Just because I never use the heart emoji doesn’t mean I hated your stupid post, tho’ it might.
Hope that helps.
Chris Conner would have loved this. Sometimes I’d post obnoxious stuff just for him. We grokked on that big guy obnoxious thing. We’d stand at the bar between sets just this side of sloppy and say insulting things about all the little people around us. Then he’d bitch because I’d copped another of his jokes without crediting him. Must be a Canadian thing. Whatever. So I’d go back and credit him.
Eddie Money was punk rock to me. Or was that Meat Loaf. Yeah, Meat Loaf. Eddie Money was Meat Loaf to me, but also punk rock. No, that was the Ramones. The Ramones were punk rock to me, Eddie Money was Meat Loaf to me, and Meat Loaf was, I dunno, maybe Pat Benatar. Anyway, RIP.
“Look! I don’t like to get pushed around! I don’t like people I like to be pushed around! I don’t like anybody to get pushed around!”
That was Sam Masterson, played by Van Heflin at his peak, in the noir classic The Strange Love of Martha Ivers (1946).
It’s a startling, electrifying line for a film noir, it rings out amid the corruption and murder and adultery and beatings and strong armed cops like something out of the Grapes of Wrath. You can hear Henry Fonda’s Tom Joad saying it, explaining why he has to brain the goons. You can’t here Bogie’s Rick saying it in Casablanca, not at all, not even after he shoots the Nazi. But then Heflin’s character is no hard boiled anti-hero, he’s the real thing, and he exposes the rotten heart of capitalism in Iverstown and brings it crashing down, if only because he doesn’t like anybody to get pushed around.
Somewhere there is a man about seventy who considers the perfectly placed Hot Damn! he shouted at 5:40 on the live Midnight Rambler to be his great contribution to rock’n’roll, and he’s right. I always marveled at that guy’s hog calling skills. And you don’t worry about his fate like you do about the chick out of her mind on something who screams her brains out contrapuntally throughout. He was probably just a kid from New Jersey. She might have joined the Manson Family.
“I was so enraptured by the whole Ramones’ oeuvre that I never even questioned their comical self-mythologising.”
“A favorite leitmotiv in the Ramones’ oeuvre.”
“A testament to the uplifting power of rock, and a welcome addition to the Ramones’ oeuvre.”
“All of which are the least necessary entries in the Ramones’ oeuvre.”
“Worthy additions to the Ramones oeuvre.”
“As well as a near-obsessive devotion to the Ramones oeuvre.”
“Deliberate dumbness pretty much sums up the Ramones oeuvre.”
“But the end result is a great bit of variety in the Ramones oeuvre.”
“One of the most amusing quirks in the Ramones’ recorded legacy is their penchant for songs with war movie themes: indeed, their oeuvre is stuffed to the gills with songs with titles like Blitzkreig Bop.”
“Made the Ramones so blessedly unique in the entire punk oeuvre.”
“The whole Ramones oeuvre was one long ode to the individual.”
“And, like much of Joey Ramones’s oeuvre, it reflects his mentality throughout life: don’t worry, be happy.”
“With almost mathematical totality the Ramones oeuvre turns away mourners, the self-obsessed, the wallflowers already retiring to life’s sidelines.”
“The Ramones were trailblazers unconcerned with imitating and who worked solely to develop their own distinct oeuvre.”
Linda Ronstadt’s Long, Long Time must have been a huge hit in LA in 1970 because you’d hear it regularly on the local FM stations for years. All the teenage boys would freeze and listen and sigh. I hadn’t heard it in a while, and maybe the effect is accentuated on this iPhone, but why did producer Elliott Mazer bury her in the strings? Not right away. It’s all Linda Ronstadt for a minute, almost like Kitty Wells, and you’re hooked. But from then on Mazer starts piling strings on by the regiment full, and Linda’s battling to be heard over the arrangements. They’re everywhere, these charts full of lush baroque things growing like triffids, filling every available space. At one point the harpsichord is louder than she is. It’s almost like a Phil Spector thing, Tina Turner batting Phil’s Wagnerian demons on River Deep, Mountain High. Linda finally wins in the end, though, even if the strings and that strutting harpsichordist get to do their dirge thing for a bit too long after her vocal fades, though I suppose the logic of the arrangement demanded it. These things require patience. At last they’re done. That’s a wrap, Mazer said, and maybe someone went to chuck a few too many cellos and violas into the Cumberland. Anyway, a lovely tune.
Flipped on the radio and it’s Loan Me A Dime and talk about nostalgia, like a foggy Sunday morning in Isla Vista, or late night hippie sounds on KNAC out of Long Beach way back when. This was the ultimate long playing FM song for a while, Boz Scaggs before Low Down, still in boots and jeans and a beat up cowboy hat. It starts out slow, just this side of a dirge, but builds into a rollicking piano pumping blues, and Duane Allman laying down lick after lick of the meanest Muscle Shoals lead guitar you ever heard for several exuberant minutes. You hope it never ends. But it does, finally, after thirteen minutes, fading out with the band still rollicking and Duane Allman still on fire, and you can’t believe you were lucky enough to hear it again because almost nobody actually had the album. It was just this amazing thing you heard on the radio, and it was hippie long, long enough to smoke a whole joint to. A big bomber joint even. And if the deejay then spun Voodoo Chile or Low Spark or that long medley off Abbey Road you know he’d been out back smoking that joint. But that was nearly half a century ago. This deejay today segued (if you can call it that) into a coked out Eagles cut and ruined everything. The vibe was gone, poof, instantly. Life In the Fast Lane. What’s the opposite of nostalgia? Because that’s what this was. Memories of being stuck in the mid seventies and looking like I’d never get out.