilty of the same thing. And then I looked at Country, Jazz, Folk and every other genre and was overwhelmed by the fact that what I had initially heard as derivative was actually just updating and carrying the music forward for a new generation. And with that breakthrough in my thought process, I was able to enjoy – and often love – bands like Journey, Foreigner, Survivor and REO Speedwagon. But don’t get me wrong – I’m still fully devoted to the Power Pop and New Wave I’ve loved since 1977. I just like to think that my tastes are much more varied than the casual music fan. OK, I’ll admit it – I’m a ‘music nerd’. Whatever that is…
Pop music is a strangely wonderful artform. On the surface, it can sound deceptively simple and carefree. However, like a calm and inviting ocean, mystery lies beneath the windswept ripples. The melodies may dance around in the ether but there are a lot of moving parts that make them seem effortless. Every beat, every bass thump, every electronic whirl, every guitar strum, and every harmony is there for a reason. It is up to you, the listener, to realize what that reason is. Yes, you can read interviews and find out what the artists’ intents are but often times, they don’t fully realize the meaning of their songs until years later. On the other hand, one song can mean something different to nearly every person that listens to it. And that, in and of itself, is one of the great mysteries of Pop music.
In the music industry, fame can be fleeting but true success is measured by the lasting impact the musician’s art has on the listener/consumer. For example, let’s look back at the year 2000. There were a lot of big worldwide hits that year by well-known artists (U2, Bon Jovi, Madonna, Britney Spears, etc.) and some long-forgotten artists as well (Darude, BBMak, Wheatus, MxPx). While many of the hits from that year are still fondly remembered, an equal amount of chart-climbers have been tossed aside like an old stick of bubble gum – chewed up and spit out once they were out of flavor. However, there are singles released in ’00 that were not only lovingly embraced by music fans but also inspired a new generation of musicians. A few of those – including “Babylon” – were released by British singer/songwriter David Gray. The success of his WHITE LADDER album took many by surprise yet it was far from an overnight success…
Nova Scotia, Canada has given us some fine musical talent over the years. Anne Murray, Denny Doherty (The Mamas & The Papas), Sarah McLachlan, Feist, members of April Wine and Sloan, Holly Cole, and Hank Snow are just a few of the native Nova Scotians that have made their mark in Rock history. There are many others, of course, and there will be many in the years to come. Singer/songwriter Steve Poltz hails from Nova Scotia as well. However, he kickstarted his musical career as a member of San Diego legends The Rugburns. For over two decades – and releases on Priority and Bizarre/Planet Records – The Rugburns has remained a sorely underappreciated outfit. Alongside The Rugburns’ trio of releases (two albums and an EP) and a dozen solo albums, Poltz is also known as the co-writer of his former girlfriend Jewel’s multi-platinum hit “You Were Meant For Me,” which reached #2 on Billboard. In short, Poltz has achieved quite a bit in a career that, by and large, has been under the radar. Perhaps it is time for more listeners to get to know Steve a bit more intimately with his 2019 album SHINE ON…
The term ‘Honky-Tonk’ means different things to different people. For some, Honky-Tonk is raw and raucous sub-genre of Country Music. For others, it is a smoky bar with beer-stained floorboards, rowdy patrons, and the constant flow of Country Music. From juke boxes to live music performed by local and traveling musicians, Honky-Tonk bars gave birth to a distinctive style of Country Music. Then again, one can say that Honky-Tonk music helped establish the spirit of a Honky-Tonk bar. So, in this case, it doesn’t matter which came first – both the music and the drinking establishments are now intrinsically linked to each other. However, a bar cannot easily hitch itself to a truck and move from town to town like a Honky-Tonk musician can. This means that the spirit of Honky-Tonk must exist within the music and it is up to the many traveling minstrels to spread its ‘gospel’. And this brings us to a man who preaches that gospel better than anyone out there: Dale Watson.
Even though you might not recognize his name, you are more than likely familiar with the work of Chris Butler. While his studio work with Tin Huey, Richard Lloyd, the dBs and other bands might have passed some of you by, you will most certainly recognize his higher profile recordings with The Waitresses. Chris Butler was the guitarist and songwriter for the Akron, Ohio-based quirky New Wave outfit and was responsible for penning their hit single “I Know What Boys Like,” as well as their theme song to the cult TV series Square Pegs and the perennial holiday favorite “Christmas Wrapping.” What some may not realize is that while his most high-profile band may have split in 1984, Chris Butler has continued to create experimental music that is entirely unique and charmingly quirky.
Rockpile remains one of Rock ‘n’ Roll’s most respected but commercially overlooked bands. In terms of credibility, how could you go wrong with a band featuring Nick Lowe, Dave Edmunds, Billy Bremner and Terry Williams? While Rockpile recorded albums that were credited to either Edmunds or Lowe, they only recorded one proper studio album under their collective name – 1980’s SECONDS OF PLEASURE – before the band split up. Nick and Dave continued their successful solo careers while Terry joined Dire Straits. The band’s secret weapon – guitarist/vocalist Bremner – also pursued a solo career as well as working with The Pretenders (that’s him playing lead guitar on “Back On The Chain Gang”), Shakin’ Stevens, and many others. He did appear on Lowe and Edmunds’ solo albums as well. While not as high profile as his former bandmates, Bremner has released four solo albums over the years and worked with a multitude of other artists. Often overlooked on his own merits, the best of Billy’s solo material has finally been compiled on the excellent SINGLED OUT collection courtesy of RPM/Cherry Red.
Much has been written about Yoko Ono over the years and, sadly, not all of it positive. However, if you look back over the 50 years that she has been in the public consciousness, she has always been a force for good. A superhero of sorts. From being a positive light that guided John Lennon out of his darkness to being an outspoken advocate against gun violence, Yoko has lent her name, her money and her time to many great causes over the years. Yet, the press has dragged her name through the mud so many times that their personal agendas have been adopted by the public as facts. While I’m sure it has been hurtful and confusing to Yoko, she has stood tall and continues to be a strong force in activism and art.
If you go to Wikipedia and look up ‘Honky Tonk’, you’ll find the following description: “A Honky Tonk is both a bar that provides country music for the entertainment of its patrons and the style of music played in such establishments. In the 1950s, Honky Tonk entered its golden age, with the popularity of Webb Pierce, Hank Locklin, Lefty Frizzell, Ray Price, Faron Young, George Jones, and Hank Williams.” So, given that description, it’s no wonder that singer/songwriter J.P. Harris is often referred to as one of the finest purveyors of Honky Tonk music in America today. As ‘modern’ Country takes up space on the charts, it is refreshing – and dare I say it, exhilarating – to experience an artist so in tune with the roots of the genre’s pioneering artists. Harris ain’t no Americana bandwagoneer – he is as Country as Country Music gets.