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.
I can only imagine (no pun intended) a Beatles fan spinning John Lennon and Yoko Ono’s THE WEDDING ALBUM for the first time. I mean, it most certainly isn’t THE WHITE ALBUM or ABBEY ROAD, is it? “Which cut is the single? Where are the hooks? Wait, never mind the hooks – where are the songs? And where on earth is the Rock ‘n’ Roll?” OK, so maybe fans weren’t exactly thinking those thoughts since THE WEDDING ALBUM was John and Yoko’s third release as a duo (and their first as a bona fide married couple) and their avant-garde recordings were certainly nothing new. Remember the UNFINISHED MUSIC NO. 1: TWO VIRGINS album featuring John and Yoko on the album cover in all of their nakedness? Then there was UNFINISHED MUSIC NO. 2: LIFE WITH THE LIONS, which featured a cover photo of John and Yoko in her hospital room shortly after a miscarriage. In essence, John and Yoko’s first three albums were far from light-hearted affairs. These were albums that expressed their emotions in unique ways – through experimental recordings. Yes, there were other artists who made avant-garde recordings… but they weren’t associated with the biggest Rock band in history!
Thanks to American Idol, The Voice and other like-minded TV shows plus the influence of YouTube, it is perfectly understandable that kids today think that the path to a successful musical career is easy and that nearly anyone can be a star overnight. However, reality paints a darker picture. It is often overlooked that nearly 90% of all TV talent show winners end up without a hit record to their name and they fade away into obscurity almost as quickly as they rose to fame. On the other hand, there are still plenty of modern artists who have toiled in relative obscurity for years before becoming ‘overnight sensations’. While not exactly obscure, indie Blues/Rock outfit Reignwolf has taken the long road and is finally releasing their debut album seven years after the band first formed.
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…
Smooth Jazz and New Age music are genres that have always received the short end of the stick. Jazz purists and Rock critics have continually written the music off as ‘lifeless’ and/or ‘boring.’ However, both Smooth Jazz and New Age have survived decades of critical neglect thanks to a large – and continually growing – audience. And why has this music survived and prospered for so long? Because the music connects with the listener in a way that most musical styles don’t. These are not genres that have continually gone after the big bucks. This is music created from emotion – sadness, joy, desire, etc. – and because it comes from an honest place, listeners can easily absorb those feelings that went into creating the art. In turn, they bond with the music because of those emotions. It becomes a very personal experience. And isn’t that what helps us get through life? All of those very personal experiences, good or bad? Thankfully, music will always fall on the side of good.
STEPHEN SPAZ SCHNEE: EASY WAY is now ready for release. How are you feeling about the project and the reaction you’ve had to it so far?
PAGE BURKUM: Getting a new record out in to the world is a great feeling. People are playing “Please Don’t Call Me Crazy” on the radio and our new songs seem to get a good reaction at our live shows, so hopefully that’s a good sign!
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.